2024 Homestead Magazine


Homestead Magazine


Search Results for: elements of architecture

Elements of Architecture

From the general layout of your home to the smallest structural details, every aspect of its architecture reflects who you are and how you want to live. Evolving and expanding over the years, home design in Jackson Hole now offers homeowners a wide range of styles and approaches. We asked several of the valley’s leading architects to describe their favorite design elements. The answers are as diverse as they are insightful.

Berlin ARchitects

Larry Berlin

My favorite architectural element is light. Throughout the design process, I visualize how light will enter a space—defining and refining textures, materials, color and the volume of the space. Light interplays with positive and negative space and transparency. For me, it is the source and inspiration for all subsequent architectural creativity.


Andy Ankeny

As a native of the West, I like to create buildings that are inherently simple and cohesive, honoring the area’s vernacular architecture with a modern sense of scale and proportion. I am inspired by the relationship between built forms and their natural surroundings, and believe that good architecture is inseparable from and enhances sense of place.

Design Associates architects

Chris Lee

Something we’re doing a lot these days that’s had a significant impact on architecture is using larger windows and more glass. We’ve always worked to bring the outside in, and new advances in window technology are facilitating that now more than ever. The resulting architecture is more open, light and airy.



The most important design trend involves integrating knowledge and technology to create smarter and healthier designs. Our designs focus on improving health and quality of life while reducing the carbon footprint. Today, wellness is a priority in any built environment. Energy consumption and waste are being approached more intelligently, too.



The kitchen is the central gathering space where connection and growth are nurtured. Nature provides inspiration, as it is constantly evolving and working to sustain life. Glass curtain walls are key transparent components in developing the relationship between interior and exterior environments. We strive to enhance the human condition through an interconnection of these two environments.

Tillemans architect

Lori Tillemans

I’m excited about the element of surprise: teasing the mind with unexpected material combinations and/or proportions. How can that roof work without apparent structural support? Who thought a small window in a large stone wall would be okay? Why should a fireplace appear to be floating? Just for fun!

Vera iconica Architecture

veronica Schreibeis smith

Beautiful design can be more than skin deep. We love integrating into our designs the latest science on how the built environment impacts human and planetary well-being. The ultimate goal is to co-create designs with our clients that will enhance their cognitive performance, vitality and longevity.

A43 architecture

chris jAubert

Well-designed stairs have always caught my eye, and I appreciate the harmony of form and function they bring to interiors. Much like a great piece of furniture, stairs can be both sculptural and purposeful. They often present technical challenges so, as an architect, you are always looking for creative ways to both satisfy constraints and feature this architectural element.

Dubbe moulder ARchitects

Kurt dubbe + chris Moulder

The notion of shelter derives from the three fundamental Vitruvian principles of good architecture: firmness—to design shelter with care, thoughtfulness and durability; commodity—to design shelter that accommodates its users’ needs and desires; and delight—to design shelter that is beautiful, timeless and memorable.

Kinsey architects

Cornelius kinsey

Jackson Hole homes require large structural elements to support the weight of our winters’ heavy snow loads. For local architects, this is an opportunity to use structural elements creatively to design interesting details and spaces. Beams and columns, for example, become picture frames for the valley’s spectacular outside views.

Modern Park Architecture


Split shed roofs orient this home toward the stunning views of the Teton range. These same roof forms direct tremendous snow loads away from the entry and preserve the view through walls of glass below.


Photos By

The relationship between an experience and its memory is strong. Traveling down a narrow path, sunlight filtering through the trees, gravel crunching underfoot, the smell of pine sap. The anticipation of the journey and the satisfaction of the destination. For those of us who have had the pleasure to explore the national parks, a memory such as this lives in the subconscious waiting for the right catalyst to bring it forward.

“Visiting the park is a journey; there is a sense of exploration,” says Chris Baxter, principal architect of Baxter Design Studio. “Our architecture has always been about the experience and procession of the user.” Paramount to this approach Baxter Design Studio mindfully plots the way people move through the site and structure. Upon one’s arrival to the property, the experience becomes guided by the designers.

Over the past 20 years, the firm has designed 10 projects within park inholdings. The BDS team strives for the structures they design to be in unison with the wild Wyoming environment. “We love to think of our projects as landscape architecture—the form of the landscape happens to include a building,” Baxter says. When building amid pristine beauty, BDS exhibits restraint. “It is our responsibility to minimize the impact the building has on its surroundings.”

By approaching each structure as a feature within the environment, the architects consider their practice within the lineage of “park architecture,” referencing texts such as an architecture manual published by the National Parks Association in the 1930s. “As we look at these historical values in relation to our modern architecture, it’s surprising what remains relevant,” Baxter says.

This simple gable form wraps around the edge of a wetland. The south- facing bar of glass affords solar heat and a never-ending cinematic event of wildlife, seasons and sunsets.

“Modern architecture is oftentimes perceived as cold. We are motivated to create a rich experience for people as they interact with our buildings and the natural environment.”

Modern detailing simplifies the elements of this mudroom entry, revealing the primitive nature of the historic, rustic-textured wall. The simple material palette allows continuous surfaces to blur the threshold between the interiors and the outdoors.

The studio views “modern park architecture” as a new typology conceived by the synthesis
of natural influences and advanced building technologies. Each design, in its simplest form, is a quiet viewing pavilion: a comfortable place to observe wildlife, the subtle changes of light throughout the day, and the transition of seasons. As these structures configure to their natural context, BDS seeks opportunities to develop connections between interior spaces and their natural surroundings.

Modern forms and details are juxtaposed against site-inspired materials to strike a balance in this composition. The performance of steel and glass joins with the soul of timber and stone.

Scale and proportion in their work are also rooted in the landscape. Similar to the way historic buildings found their scale from site-harvested materials, BDS utilizes the scale and proportion inherent to the site. Materials are approached in a similar fashion: The studio finds direction from the site to utilize materials that become unified with their locale.

Thoughtfully situated, this modern cabin rests quietly in a grove of lodgepole pines. The play between building and landscape makes it appear that the structure has been here for decades, although this was the cabin’s first winter.

Recent commissions have found the firm migrating into town, sites that offer slightly different “inputs” and yet reference the same nature-informed ideals. Whether proximate to town or park, a home must enhance the experience of the property and its natural attributes. In an ultimate nod to the site, Baxter considers the firm’s designs as a contextualization of modern architecture within iconic landscapes.

Coalescing Architecture

Story By
Katy Niner
Photos By
Vera Iconica Architecture + Longhi Architects
When space, emotion and environment coalesce, architecture becomes art, and the affect is limitless—as felt by the people who experience such inspired spaces. This concept was truly vanguard when Mexican architect Luis Barragán so astutely articulated it decades ago—and remains so today.

“Architecture is an art when one consciously or unconsciously creates aesthetic emotion in the atmosphere and when this environment produces well-being.” -Luis Barragán

Art as architecture as wellness: This is the core dynamic driving the new partnership between aesthetic visionaries Jackson, Wyoming-based Veronica Schreibeis Smith and Lima, Peru-based Luis Longhi, who have joined continental forces; Longhi is the inaugural guest resident at Vera Iconica Architecture. Together, the two talents are trailblazing an international movement toward mindful design: mindful of people, of nature, of cultural heritage and of material integrity. Intuition anchors their design process—the insight based on instinct, experience and creativity. When layered with the practical and the rational, says Schreibeis Smith, the result is “functional, smart spaces that have soul.”

Case in point, the architects’ inaugural collaboration: Pachacamac, a ridgeline refuge built for a Peruvian philosopher. True to the philosopher’s intellect, the residence grows from his library, starting with a central courtyard carved into the hillside, open to the sky. On either side, the library’s wings stretch east and west, spanning the sun’s daily arc, in deference to Peru’s vibrant mythology, symbolic of earthen knowledge extending out to eternity. The house unfolds from this intimate library into more social spaces. “As the program of the house involves more people, it becomes light and more open, culminating in a glass-cube living room to gather guests,” says Longhi.

At Vera Iconica, listening is paramount to the proprietary Intuitive Design Process. The firm considers how architecture impacts people, purpose and planet, using materiality and one-of-a-kind elements to affect clients’ sense of their world and their place within it. Such an approach manifests in masterful details, whether the precise siting of an outdoor hot tub or custom mapping of kitchen cabinetry. “Not only do we listen deeply to our clients, we also read their body language, and ask thought- and emotion-provoking questions,” says Veronica Schreibeis Smith.

“We believe that every person should live in a masterpiece,” the architects say in their vision statement. “And beyond that, we believe that every person deserves to have a home that is not only beautiful, but one that enhances their well-being and quality of life on a daily basis. We define a masterpiece as something that moves our clients, inspires them and elevates them—a work of art, a piece of music, a shared conversation. Essentially, we design experiences. Architecture just happens to be our medium.”

Their work is closely tied to the landscape and epitomizes the aesthetic shared by the two internationally recognized architects, as seen in the conceptual design by Longhi Architects for the premier destination resort Valle Sagrado

Schreibeis Smith and Longhi draw daily inspiration from the nature that surrounds them—she in the Tetons and he on the Altiplano Plateau. “In these places of soaring beauty, we find not only architectural inspiration, but also inspiration on what it means for a life to be lived well,” Schreibeis Smith explains. “To us, that means homes that are designed for wellness and to communicate with the surrounding landscape, designed with local materials, and always in respect for the environment.”

Vera Iconica wants its clients to feel as elevated as their surroundings, attuned to nature and their true natures. Ultimately, the firm’s goal is “to design spaces where our clients derive joy and experience a life of meaning, in beauty”—a benchmark that circles back once again to Barragán and his profound eloquence: “Beauty is the oracle that speaks to us all.”

Veronica Schreibeis Smith and Luis Longhi started working together in 2006 in Peru and in 2015 began discussing ways to align their synergistic visions as architects.

Elements Of A Whole

This living/dining/kitchen space features cherry wood cabinets, a naturally finished cedar ceiling and a Dakota stone-flanked fireplace with a guillotine door and custom-patinaed steel panels and hearth.

Story By
Liz Prax

Photos By
Roger Wade + Paul Warchol +
Douglas Kahn

With experience comes courage—courage to push boundaries, to meld new ideas with time-tested fundamentals, to start trends rather than follow them. Since 1996, Ward + Blake Architects has embodied such courage, integrating structural quality, livability and energy efficiency into a holistic design approach that builds homes to last—and to delight.

One of the first characteristics you’ll notice about a Ward + Blake home is the way it blends organically with its natural surroundings. “You can see the layout of the building is pretty much hand-in-glove with what the land is telling us,” says architect Tom Ward. “Basic site analysis starts with topography and ends with orientation.” Factors like wind, precipitation, storm-advancement corridors and solar orientation all play a role.

Roof overhangs and other building components manage sun exposure, allowing the home to “respond slowly to seasonal changes, rather than suddenly being sweltering in summer or cool in the wintertime.”

Framed by custom corner-locked cedar siding and a sod roof, this stair pavilion’s large window provides beautiful views of the adjacent terrace and mountains.

“If we address fundamental principles like that, when we start applying technology to heating and cooling a home, the demands on the structure become a little easier and less odious,” Ward continues. The caliber of today’s architectural tools is remarkable, he adds. “One of the biggest things is windows and doors. The ones we’re putting in homes these days are so airtight, if you inverted the houses and put them in Jackson Lake, they’d float!”

Carefully integrated with the site slope, this home avoids skylining by never exceeding 20 feet above the original grade. Cedar siding offers contrast against aluminum storefront windows and architectural concrete. The sod roofs control stormwater runoff and blend the home with its natural surroundings.

Installing high-tech systems like a ground-source heat pump, which extracts latent heat from the earth, reduces energy consumption significantly.

“Energy conservation is an important part of the equation, but the livable environment is too,” he says. Today’s homes are sealed so tightly that they trap in unhealthy air pollutants, such as upholstery off-gasses. To rectify this problem, Ward + Blake installs energy recovery units, which pull domestic air out while bringing fresh air in from outside, exchanging the heat from the former to the latter in the process, so there’s no drop in room temperature. This, combined with humidity control, makes a home healthier and more comfortable for its occupants.

Large roof overhangs control the sun exposure entering high-efficiency-glass windows, allowing the home to respond slowly to seasonal changes; concrete floors create thermal mass for storing passive solar energy.

Another design element that Ward + Blake employs with great passion is materiality. For example, its architects consider traditional materials, such as wood and stone, in new and different ways. After experiencing extremely volatile winters like this past one, which brought sudden, dramatic temperature swings, “you start to gain appreciation for more traditional materials that have stood the test of time,” Ward says.

The Ward + Blake team also creates a balanced, pleasing feel in homes by using materials with contrasting textures and colors that aren’t typically used together: rough-cut rustic slate and polished Carrara marble; board-formed concrete and hand-milled cedar siding; manipulated and shaped native fir logs next to concrete and cedar. Ward explains, “When you juxtapose some materials against each other, they both look better and they bring inherent characteristics of each material more to the fore.”

Together, all of these elements form a veritable whole—a long-lasting, energy-efficient home that both comforts and delights.

Architecture for the People

> Story by Kirsten Rue
> Photography Courtesy of Bohlin Cywinski Jackson, Latham Jenkins, Nic Lehoux, and Paul Warchol

The 23,000-square-foot Craig Thomas Discovery & Visitor Center was completed in 2007. Designed by Bohlin Cywinski Jackson, the project represents a partnership between the National Park Service, Grand Teton National Park Foundation, and Grand Teton Association. Its courtyard, featuring hand-selected boulders, is pictured here. © Nic Lehoux

The historic homesteads of Grand Teton National Park have attained the same iconic status of the mountains looming behind them. Buffeted by winds, the sweep of snow, and a century of blazing summers, their wood is silver, beams of sun bar wizened floorboards, grass grows from their roofs, and porches lilt precariously on spindly beams of lodgepole pine. To some, their romance is in decay, but that view disregards what they have to tell us.

The Laurance S. Rockefeller Preserve began with a 2007 gift from the Rockefeller family of 1,100 acres on the shore of Phelps Lake. After the 35 buildings of the family’s 75-year-old JY Ranch were removed, local firm Carney Logan Burke designed the preserve’s new structures to support Laurance Rockefeller’s message of stewardship, conservation, and nature’s power. © Nic Lehoux

Through their design, two recently built structures in our own backyard craft a new story about national park wilderness and our powerful encounters within it. The Craig Thomas Discovery & Visitor Center and the Laurance S. Rockefeller Preserve are on the vanguard of what national park architecture can be: Representing, in one case, a public-private partnership and, in the other, a significant gift of private land and resources, these modern structures draw on the landscape and inculcate a sense of wonder for a whole new generation of park visitors.


Despite their undeniable poetry against the raw shear of the mountain range, original homesteads lying within Grand Teton represent an urge more basic: slapping up four walls and a roof against the elements. Katherine Wonson, cultural resources specialist at Grand Teton National Park, explains that, “People built here in order to survive. It’s vernacular architecture in its prime, which is non-architect designed.” This leads to the fiercely idiosyncratic barns and cabins that pepper the open vales of the park—touchstones such as the Moulton Barn or the Cunningham Cabin gained their distinctive look from the individuality of their composition.

An early-20th-century double-hung, or “lazy,” window at the Bar BC Ranch. For ease of construction, these store-bought frames were hung on their sides, which required cutting fewer logs. In contrast to current park buildings, homestead and dude ranch cabins were usually south-facing to harness the most light.

In the first wave of tourism to the valley, the era of the “dude” was inaugurated, personified here by the Bar BC Ranch. Hewn to mimic the stirring lyricism of the original homesteads, the guest cabins and outbuildings of the ranch date from 1912 onwards, but far more closely resemble rustic structures of the 1890s. They were built via hog trough construction, a method Wonson calls “over-the-top simple.” She points out that this same simplicity and roughness was entirely intentional. Walking a fine line between “working ranch” and an “overly pioneer aesthetic,” this era of building was the first of many waves in the park to consider the experience of the visitor.


A New Experience of View

In their own ways, both the Craig Thomas Visitor Center and the Rockefeller Preserve take some crucial cues from park structures, even while encapsulating differing goals. Ray Calabro, architect and project manager from Bohlin Cywinski Jackson, explains the entrance of the Craig Thomas Center like so: “You’re in this vast landscape with these incredibly tall, vertical mountains and this flat valley and you come to a place that feels quite familiar in a way. It feels like a porch, the lodge. It has a scale that makes you feel comfortable.” The intimate scale broadens as one enters the building, adding “something that I haven’t experienced before—not only in National Park Service architecture—but in some ways in American architecture.” That added element? An experiential quality.

Wonson notes that in this pullback from the view, the Craig Thomas Center gestures towards Mission 66-era park architecture. In Grand Teton, Mission 66 is exemplified by Jackson Lake Lodge. “You walk in and originally the staircase was actually even more narrow than it is today. … You were supposed to have this experience where at first you felt shut in.” At the top of the stairs, however, one is no longer sheltered; the entire range is revealed in a sudden evaporation of indoor/outdoor borders.

A colonnade at the Craig Thomas Center’s entrance; slatting reminiscent of historic barns; picture window and diorama display inside the Rockefeller Preserve. © Nic Lehoux, © Paul Warchol

This same intimacy of approach is felt in the porch-style entrance of the more modestly sized Rockefeller Preserve. “It is an L-shaped building … and two gable forms have been pulled apart. In between those two principal gable forms is a very low-slung porch roof,” says Kevin Burke, principal of Carney Logan Burke Architects. Mimicking the traditional gabled roofs of homesteads, this initial entrance into an interpretive experience of place is human-sized, drawing back from the grandeur of the national park’s open spaces for an effect more personal and reflective.

For both buildings, a deliberate choreography drives the visitor experience—architectural choices inform and illuminate the richness of the Teton views. In fact, a dance with the view itself was a crucial design focus for BCJ’s team. Calabro describes the approach sequence to the visitor center from a removed parking area along the meadow path, across the colonnaded courtyard, and through the front doors: “You’re compressed in a more narrow vestibule with a lower ceiling, and then as you come through and into that big, light-filled space, the roof kicks up and the view is re-presented to you in that way. … There’s a little bit of drama that we set up as part of that.” In fact, the slender steel mullions of the roof support an echo of the peaks to the west; the line soars and guides the
gaze upwards.

In the case of the Rockefeller Preserve, Burke notes that a 3-D diorama and map greet visitors after entry. Beyond them, sun filters in, as does a beckoning north-facing peak view. Anticipation builds here, he says, as visitors grasp the ecosystem they are about to encounter on the preserve’s 8-mile trail system.

Looking Out: The Craig Thomas building’s hearth—fabricated of concrete and sandstone—centers visitors before the 30-foot glass-and-steel wall, which unveils an always-changing mountain panorama. Regional company Intermountain Construction Inc. served as the general contractor on the project. © Nic Lehoux

Moments of Contemplation

The best architectural choreography does not only reveal and guide—it also makes us feel. Within the Rockefeller Preserve, sensory exhibits emphasize the history of the Rockefellers themselves and Laurance’s mission to cultivate an environmental awareness that park visitors will carry home. Chief among these experiences is a chance to sit still and simply listen within a chapel-like space. The curved room silences with acoustic-dampening ceilings while a soundtrack of rain patter on leaves and birdcalls tunes us to the frequency of the outdoor environment. The tone here is introspective. Burke explains, “Because the light levels are dimmed, it is very evocative of an old barn where boards have pulled apart and you see the sunshine coming through the slats. There’s a really powerful feeling in that space.”

BCJ worked closely with Ralph Appelbaum Associates, the interpretive designers for the Craig Thomas Center, to completely meld the architectural experience with the interior exhibits. Calabro and his team recognized immediately that, for many, their time within the center would provide the primary door to understanding the park. He describes how the exhibit design was based on creating a “grand hall” that could encompass educational, contemplative, and social gathering spaces. Rather than a series of separate rooms, the interpretive spaces of the hall are reminiscent of canyons, allowing visitors to focus both inwards and outwards.

Restorative Space: The Laurance S. Rockefeller Preserve’s sanctuary-like sound room embodies its namesake’s ethos: “How we treat our land, how we build upon it, how we act toward our air and water will in the long run tell what kind of people we really are.”
© Paul Warchol

All of the surfaces, even the floors, are activated with potential meaning; on the back patio, the precise alignment of each visible Teton peak is introduced via inlaid lines that list names, elevations, and stirring quotes from famed mountaineers.

Neither building operates as visitor centers commonly do—ushering us from box to box and enclosing us as we absorb information without its context. In contrast, the architecture is partner to the program, and we remain linked to the exploration that beckons right outside the window.

Structure Born of Environment

While a reverence for place certainly characterizes our experience within these buildings, their modes of construction draw most directly from the lineage of the park’s built environment.
The tumble of the Tetons’ igneous rocks seems at home in the Craig Thomas Center’s courtyard, where two large, granite boulders emerge from a bed of concrete—one of Calabro’s favorite aspects of the completed building. Each one was hand-selected from a Wyoming quarry and then carefully oriented. “We had this idea about these boulders in the courtyard being pieces of the Tetons that people could touch.”

Craig Thomas Exterior: Access to 65 years of climate data from the neighboring Moose weather station led BCJ to design concrete shield walls better suited to snow drifts, as well as angled walls and roof planes to filter sunlight.
© Nic Lehoux

Rockefeller Exterior: Custom-composite wood and steel king post trusses support a sawn-timber frame roof—a subtle homage to the original JY Ranch’s boathouse.
© Nic Lehoux

The beams within the center invoke the same emotion. The Forest Stewardship Council-certified Douglas fir beams were also hand-selected. Calabro says of their effect, “The tall columns that you’re standing in are a great forest, and you have this prospect out over the meadow and you see the mountains. There’s a composition there and a way of connecting people to the landscape that is important.”

As the first national park structure to gain Leadership in Energy & Environmental Design Platinum status, the Rockefeller Preserve’s team was required to source its materials from a radius no greater than 500 miles from the site of the build. Choices were equally constrained and considered. Burke describes a process of harvesting the fireplace stone on-site and sourcing “highly crafted and refined” western red cedar. “The material palette is kind of sparse in a way. … If you think about those early park structures—any one of the Park Service’s—they’re utilizing what’s available to them in that place.”

One look at the Bar BC’s hand-daubed river rock chimneys certainly reflects this.

Bar BC Chimney: River rock chimneys and sod roofs are hallmarks of building in accordance with the materials available in the surrounding landscape.

Both architecture firms were also serious about something else: allowing for a natural wood-weathering process. The western red cedar siding on both buildings (clear-heart grade, in the case of the Craig Thomas Center) will be left untreated. As years pass, they will gain the same patina as the heritage barns that already distinguish Antelope Flats—a variegated hue that takes on the blush of sunrise and sunset.

New Solutions for Old Problems

Snow loads and the sapping effect of the bright western sun have been eternal challenges for builders in Jackson Hole. Both architecture firms approached these concerns with the power of technology and simplicity to create environmentally sensitive solutions.

The Craig Thomas Center’s ridged rooflines serve double duty: distributing the snow load evenly while the steel supporting the window wall provides a louver system to shade the interior of the center. Shield walls allow snow to deposit on concrete instead of directly on wood, and a wainscot around the perimeter of the building helps to collect snow as well, leading to a building that is as durable and maintenance-free as possible.


“We thought it would be nice if you could sense where the loads were by spacing the beams closer together only in those places, so the structure sort of tells you a little bit about what it’s doing and what it’s supporting,” Calabro says.

For Burke and his team at the preserve, the goal was a building that could be day-lit without sacrificing the delicate technologies at work in the interpretive displays. To meet this challenge, Burke says, “we did extensive daylighting studies early. That’s partly why you see the big, broad 12-foot overhang on the east window. One, it helps protect the architecture from all the snow, but it also helps eliminate a lot of daylight coming through.”

From the original sketch to the raising of laminated Douglas fir beams, to the installation of a maple bench inside the center, BCJ’s design responds to place, weather, and visitor experience. © Bohlin Cywinski Jackson, © Nic Lehoux

Frit glass in the Family Story Gallery reduces 40 percent of the sunlight transmitted and allows all exhibits to function as intended. “Again, it was this really tough interplay in terms of us wanting to create a space that was naturally day-lit and ventilated, but with a program that didn’t want those things. We had to grapple with that in just about every single space we had,” he adds.
Situated on lots that had already been disturbed by human presence, both facilities are surrounded by reclaimed and re-seeded vegetation; species like sage and hawthorn have taken root again. Sitting quietly on the land, the two buildings are holistically connected to it.

A Leap Forward; Look Backwards

Wonson points out that Grand Teton National Park’s historic buildings are not going anywhere. They represent a vital legacy that belongs to park visitors in the same way that the glacial lakes, wildflower meadows, and bugling elk belong to them.

Rockefeller Porch and Living Room: The building’s materials are echoed in furnishings within and without. Carney Logan Burke custom-designed all of the furniture and light fixtures for these spaces. “It allowed you to distill all the parts and pieces of the architecture and take out the most critical pieces and allow that to then form the DNA of the model furniture pieces,” Burke says. © Paul Warchol

“We have 45 historic districts and about two-thirds of them are in use by park or partners,” she says. The other one-third comprises homesteads and structures that have since been turned over to the Park Service. “They’re some of the most beautiful properties and they have really high integrity,” but it can be difficult to maintain each one. In autumn 2014, the park put forth a historic preservation plan to address some of these concerns; it looks forward to future public-private partnerships that will breathe new life into potentially neglected structures.

In the preserve guest book, page after page of scrawling script attests to the building’s resonance. “Although the landscape will change constantly, this beautiful center will hold fast for so many people to reflect and inspire generations,” writes one family. “The architecture and place are perfectly matched.”


Cultural Inheritance: Listed on the National Register of Historic Places, the Bar BC Ranch is just one of the park’s historic districts with conservation efforts underway. Its founder, author Struthers Burt, referred to Grand Teton National Park as “a museum on the hoof.”

Calabro describes the joy of going incognito and observing visitors in the space he and his firm designed: “No one knows that I was the architect. Standing by the entry and watching people as they come in—the look on their faces; their jaws drop. The kids immediately run to the exhibits. Seeing that kind of reaction is so satisfying as an architect.

“The parks are such an important part of American history and culture. They are a resource that is precious and should be valued. Certainly our contribution to the park is one that I hope heightens that sense of experience and value for people. It’s immeasurable.”



These days, and for several years now, “remodel” in Jackson Hole isn’t something done to a bathroom, or a kitchen. “Five years ago, remodel projects were smaller, but today’s remodels can be 5,000-square-feet or more,” says architect Shawn Ankeny, who founded her eponymous firm in 2005. “Clients want their entire homes redone.”

It’s not just the scope of renovations that is growing, but also the number of them. “When we started, we were doing about 20 percent remodels,” says Rush Jenkins, creative director and co-owner, with his partner and COO Klaus Baer, of WRJ Design, a firm that was founded in 2003 in Manhattan and moved to Jackson in 2010. “Now about 40 percent of our projects are remodels. This is a trend I do not see slowing down in Jackson Hole.”

You can fix a house, but you can’t make land appear.
— Alison Price West, architect


No, but there are still reasons to do it.

Sorry to break this to you, but, “Remodeling a 5,000-square- foot house likely won’t save you any money over building new,” says Chris Jaubert, founding principal of Jackson-based A43 Architecture. WRJ Design’s Jenkins says, “Unless you’re going to do a light remodel, don’t go into it thinking that you’ll have a huge savings over building new.” So why remodel?

“Building from scratch takes so long now,” says Sotheby’s associate broker Rob DesLauriers. “New construction takes three to four years from land acquisition.” Even if you opt for a full remodel, that will take “only” two years. Also, “Some clients really love the remodel process,” architect Shawn Ankeny says. “They like taking something old and giving it a new life.” Renovating can also appeal to buyers who might be intimidated by all of the decision-making required during a new build. Interior designer Jacque Jenkins-Stireman says, “The responsibility and need to make decisions in a remodel are a fraction of what they would be with new construction. A remodel is usually less of a time commitment and, because there are constraints from the beginning, is less overwhelming than new construction.”

Also, many aspects of building and building materials— from windows to insulation and technology—are continually improving. “A remodel is a way to incorporate these improvements, whether in technology or with bigger and better windows, into your home,” says interior designer Shannon White. Finally, and which, in a valley that has a rich history of stewardship and set smack in the heart of one of the world’s largest intact temperate ecosystems, should have been listed first: “It feels good to reuse a house,” says Couloir Construction’s Jesse Roy. “It doesn’t end up in a landfill.”

Although saving money by renovating instead of building new is unlikely, it’s not impossible. Your best bet to see if it’s possible on your project is to involve a builder from the start. “We can do early cost analysis predictions of what a remodel would cost,” Roy says. “And we can value-engineer some components.”

A main factor driving both the increase in remodels and the size of them is that “there is just so little vacant land available now,” says Rob DesLauriers, a real estate broker in the valley since 2003 (and an associate broker with Sotheby’s since 2011). Architect Alison Price of Price West Studio says, “You can fix a house, but you can’t make land appear.” Like WRJ, Price has seen an increase in the number of renovations—versus new builds—her firm does; she estimates 85 percent of her current projects are remodels.

Land has always been scarce in Jackson Hole—because of the national parks and forests that make this valley the special place it is, only 3 percent of the land in Teton County is privately owned. “And a lot of that is over [Teton Pass] in Teton Valley, in Alta,” DesLauriers says. (Alta is in Teton County, but not in Jackson Hole.) “There’s no doubt the inventory of property for sale is scarcer now than it has been,” Jenkins says. DesLauriers says that there are 10 or fewer vacant lots in Teton Village and “all but one or two are owned by the adjacent homeowner to protect their views and privacy.” These homeowners have little desire to sell their extra land. “They’ll either sell their house first and then sell the land, or sell the two together. You have to buy the house so that you can get the vacant land,” DesLauriers says.

It can be difficult to look past the brown, log, or heavy timber, but a great team—an architect, interior designer, and builder—can create a totally new feeling in a log house.
— Jesse Roy, Couloir Construction

Teton Village isn’t alone in its scarcity of lots. “There are very few land subdivision opportunities now, and, in the older subdivisions, the best lots were taken early and built on in the late 80s, 90s, or early 2000s,” DesLauriers says. But these homes built 20 to 30 years ago, while they do sit on the best properties in their neighborhoods, have an aesthetic and flow—a materials palette heavy on log and wood and a compartmentalized layout—that doesn’t resonate with families today. “Tastes have changed in the past five years, never mind the past 20 or 30,” Jenkins says.

Homeowners want these prime locations, but “they want their homes to be open, brighter, and airier than the log homes popular 20 years ago are,” West says. “A majority of people are here to bring the outside in. They want to feel connected to nature and have their views. Many older homes were not designed to live this way.” But they can be made to. Jesse Roy, owner of Couloir Construction, which does new building and renovations, says it can be difficult to “look past the brown, log, or heavy timber, but a great team—an architect, interior designer, and builder—can create a totally new feeling in a log house.” But this does require a big commitment and investment.

“Renovations should not be done piecemeal, because once you refresh one room, the rest look outdated,” Jenkins says. “I always say, let’s dive in and do it all. It may seem overwhelming at first, but clients are always thrilled in the end.” While not all designers agree with him (see sidebar), they—along with builders and architects—do agree that surprises are inevitable in every remodel. “In any renovation, no matter how many existing drawings you have, there will be surprises,” West says. Builder Roy says, “We can speculate what’s behind a wall, or even have drawings telling us what is supposed to be behind a wall, but until you’re in it, you don’t really know what’s really there.” West has found unexpected water pipes and opened up a wall to find a duct that wasn’t shown on drawings. “Some houses have a tremendous amount of surprises, and some have less,” she says. “But they all have some.”


If you don’t want to gut an entire house, Shannon White, who founded Shannon White Design in 2008, says changing just one of the wood elements in a wood-forward older home can make a big difference. “Pick one thing—the walls, the ceiling, the floor, kitchen cabinets—and paint it. It is amazing how much a white-washed ceiling or cabinets can transform a space,” she says. “Do that and see if that is enough to give you the feeling you’re looking for. For some, it’s enough. If it’s not, it didn’t make a bigger remodel any more difficult.”

But not all surprises are bad: Jenkins and Baer remodeled their own East Jackson home; following their own advice, they “dove in and did it all.” When the vinyl siding was ripped off the exterior, a historic log cabin was revealed. “We had no idea there was this
fabulous log cabin inside our house,” Jenkins says. “We had to rethink our plan, and it was expensive to keep the cabin, but the amount of charm and warmth and history of that cabin—I wouldn’t change a single thing in our decision to renovate and save the cabin and
to rebuild the house around it. It wasn’t easy, but it was very, very well worth it.”

Jenkins makes a point: Interior designer Jacque Jenkins-Stireman (no relation to WRJ’s Rush Jenkins) says, “There is something about the coziness of log that you can’t get from another material.” She says her favorite projects apply a modern aesthetic to an outdated log home and result in “a beautiful, open, light, and bright home that still has the cozy properties of log. To me, that’s the best of both worlds.” Ankeny says many of her renovation projects include an aspect that is new, like a guest home or an addition to the existing home. “I love projects that involve reconciling new construction with existing,” she says. “It’s a fun and creative challenge to figure out how we are going to marry the two. Maybe you end up making the existing house look more like the new, or maybe you do the opposite. Either way, the end result is a building that is more interesting than its individual parts.” Jenkins-Stireman says, “Renovations can be a challenge, but they also present possibilities that sometimes just aren’t achievable with new construction.”



Interior designer Katherine Reedy, founder of EKReedy Interiors + Furniture, found the inspiration for her line’s Super-G Gate Leg Table in her own home. “In designing my home I needed a secondary dining area off the open living area,” she says. “The design of the Super-G Gate Leg Table served beautifully.” When closed, the piece serves as a sofa console; when opened, it transforms into a formal dining setting. The table gets its name from a type of alpine ski race, the super-G. To be successful in the super-G, skiers must have strength and an ability to respond to changing conditions. This table has both of those traits and is one of about 40 pieces in Reedy’s line, which she debuted at the High Point Market—the largest home-furnishings market in the country—in 2018. Although EKReedy Furniture was only launched recently, Reedy has been designing furniture for projects and her clients since she started her design firm in 1990.
Each design project has a unique style and personality, fitting to the client’s needs,” says Katherine Reedy, the founder of EKReedy Interiors + Furniture. “Often a designer will need a special piece to meet these needs. This is where design begins, creating the custom piece for an exact space.” A piece of custom furniture—whether a bed; a dining, coffee, or end table; a credenza; a dresser; or a multi-functional that there isn’t a word to describe—can be the solution to many design problems, or design dreams. The design of a custom piece of furniture doesn’t have to come from an interior designer. Rob Dearing, founder of Dearing Furniture Workshop, says that when he makes custom pieces, he’s usually working directly with homeowners and, “they usually have an idea of what they want. It’s my job to create their vision.” Here are four custom, or semi-custom—Reedy has a customize-able boutique line of furniture—pieces dreamed up, designed, and made real by area professionals.

Pretty much every project we work on requires at least one custom piece,” says Willow Creek Design Group’s founder Colleen McFadden-Walls. “Our clients hire us so that their homes look unique and different. Designing a custom piece of furniture that you can’t see anywhere else is part of that.” This square, rift-oak coffee table, made for a Three Creek home the owners wanted to refresh, was designed to not only be the perfect proportions for its space, but also to meet the client’s goal of updating their home’s aesthetic, which hadn’t been changed since the home was built about 15 years ago. “Rift oak has a smaller, consistent grain than regular oak,” says Renée Crawford, senior designer and principal at WCDG. “It is a more contemporary look than larger-grain oak.” To give the table character, WCDG designed the legs to be asymmetrical. A complementary darker finish on them creates contrast and further ensures that this is a coffee table you won’t see anywhere else, McFadden-Walls says
Paul Bertelli, design principal, president, and partner at JLF Architects, designed this desk, which is one of a matched set, and filing cabinets for an office in a Jackson Hole residence. Both pieces echo some of the contemporary elements that were already part of the home. The 3/4-inch glass top of this desk is the same glass used for the treads in a three-story glass staircase. The steel trimmed, reclaimed-oak-front desk drawers are similar to the cabinetry in the home’s kitchen. The glass-fronted filing cabinets kitty-corner from the desk are topped in steel, just like a counter elsewhere in the home. “The desks are not near the stairs or the kitchen, but they are reminders to [the homeowners] that there is continuity,” Bertelli says. “Usually there are pieces that are critical to the architecture in every project,” he says. “When we have the opportunity to design these critical pieces, especially when there are interesting materials that we’re working with in other parts of a building that we can use, they can enhance the space, to extreme levels.
“I knew this table was going to be a challenge,” says Rob Dearing, the founder of Dearing Furniture Workshop, about this custom glass and cherry coffee table. “Glass was a new material for me to work with, but I was excited about the client’s vision.” Dearing’s client, whom he had previously worked with to restore several antique pieces of furniture, had some cherry wood from a tree on their farm in Illinois. “They dreamed up the idea of a coffee table that was made of a thin layer of cherry over a surface of glass,” says Dearing, who enjoys crafting new custom pieces and also bringing antique pieces back to life. For this table, he tested glues and epoxies until he found one that “made it so you couldn’t see any of the seams” in the glass. He also used low-iron glass, an ultra clear glass that is less green or blue on the edges than traditional glass. The cherry is finished in a custom mix of tongue oil. “Whether new or restoration work, we’re not magicians pulling rabbits out of our hats,” says Dearing, who works with an apprentice, Luke Ryder. “We use science to create colors and finishes and textures on wood and other objects.


Chief cliff stone became an aesthetic through line, gracing not only the fireplace but the exterior as well in the great room, its texture contrasts the subtle palette.
Chief cliff stone became an aesthetic through line, gracing not only the fireplace but the exterior as well; in the great room, its texture contrasts the subtle palette.


Colleen McFadden-Walls + Renée Crawford



The secret to a successful design build project? A cohesive team. This dynamic —manifested in a new build by Willow Creek Design Group in collaboration with Couloir Construction—begins with decisive clients with clear objectives then executed by talents who not only know their trades but also recognize and respect the purviews of every other person working on the project.

Colleen Walls, Principal and Senior Designer of Willow Creek, had previously worked with the clients on projects in Teton County and California. Seasoned homeowners, they valued the experience and turned to her again after acquiring a lot on the Westbank. This time, Colleen was tapped as Owners Representative, an all-encompassing role that includes managing every relationship involved in the project and working across all phases—from conception to construction and installation. Thus empowered, Walls engaged architect John Kjos and Jesse Roy, owner of Couloir Construction. The clients described their dream home (replete with photographs of eyed elements); they knew what they wanted in terms of square footage, layout, budget and timeline. Kjos’ knowledge was essential early on with regard to programming, site layout and permitting. In terms of aesthetics, the reins were given to Walls and Roy to let the design develop organically.

Artwork from Altamira Fine Art crowns the wide main hallway, punctuated by custom reclaimed barn doors delineating the office and downstairs lounge.
Artwork from Altamira Fine Art crowns the wide main hallway, punctuated by custom reclaimed barn doors delineating the office and downstairs lounge.

Such parameters emboldened the team— augmented by Renée Crawford, Principal/Senior Designer at Willow Creek and Jerod Kennedy, Project Superintendent at Couloir. “We could change the project in real time,” Walls said. Case in point: the kitchen, a central site for the clients, both avid home chefs. Initially, a hallway wall and timber beams had delineated the space, but amid framing, Walls and Roy realized the room would be better served by halving the height of the wall, showcasing a wall of windows. Now, the kitchen flows into the great room and incorporates the panoramic views. “Our clients were thrilled with the process,” Roy said. Client visits became collaborative—dubbed “Team Think Tanks”—sessions that focused on further refining initial designs.

As avid home chefs, the clients envisioned the kitchen as the hub of their new home, thus investing great care in its custom design.
As avid home chefs, the clients envisioned the kitchen as the hub of their new home, thus investing great care in its custom design.

Material selections were seamless from start to finish. Oftentimes, the interior designer is handed an exterior palette to reference by the architect; instead, the designers worked with the builders to set and source the same materials for the siding—barnwood 72 corral board and Chief Cliff stone—which they then carried through inside. The character of the stone— greys, tans, rust and browns—set the tone for the interior furnishings. Originally, the clients wanted to see the same deep colors that Walls had used in their first Teton project some seven years ago. By emphasizing resale potential, she reoriented their sense of alpine aesthetics to a more timeless palette, anchored by less color and more earthy materials: ironwork, stone, timbers. Modern neutrals now complement the rustic architectural features, as expressed in harmonized rooms like the spa-like master bath with its veined marble tile, fluted glass sconces and greige vanity. “When you are working with neutrals, you have to be careful not to end up bland,” Walls said. “Texture is a way to still have zip.”

The elegant walnut table and complementary bar—custom designs by WCDG—facilitate the clients’ love for entertaining friends.
The elegant walnut table and complementary bar—custom designs by WCDG—facilitate the clients’ love for entertaining friends.

“The key was to highlight the wood and stone in the interiors,” Crawford said. “We created a serene environment with the use of texture, as opposed to pattern.”

With its custom fireplace and plush seating, the light and airy primary bedroom serves as a sanctuary for rest and relaxation.
With its custom fireplace and plush seating, the light and airy primary bedroom serves as a sanctuary for rest and relaxation.

Beyond empowering, the integrated process also proved educational for the designers; accustomed to fine-tuning finishes well into the process, the budgetary constraints compelled early decisiveness and focused impact on key elements, like the main staircase with its patinaed railing (achieved by a collaborative design with artisan Jeff Morris). By placing orders months in advance, the team avoided the supply chain delays that ensnared so many projects during the pandemic. “We finished on time and on budget, which is a testament to our collective organization and communication,” Roy said.

The primary bathroom evokes a spa with its soaking tub, refreshing neutrals and marble accent wall.
The primary bathroom evokes a spa with its soaking tub, refreshing neutrals and marble accent wall.

By design, the home fulfills not only the couple’s dreams, but also their dogs’. Adopting an upside-down layout, the upstairs living areas are encircled in a wraparound porch that encourages the pups to sun come summertime. And a side dog run—equipped with hose-able turf—connects to the mudroom via a gracious dog door. “This is a Shangri-la for dogs,” Walls enthused.

Chief cliff stone frames the custom gun-blued patinaed stairwell created by Heart Four Ironworks and accented by accessories from Belle Cose Home.
Chief cliff stone frames the custom gun-blued patinaed stairwell created by Heart Four Ironworks and accented by accessories from Belle Cose Home.

The dream extends to the team too. Reflecting on the experience, Roy likens visiting the job site to checking in with friends. “The clients didn’t want to be involved with micromanaging. They knew they had hired the right team. We all took enormous pride in the project.” Walls echoes the sentiment from the angle of client appreciation. “When you have clients who are wonderful people, you want to work even harder for them.”

Involved from the start, WCDG helped define the exterior of chief cliff stone and reclaimed siding, materials seamlessly carried through inside.
Involved from the start, WCDG helped define the exterior of chief cliff stone and reclaimed siding, materials seamlessly carried through inside.


Traditional and progressive styles meld in this updated ranch-style rambler home that is surrounded by reflecting ponds and native trees, grasses, and wildflowers.
Traditional and progressive styles meld in this updated ranch-style rambler home that is surrounded by reflecting ponds and native trees, grasses, and wildflowers.



Ward | Blake Architects’ vision is clear: to sensitively, sustainably and artistically design homes and buildings that are integral with their locations. Principal Tom Ward says, “At Ward | Blake, we eschew traditional form for organic form. At building sites, we study the view corridors, orientation to the sun and natural contours of the land to design and situate structures. The result is a tangible relationship with the site, and it is an architectural process we can use anywhere in the world.”

Founded in Jackson in 1996, Ward | Blake has been designing custom homes, schools, places of worship and commercial buildings throughout the intermountain West. From the beginning, Tom Ward and Mitch Blake have used a bio-climatically responsible approach. From their lifelong study of architecture, they use fundamental design methods to assure sensitivity to the surrounding environment. They consider how much sun will penetrate the building, which naturally warms and lights its rooms. They study the thermal envelope so that they can reduce heating and cooling of buildings. They ask how large roof overhangs should be to provide shelter from weather. They select building materials that will withstand UV penetration, intense storms and extreme temperatures.

Whether from inside the glass enclosure or from the deck, one can observe waterfowl, passing wildlife, or the changes in aspen and cottonwood leaves.
Whether from inside the glass enclosure or from the deck, one can observe waterfowl, passing wildlife, or the changes in aspen and cottonwood leaves.


That is not to say that function trumps form. There is beauty in all of Ward | Blake’s work. Tom Ward says that they operate with three pillars of architecture—as art and science—at the forefront: A building must be firm, commodious and delightful. Ward says, “When you enter any home that we have designed, we want an emotional reaction, one of excitement. The place needs to be cool.”

This home mimics its surroundings with native sod roofing and roof pitches that align with the home site’s topography.
This home mimics its surroundings with native sod roofing and roof pitches that align with the home site’s topography.

When Ward | Blake opened their firm, Jackson Hole was replete with Old West-style log homes. The principals, nevertheless, insisted on modernist approaches. Mitch Blake says, for instance, “We were among the first in Jackson to integrate sod roofs into homes. The sod allows the house to blend with its surroundings, and it is a beautiful and practical application of sustainability.” The turf changes shades with the seasons, so a home looks different from early spring to summer through autumn. Additionally, sod roofs act as a thermal mass and they slow run- off, which reduces erosion from the soil below the drip line.

Tom Ward and Mitch Blake design buildings to last and to a lovely aesthetic. Ward says, “Anything we have designed in our partnership is such that it will withstand time and the elements. And, we assure that it will have been artfully crafted.”

Emblematic of Ward | Blake design, a window that frames a stunning view yet does not expose the home to excessive sunlight or heat loss.
Emblematic of Ward | Blake design, a window that frames a stunning view yet does not expose the home to excessive sunlight or heat loss.

View From the Top

The renovation sought to open up the home, offering a more intuitive layout and inviting, modern ambiance. Utilizing a thoughtful blend of finishes, the team created a space that is at once classic and contemporary.

Story By
Photos By





Jackson Hole offers beauty that is absolute, enduring and truly timeless. At each turn, the rugged perfection of the wild spaces of the Teton Range and the expansive, river-carved valley it towers above have evoked awe and thrill for as long as humans have laid eyes on them. They’ve certainly never fallen out of fashion.

In contrast, Jackson Hole residents’ preferences within the human-designed world are ephemeral. Trends come and go. Styles fade in and out as the decades roll by. And when they pass, they often leave behind once state-of-the-art spaces that now invite reimagining.

The Starflower Home is a perfect example. Located in the steep, forested neighborhood of Indian Paintbrush, it was constructed in the mid-1970s. When new owners acquired it four years ago, this same juxtaposition was at play: While the landscape views were as breathtaking as ever, and the pristine hillside woods lent an immersive richness, the home style itself was outdated.

Expansive windows and spacious decks create an effortless flow between the comfort of the interior and the peace of the surrounding natural exteriors.

“The clients had come up here for a number of years, and of course fallen in love—a pretty standard love affair with our great part of the world,” explains Kurt Dubbe, of Dubbe Moulder Architects, the lead architect on the remodel project. “They purchased the existing home, which was fairly stylized and definitely dated.”

Creating a stark contrast by darkening the existing exposed ceiling beams brought the home a sense of balance.

In collaboration with Dubbe’s team, Creative Building Solutions’ owner and principal, Chad Grohne, interior designers from Forsyth & Brown and landscaping experts from MountainScapes, the property owners shared their vision for the project: a renewed space that offered a more home-like and contemporary atmosphere while continuing to emphasize the surrounding views.

The original, rather low-slung, almost ranch-style building was located high up on a hill. “The views are breathtaking in the woods,” observes Dubbe. “We evaluated all the existing conditions and determined that the bones of the structure were sound: It’s a very well-built house. They wanted a new set of ‘clothes’ that would be a little bit less stylized in a dated sense. We set out to design something more timeless, but still infused with a mountain contemporary ambiance.”

“It’s a supremely cool house,” agrees Grohne. “It’s amazing when you first walk in how impactful it is on the whole experience to see the wide-open views of the valley. The perspective of the house is incredible—a view like that is quite rare. You’re positioned high above the valley and looking all the way to the Tetons.”

The team created a vision that was built around the axis of the Teton views and sought to bring an increased sense of openness and flow to the home. Grohne achieved this ambiance through the thoughtful use of glass, stone and natural wood finishes. With an eye to creating a seamless indoor and outdoor experience, the team expanded windows, improved multiple decks and designed a unique semi-covered patio space. Partially enclosed with rough-hewn stone walls and sheltered under an innovative butterfly roof, the patio boasts a built-in grill and fire pit, further underscoring the effortless flow between the home’s interior and the unparalleled beauty of the surrounding landscape.

One end of the main floor is anchored around a stunning, contemporary fireplace. Replacing the original stylized moss-rock feature and diminutive firebox, the sleek, bold, subtly industrial new fireplace produces a sophisticated balance in the space. The steel plates with blued and waxed finish and the exposed fasteners and rivets command a modern sense of elegance.

Contributing to the air of expansiveness is the home’s lofty ceiling with exposed beams. After exploring multiple approaches, explains Amy Brown, of interior design firm Forsyth & Brown, the team decided to lend the beams a dark color, creating a high contrast with the ceiling itself. “The richness of the beams in the living space helps weigh out the fireplace,” she observes.

Perched in the inimitable Indian Paintbrush neighborhood south of Wilson, this artfully renovated home celebrates a breathtaking perspective on the surrounding peaks and valley below.

Brown believes that this project exemplifies the potential inherent in remodeling an existing home instead of building anew. “The possibilities of remodeling versus tearing something down and starting all over again are expansive. This house was a prime place to do that. It had good bones and just needed new interior finishing,” she says.

Brown and her partner, Jodi Forsyth, found inspiration in both the styles and interior pieces that the family already owned, as well as the vision to create a space that highlighted exterior views and natural elegance. Ultimately, they selected finishes that offered lasting beauty through simplicity.

“It was a fun challenge to design with the given mix of styles—and to select the interior finishes that would complement all of it and create a cohesive, balanced environment,” Forsyth recalls.

The ease with which the home blends into the surroundings, and the harmonious flow among materials, including the landscaping, are flawless. “The overall goal was to restore the property back to a more natural, native state,” says Sean Macauley, of MountainScapes Landscaping. “The vision was to have it blend in with the already-existing surroundings. To achieve that, we used native grass sod and plant materials that we saw already flourishing on the property. The materials were all sourced locally, and we were able to make the house smoothly integrate into the hillside.”

By mindfully embracing and showcasing what made this home unique in its original form, the team achieved a stunning renovation of a truly exceptional property. Reimagining the home’s flow, prioritizing a sense of openness and balance, and enhancing the ways in which the space embraced a mountain contemporary style, the creative team’s vision sprang to life in a vibrant way. Their success revolved around recognizing what elements required an update and what pieces merited preservation. Clearly, they agreed on celebrating the most awe-inspiring and enduring feature of this distinctive space: an inimitable perspective on one of the most spectacular mountain panoramas on earth.