A Masterclass in Atmospheric Restoration: Elizabeth Roberts Architects Revitalizes Jackson’s Alpine House

When hotelier Erik Warner acquired the Alpine House in Jackson, Wyoming, back in 2020, he found himself in the enviable position of possessing a property with immense character, yet lacking a singular, cohesive vision. Rather than rushing into a high-impact renovation that might have erased the building’s history or disrupted its soul, Warner opted for a patient, observational approach. He chose to inhabit the space, letting the quiet rhythms of the lodge dictate the path forward. Over several years, his initial uncertainty coalesced into a profound ambition: to transform the property into a true "home away from home"—a sanctuary that felt less like a commercial lodging and more like a deeply personal, lived-in residence.

To execute this vision, Warner turned to the Brooklyn-based studio Elizabeth Roberts Architects (ERA). Known for their sophisticated residential work and an innate ability to balance historical integrity with contemporary comfort, the firm was uniquely positioned to handle the nuances of the Alpine House. Warner’s requirements were specific and somewhat unconventional for a hospitality project: he sought a "collected" rather than "designed" aesthetic, prioritizing warmth over opulence, all while adhering to a mandate of environmental consciousness and economic practicality.

The resulting transformation is a testament to the power of thoughtful, surgical design interventions. Working alongside the firm’s eponymous principal, Elizabeth Roberts, and the director of interior design, Robby Rathmann-Noonan, the team decided to bypass major structural overhauls. Instead, they focused on a comprehensive, room-by-room evolution that left the architecture largely untouched, relying instead on the alchemy of paint, carefully curated wallcoverings, bespoke tile work, and strategic furniture placement to breathe new life into the mountain retreat.

The exterior of the property serves as the first indicator of this shift. Roberts implemented a bold, monochromatic color-drenching technique, coating the wood siding in a deep, moody green. The shade, a custom-mixed stain from the Sherwin-Williams Woodscapes line, features a precise blend of green infused with 75 percent black. The result is a matte, understated finish that feels both modern and grounded in its natural surroundings, proving that a dramatic coat of paint can often achieve what an expensive architectural renovation cannot.

Inside, the transition from "dated hotel" to "chic mountain retreat" continues with a series of design choices that prioritize tactile warmth. In each of the guest rooms, Roberts and Rathmann-Noonan installed shiplap headboard walls painted in Sherwin-Williams’ Laurel Woods. This choice was far more than purely decorative; as Rathmann-Noonan points out, the vertical lines of the shiplap draw the eye upward, effectively creating a sense of height and a distinct focal point that paint alone could never provide. It is a simple, effective technique that provides a sense of enclosure and comfort, qualities essential for a high-altitude stay.

Furthering this sense of intimacy, the design team opted to soften the ceilings by applying sisal wallcoverings. In the world of interior design, ceilings are often neglected, treated as nothing more than a plain white canvas. By introducing a natural texture overhead, the architects were able to imbue the rooms with a sense of completion and warmth without encroaching upon the limited square footage of the guest rooms. This choice illustrates a broader philosophy at play throughout the project: that true luxury is found in the layering of textures rather than the accumulation of objects.

Functionality was not sacrificed for the sake of aesthetics. Recognizing the inevitable clutter that accompanies travel, the design team incorporated a modern take on the classic Shaker-style peg rail in every guest room. These simple, wall-mounted storage solutions provide guests with an intuitive place to hang coats, bags, and belongings, transforming a mundane necessity into a deliberate design element. The success of the peg rail at the Alpine House underscores its versatility; it is an addition that works just as effectively in a private residence, whether in a mudroom, an entryway, or a child’s bedroom.

Throughout the property, the architects wove a subtle but persistent thread of ebony accents. Whether it is in the hardware, the furniture frames, or the smaller decorative objects, these touches of black provide a necessary visual anchor. According to Roberts, the addition of black serves to ground the deep, earthy tones of the interior and the natural wood elements, providing a sophisticated contrast that elevates the overall design. It is a classic move that adds a layer of intentionality to the rooms, ensuring that even the most rustic space feels contemporary and crisp.

Lighting, often the most overlooked element of hospitality design, was also approached with a dual-purpose strategy. By pairing wall-mounted sconces from Pin Lighting with Earth and Element table lamps, the designers provided guests with a greater range of lighting options. This layering of light sources allows guests to customize their environment, whether they need bright task lighting for reading or a softer, ambient glow for winding down. The inclusion of multiple light sources is an easily replicable, high-impact change that can transform the utility of a bedroom, especially as more plug-in and cordless lighting solutions become accessible.

The project also provides a masterclass in the strategic use of pattern. Tartan, while traditional for a mountain lodge, often teeters on the edge of cliché. Roberts navigated this potential pitfall by using the pattern sparingly and strictly adhering to a muted, tonal color palette. This restraint allows the pattern to provide texture and history without overwhelming the room. It is a lesson in editing; by isolating iconic motifs, the designers maintained the lodge’s heritage while keeping the space feeling fresh and relevant.

The furniture selection process further reinforces the "home-like" atmosphere that Warner craved. By mixing vintage wood-frame chairs and rush stools with contemporary pieces—such as a round coffee table from Lulu and Georgia—and layering in textiles like kilim rugs found on Etsy, the team created a space that feels as though it was gathered over time rather than ordered from a catalog. This "high-low" mix of old and new, and mass-market and artisan-made, is what gives the Alpine House its soul.

Perhaps the most significant structural change, though modest in scope, was the addition of a built-in banquette in the main room. Previously, the area was populated by a standard arrangement of tables and chairs for breakfast service. The new, custom-built seating serves to streamline the floor plan, opening up the space while providing a cozy, intimate spot for guests to gather.

Ultimately, the revitalization of the Alpine House is a quiet, powerful statement about the nature of renovation. It does not shout for attention; instead, it invites the visitor to slow down and notice the details. By resisting the urge to tear down and start over, Erik Warner and the team at Elizabeth Roberts Architects have demonstrated that the most effective way to improve a space is often to honor its existing bones and elevate them with thoughtful, human-centric design choices. The result is a property that feels not only like a destination, but like a place that has always belonged exactly where it is.