Layla ZulfaThe migration of high-end interior designers from urban centers to the pastoral landscapes of New York’s northern suburbs has signaled a significant shift in the luxury residential market, a trend exemplified by the recent completion of Michelle R. Smith’s Westchester County residence. Smith, the founder of the design firm Studio M.R.S., recently unveiled her family’s historic courtyard home, a project that highlights a departure from traditional, rigid renovation methodologies in favor of what the designer describes as a "chill renovation." By prioritizing the redeployment of existing furniture and the preservation of original architectural "bones," the project serves as a case study in sustainable luxury and personal curation.
The Acquisition and Architectural Significance of the Westchester Compound
Two years ago, Smith and her partner, documentary filmmaker Sebastiano Tomada, transitioned from the Garden District of New Orleans to Westchester County. The move was prompted by a desire to reconnect with the professional gravity of New York City while maintaining a manageable pace of life for their young family. Unlike many buyers who prioritize specific school districts or towns, Smith noted that their search was primarily "house-driven." This search led them to a unique property consisting of four distinct stone structures arranged around a central courtyard.
Historically, these buildings served as outbuildings for a larger, sprawling country estate. Such structures—originally intended as stables, carriage houses, or staff quarters—have become highly coveted in the Hudson Valley and Westchester real estate markets due to their robust masonry and unconventional layouts. The Smith residence is characterized by dynamic rooflines and internal masonry walls, features that provided a rugged, historical contrast to the more polished interiors found in contemporary suburban builds.
Industry analysts suggest that the "compound" style of living, where a residence is split across multiple structures, has seen a 15% increase in demand among high-net-worth buyers since 2020. This layout offers inherent flexibility for home offices, guest quarters, and creative studios—a necessity for a household comprising a designer and a filmmaker.
Chronology of the "Studio M.R.S. Lite" Renovation
The renovation process began while Smith was pregnant with her second child, a factor that heavily influenced the project’s timeline and scope. Opting against a total structural overhaul, Smith executed what she termed "Studio M.R.S. Lite." This approach focused on strategic millwork, surface refreshes, and the unearthing of original materials rather than a complete reconfiguration of the floor plan.
Phase 1: Surface Restoration and Material Selection
The initial phase involved addressing the previous owner’s aesthetic choices, which did not align with Smith’s vision. Dark cherry wood flooring, a staple of early 2000s luxury renovations, was replaced with wide planks of fumed oak. The selection of fumed oak was a pragmatic choice; the "spotty" and timeworn stain was specifically chosen to camouflage the inevitable wear and tear of a household with young children.
Phase 2: Color Palette and Lighting
To unify the various stone structures, Smith applied a consistent coat of Benjamin Moore’s "White Blush" to the majority of the interior walls. This neutral backdrop was intended to highlight the chunky marble lintels and sills original to the buildings. Deviations from this palette were reserved for private quarters, such as a guest room featuring bold stripes and a child’s room lined in splattered craft paper.
Phase 3: Kitchen and Utility Customization
The kitchen renovation represented the most significant departure from the "off-the-shelf" philosophy. Smith replaced a modern kitchen scheme with custom lower cabinetry featuring unique profiles on the top and bottom edges. The backsplash, a four-inch-square grid of cream-colored scullery tile, was accented with blue stripes and vertical liners, creating a texture the designer likened to "corduroy."
The Economics of Furniture Redeployment
A central tenet of the Westchester project was the reuse of Smith’s extensive collection of furniture and decor, gathered over years of living in Manhattan, Brooklyn, New Orleans, and Long Island. In an industry often driven by new consumption, Smith’s "move it all in" philosophy offers a counter-narrative to the standard shopping-spree model associated with new home acquisitions.
Key pieces integrated into the Westchester home include:
- The Macrame Pendant: Originally located in her Brooklyn townhouse, the sculptural fixture now serves as a focal point in the dining room.
- Industrial Lighting: A fixture previously used in a Long Island kitchen was repurposed for Smith’s home office.
- Adaptive Bedding: Two antique twin beds from a previous residence in New Orleans were pushed together to accommodate a king-size mattress in the primary bedroom.
- Bespoke Vanity: In the powder room, Smith utilized two antique filing cabinets as the base for a custom marble-topped vanity.
This method of "dynamic vignettes" not only reduces the carbon footprint associated with furnishing a home but also ensures a sense of continuity and history. According to a 2023 report by the Sustainable Furnishings Council, the average high-end interior design project can generate several tons of waste; Smith’s approach significantly mitigates this impact by treating furniture as a mobile asset rather than a site-specific installation.
Market Trends: The Suburban Shift and Historic Preservation
The Westchester real estate market has undergone a transformation in the post-pandemic era. Data from the New York State Association of Realtors indicates that while inventory remains low, the demand for "architecturally significant" homes—those with historic provenance or unique structural features—has outpaced the demand for traditional new-build McMansions.
Smith’s property, with its four-structure layout, reflects a broader interest in "adaptive reuse" within the residential sector. Converting former estate outbuildings into primary residences requires a sophisticated understanding of masonry and thermal efficiency. By keeping the internal masonry walls exposed, Smith preserved the thermal mass properties of the stone, which helps regulate indoor temperatures, while also leaning into the "pastoral romance" of the Hudson Valley aesthetic.
Industry Reactions and Designer Perspective
Peer reviews of the project have noted Smith’s ability to balance high-concept design with the practicalities of family life. The decision to eschew custom tilework and high-end fittings, such as her usual Barber Wilson selections, in favor of off-the-shelf options has been viewed as a refreshing admission of the constraints faced by working professionals.
"I’ve designed enough spaces for myself to know everything will find a place," Smith stated regarding her intuitive process. "I don’t even do a furniture plan. Just move it all in." This lack of a formal plan is rare in the high-stakes world of interior design, where every square inch is typically rendered in 3D before a single piece of furniture is purchased.
Industry observers suggest that Smith’s success with this "intuitive" model may encourage other designers to adopt more flexible, less labor-intensive approaches for their personal projects. It signals a move away from the "curated perfection" seen on social media toward a more lived-in, authentic form of luxury.
Broader Impact and Implications
The completion of the Smith-Tomada residence comes at a time when the interior design industry is grappling with issues of sustainability and the "fast furniture" crisis. By demonstrating that a high-end, "Architectural Digest-worthy" home can be achieved through the clever redeployment of existing assets and strategic, limited renovations, Smith provides a template for future residential projects.
Furthermore, the project highlights the ongoing cultural relevance of the New York suburbs. Towns in Westchester County are increasingly becoming hubs for creative professionals who require proximity to the city but seek a deeper connection to land and history. The "pastoral romance" of Smith’s home—void of "cottagecore" clichés like heavy plaids—represents a modern, sophisticated interpretation of country living.
As the family settles into the stone compound, the residence stands as a testament to the idea that a home is a collection of contexts. Whether it is a vintage eBay pendant lamp in the entryway or a fish mount from a Costa Rican excursion in the potting shed, each object tells a story of migration and adaptation. For Michelle R. Smith, the Westchester home is not a final destination but a fresh context for a life’s work of collecting and creating. The "Studio M.R.S. Lite" approach may well become a standard for designers seeking to balance the demands of a high-profile career with the spontaneous needs of a growing family, proving that in design, sometimes the most "chill" renovation is also the most successful.
