When John Haubert started work on his house in 1995, he had no idea how protracted the process would become. Seven years and three designers later, he has a stunning interior that belies the plain exterior of his
“It kind of became a snowball thing — first with Lynne, then the kitchen and bath designer, then Jill — and it wore me out,” he says.
The results, however, were well worth it. With the help of interior designer Lynne Wilkin, kitchen and bath designer Alan Hilsabeck and faux paint artist Jill Pumpelley, Haubert has created an interior in his 1,900-square-foot, 1952 home that wouldn’t be out of place in the pages of some chi-chi design magazine.
Most of the inspiration for the décor came from Haubert’s art collection, which includes mostly colorful contemporary paintings and equally colorful art glass pieces. Not surprisingly, Haubert says his main influence is color.
“Lots of color and textures,” he says. “Those huge brand new homes with flat white walls drive me crazy.”
Perhaps no one knows this pet peeve of his better than Pumpelley, who spent about six months painting no fewer than eight rooms in Haubert’s home. But the extent of the work didn’t phase her, partly because she calls her client “an absolute joy” to work with.
“It’s really nice to work with people who are so open minded about their homes,” she ways. “John likes very different and unique things, so it was really fun to work with him.”
One of the most dramatic displays of Pumpelley’s work can be seen in the home’s entryway. Haubert knew he wanted a purple hue to help showcase the art he has displayed there. Rather than just slap purple paint on the walls, though, Pumpelley used a drag technique to give them depth, and followed that with five coats of lacquer. The work took about two weeks, Pumpelley says, but is her favorite part of the house.
The rest of the rooms are equally gorgeous. All three designers worked together to match fabrics and paint techniques with other materials such as tiling and countertops. And with the rest of the house awash in color, the kitchen provides intriguing contrast, with lots of silvers and blacks, including updated Subzero appliances and a unique backsplash that incorporates floating stainless steel tiles.
In the rest of the rooms, Pumpelley used other faux painting techniques, including paper macheing brown butcher paper into the master bath and covering that with a metallic bronze paint. The result is very
In fact, no detail was left unnoticed. Haubert also rewired the entire house, installing low-voltage recessed lighting. All the lights operate on dimmer switches, so the ambience of a room or the look of a painting can be adjusted in seconds.
But the house is very comfortable despite all this attention to detail, and Haubert says that, too, is no accident. He wanted the house to be “livable.”
“I didn’t want to create a museum where no one could sit down,” he says.
To this end, there is one room in the house where no designer-chosen fabrics were put in, no sophisticated faux painting techniques were introduced. It’s the sunroom, just off the master bedroom, and it’s where Haubert spends a lot of time.
It is also the room that contains something Haubert might be most proud of, despite his extensive art collection and fantastic décor.
“Check this out,” he says, hitting a button on a remote. A Bang and Olufsen high-definition TV that sits motionless pressed up against one wall, leaving a visitor to wonder if it is ever used, slowly swivels out to face the room’s couches.
“It’s a guy thing, I guess,” Haubert says with a grin.
