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1 Annapolis Home
Annapolis H O M E
Serving Anne Arundel, The Eastern Shore & Beyond • Vol. 4 No. 3 2013
g a r d e n • d o c k • g a r a g e
T e r r athe landscape issue
2 Annapolis Home
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Annapolis Home Magazine
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For guidelines and submission information, please go to www.annapolishomemag.comDeadline for submissions: July 15, 2013
Awards Dinner: Thursday, October 24, 2013 at the Gibson Island Club
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8 Annapolis Home
FEATURES
11 Robert’s Picks
42 How to Hire a Landscape Professional
44 Leading Lights
50 Fine Design: Beam On
52 In the Kitchen 56 The Page After: Furniture Inspired by Nature
Landscape architect Jay Graham shares his creative process.
32 Architect Chip Bohl muses upon the history and severe beauty of this famous church.
Annapolis Home peeks into a garden on the Hammond-Harwood House tour.
36
12 Narratives Embedded in the Land
Sneak Preview of an Urban Patio on the Secret Garden Tour
Saint Anne’s Church: A Romanesque Beauty on Church Circle
DEPARTMENTS
AnnapolisH O M Egarden • dock • garage
CO
NTE
NTS
Cover photograph: Jay Graham Landscape
26Serenity on the South RiverWaterfront zoning restrictions inspire a perfect pool.
10 Annapolis Home
Editor Kymberly B. Taylor
Creative DirectorRyan Gladhill
Senior DesignerSamantha Gladhill
Contributing PhotographersGeoffrey Hodgdon
Christine Fillat
Architectural ColumnistChip Bohl
Contributing WritersAllison TitmanChristine FillatMollie Ridout
Gay Jervey
CopyeditorKatie Pierce
Marketing ConsultantsJessica WhiteMartin Evans
PublishersKymberly B. Taylor
Robert E. Haywood
Annapolis H O M Egarden • dock •• garage
Through its advertisements Annapolis Home
strives to showcase businesses that possess a strong commitment to high standards of professional
integrity and customer service. We seek advertisers who share our business philosophy. For advertising
inquiries, please contact Robert Haywood at [email protected] or please
call 443.942.3927
Annapolis Home Magazine P.O. Box 6560, Annapolis, MD 21401
Annapolis Home is published bimonthly by Taylor Haywood Media LLC. No part of this magazine may be reproduced in any form without express written consent of the publishers. Publishers disclaim any and all responsibil-ity for omissions and errors. Publishers disclaim any and all responsibility for an advertiser’s products, services, or claims. The views expressed in this magazine are solely those of the writer. All rights reserved.
© 2013 by Taylor Haywood Media LLC
Welcome to the Landscape Issue, which we have filled with great things for you. This was not difficult, given the beauty of Annapolis and the time of year. We are in early summer, a season as beautiful and painful as music that captivates your heart and drifts away—you cannot hold it in your hands. I know this because I (Kymberly) grew up on an ancient point of land on the Magothy River where this special season was intoxicating, almost exhausting, with forsythia and dogwood that seemed to riot and bloom forth overnight, replaced all too soon by calm green leaves. The law of this land was (and still is, just ask my parents) to grow at a ferocious pace and to resist landscaping of any kind. But what I have learned and share with you here is that there are professionals who are highly successful because they are able to discern each landscape's inner law and natural force, contend with it, and shape it with knowledge and care. In our story "Serenity on the South River," Steve McHale and a team of professionals, due to strict setback rules, design and landscape a pool on a side lot, creating fertile ground out of a "problem space." Jay Graham, FSLA and the subject of our new Portfolio section, discerns the natural laws guiding the smallest plot or great land mass, and only then begins his work. There is much more to discover within our pages, including an essay by Chip Bohl on Saint Anne's Church and Church Circle, our city's famous landmark situated on a natural hill near the edge of a well-travelled horse path that today we call West Street and Main Street. We close by wishing Mollie Ridout, our wonderful garden columnist, and her family our sympathy and safekeeping following the recent loss of Orlando Ridout, an important historian who led many restoration efforts throughout Annapolis. Until next time,
Kymberly Taylor & Robert HaywoodPublishers
[email protected] [email protected]
Publishers’ Letter
Advertising in Annapolis Home
Employment: Realize your hightest potential! Join the Annapolis Home marketing and sales team.Contact [email protected]
Vol. 4, No. 3 2013 11
1 In the spirit of our landscape issue, we present here one of the greatest nature paintings of all time, Frederic Church's
Niagara of 1857. The painting, conceived when artists were still discovering the vast landscape of America, is in the collection of the Corcoran Gallery of Art in Washington, D.C. With just a short drive, you can stand before it and inspect every breathtaking detail.
2 After you read Chip Bohl’s essay in this issue on St. Anne’s Church, make plans to attend one of the excellent
performances as part of the St. Anne’s Concert Series. St. Anne’s Parish brings some of the best musicians in the region to Annapolis. On May 16th, St. Anne’s presents the United States Army Field Band Ambassadors; and on May 30th, St. Anne’s hosts Peter Griggs—500 Years of Music for Guitar. For more information, go to www.stannes-annapolis.org.
3 Annapolis Home is pleased to be a sponsor and to offer you a sneak preview of the Secret Garden Tour, which takes
places on Saturday, June 1st and Sunday, June 2nd. The Tour benefits the Hammond-Harwood House, a national treasure and one of the greatest examples of colonial architecture. For ticket information, visit www.hammondharwoodhouse.org.
4 Wolf Trap is America’s national park for the performing arts. The late Catherine Filene Shouse founded Wolf Trap
by donating one hundred acres of her Vienna, Virginia, farmland to the U.S. Government, as well as funds for construction of a 6,800-seat indoor and outdoor theatre. Throughout the summer, you can experience performances ranging from pop, country, folk, and blues to orchestra, dance, theater, and opera. For a list of concerts and performances at Wolf Trap this summer go to www.wolftrap.org.
5 From April to August, the Wednesday Night Sailboat Races are part of the cultural landscape in Annapolis.
The race series is held every Wednesday night through August 28th. You can participate in or watch the races, which are sponsored by the Annapolis Yacht Club. For more information go to www.annapolisyc.com.
6 The 26th Annual Antique and Classic Boat Festival takes place at the Chesapeake Bay Maritime Museum in St.
Michaels on June 14th–June 16th. This boat event is the largest of its kind in the Mid-Atlantic region. For information, visit www.chesapeakebayacbs.org.
Robert’s Picks
Robert Haywood, Ph.D., studied art and architectural history at the University of Michigan, Ann Arbor. He has taught at MIT and Johns Hopkins University and has been a residential fellow at the Center for Advanced Study in the Visual Arts and the Getty Center in Los Angeles.
Frederic Edwin ChurchNiagara
1857oil on canvas
40 x 90 1/2 inchesCorcoran Gallery of Art, Washington, D.C.
Museum purchase, Gallery Fund76.15
12 Annapolis Home
Narrativesembedded in the landthe work of Jay Graham
Vol. 4, No. 3 2013 13
Portfolio
By Kymberly Taylor
Jay Graham became a landscape architect almost by chance. Af-ter graduating with a degree in architecture from the University of Virginia in 1969, he worked as an architect at RTKL, a prominent Baltimore firm. Arbitrarily, he was seated near a landscape architect. He would visit his desk often and became more interested in his work than his own. “That influenced me. On some of these projects, in the early 1970s, architecture was not that attractive. I began to think that the spaces between the buildings were more interesting than the buildings,” he recollects.
He was laid off from RTKL with many others and, when working on a short-term project involving his alma mater, University of Virginia, was invited to join the first class of their new graduate program in landscape architecture. He graduated in 1972 and began a journey that led him from the genteel slopes of UVA, to the turf of Camden Yards, where he landscaped a platform for Pope John Paul II, to the back door of the Maryland Governor’s Mansion, where he con-ceived a fountain for the Governor’s companion. He works closely with architects to understand their language and extend their ideas into the landscape.
14 Annapolis Home
This home, surrounded by a 38-acre meadow, is built in
the International Style. The design, which emerged during
the 1920s and 1930s during the Bauhaus movement,
favors balance over symmetry, transparency in materials,
and minimal ornamentation. It remains popular because
it can fit in anywhere, in any country. In reaction to
this aesthetic and modern mid-century architecture
“with a sense of placelessness,” Graham began to search
for what he calls “narratives embedded in the land.” He
composes these narratives by examining the region’s
history and the composition, geology, and forms of the
earth. Then, Graham translates what he finds into a design
that is in dialogue with the architecture it surrounds.
For example, for this project in Bluemont, Virginia,
Graham’s task was to make the house harmonious
amidst forest and vast meadows. The land presented
him with a historical narrative of old farm fields and
wood groves, once fertile ground for settlers. Instead of
nestling the home against the tree line, which the architect
proposed, he placed it in a clearing. He shaped this into a
contemporary story with the architecture at its center and
lands flowing from, to, and around it. “I thought of it as
ripples in a pond … the house, the terrace, the lawn and the
meadow move outward. Sometimes the ripples are circles,
sometimes they are squares,” he says. The driveway winds
its way in a circular pattern to the house, which, as one
progresses through time, emerges like a piece of sculpture.
The overall design mirrors the circle of life itself—the
grounds mature, the family grows, the story continues.
Ripples
16 Annapolis Home
SoliloquyThis loggia and gardens belong to a home located on a steep, almost
vertical slope in Langley, Virginia. The residents, a couple who values
education, wanted an environment for themselves and their children
that encouraged not just play, but also thought, solitude, and reflection.
To bring form and stability to uneven ground and add beauty,
Graham turned to both architecture and landscape architecture. He
designed a pool and, for drama, a classical Roman loggia. Geometrical
terraces reshape and temper the slopes. Some walls have single but
powerful words inscribed upon them, such as “Think.” It is this
feeling of thoughts unspoken, of soliloquies to come, that add to the
introspective atmosphere created by this loggia. Its columns, due to
space restrictions, were placed within inches of the pool. This building
feat has its rewards: on clear evenings, the pool is their perfect mirror.
18 Annapolis Home
Vol. 4, No. 3 2013 19
A GlimpseThis small garden is located in Cathedral Heights,
in Washington, D.C., and situated on the side of a
townhouse near Wisconsin Avenue. When designing
the tiny space, Graham contemplated indoor-outdoor
connections and materials. To transform blank walls
into views, he chose perennials with diverse foliage
that become especially beautiful when illuminated.
Other specimens filter sun and cast shade patterns. The
garden is designed for privacy and protection. High
walls provide inhabitants with a sense of invisibility.
The wood slat partial walls form an unusual outdoor
foyer. The cut-out in the wall was designed for a wind
chime but looks like an ancient window where a
dwarf or tiny gatekeeper might peer out and question
you. Visitors are not encouraged to enter the garden.
However, they are invited to glimpse and admire. “It is
as much a look-into garden as a be-in garden,” explains
Graham. The imaginings are all a part of the pleasure.
20 Annapolis Home
The Naval Academy today is impressive, but early on,
the grounds were inferior to the buildings and composed
of utilitarian walkways and leftover spaces. Graham
studied the bay front and naval history and walked the
site many times. He came across found objects, such
as a massive anchor. With plantings, he drew attention
to this symbol of naval strength while transforming it
into a piece of public art. He conceived of a walkway
adorned with a Compass Rose, which points East and
West, suggesting work accomplished and yet to be. The
walkway is now almost a destination, with an iron fence
undulating like the sea and lamps resembling lighthouses.
East, West
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OverflowThe Governor’s garden and fountain may be one of Graham’s
most creative endeavors. In 1990 Hilda Mae Snoops, the
companion of then-Maryland Governor William Donald
Schaefer, asked Graham to create a public garden from the
leftover space at the back of the Mansion. Graham studied
the awkward configuration barricaded by a hedge and decided
it needed a focal point, perhaps some kind of fountain.
He sketched fountains on Boston Commons and roamed
Annapolis, searching for ideas. “There are so many things in
Annapolis that hark back to a previous era, but what are we doing
like that today? I had the opportunity to create something brand
new but with a strong environmental message. He removed the
hedge and orchestrated plantings around a fountain that, in its
essence, celebrates Maryland and the flora and fauna of the Bay.
At first glance, the fountain looks Victorian, explains Graham,
and pays homage to the Mansion’s early architecture. However,
upon inspection, the statue is asymmetrical and looks different
from every angle. Its three tiers include corn, crabs, tobacco,
terrapins, the Baltimore Oriole, the state bird, and the Maryland
flag. Meticulously crafted White Oak leaves, from Maryland’s
state tree, form a mosaic around the lip of each basin. Its base is
unusual. Instead of the traditional granite, Graham chose brick,
referencing historic Annapolis’ brick-lined streets and buildings.
Vol. 4, No. 3 2013 23
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Serenity on the South River
Vol. 4, No. 3 2013 27
By Robert Haywood
28 Annapolis Home
Vol. 4, No. 3 2013 29
living brings great beauty and pleasure as well as special costs, responsibilities, and restrictions. Many of those restrictions are designed to protect the Chesapeake Bay. In Anne Arundel County, there is a buffer zone for waterfront properties, which limits any kind of development within one hundred feet of the shoreline. Another restriction allows for no more than 15–31 percent of impervious surfaces for any one site. When an Annapolis homeowner decided to install a swimming pool for his South River home, these factors came into play. To comply with county and state setback requirements, the pool is located on the side of the house rather than in between the house and the river. But this side location offers an advantage. When the homeowners look out the window, the pool does not distract from their views of the South River, especially of concern during the winter when the pool is covered.
The pool is designed to accommodate both lap and recreational swimming. The homeowner wanted a pool for his family’s enjoyment and because he had been a swimmer in high school and college and continues to swim, including the 4.4-mile Chesapeake Bay swim. In preparing for that swim, he practices in both the pool and the South River. Since this family moved into their home on Melvin Road, they have remodeled their property a number of times, beginning with the house itself. Working with architect Leo Wilson of Hammond Wilson Architects in Annapolis, they added a wing onto the two storied contemporary house, which required removing a large deck attached to the back of the house. The newly designed house, built by Pyramid Builders, with its gambrial roof, is influenced by Dutch Colonial and Shingle Style residential architecture. In addition to the new wing, the homeowners added family and game rooms, and a second kitchen in the lower level, making outdoor entertaining more convenient. Following the home remodel, the homeowners turned to the landscape, including the pool addition. Oehme van Sweden and Associates, a firm in Washington, D.C., conceived the initial pool and landscape plan. McHale Landscape Design of Annapolis made revisions to the plan and brought the whole project into fruition.
Waterfront
Before
30 Annapolis Home
Each landscape project brings its own special challenges. In this case, the heating, ventilation, and air conditioning (HVAC) system next to the house had to be relocated. In addition, to construct the pool so close to the house, Steve McHale notes that the house had to be underpinned to provide more support to the foundation.
The pool, by the Sunset Group of Crofton, is built with Pennsylvania fieldstone walls in a dry impression coupled with water scupper wall fountains. So that you can enter the pool area from the front of the house, McHale constructed steps with Pennsylvania bluestone slaps. The patio consists of blue stone in dry packed cement with tight joints, with each stone cut to fit. Both the fieldstone and bluestone are “natural stones with earthy colors that provide interesting texture and blend easily with setting,” notes McHale. Along the wall, McHale also built a bench that opens up and serves as equipment storage. The plantings give the area a richly colored and textured character. Hakone grass and Nikko Blue hydrangea grow in planters between the pool and house. Panicum, iris, hibiscus, and purple moor grass border the bed along the property line near the water. McHale used other native plants, including Baptisia, purple coneflower, feather reed grass, cardinal flower, liatris, and carex.
When the plants are in full bloom, the landscape is magical. Add to that the triple water effect—the pool, with its pouring fountains, overlooking the South River—and what you have is indeed a little slice of paradise.
Resources:McHale Landscape Design, www.mchalelandscape.com
Oeheme van Sweden, www.ovsla.comSunset Group, www.sunsetgroupmd.com
Hammond Wilson, www.hammondwilson.comPyramid Builders, www.pyramid-builders.com
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Vol. 4, No. 3 2013 31
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On theCorner
When Sir Francis Nicholson designed the city plan of Annapolis in 1694, he formed two monumental street circles on the highest points overlooking the harbor and Chesapeake Bay. State Circle provides a most commanding setting for the State House and seat of government. Church Circle, the location of St. Anne’s Church, is smaller, and on slightly lower ground, but in many ways has a greater visual impact on the city.
Church Circle is the hinge between Main Street and West Street. Probably the only salient feature on the Annapolis peninsula before Nicholson’s plan was the horse path from western lands to the natural harbor. This path was formed by the natural topography. Situated on the highest ground between Spa Creek and College Creek (now West Street), it lead to the most gradual slope into the natural harbor (now Main Street). If
you stand at the south side of St. Anne’s Church, near Captain John Worthington’s 1701 grave, you can look down Main Street to the harbor and look out West Street, the land route to Philadelphia and Washington, D.C. It is not hard to imagine that the placement of the church building was in respect to this ancient path. It is one explanation for the fact that the building is not in the center of the circle and the front door is not precisely centered on West Street.
Nicholson was a staunch supporter of the Church of England. He believed strongly that the Church should play an integral part in the development of Annapolis. His placement of Church Circle had the profound effect that upon entering the city either by land or by water, the church building would dominate the approach.
Saint Anne’s Church:A Romanesque Beautyon Church CircleBy Chip BohlPhotography by Geoffrey Hodgdon
Vol. 4, No. 3 2013 33
The building we see today is the third church structure. The first was erected within five years of Nicholson’s plan and was the only brick church in Maryland. This building was demolished in 1775 to make way for a larger church. It is hard to believe that the church vestry could not have foreseen the pending “unpleasantries” of the American Revolution. The unfortunate timing of the new construction was halted by the scarcity of materials and the flaccid community support for building a new edifice for the Church of England. By 1785 work began on a new
church without ties to England, and was completed by 1792. It is this church building we can see in the 1800 watercolor of Annapolis. This building burned in 1858 due to a faulty furnace. It was rebuilt immediately and is the building that exists today. The second building shares many architectural similarities with the present building. Both are Romanesque architecture, which was popular in the 1800s before the Civil War. Romanesque architecture features perfectly circular round arches, frequently paired one inside of another. The style tends to be severe with little architectural ornamentation. The familiar 1858 bird’s eye print of Annapolis by
Opposite: The church was built just before the Civil War in the Romanesque architectural style. The repetitive semicircular arches in the walls surround the arched windows. The steeple was completed shortly after the war in a Gothic architectural style. The town clock is in fact owned and operated by the City of Annapolis.
Above, far right: The eagle lectern was donated by the widow of James Iredell Waddell, commodore of the Confederate warship CSS Shenandoah. The exuberant design is all brass, including the inscription in memory of the commodore to “make him to be numbered with the Saints everlasting.”
View of Annapolis, Maryland (1800). New York Public Library, I. N. Phelps Stokes Collection. Image courtesy of Hammond-Harwood House. This 1800 watercolor depicts the second church building built in 1785 and burned in 1858. Notice the path along the church that directly connects West Street with Main Street. The view is from Franklin Street, with St. John’s College McDowell Hall to the left and the State House to the right.
34 Annapolis Home
Edward Sachse illustrates the second church building with two steeples, making a more complete Romanesque composition. However, the Civil War interrupted the construction of the two-steeple design. In 1866 the single spire we see today was completed in a Gothic style. The octagonal taper sits on a square brick base and includes the town clock, which is actually the property of the City of Annapolis, who is responsible for its care and maintenance. Fortunately we can set aside all issues of the separation of church and state and enjoy the remarkable beauty of the edifice and the quarter hour chimes.
The interior of the church is magnificent. It has been recently restored using original paint colors with lovely understated stenciling. The high ceiling of the sanctuary is lit by Tiffany stained glass windows. Of special note is the bronze lectern capped by an American eagle with wings spread and talons extended. The lectern was given to the church by the widow of James Iredell Waddell, commodore of the Confederate warship CSS Shenandoah. After the war, Waddell cooled off in England, returning in 1881 to build his beautiful English Shavian–inspired home on the corner of College Avenue and Prince George Street. The lectern is a great example of bombastic design, demanding much visual attention. No less demanding is the lectern inscription with the commodore’s death date: “make him to be numbered with the Saints everlasting.”
St. Anne’s Church and Church Circle are defining elements of the Annapolis chemistry. It is impossible to imagine Annapolis without them. Take a moment to enjoy this exceptional church building, especially the interior. Then stroll the circle to absorb the essence of Sir Francis Nicholson’s brilliant urban design.
Chip Bohl is an architect, practicing in Annapolis for 33 years. Visit www.BohlArchitects.com
The interior has been lovingly restored with original paint colors and subtle stenciling. The sanctuary has the feel of years of use, and years of vigilant care.
Vol. 4, No. 3 2013 35
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Q&A
36 Annapolis Home
Each year homeowners in Annapolis open their gardens to the general public for one weekend, allowing visitors a glimpse of the beauty and seclusion of these usually private landscaped settings. They do so to benefit the Hammond-Harwood House Association, a nonprofit organization dedicated to maintaining one of the most beautiful examples of classical eighteenth-century architecture in the country. The annual event, known as the Secret Garden Tour, began in 2000 as an informal, mid-week tour of just a few local gardens but over the past thirteen years has blossomed into a weekend event featuring a bevy of verdant spaces each time. More than ninety gardens in the historic Annapolis area have been featured on the Secret Garden Tour, each with a different character and type of charm: new and old, grand and intimate, historically influenced and decidedly modern, and all worth exploring.
This year marks the fourteenth Secret Garden Tour and is set to provide the opportunities for inspiration and contemplation that visitors have come to eagerly anticipate. The tour will take place on Saturday and Sunday, June 1 and 2, from
noon to 5 p.m. each day. The neighborhood spotlighted in this year’s tour is the eastern side of downtown historic Annapolis. The garden of the Hammond-Harwood House is included in the tour and will give visitors a chance to experience the effects of a quiet green space in the midst of a bustling town in the same way our eighteenth-century ancestors did. The House’s neighbor across the street, the Chase-Lloyd House, will also be opening its gates to visitors, offering another glimpse into Annapolis’s long and eventful history.
The other gardens on the Secret Garden Tour reflect an exciting variety of landscape types. Just a block away from the Hammond-Harwood House, tour guests can see a modern garden planted for a historic nineteenth-century home. The
garden has several formal details and shows how an in-town garden can create privacy. Even the Annapolis Bookstore is getting in on the act, perhaps surprising patrons who did not realize they could have a helping of greenery with their books and coffee.
Secret Garden Tour By Allison Titman Photography by Geoffrey Hodgdon
Sneak Preview of an Urban Patio on the
An Annapolis Home Exclusive
Vol. 4, No. 3 2013 37
38 Annapolis Home
Tickets for the Secret Garden Tour are $25 in advance and may be purchased on the Hammond-Harwood House’s website (www.hammondharwoodhouse.org) or by calling 410-263-4683. On the weekend of the tour, tickets will be $30 and only available at the Hammond-Harwood House, which is located at 19 Maryland Avenue in Annapolis.
The tour program, which includes a map of all of the garden locations as well as a description of each garden, serves as the ticket and is good for both days. Parking is available on the street or at nearby parking garages; there is the Hillman Parking Garage on Gorman Street or the Bladen Street Garage on the corner of Calvert and St. John’s Streets, which is free on weekends. Both are a short stroll from the Hammond-Harwood House, where the tour programs will be available for pickup.
Included in each program is a coupon for a free tour of the Hammond-Harwood House that may be used anytime this year. The House, referred to as the “Jewel of Annapolis,” is certainly worth a visit. It is a unique example of period Palladian design and looks almost exactly as it did in the eighteenth century.
Allison Titman is the Assistant Director and Curator at the Hammond-Harwood House. When not busy with historical matters, she enjoys experiencing all of the beauty and fun Annapolis has to offer.
Tickets for the Secret Garden Tour are $25 in advance and may be purchased on the Hammond-Harwood House’s website, www.hammondharwoodhouse.org, or by calling 410.263.4683.
On the weekend of the Tour, tickets will be $30 and only available at the Hammond-Harwood House itself, which is located at 19 Maryland Avenue in Annapolis.
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42 Annapolis Home
Finance At Home
By Gay Jervey
Deck by Quayle and Company, a Design/Build firm
Chances are that if you are embarking on a landscaping project for the first time, you may find yourself confused by the various professional designations that populate this field. Don’t worry, you’re not alone. There are shades of gray and overlapping areas of expertise. What distinguishes a landscape designer from a landscape architect? What will my project require?
Landscape architecture and landscape design are kindred arts that share similar traits. They are both multidisciplinary fields that combine aspects of architecture, fine arts, design, botany, geology, the earth sciences, ecology, and environmental psychology. However, as Hal Quayle of Quayle and Company, a landscaping firm in Severna Park, MD, suggests, whether a project necessitates one or the other often revolves around its scope and intricacy.
Point of Difference: Formal Education and Training
Indeed, there are key dissimilarities between the two specialties. For one, a landscape architect is a licensed professional much like a lawyer or doctor, who has obtained at the very least an undergraduate degree in landscape architecture from an accredited college or university. Many go on to postgraduate study and ultimately receive a master’s degree. Landscape architects attend courses in a vast and eclectic range of subjects, including urban design, architecture, horticulture and botany, ecology, soils and geology, presentation and construction techniques, and, notably, civil and structural engineering. As such, the training and educational process for a landscape architect is in-depth and takes years to complete.
In addition—and this is key—landscape architects must successfully complete a rigorous registration exam. Only those who have met their respective state requirements may call themselves landscape architects. Furthermore, a landscape architect must undergo continuing education on a regular
basis to stay up-to-date on new techniques and advancements in the industry.
By contrast, there are no specific credentials or degrees that a landscape designer must fulfill. Some have received their training on the job, although others have earned undergraduate and masters degrees in design and are officially educated in such disciplines as horticulture, design, and nursery and planting standards. But, and here’s the rub, there is no mandated education or certification.
Having said that, the Association of Professional Landscape Designers sponsors a certification program that confers professional recognition to landscape designers based on established standards of excellence and the extent of one’s experience. Currently, 20 percent of APLD members are certified.
One interesting point to note is that in some instances designers may have degrees in architecture but just may not have taken
How to Hire a Landscape Professional
Vol. 4, No. 3 2013 43
the registration exam and are consequently barred from referring to or advertising themselves as landscape architects. Simply put, a landscape architect can be a landscape designer, but a landscape designer cannot be a landscape architect, unless they have fulfilled both the education and registration requirements. Given the rigorous requirements to be a landscape architect, you can expect that their services will likely cost more.
Sometimes a Question of Scale and Scope
By and large, landscape architects typically handle larger-scale matters with multiple elements that require complicated technical design plans and construction-ready documents. Thus, their expertise is often called for on projects that include extensive hardscaping—the parts of the grounds that consist of structures such as walkways, retaining walls, decks, and patios.
“Some municipalities require that you have a signed and sealed landscape architect who has a degree and has taken the exam and is registered for you to do certain work,” explains Eric Groft, a principal at Oehme van Sweden and Associates, a landscape architecture firm in Washington, D.C.
Landscape architects specialize in both commercial and residential work, as opposed to designers who tend to focus on residential projects. Like landscape architects, designers are skilled in softscaping—orchestrating the implementation of flowers, plants, shrubs, trees, and so forth.
Landscape architects and designers alike often work in “design build” firms that handle projects from day one through completion. Under the design-build model, one entity works under a single contract with the project owner to provide design and construction services. Many feel this mode of delivery answers the client’s wishes for a single-point of responsibility that, ultimately, can reduce risks, duplication, and overall costs.
“We do it all in house,” says Quayle. “We take care of the whole process, and I believe that this is a very good way of handling it. You are implementing your own thoughts and know how you came up with the process. And you can also make changes as you see them and adapt on site as needed.”
A Long-Term Relationship: Hire Someone Who Listens
There is no question that the size and expense of your project will dictate whom you hire. At the end of the day, though, less concrete considerations come into play.
“You bring someone on based on what your needs and budget are. But you also have to follow your instincts,” says Matt Ciminelli, owner of Ciminelli’s Landscape Services in Lothian, MD. “If you like somebody and their ideas—and you can tell that they really listen to you—don’t be afraid to go with them, because it can be a long-term relationship. I have customers that I’ve worked with for twenty-five years now.”
“You had better hire someone you like, who really hears you and understands your vision,” Groft agrees. “Because you are going to know them for a lifetime. We are involved from the first site visit report through installation of the last plant. And then we are available for reviewing maintenance procedures and making revisions. I make spring visits to all of my gardens. I walk the site with my clients to see how every plant and tree is doing. They are like my children.”
A good working relationship can be a creative process in itself. Entrust your vision with professionals who will carry your project to completion and beyond, whether that professional is a landscape architect or landscape designer.
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GRAHAMLANDSCAPEARCHITECTURE
Gay Jervey is a journalist who has written articles on finance for publications including The New York Times, Money, Inc. and Fortune Small Business.
44 Annapolis Home
Leading Lights
A sixth-generation Marylander whose roots hark back to Charles Carroll and David Clark, of Clarksville, Maryland, Robert C. Clark became Historic Annapolis' president and CEO in January 2013. An Annapolis resident for many years, he built a career as a securities and marketing executive with Paine Webber, E. F. Hutton and other large financial institutions. Equipped with a background in finance and passion for history, he hopes to expand and invigorate the organization and invites all Annapolitans to help.
Much of your career has centered around high finance. What motivated you to accept your new position at Historic Annapolis?
Yes, I spent a lot of years in the world of finance, but my true passion is history. Personally my family is connected to Annapolis through David Clark who came from Ireland to run a mill for Charles Carroll of Carrollton. Having such a concrete connection sparked my interest in all things historic very early on. Walking the brick-lined streets of Annapolis and enjoying the picturesque view of Main Street always felt like a gift from someone I never got a chance to properly thank. Becoming president is a win-win for me; I get to be around the history I love and say thank you to everyone who committed themselves to making Annapolis what it is today. It’s my turn to give back now. Just in case anyone else feels the same, they don’t have to become President –simply become a member!
A New Director and a New Chapter in the History of Historic Annapolis
William Paca Gardens, Historic Annapolis
Vol. 4, No. 3 2013 45
By Kymberly Taylor Photography By Geoffrey Hodgdon
As the new president, what are your top three priorities for the year?
In the coming year we will be focused on preservation, education, and funding. Our new senior preservation officer will be reinvigorating our historic building marker and easement programs, and overseeing restoration maintenance on some of the buildings we manage so they can continue to proudly serve as a model for preservation.
We believe children are the future stewards of Annapolis and want to connect them to their history and make them life-long preservationists. Next year’s educational efforts will be geared toward increasing our activities for school children and families both in and out of the classroom.
Of course our biggest priority is securing funding to make it all possible. Not only is Historic Annapolis focused on raising programmatic and operational money, but we would like to build our endowment so all of our projects and programs have a more secure stream of revenue in the future.
Why is Historic Annapolis truly important to Annapolis? Is it all about the buildings or does it change lives?
It’s both. We preserve the buildings and fill them with quality programs that enhance people’s lives in many different ways. Whether it is the simple enjoyment of strolling through the two-acre pleasure garden at the William Paca House, or taking in inspiring stories at our Freedom Bound: Runaways of the Chesapeake exhibition, we want visitors to learn something new
A New Director and a New Chapter in the History of Historic Annapolis
46 Annapolis Home
and feel connected to history. One of the ways we do this best is through Annapolis Footprints, our after-school program that uses first person interpreters in period costumes to bring to life important people of the past. Children learn about history as they retrace the footsteps of people like George Washington and are encouraged to think about what kind of footprints they want to leave behind. In a recent video about the program (http://vimeo.com/61356495) parents and teachers described it as life-changing and instrumental in creating historically literate citizens.
Tell us something about Historic Annapolis that most people do not know but should.
• We recently changed our name from Historic Annapolis Foundation to just Historic Annapolis to emphasize the point that we are not a foundation that has money to give away. It is quite the opposite. We are a non-profit organization whose viability is dependent on securing contributions annually.
• When it comes to getting approval on exterior building work in the Historic District, private home owners often confuse us with the city’s Historic Preservation Commission. Historic Annapolis works in partnership with the HPC and serves as an information resource to both the Commission and residents, but it is the HPC that ultimately provides approval.
• Historic Annapolis believes that it is our job to protect and promote the unique history and built environment of Annapolis. That is why Historic Annapolis will continue to be a public voice for preservation when the city debates decisions that affect the character of our city— like the City Dock Master Plan.
Kymberly Taylor has a BA in journalism from Boston University and an MFA in Creating Writing from Columbia University.
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Fine Design
Vol. 4, No. 3 2013 51
The triple award winning
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52 Annapolis Home
PIZZA DOUGH RECIPE:
Ingredients • 5 1/2 cups flour • 1 3/4 cups water • Generous pinch of salt • Generous pinch of sugar • Package of yeast
InstructionsMix the dry ingredients together. Heat the water until it is warm like a comfortable bath. Pour the water over the dry ingredients, and mix this shaggy mass together. Mix with your hands,
incorporating all of the flour, until the dough comes away from the sides of the bowl and is a nice smooth mixture.
Cover the bowl with plastic wrap. Place in a warm area for a 30 minute rest.
After 30 minutes, turn the dough out onto a floured surface and knead for 5 minutes. If the dough seems sticky, dust with more flour. The dough is ready when you poke your finger into it and it bounces back.
Cut the dough into fourths. Hold one of these quarters of dough in your hands, thumbs on top. Using your fingers, tuck the edges under. Do this all around the dough; smooth the whole thing into a ball.
Coat the pizza dough balls with olive oil and place each into a separate bowl.
WITH PETER FILLAT Pizza on the Piazza
Story and Photography by Christine Fillat
In theKitchen
Peter Fillat founded Peter Fillat Architects, a design studio headquartered in Baltimore,
Maryland. The firm serves both the public and private sectors with a focus on architecture, interior
design, urban design, and sustainable practices.
The pizzaiolo is the pizza maker. It is no simple job. It’s messy. You will end up decorated with flour, oil, and bits of garlic. My husband, Peter, learned the art of the pizzaiolo while on a semester in Florence, studying architecture. He doesn’t seem to mind the hullabaloo of the ingredients. He has perfected the art of the pizza on the outdoor grill. This is the finest pizza you will ever make. Pick your favorite toppings, make the dough, choose a lovely beverage, and be sure to be free with the olive oil. You too can be the pizzaiolo.
PETER’S THREE PIZZAS:
1. Grilled shrimp, grilled garlic, parsley, and olive oil (pictured ).
2. Tomato sauce, mozzarella, prosciutto, and arugula.
3. Tomato sauce, gorgonzola, mushrooms, and onion.
Vol. 4, No. 3 2013 53
You are now ready to grill your pizza!
Pre-heat an outdoor grill until it is nice and hot.
Cover a pizza peel or a cutting board with a good bit of cornmeal and flour. Place the pizza dough on the board and flatten it into the desired shape. Slide the pizza onto the grill and cook until the crust cooks slightly. Flip the dough and cook it on the other side.
While it is cooking, cover the pizza crust with whatever toppings you desire. Be sure to season with salt and pepper.
When the toppings have gotten to the desired level of doneness, slip the pizza off of the grill and serve.
Christine Fillat lives on the Magothy River and is an aficionado of Chesapeake Bay cooking and living.
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54 Annapolis Home
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Serving Anne Arundel, The Eastern Shore & Beyond • Vol. 4 No. 1 2013
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Annapolis Home Magazine photography, Geoffrey Hodgdon
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For information contact Robert [email protected]
Dwell at Home, a furnishings and interior design studio located on Route 50 East directly before the Bay Bridge celebrates its grand opening May 16th-17th. They have forged a partnership with Dash & Albert and are the only vendor in the area to carry their complete line of exquisite rugs.
Dash & Albert Rugs available at Dwell at Home
Save the date for Do-It-Yourself Day at The Stone Store on Saturday, June 15, 2013. Learn from top industry professionals how to build your own outdoor living space. For more information, call 1-888-766-4242
The Annapolis Design District will host a summer cookout at In Home Stone on June 13th, 5:00 to 8:00 p.m. For more information, contact [email protected]
The Annapolis Design District recently sponsored Paint the Town Blue at Maryland Paint and Decorating. The event raised over $6,000 for the Maryland chapter of the Cystic Fibrosis Foundation.
Paint the Town Blue, Guests view silent auction items donated to support the Cystic Fibrosis Foundation (far left)
Paint the Town Blue, Maryland Paint and Decorating, Rita Siprak-Weill (left) and John Lauer (center)
Annapolis Home Magazine photography, Geoffrey Hodgdon
The Page After
Furniture Inspired by Nature
Kenneth Cobonpue is a multi-award winning furniture designer and manufacturer from the Philippines. He graduated in Industrial Design from Pratt Institute in New York with highest honors and subsequently worked in Italy and Germany. Cobonpue is known around the world for his unique designs and roster of clientele that include Hollywood celebrities like Brad Pitt.
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Bloom: The Bloom is handmade of microfiber stitched over a resin top with a steel base. Inspired by the graceful blossom of a flower, this lounge chair is sculpted by hundreds of fine running stitches radiating from the center of the seat.
Harry: Bringing out the child in everyone, Harry serves as a rocking stool with leather strips stitched on interchangeable covers.
Yoda: Using natural material tension, the collection features rattan's aesthetic and functional versatility. The novel backrest gives Yoda its unique character, a display that offers comfort disguised in randomness reminiscent of nature's surprises.
Vol. 4, No. 3 2013 57
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58 Annapolis Home
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