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subject has fascinated publishing professionals for many,many years. A quick Google search will reveal scores, if not hundreds, of articles, lists, tips, tricks and infallibleprescriptions for luring the elusive newsstand browserand pleasing core subscribers.

I wont bore you with all the reasons why yet anothercelebrity portrait and cover line promising killer abs is utterly guaranteed to translate into sales success (or whysales success, like it or not, is what ultimately keeps con-sumer magazines alive). But I can talk a bit on the subjectof what we think about when choosing our own covers.

A potential readers first glimpse of a publication, obvi-ously, has a critical effect on whether the book actuallygets picked up and read, and it can also greatly influencehow the contents of a particular issue are received andfeelings about the brand in general. What are the hall-marks of New England Home as a brand? Our mission is

to present the world-class work of our regions residential architects, interior designersand landscape designersnot to mention the creators and purveyors of the myriadcovetable components that go into such projectsin a way that is fully in tune withthe highest journalistic and visual standards. Although technically we are a regionalmagazine, in that we cover only six U.S. states, our look and feel are intended to rivalthe very best national and international design magazines.

So, for us, a successful cover will instantly convey a few basic impressions: intelli-gence, luxury, design sophistication, sheer gorgeousness. Our cover should makereaders yearn to be in the pictured locale. Equally important, it should always exudethat indefinable but essential flavor of New England in each of the years four seasons.

Do we generally succeed? Youll have to be the judge. Look back over a few pastcopies and decide. And, just for fun, Ill run a post in late January on our design blog (blog .nehomemag .com) showing some of the cover choices we considered for thisissue. Feel free to comment there about the process or about how you think weredoing when it comes to first impressionsId love to know.

From the Editor

Judging a Book by its Cover

MIC

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Kyle Hoepner, [email protected]

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Inside this Issue

7886

On the cover: The great room of a Vermont house offers a cozy place from which to gaze out onstunning views of Lake Champlain. Photograph by Michael Partenio. To see more of this home,turn to page 94.

Featured HomesJANUARY/FEBRUARY 2012 VOLUME 7, NUMBER 3

70 Winter Warmer For a couple who enjoys city life during the cooler months,Boston-based designer Meichi Peng creates a space to keep them cozy throughthe chilly season. INTERIOR DESIGN AND INTERIOR ARCHITECTURAL DESIGN: MEICHI PENG PHOTOGRAPHY: GREG PREMRU TEXT: ERIN MARVIN PRODUCED BY KYLE

HOEPNER

78 Past Presence A sensitive renovation turns a 1790s colonial in the Berkshiresinto a welcoming home for the present and future while preserving a warmconnection to bygone days. ARCHITECTURE: KRISTINE SPRAGUE INTERIOR DESIGN: KEITH LICHTMAN, KL INTERIORS PHOTOGRAPHY: ROBERT BENSON TEXT: PAULA M.

BODAH PRODUCED BY STACY KUNSTEL

86 A Passion for Pale A design team celebrates white in all its glory, outfittingtheir own Boston high-rise apartment in a monochromatic scheme that forms a beautiful backdrop for well-chosen pieces of art and magnificent city views. INTERIOR DESIGN: PAUL WHITE AND DAVID NAULT, WEENA & SPOOK PHOTOGRAPHY:

KELLER + KELLER TEXT: REGINA COLE PRODUCED BY KYLE HOEPNER

94 Field of Vision A contemporary new house on a swatch of historic farmlandon Vermonts Lake Champlain forges an amiable bond with the past while looking resolutely forward. ARCHITECTURE: BRIAN J. MAC, BIRDSEYE DESIGN STUDIO INTERIOR DESIGN: ERIC MCCLELLAND AND PETER LUNNEY, FLEUR-DE-LIS INTERIOR

DESIGN LANDSCAPE ARCHITECTURE: H. KEITH WAGNER PHOTOGRAPHY: MICHAEL

PARTENIO TEXT: MEGAN FULWEILER PRODUCED BY STACY KUNSTEL

70

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8 From the Editor

Art, Design, History, Landscape23 Elements: Art and Soul Handcrafted studio furniture makes a personal

statement in any room. EDITED BY CHERYL AND JEFFREY KATZ

30 Interview: John Margolis The head of the New England chapter of the Institute of Classical Architecture & Art talks about the place of classical designtoday and in the future. PORTRAITS BY MATT KALINOWSKI INTERVIEW BY KYLEHOEPNER

38 Artistry: Metal Winners The centuries-old technique of silverpoint findsbold new expression in the luminous works Susan Schwalb creates in her Watertown, Massachusetts, studio. BY CAROLINE CUNNINGHAM

People, Places, Events, Products116 Trade Secrets: Happily Ever After Comings and goings (and a few

surprises) in New Englands design community. BY LOUIS POSTEL

120 Design Life Our candid camera snaps recent gatherings that celebrate architecture and design.

124 Perspectives New England designers make up a cozy master bedroom.Wish List: Fotene Demoulas and a few of her favorite things 130

132 Resources A guide to the professionals and products in this issues features.

143 Advertiser Index

144 Sketch Pad On vacation in Venice, Eliot Wright found the inspiration heneeded for a series of unique, colorful patchwork pillows.

Inside this Issue

Special Marketing Sections:

PORTFOLIO OF FINE ARCHITECTURE

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SUSTAINABLE LIVINGpage 105

For subscriptions call (800) 765-1225

or visitwww.nehomemag.com


EDITOR-IN-CHIEFKyle [email protected]

HOMES EDITORStacy [email protected]

SENIOR EDITORPaula M. [email protected]

MANAGING EDITORDebbie [email protected]

ASSISTANT ART DIRECTORJared [email protected]

ASSOCIATE EDITORKara [email protected]

CONTRIBUTING EDITORSCheryl and Jeffrey [email protected] Lidbeck [email protected] [email protected]

CONTRIBUTING WRITERSRegina Cole, Caroline Cunningham,Megan Fulweiler, Robert Kiener, ErinMarvin, Nathaniel Reade, ChristineTemin

CONTRIBUTING PHOTOGRAPHERSTrent Bell, Robert Benson, Bruce Buck,Tria Giovan, Sam Gray, John Gruen, Laura Moss, Michael Partenio, GregPremru, Eric Roth

SubscriptionsTo subscribe to New England Home ($19.95for one year) or for customer service, call(800) 765-1225 or visit our Web site, www.nehomemag .com.

Editorial and Advertising Ofce530 Harrison Ave., Suite 302Boston, MA 02118(617) 938-3991(800) 609-5154

Editorial SubmissionsDesigners, architects, builders and home -owners are invited to submit projects for editorial consideration. For informa tionabout submitting projects, e-mail edit@nehome mag.com.

Letters to the EditorWed love to hear from you! Write to us atthe above address, fax us at (617) 663-6377or e-mail us at letters @nehome mag .com.

Upcoming EventsAre you planning an event that we canfeature in our Calendar of Events? E-mail information to calendar @nehomemag .com, or mail to Calendar Editor, New England Home, 530 Harrison Ave.,Suite 302, Boston, MA 02118.

PartiesWe welcome photographs from design- or architecture-related parties. Send high-resolution photos with information aboutthe party and the people pictured topbodah @nehome mag .com.

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January/February 2012 New England Home 23

ElementsThe things that make great spacesEdited by Cheryl and Jeffrey Katz

Art and SoulA piece of furniture that celebrates the inherentquality of its material, respects the beauty of formand of function and is made by hand can imbue aroom with spirit and style, making a truly personalstatement. In the postWorld War II years, hand-crafted pieces by such highly respected artisansas Wendell Castle, Sam Malouf, Tage Frid andGeorge Nakashima became known as studio fur-niturean antidote to all that was mass-producedand off the rack. Today, New England furnituremakers are carrying on the tradition. With an eyeto using materials in unique ways and sensitive to new design ideas, theyre helping to guaranteethat our rooms are anything but anonymous.

Classic Beauty The Barrington chairs simple,strong shape makes it a standout, and its goodbones are further enhanced by a hand-appliedoil finish. Shown here in walnut, the chair, fromStudio Dunns Rhode Island collection, also comesin ash or cherry. 29"H 17"W. $1,200. STUDIO DUNN,PROVIDENCE, (401) 316-2872, WWW .STUDIO DUNN .COM

Elements


Pure Geometry John Eric Byers, a third-generation furniture maker, builds his stur-dy Open Form Tables of mahogany, thencarves the surface by hand and layers itwith milk paint and lacquer to create striking patterns and textures. 20"H 14"W.$4,000. GALLERY NAGA, BOSTON, (617) 267-9060, WWW.GALLERYNAGA.COM

High Drama With a nod to tradition, theblack walnut drawers of Tod Von MertenssManhattan Highboy decrease in height asthey ascend. But the dressers blackenedsteel frame is far from old school. 45"H 30"W 17"D. $5,900. TOD VON MERTENS, HAN -COCK, N.H., (603) 831-3805, WWW .TODVON .COM

Reclamation The design duo Pelrine + Dur-rell rescued the oak for their Lounge Rock-er as it was headed for a Nantucket dump.The lounge chair, as its name implies, doesdouble duty as a rocker. 72"L 19"W 39"H.$2,700. ROOM 68, JAMAICA PLAIN, MASS., (617)942-7425, WWW .ROOM 68 ONLINE .COM

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We Gather Together Peter Sandbacks Drum Tables are great in a group but strongenough to stand alone. The tabletop is available in natural oak (shown), fumed oakor moss oak, and the maple base can bepainted in your choice of colors. 17"H 8"D17"H 16"D. $700$950. HARRISVILLE, N.H.,(603) 924-9020, WWW.PETERSANDBACK.COM

Maine Stay Handcrafted furniture is meant tolast for a very long time, passed down fromgeneration to generation. Thos. Mosers Con-tinuous Arm Bench will surely stand the testof time. 42"H 49"W 25"D. $2,600 IN CHERRY,$3,000 IN WALNUT. AUBURN, MAINE, (201) 784-3332, WWW.THOSMOSER.COM

Mixed Media Sculptor and furniture makerJacob Kulin has created a glass, oak andsteel console that supports a collection offound tree branchesa piece as refreshing asa brisk walk in the woods. 39"H 54"W 16"DAS SHOWN. $4,500. KULIN MODERN, BOSTON, (617)269-1222, WWW .KULIN MODERN .COM

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Art and Craft Quentin Kelleys Sling Side Tableshowcases traditional craftsmanship and simpleform in a new way. Combining solid walnut andleather, the table holds not only the readinglight but also the reading material. 20"H 16"W 16"D. $1,650. INFUSION FURNITURE, MILTON, MASS.,(617) 223-1181, WWW.INFUSIONFURNITURE.COM

Second Life Jonas Eule likes to combine re-claimed materials with solid wood to produceunique furniture pieces. Here hes merged asolid mahogany, pencil-grooved tabletop with apowder-coated 1960s base to create a coffeetable. $1,500. CHELLIS WILSON, PORTLAND, MAINE,(207) 518-9018, WWW .CHELLIS WILSON.COM

Welcome Addition Like its namesake, theGazelle Hall table from Michael Gloor is elegantand graceful. As an entry console, the piece,crafted of oak and black walnut, makes a re-fined greeting for guests. 28"H 42"L 10"D.$1,200. MICHAEL GLOOR DESIGN, PEACE DALE, R.I.,(401) 782 2443, WWW .GLOOR DESIGN.COM

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everly Farms, Massachusetts, architect John Margolisheads the New England chapter of the Institute ofClassical Architecture & Art (ICAA). In conjunction

with the chapters second annual Bulfinch Awards ceremony at the Massachusetts State House in late November, he talkedwith New England Home about his and the organizations en-gagement with the classical tradition.Kyle Hoepner: Will you give us a brief history of your in-terest in and involvement with the ICAA?John Margolis: I have been following the Institute of Classical

Architecture & Art for twenty or more years. I became active-ly involved in 2001 and became the New England chapterpresident three years ago.KH: For readers who may not be familiar with the organi-zation, what are its mission and programs?JM: The ICAA is the leading national nonprofit organizationdedicated to advancing the practice and appreciation of theclassical tradition in architecture and the allied arts. TheICAA fulfills its mission through four program areas: educa-tion, publication, awards and advocacy. We offer lectures,

Interview

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Interviewdemonstrations, walking and sketch toursand continuing education courses for alllevels of interest.KH: What do you mean by the classicaltradition? Does classical in this contextrefer to aesthetic style, or is there a deep-er set of ideas or orientations involved?JM: Classicism is much more than a style. It is an approach to problem solving at alllevels. It is about designing enduring build-ings, landscapes, furniture, artwork and fit-tings that all work together harmoniouslyas a unity. Understanding the proper use of proportional systems is just as applicabletoday as it was when the Roman architectVitruvius and the Italian Renaissance archi-tect Alberti formulated their treatises on ar-chitectural theory.KH: What specifically does the New Eng-land chapter do?JM: Our chapter is primarily an education-al resource for architects, landscape archi-tects, interior designers, artisans and peo-ple who are passionate about the classicaltradition and its influence. We are one offifteen chapters that comprise the ICAA,and are the first chapter to offer an onlinecertificate course in classical architecture,through the Boston Architectural College.KH: How are relations between theICAA and the many other organizationsin todays architectural worldthe ma-jority of which, Id hazard, champion architecture derived from twentieth-century modernism, or sometimes fromvernacular traditions? Do you ever feellooked down on or misunderstood?JM: The ICAA represents a growing collec-tion of superlative designers and artisanswho strive to better the built environmentwith harmonious designs. We dont expecteveryone to subscribe to our thinking, butwe are looking for a seat at the table so ourvoices can be heard democratically.

Twentieth-century modernism has itsplace, and for others the chaotic world inwhich we live is an attractive precedent for a particular kind of design thinking.Rarely, though, do designers in thesecamps make reference to unifying theirenvironments through what I would con-sider proper proportion and scale, orthrough emulating the qualities of a spe-cific geographic region. In recent years itseems that designers are more interestedin personal notoriety and setting forth thedogmas that best suit their approach. Forme an exemplary design need not have acelebrated author, or necessarily be set


apart from all othersexcept by its inher-ent excellence. It needs to stand the test oftime long after we are gone and aesthetictastes have changed.KH: How does this relate to your ownwork as an architect?JM: Almost all of my training was derivedfrom the mid-twentieth-century modernistteachings espoused by the Bauhaus andWalter Gropius. Although this was an in-valuable part of my development as an ar-chitect, it felt limiting and I wanted to knowmore about the traditions and precedentsinfluencing some of the greatest American

designs of the past 250 years. And despitebeing educated in the Midwest and on theWest Coast, I kept going back to Europeanprecedents, and then to Georgian, Federaland Beaux Arts examples, wondering whyno one ever talked about them.

So I traveled, toured, read, sketched andwalked until I discovered that the ICAAoffered me a chance to develop the skills tobetter understand the classical languageand its influence on design in America. Mywork as an architect has evolved immea-surably since I learned about the outstand-ing talent affiliated with the ICAA.KH: What do you see as the future of the classical arts and architecture in ourworld?JM: Classicism will always be an integralpart of our culturepast, present and fu-ture. I think people will always respond tothings that are beautifully proportioned,enduring, harmonious in design and thatfit seamlessly into their surroundings. Thechallenge for us is to find new and com-

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Interviewpelling ways to get the word out, engagepeople and demonstrate how the classicallanguage can be adapted to current-day design challenges.

Ironically, our current culture tends todissuade people from finding meaning bylooking at the past, but rather encouragesdisposing of the past and starting anew. Inthis world of finite resources, real sustain-ability means finding new uses for oldbuildings instead of tearing them down,making buildings that last when we buildthem and learning about the countlessideas that were employed in the past to pro-vide thermal comfort and minimize waste.

Some of the ICAAs other chapters particularly Southern Californiahavebeen successful in partnering with Habitatfor Humanity and creating pattern booksfor housing that is regionally specific and,above all, affordable. In the last seventyyears classicism got a bad rap because itwas seen as only for the affluent. Beautifuldesign should always be accessible toeveryone.KH: Is there anything else youd particu-larly like to talk about?JM: You often hear how architectural de-signs are of our time or of this century,when in fact most of them are borrowedfrom the last seventy years. I suppose thatsokay, but lets be honest: nothing is everpurely original. Our perspective is shapedby our cultural history and the circum-stances that preceded us. Similarly, theclassical language has always provided us with enduring examplessustainableonesthat encourage the reuse of build-ings over many generations, and designsthat are climatically suited to the demandsof a particular region. Look at the Par the -non, one of the most famous classicalbuildings. It was first a Greek temple, thena basilica and then a mosque! Now thatsadaptive reuse.

Here in the United States, from the double-hung and bay windows on a NewEngland townhouse, to the cupola andcolumned porches of a southern antebel-lum home, to the deep covered arcades of a Spanish-style mission in the southwest,many sustainable solutions for naturallight, thermal comfort and proper energyuse have been in play for years. In all casesthey were seamlessly integrated into thedesign, not tacked on later and labeledsustainable. We need to study our histori-cal examples freely and create newly inter-preted designs for generations to come.

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AUTHORIZED xDEALER

heres a compelling dual-ity in the work of artistSusan Schwalb. Her

complex and gorgeous imagesare grounded in the techniqueof silverpoint, a medium mostoften associated with Renais-sance masters like da Vinci andRaphael, and defined by theneed for precision and absolutecontrol. And yet Schwalbspaintings transcend these tradi-tional limitations. There is in-herent rigor in their linearity,but there is also fluidity and ab-straction. From a distance, the surfaces appear muted andgentle, like watercolors; up close, their unexpected depth and

power is almost jarring. Schwalb has pushed the boundariesof a classic form and made it modernand entirely her own.

Schwalb works on the second floor of a ram-bling Victorian home in Watertown, Massachu-setts, that she shares with her husband, MartinBoykan, a composer and emeritus professor ofmusic at Brandeis. Her drafting table stands by alarge window and is surrounded by stacks of artbooks, catalogues and her own drawings andpaintings, an arrangement that reflects her per-spective that new images are inspired by an inter-action with ones that came before. Although sheworks in series, Schwalb often begins a composi-tion without any notion of what will evolve. Ieven buy tools before I decide what Im going todo with them, she says.

Theres nothing passive or haphazard in her ap-proach, however. Instead, its an active form of dis-covery by an artist whoadmits, I keep findingsomething else to do.

This curious and rest-less spirit has drivenSchwalb throughout hercareer. I wanted to bean artist since I was five years old, before I evenknew what being an artist meant, she says.

She grew up in New York City, where she stillkeeps an apartment. She attended The HighSchool of Music & Art, then earned a BFA fromCarnegie Mellon, in Pittsburgh, where she majoredin design and painting. After graduation, she

The centuries-old technique of silverpoint nds bold new expression in the luminous works Susan Schwalb creates in her Watertown, Massachusetts, studio. BY CAROLINE CUNNINGHAM

MetalWinners

Artistry

Top: Night Vapors diptych(2010), silverpoint andacrylic on wood, 12" 26". Left: Parchment XXII(1982), copperpoint, re,smoke and wax on clay-coated paper, 10" 9"

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worked in publishing and advertisingas a graphic designer and taught atCity College of New York and NewJerseys Kean College (now Kean Uni-versity). Schwalb continued to drawand paint on her own, mounting somesmall exhibitions in SoHo in the early1970s. Then, during a weekend in the

Hamptons, shesaw a friendworking in silver-point. My lifechanged on thatday, she says.

Schwalb startedby making deli-cate floral draw-ings with a stylus,

but soon felt constrained by her ownfigurative imagery, so much so that shebegan to tear and burn the edges of herwork, as if in protest.

Her technique became increasinglybold and expansive when she combinedsilverpoint with iridescent gold leaf andacrylic paint. In 1997 she set her stylusaside in favor of applying metalpointdirectly onto a prepared surface.

The extraordinary paintings that followed explore the il-lusion of layering and the lyrical effect of colors that meltinto one another or shimmer through a screen of horizon-tal bands. They also suggest memories of light and land-scapesun filtering through trees at dawn, or moonlight

reflected on a quiet seain a way that is at once personaland universal. As Edward Saywell, head of contemporaryart and MFA programs at the Museum of Fine Arts,Boston, observes, Her work allows us the freedom and op-portunity to arrive at our own understanding of these mostbeautiful of images.

Schwalbs most recent paintings begin with beveledwooden panels that she coats with sealer and gesso beforecarving thin lines into the surface. She applies several layers

of acrylic paint, which she then partially erases with sand-paper to uncover slivers of color. Finally, she adds morelines in copper, bronze or silver to intensify the sense ofspatial depth. Theres a distinctly sculptural quality to thiswork, an effect intensified by the tapered panels that appear

to float against a wall. The sparkling gradations of silverand black in Road Not Taken, for example, seem to vibratewith visual and emotional force. The poetic title capturesSchwalbs independent artistic journey as well. She has al-ways been a seeker, and followed her own path. And thathas made all the difference.

Editors Note Susan Schwalb is represented by Andrea MarquitFine Arts, Boston, (617) 859-0190. To see more of her work, visitwww.susanschwalb.com.

Right: Road NotTaken (2011), silver-point, acrylic andblack gesso onwood, 30" 30".Below: Incident inthe Mist #6 triptych(2011), silverpointand acrylic onwood, 30" 90"

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The fifth Annual New England Design Hall of Fame

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New England Homes Kyle Hoepner and Rachel Pikefrom the Wentworth Institute of Technology withGeorge Davis and Lisa Bonneville of Bonneville Design

Danielle Jones and Josie MacKinnon of Snow andJones with Jayme Kennerknecht and John Day of LDaArchitects & Interiors

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New England Homes RobinSchubel with Budd Kelley fromSouth Shore Millwork

O On the evening of November 3, 2011, New Englands resi-dential design community came together for a fifth time tocelebrate the premier figures and institutions in our midst.The scene was set with gorgeous flower arrangements by

Winston Flowers and the State Rooms stunning views ofthe Boston skyline. Following a festive cocktail hour, guestssettled in for dinner in the Great Room and the eventkicked off with a scholarship presentation to the WentworthInstitute of Technology. Our homes editor, Stacy Kunstel,was emcee for the night, and the cheers were enthusiastic asshe presented awards to the 2012 New England Design Hallof Fame inductees: architects Bernard M. Wharton andMatthew and Elizabeth Elliott; interior designer Nancy S.Serafini; landscape architects Kris Horiuchi and DanielSolien; and the North Bennet Street School, represented bytheir president, Miguel Gmez-Ibez. Photography: Tara Carvalho and Adam Hunger

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New England Homes Kim Sansoucy with Chris Perkins and BenDeFilippo of Crestron

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Special Advertising Section

P O R T F O L I O O F F I N E

Architecture

A. TESA ARCHITECTURE


Architecture

50 Special Marketing Section

Founded in 2002, A. Tesa Architecture is best known forblending classic New England character with traditional de-tail, while also achieving the clients functional living style.Alec R. Tesa, the firms principal and previous recipient ofthe Henry Adams AIA Medal from the American Instituteof Architecture, believes a successfully designed homeemerges when it reflects the clients personality and lifestyle.

The firm focuses on skillfully listening to and incorporatingcontinual input during every project to successfully deliver aclients desired outcome. This progressive partnership resultsin capturing the spirit and warmth of a clients home from design to reality.

Inspired by surrounding Newport, Rhode Island, A. TesaArchitecture integrates historical details in its designs and isperceptive in the way it understands natural settings, lifestylesand personal preferences. The result is a timeless customhome for every client.

Classic New England character blended with todays living style.

A. Tesa Architecture174 Bellevue AvenueNewport, RI 02840

(401) 608-2286 www.atesaarchitecture.com

Special Marketing Section 51

CATALANO ARCHITECTS, INC.


Architecture


Celebrating our twenty-fifth anniversary in 2012, CatalanoArchitects is dedicated to the pursuit of excellence in designand craftsmanship. We believe that good architecture can enliven our existence and give us some respite from themediocrity found too often in todays built environment.

At Catalano Architects, we pride ourselves on the abilityto listen to our clients and to keenly comprehend their functional requirements and aesthetic aspirations.

Each project is approached with a highly refined sense ofdetail and a thorough understanding of the constructionprocess. Our architectural design solutions are a refreshingalternative to the me-too culture that results in mass homogenization. Every project we create is a singularexpression, a culmination of work by involved clients andour awareness of, and sensitivity to, their specific sites.

Catalano Architects is best known for its contextually

sensitive, traditional American architecture. Our experienceranges from expansive shingle-style waterfront homes alongthe shores of Cape Cod, Marthas Vineyard and Nantucketto elegant suburban homes. Our work extends to the seam-less integration of home additions, multifamily condomini-ums, institutional and commercial buildings. Currently, weare working on the notable Nantucket Dreamland Theaterlocated in the Nantucket Old Historic District.

Founder Thomas P. Catalano, AIA, LEED AP, was inducted into the New England Design Hall of Fame. NewYork Timess esteemed architectural critic Paul Goldbergerpraised him as an architect whose shingled and clapboardhouses are handsome and expansive, and endeavor to fitinto their surroundings. Metropolitan Home wrote aboutCatalanos work: Architecture doesnt get any betterormore satisfyingthan this.

Inspiring Architecture that Lifts the Human Spirit.

Catalano Architects, Inc.115 Broad Street Second Floor

Boston, MA 02110617.338.7447

www.catalanoinc.com


DOMUS, INC.


Architecture


Founded in 1971, Domus, Inc. has provided complete ar-chitectural and construction services under one roof, mak-ing our projects more cost effective, and run seamlessly be-tween concept and constructionwith nothing lost intranslation between architect and builder. Our firm has es-tablished a tradition of designing personalized, inspired ar-chitecture, and building homes with craftsmanship and de-tail, while also giving customers quality and service.

Throughout each project, Domus, Inc. welcomes and en-courages an ongoing dialogue with our clients, and becausewe are both architect and builder, changes made midstreamare handled with ease. Our project supervisors are on siteeach and every day, from start to completion, and theywork with each homeowner to customize every detail.

For forty years, we have had the privilege to work on avariety of unique properties, ranging from log-frame

mountain lodges in Colorado, traditional ocean front prop-erties on Marthas Vineyard and Nantucket, upscale town-houses in downtown Boston, Victorian shingle-style housesin Arlington, to very contemporary homes in Concord,Carlisle, Weston and Lincoln.

With offices in Aspen, Nantucket and now Concord,Massachusetts, Domus, Inc. has used this design/buildmodel to combine art and architecture into personalizedhome design. The inspiration for each project is providedby the clients unique spirit, personality, program and site;thus, each project becomes an exclusive sculpture craftedfrom the clients own vision.

Domus, Inc.555 Virginia Rd

Concord, MA 01742978.369.0077

www.domus-inc.com


GLEYSTEEN DESIGN


Architecture


At Gleysteen Design LLC, we create homes that are physically,intellectually and emotionally fulfilling. Our work reflectsthe cultures, sensibilities and desires of our clients as well asour values, expertise and vision.

Our design approach emerges from a sensitiveand objective response to the tasks and goals of each project. Today, the most relevant architectural solutions lie

beyond the boundaries of classicism and modernism. We choreograph spaces that are simultaneously beautifuland practical.

From urban rehabs to new country houses, our portfoliois rooted in contemporary life. Devoted to performancerather than style, each home is an expression of how ourclients, in their own ways, choose to live in them.

Beyond the boundaries of style.

Gleysteen Design LLC185 Mt. Auburn StreetCambridge, MA 02138

617.492.6060www.gleysteendesign.com


HUTKER ARCHITECTS, INC.


Architecture


Hutker Architects, Inc. (HA), founded in 1987, has designedmore than 200 Heirloom Homes and is a full service archi-tectural and interior design firm providing in-depth designstrategies, comprehensive project coordination and site-spe-cific construction observation. With offices located on CapeCod, Marthas Vineyard and Nantucket, HA has become thepremier, high-end residential architecture firm for the Capeand islands, while exhibiting a substantial body of residen-tial, commercial and institutional work stretching across theNew England area. The firms thirty-person professionalstaff comes from a variety of backgrounds, utilizing theirwide range of experience to continually refine the compa-nys values of quality craftsmanship and material ethics inthe creation of a new regional vernacular. Such strength oftalent and intimate knowledge of the locale makes HA pre-dominantly qualified for the design of projects within New

Englands natural and historical environments.Hutker Architects brings a passion for the profession of

architecture that extends to every aspect of a project. De-voting thoughtful attention to each new challenge, the HAteam applies innovation to tradition in the pursuit of solu-tions for different and unique requirements. Employingthis new regional vernacular brings architect and client to-gether in discovering project scope, design vision and ar-chitectural opportunities, fostering a collaborative spiritthat enhances and promotes the design process. The resultis a creative and balanced architectural response that is in-tegral to its environment, eminently functional and embod-ies the specific imagination and lifestyle of the client.

Creating Heirlooms Worthy of Preservation.

Hutker Architects, Inc.Marthas Vineyard (508) 693-3344

Cape Cod (508) 540-0048Nantucket (508) 228-3340www.hutkerarchitects.com


JAN GLEYSTEEN ARCHITECTS


Architecture


Jan Gleysteen Architects practice in the suburbs of Boston, designing fine custom homes, additions, and renovations inspired by the historic architecture unique to New England.Classicism strongly influences the firms designs which employbalance, scale, proportion, and symmetry to create homes thatare subtly harmonious with themselves and their surround-ings. Skillful design of the roofscape scales down the apparentsize of the home which evokes a charming historic characterwhere clients enjoy spacious and thoughtful floor plans.

The firm strives to provide generous living space, a comfortable yard, and a home that is not only tasteful butmanageable for their clients. To achieve this they begin everydesign with the kitchen as the heart of the home wherefood and drink unites the family. The kitchen is a sophisti-cated space that serves as the social hub of the home provid-ing state of the art cooking, entertaining, and a center of

operations for the modern family. The second key element isthe mudroom which functions as the everyday front doorand processing center for the family with cubbies, closets,benches, and peg hooks. Careful consideration of thesespaces is essential to the elegant livability of their homes.

Curved forms lend elegance in the form of arches, barrels,and bows. Such forms not only subconsciously relate to ourown bodies, but also provide playful interactions especiallybetween rooms and within the exterior faades.

In 2011 the firm received the Bulfinch Award for excel-lence in classical and traditional design as well as being hon-ored with two Dream Home Awards and two PRISM Awardsfor design excellence. The firm also embraces sustainablevalues and in 2009 the firms first sustainable house in Massachusetts received the prestigious LEED for HomesGold Certification from the USGBC.


Jan Gleysteen Architects Inc.888 Worcester StreetWellesley, MA 02482

781.431.0080www.jangleysteeninc.com

MEYER & MEYER


Architecture


Our work is like no other, because each of our homes isuniquely designed for clients who want something truly inspiring. Our homes share timeless aspects of design, ele-gance and grace, as well as harmony with the site. We haveno preconceived style that dictates our designs. We developthe style that is best-suited to the site and preferred by theowners. Clients come to Meyer & Meyer because they appre-ciate how we aspire to a high level of design by customizinginteresting floor plans, using quality materials and designingspecialty details throughout the home. Our exceptional designs includes all styles of architecturemodern to classical.

Collaborating with our clients is essential to developinghomes of distinction. Clients can follow their homes devel-opment through expressive, hand-drawn renderings. Our jobis to successfully take clients through the excitement of thedesign process, offering options and creating solutions.

John Meyer, AIA, LEED AP, is the design principal who ar-tistically renders his visions of the architectural work to en-sure that clients fully understand the outcome. These hand-drawn records become treasured keepsakes, charting thehouses progress from ideas to reality.

Extraordinary attention to detail characterizes Meyer &Meyers award-winning projects. We have been in businessfor over thirty years, and we offer a full suite of services tocoordinate every aspect of work needed. From site work tointerior design, everything is available through this office.Any project, whether it be a renovation, addition or a completely new home, deserves the same approach and thebest craftsmen and talents available. Our projects may varyin size and complexity, but we place the highest priority onclient satisfaction. Our homes are designed to be cherishedfor generations and to last for centuries.

Architecture and Interiors.

PATRICK AHEARN


Architecture


Architect Patrick Ahearn has been designing historically inspiredarchitecture for the past thirty-eight years. The range of his workincludes new construction, renovation and historic restorationfor urban townhouses as well as suburban, country and islandhomes. Patrick is dedicated to working on each project as aunique design opportunity, taking into consideration the sur-roundings, existing structures and wishes of the client to createthe best solution for each individual property. Every project, nomatter how large or small, is designed with the utmost care anddetail from inception through the end of construction. The firmis dedicated to creating seamless architecture and interiors thatrespond to how people live today through classic, timeless forms.

Patrick AhearnBoston, MA Edgartown, MA

617 266 1710 508.939.9312www.patrickahearn.com


POLHEMUS SAVERY DAS ILVA


Architecture


The spectacular beach, dune and seascapes of New Englandengender great passion for the place. We at Polhemus SaveryDaSilva Architects Builders consider ourselves blessed to beable to work in the region and to be able to create houseslike the one depicted here for clients who share this passion.

As an integrated design/build firm we combine a love ofNew England with a passion for creative design, exceptionalcraftsmanship, functional success, superior service-centeredmanagement and budget and schedule control. We do thiswith single source accountability so our often-busy clientscan avoid the potentially contentious scenario of typicalconstruction relationships. While our clients are diverse,their need for clear, direct communication, a trustworthy re-lationship and hassle-free project management is universal.

Our design/build model is a powerful one that fulfillsthese needs and has served our clients well. In the words of

one client quoted in an article about his house, I always feltconfident that the design concepts could be turned into real-ity because of the harmony that existed inside the firm. Inanother article, a client praised our ability to blend theartistry of architecture and design with precise construction.

We are proud to offer this unique service throughoutNew England while at the same time offering nationally rec-ognized award-winning architecture. In the words of RobertStern, Dean of the Yale School of Architecture, The work ofPolhemus Savery DaSilva beautifully melds the traditions ofNew England with the way we live today, affirming that anarchitecture of place trumps an architecture preoccupiedwith passing trends.

Timeless Design. Exceptional Craftsmanship. Value for Generations.


Polhemus Savery DaSilva Architects Builders

101 Depot RoadChatham, MA 02633

(508) 945-4500www.psdab.com

603.654.2004www.nllandscapes.com


For a couple who enjoys

city life during the cooler

months, Boston-based

designer Meichi Peng

creates a space to keep

them cozy through the

chilly season. TEXT BY ERIN MARVIN PHOTOGRAPHY BY

GREG PREMRU INTERIOR DESIGN

AND INTERIOR ARCHITECTURAL

DESIGN: MEICHI PENG

PRODUCED BY KYLE HOEPNER

Win

terW

arm

er


A stainless-steel replace sits within atravertine surround. On either side, customwalnut millwork offers plenty of hidden stor-age and open shelving for the owners col-lections of books and antiques. Living roomfurniture is arranged for easy conversation.


or many New Englanders, dropping temperatures send a signal to head south for winter, toward second homestucked away in warmer climes. The return north hap-pens only after the first crocuses have crept up throughthe melting snow, their soft yellow and lavender headsheralding spring.

Of course, not everyone flies south for winter. Thoughthey spend much of the year splitting time between hous-es in Rhode Island and Maine, the owners of this moderncondo especially enjoy Boston during the cooler months.They dont like to miss the citys transformation into awinter wonderland, when tiny gold lights sparkle fromthe treetops along Commonwealth Avenue and bundled-up ice skaters spiral around the Frog Pond. Even the Pub-

lic Garden, bereft of its usual riot of color, is breathtakingunder a blanket of snow, the statue of George Washingtonstanding taller than ever when topped with three inchesof powder.

Craving the comforts of a full-service luxury building,the couple bought into The Residences at W Boston soonafter development began. With construction still in itsearly phases, they were able to combine a two-bedroom,two-bathroom unit with an adjacent studio space. Thiswould allow room for a dining area, a large dressingroom in the master suite and a small study off the secondbedroom. One of the bathrooms would become a laundryroom/pantry area, and the kitchen layout could include apeninsula. A gas fireplace would be added to the living

F

Meichi Peng designed the circular oakdining table, which expands to seateight. Facing page top: A custom mirrorand lamps hang above a V-shaped dress-er that Peng designed for the foyer. Fac-ing page bottom: A oating red lacquercabinet brightens up the kitchen area.

room, giving the couple a place to snuggle on those coolwinter nights.

The owners knew they would need more than just afire to keep the chill out of the contemporary condo, sothey brought in Boston-based designer Meichi Peng towarm up the in-teriors. Knownfor her almostZen-like, sophis-ticated but emi-nently livableaesthetic, Peng fashioned a floor plan that would fit theowners lifestyle, incorporate plenty of storage and takeadvantage of city views.

A neutral palette in the open living/dining area is set off by pops of color.

Gray-on-gray sets a serene tone in the guestbedroom. Facing page top: Peng designedthe upholstered bench with its subtle her-ringbone-patterned fabric. Facing page bot-tom: Taking advantage of every square foot,Peng designed custom cabinetry to create asmall study across from the guest bedroom.


Downsizing from a residence that wastwice as large meant space to put thingswas at a premium. Peng met the challengeby adding beautiful millwork throughoutthe condo, concealing an impressiveamount of storage with rich wood accentsthat also add warmth and depth to the off-white walls. Lighting was another key ele-ment, and Peng incorporated square re-cessed trimless lights into the ceilingforample downlighting during the day anddramatic illumination at nightas well asLED cove lighting in the built-ins.

Four windows stretch across one wall of the apartment: on opposite ends of thecondo, they open to the master suite andguest bedroom, respectively, while the twomiddle windows flood the open liv-ing/dining area with light. Snow-coveredBoston Common and the Public Gardenshimmer in the distance.

A neutral palette in the open living/ din-ing area is set off by pops of colorhues of orange and lavenderand sensual tex-turesslick lacquer, plush velvet, soft che-nille. Gorgeous dark-stained wide-plankfloors of ipe wood anchor the space. In theliving room, sofas and chairs are clad in anatural taupe linen. Seating is arranged foreasy conversation, catching a favorite TVshow or just relaxing in front of the fire.On either side of the travertine fireplacesurround, walnut shelves hold beloved leather-boundbooks and ancient artifacts. When youre working in asmall space you want to make sure that everything is theright scale and proportion for the room so its not over-crowded, explains Peng. I tried to keep a balance of lightand heavy, while still getting the look and comfort theclients wanted.

In the adjacent dining room, the curved armchairsgathered around a circular table wear the same linen asthe living room furniture. Peng designed the table so thatit can expand to seat eight, customizing the chairs so theyslide underneathto take up lessspace. She alsodesigned thebuilt-in bar withits large mirrorand two verticalsliding glassdoors that open to reveal cabinets for glassware andplates, with felt-lined drawers to protect silverware. Ared-lacquered bamboo pillow from the Chin Dynasty sitsatop the bar. The client has a lot of Asian boxes and an-

My clients wanted it to be modern but not cold, elegantwith a warm palette, says Pengabout the design.


tiques and African pieces from her travels, and we justtried to tie it all together, says Peng.

The kitchen mimics most of those in the building, withtop-of-the-line appliances resting among gray lacquercabinets and granite countertops. Sleek camel-coloredleather barstools pull up to the U-shaped peninsula.Across from the kitchen, a fiery red floating glass cabinetbrightens the space.

In the master suite, taupe tone-on-tone stripes of Vene-tian plaster wrap one wall like an unexpected gift. A pur-ple chenille headboard and matching pillows soften thehard edges of the custom-made wood-and-metal canopybed, and a striped plum area rug cushions bare feet. Win-dow treatments are motorized sheers, with retractable

blackout shades at the ready when bedtime grows near. Abuilt-in writing desk spans one wall, with room above fora flat-screen TV and floating shelves for family photos.Heavy velvet drapery in a lavender-gray adds a femininetouch while separating the bedroom from the mastercloset. Behind the curtain, a half-moon walnut desk, per-fect for applying perfume or checking makeup, sits flushagainst a mirrored wall. Shelves, cubbies and hangingracks add order to the wardrobe.

Across the condo, the guest room maintains a moremasculine feel with a textured gray Venetian plaster accentwall and gray bedding. Though a similar smoky color, thevelvet headboard and footboard, waffle-weave throw andsilk area rug add depth with their light-reflecting textures.

In the master bedroom, soft chenille pillows andcrisp Frette linens invite sweet dreams; motor-ized blackout shades ensure uninterrupted sleep.Facing page top: Floating shelves hover above awriting desk against one wall of the master bed-room. Facing page bottom: Even with space at apremium, the master closet doesnt feel cramped.


A camel-hued leather chair holds court in a corner, andtwin wall-mounted lamps free up surface space on bedsidetables for books and personal mementos. The clientswanted it to be modern but not cold, elegant with a warmpalette, says Peng of the overall design aesthetic.

Here, temper-atures have al-ready started torise: with its per-fect mix of darkand light, sim-plicity and sophistication, this Boston condo feels any-thing but frigid. Resources For more information about this home, see page 132.

Tone-on-tone stripes of Venetian plaster wrap one walllike an unexpected gift.


ome houses, not unlike people, just seem to be naturally warm in spirit. Such is the case withthis handsome 1790s colonial in a tiny town in the Berkshires. Perhaps its a reflection of thecare and attention the original builders paid to the design and materials. Maybe the walls stillhold traces of the familial affection and hospitality that filled it through the years. Or it could be just a happy accident of feng shui. Whatever the reason, the house seems almost to glow withgood karma. This home has been well loved from the very start. One family occupied it formuch of its first century of life. In the nineteenth century it became a popular inn, hosting suchluminaries as Mark Twain and Grover Cleveland (who, in his postWhite House years, enjoyedfishing in the nearby brook). Over time, an ell, a second story, a porch and a kitchen were addedon to the original structure, each change only augmenting the houses charm. In the 1970s, NatS

PastPresenceA sensitive renovation turns a 1790s colonial in the Berkshires into a welcoming home for the present and future while preserving a warm connection to bygone days.Text by Paula M. Bodah Photography by Robert Benson Architecture: Kristine Sprague Interior design: Keith Lichtman, KL Interiors Builder: Matt Donald Produced by Stacy Kunstel

The property is a year-round retreat for its owners. Facing page top: The homescolonial integrity survived a series of ad-ditions. Facing page bottom: Remnants of the past remain in original door latches,an old mantel given a new coat of paintand the wooden stair to the second oor.

A reproduction of an 1860s wallpaperadorns the dining room. Facing pagetop: The old keeping room, now a sit-ting room, holds a secretary that oncebelonged to the homeowners grand-mother. Facing page bottom: Thefamily nicknamed the unknown sub-ject of the painting Uncle Jedediah.

King Coles widow, Maria, bought the house and gave it athoughtful renovation that updated its features without erasing itscharacter. The house changed hands once again, and then, in theearly 1990s, a young New York couple, visiting the Berkshireswith their infant and toddler sons in tow, happened by it andwere smitten. We had just bought an apartment in the city, so wewerent really looking for a second home, the homeowner recalls.But it was a beautiful house on a beautiful road in a town wedalways sort of coveted, and the price had just been reduced.

Husband and wife loved the house just as it wasa luckything, since they couldnt afford to turn it into a showcase. Wehad everyones leftovers, a total mishmash, the wife says. It wasfine, because the kids were still writing in crayon on the walls atthat point.

Seventeen years later, with the boys on the verge of adulthood,the couple felt the time was right for a facelift, not just to bring thehouse into the twenty-first century, but also to make it a suitableyear-round retreat now that they were almost empty nesters. En-tertaining friends and family is a priority for the pair, so the up-grade they envisioned would include an addition. Our main needwas for a big room for gathering and socializing, the wife says.

A house with such a storied past deserved a respectful renova-tion, they felt. They found a like-minded partner in architect Kris-tine Sprague of Lenox, Massachusetts. Sprague went through the


The home called for a design that is traditional at its core but not a literal

Trellis-patterned wallpaper and vividgreen curtains bring glamour to themaster bedroom. Right: The warm orangey hues Lichtman used in the livingspaces are echoed in the master suite.


whole house, replacing leaky old windows with new six-over-sixes,modernizing the bathrooms and giving all the fireplaces new stonesurrounds, hearths and mantels. The biggest part of the job, how-ever, was the new great room, a space of about 750 square feetwith soaring double-height ceilings and a full basement.

Such a large room wouldnt have been found in a Colonial-erahome, of course, but like all the people who added to the housebefore her, Sprague devised a way to make the new section lookand feel thoroughly integrated. Mirroring the old houses post-and-beam construction, Sprague applied a textured Venetianplaster to the rooms walls and ceiling, then added old-looking fir beams. If I only need a couple of old beams I can usually findthem, she says, but in this case we needed so many, I used newbeams and had them distressed to look old.

At a salvage yard in Hudson, New York, she found the antiquehalf-round windows that sit high on the great rooms walls, flood-ing the space with light. The rooms focal point is the fireplace,with its herringbone brick interior and wide fieldstone surroundthat narrows as it rises to meet the ceiling.

New York City designer Keith Lichtman, who worked with thecouple on their urban apartment, was happy to be invited to dressup the interiors in their country house. Of course, he says, thishouse has an entirely different vibe from their city home. Designhas to be about respecting the architecture of a home.

This home called for a design that is traditional at its core butnot a literal interpretation of its colonial roots, he explains. I did-nt want it to be a precious museum exhibit. I wanted it to be tradi-tional, but fresh and cleanbeautiful, but for comfortable living.

Lichtman set the tone by dressing the homes many windowssimply, sticking mostly to Roman shades or panels in luxurious fabrics. There are no fussy details, no swags or jabots, he says. Hechose furniture pieces with traditional shapes, like the rolled-armsofas of the great room, then covered them in fabrics in solid colorsor small geometric patterns for a more current look. Likewise, he

translation of its colonial roots.

scouted out table and floor lamps with classic bases, then toppedthem with shades that have a cleaner, more contemporary shape.

Tradition asserts itself here and there, in antique pieces like thesecretary in a corner of the homes original living room (called akeeping room in Colonial times, and now used as a sitting room),as well as in the reproduction mid-nineteenth-century wallpaper inthe dining room. A palette Lichtman calls delicious in shades ofapricot, gold and rust leads the eye from room to room. Only thekitchen deviates, where a scheme of demure French blue takes over.

Things take a glamorous turn in the second-floor master bed-room, where Lichtman outfitted the space in a trellis-patternedwallpaper that gives the walls a hand-painted look and dressed thetwin windows behind the bed in vivid green crinkled silk panels.

Despite all the renovations, some things remained unchanged,like the simple wooden staircase to the second floor, the wide-plank pine floors of the old sections of the house and a number ofhandwrought door latchesplus one thing the homeowners feel aspecial connection with. In our bedroom, there was an old paneof glass with 1919 and Fred scratched into it, the wife relates.Unable to bear tossing it away, the couple had it added to a base-ment window. Well never know who Fred is, the wife says, not-ing that, oddly enough, its the middle name of both her husbandand one son. But it makes me feel a connection to the peoplewhove been here before, and Ill have a connection with thosewho come after me. Resources For more information about this home, see page 132.

Architect Kristine Sprague outtted the greatrooms mantel in natural eldstone inspired bythe propertys ancient stone walls. Lichtmandressed traditional-lined furniture in contem-porary patterns. Facing page top: The cozykitchen adopts a palette of French blue. Fac-ing page bottom: Sprague found the antiquehalf-moon window in a New York salvage yard.

White cotton-duck slipcovers, barely theredraperies, sisal and bleached old woodcompose a serenity that supports a livelyview. Facing page: Texture, proportions andart placement hold extra importance in amonochromatic design scheme.

APassionfor

PALE


A design team celebrates white in all its glory, outtting their ownBoston high-rise apartment in a monochromatic scheme that forms a beautiful backdrop for well-chosen pieces of art and magnicent city views. Text by Regina Cole Photography by Keller + Keller Interior design: Paul White and David Nault, Weena & Spook Produced by Kyle Hoepner

around a drop-dead gorgeous, never-take-your-eyes-off-the-wonder view? Does the decor have totake a back seat? Can the inside sing duets with the outside? If you keep it white, the view becomesart, framed against a white background, says David Nault. Nault, half of the delightfully nameddowntown Boston design firm Weena & Spook, makes it sound easy, but the all-white room is thehistoric ne plus ultra of interior design. In the absence of color, we become acutely aware of texture,scale, shade, shape, placement, line, mass, proportionin other words, everything that composesthe decor. Pure museum-white can act as a brilliant foil, but it can also create unforgiving contrast. Two years ago Nault and his partner, Paul White, ascended to a whiter shade of pale when theymoved into one of the two slender towers I.M. Pei designed for a sadly degraded East India Wharfin 1971. Followed a few decades later by the ornamented, arched mass of Rowes Wharf, Peis twominimalist buildings sparked the renaissance of the Boston waterfront; the neighborhood is nowsurpassingly chic. Nault and Whites fifteenth-floor apartment surely has the citys best maritimeview as it looks down on the harbor. Tankers, freighters, yachts and water taxis inscribe ever-widen-ing chevron wakes over the sparkling water between the buildings of the North End to one side andSouth Boston to the other, with the emerald hummocks of the Boston Harbor Islands stretching toward the horizon. Nault and White (who named their design firm for their cats) transformedtheir 1,800-square-foot, two-bedroom aerie into a white composition James McNeill Whistlerwould have envied; Syrie Maugham first attempted just such perfection in 1927. Nault and Whitesrooms realize those 100-year-old ideas about the transcendent value of white, but not with insipid,

Howdoyoudecorate


Rugged end tables that started life as Battery Wharf pier sections join arened upholstered wall and linen-cov-ered coffee table. The designers favorthe contrast of rough against ne, notonly for texture, but to keep the decorfrom even a hint of predictability.

Gerald Gavzys painting of his swinging grand-daughter overlooks the dining table. The home-owners designed the curvaceous wing chairs.Facing page top: Wood starburst mirrors, antique candlesticks and a ghost chair bringzest to the bath. Facing page bottom: DavidNault (seated) and Paul White on their terrace.


afraid-of-color white or rigidly severe, stark whiterooms. Their beautiful, workable interior framesthe incomparable view with a pure, Zen-like whitepalette rendered in voluptuous texture and form.Via carefully edited white furniture, upholstery,walls and draperies accented with almost-colorlessneutrals, Nault and White make beloved pieces ofart, as well as the view, shine.

The two have honed their demanding aestheticduring seventeen years as interior designers, whichfollowed careers in New York in the world of fashiondesign. If you are a great designer, you can designfashion, shoes, interiorswhatever, Nault explains.

He and White point to other examples of de-signers who work in several markets. RenownedItalian fashion houses have been making beautifulleather furniture for years, White notes.

The pairs transition from the rag trade to interi-or design happened organically. We always livedvery beautifully, Nault says. We had ideas of howto host, entertain, decorate. At the request offriends while we were still in New York, we beganto design and make custom slipcovers with dress-maker construction and detail.

I am a great tailor, White chimes in, beaming.They left New York for Boston and began to

create interiors for resi-dential clients in the cityand on the Cape. Weena& Spook rooms are vari-ously hued, revealing thesure use of color the de-signers developed duringyears in the fashion indus-try. For their own home,however, their vision wasuncompromising. Wechose this place because itwas a nice box, all white,says Nault. Our stuff would fit here really well.

The kitchen was all done, his partner adds. Allwe had to do was to put up window treatments andbring in furniture.

Kitchen, living room and dining room flowinto each other before large windows. White cot-ton duck draperies echo the fabric upholsteringsofas, chairs, ottomans, the master bedroomsheadboard and even a prominent section of livingroom wall. The upholstery softens the hard wall,Nault explains. We are big on rough paired withfine. For example, the slipcovers are rumpled, butthe walls are tight. The furniture is composed ofpure white in clean shapes, while the end tablesare pieces of old Battery Wharf piers.

If you keep itwhite, the viewbecomes art,framed againsta white back -ground, saysDavid Nault.

The slipcovered headboard is, like all the pristinewhite fabric in the apartment, easily removedand cleaned. Facing page top: An antique con-sole table contrasts with a white-framed mirror.Facing page bottom: Chris Chernows painting ofa woman in a brown skirt is a favorite artwork.


No one worries about putting a drink on them,his partner says with a laugh.

White expands on their aesthetic. We like itmonochromatic, but we create texture with grass-cloth, woven papers, linens, heathery woolsmate-rials that provide subtle contrast and that compli-cate the play of light.

He continues, Make sure you do a white youcan clean. Thats why we use slipcovers in whitecotton twill; its basically denim, a fabric that wearslike iron.

Just as it draws the eye to the brilliant, ever-changing view, white showcases the couples fa-vorite pieces of art, including striking contempo-rary works whose saturated pigments andbrushstrokes sing against the clean backgrounds ofthe walls in the living room and bedroom. Abovethe master bedroom headboard, a long, horizontalcomposition by Victoria Wagner encapsulates theserenity and textural contrast of the entire interior.

The designers who have inspired White andNault may come as no surprise, at least in light oftheir own living space. We love Calvin Klein and,for his ability to edit, Giorgio Armani, says White.

Also, the European hotelier and designerAnouska Hempel, Nault adds.

Distinctive as White and Naults home looks,Weena & Spook does not have a signature style.Our primary concern is to get the space and theflow right, says Nault. Still, he adds, We almostnever do prints for clients.

Although the interiors they create for clients maybe more colorful than their own home, the pair un-derstands what Pablo Picasso and John Singer Sar-gent knew: without white,colors dont matter. In theirdesign work, they strategi-cally place color to high-light important architectureor to emphasize beautifulelements of a room.

But here in their ownhome, most of the vibrant,saturated color comes inthrough the windows.From the moment you open the front door, thewhole space communicates a deeply satisfyingsense of completion, a complex, perfectly propor-tioned frame displaying a scene full of color, move-ment and ever-shifting reflections. When you dealwith other peoples colors all day, confesses Nault,its restful to come home to white. Resources For more information about this home, seepage 132.

The pair under -stands what PabloPicasso and JohnSinger Sargentknew: without white,colors dont matter.


FieldofVisionA contemporary new house on a swatch of historic farmlandon Vermonts Lake Champlain forges an amiable bond withthe past while looking resolutely forward. Text by Megan Fulweiler Photography by Michael Partenio Architecture: Brian J. Mac, Birdseye Design Studio InteriorDesign: Eric McClelland and Peter Lunney, Fleur-de-lis Interior Design Builder: BirdseyeBuilding Company Landscape Architecture: H. Keith Wagner Produced by Stacy Kunstel

The great rooms mood is enhancedby the ever-changing views. Facingpage: On the homes lower level,steel panels abutting the stone wallare dramatically backlit as night falls.

From steel to soft upholstery, thegreat room features a wealth oftextures and materials. Facing pagetop: The entry door includes glassand steel inlays. Facing page bot-tom: Antique maps dress the study.


o understand fully what a marvelthis Vermont house is, you haveto know something about its lo-cation. The sweeping viewsacross pastures that tumble to-ward majestic Lake Champlain

are phenomenal. Shifting daylight and the chang-ing seasons bring rhapsodic moments when skyand water seem to converge. Sometimes on awintry afternoon the horizon is painted silkypink, and come full moon, the distant Adiron-dacks glow silver.

Adding to its magic, this newly constructedmodern home sits on a seriously historic site.The property was parceled off in the 1980s byShelburne Farms, the 1,400-acre agricultural es-tate built by William Seward and Lila VanderbiltWebb and originally landscaped by FrederickLaw Olmsted. As you make your way to the frontdoor of the home, you travel past the gloriouseighteenth-century barns of the old farm, now anonprofit environmental education center. Sur-rounded by an almost palpable sense of history,you crest the hill and suddenly there it isa6,500-square-foot house whose exaggerated hori-zontal lines clearly speak to the future.

Remarkably, the juxtaposition of old and newis congenial. The house is modern, yes, but notout of place. It complements the rugged site,mimicking a stone outcropping with its low-slung profile. And even from a distance, thehigh-quality craftsmanship is evident. Few re-member the 1970s house and barn that oncestood here. Not meriting preservation, the struc-tures were dismantled and turned over to a recy-cling company. Only the barns foundation re-mained, and it became the starting point for the1,550-square-foot Japanese-inspired guesthouse.

The project really began with a stable andguesthouse, says Brian Mac, principal architectof Birdseye in Richmond, Vermont. I used thelatter as a study for the main house, creating avocabulary and a composition of forms and ma-terials that I then expanded. All three buildingsare in concert.

A full-service company, Birdseye oversaw allfacets of the project, from construction and cus-tom cabinetry to built-ins (including beds) andmetalwork. Such committed involvementstreamlined the project and assured that nominute detail slipped by. In contemporary con-struction, forgiving moldings arent an option.Every seam had to be perfect, and it is. It was agood journey from start to finisha total collab-

T

The oval media room epitomizes mod-ern with its steel-and-onyx coffee tableand oversize chandelier. Visitors spythe media room from the entry (topright), while the sculptural steel wallgives the room privacy (bottom right).


oration with the interior designers and the ownerand a great deal of fun, Mac recounts modestly.

The cedar-clad house seems at one with thelandscape, which Mac credits in large part to thecontributions of landscape architect H. KeithWagner of Burlington, Vermont. But for all itsquiet respect of its environs, the home also haselements of surprise, like the windows that racealong the entire lake-facing rear elevation. Macdidnt allow design to trump sustainability, either.In addition to its thermally efficient construc-tion, for example, the house includes a geother-mal heating and cooling system.

Happily, the homes interiors dont fall short of its impressive architecture. Eric McClellandand Peter Lunney of Toronto-based Fleur-de-lisInterior Design display an almost uncanny talentfor pairing innovative materials in unusual waysfor a seamless fit. Generous applications of hot-and cold-rolled steel, granite, marble, onyx, lime-stone, leather and wool make for a grand mixthats also simplistic, McClelland says: Were let-ting the outside in, allowing the views to dictatethe interior. Its a sort of glamorized version ofthe Vermont landscape.

The entry epitomizes this motif. The ownerspass through their custom front doors onto awalnut runway framed with variegated lime-stone. Above, a shaft embedded with lights mim-ics a constellation. The glow illuminates a sculp-ture that sits in a Chinese-red niche with adrawer wrapped in goat skin. The Chinese redis symbolic, McClelland explains. This is, afterall, a home with Asian flavor; red in China corre-sponds with fire and symbolizes good fortuneand joy. Behind the niche, the back stairwell de-scends from an office lined with antique maps tothe lower level, where dual guest rooms, an exer-cise room, lap pool and spa wait.

The office and generous master suite occupythis wing as well. The public areaslibrary,kitchen, dining and great rooms, along with a sec-ond office and sunroomclaim the other side o

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