o unify the room, Andrews designed a custom rug with uneven stripes that evoke tiny waves
lapping at the shore. “I wanted something with a strong pattern that wasn’t obnoxious,”
says Andrews, “a linear design that would draw your eye through the room and to the
lake.” Above, he hung a trio of large mirrors on an otherwise blank white wall, angling them
to precisely capture singular vignettes of the room below. “Mirrors are one of my favorite
design tricks—elements I put into every home in different ways,” he says. “They give you a completely
different perspective on this room. I used them in lieu of art; the artwork is basically the reflection of the
rest of the room.” Draperies of Opuzen fabric temper the strong Tahoe sunlight.
The great room opens onto the dining room, an intimate, single-height space tucked beneath the
floor above. Andrews again started with the lighting—the repurposed street lamps from Paris—and
added a generously sized table from Big Daddy Antiques whose metal base was crafted from a
disassembled bridge. It is surrounded by tall-backed 716 dining chairs from A. Rudin covered in a lively
Kravet ikat pattern. (Andrews has just launched his first collection of seating and case goods with A.
Rudin, which he describes as “contemporary versions of traditional forms.”) At each end of the table,
Andrews placed Daley wing chairs from Lucca Antiques. The couple asked for reclaimed wood, and
Andrews answered with barn siding in a chevron pattern on one wall, a fitting backdrop for a vintage
metal wall sculpture from Blackman Cruz that keeps the mood light. “Essentially it’s a formal dining
room that’s not so formal,” Andrews says.