Smith, at the time pregnant with her second child, began on what she now calls “a chill renovation,” keeping the layout, adding strategic millwork, and refreshing surfaces. Wherever she could, she unearthed interior stonework, otherwise giving walls uniform coats of Benjamin Moore’s White Blush paint. (Exceptions included the guest room, cocooned in bold stripes, and her son Bash’s room, lined in splattered craft paper.) In place of the dark cherry floors she installed wide planks of fumed oak, with a spotty and seemingly timeworn stain that forgives messy meal prep and camouflages accidental spills. True to that the spirit of efficiency and recognizing her own limited bandwidth, she loosened her grip ever so—eschewing custom tilework and her go-to Barber Wilson fittings in favor of off-the-shelf offerings. “It was Studio M.R.S. lite,” quips Smith.
Smith, at the time pregnant with her second child, began on what she now calls “a chill renovation,” keeping the layout, adding strategic millwork, and refreshing surfaces. Wherever she could, she unearthed interior stonework, otherwise giving walls uniform coats of Benjamin Moore’s White Blush paint. (Exceptions included the guest room, cocooned in bold stripes, and her son Bash’s room, lined in splattered craft paper.) In place of the dark cherry floors she installed wide planks of fumed oak, with a spotty and seemingly timeworn stain that forgives messy meal prep and camouflages accidental spills. True to that the spirit of efficiency and recognizing her own limited bandwidth, she loosened her grip, eschewing custom tilework and her go-to Barber Wilson fittings in favor of off-the-shelf offerings. “It was Studio M.R.S. lite,” quips Smith.
In the office, the same industrial pendant that had previously been installed in Smith’s Long Island kitchen now hangs above the antique Charles Dudouyt table table that serves as her desk.
Alan Lewis