Text by: Shannon Sharpe
Photography by: Tonya Olsen
Time After Time
STONE JOURNAL ISSUE 2
When people say they’re looking for a home with character, one assumes they mean the house should be old, timeworn—maybe a little creaky. But designer Tonya Olsen knows that with the right materials, even a brand-new build can emanate authentic, classic charm. That was her goal when she joined architect Clayton Vance and builder H2 Homes on a project in Park City, Utah’s Whitaker Farms development. “I took Clayton’s plans and turned to the local vernacular for material inspiration,” Olsen explains. “I literally drove around the area looking at the old barns and homesteads. I wanted the house to seem like it had been standing there for a hundred years.
After many hours of immersing herself in the landscape and history, the designer began a search for an exterior material that felt rustic and at one with the land. “I didn’t know exactly what I wanted,” Olsen says. “But when I saw Buechel Stone’s Fond du Lac Webwall, I knew that was it. I envisioned pioneers picking this stone from a field.”
The stone’s irregular shape made it ideal for the rustic farmhouse style she was looking for—and for the build itself. “You can’t really mess it up,” she laughs. “We had the luxury to play with how muddy and how messy we wanted the grout line. It looks like someone dug it up and stuck it on the house—that was the look I wanted.”
Playing off the uneven lines and organic palette of the stone, Olsen paired it with a rich tobacco-colored cedar siding on the exterior. “I was inspired by a nearby cottage,” the designer says of how she chose the wood. “It was important for the exterior to be rough, textural, and authentic, so it would feel like the surrounding barns.”
A cohesive, seamless flow from outside to in was especially pertinent. “In all of my projects, I bring my exteriors in and my interiors out,” Olsen notes. She incorporated the Webwall in the primary bedroom’s fireplace, the pantry, and—perhaps most notably—in the kitchen, where she used it prominently on the walls as a strong anchor to the natural wood-beamed ceilings. To keep visual focus on the Webwall, she selected a soapstone-inspired, charcoal-colored quartz for the countertops. “I didn’t want marbles or heavy veining competing with it,” she says.
In the kitchen, Buechel Stone’s Fond du Lac Webwall takes center stage on the walls, while wood-beamed ceilings and soapstone-inspired quartz countertops move the rustic vibe forward.
Designer Tonya Olsen’s goal with this new construction home in Park City, Utah, was to instill the feeling of it having been there for generations.
“Whether it’s the stone, the wood, or the colors, I just naturally pull from what’s around me. I don’t overthink it.”
That sense of thoughtful balance also defines the rest of the home. Olsen kept the paint, cabinetry, flooring, and tile quiet and neutral, letting the Webwall set the overall tone. “Then I introduced color and texture with rugs, furniture, and art,” she explains. “We brought in those exterior hues with soft greens, browns, taupes, and muted gray-blues.”
Warm wood cabinetry nods to the farmstead inspiration—as do the many iron furnishings and accents, such as the kitchen’s range and island lighting, the guest room bed, and the steel-and-glass doors off the dining area. Touches of rattan and wicker bring warmth, depth, and an added layer of natural texture. “Whether it’s the stone, the wood, or the colors, I just naturally pull from what’s around me,” Olsen muses. “I don’t overthink it.”
The sum of these layered material choices is a home that feels generations old and firmly rooted in its natural setting, yet is still thoughtfully designed for modern life. “I wanted this house to feel like part of the local story,” Olsen reflects. “It may be a new build, but it looks as though it’s always been there.”
◗ Building by H2 Homes of Orem, UT. The stones used in the project are Fond du Lac Webwall and Indiana Limestone Cut Stone.
The designer wove in metal accents throughout, upping the farmhouse vibe established by the stone and cedar.
For both the interior and exterior furnishings, Olsen used muted tones to allow the materials to shine.




