This garage space uses iconic checkerboard floor tiles to contrast the rustic barn door that provides entry to the rest of The Barn.

Another view of the garage reveals its extensive space to house vehicles and protect them from the elements.

The entryway leads into the living room, and a low wall hides the staircase that leads to the lower level from view.

Custom-designed back-painted glass in the kitchen backsplash brings the blue-gray tones of the water inside, while Caesarstone Black Raven countertops provide a stark contrast. Bulthaup appliances update the kitchen's functionality.

In the kitchen, the same materials and shapes are echoed, including the custom barstools that surround the kitchen island—which bare resemblance to the seating options he designed for the living room.

The original kitchen was designed by the Booths, and Robert renovated it in 2000, making it ergonomic for his wife Sirkka's shorter frame.

An open floor plan with uninterrupted views from the front to the back of the home provides a stark transformation from the original “boxy” floor plan. Designed to cater to university events as well as day-to-day routines of the home’s residents, Meade notes that the first floor was designed so that “only one room can close itself off in order to create visual and physical openess. If you are hosting events, you can have everyone in a single space, but still have them in different “spaces.”

Kitchen

Picture window looks onto a porch with a nice view of the yard. Sun sets directly into the window view.

Casual meals are eaten at the kitchen’s glacier white Corian countertop, which features Aalto K65 stools. The island’s Blanco sinks offer a direct, uninterrupted sightline to the garden.

While the original home was dark, like other homes of its period, the addition allowed Andrews and his team to let in an abundance of natural light.

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.

The façade of the interwar dwelling was painted bright white and left largely unchanged, with a sole burst of color coming from a yellow DesignByThem “tomtom” letterbox. Though the extension is invisible from the street, architect Christopher Polly says it provides “significant additional freedom for the owners and their three young children to grow into.”

Photos By Rob Turner Photography