Rising demand for home elevators

Ray and Eve Pech inside their Sevaria home elevator, which was recently installed as part of a larger renovation project.
Debra A. Aleksinas

Ray and Eve Pech inside their Sevaria home elevator, which was recently installed as part of a larger renovation project.
Ray and Eve Pech were in their late 30’s when they built their dream house 40 years ago on the side of a mountain overlooking Ski Sundown.
The modest, 2,000-square-foot, vertically-designed home offered privacy, ample space for their young family, stunning scenery — and stairs galore.
“It’s on three levels because it’s on the side of a hill,” said Ray Pech, a retired lawyer who serves on the Northwestern Connecticut Transit District board of directors. “We fell in love with the tremendous views.”
As for the stairs, he said, “We really didn’t think a lot about it. The thought never occurred to us that the day would come when we wouldn’t be able to go up stairs forever.”
The Pechs are among the growing number of Baby Boomers who aren’t planning to sell because they like their homes and have decided to age in place.
During a 2020 expansion project, they retrofitted their home with an elevator so that in their Golden Years they could safely enjoy all levels of their home, and also make it easier for visiting friends with mobility problems and wheelchair bound relatives to visit without climbing stairs.
“We thought, 'how do we make this house so that we can stay here?' and that was the logical choice, even though we didn’t need it physically yet,” Pech explained. “But I guess it’s there when we need it.”
Elevators are no longer just a luxury. Connecticut is home to 823,529 people aged 60 or older, representing 23% of the state’s population, according to a Healthy Aging Data Report. For many seniors, assisted living is out of reach due to rising costs and health concerns, particularly post-pandemic. Caregiving, too, can be costly for those on limited incomes.
A challenging housing market is discouraging senior homeowners from selling their homes, so many aging Baby Boomers are choosing to stay put. But with age comes the inevitable potential for decline in mobility. Home elevators, and to a lesser degree, stair lifts, are solutions to this growing problem, according to industry experts.
Elevator Service Company, Inc., (ESCO) based in Torrington, currently has licenses to install lifts and elevators in Connecticut, Massachusetts, New York and Rhode Island, and installs more than 100 residential elevators annually, according to company officials.
“For the Northwest Connecticut area, towns that are most abundant in our installations would be closer to the New York border, as the square footage of private homes are larger and more frequented to owners who live there year around,” said Managing Director Mat Montgomery.
Over the past five years, Montgomery said he has noticed a change in the attitude that elevators are reserved for the wealthy. “Today, the elevator is a mainstay in the design of the home as building outward for most is challenging with limits in land.”
And while the market continues to grow, he said, the manufacturing for the type of equipment offered by ESCO is growing, too, “bringing down costs which allow us to put these units in every type of home, regardless of wealth.”
The cost to install a residential elevator varies according to layout of the home, the number of levels served and the elevator style, said the ESCO official.
“Our customers all have different needs and wants for their elevator, so the price range will vary with equipment and product offerings.” Generally speaking, he said, a two-story home prepped for an elevator shaft requiring two closets stacked on top of each other, “will spend about $45,000 on a new elevator for this shaftway. This is much cheaper than the price of some newer cars, making an elevator a low barrier to entry to having the to move around your home freely and safely for decades.”
That estimate does not include construction costs to house the unit.
Ray Pech said when he and his wife crunched the numbers, their elevator cost them the equivalent of about three years of rent in a “reasonably nice” senior living complex.
“For us it made sense financially” to stay put, said Pech. “We built the house and decided to redesign the house again in 2020, and the elevator was the instigation of it.” They enlarged their living and dining areas to make up for lost space on the third level where the elevator shaft took up one of the bedrooms.
For the Pechs, the idea was to make the elevator look as if it had always been in the house. It appears as an ordinary door off the living room. Ray Pech opened the door, then slid aside a safety gate leading to a well-lit, wood-paneled box elevator with a weight capacity of 1,000 lbs. and ample space for a wheelchair and another adult.
Once inside, he secured the gate, and with a push of a button, the elevator, which operates via a pulley chain, smoothly and quietly ascended to the upper level at a barely noticeable speed of 40 feet per minute.
Beyond function, elevators can also be aesthetically attractive in a home.
“We do need to hang some art in there,” Eve Pech said to her husband as the elevator door opened on its return to the main level.
Aly Morrissey
Heavy stone garden ornaments, a specialty of Judy Milne Antiques from Kingston, at Trade Secrets 2025.
Tucked away on Porter Street in downtown Lakeville, Project SAGE is an unassuming building from a street view. But cross the threshold a week before Trade Secrets — one of the region’s biggest gardening events, long associated with Martha Stewart and glamorous plants of all varieties — and you’ll find a bustling world of employees and volunteers getting ready for the organization’s most important event of the year.
“It’s not usually like this,’ laughed Project SAGE director Kristen van Ginhoven. “But with Trade Secrets just around the corner, it’s definitely like this.”
Van Ginhoven points to towers of boxes containing event programs, various ribbons, elegant decor and stacks of magazines, all in preparation for the event.
Project SAGE will celebrate its 26th year hosting Trade Secrets, but it’s so much more than a garden event.
“It’s a fundraiser for domestic violence prevention and intervention,” van Ginhoven said. “Anybody who attends knows they’re supporting a really meaningful and important cause.”
The fundraiser accounts for at least 30 percent of the organization’s overall budget, she said, and attracts around 3,000 people from across the region each year, creating an unmatched opportunity for Project SAGE to share its mission and generate support.
The event, though expensive to produce, generates enough income to significantly support Project SAGE’s direct services and prevention services.
Officials said a wave of new underwriters have emerged this year.
“We’re very grateful, because we live in a time when funding is uncertain,” van Ginhoven said.
Hundreds of copies of the annual Trade Secrets guide sat at Project SAGE headquarters, ready for distribution at the event. The book doubles as a domestic violence resource, complete with warning signs, myth-busting information and scripts for difficult conversations.
Volunteers will be present throughout the event to connect with community members. Each volunteer must be certified as a domestic violence counselor in order to work with Project SAGE.
“It means they can help us drive clients, move clients, take them to appointments or the grocery store,” van Ginhoven said.
Project SAGE officials said education about domestic violence should start early. The organization has developed a comprehensive curriculum spanning early childhood through grade 12 and visits schools throughout the region. The class of 2026 will be the first graduating class at Housatonic Valley Regional High School to have received all four years of training from Project SAGE.

The organization’s partnerships extend throughout the region and include on-site training in schools and nonprofit organizations, including the Sharon Playhouse. Community support also goes directly to Project SAGE, including a recently donated array of colorful gift bags bearing positing affirmations and filled with toiletries and basic necessities from students at the Frederick Gunn School in Washington, Connecticut.
The people who visit Project SAGE have often left uncomfortable or dangerous situations and leave without any belongings.
“Some of them have nothing,” van Ginhoven said. “They just show up because they had the courage to leave.”
Project SAGE staff say many referrals come through local hospitals, police and sister agencies.
The organization serves people in Connecticut, Massachusetts and New York.
With the stress of event planning mounting, van Ginhoven spent a “previous life” preparing for this exact moment. She spent 30 working at the intersection of arts and activism, having co-founded WAM Theatre, a Lenox-based organization focused on stories and issues affecting those who self-identify as women and girls. During her tenure, WAM donated $100,000 to 25 local and global organizations working toward gender equity in areas such as girls’ education, teen pregnancy prevention, gender-based violence, sexual trafficking awareness and midwife training.
“I love the adrenaline of putting on a show,” van Ginhoven said with a laugh. With the help of volunteers and organizers, she said she isn’t bothered by the stress.
“The show will go on,” she said.
Jennifer Almquist
Caroline Kinsolving and Gary Capozzielo at home in Salisbury with their dogs, Petruchio and Beatrice
"He played his violin, I worked on my lines, we walked the dog, and suddenly we were circling each other perfectly."
Caroline Kinsolving
Actor Caroline Kinsolving and violinist Gary Capozziello enjoy their quiet life with their two dogs in Salisbury, yet are often pulled apart to perform on distant stages in far-flung cities. Currently, the planets have aligned, and both are working in Hartford, across Bushnell Park from one another. Bridgewater native Kinsolving is starring in “Circus Fire,” the current production of TheaterWorks Hartford, while Capozziello is a violinist and assistant concertmaster of the Hartford Symphony Orchestra. While Kinsolving hates being away from home, she feels the distance nourishes their relationship.
“We are guardians of each other’s confidence and self-esteem,” she said.
“We met during the pandemic, a bleak time,” Kinsolving said. “On our first date, we met at The Hickory Stick Bookshop and walked outside six feet apart. We fell in love.”
They lived in a tiny studio near Averill Farm in Washington, Connecticut.
“He played his violin, I worked on my lines, we walked the dog, and suddenly we were circling each other perfectly,” Capozziello said with a laugh. “When I told her I was a violinist, she mentioned ‘Appalachian Spring’ by Aaron Copland. I sent her a recording of me playing it, and it became our song.”
“For our wedding, we wanted all our friends and family out in the field listening to that music,” Kinsolving said. Capozziello’s friends from Orchestra New England performed the piece at their wedding.
“Circus Fire,” written by Connecticut’s own Jacques Lamarre and directed by Jared Mezzocchi, is a multimedia world-premiere tribute to the Hartford Circus Fire. On July 6, 1944, the big top of the Ringling Bros. and Barnum & Bailey Circus caught fire, killing 167 and injuring 700 in Connecticut’s worst fire disaster.
Capozziello, who grew up in Fairfield, began: “I came from very limited means, though my parents gave me the kind of support that mattered most. I had a hard time in school. My music teachers, noticing my knack for music, kept me in school.” As he became a teenager, he realized how demanding classical violin truly is. “I had the honor of playing in a master class for Isaac Stern when I was 18,” he said. “That was the wake-up call. He was relentless with my intonation, telling me I must ‘feel the fire in my belly.’”
At SUNY Purchase, he “met a wonderful violin teacher who taught me to play, study and practice five hours a day.” After studying at the New England Conservatory, Capozziello earned his doctorate from The Hartt School in 2018. He now teaches at The Hotchkiss School and performs with the Hartford Symphony.
He explained that his role as assistant concertmaster is the direct line between conductor and musicians, and that the orchestra is “a family dynamic, a democratic unit, truly a living, breathing organism.”

On May 2, Capozziello was soloist with Orchestra New England, performing the world premiere of Neely Bruce’s “Concerto for Violin,” along with “The River” by Jan Swafford and Aaron Copland’s “Appalachian Spring” at Battell Chapel at Yale.
“I care about bringing classical music into communities and spaces where people may not expect it,” said Capozziello.“Music is most powerful to me when it feels alive, humanand accessible, not distant or formal.”
For 20 years, Kinsolving has acted in film, television and theater in London, New York and Los Angeles. “I was first onstage at Washington Montessori School playing Peter Pan,” she said. “I improvised a line, got a laugh and liked the feeling.”
She enjoys performing Shakespeare. “I love Titania’s monologue because it speaks to our current climate crisis. Lady Macbeth surprised me. I fell in love with her while I was doing it. I could play those scenes forever; so much range and depth to explore,” she said.
Kinsolving added, “I love Shakespeare’s comedies for the fun and rhythm. I have loved Rosalind, Viola, Olivia, Helena and Kate, yet the top of my bucket list is Beatrice. Each character reflects a shade of my soul. Shakespeare had the brilliance to illuminate them. If I ever get a tattoo, it will be a list of their names.”
Kinsolving, whose parents, poet Susan Kinsolving and author William Kinsolving, live in Lakeville, studied at Milton Academy, universities in China, and Vassar College. Her theater training includes Stella Adler Studio of Acting, Royal Academy of Dramatic Art in London, Yale Drama Intensive and she is currently studying online through Juilliard.. She founded Theatre for Good, which donates its proceeds to charity.
Both artists are looking forward to June, when they will have more time to spend with their dogs.

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Natalia Zukerman
Nate King, “When I Was Younger And Now That I’m Older,” 2026, Digital projection, digital animation, photography.
The Wassaic Project, the 8,000-square-foot, seven-story former grain elevator transformed into a vibrant arts space, opens its 2026 Summer Exhibition, “Because, now is the time of monsters,” on Saturday, May 16, from 3-6 p.m. at Maxon Mills, launching a season-long presentation featuring 39 artists working across installation, performance, video and sculpture.
The opening celebration will include an afternoon of exhibitions and live programming throughout the historic mill building and its surrounding spaces. Gallery and Art Nest hours run from 12-6 p.m., with special presentations scheduled throughout the day.
Highlights include “Life’s a Game, Boy,” an end-of-year exhibition by the Wassaic Project’s JV and varsity art clubs (4-6 p.m.), showcasing work by students in grades 5-12 from across the region. At 4:30 p.m., artist Ace Lehner presents “Barbershop: The Art of Queer Failure,” a participatory performance and installation that reimagines the barbershop as a space for queer world-making through improvised haircuts and collaborative exchange. Haircuts will be given on a first-come, first-served basis.
In the evening, artist Nate King will present “When I Was Younger and Now That I’m Older” (8-10 p.m.), a projection work that transforms the facade of Maxon Mills into a shifting visual field of memory, geometry and childhood imagery, reflecting on time, age and perception.
The exhibition, organized by the Wassaic Project, will be on view through Sept. 12 and brings together a wide range of contemporary artists working in and around the Hudson Valley region. More information is available at wassaicproject.org.
Natalia Zukerman
The Hotchkiss School will launch a major new addition to its arts programming with the inaugural Hotchkiss International Piano Competition, a three-day event taking place May 15–17 in Katherine M. Elfers Hall.
The competition will bring together young pianists ages 10 to 18 from around the world, with participants representing the United States, Thailand, Korea, China, Canada, and Azerbaijan. Performers will compete across multiple age divisions, culminating in final rounds that will be open to the public, offering audiences the opportunity to hear a wide range of emerging international talent in performance.
The jury features an internationally recognized panel of performers and educators, including Artistic Directors Fabio Witkowski and Gisele Nacif Witkowski of The Hotchkiss School, alongside Gloria Chien, Olga Kern, Leonel Morales, and Álvaro Teixeira Lopes. Together, the panel brings broad global experience as performers, pedagogues, and competition jurors, and will evaluate contestants over the course of the event.
Organizers describe the competition as both a rigorous artistic platform and an opportunity for cultural exchange, emphasizing performance under professional conditions and the development of young artists at a formative stage in their careers. Winners will receive a total of $25,000 in prize awards, along with opportunities for broader recognition and future performance engagement.
The competition is made possible through founding support from the Yang and Hamabata families. Murong Yang (Class of 2008), whose experience at Hotchkiss shaped her early connection to music and the arts, and her husband Corey Hamabata envisioned a program that combines artistic rigor with personal growth and international exchange. Their support establishes the competition as part of a longer-term commitment to nurturing emerging musical talent.
“This competition offers a platform for extraordinary young artists to challenge themselves, share their artistry, and connect with a global community of musicians,” said Fabio Witkowski, Artistic Director.
The final rounds of the competition will be open to the public, inviting audiences to experience live performances from some of the most promising young pianists on the international stage.
More information is available at hotchkiss.org/piano-competition.
Natalia Zukerman
“Untitled” by Christine Domanic, one of the 37 artists featured in “Earthen Plot,” opening Friday, May 15.
Art lovers will have an opportunity to step inside working artist’s studios across the region next weekend as Open Studios by Upstate Art Weekend returns Saturday, May 16, and Sunday, May 17, from 11 a.m. to 6 p.m.
The annual event invites the public into the creative spaces of 240 artists throughout the Hudson Valley and Catskills, offering an intimate look at artistic practices across disciplines while fostering direct connections between artists and visitors.
This year marks the first standalone edition of Open Studios. While the event previously took place alongside June’s Upstate Art Weekend festival, founder Helen Toomer said dedicating an entire weekend to studio visits allows the focus to remain fully on artists and the experience of encountering their work where it is made.
“While Open Studios previously took place alongside Upstate Art Weekend in June, dedicating an entire weekend to studios allows the focus to remain fully on the artists and the experience of visiting them in their creative spaces,” said Toomer. “We’re excited to welcome both returning and new participants this year.”
Founded in 2020, Upstate Art Weekend has grown into a major regional arts platform spotlighting artists, organizations and creative communities throughout the Hudson Valley and Catskills.
The self-guided, region-wide program transforms private studios into temporary public spaces for conversation, discovery and engagement with contemporary art.
Toomer said the shift creates a distinctly different experience from the larger June festival.
“One of the biggest differences from June is the pace and focus,” she said. “Open Studios offers a more intimate experience — giving visitors time to connect directly with artists, see where work is made, and engage more deeply with their practices.”
She added that the two events complement one another.
“Together, the two events create a meaningful balance: Open Studios in May centers the artists, while June’s Upstate Art Weekend gives participating artists the opportunity to explore the region’s museums, galleries and organizations themselves.”
This year’s Open Studios will kick off with the opening reception for “Earthen Plot,” a group exhibition curated by Toomer, from 6 to 8 p.m. Friday, May 15, at UAW headquarters in Kingston.
The exhibition features work by 37 artists selected from more than 200 Open Studios participants and explores artistic practices shaped by place — physically, spiritually and intuitively.
Through sculpture, painting, installation and ephemeral forms, “Earthen Plot” examines relationships between land, material and environment.
The exhibition will remain on view through June 29, with regular Saturday hours and extended hours during Open Studios weekend and Upstate Art Weekend, which takes place June 25-29.
Visitors can plan their Open Studios routes using UAW’s online interactive map and create customized itineraries to explore studios across the region.
“More than anything, we hope both weekends encourage people to discover the richness of the Hudson Valley’s creative community in a personal and memorable way,” Toomer said.
More information is available at upstateartweekend.org.

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