Durst Lists 1,946 Acres for Sale in Pine Plains and Milan

Once part of Thomas Carvel’s ill-fated Sports City development, the property has been the subject of debates for decades.
Patrick Grego/New Pine Plains Herald

Once part of Thomas Carvel’s ill-fated Sports City development, the property has been the subject of debates for decades.
This story was originally published in The New Pine Plains Herald.
In a move that could reshape the future of Pine Plains and its surrounding communities, The Durst Organization has listed its expansive property for $36 million. Put on the market on Oct. 14, the former Carvel estate spans 1,490 acres in Pine Plains and 456 acres in Milan, and has long been at the center of debates over land use and preservation.
“We have decided to list the property for sale as we are currently focused on our New York City portfolio, specifically the development of Halletts Point in Astoria, Queens,” Alexander Durst, principal and chief development officer at The Durst Organization, told the Herald. “Another property owner may be able to realize the full potential of this remarkable property. The Durst family has a longstanding appreciation for the Hudson Valley and we will continue to be a part of the community.”
The Durst Organization is one of the oldest family-run commercial and residential real estate companies in New York state. Established in 1915, its portfolio includes the New York City properties of One World Trade Center and The Bank of America Tower.
The company owns approximately 2,633 acres of land in Pine Plains, representing about 13% of the town’s total acreage, according to Dutchess County tax records.
The Dursts initially purchased the 1,900-acre core of the listed property from the estate of the late ice cream magnate Thomas Carvel, in 2002 for $7.78 million.
After the initial acquisition, The Durst Organization expanded its holdings in Pine Plains, purchasing an additional 711 acres between 2015 and 2019 for nearly $6 million. The property is owned by two limited liability companies: 1133 Taconic LLC and Stissing Mountain Properties LLC.
In the late 1960s, Thomas Carvel launched an ambitious development known as the All-American Sports City after acquiring several parcels of farmland in Pine Plains. His vision included a golf course, clubhouse, lake and 500 homes. While the lake, golf course, clubhouse and 16 homes were built, the broader project stalled and remained incomplete at the time of Carvel’s death in 1990. In the decades that followed, the property’s infrastructure — including roads, water, and wastewater systems — fell into disrepair due to neglect, ultimately leaving it in a deteriorated state by the time it was sold.
While the listed property encompasses the original Carvel property, it does not include 685 additional acres in Pine Plains that remain under Durst ownership. Separately, in early October, the company listed another property, featuring a historic 19th-century farmhouse on 65 acres at 115-133 Mount Ross Road, for $599,000.
The company touts the Carvel property as a “sanctuary offering endless possibilities,” with potential uses including a family compound, corporate retreat, or winery. The listing highlights the property’s views of the Catskills and Stissing Mountain, as well as its remaining structures — following the demolition of several houses and barns over the years — which include four single-family homes, a two-family residence, and an office and warehouse facility.
Over the past two decades, The Durst Organization has put forward three development proposals for the Carvel property and its expanded holdings. While each plan was scaled back in response to public concerns, the company worked to incorporate community feedback and adjust its vision accordingly. The final plan, submitted in 2020, envisioned a 2,700-acre “eco resort” including open space, farmland, outdoor recreation areas, and 237 residential lots in Pine Plains, along with 51 lots in Milan. While the project received preliminary approval from the Pine Plains Zoning Board, it went no further.
The first proposal, in 2003 was for a 951-unit residential development centered around Lake Carvel and prompted Pine Plains to impose a moratorium on development and, eventually, to implement zoning laws for the first time.
The new zoning code, passed in October 2009, included some of the strictest regulations in Dutchess County, limiting building sizes and preventing large-scale commercial projects. The Dursts returned in 2011 with a revised plan for 591 units, in compliance with the new zoning code, but in the face of public opposition, and the stock market collapse of 2011, that proposal lay dormant for nearly seven years.
In the first half of 2018, The Durst Organization tried to revive the project, hosting two public meetings at the Pine Plains Community Center to receive feedback from residents. In June 2018, the company presented a new proposal, a “conservation subdivision,” that included plans to restore the golf course Carvel had built in the 1960s and construct 281 homes, placed in small clusters, around a central “recreation-oriented resort.”
In April 2020, The Durst Organization submitted pre-sketch plans for the conservation subdivision to the Planning Board. This stage focused on determining the maximum number of residential lots permitted under Pine Plains zoning laws, with the Dursts proposing 223 lots.
By June 2020, the Planning Board had unanimously endorsed the pre-sketch plan, which designated more than 50% of the land — about 1,397 acres — as open space. The designated areas included wetlands, steep slopes and buffer zones around water bodies. This approval allowed The Durst Organization to proceed with developing a formal subdivision plan, which would undergo a full environmental review before any final decisions were made.
However, after the property was listed Monday afternoon, Oct. 14, it seems as though the back and forth has come to an end — for now.
“The Pine Plains countryside is an oasis in the Hudson Valley,” Durst said. “With 1,946 acres of land in an ideal location and unmatched natural beauty, the property offers the opportunity to create something special.”
As for what kind of buyer would purchase a property of this size? “It’s going to range,” said listing agent Larry Havens. “I don’t want to set any limitations on that.”
D.H. Callahan
Contemporary chamber musicians, HUB, performing at The Clark.
Northwestern Massachusetts may sometimes feel remote, but last weekend it felt like the center of the contemporary art world.
Within 15 miles of each other, MASS MoCA in North Adams and the Clark Art Institute in Williamstown showcased not only their renowned historic collections, but an impressive range of living artists pushing boundaries in technology, identity and sound.
MASS MoCA is known for its 20th-century holdings spread throughout a sprawling complex of industrial brick buildings. Installations by Sol LeWitt and James Turrell have permanent homes there. Just down the road in Williamstown, the Clark features masterworks by Winslow Homer, Frederic Remington, John Singer Sargent and Claude Monet.
But what visitors might not immediately associate with those established names is how deeply both institutions invest in art happening right now.
On Saturday afternoon, a panel of young artists discussed their relationships with art, identity and technology as part of MASS MoCA’s “Technologies of Relation” exhibition, which opened that evening. The artists represented a broad range of cultural backgrounds, drawing on ancestry while exploring the future of art and technology.
The work itself ran the gamut: wax relief paintings, stained glass, interactive video and sculptural installations. One immersive piece automated the traditional Armenian practice of reading fortunes from coffee grounds. Particularly striking were Roopa Vasudevan’s hand-drawn QR codes and Taeyoon Choi’s large-scale weavings of binary code.
Opening the same night was Zora J. Murff’s “RACE/HUSTLE.” Through photographs, paintings and installations, Murff explores the wide-ranging and sometimes violent implications of being Black in America today. Each piece — whether confronting the rise of white supremacy or examining stereotypes imposed on Black communities — carries razor-sharp visual commentary designed to unsettle.

On Sunday, the Clark continued the contemporary thread. A small exhibition of work by Raffaella della Olga, titled “Typescript,” features intricate patterns created using a typewriter on varied paper surfaces. The effect seems almost impossible until viewers watch a video of della Olga loading her typewriter with 140-grit sandpaper and typing in a hypnotic rhythm. Though the typewriter is considered obsolete technology, she continues to find new applications for it, completing some of the works in recent months.
Next door in the Clark auditorium, HUB New Music performed works written specifically for its unusual instrumentation: violin, cello, clarinet and flute. While that combination may not stand out to casual listeners, relatively little classical repertoire exists for it. The ensemble regularly commissions composers to expand the possibilities.
The results were striking. From the opening notes of Francisco del Pino’s “Passacaglia,” the quartet’s command and layered repetition pulled unexpected emotion from the audience.
After three pieces came the world premiere of Daniel Wohl’s “Mirage,” a roughly 25-minute work accompanied by digital blips, static and electronic textures evoking radio transmissions and UFO lore. Hearing four virtuoso musicians extract entirely new sounds from traditional instruments echoed the weekend’s larger theme: old tools made new again.
Like della Olga’s typewriter, Vasudevan’s QR codes or Murff’s charged imagery, the performances demonstrated that contemporary art often grows from familiar materials — reimagined.
The old masters will always draw visitors to these institutions. But when living artists command equal attention, this quiet corner of the Berkshires feels less like the middle of nowhere and more like a creative epicenter.
D.H. Callahan is a voice actor, creative director and trail steward. He lives with his artist wife in West Cornwall, Connecticut.
Aly Morrissey
Francesca Donner, founder and editor of The Persistent. Subscribe at thepersistent.com.
Francesca Donner pours a cup of tea in the cozy library of Troutbeck’s Manor House in Amenia, likely a habit she picked up during her formative years in the United Kingdom. Flanked by old books and a roaring fire, Donner feels at home in the quiet room, where she spends much of her time working as founder, editor and CEO of The Persistent, a journalism platform created to amplify women’s voices.
Although her parents are American and she spent her earliest years in New York City and Litchfield County — even attending Washington Montessori School as a preschooler — Donner moved to England at around five years old and completed most of her education there. Her accent still bears the imprint of what she describes as a traditional English schooling.
Today, she and her family call Sharon, Connecticut, home. While she still travels frequently to Manhattan, she embraces the contrast between city and countryside.
“For me, it’s all about the contrast,” she said, adding that she is friendly and curious about people here in a way that doesn’t feel natural in the city. “I want to know who you are, what you do, and why you’re here. You end up meeting these really interesting people.”
As a longtime editor in newsrooms like The Wall Street Journal, The New York Times and Forbes, Donner said she began to notice something unsettling about how stories were framed, and whose voices were missing.
“It’s just the way news is done,” she said. “It’s the DNA of what we deem newsworthy and important in mainstream media.”
The problem, she explained, isn’t that women aren’t covered at all. It’s that when women are covered, it’s often in a stereotyped way. Women are frequently framed through familiar narratives – the gender pay gap, unpaid labor, caregiving – important issues that persist, she said, but are often treated as repetitive or secondary. Meanwhile, the stories deemed front-page worthy tend to revolve around power, economics, war and politics — and men.
“If we don’t make a deliberate effort to cover women, women won’t be covered,” Donner said.
The issue isn’t unique to any outlet, she stressed. “It’s just the way news is done.”
But that DNA — who gets quoted and whose experiences are centered — has consequences.
And for Donner, that realization demanded a response.
Enter The Persistent.
Founded in 2024, The Persistent was built around what Donner calls a simple but deliberate premise.
“Women don’t get covered in the same way men get covered,” she said.
The goal isn’t to exclude men or create a siloed “women’s section.” Instead, Donner said, it’s about correcting an imbalance by putting women at the center of the story.
Describing the approach as a reframe, this means expanding who is quoted as an expert. It means spotlighting women in business, politics, culture and global affairs. It also means examining major news stories through a lens that mainstream outlets often overlook.
“What we can add,” she said of The Persistent, “is perspective.”
Now approaching its second year — a milestone that will be celebrated next month — the publication operates with an all-women team of writers, editors and illustrators based across the world. The team meets regularly over Google Meet.
“They’re awesome,” Donner said of the editorial meetings. Some of her staff are mothers, some are not. All bring lived experiences to the table. Donner has intentionally created a newsroom culture that balances rigor with support.
“If your writing doesn’t measure up, I’m going to tell you,” she said plainly. “But it’s not a battle. It’s a partnership.”
Beyond publishing stories that matter, Donner wants contributors to be seen.
“I don’t just want people to read the story and forget who wrote it,” she said. “We can do a lot better if we amplify each other.”
As a woman, Donner rejects the idea that success is finite. She wants everyone to have a slice of the pie.
“Just make the pie bigger,” she said. “Bring more seats to the table. Make it richer.”
Donner credits her “mum” for articulating what would become her professional identity.
“You are what you can’t help doing,” her mother used to say.
Today, without hesitation, Donner said she can’t help being an editor.“My identity as an editor is very strong,” she said. Editing, she explained, is less about correcting typos and more about building and shaping ideas.
“Sometimes I imagine this physical movement of cracking something open,” she gestured.
That instinct traces back to childhood. She recalls sitting in a classroom around age 10, listening to a classmate read a short story aloud. For Donner, that moment crystallized something fundamental.
“Someone else’s words made me just sit up straight in my chair and think, wow, that is so good.”
Today, whether she’s in a historic manor house in Amenia or on a Google Meet with her team across the globe, that instinct remains the same: crack the story open, elevate the unheard voice and reframe the narrative.

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Natalia Zukerman
On March 7, Berkshire Opera Festival will bring “Winterreise” to Studio E at Tanglewood’s Linde Center for Music and Learning, with baritone Jarrett Porter and BOF Artistic Director and pianist Brian Garman performing Franz Schubert’s haunting 24-song setting of poems by Wilhelm Müller.
A rejected lover. A frozen landscape. A mind unraveling in real time. Nearly 200 years after its premiere, “Winterreise” remains unnervingly current in its psychological portrait of isolation, heartbreak and existential drift.
Porter, praised by Opera News for his “imposing baritone” and “manifest honesty,” has built his career on major European opera stages, including Oper Frankfurt. But recital work, he says, is closest to his heart.
“I love to recital. If I were to pick my career, I would be doing some opera and mostly recital,” he said. “I think there can be difficulty with grabbing an audience in a recital, but this is one of the greatest pieces to do so because it is so psychological, so powerful, so universally moving.”
Unlike opera, there are no sets in a recital, no costumes or lighting cues to lean on. “The singer with no sets or costumes is left to create a kind of one-man show,” Porter said. His solution is internal. “The way that I process learning something like this and having the responsibility to hold an audience without set or costumes or lights or props is to stage it in my mind. Each song has an identity.”
Schubert’s writing, Porter insists, needs no adornment. “Schubert does an amazing job at setting the scene, and for me, you don’t need anything else. I feel like anything added to it would be almost subtracting. I’d rather just see the singer and the pianist the way that Schubert intended it to be.”
At the center of “Winterreise” is the wanderer, an unnamed figure moving through snow and memory after a failed love affair. For Porter, the character is both specific and universal. “There’s so much ambiguity in the piece,” he said. “We don’t know all of the answers in the first song. We don’t really know who this person is. There are tidbits of information dropped throughout each song. And I think the tendency is to put a narrative on that and to try to connect the dots rather than embracing what it is. The ambiguity is actually where the beauty is.”
That ambiguity extends to the cycle’s ending and the encounter with the eerie hurdy-gurdy player in “Der Leiermann.” Does the protagonist die? “I think one could make that argument,” Porter said. But he resists a neat conclusion. “Death is right in front of him. Death is actually the most peaceful answer to his problem and it’s not given to him. There’s something more, a deeper level.”
Rather than a literal death scene, Porter sees a reckoning. “For me, he’s not granted the easy way out. He has to sort of come to terms with being nothing and having no real skill as a songster or a poet or a wanderer.” The winter landscape, he suggests, mirrors the psyche: “The winter is sort of the mirror of his heart.”
In shaping the emotional arc across all 24 songs, Porter leans into uncertainty rather than resolution. “What I relate to in this piece is that in life, you don’t know what’s going to happen. And you don’t know the next day. Even in tragedy—especially in tragedy—there’s so much question.”
Porter performed Gounod’s “Faust” at BOF in 2024 with Garman conducting but this will be the first time the two will be collaborating with Garman at his instrument. “I love making music with Brian,” said Porter. “I’m a huge fan of his musicianship. I think we’re sort of bitten by the same bug that Schubert is, and so I was super honored that he asked me to do this with him.”
For tickets, visit berkshireoperafestival.org
Sally Haver
Christine Gevert, artistic director, brings together international and local musicians for a season of rare works.
Crescendo, the Lakeville-based nonprofit specializing in early and rarely performed classical music, will close its 22nd season with a slate of spring concerts featuring international performers, local musicians and works by pioneering composers from the Baroque era to the 20th century.
Christine Gevert, the organization’s artistic director, has gathered international vocal and instrumental talent, blending it with local voices to provide Berkshire audiences with rare musical treats.
“The biggest event of this part of our season is our April 25 and 26 concerts, with the US premiere of ‘A Jewish Cantata’ and the iconic ‘Misa a Buenos Aires,’” said Gevert. “The composer, an internationally renowned musician, will come and share the podium with me.”
Among the other season highlights are concerts showcasing the works of two trailblazing female musical innovators, Francesca Caccini, the early Baroque composer, poet and singer; and Wanda Landowska, the 20th-century virtuoso who single-handedly brought the harpsichord back from obscurity. Also not to be missed is the May 30 concert, Bach’s Motets in Concert, featuring all six of Johann Sebastian Bach’s surviving motets, sung by four eight-part double choruses and accompanied by period instruments, widely considered the pinnacle of Baroque choral music.
For a schedule of concerts and tickets, visit crescendomusic.org
Aly Morrissey
Ash Baldwin, senior administrative assistant at the North East Community Center, launched the weekly Craft Collective in July 2025.
MILLERTON — A new low-key crafting group at the North East Community Center (NECC) is giving locals a reason to finally finish those half-started projects, providing a space for craft lovers to work in community and exchange tips and tricks.
The weekly “Craft Collective,” – launched in July 2025 by staff member Ash Baldwin – invites community members to bring their own crafts and work alongside others in a casual, social setting. The free program is part of NECC’s broader effort to offer accessible, community-building programming.
“I’m the type of person who struggles to stay focused on projects,” said Ash Baldwin, NECC’s senior administrative assistant, who came up with the idea last summer. “I realized I work better when I’m with other people and when I have a dedicated time and space.”
The idea took shape after Baldwin found herself racing to finish a crocheted baby blanket for her sister’s baby shower.
Participants have already brought a range of projects to the group, from sewing and mending to creative repurposing – including one crafter who transformed an old shower curtain into kitchen valence curtains.
“The goal is really community and connection,” Baldwin said. “People can meet other crafters, swap tips, give feedback on projects – maybe even make a friend.”

Crafting, Baldwin said, offers a kind of mental reset. “It’s peaceful,” she said. “It quiets my mind and lets me focus on one thing at a time.”
Like many crafters, Baldwin admits to having yarn and unfinished projects scattered around her home, and says she tends to make gifts for others more than items for herself.
Though Baldwin has been crocheting since 2022, creativity has always been part of her life. Her mother sews, her grandmother crocheted, and she grew up surrounded by creative projects. Baldwin joked that her grandmother once “fully kidnapped” her American Girl doll to make custom clothes for it. She also describes herself as a longtime “band kid,” saying creative arts were woven into her childhood.
When she’s not organizing the Craft Collective, Baldwin works behind the scenes at NECC, handling administrative and fiscal operations, including service tracking for programs such as the food pantry.
The Craft Collective is held every Tuesday at 6 p.m. at 51 S Center St., Millerton. There is no cost to participate. For questions or to donate crafting supplies, contact Ash Baldwin at ash@neccmillerton.org or (518) 789-4259 ext. 132.

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