The home’s informal dining space has a slightly rustic feel, sporting bronze and wood in the form of a Lindsey Adams Adelman chandelier for Roll & Hill and a table
by Terry Dwan, mixed with folk-art touches like the Eames House Birds and a cuckoo clock from Diamantini & Domeniconi. The PK8
chairs from Republic of
Fritz Hansen were designed by Poul Kjærlholm and
sourced from Kuhl-Linscomb
in Houston, Texas.
Konstantin Grcic’s Venus chairs for ClassiCon surround a table by Poliform in the formal dining room. Hill selected the Flos chandelier designed by Marcel Wanders for its “Old World reverence.” The sleek fireplace mantel was designed by Hill and cobbled together onsite from three solid slabs of limestone.
Two pieces from E15’s Shiraz sofa flank
the company’s wooden Leila side tables.
Hill chose to use flat paint in Benjamin Moore’s Decorators White throughout the home
because it emphasizes the chalkiness of the plaster walls, making them “look almost like slate.” The sconce shown in the foreground—David Chipperfield’s Corrubedo design for
FontanaArte—gives off a soft glow and
replaces the dozens of paper-lampshade
wall fixtures the owners found in the house when they bought it. Stewart Cohen’s
zany photograph of a gun-toting Marfa
resident encapsulates Barbara Hill’s offbeat brand of decorating: bright and minimal,
yet darkly humorous.
To highlight the existing architecture of the home, Hill
retained the dark polish of
the casement windows, which
she finds enhances period details instead of undermining
them. In the rear sunroom, the vintage Case Study furniture pieces with Plexiglas bases are from Metro Retro
A Bourgie lamp by Kartell is
atop an old marble end table by Knoll, and the Gan kilim rug pictures a branch motif echoed in the kitchen and breakfast room.
Intended for a much bigger room in the family’s previous home, the bed was designed by Hill and is covered in Maharam fabric in a doily print called Intricate 001 Charcoal. The side tables
are from West Elm, and the AJ table lamp is by Arne Jacobsen for Louis Poulsen.
Hill had the overhead lighting in the kitchen customized by Rich Brilliant Willing in a pert orange that accents the primarily black-and-white interior scheme. She added a stainless steel kitchen island by Bulthaup, its glossiness and “clean feel” tempered by the plastic stacking stools designed by Konstantin Grcic for Magis. The cabinets,
appliances, countertops, and marble tile were kept as-is, with the addition of several coats of white paint in order to blend seamlessly with the walls.