7 minute read
Purposeful Perspectives
An A-list team of designers and architects creates a family and entertaining compound with million dollar views at the heart of a historic farm.
Written by Bridget Williams / Photography by Eric Williams and Andrew Kung
“It’s truly a never, neverland,” said award-winning garden designer Jon Carloftis of his work on a unique family and entertaining compound at the heart of a landmark Lexington-area farm, first deeded in 1744. Carloftis worked in tandem with a team of architects and interior designer Matt Carter to create a cohesive indoor/outdoor plan that capitalizes on each building’s distinctive architecture, as well as the property’s abundant natural beauty.
Both Carter and Carloftis cite the homeowners’ impeccable taste and clear vision as evidenced by the thoughtful work carried out in several areas of the property prior to the most recent collaboration. The rejuvenation of the grounds, which encompass a vineyard, a kitchen garden, a formal English cutting garden, extensive tree and rose bush plantings, and yew maze, has garnered praise and accolades from the likes of the American Society of Landscape Architects Design Awards.
Just inside the gate, the residential portion of the farm is accessed via a winding drive that affords a great deal of privacy. A cluster of cottages (one for each of the couple’s four children), thoughtfully planned gardens, walled courtyards, a chapel and water features punctuated by sculptural fine art envelop the focal point of the enclave – “The Card House” – which appears to have been plucked from the Belgian countryside.
Consideration of vistas was paramount in the planning stages, a feat best contemplated from the motor court in front of The Card House. The sightline outward from the front door – accentuated by large box planters with ornamental Winter King Hawthorn trees – looks across a fountain, through a circular base upon which a stylized bronze horse is depicted mid-gallop and culminates at a charming limestone chapel whose steeply pitched roofline lines up with the center peak of The Card House. Matching sets of monumental x-pattern steel doors by Hope’s allow one to peer through the rear to the pool and an eight-acre lake and verdant fields beyond.
Similar to the interior design, editing was key to preserving and creating vistas and projecting a feeling of unpretentious elegance throughout the grounds.
Carter found a kindred spirit in the homeowners’ who are also enamored with lending a worldly perspective to interior design. As such, each of the rooms displays a multi-cultural influence, from Moorish side tables to Chinoiserie accents and fine English antiques, all underscored by direct and subtle references to equestrian pursuits. Being able to use pieces from the homeowners’ existing and impressive collection of art, antiques and carpets allowed Carter to make the new spaces feel instantly familiar. Carter pointed out that accessories are sparse and carefully edited in each room because “the antiques and architecture are commanding enough on their own and don’t need to be over-embellished.”
Hinting that this is a family-friendly space in spite of the many fine pieces found within is a full-service ice cream bar in the entry near the doors to the rear terrace and pool area. A pocket-style closure on the service window allows the area to be fully concealed during more rarified occasions. Throughout this level are 16-inch-wide plank reclaimed wood floors; in the entry they are mitered to create an interesting pattern that is a tongue-in-cheek reference to the doors that bookend the space. The floor plan is linear, with a commercial-style kitchen and dining room to the left and a large living room and bar area to the right. Multiple sets of French doors along the front and rear ensure that one is never deprived of a glimpse of the lush scenery.
The foyer of “The Card House”.
Soaring ceilings with exposed beams support the visual heft of the antique trestle dining table that comfortably accommodates 12. Carter found the dining chairs in San Francisco. A Chinoiserie-style cabinet displays artifacts and objects of curiosity culled around the globe. Blue ginger jar table lamps atop iron and marble console tables also nod to Asian influences. Drapery panels are Fortuny.
Soaring ceilings with exposed beams support the visual heft of the antique trestle dining table that comfortably accommodates 12 in the dining room. Interior designer Matt Carter found the dining chairs in San Francisco. Drapery panels are Fortuny.
Carter’s mastery of cosmopolitan eclecticism is on full view in the living area, where subtle use of color, pattern, and texture allows the disparate elements to function cohesively.
Also at play is the idea of pairing the exquisite with the humble. Carter cited the “show-stopping” chandelier with rock crystal pendeloques and prisms by Dennis & Leen contrasted with the exposed hewn timber ceiling beams.
The living room displays a multi-cultural influence, from Moorish side tables to Chinoiserie accents and fine English antiques, all underscored by direct and subtle references to equestrian pursuits. The chandelier is from Dennis & Leen. “Race Horse,” a painting by Milton Avery (1885-1965), hangs in a niche in the bar area at the far end of the room.
A Moroccan side table is placed to the side of an armchair with paisley upholstery. Cream and pale blue upholstery on the skirted sofa sports rust-colored accent pillows that pull in the dominant colors of the rug. Placed in front of the sofa is an antique cobbler’s bench. On the wall opposite the fireplace hangs a French trumeau mirror with a lovely pale blue painted finish. Tables centered in the window on either side of the sofa are topped with interesting table lamps displaying primitive symbols reminiscent of Aborigine artwork. Carter chose simple, unlined linen drapery for is casualness and to “soften the room.” Paneled walls define the elegant bar area at the far end of the living room. Glass shelving on either side of “Race Horse,” a painting by Milton Avery (1885-1965), holds a colorful selection of Saint Louis stemware.
Accessed via an elevator near the entry, the lower level is designed with more intimate gatherings in mind. The elevator (the walls of which have a Venetian plaster finish) opens to an impressive wine cellar. The floors on this level are stone; black and white inlaid marble accents are found at the elevator and the walk-in humidor. Walls are exposed brick with unique mortar joints.
Dominating the cozy sitting area outside the wine cellar on the lower level is a near life-sized oil painting of a nude woman in repose by Argentine artist Juan Lascano.
Dominating the cozy sitting area outside the cellar is a near life-sized oil painting of a nude woman in repose by Argentine artist Juan Lascano. The painting hangs above an antique chesterfield sofa newly reupholstered in a subtly faded fabric with a wooly hand that calls to mind a favored sweater.
A long tufted banquette along one wall of the pub-style gathering room was inspired by one at Dudley’s on Short, one of the homeowners’ favorite restaurants, whose interior was also designed by Carter. The wax-paneled walls are similar to those in the upstairs bar. Above the banquette are two vintage French advertising posters that combine the exuberant feelings of horseracing with fine food and drink. Atop the highly polished bar is the control panel for an eSommelier electronic wine management system.
A long tufted banquette along one wall of the pub-style gathering room in the lower level was inspired by one at Dudley’s on Short, one of the homeowners’ favorite restaurants, whose interior was also designed by Carter.
Six coats of Fine Paints of Europe paint were used to create the lacquered green walls of the powder room at the opposite end of the lower level. Adding to the drama is an unexpected groin vault ceiling and graphic black and white tiled floor. Outside the room hangs a pair of pen and ink drawings by Edward Borein (1872-1945), renowned for his authentic depiction of cowboy life in the American West.
Inside the substantial steel doors that mark the entrance to the climate-controlled wine cellar is an oenophiles nirvana.
Equal care and careful consideration were given to the grounds, and the cohesive transition from inside to out was not accomplished by accident, as Carloftis and Carter relish working together. Carloftis was familiar with the property, having known the granddaughter of the previous owner in his youth.
Invited to look at the site prior to construction, Carloftis said that the prospect of starting with a totally blank slate was exciting. “It was fun working with the architecture – it has a wonderful sense of the traditional but from a very different point of view,” he added.
The grounds of the enclave include a cottage for each of the couple’s four children.
Similar to the interior design, editing was key to preserving and creating vistas and projecting a feeling of unpretentious elegance. “It would have been easy to go crazy. The real challenge was to pull back and let the architecture take center stage,” Carloftis explained. Simple sycamore trees (one of Carloftis’ favorites) were chosen for the first level of the rear terrace; they were laid out so that as they mature their branches will touch each other. In another area, Carloftis cited an arch of American boxwoods that are “as simple as simple could be.”
“[The homeowners’] have such a big companionable family that this sort of space really suits them. It’s such a beautiful farm and it’s nice to be part of its evolution,” said Carter. “This project was so much fun, certainly one of my tops,” added Carloftis.
