The Chesapeake Bay and its winding tributaries harbor more miles of shoreline than the entire U.S. West Coast. Whether it edges a meandering creek or the mighty bay itself, waterfront real estate rewards residents with ever-changing scenes of this pristine estuary environment.

One such site near St. Michaels, Maryland, captivated a couple seeking a home in the region. They were taken by its panoramic views of both the Miles River and its confluence with the East Bay. The lot’s sweeping, 270-degree water vista even included a distant glimpse of the Kent Narrows Bridge.

They knew their search was over and purchased the property, which came with an outdated split-level home, a pool and a dock. The twosome—he, an energy consultant and she, an environmental engineer—had sold their Bethesda home of 27 years with the intention of moving to a house on the water where they could host their married son and daughter and three grandkids for carefree family visits. They’d commute to an apartment in DC during the workweek, but St. Michaels would become their full-time home once they retire.

After discovering many drawbacks to the split-level—such as a musty, subterranean hot tub—they concluded that building anew made more sense than renovating. So, to help make their dream home a reality, the couple assembled a design team: Easton architect Charles Goebel, Annapolis interior designer Erin Paige Pitts and Paquin Design/Build. They set out to create a welcoming, casual-chic residence that plays up its stunning habitat.

Goebel devised a plan that would take full advantage of the site, with water views in every room. A light-filled great room sits at the heart of the home, open to the kitchen, breakfast area and screened porch. The master suite and the wife’s office are also located on the main floor. “They wanted a house that’s full of light, that capitalizes on the views and that lays out according to their needs and desires,” says Goebel. “The home lives very comfortably as one story when it’s just the couple there.” Accessed by stair and elevator, the second level houses a cozy sitting room that spills onto a deck, two en-suite guest rooms and a TV lounge with built-in bunk beds.

Though he loosely based the exterior detailing on Shingle style, the architect says, “it’s not a strict replication. It’s very bright and airy, with lots of glass.” Above the great room, a bridge connecting the bedrooms serves as a library with built-in shelving; it’s a perfect spot to read and take in the scenery.

Another goal was to make the home energy-efficient without compromising on design. Since natural gas was not available, the owners explored geothermal and solar options. During construction, eight geothermal wells were drilled into the front yard; the system, equipped with two pumps, now heats and cools the 5,140-square-foot house. And Sunrise Solar of Chestertown, Maryland, placed 50 photovoltaic panels on flat sections of the roof; they provide electricity along with three Tesla battery panels in the garage that are used to charge the owners’ electric cars and serve as emergency back-up.

The home achieved zero-net-energy status, which means that it produces as much renewable energy as it consumes. “Our total electric bill was $98 the first year we were in the house,” says the husband. “Yet the home was optimized for beauty, comfort, ease of operation and style—not really for carbon or energy.”

Throughout the design process, Erin Paige Pitts collaborated with Goebel and their clients to streamline the architectural and interior plans. She selected finishes and furnishings in neutral palettes that would accentuate rather than compete with water views. Sculptural light fixtures, textural tile and stone surfaces and clean-lined furniture impart a chic aesthetic. “My clients embraced the idea of easy living,” Pitts explains. “Nothing’s fussy, but it’s nicely done. It’s kind of a classic Shingle-style, but feels more modern and is reflective of the clients’ personality.”

Well-versed in designing waterfront homes where little ones run amok in wet swimsuits, Pitts specified outdoor or treated fabrics on all furniture. She also dissuaded her clients from leaving windows bare. “Living on the water is amazing, but on a blustery January day it’s also quite severe,” she says. Simple, tonal panels and shades soften the windows without blocking the views.

Since moving in a year ago, the owners have enjoyed their retreat on the bay. “I didn’t envision it would be this spectacular when we started,” the wife admits. “I feel like I’m on vacation when I’m here.”

Their revamped pool, surrounded by a new Pennsylvania bluestone terrace, certainly has a resort feel. To enhance the grounds this spring, McHale Landscape Design will add mixed plantings and planters for warmth and color and widen existing beds.

The owners love relaxing on the terrace or screened porch and watching boats sail by. Says the wife, “There are many days when I look out and feel like I’m at sea.”

Architecture: Charles Paul Goebel, AIA, AICP, LEED AP, Charles Paul Goebel, Architect, Ltd., Easton, Maryland.
Interior Design: Erin Paige Pitts, Erin Paige Pitts Interiors, Annapolis, Maryland. Contractor: Paquin Design/Build, Grasonville, Maryland. 

 From time to time, photographer Lee Goodwin heads to Annapolis before dawn on days when the forecast promises still waters and dramatic skies. He shot this view of the State House dome at 5:30 one August morning, more than an hour before sunrise. “I hoped to capture the reflections of the Capitol shimmering on the water,” explains the Potomac, Maryland-based photographer. “I use long exposures—this one was 15 seconds—to show an aspect of a scene that might not be visible in real time.” Photo: Lee Goodwin

After a busy week, NBC4 anchor Wendy Rieger prefers to get out of Dodge. For 20 years, she headed east to unwind in a bungalow on the Chesapeake. But now, she heads west to her pristine retreat in Rappahannock County.

Completed last year in time for Thanksgiving, her new home enjoys panoramic views of rolling pastures, shimmering ponds and the Blue Ridge beyond. “The water has its own peace and its own grace, but to be in the mountains and see the land unfolding before you is a totally different head,” she says. “It is so peaceful and yet so powerful here.”

For Rieger, the time was ripe not only for a change in locale, but also in architectural style from both her “cottagey” bay-area bungalow and her ultra-modern apartment in CityCenterDC. “I wanted my new home to be everything they were not,” she vows, adding, “I didn’t want a farmhouse.”

After putting her other properties on the market, Rieger tapped Flint Hill, Virginia, architect Jay Monroe to design her country escape. She envisioned a home modest in size yet large enough to host guests in comfort. She pictured airy interiors that would capitalize on the grandeur of the views but still feel cozy and intimate.

The 30-acre site consists of woodland sloping down to a former pasture. “It made sense to tuck the house up against the woods rather than place it in the field below, to give it a sense of protection,” Monroe says.

To kick-start the design phase, Rieger shared photos gathered on Pinterest and in magazines with Monroe and her builder, Joseph Keyser. They developed a plan for a two-story, modern cottage that nods to Scandinavian style. It contains an open kitchen and dining area, living room and guest suite on the first floor; the second floor harbors the master suite and a second guest suite. The architect clad the home in stucco and added Western red cedar pergolas for texture. Dormers on the second floor break up the lines of the standing-seam metal roof.

“In Rappahannock County, we pride ourselves on letting the landscape be the art,” says Monroe. “We keep houses fairly simple and clean.”

More than 60 windows, their wood frames painted black, strike an industrial note. “They speak to the area without getting too ‘white board-and-batten,’” quips Rieger. She took interior design inspiration from spare, Nordic style and authentic local art. “I really want to support local artists out here,” says the journalist, whose collection includes a sculpture by noted blacksmith Nol Putnam and what she calls an “explosive” painting of a night garden by Ruthie Windsor Mann.

The living room and kitchen span the rear of the home with a dining nook and built-in bar between them. During construction, Rieger made an unusual request for windows behind the range hood. “I cook a lot when I’m here and wanted to look out at the woods,” she explains.

Upstairs, dormers were put to good use. The master suite and guest room are furnished with custom daybeds. “On a rainy day, who doesn’t want to curl up with a book on a daybed?” Rieger reflects. A wooden desk inset in the center dormer serves as a home office where she writes, a photo of NBC4’s late Jim Vance by her side.

When in Rappahannock, Rieger (who stays in an apartment in DC during the week), checks headlines every morning but eludes nonstop news cycles. “I have two TVs in this house—and they’re not plugged in,” she admits. She and her boyfriend, who visits often, enjoy biking on Skyline Drive and hiking on nearby trails.

Now 64, Rieger surmises that escaping from the Washington scene on weekends has kept her grounded during nearly 40 years in broadcasting—32 spent at NBC4. “I joke that it’s the only successful relationship I’ve ever had,” she remarks. “I wouldn’t be in this house if I hadn’t worked for Channel 4. They’ve been very good to me and I’ve been good for them.” The three-time Emmy winner currently anchors News4 at 5, DC’s top newscast in its time slot. In 2005 she pioneered a “Going Green” segment that aired around the country and later inspired a series on NBC Nightly News.

Rieger also took her new home in a sustainable direction. “I wanted to live what I’ve espoused and kept the footprint as small as possible,” she explains. “The house is heavily sealed and the way it’s oriented on the land, I barely have to run the heat even on the coldest nights.”

Rieger looks forward to giving back to the community near her new country home and remains awestruck by the beauty surrounding it. “I think I have one of the best views in the county,” she muses. “I was drawn here by the enormity of it.”

Architecture: Jay Monroe, AIA, ASLA, Monroe and Crocker, PC, Flint Hill, Virginia. Builder: Joseph Keyser, Joseph Keyser Construction, Washington, Virginia.

Growing up in Lynchburg, Virginia, William McKinnon Massie, Jr., and Anne Harris Massie were immersed in classical beauty. Their parents nurtured family gardens and shepherded Will and Anne to more than 100 nurseries and botanical gardens by the time the siblings were in their early twenties. Indoors, recalls Will, “Our home was filled with family heirlooms—beautiful pieces collected over time.”

Decades later, echoes from this painterly past somehow swayed sister and brother from their designated career paths. Anne was finishing a master’s degree in fine arts at Virginia Commonwealth University (VCU), but didn’t fancy herself a full-time artist. And Will was less than thrilled with his job in banking. So the duo decided to team up and dive head-first into the outdoor-furniture business. “Our parents loved the concept of creating a lasting garden and were also ardent antiques collectors,” explains Anne. “Will and I put those two great loves together to make something beautiful and lasting.”

They founded McKinnon and Harris in 1991, working out of their apartments in Richmond’s Fan District and building, painting and packing every piece themselves. To counter the throwaway mentality associated with low-end lawn furniture, they set out to produce pieces that were handcrafted, timeless and enduring. Early products were inspired by English archetypes, family antiques, museums and books. “Our first bench was Gothic in style; we were also enamored by the American Federal period,” Will recalls. “Anne and I were driven by our vision of making pieces that we ourselves wanted, and that is what we’re still doing. Our design philosophy is guided by classicism.”

Though they initially worked in steel, the founders soon turned to aluminum for its longevity and corrosion resistance. Thanks to Reynolds Aluminum, an industry giant founded in Richmond, they drew from a community of suppliers and skilled metalworkers.

Though the siblings admit to starting out young and naïve, their venture flourished. Today, they oversee their Richmond base with a staff of 70, plus McKinnon and Harris showrooms in New York, Los Angeles and London.

The company moved into its current, 65,000-square-foot flagship in Richmond’s historic Scott’s Addition district after outgrowing a previous location nearby. Will and Anne saw potential in what was an abandoned 1940s warehouse covered in graffiti, its roof partially caved in. They tapped local architecture firm 3North to transform it into offices, showroom space and a manufacturing facility. During the extensive renovation, the architects added roof monitors and skylights to dapple the interiors with natural light, and created contemplative, gallery-like spaces for product display.

Anne and Will still design each new bench, chair, sectional, table and chaise themselves, starting with hand-drawn sketches. “Everything we make has to ascribe to what we jokingly call ‘our ruthless aesthetic,’ meaning highly edited,” says Anne. “We’re interested in clean lines and don’t like ornamentation.”

In the workshop, artisans create furniture that can withstand the elements using methods akin to fine woodworking. Starting with aluminum components, metalworkers cut, bend and weld pieces by hand. Welds are beveled and joined for extra strength and integrity. “There is a phenomenal amount of unseen complexity in our construction,” Anne reveals. “A piece may appear utterly simple, but so much has gone into it to make it seamless.”

After welding, every surface is sanded and polished to create a smooth silhouette. Products are then treated to a high-performance, marine-grade coating that renders them resistant to salt spray. Finally, each is powder-coated in one of McKinnon and Harris’ 21 signature colors inspired by nature, from Severn River Stone to Wicomico White. The company also produces its own upholstery, using outdoor fabrics and reticulated foam cushions that allow water to flow in and out and dry quickly.

Still innovating almost 30 years after hanging their shingle, Anne and Will recently introduced stone tabletops and the Virginia Bench. Like heirlooms in their childhood home, most McKinnon and Harris pieces have a story behind them—from the Beaufort line named for a beloved dog to the Otey collection honoring a favorite aunt.

Though their products are sold globally, the founders have never strayed from their Richmond base. “We are so lucky that a lot of folks join McKinnon and Harris after graduating from VCU, which has one of the best art and sculpture programs in the country,” reflects Will. “Our people are part of the maker’s culture in Richmond—and the city is part of the soul of our brand.” mckinnonandharris.com

ForrestPerkins recently revived the Westin St. Francis hotel, housed in San Francisco’s 1904 Landmark Building. The award-winning, $45 million overhaul upgraded the property’s 618 rooms and specialty suites. The design team took inspiration from Parisian décor in a nod to San Francisco’s reputation as “The Paris of the West.” The two-level Chairman’s Suite boasts carved millwork in the main-floor living room and dining room; upstairs, layered and refined textures create a serene and tranquil vibe in one of three bedrooms. The hotel’s dining options include ENO wine bar, serving close to 50 wines by the glass, and the venerable Oak Room Restaurant, which opened in 1913 as a wood-paneled bar for men only. Rates from $144; westinstfrancis.com

IN THE GARDEN
Dior’s Spring-Summer 2020 ready-to-wear line pays homage to Catherine Dior, Christian Dior’s sister who tended the family gardens. Floral motifs, embroidery and raffia accents celebrate nature. Price on request. dior.com

CHIC PURSE
Oscar de la Renta’s Tro Mini Napa Leather Crossbody Bag is a petite, five-by-six-inch purse in cowhide leather sporting an oversized flower applique. $1,790; neimanmarcus.com

OFF THE CUFF
Designed by Temple St. Clair, the Oasis cuff bracelet in 18-carat yellow gold is studded with 5.52 carats of tanzanite, ruby, tourmaline and spessartite garnet. $12,500; tinyjewelbox.com

Like forging the first brushstroke on a blank canvas, the act of building on an untouched plot of land can be a daunting endeavor. Especially if that plot of land is a 45-acre patchwork of pasture and woodland in rural Rappahannock County, surrounded by vistas of Virginia’s Blue Ridge. And as if that weren’t idyllic enough, a river runs through it.

Such was the challenge facing owners Barbara and Matthew Black and their architect, Richard Williams. Matthew, a retired economist, and Barbara decided to leave their long-time Capitol Hill home to live at a slower pace, in tune with nature. Having vacationed in a cabin they owned in the area for 15 years, they’d already fallen in love with the Rappahannock countryside. When their search for an existing property turned up nothing that “sang to us,” says Matthew, he and Barbara opted to buy land and build from scratch.

To kindle the process, Williams asked his clients to write vision statements on their future home. Both wished to tread lightly on the landscape. “Ours was probably the first house ever built on this land and we felt an almost steward-like responsibility to have it be harmonious with the site. We wanted something that would celebrate our presence, but sit gently,” reflects Matthew.

“Humility,” adds Barbara, “was a word we used a lot.”

After 35 years in a row house, the couple craved natural light, openness, views—and storage. Though the empty nesters would be sole occupants most of the time, they wanted room for the fundraisers and art gatherings they regularly host, as well as visits from their two married children and four grandkids. Also on their list: a pool; a guest house for Barbara’s sister, artist Darien Reece; and a freestanding barn/studio for making art and hosting gallery tours.

Deciding where to build on their property, the Blacks were drawn to a knoll with sweeping views of meadow, woods, river, mountains and sky. One night, they pitched a tent, experienced sunrise by the river and agreed they’d found their spot.

A spirited collaboration ensued as Williams, project architect Justin Donovan and the Blacks refined a design scheme that would express the owners’ desires while respecting and accentuating the site. The architects used GPS modeling to determine exactly how to orient the home, tweaking angles to capture the best views. The final plan positioned the house on an east-west axis aligned with mountain peaks at either end. On the main floor, the plan extends from a handy mudroom entry near the pool to the kitchen and screened porch, a great room and Matthew’s study, culminating at the master suite. Nestling the structure into the contours of the site enabled the architects to create an above-grade lower level housing two guest rooms and baths; an office for Barbara, a retired fundraiser and wellness educator; and storage/utility rooms.

This positioning also lends the home a low profile—and an air of mystery—in the front. From a winding gravel road, visitors initially glimpse just the flat roof and chimney of the main house before rounding a bend where the building comes into view.

On the southern, river side of the residence, both stories are revealed. “It was a goal for the house to be somewhat modest and restrained in front,” says Donovan. “Not until you see it from the downhill side do you realize it’s actually pretty big.”

Just as the architects masterfully blended the 4,900-square-foot abode into the site, they also articulated views from within. Understanding their clients’ routines—from morning meditation to reading by the fire—empowered them to create moments in architecture. Dramatic, floor-to-ceiling windows in the great room immerse residents in the meadow, while smaller surprises, such as a clerestory opening, reveal a mountaintop or a passing flock of geese. “In everyday comings and goings,” explains Williams, “we present the landscape to enrich their daily rituals.”

Architects and clients embarked on the plan without a preconceived style in mind. As ideas evolved, they leaned in a modern direction yet embraced organic materials and forms associated with Piedmont vernacular. “I was interested in going modern but having an old sensibility,” says Matthew.

Though applied in a pared-down manner, cedar, whitewashed brick, cleft bluestone, copper and steel-framed windows convey rustic familiarity. “There’s modern that can be incredibly soulful and allude to traditions even of vernacular building,” Williams observes. “We think of this as a Virginian modern house. The structure is very abstract and geometric, but the materials are nicely crafted and warm it up.”

Other gestures nod to bygone days. Thick, 30-inch walls harken back to old stone dwellings—but conceal built-in storage. And an elongated brick chimney evokes the ruins of an abandoned homestead where only a chimney remains.

Landscape architect Gregg Bleam joined the team “to knit the house into the site,” he says, “and make it look like it was always there.” Bleam dotted the front courtyard with crabapple trees to suggest the remnants of an old orchard and tapped J.W. Townsend Landscapes to plant the four-acre meadow with wildflowers.

“The meadow attracts so many birds, butterflies and insects,” says Barbara. “It’s a wonderful habitat.”

The Blacks also coexist with deer, foxes and possums, though Matthew admits to a “love-hate relationship” with beavers that have provisioned ironwood trees he planted along the river’s edge. When the grandkids visit, they have free rein outdoors and love to skip stones in the river, tend the vegetable garden and feed the neighbors’ horses grazing nearby.

Barbara still pinches herself in disbelief that this home is really theirs. “It feels like an incredible privilege and surprise,” she declares. “And, after participating in and helping set the vision for it, also like an old glove.”

Architecture: Richard Williams, FAIA, principal in charge; Justin Donovan, AIA, project architect, Richard Williams Architects PLLC, Washington, DC. Builder: Dale Abrahamse, Abrahamse & Company Builders, Charlottesvillle, Virginia. Landscape Architecture: Gregg Bleam, FASLA, Gregg Bleam Landscape Architect, Charlottesville, Virginia.

RESOURCES
THROUGHOUT
Lighting Consultant: hinsondesign.com. Windows: hopeswindows.com; kolbewindows.com.

EXTERIOR
Landscape Contractor: townsendlandscape.com. Cedar Exterior Stain: benjaminmoore.com.

ENTRY:
Water Feature Installation: fountaincraftmfg.com.

LIVING/DINING ROOM
Cabinet Millwork Fabrication: lantzwoodworking.com. Paint: benjaminmoore.com. Sofa & Upholstered Chairs: rh.com. Leather Chairs: randomharvesthome.com. Painting: by Thomas Mullany through haleyfineart.com. Rug: timothypaulcarpets.com. Dining Table: cotejardinantiques.com. Dining Chairs: crateandbarrel.com. Paper Light: Akari light sculpture through shop.noguchi.org.

KITCHEN
Cabinet Millwork Fabrication: lantzwoodworking.com. Cabinet Paint: farrow-ball.com. Wall Paint: benjaminmoore.com. Carrarra Marble: cogswellstone.com. 19th-century Italian Stools: 19th c. Italian, Darien Reece Antiques. Pendants: handandeyestudio.co.uk. Painting near Porch Door: Judith Leighton through cynthiawiningsgallery.com. Ovens: subzero-wolf.com. Zinc Countertop: handcraftedmetal.com. Sinks And Faucets: blanco.com; grohe.com; duravit.com.

POOL
Pool Installation: alpinepool.com.

SCREENED PORCH
Table: roomandboard.com.

When Sharon Kleinman got to work on the interiors of a new Rehoboth Beach house, she had not one client—but 10. Architect Greg Hastings designed the contemporary nine-bedroom retreat; construction was underway when the designer came on board.

The owners, their two grown daughters with husbands and four grandchildren all had a say in the process. “You’d think with so many opinions involved that it might have been difficult, but we had a great time,” enthuses Kleinman. “We worked to incorporate everybody’s style and interests into their personal spaces.”

On the ground floor of the home, there are two guest rooms and a powder room. A great room and adjoining kitchen and dining room occupy the second level, along with a TV room, master suite and screened porch. The third floor houses six bedrooms: one each for the owners’ daughters and their husbands, plus one for each grandchild.    Throughout the house, the designer instilled a chic, clean-lined aesthetic. “They preferred a more modern look—nothing too cottagey,” she explains. A case in point is the sleek workhorse of a kitchen. “Everybody can gather around the big island,” says Kleinman, “because there are multiple cooks.”

How would you describe the look you were after?
They wanted it to be casual and fun but not to look like everybody else’s beach house. There are lots of touches that are almost whimsical throughout.

What drove your furniture and fabric selections?
The fact that you’ve got three families using the home at any given time meant that everything had to be durable. Except for some of the accents, we selected soil- and stain-resistant fabrics or indoor-outdoor fabrics throughout. On the dining chair seats, we used wipeable faux leather. But for the chair backs, we chose a less durable fabric that is really fun.

Name a surprising takeaway from the project.
The flooring is a luxury vinyl plank by Karndean. We chose it because my clients didn’t want to worry about their dogs. Vinyl has come such a long way. It used to look almost like plastic, but is now very realistic. Not only does it offer great durability, but it also comes in really good colors. It would have been difficult to get the kind of weathered-gray look we wanted in a hardwood.

Why was shiplap applied on the great room ceilings?
Because of the home’s rooflines, there are all sorts of peaks and valleys in the ceiling. We decided to embrace them and call attention to them with the shiplap. Drywall would not have had the same personality or character. My clients liked it so much in the main area that we ended up applying it in the master bedroom too. It’s a nod to beachy style, but sophisticated.

Explain why the natural stone quartzite is having a moment.
The clients wanted a white kitchen with a marble-look surface. I don’t recommend marble in kitchens. It’s a great look but it’s just not practical—even for people who are very careful. Quartzite is much more durable but has the same look as marble.

How did you hone in on decorative lighting choices?
The objective was to let the sunlight come through the main living space and create a light and airy feeling; we didn’t want anything heavy. The chandelier in the dining area is big enough to be appropriate to the space but it’s also very open. And the pendants over the kitchen island are glass, so you see right through them. These pieces are almost like sculptures and add to the overall ambiance of the project.

Describe furniture options that helped maximize space.
The idea was to utilize every room in a compact way. For instance, we needed a really big dining table that would seat the whole family, but I didn’t want it to overpower the space. We went with a table in whitewashed wood and I talked them into an elliptical shape. It’s a very updated look and a lot less heavy than a conventional table. It’s a trestle style, so you can fit more people around it. And the dining chairs are wide enough to be comfortable but their backs are narrower so they’re not overwhelming.

What’s your secret to combining patterns successfully?
It’s all about scale. It’s nice to have one pattern that’s a larger scale and you work down from there to a medium scale and then a smaller scale. For me, the larger-scale patterns are usually on accents such as pillows, though we used a nice Osborne & Little pattern on the living room chairs that worked really well.

How did you pay homage to the beach without the obvious shell décor?
We used elements that are beachy, such as the driftwood console at the entry and photos of the grandchildren near the ocean, but we used them sparingly. Otherwise, we emphasized natural materials including the whitewashed wooden dining table and the fireplace tiles that are kind of concrete-looking. The blues, the grays and turquoises are also a nod to the shore.

What new product are you dying to try?
I’m getting ready to try Phillip Jeffries’ new seamless grass cloth on a ceiling. It adds great texture and I love that there are no seams.

Can you share a favorite low-end find?
Vinyl floor cloths. They’re practical for kitchens, laundry rooms and mudrooms and add a little punch through color and pattern.

What object in your home is most special to you?
My father was an architect-turned-artist. He gave me a painting of Lake Como for my 50th birthday. I love the piece, but it’s also special because he painted it.

Name a trend that’s over for you.
I’m tired of gray. Though I used it in my house, I mixed it with orange and soft blues. Everyone’s tolerance for color is different; I need color.

Where do you go to relax?
We have a lake house in Virginia. The minute I walk in the front door and look out at the lake, I feel calm. There’s something about a house being on the water.

Architecture: Greg Hastings, G.A. Hastings &  Associates LLC, Ocean View, Delaware. Interior Design: Sharon Kleinman, Transitions by Sharon Kleinman, Potomac, Maryland.  Builder: Timothy B. O’Hare Custom Builder, Inc., Ocean View, Delaware. Landscape Design: Mike O’Hare, Princess Garden Inc., Severna Park, Maryland. 

With its 2018 debut, the Institute for Contemporary Art (ICA) at Virginia Commonwealth University brought Richmond its first institution dedicated to modern art. Steven Holl Architects masterminded the striking Markel Center, which houses the ICA, to welcome students and the public alike. “We designed the ICA to be a flexible, forward-looking instrument that will both illuminate and serve as a catalyst for the transformative possibilities of contemporary art,” says Holl, who also designed The Reach, a recent expansion at The Kennedy Center in Washington, DC.

The 41,000-square-foot ICA is clad in pre-weathered zinc in a satin finish; clear- and translucent-glass windows, walls and skylights bathe the interiors in natural light. Performance and exhibition spaces radiate from its soaring, central forum. The first floor features an airy gallery (above, right), café, shop and state-of-the-art auditorium. The second floor includes two galleries (one, above left, displayed Lee Mingwei’s “The Mending Project” in 2018) and a “learning lab;” another gallery beckons on the third floor.

The LEED Gold-certified building boasts a geothermal heating and cooling system and four green roofs to absorb storm water and offset carbon emissions. Near one of its entrances, a garden with a reflecting pool (top) is used for social gatherings and public programs. A purple-neon light installation by Tavares Strachan on an outdoor terrace perfectly encapsulates the ICA’s mission, spelling out the words “You belong here.”

Architecture: Steven Holl Architects, New York, New York. Associate Architects: BCWH Architects, Richmond, Virginia. Contractor: Gilbane, Inc., Richmond, Virginia. Photography: Iwan Baan (left and top); Terry Brown (right).

Roman Holiday
Ferrari has unveiled a prototype of its new Roma model—a mid-front-engine, 2+ coupé inspired by the carefree days of 1950s and ’60s Rome. Despite its timeless look, the Roma delivers cutting-edge performance and technology, with an eight-speed DCT gearbox and a turbo-charged V8 engine that reaches 620 cv at 7500 rpm. It’s expected to roll into showrooms this year with a price tag of $225,000. ferrari.com

On Track
Samsung’s Galaxy Watch Active2 not only keeps users connected, but also helps them reach health and fitness goals. The smartwatch tracks more than 39 workouts, makes calls and links to social media apps and Spotify. It’s available in 40mm and 44mm sizes and two styles: aluminum with a Fluoroelastomer band or stainless steel with a leather band. From $250; samsung.com

Ahead of the Curve
Designed as an alternative to clunky towers or boxy sound bars, Cleer Audio’s Crescent Smart Speaker sports a sculptural silhouette. It’s equipped with eight custom, 40mm full-range drivers and two 3.3-inch subwoofers and envelops listeners in three-dimensional, high-definition sound. The speaker supports hi-res digital audio formats as well as streaming. Available in August; $600. cleeraudio.com

Lore Group has transformed Penn Quarter’s landmark Riggs Bank building into the elegant Riggs Washington DC. Creative director Jacu Strauss preserved its historic architecture, including the barrel-vaulted lobby, in his sweeping redesign. The hotel’s 181 rooms and suites feature Baroque-inspired wall covering and headboards. Its brasserie-style Café Riggs boasts a bar anchored by the bank’s original columns and detailed stonework. Silver Lyan, a subterranean cocktail bar, also beckons. Starting rates from $329. 900 F Street, NW; 202-638-4600. riggsdc.com

Former White House chef Frank Ruta presides over Annabelle, a new hot spot recently opened in the former Restaurant Nora location. Martin Vahtra of Projects Design Associates conceived the interiors, which include the inviting Garden Room and a private dining room, where the work of local artists is on view. Annabelle focuses on modern American cuisine, serving Maine Lobster Americaine and pavlova with roasted pineapple compote. 2132 Florida Avenue, NW; 202-916-5675. annabelledc.com

On EcoDomo’s factory floor, free-form platforms in light-gray, hand-stitched recycled leather are spread out like giant puzzle pieces. Once complete, they’ll be installed as raised seating in a Watergate office designed by Gensler; 150 columns and a reception desk will be covered in the same material.

Gaithersburg-based EcoDomo has long been a go-to source for commercial clients such as Marriott, Starbucks and Cartier; in fact, EcoDomo leather wraps bar fronts in 2,500 Starbucks worldwide. But DC-area designers and architects are just beginning to take notice of the company’s products—from flooring and wall and door panels with nail-head trim to countertops and headboards designed for hotels, restaurants, spas and private homes around the globe.

As Christian Nadeau, who founded EcoDomo in 2005, avers, “Whatever can be done with wood, we can do with leather.” The only challenge they’ve turned down so far? An all-leather bathtub.

EcoDomo’s raw material is an eco-friendly byproduct of the leather industry. Like wood veneer made from compressed paper, the product is composed of vegetable-tanned leather remnants that are pulverized and mixed with small amounts of tree bark and natural latex. A final layer of resin renders the product highly impervious to wear and tear.

Imported from Europe in roll or panel form, this recycled leather is first customized to order in EcoDomo’s Upstate New York plant. Here, employees emboss the material with textures including crocodile, shagreen, walrus and buffalo; dye it in an array of colors; and even print it with custom motifs. Then it’s sent to EcoDomo’s 12,000-square-foot Gaithersburg facility, where artisans fabricate all to-the-trade orders. The company also works with hide leather, but estimates that recycled leather costs 50 percent less.

“We’ve extended the appeal of leather to surfacing for interiors. Our product has the same elegance that leather brings to a purse, a car interior or a sofa,” says Christian. “But it has the performance of a laminate, and our floors have a softer and nicer feel underfoot. As a bonus, there’s the recycled aspect.”

EcoDomo also fashions decorative wall panels, headboards and floors from upcycled leather belts. First conceived as a wall panel for Nike, the application has become so popular, “we go through 1,000 belts a month,” says Bernice Nadeau, who runs the company with husband Christian.

Last year, the Nadeaus launched a new venture, Lord Fabrik, which produces stain- and water-repellent canvas suitable for wall covering, upholstery and area rugs; orders are already pouring in. “Its performance is comparable to vinyl, but it’s all natural and American-made,” explains Christian.

Available in multiple colors and textures, the all-cotton canvas collection carries on the Nadeaus’ commitment to environmental stewardship. “We are in business because we wanted to create something sustainable and authentic out of waste material,” Christian reflects. “We really care about that part of it.” ecodomo.com; lordfabrik.com  

Traversing the streets of Georgetown, even harried passersby can’t help but pause to admire the neighborhood’s charming homes. Row houses steeped in period detail harken back centuries. But today, there’s no telling what awaits behind those quaint façades. While district regulations protect exteriors, many Georgetowners take their interiors in entirely new directions.

Consider, for example, the new owners of an historic 1820 row house. The couple with three grown children decided to leave their long-time residence in DC’s Wesley Heights in favor of Georgetown, where they could walk to restaurants, movies and the riverfront. Avid art collectors, they were drawn to the Federal-style home’s generous proportions. “The high ceilings and great wall expanses created space for larger-scale art that we never had before,” explains the husband, a real estate executive.

But the property also presented conundrums. The front living room segues back to the dining room and the kitchen at the rear. The two latter rooms—part of a previous addition tacked onto the original, four-story volume—felt dim and claustrophobic. What’s more, the kitchen was blocked by stairs to a second-story study that was otherwise cut off from the rest of the house.

The owners tapped architect Robert M. Gurney to remedy these drawbacks. “We wanted to honor the historic fabric of this 200-year-old home and make it compatible with our modern life and taste,” says the husband, who’d worked with Gurney on a commercial project. Also on board: landscape architect Kevin Campion and New York-based designer Sybille Schneider, who decorated the owners’ Cape Cod vacation retreat.

Gurney and project architect Kara McHone explored ways to improve circulation and connect the front and back of the 120-foot-deep main level both physically and visually. The architects turned a small, throwaway space between the living and dining rooms into an open stairway leading down to the basement and up to the office and master suite on the second floor. Above this dramatic steel-and-wood structure, new clerestory windows illuminate the center of the home. “We took the most awkward space and made it one of the better ones that ties the whole project together,” Gurney observes.

A bridge between the new stairway and the husband’s office meant the old office stairs could go, allowing extended sight lines from the living room to the kitchen and rear patio.

As the plan progressed, the designers focused on comprehensive upgrades, articulating a modern vocabulary into the home’s classic framework. “We did more than meets the eye,” Gurney reflects.

Two off-kilter fireplaces in the living room made furniture placement a challenge. So Gurney clad the fireboxes with elongated marble surrounds that lend symmetry to Schneider’s seating arrangements. “Since the living room is very large, we needed to interrupt it by making it two living rooms,” asserts the designer. A pair of mid-century Gio Ponti chandeliers purchased at auction in Paris defines the two sections, furnished with new and vintage finds. “I liked the idea of bringing back a little of the old, mixing a bit of antique with contemporary,” she says.

Large, pivoting interior doors screen off the kitchen during soirées; made of steel and fluted glass, they’re a nod to the industrial era. Similar custom doors enclose the entry vestibule and the wife’s office.

The owner’s art collection—which includes work by Yayoi Kusama, Sol LeWitt and Donald Judd—was also a driver. For example, Schneider explains, she kept rug choices “quiet and still because I wanted the art to be the most powerful part of the room.”

The designers developed a simple material palette that they applied throughout the project. Though existing floors on the second level were an uneven patchwork of heart pine and Douglas fir, they were retained for authenticity. “I like them because they look historical,” says Gurney. “We stained them dark and carried the idea to the main level, where new, quarter-sawn white-oak floors were stained dark to match.” The floors informed other choices, from the gray millwork in the master bedroom to the marble in the master bath.

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The question of whether to retain or relinquish period detail popped up often. “We decided to keep a lot of the molding because the proportions were good,” explains Gurney. “The difficult part was finding where to start and stop.”

A minimalist vibe prevails in the kitchen. Though timeless, materials such as leathered granite, marble and acacia wood define the central island, floors and cabinet wall in expansive, unadorned slabs. The hand-glazed, brick-tile backsplash plays off the home’s façade and brings the outdoors in—as do new steel-framed windows and doors.

Landscape architect Kevin Campion put a modern spin on an existing terrace and revamped the side garden, which is now visible from the main entry. “Our goal was to catch people’s eye at the front door and draw them back to the garden,” he says.

Working with builder Peterson + Collins, the design team infused the home with a high degree of form and function. The upgraded lower level now encompasses a gym, media room, all-new mechanicals and copious storage. The only spaces to receive just minor tweaks were the third- and fourth-floor bedrooms—one for each of the owners’ adult children—plus a TV lounge.

The family is pleased with their reimagined urban abode—as is Robert Gurney. “We wanted be sure, at the end of the day, that it was a really good synthesis of architecture, art and furniture,” he says. “I like the fact that the historical and modern can coexist.” 

Architecture: Robert M. Gurney, FAIA, principal; Kara McHone, project architect, Robert M. Gurney, FAIA Architect, Washington, DC. Interior Design: Sybille Schneider, Leroy Street Studio Interiors, New York, New York. Landscape Architect: Kevin Campion, ASLA, principal; Nick Ries, project manager, Campion Hruby Landscape Architects, Annapolis, Maryland. Contractor: Ted Peterson,  Peterson + Collins, Washington, DC.

RESOURCES

GENERAL
Audio/Visual: atlcontrol.com. Millwork: solidhardwooddoors.com and affinitywoodworking.com.  Steel Windows & Doors: hopeswindows.com. Wood Windows & Doors: parrettwindows.com. Paints & Stains: benjaminmoore.com. New Flooring: Classic Floor Designs: classicfloordesigns.info. Steel & Glass Door Fabrication: akmetalfab.com.
FRONT LIVING ROOM
Living Room Fireplaces: abcworldwidestone.com. Rug: edwardfields.com. coraggio.com. Two Chairs: Dangles & Defrance, Vintage. Chair Fabric: pierrefrey.com. Divan: Custom. Divan Fabric: hollandandsherry.com.
REAR LIVING ROOM
Rug: edwardfields.com. Coffee Table: Vintage Ferando and Humberto Cambana. Gold Chairs: Vintage Melchiorre Bega. Gold Chair Fabric: pierrefrey.com. Blue Sofa: lemardeley.com. Blue Sofa Fabric: coraggio.com.
NEW STAIR
Stair Rail Fabrication: masterstairbuilders.com; metalspecialties.biz. Suspended Light Fixture: semeurdetoiles.fr/en.
DINING ROOM
Chandelier: Vintage Angelo Lelli. Tables: Custom. Chairs: Vintage Giuseppe Scapinelli. Rug: armadillo-co.com. Sconces: Vintage Gio Ponti. Drapery Fabric: hollandandsherry.com. Drapery Fabrication: ecrobinsonupholstery.com. Chest of Drawers: eggcollective.com.
KITCHEN
Flooring & Stone: abcworldwidestone.com. Hand-glazed Brick Tile: urbanarchaeology.com. Cabinets: boffi.com. Hanging Shelves: amuneal.com. Kitchen Faucets: waterstoneco.com. Kitchen Sinks: julien.ca. Pendants: ericschmitt.com. Backsplash Tile: cletile.com. Stools: thomashayesstudio.com.
MASTER BEDROOM
Cast Concrete Fireplace Surrounds: concreteworkseast.com. Chandelier: gabriel-scott.com. Rug: edwardfields.com. Chair: ritzhansen.com. Chair Fabric: hollyhunt.com. Drapery Fabric: osborneandlittle.com.
MASTER BATHROOM
Faucets: kallista.com. Master Bathtub: boffi.com. Sinks & Tub: lacava.com. Frameless Glass Doors: riverglassdesigns.com. Shower Stone: abcworldwidestone.com. Flooring & Field Stone Walls: stonesource.com. Countertop: concrete-collaborative.com. Stool: modernlivingsupplies.com.
STUDY
Chairs: Albini. Chair Fabric: hollandandsherry.com. Chandelier: lemardeley.com. Rug: altforliving.com.
EXTERIOR
Firepit: brownjordan.com. Urns: ore.design. Steel Panels Fabrication: KSI. Outdoor Lighting: nature-unlimited.com Ceiling Light: structura.com.

Set on four wooded acres bordering parkland, a 1927 stone house charmed Baltimore resident Lloyd Burdette, in the market for a new family home. As she recalls, she and husband Tim Burdette, a real estate investor,  “were living in a house where everything belonged to our grandparents and didn’t reflect our style.” They decided this gem would give them a chance for dramatic change.

The couple called on designer Katherine Crosby to help them update their new home while respecting its classic roots. Though the footprint remained the same, Crosby orchestrated a total cosmetic overhaul, introducing a neutral palette and a furniture plan that mingled new finds with an edited selection of family antiques.

The owners and their two teenage kids are delighted with the results. Says Lloyd, a former marketing professional,“It brings us joy that we use every inch of this house.”

How did you respect the original architecture?
My goal was not to take anything away that was special to the age of the home, but to remove elements that had been layered on top to suit a prior owner’s needs. We did a lot of stripping down as opposed to adding. In the living room niche, there was a wraparound shelf that went over a radiator and popped up as a weird desk. We took all that out.

What’s your wallpaper strategy?
As you’re developing a collection, wallpaper is a great way to create interest in a room without a lot of art; it is art in itself. The Romo pattern we chose in the dining room is light enough so my clients can layer art on top of it and it won’t diminish the art or the wallpaper.

How did you add drama with your lighting plan?
We changed all the lighting in the house and it made a big difference. I think it’s about mixing classic with more modern fixtures. The dining room chandelier is a classic form, very French in style, yet it’s encrusted with gold beads which keeps it fresh.

How did you develop the living-room furniture plan?
The room is long and narrow, featuring French doors that open onto a koi pond; there’s an original stone fireplace at the far end of the space. After reviewing a number of layouts, we settled on a pair of sofas facing one another, perpendicular to the fireplace, with two comfortable lounge chairs on the far end. In this way, one sofa overlooks the outdoors and the lounge chairs provide comfortable seating for viewing the fireplace and TV.

How did you balance the traditional with the new?
By selecting classic forms. For example, the living-room coffee table has a soft, Asian profile, which is classic, yet it’s covered in shagreen so it has a modern feel. The sofas have square, modern frames and high arms, but they’re tufted so they still feel old. We used the arrangements to focus on architectural elements, such as the stone fireplace. And every room has a vintage or antique piece that’s meaningful to the family.

How do you make neutrals play well together?
It’s all about using different tones. I took a lot of art classes and recall a project where we had to draw a ball all in whites. You realize that white isn’t just white—it has peach and blue and all these different nuances. To make neutrals work, I look at what’s not neutral about a neutral color. The living room is full of taupey neutrals because of the fireplace, which is brown and deep gray. We chose warm neutrals—the deep ochres and copper tones in the stones—and complemented them with the cool blue of the sofas.

How did you revive the outdated kitchen?
The owners didn’t want to do a whole kitchen renovation, so the changes we made were mostly cosmetic. We kept the cabinetry, but painted it in Benjamin Moore’s Whale Gray in a satin finish. We also installed new cabinet hardware and hinges and new wood-grain tile flooring that feels warm and is really durable. It’s a nice complement to the exposed stone.

The den started as a white box; how did you give it personality?
One ceiling beam was structural so we added a grid to make it more interesting. We wanted to use the peacock color somewhere without it being overwhelming, so we kept the room’s built-ins and painted them in Benjamin Moore’s Dark Harbor. And we applied khaki Thibaut grass-cloth wall covering, which has a lot of visual texture. The windows are all different heights; by hanging Roman shades above the casings, we were able to establish consistency.

Why do you think grass cloth is having a moment?
People want natural products by Face Natur and grasscloth is just that. It is interesting even though it’s basically a color.

Do you advise clients to hide or expose their TVs?
We all watch television and it plays a role whether we want it to or not. In this project, we went back and forth discussing whether to disguise the TV in the living room. At the end of the day, we agreed if you want to use your house, be who you are. So there’s a TV above the fireplace, but it’s not the focus of the room.

Interior Design: Katherine Crosby; Kristina Kral, project manager, Jenkins Baer Associates, Baltimore,
Maryland. Renovation Contractor: Larry Paglia, Paglia Contracting Company, Forest Hill, Maryland. Millwork: John Freeman, Stafford WoodWorks, Bel Air, Maryland. Lighting: Jones Lighting, Baltimore, Maryland. Styling: Charlotte Safavi. 

Retro Style
The Brionvega Radiofonografo Radio and Turntable revives a 1965 design by Italian architects (and brothers) Achille and Pier Giacomo Castiglioni. Made of hand-lacquered wood with an aluminum stand, the conversation piece recalls the golden age of hi-fi. Speakers can be configured on either side of the unit (pictured above) or stacked on top; as shown, the piece is 48 inches wide and 28 inches tall. $9,950; store.moma.org

On the Dark Side
The Cullinan SUV is the latest Rolls-Royce model to join the brand’s Black Badge family—typified by multiple layers of paint and lacquer that create a dramatically dark exterior finish. The Black Badge Cullinan features 22-inch forged-alloy wheels and a 6.75-litre, V12 engine that generates more power and torque than its standard sibling. It excels from 0 to 60 mph in 4.9 seconds. From $382,000; rolls-royce.com

Smarter Smart Watch
Japanese-based Veldt has unveiled the Luxture Aarde analog smart watch with an eye on sustainability and promoting tech-life balance. Straps are made of eco-friendly materials; among many functions, the watches send users UV and climate-action alerts and track health, lunar phases—and proximity to street art.
From $650. veldtwatch.com