Each winter, the family living in Historic Westchester Estate builds an ice rink on the grounds, and the sunroom becomes the main entrance to the house. New York-based Jessica Gersten Design planned the interiors of the 1929 Tudor Revival residence in Rye, New York, United States, around that routine. The house sits on the South Course of the Westchester Country Club, one of a group of Tudor houses originally built for club members, and its current owners are a family of five with three children, two of whom play competitive hockey.

Gersten reworked the sunroom layout entirely. Sofas face the grounds, a long table behind them seats the family for pizza nights, and shearling stools sit beneath a dark plaster chandelier. The adjoining living room, which holds the family piano, has corner banquettes and enough circulation for the children to cut straight through to the rest of the house. In the foyer, where backpacks are dropped after school, daily traffic splits left and right.

The clients asked for preservation. Arched doorways, leaded-glass windows, the carved staircase, paneled millwork, and a Gothic stone fireplace all remain. Gersten drew her palette of nutmeg neutrals, mohair, and bronze from that existing fabric, and carried the wood tones of the ground floor into the furniture. The foyer table, hand-carved in iroko by Portuguese designer Vasco Fragoso Mendes, was selected through an exchange of photographs taken in the forest as designer and maker looked for the right timber. Tall branches in a stoneware vessel by Caroline Blackburn give the entry height.

In the living room, Art Deco-style chairs in Dedar fabric face a Vendôme sofa by Pierre Augustin Rose beneath a travertine suspension light by Anna Karlin. The dining room is wrapped in scenic Ananbo wallpaper under its original decorative ceiling, lit by Rib pendants from Konekt, and furnished with horsehair chairs from Gersten’s Lusitano collection, their hand-finished spines left slightly irregular. A camera obscura photograph by Richard Learoyd hangs above the credenza. The rest of the art was placed with curator Jessica Chestman, including a Janaina Tschäpe canvas against grasscloth in the breakfast nook and work by Sheila Hicks and Tyler Mitchell. At the top of the stair, beside hand-carved newel posts, Rebecca Ward’s Sentient brings in blues and violets the rest of the palette avoids.