Will Guidara’s dreams for Second Mountain at Migdale

Will Guidara Photo submitted

MILLBROOK — At the Town of Washington’s (TOW) Zoning Board of Appeals (ZBA) meeting in March, NYC restaurateur Will Guidara (the applicant behind Janet Farm, LLC and the Second Mountain project to redo the Migdale estate in Mabbettsville) rescinded his petition for a Zoning Overlay District on the property’s 350-plus acres of land because he said there was too much opposition and he wants to be a good neighbor. Since then, people have been curious. They’ve wanted to know more about Guidara and his plans.
Many in the Millbrook community wonder what the outcome of the application for this rather controversial hotel and spa development will be, and whether or not the proposal will be allowed to go forward. There are two groups in the community — one of adjacent neighbors and one of nearby residents and other community members who are staunchly against it, who have expressed concerns about traffic congestion, problems with water and sewage and complaints that the development is in opposition to the town’s comprehensive plan.
This newspaper has spoken with others in town who have said they believe the Second Mountain project would be a good thing for Millbrook, but those people thus far have kept quiet in public, bearing in mind that more than 200 residents have signed a petition against it.
What is planned
The application, as outlined by Guidara during a number of presentations before the town in the past couple of months, would take the historic Migdale property and convert it into a luxury hotel with two restaurants: one high end and one less formal. He also is planning to include new cabins, cottages and rental units, perhaps condos. Amenities including an outdoor theater, hiking trails, tennis courts, swimming pools and a spa have been mentioned, and the thought of the additional traffic the development could cause and the added pressure it could add to the town’s water and sewer systems have raised some hackles.
Sticking points
The main complaint raised by opponents is that the project doesn’t fit in with the town’s Comprehensive Plan, completed in 2015. That vision includes the Millbrook community remaining rural, “with great scenic beauty.”
The comprehensive plan goes on to state that the town will protect, among other things, water resources and natural habitats. On page 37 of the Comprehensive Plan, in its vision statement, the town states it believes in “maintaining a vibrant and diverse local business district, while maintaining the character, the look and the feel of the community.”
There have been complaints that Millbrook’s business district is less than vibrant today than in years past, of several businesses that have quickly come and gone, of a number of long-established businesses that have closed and of high retail prices. Those concerns have been met by merchants who reply with complaints of high commercial rents.
The issues are likely heard all across the country, and are encouraging some in the town to suggest that it’s time to bring more innovative enterprises into the community to generate revenue.
Guidara’s dream
The developer has said he is willing to make some concessions to his original plans to appease the community. While an outdoor theater was mentioned in one presentation, Guidara clarified in an interview with this newspaper this month that he is not envisioning something like the Four Brothers Drive-In Theatre in Amenia. Rather, he said, neighbors should envision the type of screen one might install in “your own backyard.”
Far from wanting to destroy the quaintness and beauty of Millbrook, Guidara said he is looking forward to moving onto the property with his wife and 6-week-old daughter, Frankie.
They currently live in Kingston, where they bought a house six years ago. They moved there full-time last year when the pandemic began, shortly after he and his business partner, chef Daniel Humm, dissolved their partnership. The two had great success with the Make It Nice hospitality group, which owned Eleven Madison Park, and several Michelin-rated NoMad restaurants around the country.
Guidara and his wife decided to settle in the area and find a location for the Second Mountain project. Migdale, in Mabbettsville, where the property is set back from the road, was perfect, he said. He doesn’t plan to build anything taller than one story on the property; the only exception will be the main house, which is already standing. He said he already spoke to the Millbrook fire department and several other local residents and businesses about his intentions.
Guidara said he feels Second Mountain will be a vacation destination, and that his clientele will bring their dollars to other businesses in the village and town. He plans to coordinate with Orvis Sandanona on their Gaming Weekends, the Millbrook Vineyards, Trevor Zoo, Innisfree Garden and many other attractions in the Hudson Valley and Tri-state region.
A business owner’s thoughts
Danielle Molello, owner of Blue Dragonfly Body Works in Millbrook, said she thinks the project could be positive for the community, but doesn’t think local residents have been well informed about the plans. She’d like more public meetings, like those held when the village was deciding what to do with the Thorne Building on Franklin Avenue, where residents asked questions and made comments. Molello feels that there is a lack of information and that the project seems “separate,” much like the Silo Ridge Field Club in nearby Amenia.
“It would help a great deal to get community involvement in knowing what is going on, what the plans are,” she said. “As a business owner, potential clientele is always welcome, and many of the other business owners may feel the same way. An influx of new blood may be just what the village needs. One person pointed out that Silo Ridge may have hired a lot of non-local help, but some of those workers moved here, adding taxpayers to tax rolls and students to the local school districts.”
Willing to compromise
Guidara and his legal team pulled their petition for the Overlay District, but he said he still intends to pursue his dream. His plans have evolved, he said, and because he’s taking a personal approach his ideas are also evolving.
He said he wants to work with both town officials and residents to make Second Mountain happen. He recognizes it will take time and not happen overnight.
Because he will be “a neighbor,” Guidara said he doesn’t want to alienate other potential neighbors in the town and village, and while he has a lot invested in the project, in traffic studies, lawyers’ fees and environmental studies, he wants to do things properly.
Guidara said he is waiting to take the next step, although there is no confirmation on exactly what that will be, while the town is currently studying its comprehensive plan.
Webutuck Elementary students ushered in Halloween with a colorful parade around the school parking lot on Friday, Oct. 31, delighting middle and high school students who lined the sidewalk to hand out candy.

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In Amenia this fall, three artists came together to experiment with an ancient process — extracting blue pigment from freshly harvested Japanese indigo. What began as a simple offer from a Massachusetts farmer to share her surplus crop became a collaborative exploration of chemistry, ecology and the art of making by hand.
“Collaboration is part of our DNA as people who work with textiles,” said Amenia-based artist Christy Gast as she welcomed me into her vast studio. “The whole history of every part of textile production has to do with cooperation and collaboration,” she continued.
That sense of shared purpose is at the heart of the invitation Gast extended to artists Natalie Baxter and Janis Stemmermann to process a bumper crop of Japanese indigo (Persicaria tinctoria) at her studio this fall. All three artists’ practices intersect through material, process and an interest in the handmade. Gast and Stemmermann have collaborated on a series of hand-knit vests dyed with black walnut, available through Stemmermann’s store, Russell Janis. Baxter is a Wassaic Project residency and fellowship alum, who is leading a community quilting workshop there on Nov. 15. She also co-directs “Cottage Courses” with artist Polly Shindler, a series of hands-on artmaking workshops throughout the region.
“Lisa Dachinger of Hilltop Farm & Fiber Arts north of Pittsfield, Massachusetts had an abundance of indigo this year,” said Gast of her learning about the crop’s availability.In two trips to the farm, Gast harvested the plants and began experimenting with the ancient art and science of extracting pigment from the plants and transforming it into rich, layered blues.

“There are a lot of steps,” Gast noted with a laugh, as vats of aerated indigo bubbled in the corner of the studio. The process is slow and physical, dependent on timing, temperature and a kind of faith in chemistry. The freshly harvested Japanese indigo leaves are first soaked in warm water and left to ferment for several days. The plant matter is then removed, the solution is strained and the pH is raised with the addition of calcium hydroxide, and then the mixture is aerated, poured back and forth between containers until it oxidizes and the pigment turns dark blue. After the indigo settles to the bottom, the resulting paste is filtered, dried and ground into powder. Only then is it ready for dyeing.
But as Stemmermann pointed out, “It’s not a dye. It’s a coating and reaction.” Indigo’s elusive chemistry means each piece is unpredictable, shaped as much by chance as by control. To achieve a deep, saturated blue, “you have to layer it and dip it up to eight times,” she explained.
Each artist uses dye in their work, albeit quite differently, yet all share a deep sensitivity to material and process. “There is a seasonality to textile work,” said Baxter, referring to dye plants.“First, there’s the planting. And then you wait for them to grow, you harvest them, you dye the fabric and then it’s wintertime.” During quilt season when our attention turns inward, the patient, hands-on process becomes a meditation on slowness for Baxter, mirroring the rhythm of the earth and a quiet longing to move with it.

For Gast, working with plant dyes is a way to align artistic practice with ecology and activism. “I’m working on a project that will be showing at Mass MoCA in 2027,” she explained. “It’s a collaborative opera about peatlands for which I’m producing a textile installation that functions as the curtains. I’m using as many natural and regional processes as possible because our work has to do with local-to-global activism and conservation. There is a chemical alchemy in peatlands, which despite covering just 3% of the Earth’s surface, capture more than twice the carbon of all the planet’s forests combined. There’s a direct poetic alignment between plant dye processes and peatlands, which preserved some of the earliest textiles we know of. And the color palette is ancient, both familiar and uncanny.”
There’s a certain chaos in balancing experimentation with intent. For Gast, Baxter, and Stemmermann, this first attempt at pigment extraction has been as much about curiosity as outcome, a communal act of making, rooted in patience, experimentation and discovery.
To find out more about these artists, visit: christygast.com, nataliebaxter.com and janisstemmermann.com