“David and I can appreciate nice things but we simply could not visualize custom objects. Steve, on the other hand, could sketch things in color
within minutes,” Robyn says.
His unique six-sided kitchen table, featuring a top covered with bow-tie-shaped Heath ceramic tiles, came with a walnut bench that is shaped by
San Francisco woodworker Jim Sellars to fit against the angular, corrugated
metal-clad golden table base. Curved Bassam Fellows walnut and brass
spindle dining chairs — like modern Windsor chairs — followed as the
“It was a test run,” Justrich says. “They told me they were ready for a
minimal, modern approach, and this told me how far they would veer
from a traditional look.”
More of his designs followed, and gradually they consigned the old
furniture to vintage stores.
“We made everything lower, because the windows started low, and
wherever possible the furniture, such as a long bench in the living room,
is integrated with the architecture,” Justrich says.
He also took cues from EHDD’s naturalistic palette and added colors
to doors and windows, all derived from the landscape. The painted
front door’s Aztec orange color, shades of gold like the grasses outside,
and the gray of weathered wood appear again in upholstery fabrics and
floor-to-ceiling drapes that hang from a single curtain rail along the
contiguous south wall of the central wing.
In the narrow double-height foyer where stacked windows on the west
wall made the installation of other kinds of art impossible, he commissioned an orange ombre wall hanging of diaphanous wool by Rosemary
Hallgarten. It hangs above a high-back De La Espada bench and cleverly
covers both windows without blocking the light.