Barn
Storming
House & Garden, November 2003
Architects William Welch and Andrea Filippone have been working
on one project for more than ten years, and they expect the four
barn, one silo renovation to continue for another eight years. For
them, partners in life as well as in Tendenze Design, this epic
endeavor is similar to that of a tailor who lives over his shop,
except that they live in their showroom and their improvised dining
room is a space that 60 cows once called home.
The two met as Harvard students, and in 1987 they began collaborating
on renovation projects – work that had been supporting Welch,
a Cranbrook-trained artist, and providing him with spare building
parts. Usually, the couple worked on older structures by anonymous
builders who had been guided by pattern books or architectural treatises.
As their client roster expanded, so did their collection of building
parts. At the end of each project, “there were always pieces
left over,” Filippone says.
Soon the collection included everything from slabs of bluestone
to hand-hewn beams to a seventeenth-century English linenfold-paneled
room. But the couple’s penchant for making what they didn’t
have meant that they needed a woodworking shop, a mold-making area,
and a “hospital” for antique light fixtures. So in 1992,
when they heard of a New Jersey dairy farm with four barns and a
silo, they bought it, lock, stock, and fire truck. They have restored
the barns, which had been uninhabited by man or cow for 30 years,
and unified them with a new central structure, a courtyard, and
gardens. There is no formal name or fixed period for this look.
“It is hard to put a finger on what makes it spectacular,”
says Stathis Andris, a client who has become a friend. “The
dimensions? The elements? The symmetry? The design?”
Perhaps it doesn’t matter. Inside the main structure, you
can’t tell the at the construction is recent. It’s the
couple’s signature style, a mutable combination of refined
elements and the graceful imperfections of handcraftsmanship. From
the unpaved road, their home looks like an updated nineteenth-century
barn and silo. The kitchen garden has dry-stack stone walls that
the couple built without cement, aided by stonemason John Neto.
He recalls searching for stones with “ a nice face, a weathered
look. It took a lot of patience.” “We’ve tried
to create the illusion that our home has been here forever,”
Filippone says. On the exterior, they used a gray-green stain with
a touch of brown – a color inspired by one that English gardeners
use to blend fences into fields. The couple diluted the stain, then
added white to make it look sun-faded.
Throughout the interior, they employed similar invisible aging
aids. In the cozy, a small sitting nook, the smoke-darkened mantelpiece
and exposed beams suggest decades of use, even though they are part
of the new structure. In the high-ceilinged kitchen, a glistening
black Aga stove looks as if it has been in place for years. The
couple used sand from a local river when they missed the cement
for the wall of salvaged bricks, As the cement dried, they scraped
it with a stiff brush, which made the material coarser, handlaid,
and older.
Another hint of the past comes from the nineteenth-century verdigris-tinged
brass handles on the Sub-Zero refrigerator, which is faced with
walnut plywood that echoes the book-matched crotch-cut walnut used
in the kitchen cabinetry, installed with the help of David James,
a fine cabinetmaker who has worked with Welch and Filippone for
ten years. The wood enhances the fire-blackened exterior porch columns
and pediment that surround the pantry door – a narrow, gray-green
metal gate that the couple found in a Paris flea market. Visible
through the gate is an antique American walnut linen cabinet, an
estate auction find that inspired the kitchen.
Upstairs is a simple bedroom with a fireplace set into it, allowing
perfect symmetry for the windows and creating an unexpected sitting
space-cum-hideout for reading. A hideaway wall in the bath is the
backstop for the shower, which is otherwise without walls. There’s
a tree house feel to the room, with two windowed walls framing views
of rolling hills. “I like to take a shower and see the greenery,”
Filippone says. “It is very liberating. I’m not a camper,
so that’s as close as I get.”
It is in the fully renovated barn behind the kitchen that the couple’s
style reaches its fullest expression. The space celebrates the beauty
that they find in well-made old things, what Welch calls “
the humility of everydayness.” The room has elongated yet
classical proportions and a staggering suggestion of the breadth
of the couple’s collection of interior offerings. Anchoring
each end is a massive Renaissance Revival mantelpiece rescued from
a new York City town house. Mantels and other items from a 42nd
Street building bear “Peepland” labels. Unifying what
would otherwise seem like an endless clutter of urns, columns, gilded
frames, and potted plants is the tone-on-tone use of fabric. The
layering of color “brings a quietness to the rooms,”
Welch says. “The simplicity of that is beautiful.”
The couple hope to add three bedrooms and a bath in the silo, and
a library over the kitchen. Only by working on their offices, in
the barn connected to the new structure, did they realize where
to put the library. That process is what the house is all about.
“I’ve been more informed, having lived here over time,”
Filippone says. “If I had to make all those decisions at once,
they wouldn’t have been right. As the seasons change, you
see things differently.”
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