MILLERTON —Nearly four weeks after a furnace fire sent deadly levels of carbon monoxide inside 7-9 Main Street and forced as many as 18 residents to evacuate, a dispute between displaced tenants and the building’s owner has raised questions about safety, management and whether the property will reopen.
As of press time, the village had posted a notice on the building declaring it an “Unsafe Structure,” barring residents from returning until required repairs are completed. Village officials said required repairs include installing a new furnace, carbon monoxide and smoke detectors, and an ADA-compliant ramp. However, the owner said he is hesitant to undertake those upgrades after years of challenges with the village and some tenants.
Several tenants described their displacement as the latest failure of the owner, Kastriot “Chris” Rrapi, to properly maintain the 126-year-old building, an argument that Rrapi disputes.
“Our entire world got flipped upside down in a matter of hours,” said Brittney Watson, 22, who said she woke to the smell of smoke and felt dizzy as alarms sounded. Her family — including her father, Tim Watson, who uses a wheelchair after losing both legs — was among those forced to evacuate.
The property now appears unoccupied. Village officials said they shut off water to the building as an additional measure to prevent anyone from living there.
The Watson family is currently staying in temporary housing with assistance from the American Red Cross — an arrangement that is set to expire in early March, around 30 days after they first moved into the temporary home. The family said their future living situation is now uncertain.
Tim Watson's electric wheelchair sits in an alley space near a side entrance to the 7-9 Main Street apartment building. Watson said his brother helped him install a stairlift on the staircase leading to the door because the building lacked wheelchair-accessible entrances.Photo by Aly Morrissey
Tim Watson said he and his family moved into a first-floor apartment in the building about three years ago — though Rrapi describes it as less than two — and did not sign a written lease. Watson said his family was asked to pay rent in cash under a verbal agreement that would allow for weekly payments based on their fixed-income financial situation. Rent was $1,650 per month for a two-bedroom apartment.
“There was no lease,” Watson said. “It was always cash.”
The Watson family described long-standing problems, including pests, unreliable heat, and water leaks. The family said they repeatedly raised concerns about maintenance issues that went ignored. In the weeks leading up to the fire, Watson said the apartment went days without heat or hot water, forcing the family to rely on a space heater.
Jason Wendover, who is married to one of Watson’s daughters, described similar issues during his time in the building in 2025 in a second-floor apartment, including concerns about whether utilities were properly separated by unit and what he said was a severe cockroach infestation.
“They got into everything,” Wendover said of the cockroaches. “I’d wake up in the morning and, if I forgot to change the coffee, there would be roaches floating in the coffee pot.”
Rrapi disputes many of the Watsons’ claims and said they stopped paying rent months ago, leaving their unit in disarray after the evacuation.
“The building is old, I understand that,” Rrapi said. “It needs work. But the drama this family puts landlords through — it’s unacceptable.”
He said the family destroyed the apartment and caused tension for other tenants, noting complaints about loud arguments and smoking indoors.
Rrapi disputes allegations that he required cash-only payments, saying all of his tenants are welcome to pay by cash, check or Zelle — a cellphone banking app that allows for electronic payments. He also said a professional exterminator was sent to the building and that the Watson family refused to allow them into their apartment.
“I submitted the receipt to the Dutchess County Department of Health,” Rrapi said.
Rrapi said the Watsons owe him nearly $22,000 in back rent and damages, and eviction proceedings are underway. He said they were provided with notice in the months leading up to the fire. He described the apartment left behind by the family as severely damaged, saying they did not maintain the interior of the apartment.
“It’s a wreck to the point that it has to be gutted,” Rrapi said. “It’s my fault that I rented to them, but I felt sorry for them.”
Tim Watson denied ever receiving an eviction notice and rejected claims that his family caused damage to the apartment. He said he withheld as much as $15,000 in rent in the months leading up to the fire, describing the decision as a protest against what he called “slum-like” conditions in the building.
Just inside the building's side entrance is a hole in the wall caused by the doorknob.Photo by Aly Morrissey
Rrapi said the building’s future remains uncertain amid foreclosure proceedings that began in 2023 after a commercial loan went into default, which he attributed largely to a discrepancy he said he discovered after purchasing the property with his father, Zef Rapaj.
With 12 electrical meters on the building, the pair believed it was configured for 12 units, but they later learned it is legally zoned for six, which complicated the property’s finances and prompted him to pursue a variance through the village’s Zoning Board of Appeals.
He described the property as “the biggest headache I ever bought,” citing years of zoning roadblocks and financial strain that have left him uncertain how much more he is willing to invest in the property. Rrapi purchased the Millerton property along with two residential properties in Amenia and a vacant lot in Dover Plains from Christine Lilley of Brewster in 2021.
“I’m not going to put that kind of money into it if I’m not allowed to use the building the way it’s set up,” he said.
While he said he plans to replace the furnace, Rrapi said renovation plans have stalled amid what he described as shifting standards and mixed signals from the village.
With his legal team and architect Ray Nelson of Earthwise Architecture, Rrapi sought to scale back a proposal from 12 units to nine, which the ZBA rejected in June 2025.
The variance request was denied in part due to parking requirements, which mandate 1.5 spaces per unit — a standard that village officials have acknowledged has been difficult to meet in Millerton’s dense downtown.
Rrapi said he considered demolishing the building out of frustration, though he said he still has hope that there is a path forward to rehabilitate the building.
No timeline has been set for repairs or occupancy. Village officials said residents may not return until all safety requirements are met. Rrapi said he will complete the required work but remains undecided about whether he will continue renting the building long-term.
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Stephanie Haboush Plunkett
“The field of illustration is very close to my heart,” she said. Inspired by that example, she studied illustration at Pratt Institute and began her career as an illustrator before shifting toward museum work. An internship at the Brooklyn Museum proved pivotal. “It was inspiring to see the children come alive in front of art,” she recalled.
In addition to her curatorial work, Plunkett is the author of two children’s books, “Kongi and Potgi: A Cinderella Story from China” and “Sir Whong and the Golden Pig,” and has written or co-authored numerous books on illustration, including “Drawing Lessons from the Famous Artists School” and “Leo Lionni: Storyteller, Illustrator, Designer.” She earned an MFA from the School of Visual Arts and built a museum career that included positions at the Brooklyn Museum, the Brooklyn Children’s Museum and the Heckscher Museum of Art before joining the Norman Rockwell Museum, where she has worked for 31 years.
But elevating illustration has meant challenging decades of critical skepticism.
“The goal has been to shine a light on this important American art form and to elevate public awareness of its artistic and cultural importance,”Plunkett said.
As a popular and widely circulated art, illustration is sometimes thought of as inferior to fine art, such as painting and sculpture. Plunkett considered why. She theorized that the 1913 New York Armory Show, the International Exhibition of Modern Art, with works by artists such as Picasso, Matisse and Duchamp, initially contributed to this evaluation. In the 1930s and ’40s, abstract expressionism became the art of the nation, and the rift widened further.
“Norman Rockwell became the antihero for many art critics of the time,” said Plunkett. “Illustration was viewed as too commercial and sentimental because of its emphasis on visual storytelling.”
Plunkett calls illustration “art with a job to do.” She explained, “Illustrators are adept at solving visual problems for their clients while expressing their own aesthetic and artistic vision.”
Visitors consider Norman Rockwell’s paintings on Civil Rights for Look Magazine, “New Kids in the Neighborhood” (1967) and “The Problem We All Live With” (1963.) L. Tomaino
She noted that the line between the fine and applied arts “is much more porous now, with many artists working across platforms and styles.” She cited late-20th-century illustrators like Marshall Arisman, Barbara Nessim, Robert Cunningham, Bernie Fuchs and Mark English as illustrators who forged unique approaches to working and seeing.
Plunkett commented that people want to see the original illustrations. “Generally, Rockwell exhibitions bring high attendance. Currently, our traveling exhibition, ‘Norman Rockwell: From Camera to Canvas,’ is at the New Britain Museum of American Art, but we’ve traveled Rockwell and illustration to 45 states and several countries, including Japan, France, Italy and Germany.”
Nowadays, illustrators take on subjects that are important to them. “The children’s book industry is committed to sharing the richness and diversity of people and cultures with young readers.” Plunkett cited the late illustrator Jerry Pinkney’s commitment to this goal. As a boy, Pinkney found no books portraying children like him, and “his life’s mission as an artist was to present inspiring, positive images of children of color.”
The Norman Rockwell Museum and Rockwell Center seeds were sown when “Rockwell placed the first 199 artworks in the care and collection of the Norman Rockwell Museum upon its founding in 1969, some of which he personally acquired for the fledgling collection,” said Plunkett. “The museum’s current Rockwell holdings include 865 original artworks, the artist’s Stockbridge studio and an archive of 400,000 photographs, letters, props and first uses of the artist’s work. We also hold about 25,000 illustrations by other artists, from the historical to the contemporary.”
“We call ourselves the home for American illustration. We have a real commitment to illustrators and what they’ve accomplished,” said Plunkett.
The Norman Rockwell Museum is located at 9 Glendale Road, Stockbridge. For more information and to purchase tickets, visit
nrm.org
A tray can help group items in a way that looks and feels thoughtful and intentional.
A tray creates a moment. It gives the eye a place to land and turns everyday objects into something intentional. More importantly, it’s approachable. There’s no measuring, no commitment, no pressure to get it “right.” It’s a small, easy project — affordable, functional and even a little fun — that can be tailored entirely to you.
One of the things I love most about styling trays is that your cozy “moment” becomes mobile. Everything you love is gathered in one place and can be easily moved from room to room as your day unfolds. A tray that starts on an entry table can later migrate to a coffee table or kitchen counter, adapting to how you’re actually living in your home.
In one client’s entryway, we styled a tray that sets the tone the moment you walk in. A simple pair of brass candlesticks adds warmth, a blue-and-white chinoiserie vase brings character, and two vintage books ground the arrangement. It’s not decorative for decoration’s sake — it feels collected, welcoming and personal, all while keeping the surface from becoming cluttered.
In another home, a coffee table tray became the quiet anchor of the living room. We included a strand of wooden beads for texture, the TV remote tucked neatly into a small vintage box, and a plant nestled in a pottery bowl. The tray keeps everyday necessities close at hand while making the space feel relaxed and lived-in rather than chaotic.
Styling a tray can give a home or room a re-fresh.Kerri-Lee Mayland
Kitchens may be where trays work hardest, especially in winter when we’re cooking inside more and gathering more casually. For one client, we styled a tray with a pepper mill; a shallow bowl for garlic, shallots and onions; and a white Italian ceramic container filled with olive oil. It’s practical and beautiful, and it makes cooking feel intentional instead of rushed. The tray warms up the counter while keeping essentials within reach.
Another version I often create is the cocktail, mocktail or tea-and-coffee tray — endlessly useful for friends popping over to say hello. A few cups, a teapot or carafe, honey or sugar, and a candle create an inviting setup that’s ready at a moment’s notice. It says, “Stay a while,” without any fuss.
What makes trays so effective this time of year is that they respond to winter’s quieter rhythm. Winter decorating isn’t about bold color or dramatic statements — it’s about texture, warmth and restraint: wood, stone, ceramic, linen, candlelight. A tray helps you edit rather than add, grouping items so they feel thoughtful instead of scattered.
When the seasons shift, the same tray evolves with you. Heavier elements can be swapped for lighter ones — fresh flowers, glass, pale ceramics — without starting over. One tray, styled seasonally, becomes a constant that gently changes rather than something that has to be replaced.
Remember, good design doesn’t have to come from big gestures. Often it comes from small moments done well — a surface that feels intentional, a corner that feels cared for. In winter’s stillness, creating a simple tray may be just enough to make your home feel calm, personal and complete.
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