For the design of this new white-washed Arts & Crafts house with limestone accents, PPA turned to the work of Harrie T. Lindeberg and his British counterparts C. F. A. Voysey and Sir Edwin Lutyens. Weaving together the irregular threads of the romantic and vernacular with the more rigorous and logical elements of the classical idiom, PPA merged symmetry and balance with more picturesque elements, such as dormer windows, rambling side wings, and curved bays. PPA reinforced the symmetry of the primary south and north elevations with center doors, substantial chimneys with copper caps, a hipped roof, and pairs of gables as well as a porte cochere supported by pairs of Doric limestone columns at the entrance and colossal windows bays trimmed in limestone on the garden facade. As the house spreads to the east and west, PPA’s language becomes less formal with side porches, lower-scale pavilions, and a quirky jog in the facade that incorporates the curve of a back staircase. The interiors reflect a classical rigor and unfold in enfilades: a primary axis leads from the porte cochere, through the front door and double-height entry hall and living room to the landscape beyond while a secondary axis, underscored by a series of graceful arches, runs the width of the house. A close collaboration with the interior designers Miles Redd and David Kaihoi of Redd Kaihoi from the onset allowed the décor and PPA’s architecture to play off one another, letting the decoration rise up to the voluptuous architectural details of PPA’s lofty interiors, giving each room a distinct character. The ceiling heights provide ample wall space for art and gives breathing room to PPA’s scrolling brackets, window enframements, bracketed overdoors, keystones, and pediments. In the stair hall, a great casement window draws in sunlight, emphasizing the curve of the stair accentuated by a deep blue Chinoiserie railing—a fresh take on a time-old classic.