the 450-square-foot “summerhouse” is a perfect fall hangout with its working fireplace and screened walls. The slate roof mimics the look of the main house.
Craig Roberts uses
effectively call out art, arch-
itecture, or other points of
focus. “Recessed has to be
done well, otherwise it doesn’t
have any meaning,” he says.
“Any light that aims at the floor
casts shadows and is uncom-
fortable.” His preference to
illuminate a room is indirect
lighting. For example, (facing
page, clockwise from top
left) lights hidden in soffits
draw attention to the peaked
ceiling in the master bath;
xenon lights are tucked behind
the headboard in the master
bedroom to play up folk-art
objects; in the living room
xenon lights concealed in
bookcases cast a warm yellow
hue, while spots of light accent
art and floral arrangements; in
the summerhouse a seating
niche glows with indirect and
accent lighting making it a focal
point in the screened room.
design decisions Recessed Restraint
dining table from an Italian refectory is paired with a set of contemporary woven-rattan chairs. The hanging silk artwork in the
entryway dates to the 19th century.
Down the hill from the main house, a cascade of greenery
and stone steps leads to what Roberts calls his little summerhouse, a freestanding 450-square-foot building with
a working fireplace, screened walls, and a 14-foot-
high bead-board ceiling. Built in 2001, the outdoor
room has a slate roof that maintains the spirit and
scale of the main house. At night, the outbuilding
looks like a big lantern by the woods as Roberts’s deft lighting creates mood and drama.
Together, the main house and summerhouse provide intimate spaces with open views of mountains and trees. “It is,” says
Roberts, “a magical place.”