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If you missed the opportunity to own at Sepia, there is good news. Siena is now pre-selling.TRANSCRIPT
features
onlineE X T R A S
video Basket weaver Theresa Secord reinvigorates a Maine heritage.
video The Blue Garden, designed by Olmsted Brothers in 1913, is restored to glory.
We know you need your splendid homes and gardens fix between issues. Visit our blog for regular updates from our team of editors and contributors.
garden
architecture getaway
interiors city living
d e s i g nnew england
the magazine of splendid homes and gardens • september/october 2015
HistoricSaves
617.357 .8500 | S IENABOSTON.COM | SALES CENTER NOW OPEN AT 401 HARRISON AVENUE BOSTON, MA
SALES & MARKETING BY TCC | THE COLLABORATIVE COMPANIES I DEVELOPED BY NATIONAL DEVELOPMENT
If you missed the opportunity to own at Sepia, there is good news.
Siena is now pre-selling.
The location, stylish design and impressive list of amenities are topped
pit, unique lighting and indoor/outdoor entertainment bar are just a few
features that add a wow factor that will surprise and delight residents.
PHASE ONE IS SOLD OUT. SIENA, THE NEXT CONDOS AT INK BLOCK, IS ON THE WAY.
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16 D E S I G N N E W E N G L A N D. C O M S E P T E M B E R / O C TO B E R 2 0 1 5
features september/october 2015
136 | architectureBeyond ModernRethinking a 1960s ranch- style house by tapping into its midcentury architectural provenance.
162 | interiorsRenovation 2.0In a triumph of fortitude, two homeowners perse-vere after winter wreaks havoc on their newly updated house.
146 | getawayRevival on Main Street A Manchester, Vermont, landmark is restored to historic glory and modern effi ciency.
154 | gardenThe Blue Garden Its history honored, a landscape jewel is renewed with modern technology and an updated plant list that keep it current.
136 “The pool and gardens and driveway extend the grid of the house.”
— landscape architect soren deniord photo by trent bell
172 | city livingLofty TransformationA condo in a converted warehouse alongside Fort Point Channel fi nally has the streamlined look its longtime owners envisioned.
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18 D E S I G N N E W E N G L A N D. C O M S E P T E M B E R / O C TO B E R 2 0 1 5
26 Editor’s Note
30 Out + About
34 visit • Point of ViewDesigner Jill Najnigier is inspired to make a condo in Boston’s North End her own.
47 selections • Mass-Produced, Gimmicky, Glamorous
Designers scour the market for items inspired by the pop art movement of the 1950s and ’60s.
september/october 2015
116
JUST WHAT IS POP ART? Antiques dealer Andrew Spindler, one of this issue’s Selections contributors (Page 50), tipped us off to the apt defi nition of pop art originated by Richard Hamilton (left), whose Just what is it that makes today’s homes so different, so appealing? (Page 47) is credited by some scholars as the piece that launched the pop art movement. Hamilton (1922–2011) created the collage for the 1956 This Is Tomorrow exhibition in London. In a letter to fellow Tomorrow participants British architects Alison and Peter Smithson, Hamil-ton wrote: “Pop Art is: popular, transient, expendable, low-cost, mass-produced, young, witty, sexy, gimmicky, glamorous, and Big Busi-ness.” Full of the everyday items of midcentury consumerism — a vacuum cleaner, a canned ham, a trashy romance magazine — many of the images ripped from ads in American periodicals (indeed, the title itself is lifted straight from an ad for Armstrong Floors), and occupied by a bodybuilder and burlesque queen, Just what is it that makes today’s homes so different, so appealing? fi ts Hamilton’s defi nition to a T.
on the cover An antique table is the fi nishing touch in the renovated front hall of a historic house redesigned by Vermont architect Ramsay Gourd. Photo by Greg Premru. story, page 146
56 kitchen + bath Deck House Redux
A new look proves the stalwart post-and-beam design is still relevant.
68 bath • Finding HarmonyA master bath combines two opposing styles to create one cohesive oasis.
76 places • Built to LastAdvances in concrete technology make the restoration of the Crane Estate Casino a permanent improvement.
86 art • Heritage SavedArtist Theresa Secord fi nds the past and the future woven into the baskets of Maine’s Native Americans.
92 preservation • Urban RenewalA team of locals bets that a boutique hotel will spark a downtown renaissance.
100 green design • Insightful HousingAt Vermont’s Middlebury College, sustainable living gets real.
108 icon • There’s Only One HaymarketSince the 1830s, it has been a constant of Boston commerce.
116 great rooms • Quick Delivery A designer’s gusto and a little white paint turn a renovated barn into a family friendly home in no time.
124 house guest • Jeanne Finnerty The interior designer has charted a roundabout route to success.
130 local wares • Hellbent for LeatherPillows, wallets, trays, and coasters by New England artisans.
183 et al. • Crafts, ceramics, and fall reading
186 Resources
190 Advertiser Index
192 take note • Matron of the Art
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© 2015 Coldwell Banker Residential Brokerage. All Rights Reserved. Coldwell Banker Residential Brokerage fully supports the principles of the Fair Housing Act
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DES I GNDES I GNnew england
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contributing editors
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gail ravgiala, editor
CONTRIBUTORS
to start the school year with a bang, we’re launching Design Showdown 2016, our second annual competition for undergraduate and graduate students studying interior design and interior architecture. It is a chance for aspiring designers to let loose their creative juices, pitch us their ideas, and, for three lucky winners, get their work published in Design New England. We are again teaming up with the Boston Design Center (BDC) with its many resources to challenge the rising stars at col-leges throughout New England to show us their stuff . This year, the New England Chapter of the American Society of Interior Designers will also lend its support at our Show-down kickoff party at Boston Design Market 2015 at the BDC on October 7, where we will announce the theme and rules for this year’s contest. The fi nal Showdown is not until April, but it’s never too early to get the word out. Established designers can help by letting interns, associates, and former professors know about this opportunity (more information is at designnewengland.com/showdown). The fi nalists get to pitch their ideas to our panel of judges, all accomplished design professionals, and a live audience of potential employers, clients, and of course family and friends. The winners will have their work published in our September/October 2016 issue. Sharpen your pencils, fi re up the CAD, and may the best designers win.
b.j. roche teaches journalism at the University of Massachusetts at Amherst and has written about Western Massachusetts for various publications for more than two decades. “People sometimes call Pittsfi eld the ‘hole in the doughnut’ in the Berkshires,” she says, “but that started to change with the revival of the Colonial Theatre, and Hotel on North is going to accelerate that. It’s encouraging to see a development built and run by locals that preserves and highlights some of the city’s great old buildings.” preservation, page 92.
marianne lee grew up on Lake Michigan and brings the warmth of the Midwest to her photography. She has been photographing the Blue Garden weekly to document the plantings. “Visiting the garden at dawn or sunset each week has been a learning experience about light and color,” she says. “Being able to watch the garden change over time has been a special experience.” Lee lives in Rhode Island with her daughter, husband, and a pantry full of chocolate. the blue garden, page 154.
from the editor
peter peirce has been a photographer for architects, designers, developers, and marketing fi rms for more than 25 years. “For my own amusement,” he says, “I photograph factories, homes, workshops, people, and landscapes.” At Hotel on North in Pittsfi eld, Massachusetts, he found “a great combination of vintage charm and modern feel.” But he understood that at the heart of this project is its sense of place. “You can enjoy a brand-new, modern hotel,” he says, “but take a few steps in any direction and watch the clock turn back a century.” preservation, page 92.
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jan shepherd is founder-editor of New England Crafts Connoisseur, ne-crafts.com, an online guide to contemporary crafts in the region. “I love writing about contemporary artisans whose creative minds change ordinary materials into works of art,” says Shepherd. She fi rst discovered Maine’s Native basketry in the late 1990s at a Maine Indian Basketmakers Alliance market in Bar Harbor. Since then, the story has become even more inspiring as basket makers such as Theresa Secord keep alive and transform the ancient art form. art, page 86.
KIM
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We’re into building things. Like trust for instance. And of course dreams.
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out + about Summer Parties
onlinedesignnewengland.com
Art/Basket Weaving: A Reawakening
The Blue Garden and the other Olmsteds
1. 19th Annual Rose Garden Party at the Kelleher Rose Garden in Back Bay Fens: Mayor Martin J. Walsh (center) with hat contest winners (from left): Kate Getchell, Paul Nutting, Adrienne Camire, Adrianne Haslet-Davis. 2. American Society of Interior Designers National Leadership Conference and Celebration, held in Boston this summer, culminated with an awards gala at the Museum of Fine Arts, Boston. 3. Attending the ASID gala were (from left) Clayton Schuller, Chris Magliozzi, Rosemary Porto, Jerry Arcari. 4. Mitchell Gold + Bob Williams, Natick, MA, Grand Opening (from left): Mitchell Gold, Bob Williams, and local owners Steve Elbaz and Andrew Terrat.
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videos
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visit
34 D E S I G N N E W E N G L A N D. C O M S E P T E M B E R / O C TO B E R 2 0 1 5
design philosophy“Restraint. A beautiful home is the result of balanced, well-edited spaces, regardless of the style. My aesthetic is always clean, never jarring or overly decorated. Layering has to be strategic and very well thought out.”
owner and designer at JN Interior Spaces, whose passions include design, city living, biking, and her family.
who JILL NAJNIGIER
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written by allison nekola • photographed by jessica delaney
Point of View
jill najnigier’s favorite piece of art, Outlook XIII by Joerg Dressler, depicts a ship. It hangs next to the windows that afford her and husband, Michael, with views of Boston Harbor.
With cityscapes and harbor scenes outside her windows, designer Jill Najnigier was inspired to make a condo in Boston’s North End her own
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36 D E S I G N N E W E N G L A N D. C O M S E P T E M B E R / O C TO B E R 2 0 1 5
visit
eft with an empty nest once their sons, Nick, now 24, and Oli, 21, were on their own, interior designer Jill Najnigier and her husband, Michael, sold their four-bed-room house in Hopkinton, Massachusetts, and returned to their roots in Boston’s North End. “We lived right behind the Old North Church, so close that I could see the steeple from right outside my window,” says Najnigier of the years when they were fi rst married and called the North End home. “So I felt comfortable there.”
But for all the neighborhood’s charms (it’s walkable, close to transportation and down-town, and has lots of boutique shops and res-taurants), it was the view of Boston Harbor and
landmarks such as the Old North Church and Pru-dential Center that sold them on the two-bedroom, 1,500-square-foot condo-minium in a 2003 high-rise loft building. “There was nothing redeeming when I walked in here other than
the view,” says Najnigier. But she found the scene outside the 12th-fl oor windows irresistible.
As principal of JN Interior Spaces, the fi rm she founded 14 years ago, she was only further interested by the idea of a complete renovation. “Quite honestly, that’s what I wanted,” she says. As a designer accustomed to creating her cli-ents’ visions, the challenge was appealing. Here,
the reconfigured entrance includes a small area with a desk (left top). The space became a place for keys, cellphones, and spare change. The custom banquette (left bottom) that fi lls a corner of the dining space is easily accessible from the living area and seats eight people comfortably.
LStay connected“Typically with any project I do, especially with my own, the fl ow is really important. Every room needs to connect but maintain its own personality.”
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najnigier and her husband, Michael, sit below a sphere made of recycled steel mesh by Varaluz that hangs above the dining table. It is one of several unique light fi xtures found throughout the redesigned condo.
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she could execute her own vision. The work began in August 2013 and extended through Thanksgiving.
The one thing that would stay was the mint-green steel framework that came with the fl oor-to-ceiling windows in the living room and bedrooms. Too diffi cult to change, they served as inspiration for her color scheme, which includes taupe, deep mint, and rust in the living, dining, and kitchen spaces and leans toward deeper blues, yellows, and greens in the bedrooms.
Najnigier’s design credo that all homes should be functional and restrained, with a crisp modern twist, is evidenced in the new kitchen, where the original U-shaped space that had blocked two-thirds of the view was reconfi gured so that it is open to the din-
Leather lounging“We have two Grange leather armchairs, which face the view and are the only pieces that made it from the Hopkinton house. I love them. They’re super comfortable, the scale was right, and I love the look of the worn leather with the vinyl.”
Hit the lights“There was not a lot of lighting to begin with, and that’s something I’m really crazy about. It’s important to get it right and have it from every angle.”
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ing and living areas — and the harbor and cityscape beyond. She worked with Rose-mary Porto, senior designer and sales man-ager at Poggenpohl Boston, to build the per-fect kitchen area. The textured teak-fi nished cabinetry, which camoufl ages most appli-ances, is free of visible hardware, giving it a sleek look that makes it feel as if it is part of the living space.
Good traffi c fl ow is an important element in designing a home, says Najnigier, so an easy and effi cient connection between kitchen and living and dining spaces was key. So was the pared-down sensibility attained by removing the baseboards along every wall. “No con-tractor wanted to do this,” she says. “It’s a challenge because it requires so much work and you can see every imperfection that base-boards can hide. But I really wanted a clean look. In the end, it came out exactly how I wanted it.” She looked to Randolfo Marchetti, contractor at Metropole Contracting in Ever-ett, Massachusetts, to take on the task. With-out the mouldings, the walls seem taller and the overall look is more modern.
najnigier’s goal was to hide any appliance or hardware that screamed kitchen. Her Miele vent hood slides from underneath the cabinets when needed, and each Poggenpohl cabinet opens with hidden touch latches so there’s no bulky hardware.
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because there is no headboard, the wall behind the bed in the master bedroom needed to make a statement. Najnigier chose Intertwined, a wallcovering by Phillip Jeffries, to add the texture she craves.
In the living room, a Phillip Jeff ries wall-covering called Quartz in the Lost City of Silver shimmers, sending small refl ections of mica through the room. A Varaluz recy-cled steel-mesh spherical light fi xture hangs above an Eero Saarinen dining table. The cus-tom television console combines a white lac-quered top with a weathered wood base that balances modern sleekness with a rugged ele-ment. The sectional sofa has shades of deep mint, rust, and taupe, as does the shag rug. Both play off the deep-mint steel frames of the windows and the teak tones of the kitchen.
A hallway leads to the guest bedroom and bath and master suite. Here, again, Najnigier reworked the existing space into a more effi -cient layout. By reconfi guring the hall, she created a larger laundry room and extended the guest bathroom.
The guest bedroom was to welcome the Najnigiers’ sons when they visited, so it holds two full-size beds. To accommodate them, a bulky walk-in closet was replaced with a nar-rower wall closet that had been part of the adjacent master bedroom.
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COME MEET THE ARTIST! “PETER ROLFE” - Friday, September 18th
“NEW COLLECTORS” - Friday, October 16th
solo exhibition of famedNew England impressionist
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Extra organization“I actually have more storage space in this condo than I did in my four-bedroom house in the suburbs. A small space forces you to get creative.”
Custom contrast“What I really love about our custom TV console is, it’s all touch latch, so no hardware detracts from the style. It is modern, but the fi nishes differ with a highly lacquered white top contrasting with the weathered wood fi nish on the bottom.”
To the right of the guest room, a frosted-glass sliding door separates the master suite from the rest of the unit. At night, the bed-room lights up with the sights of the city; dur-ing the day, the light enhances the bright col-ors of the room.
Najnigier wanted to turn the master bath off the bedroom into a larger space that opened to the hallway, but a utility stack caused her to put two small bathrooms there instead. One has a vanity and shower, the other a vanity and toilet, and both open to the hallway — a design that works well when her husband, who is president and owner of TotalOffi ce, a company that provides offi ce furniture solutions and services, gets up before her and can get ready without reenter-ing the bedroom.
a sliding door with frosted panes separates the master suite from the rest of the condo. To accommodate the bedroom and dual baths, Najnigier redesigned the original three-bedroom unit into a two-bedroom space.
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finelinesmaine.com | 207.846.1002
Building on the Maine Tradition
Not only is her passion for design refl ected in the renovation, but Najnigier’s skill and creativity also mean she now has exactly what she wanted. “It’s about get-
ting the right craft speople and getting the right team to get the right direction and planning it out,” she says. “It’s done by mixing tex-
tures, fi nishes, colors, and creating some-thing that’s unique. It takes a long time, but it’s worth it. You know who lives here.”
for more details,see resources
Each room in Jill Najnigier’s redesigned condominium has a unique aesthetic, yet the interior designer has kept the overall style of the residence clean, but warm and inviting with the deft use of textures on the walls and in the furnishings.
In the guest bathroom, for example, Ona Natural tiles from Porcelanosa that mimic ocean waves (top) line the shower walls, adding not only texture but also a sense of movement to the room.
A chandelier (above) over the bed in the master bedroom is made of recycled steel. The ribbonlike metal pieces are coiled to resemble multiple pinwheel toys. The fi xture invites imagination and adds an intricate, playful accent to the room.
THINK TEXTURE
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Marcus Gleysteen SO 15.indd 1Marcus Gleysteen SO 15.indd 1 8/18/15 10:10 AM8/18/15 10:10 AM
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selectionsproduced by courtney goodrich + jenna talbott • photographed by joel benjamin
S E P T E M B E R / O C TO B E R 2 0 1 5 D E S I G N N E W E N G L A N D. C O M 47
What makes pop art so appealing? Inspired by the Corita Kent and the Language of Pop exhibit at the Harvard Art Museums (Page 192), we were determined to fi nd out. We have a mighty inkling that the sexy, witty, and glamorous pop art of the 1950s and ’60s will spur the next big thing in home decor. Just look at the products our guest designers selected for rooms Richard Hamilton could embrace.
a 1992 color laser print (above) of Richard Hamilton’s Just what is it that makes today's homes so different, so appealing? an original collage he created 1956.
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48 D E S I G N N E W E N G L A N D. C O M S E P T E M B E R / O C TO B E R 2 0 1 5
selections
DANE AUSTIN Dane Austin Design, Boston; 617-564-0756; daneaustindesign.com.
1. Table: Coffee Table Visible Clear, $975, Kare; kare-design.com. 2. Chandelier: Zanadoo Large Chandelier in antique brass, $3,900, Arteriors; arteriorshome.com. 3. Wallcovering: Andy Dandy in dusty rose designed by Christopher Makos, Studio Printworks; studioprintworks.com. 4. Chair: Voido Rocking Chair in white matte, $985, designed by Ron Arad, Hive Modern; hivemodern.com. 5. Painting: Expressive Pt. 2, Kitauna Parker at Artists for Humanity, Boston; afhboston.org. 6. Rug: Black Bridget Kilim Flat Weave Rug, $145 to $995, Jonathan Adler; jonathanadler.com. 7. TV Stand: TV Easel in polished nickel, $2,495, RH; restorationhardware.com. 8. Sofa: Higgins Chesterfi eld sofa in Mont Blanc in Evergreen, $3,248, Roger + Chris; rogerandchris.com. 9. Pillow: Mystery Cushion, $75, David Quintanilla; davidquintanilla.com.
“ For this pop art home, we imagined a happy couple with style inextrica-bly linked to their winning sense of humor. They bring imagination into their space, one of the many ‘white-box’ condominiums springing up everywhere. Guests are sure to leave with a smile!”
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It's more than great designIt's a concept
Discover the Adelaide chair. Designed by Henrik Pedersen, it is a chair that entails curves, comfort and character. Curves as inspired by nature and the shape of an acorn. Comfort as a result of the high quality design and materials. Character from an almost endless array of customization options. Here is a truly versatile piece of design-here is the Adelaide chair.
BoConcept Cambridge 999Massachusetts Avenue Cambridge MA 02138 617 588 7777 [email protected]
See our new 2016 collection in stores now
Design Icon no. 4 For its curves, its comfort and its strong character .
The Adelaide chair DESIGNED BY HENRIK PEDERSEN
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selections
50 D E S I G N N E W E N G L A N D. C O M S E P T E M B E R / O C TO B E R 2 0 1 5
1. Console: Alton Console Table, Vaughan Designs; vaughandesigns.com. 2. Pillow: Unisol Pillow, $150, designed by Verner Panton, Maharam; maharam.com. 3. Wallpaper: Vales in oyster catcher, $130 per yard, Paper Mills; papermills.net. 4. Sofa: Serpentine Sofa With Arm, Vladimir Kagan; vladimirkagan.com. 5. Artwork: someday is now, 1964, by Corita Kent, screenprint at the Corita Kent and the Language of Pop exhibit on view at the Harvard Art Museums through January 3, 2016 (details, Page 192). 6. Rug: Eli, $20 to $3,240, Angela Adams; angelaadams.com. 7. Chandelier: 6-Arm Hanging Fixture by Gaetano Sciolari, Jack and Marcel; jarckandmarcel.com. 8. Mirror: Pop Art Bubble Mirror, $800, Darrell Dean Antiques & Decorative Arts; darrelldeanantiques.com.
ANDREW SPINDLER Andrew Spindler Antiques & Design, Essex, MA; 978-768-6045; spindlerantiques.com.
“ Working with my colleague, Charles Dort, we decided to stay clear of more obvious, cliché selections and fi nd objects that create more of a mood evocative of the graphic, playful, and witty elements of pop art.”
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Discount applies to the entire collection for new orders only and cannot be combinedwith any other promotion or sale.Clouds, Ready Made Curtain, Acte 1 and Textile accessories are not included in the offer.Visit www.ligne-roset-usa.com for more info.
200 Boylston Street, Boston, MA 02116Tel. (617) 451-2212
SEPTEMBER 18 -21
Save 15% on the entire Ligne Roset collection.
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52 D E S I G N N E W E N G L A N D. C O M S E P T E M B E R / O C TO B E R 2 0 1 5
selections
1. Artwork: Moonscape (Corlett 37), 1965, by Roy Lichtenstein, $20,000 to $30,000 through Christie’s; christies.com. 2. Chair: Jules Chair, Hickory Chair; hickorychair.com. 3. Console: Luciano Console in dark walnut, Mr. Brown London; mrbrownhome.com. 4. Accent table: Addison Cube, Gabby; gabbyhome.com. 5. Pillow: Sofi e Blue Pillow, $315, V Rugs & Home; vrugsandhome.com through Zinc Door; zincdoor.com. 6. Pillow: Mandarin Linen Pillow with Natural Pipe and Jute Fringe, $188, Lacefi eld; lacefi elddesigns.com. 7. Rug: Luminous, Surya; surya.com. 8. Lamp: Signature Table Lamp, Currey & Company; curreycodealers.com. 9. Sofa: Melanie Sofa in white, Pearson; pearsonco.com. 10. Coffee table: Fontana Coffee Table small in satsuma, Mr. Brown London.
KIRA VATH Kira Vath Interiors, East Orleans, MA; 508-255-4916; kiravathinteriors.com.
“ Pop art celebrates commonplace things of everyday life and shows that inspiration can really come from anywhere. This particular piece of artwork set the tone for this room. I brought in vibrant colors to create a modern feel that radiates a certain boldness.”
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56 D E S I G N N E W E N G L A N D. C O M S E P T E M B E R / O C TO B E R 2 0 1 5
kitchen + bath
Deck House ReduxA new fl oor plan and a fresh palette prove the stalwart post-and-beam, open concept design is still relevant
written by jaci conry • photographed by eric roth
The house on Martha’s Vineyard, a Deck House built in 1979, had certainly seen better days. Used solely as a summer residence since it was built, the place was musty, dark, and dated. In fact, the real estate listing photos were so bad that Tamara Thome couldn’t persuade her husband, Malcolm Scully, to even visit the property. But
by the spring of 2013, Thome, an emergency room doctor at Martha’s Vineyard Hospital, and Scully, an oceanographer at the Woods Hole Oceanographic Institution, were getting desperate. The couple and
their 1-year-old son (by the next year a second child would arrive) had recently relocated to Martha’s Vineyard from Virginia and were weary of temporary housing. They needed a home of their own.
“We couldn’t fi nd anything we liked that was aff ordable, and we wanted some water access,” recalls Thome. And that house, that Deck House, was located on a lovely parcel on Lambert’s Cove in West
INTERIOR DESIGNMARTHA’S VINEYARDINTERIOR DESIGN
a tiered island topped with Raven Caesarstone in a matte fi nish provides ample area for food preparation on one side, while four people can be comfortably seated on the other. The oak fl oors were refi nished with a darker stain than the original honey-hue for a more modern look.
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58 D E S I G N N E W E N G L A N D. C O M S E P T E M B E R / O C TO B E R 2 0 1 5
kitchen + bath
Tisbury with direct access to tranquil Old House Pond. Thome persevered and fi nally convinced Scully it was worth a look.
Ultimately, “the site won him over,” says Thome. In addition, the open layout appealed to the couple,
as did the house’s beginnings. Aft er purchasing the place, they came across a briefcase containing the original plans
and documentation authenticating the house as a bona fi de Deck House: a post-and-beam structure based on an open fl oor plan made of prefabricated parts with exposed wood-clad walls, tongue-and-groove vaulted ceilings, and large expanses of glass. (Founded in 1959 in Acton, Massa-chusetts, Deck House is now Acorn Deck House Co., still headquartered in Acton.)
the kitchen’s counter stools are a classic midcentury design by Norman Cherner. Crafted of molded plywood, the stools have an elegant silhouette against the white island.
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kitchen + bath
painting the ceiling white did wonders to brighten the kitchen. Upper cabinets were kept to a minimum and a long counter beneath the windows allows for an unobstructed view of the wooded yard outside. Blue glass tile on the backsplash complements the mahogany trim around the windows and the custom cabinets are fi nished with sleek satin nickel hardware (facing page, left) for a contemporary look. Halogen track lighting illuminates the space at night (facing page, right).
Before the family could move in, however, there was work to be done. Thome and Scully contracted Martha’s Vineyard Interior Design in Vineyard Haven to reconfi g-ure and rehab the interiors. The primary focus was a major kitchen overhaul, a new powder room, and an updated master bathroom.
“The kitchen was like a time capsule that had been sealed,” says principal/designer Liane Thomas. “It had faded white Formica counters, and the appliances were so old they were basically unusable.”
In Virginia, the couple had lived in a traditional 1920s row house with a formal dining room and a galley kitchen. “We were ready for something more modern,” says Thome, “and the concept of an open kitchen inte-
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244 Needham St. Newton, MA
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grated with the living and dining spaces really appealed to us.”
Located in a small nook off the living and dining area, the existing kitchen was tiny, “with a very dark, woodsy feeling to it,” says Thomas, who strove to ensure the new design was in keeping with the original architecture. The goal was to give the space a bright, airy appeal while pro-
viding Thome and Scully, who love to cook, ample area for food preparation and entertaining.
Creating a larger kitchen required moving it to the dining area, which was then pushed toward the expansive living space. A long counter was built under the windows overlooking the wooded front yard. Opposite it, a siz-able island with a cooktop provides both work and dining
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kitchen + bath
w w w. d a v i d m u l l e n a r c h i t e c t . c o m d a v i d m u l l e n a i a @ g m a i l . c o m 7 8 1 . 3 5 4 . 3 0 1 3
Contractor: Ralph S. Osmond Co. Inc. Landscape Architect: Michael Van Valkenburgh
space with a raised tier conveniently obscuring any mess left from meal prep when it’s time to eat. The tongue-and-groove ceiling boards and the v-groove cladding on the walls were painted white, which brightened the space tre-mendously. The mahogany trim around the windows — one of the house’s most compelling features, says Thomas — was preserved and complemented by a blue-toned glass mosaic tile backsplash.
Flat-front custom cabinets are traditional with a modern feel. Since the room can seem extra dark at night, good lighting was key, so low-voltage track lighting was installed. “It provides great halogen light, which really warms the room up,” says Thomas.
The original kitchen became the new pantry and adja-cent powder room, where mahogany-stained shelves under the vessel sink mirror the original window trim. The new powder room walls were paneled with horizontal boards painted white to refl ect the kitchen scheme.
Moving the powder room from the hallway to the mas-ter suite allowed Thomas to enlarge the master bath. The original bathroom with its fi berglass shower and laminate surfaces was “typical 1970s,” says Thomas. Save for the
1 entry 2 dining area 3 kitchen 4 living room 5 deck 6 master bedroom 7 master closet 8 master bath 9 powder room
1 entry 2 kitchen 3 powder room 4 pantry 5 dining area 6 deck 7 living room 8 master bedroom 9 master closet 10 master bath
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The Shakers perfected the art of building furniture without unnecessary embellishment, and so achieved beauty.
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kitchen + bath
in the master bathroom, a large built-in mirror between two windows (above left) helps bounce light around the space. Under the mirror is a custom vanity, which features oil-rubbed bronze drawer pulls and a Caesarstone countertop. A new glass shower (above right) with a long bench makes the room feel open and light.
two long mahogany-trimmed windows above the van-ity, the room was gutted. Adding symmetry to the ceil-ing dramatically transformed the space. “Previously, the shower had been framed in. We opened that up and nar-rowed the existing ceiling so both sides came together at a peak,” says Thomas. Now the room feels spacious and contemporary. The shower is set off with new glass doors,
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and 12-by-24-inch porcelain tile in a light hue called “sea salt” sheaths the walls. On the fl oor, tiles are a darker shade, dubbed “tivoli silver.” A custom double vanity topped with Caesarstone is fi tted with oil-rubbed bronze pulls that pick up the room’s darker tones.
Thome particularly loves having two windows — with a new mirror in between — by the vanity. “It’s so nice to have a view when you’re brushing your teeth,” she says. “The room feels much bigger, so completely diff erent than it was before.”
Renovation complete, Thome and Scully fi nd it uncanny that they nearly over-looked the home they now so cherish. “We like that our boys can swim in the pond,
fi sh, listen to screech owls at night and the resident osprey during the day,” says Thome. “We were surprised at how
much could be done within the existing footprint. It works perfectly for us; it’s a very easy place to live in.”
the powder room is small but functional. Faucets built into the wall serve the vessel sink, which is affi xed to a mahogany base. The round mirror is trimmed with bone inlay and the chrome light fi xture is from RH.
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EXCELLENT KITCHENS
Tips for kitchen remodelTip 1 Kitchens are all about function Maximizing your storage is essential to having a great kitchen. I have seen many kitchens that have no place to put the frying pans, no real pantry and no counter space on either side of the cook top. These are not functioning kitchens. I contend that all cabinets less than 12 inches wide are useless. If you are going to spend the money to remodel your kitchen, let a designer help you maximize the storage space. No more trips to the basement to get that pan or roll of paper towels. At Dream Kitchens, I guarantee we will give you at least 30% more storage.
Tip 2 Personalize your kitchen Kitchens are the center of our life. Try adding a custom backsplash, a piece of stained glass, or some moldings. Try contrasting stains or mix up some custom paint. There are endless ways to personalize. Generally, I go to someone’s home, look at the colors and styles in the rest of the house and bring them into the kitchen. Or, show us pictures of what you like. We can make your kitchen showcase your style and set the mood for your home.
Tip 3 Since the kitchen is the center of your life, open it up to the rest of your homeToday, the cook wants to be part of the party. An open floor plan that connects the kitchen with the dining room, or even better, a family room, let’s you use countertops as a buffet, or watch the Super Bowl while preparing food in the kitchen. Watchers and helpers should be on the fringe where they can talk to you but not get in the way. It is best to lay out your kitchen so you can do dishes and prepare food, chat with your guests and still see your favorite television show. We can make this all possible.
Tip 4 Get rid of the clutter Most people’s countertops are packed with the coffeemaker, toaster, food processor, knives, spices, and pantry items. This makes it almost impossible to prepare food and makes the kitchen look messy. Have a place to store everything so you can see and use those beautiful countertops. At Dream Kitchens, we will store everything away so you are ready for company any time of day!
Tip 5 Make your space efficient There are many places we should get exercise but the kitchen is not one of them. Good cooking is about timing and everything
should be at your finger tips. Most kitchens have pots and pans stored many steps away from the stove, so you have to walk, get down on your knees, and then unstack and restack the pots to access a pan. I don’t get on my knees for anyone. Dishes should be stored a step away from the dishwasher and sink and dish towels should be handy. Keep the plastic wraps near the fridge. Everything should be at your fingertips just where you need it.
Kitchens are where we spend the most time. Kitchens should be beautiful, organized and functional.
Nina HackelPresidentDream Kitchens139 Daniel Webster HighwayNashua NH 03060www.adreamkitchen.com603-891-2916
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bath
Finding HarmonyA South Boston master bath proves two opposing styles can create one cohesive oasis
written by danielle ossher • photographed by jessica delaney
It wasn’t long aft er Michael and Kadria Geller’s only child moved into South Boston’s Macallen Building that they followed suit — trading in their house in Natick, Massachu-setts, to be mere fl oors, not miles, from their daughter and grandchildren.
With the location a given, the Gellers turned to inte-rior designer Marina Shektman to create their ideal apartment, com-bining two west-facing units on the 10th fl oor into one cohesive space. Floor-to-ceiling city views were the reason for the reinvention, and Shektman turned an open concept living-dining area of one unit into
the enviable master suite of the newly combined spaces, positioning the master bath to take full advantage of those views.
Aft er multiple sketches, Shektman found the perfect angle for the curvaceous Hansgrohe freestanding tub. “We knew from the get-go that we wanted the tub by the beautiful large window,” says Shekt-man, owner of Design Studio M in Wellesley, Massachusetts. “It’s not
INTERIOR DESIGNDESIGN STUDIO M
traditional styles are infused with a contemporary edge to create a master bathroom with distinct personality. Porcelanosa vanities epitomize that dichotomy, and crisp modern elements are paired with pieces from the owners’ collection, including the chandelier and oversize vase.
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the hansgrohe freestanding tub (above left) was the pivotal element in deciding the fl oor plan. Set at an angle in front of the nearly fl oor-to-ceiling window wall, it gives the bather full vantage of the city views. Floor-mounted hardware (above right) complete with a hand shower adds function with a modern edge. LED lights inset in the fl oor ensure the elegant tub is given its due spotlight.
blocking the view, it’s going along the view.” His-and-her vanities fl ank a narrow ver-
tical window overlooking West Fourth Street, and the shower and toilet are tucked into an alcove on the wall opposite the tub, keeping the space open and unobstructed.
Placing the master bath (as well as the kitchen and powder room) in new locations
put them far away from the building’s existing plumbing, and new lines had to be installed. The team from Caisson Construction Corp. in Westwood, Massachusetts, got a break when vacancies in the units above and below the Gellers’ condo allowed them a one-week win-dow to reroute pipes without disturbing ser-vice to occupied apartments.
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Timeless New England.The Farmhouse Sink.
the former open living-dining space in one of the units was transformed into the master suite. The large wooden door that divides the bedroom and bath was re-purposed from the original unit, taken off its hinges, and set on a sliding track.
bath
The fl oor plan decided and the logistics set, Shektman and Kadria Geller collaborated to imbue the master suite with an unexpected design pairing that defi nes the rest of the re-imagined space. “Throughout the apartment, there is a tension between French formal style and contemporary style,” says Shektman, “and it was fun to clash the two together. Kadria was the perfect client for this because she was not afraid. She was up for all of it. It was the perfect collaboration, and she had a lot of her own ideas.”
An existing door in the living space was taken off its hinges and re-purposed as a mas-sive sliding door into the master bath. A glass wall that extends just shy of the ceiling pro-vides separation for the shower and toilet alcove, while the alcove’s two sliding glass doors — one between the alcove and the rest of the bathroom, and one between the shower and the toilet — are outfi tted with eye-catch-ing modern barn-style hardware. “We wanted some separation for the bidet and toilet,” says Shektman, “but we didn’t want a very solid wall there. That’s why we made it work within the shower enclosure.”
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bath
the unequivocal favorite of both owners, the shower has modern accents such as the Hansgrohe showerhead (above) and the of-the-moment take on barn-style hardware (facing page, top). The white-and-gray mosaic spills from wall to fl oor in both the shower and the toilet area (facing page, bottom). Above the chest of drawers, family photographs add a personal, classic touch.
Polished 24-inch-square Porcela-nosa tile blankets the fl oor and extends up to form the baseboard, creating a neutral, honed foundation accented by crisp white walls. The neutral palette was chosen so that the shimmering mosaic treatment that trickles down the main wall and onto the fl oor of the shower and toilet alcove really shines. An ode to the overall blending of styles, the mosaic features a traditional damask pattern given a contemporary twist of large scale and a clean gray-and-white palette.
“We felt that we needed a neutral tile to just be quiet in the background of that mosaic, because it’s pretty loud,” Shekt-man says. “Even though the colors are neu-tral, that pattern is big, and we didn’t want to take away from the eff ect of the tile being on the wall and fl oor.”
Shektman worked closely with the homeowners to incorporate their own pieces into their new home, and the bath-room is no exception. She placed their white-and-black dresser opposite the vanities and hung a collection of family photographs displayed in ornate frames on the wall above it. A towering vase nes-tled between the vanities features special
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LED lights, part of Shektman’s meticulous lighting plan that also includes in-fl oor up-lighting to accent the bathtub.
The new Porcelanosa vanities com-bine sleek materials with traditional lines to create a modern look that epitomizes the successful blend of the two styles. Tak-ing it a step further, Shektman had the fau-cets cleverly wall-mounted through the tall oval mirrors that run nearly fl oor-to-ceiling behind the vanities.
“French formal is pompous and com-plicated with really interesting lines. Con-
temporary is so opposite, with very straight lines,” Shektman says. “It is sort of like masculine and feminine living together, and I think
that’s the best way to describe those two styles. That’s why it works, because they complement each other.”
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76 D E S I G N N E W E N G L A N D. C O M S E P T E M B E R / O C TO B E R 2 0 1 5
places
Advances in concrete technology make the restoration of the Crane Estate Casino a permanent improvement
written by regina cole • photographed by matt kalinowski
The Great House, of course, was built of brick and granite. But for the more than 20 other buildings of Castle Hill, the Ipswich, Mas-sachusetts, summer estate built in the early 20th century by Chicago industrialist Rich-ard T. Crane Jr., the architects turned to “the poor man’s stone.” Formal gardens, chauf-feur’s garage, statuary, ornamental columns,
retaining walls, and a “casino” — all were constructed of concrete.“Richard Crane was something of a fi rebug,” says James Younger,
director of structural resources and technology at The Trustees of Res-ervations, the Massachusetts land trust that has owned and adminis-
tered the 2,100-acre site, which includes Crane Beach and Crane Wild-life Refuge, since 1949. “Everything was built to resist fi re, and con-crete was an inexpensive choice.”
It looked like stone but didn’t last like stone, and by the 1940s it was evident that some of the concrete was failing. “An early theory was that they used sand from Crane Beach,” Younger says, “and that the mixture was wrong as a result. That has been defi nitely disproved.”
CONTRACTORCONSIGLI CONSTRUCTION
noted landscape architect and neighbor Arthur Shurcliff designed the Grand Allée, a half-mile “front lawn” that rolls from the Great House down to the sea. Along the way, the Casino nestles into the hillside, hidden from above. The Stuart-style Great House dates to 1928, but the Casino represents the Italian Renaissance styling of the original 1910 house.
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78 D E S I G N N E W E N G L A N D. C O M S E P T E M B E R / O C TO B E R 2 0 1 5
places
The actual culprit was alkali silica reactivity, or ASR, a chemical reaction that bedeviled countless con-crete buildings, roads, and bridges built during the early 20th century.
A simple and variable mixture of sand, aggregate, and cement, concrete was famously used by the Romans to build the Pantheon in 200 AD. (More than 1,800 years later, the Pantheon still houses the world’s largest unrein-forced concrete dome.) The recipe, lost in the fall of Rome, was repioneered in mid-18th-century England. In 1824, Joseph Aspdin, bricklayer and mason of Leeds, England, patented what he called Portland cement, since it resem-bled the stone quarried on the Isle of Portland. This was
looking over the upper retaining wall reveals one of the two side pavilions and the Italian Renaissance garden of the Casino complex (right). Elements include wide staircases, herringbone brick and broken-marble paving, classical statuary, columnar Eastern red cedar that resembles Italian cypress, and a central grass rectangle (above) standing in for the original swimming pool. The Cranes hosted guests in the Casino and held informal parties around the pool.
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just in time for the 1825 building of the Erie Canal, which created the fi rst big American demand for concrete.
“The steel industry gave the big boost to concrete,” says Younger. “The material by itself can’t resist compression; that’s where steel rebar came in. Crane’s father was a pio-neer of the early steel industry.” Short for “reinforcing bar,” steel rebar consists of steel wires that strengthen and hold the concrete in tension. Rebar’s surface is oft en patterned to form a better bond with the concrete.
ASR occurs when potassium in the cement becomes alkaline and reacts with the silica in the sand. Aff ected by weather and the amount of water in the mix, the reaction pro-duces a gel that absorbs water and swells as it fi lls rebar-created air pockets; ASR breaks up the concrete from within, initially evidenced by a mosaic of surface crazing.
At Castle Hill, the Casino (Italian for “little house”) complex is a beguiling survi-vor, along with parts of the formal garden. The estate, which included the original Great House, was designed in the Italian Renais-
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places
sance style in 1910 by the Boston architec-tural fi rm Shepley, Rutan and Coolidge. The Casino is built into a hill along the roll-ing half-mile Grand Allée, the “front lawn” designed by neighbor and landscape archi-tect Arthur Shurcliff , so that from the house, only the balustrade of the upper retaining wall
is visible to those gazing seaward. Its build-ing formed a rear wall for the pool area, with grand staircases on the left and right lead-ing from the upper lawn to the pool terrace. Inside, the Casino housed a ballroom and “the bachelor’s quarters.” Outside, there are urn-topped retaining walls, two pavilions, marble
from above, only the urn-topped retaining wall of the Casino complex is visible (above left). The half-mile Grand Allée is lined with classical statuary (above right) in the spirit of the Italian Renaissance styling that once informed the entire estate. A niche in the Casino (facing page) holds another piece of statuary, which was reproduced by Skylight Studios in Woburn, Massachusetts.
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pavers, potted plants, classical statuary, and plantings of Eastern red cedar, chosen for their columnar resemblance to Italian cypress.
For her part, however, Florence Crane, Richard’s wife, found the original Great House too draft y, so in 1928 it was razed and replaced by the 59-room Stuart-style brick mansion with granite quoins that crowns the hill today.
By the 1940s, the pool was fi lled in, and over the years, ASR ate away at the Casino’s concrete until, in the 1990s, it was closed to the public. In 1998, when Castle Hill became a National Historic Land-mark, the Trustees rebuilt the large retain-ing wall and the two pavilions, but archi-tectural details were obscured and, with a lawn between them instead of a pool, the pavilions lacked context.
With a 2007 Grand Allée rehabilita-tion that fi nally addressed the woebegone Casino, the Trustees, working with Con-sigli Construction of Milford, Massachu-setts, launched a seven-year project that has replaced the failed concrete and origi-nal architectural and landscape elements. For the fi rst time since the Crane family lived there, visitors can experience the inti-mate Italian Renaissance Revival garden
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surrounding the pool that is now, as ever, mysteriously hidden from above. (The pool may be reinstalled in the future, but for now a simple lawn panel represents its shape.)
Original documents guided the res-toration. For example, when the Cranes gave the estate to the Trustees, they sold the eight classical statues that fi lled niches in the retaining wall and pavilions. Period photographs enabled Bob Shure of Sky-light Studios in Woburn, Massachusetts, to identify those statues and to cast replace-ments from original molds.
But planning for its future is possible because the concrete of the newly restored structures, terraces, balustrades, and stat-uary won’t crumble from ASR.
“Now concrete science is better. As a result, the manufacturing process is much more controlled,” says Younger. “The most important thing we’ve learned, in the end, is to shake the mix before it cures. You have to vibrate out all the air pockets.”
The Casino complex is part of Castle Hill, which is located on the Crane Estate, 290 Argilla Road, Ipswich, Massachusetts; 978-356-4351; thetrustees.org. The grounds are open daily year-round, 8 a.m. to sunset. Admission is free for members of The Trustees of Reservations, $10 per car for nonmembers.
the long-gone statues that once fi lled the niches of the Casino building have been replaced with new pieces (facing page) cast from the original molds. As with the estate’s accessory buildings, original statues such as the lion (above) were made of cast concrete, not hewn from marble. Matching the color of old concrete was a primary challenge. building shelter inc.
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86 D E S I G N N E W E N G L A N D. C O M S E P T E M B E R / O C TO B E R 2 0 1 5
art
Heritage SavedArtist Theresa Secord fi nds the past and the future woven into the baskets of Maine’s Native Americans
written by jan shepherd • photographed by trent bell
Theresa Secord is an award-winning Penobscot bas-ket maker who weaves together ancient and con-temporary strands in the unbroken story of ash and sweet grass basket making — and she is a big part of why the story remains unbroken. As the founder of the Maine Indian Basketmakers Alliance (MIBA), the 57-year-old artist is credited with saving from
extinction the ancient art form of Maine’s four Native American tribes: the Penobscot, Passamaquoddy, Maliseet, and Micmac.
Although as a young girl she watched her Penobscot great-grand-mother, Philomene Saulis Nelson, weave baskets to sell to tourists and
East Coast shops, basket making didn’t appeal to Secord, who grew up in Portland and only in summer traveled the 150 miles to the Indian Island reservation where Nelson lived. It wasn’t until 1988, aft er work-ing four years as a staff geologist for her tribe (she earned a master’s degree in geology from the University of Wisconsin) that the baskets of Madeline Tomer Shay caught her eye. One of the last Penobscots who spoke the native language, Shay was 73 and Secord was 30 at the time.
“When I saw them, I wanted to learn,” says Secord. “They were beautifully composed with no mistakes or fl aws. Madeline was a mas-ter who always made me do it right. If a row wasn’t straight or even, I had to redo it until it was.”
brown ash splints and a bundle of dried sweet grass at her feet, Theresa Secord works on a sweet grass fl at basket on a wooden form at the Nonesuch River dock of her father, Larry Secord, a lobsterman in Scarborough, Maine.
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Secord realized, however, that despite her own passion, younger generations didn’t see a future in the ancient art form and elder basket makers weren’t passing on their knowledge.
In 1993, she and other Maine basket artists, among them Clara Neptune Keezer and Molly Neptune Parker of the Passa-maquoddy tribe, formed MIBA. Attracting students from the four tribes to workshops and apprenticeships, they taught them how to make “utility” (functional) and “fancy” (miniatures and decorative) baskets using the pale, fl exible wood of the Fraxinus nigra, commonly known as brown or black ash, and sweet grass from the marshlands.
Secord revived the basket market in Bar Harbor, Maine, and, working with MIBA, established new markets at Hud-son Museum at the University of Maine in Orono (to be held this year on December 12) and Common Ground Fair in Unity (running
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September 25 through 27). Gaining support from the Maine Arts Commission, among others, the organization won grants so its members could travel to national events. Secord became MIBA’s full-time director in 1998, all while continuing to weave her own baskets.
The success of MIBA can be measured in numbers. When it was founded, there were 55 tribal basket makers, with an aver-age age of 63. (Secord and fi ve others were the only makers under 50.) Now there are 200 from all tribes and the average age is 43. And as appreciation for the art grew, so did the value of the baskets, which today can fetch thousands of dollars. (Secord’s baskets sell for $350 to $5,000.)
In a breakthrough, Secord, Jeremy Frey (Passamaquoddy), George Neptune (Passa-maquoddy), and Sarah Sockbeson (Penob-scot) were chosen for the Portland Museum of Art’s prestigious Biennial exhibit You
examples of secord’s baskets (facing page, top): 8-inch-diameter fl at basket, 6-inch-tall acorn, and a trinket box. The small drum basket is by Secord’s son Caleb Hoffman, 23. Two trinket boxes and an 8-inch-high barrel (facing page, bottom) make a set. Her tools (above top) include handmade gauges and a “crooked knife.” A basket cover (above) is in the making.
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Can’t Get There From Here, which runs from October 8, 2015, to January 3, 2016. “The recognition has been a long time com-ing,” says Secord, who in the past had been denied entry to the Biennial because basket making was considered a craft . “But,” she says, “baskets are Maine’s oldest art form.”
Today, the basket makers in the show are considered artists “intrinsically bound to Maine,” says curator Alison Ferris. “Their stunning artworks … largely unad-dressed by major Maine art institutions, but recognized nationally in the Native American art world, merited inclusion.”
Though steeped in ancient traditions, the baskets are very much a refl ection of the new wave of artists. “My baskets refl ect the connections of my great-grandmother and Madeline, but the designs are all mine,” says Secord. One of her miniatures is a gor-geous maize basket with yellow and blue kernels topped by graceful ash “corn silks.”
Labor-intensive with no shortcuts for cutting ash, braiding sweet grass, and weaving patterns, basketry is a commu-nity aff air. “Someone cuts the tree, another person pounds the log for the ash strips,” says Secord. “For the sweet grass, there are families who pick and sell it to us. ”
Although Secord retired as MIBA director last year, she’s as busy as ever work-ing on environmental issues and mentoring young artists. “I am quite surprised that basketry became my career and life’s pas-sion,” she says from her Waterville, Maine, home, where she raised her sons, Caleb, 23, and Will, 21, Hoff man. “Today, I use my path as an example to them to follow their hearts and not the dollar as they move toward their own careers.”
a sweet grass fl at basket, circa 1965, woven of ash and braided sweet grass is by Secord’s great-grandmother, Philomene Saulis Nelson.
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A legend among the Wabanaki, a reference to all of Maine’s indigenous tribes, says that an arrow split the ash tree, releasing the native peoples into the world. For centuries, the Penobscot, Passamaquoddy, Maliseet, and Micmac basket makers have used the pale, fl exible wood of the Fraxinus nigra, commonly known as brown or black ash, to make baskets. “Ash is the silk of wood and nothing can replace it,” says Theresa Secord, founding director of the Maine Indian Basketmakers Alliance (MIBA).
It takes 60 years to grow a suitable tree, which must be tall, straight, and at least 8 inches in diameter. Only 1 in 10 brown ash trees qualifi es.
Secord and others long concerned with the impact of climate change on the ash now face a threat from the emerald ash borer (EAB), the Asian wood-boring beetle that is deadly for the trees. First identifi ed in Michigan in 2002, it has since moved into two Canadian provinces and 25 states, among them Vermont, New Hampshire, and Massachusetts.
MIBA has worked with the tribes, the state Forest Service, the University of Maine School of Forest Resources, and the US Forest Service to address the problem locally. As a result, Maine bans fi rewood from being brought into the state as a precaution against spreading EAB.
The state also offers free workshops to train people to look for signs of EAB and other invasive pests, such as the Asian long-horned beetle. The Forest Service organizes “tagging parties” in which local volunteers hang signs on ash trees to make residents aware of the issue.
“One of my last projects as MIBA director,” says Secord, who stepped down in 2014, “was to start an ongoing fi lm project to document basket makers’ knowledge about ash tree habitat, information that has been passed down through generations in the tribes.”
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Maine Indian Basketmakers Alliance (MIBA), maineindianbaskets.org, lists artists, markets, and other information. Theresa Secord’s baskets, wikepibaskets.com, are sold at Home & Away Gallery in Kennebunkport, ME; homeandaway.biz, and Island Artisans in Bar Harbor, ME; islandartisans.com. You Can’t Get There From Here 2015 Biennial exhibit is at Portland Museum of Art, 7 Congress Square, Portland, ME, October 8, 2015, through January 3, 2016; portlandmuseum.org.
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‘What do we even call this?” asks Sarah Eustis as she gestures toward the lobby of the recently opened Hotel on North in Pitts-fi eld, Massachusetts. The 45-room boutique hotel, which occu-pies two renovated 19th-century brick buildings, is a $15 million project that could be labeled something like Industrial Chic or Berkshire Boho, but for Laurie and David J. Tierney III, who
developed and own the project, Pittsfi eld Revival would be more appropriate. The couple have deep roots in the city and are hoping their hotel will bring jobs and new life to North Street and the business district.
A few years ago, the Tierneys teamed up with Main Street Hospitality Group to bring the hotel to downtown Pittsfi eld, a place that has seen better days. Eustis is chief executive offi cer of the group, which designed and now manages Hotel on North. A family-owned busi-ness founded by her stepmother, company chairman Nancy Fitzpatrick, it has properties that include three well-regarded Western Massachusetts hotels: The Red Lion Inn in Stockbridge, The Porches Inn at MASS MoCA in North Adams, and The Williams Inn On-the-Green at Wil-liams College in Williamstown.
Several old structures were considered for the hotel conversion before the team settled on side-by-side brick buildings between Summer and Union streets, both built in the 1880s and both on the National Register of Historic Places. One had already been substantially reno-vated and housed a restaurant. Combined, there would be enough square footage for what the Tierneys had in mind — and the location was right: Hotel on North sits like a historical book-end several blocks north of the meticulously restored Colonial Theatre, an early-20th-century jewel box of an opera house that reopened in 2006.
“This is not a project driven by the most money,” says David Tierney, whose Pittsfi eld-based family construction company, David J. Tierney Jr. Inc., did the renovation. “Pittsfi eld can be great again, but it’s not going to happen on its own. People have to do things to make it great, and local people have to do the job.”
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A team of locals is betting that a boutique hotel in the middle of the Berkshires can help spark a Pittsfi eld renaissance
written by b.j. roche • photographed by peter peirce
evocative photos of local personalities taken during the renovation of Hotel on North line the fi rst-fl oor lobby sitting area, which looks out onto North Street. A luggage cart from the 1800s serves as a coffee table for vintage midcentury modern chairs. The entry to the hotel (facing page) has a polished, retro vibe that harks back to Pittsfi eld’s days as an economic powerhouse. Owners hope the project can help revitalize the city.
RenewalUrban
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To that end, Berkshire craft smen created many of the furnishings and fi xtures for the hotel, and the ground-fl oor gift boutique features a range of home-grown products.
The lobby refl ects the Tierneys’ mission. On the wall hangs a giant reproduction of a front page of the Berkshire Eagle newspaper depicting a crowded street map of Pittsfi eld in 1899, when the city was an eco-nomic powerhouse. Eustis points to “the birdcage,” the old elevator used when the building housed Besse-Clarke, a menswear and sport-ing goods store. It’s a two-person capsule made of fanciful metal scroll-work that evokes the belle epoque.
The front desk is lit by a sputnik chandelier inspired by the daz-zling behemoth that hangs in the Metropolitan Opera House at Lin-coln Center in New York. There are polished dark wood fl oors, custom-
made pressed-tin ceilings, and exposed brick walls. A newly added revolving door practically shouts “HOTEL,” and fl oor-to-ceiling win-dows look out to North Street, where, as if on cue, a gray BMW with out-of-state plates has just pulled up.
Tierney says the project could not have happened without the help of Historic Preservation Tax Incentives, a federal program admin-istered by the National Park Service designed to promote reuse of his-toric buildings. The application process was rigorous because of the buildings’ age and the change of use. The upper fl oors had limited nat-ural light, and there was no such thing back in the 1880s as the atrium proposed for the upper fl oors, so it took some wrangling to negotiate.
“They understood this was never going to be used as a department store again, but the brick walls, the tin ceilings, the exterior designs, we could bring them all back to the period,” says Tierney, who, as a boy, bought sporting goods at Besse-Clarke.
Today, where baseball mitts were once sold, there’s a light-fi lled sitting area whose overstuff ed wooden armchairs could have been plucked from a lakeside camp in Stockbridge. A long communal table is surrounded by chairs ranging from Modern to vintage tag sale.
the bar area had been renovated by previous owners, but it still had some secrets to reveal, including the brick arches (right top) that were uncovered just a month before the hotel’s opening. Public spaces such as the seating area by the bar (right bottom) are done up in a mix of styles, with an emphasis on comfort. Architectural details preserved on the facade (left) of the former department store allow the exterior to maintain its unique personality.
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Main Street Hospitality Group and Karen Hunt, a Pittsfi eld architect and David Tierney’s sister, designed the hotel, clearly hav-ing fun as they pulled from the region’s styles. Meeting rooms have a clean-lined, Shaker simplicity (the historic Hancock Shaker Village is in Pittsfi eld), and a sliding “barn door” separates the private dining room from the bar in the fi rst-fl oor restaurant.
They also knew when to leave something be, as they did in the second-fl oor reception room, where a collection of crystal chandeliers original to the building remains in place.
Sometimes, the smallest detail required major sleuthing. Hunt tracked down the pattern of the pressed-tin ceiling, which hadn’t been made in 100 years, to a company in Southern California. Then she found another company on New York’s Long Island to actually produce it.
There were challenges, says David Tierney, noting that the fl oors of the two buildings were at diff erent heights, so elevations had to be
adjusted. The design also had to accommodate 21st-century must-haves such as air conditioning and the accessibility requirements of the Americans With Disabilities Act.
The many wood columns, never a problem in an old department store, required creative workarounds in a new hotel — in one guest room, a column actually serves as a bedpost. In fact, the buildings’
imperfections and quirkiness became an asset ensur-ing that no two guest rooms are alike. Nancy Fitzpat-rick decorated the rooms with a mix of old and new, put-ting together Victorian armoires with a vintage-looking “radio” that’s actually an iPod dock and hanging a Colo-
nial-style print over a desk with a midcentury modern lamp. “There’s a gentle irony in the juxtaposition,” says Eustis.
Hotel on North is not the quintessential country inn the other Main Street properties represent, but like them, it does have a real sense of place, one that refl ects the industrial city itself. “The other night in the bar, we had the mayor of Pittsfi eld, [former Boston Pops conductor and composer] John Williams, and three Hells Angels,” Eustis says. “Now that’s Pittsfi eld!”
the old buildings’ wood fl oors, high ceilings, and decorative, dentil-style moulding lend a sense of elegance to the guest rooms (above left and right). Each is decorated differently, with a playful mix of furnishings from various eras that pays tribute to the past without being stuck there.
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Insightful HousingAt Middlebury College, sustainable living gets real
written by regina cole • photographed by carolyn l. bates
For the last semester of his senior year at Vermont’s Middlebury College, Cade Schreger lived at InSite, the house students designed and built as their entry into the US Department of Energy’s 2013 Solar Decathlon.
“If I left a light on or the water running, my roommates would slap me back in line,” says the
Brooklyn, New York, native with a smile. “Living here exposed me to a level of environmentalism I did not know growing up in New York,” adds Schreger, who graduated last spring with a degree in neurosci-ence. “I learned more about sustainable living and social environmen-talism than I ever could have in a class.”
InSite, named by the students who designed and built it to evoke insightful design, is a boxy, 970-square-foot, shed-roofed house sided with reused barn board and located on a residential side street at the edge of the campus. The one-level, two-bedroom structure is used to house students during the academic year and visiting faculty in sum-mer, all of whom must be willing to show it off to the curious, with tours arranged through the school.
The house, which can sleep up to four, off ers amenities not usually found in dorm living, including a visible steel skeleton, maple fl ooring, Vermont slate bathroom tiles, bedrooms with sliding pocket doors, and a washer and dryer. The open-plan kitchen, living, and dining area has a 16-foot-high ceiling, built-in surround-sound system, a concrete
DESIGNMIDDLEBURY COLLEGE STUDENTS WITH ARCHITECT ANDREA MURRAY
behind its solar panels, InSite presents a warm and welcoming facade. With unusually comfortable living space inside a compact envelope, the house provides campus housing far nicer than that found in the usual dorm room.
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countertop, and chairs made from recycled seat belts.
Outside, a wide deck stretches to one side, where a narrow walk leading to the street passes under two banks of solar pan-els. “They provide shade in summer and shelter from the snow and wind in winter,” Schreger says. They also power the house’s systems and, along with eco-friendly ele-ments such as 14-inch-thick walls fi lled with insulation made from old newspa-pers and denim, earned the Middlebury entry eighth place in the international competition.
Since 2002, the Department of Energy has sponsored the Solar Decathlon, which challenges collegiate teams to design, build, and operate solar-powered houses that measure 1,000 square feet or less, can house
two banks of solar panels (top) do double duty: They generate electricity and shelter the walk leading to the house. Exterior siding is made of recycled barn board, which gives the house a warm appearance. Designed by the students to encourage shared space, the interior (above) boasts a large great room that shows off the steel I-beam framework. Maple fl ooring, an open, functional kitchen, a dining area, and chairs for lounging and reading provide creature comforts. Student residents of the InSite house last spring were (facing page, from left) Cade Schreger, Evan Gallagher, and Sofi a Silverglass.
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a family, and are cost-eff ective, energy-effi -cient, and attractive. Students raise the money to complete the house and ship it to and from the competition site.
“The project is multi-disciplinary,” says Andrea Murray, InSite’s faculty adviser. A visiting instructor in architec-tural study at Middlebury, and a practic-ing architect at Vermont Integrated Archi-tecture, Murray guided a group that varied between 25 and 100 students whose majors ranged from English literature to environ-mental studies. “It is an exercise in com-munication, fund-raising and engineering, as well as a design challenge.”
“When I fi rst got to Middlebury in Feb-ruary 2012, the 2013 project was just getting started,” says Sofi a Silverglass, a senior from Boston majoring in geography with a minor in elementary education, and one of Schreger’s two roommates in the house last winter and spring.
“The team of students then leading the project was advertising everywhere, trying to get others involved, and I decided to go to a meeting,” Silverglass says. “Given my interest in elementary education, I ended up working on the outreach and communi-cation team, focusing specifi cally on edu-cation. Over the two years of the project, we
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visited local schools, retirement homes, and cafes to talk about the Solar Decathlon and InSite’s mission.”
According to Murray, students initi-ated and executed every aspect of the proj-ect. “We were accepted into the competi-tion in January of 2013,” she says, noting that acceptance itself is an honor. “It is especially gratifying because, among the entrants, ours is the rare school that does not have degree programs in architecture or engineering.”
To guide their design, the students developed their own Five Points of Insight-ful Architecture modeled aft er Le Corbus-ier’s Five Points of New Architecture: live in a walkable community, prioritize social space, consolidate energy systems, engage the street, and use local materials. “The students came up with this list,” Murray says. “They created a hands-on learning experience in which they not only designed but built the house. They learned things not traditional to a liberal arts education, like keeping to a budget and the value of a day’s hard physical work.” She adds, “I cannot take credit for the design. I think of myself as the guardrail: The students will go in the ditch occasionally, but not off the cliff .”
Local businesses contributed build-ing materials while faculty members and area professionals acted as consultants. Locally sourced materials included birch and maple from Middlebury’s forest land, bathroom tiles made of Vermont slate, and Es
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blankets from Johnson Woolen Mills. “This was a way to bridge the gap between the college and the community,” Schreger says.
Built on a steel I-beam framework that breaks down into 50 pieces, InSite was shipped by rail to the competition site in Irvine, California, where it was judged against entries from as far away as the Czech Republic. Aft erward, the house was disassembled and shipped back to Ver-mont, then reassembled in its permanent location. “I helped with the deconstruc-tion of the house for its moves to and from the competition in California,” Silverglass says. “In the summer of 2013, I stayed on Middlebury’s campus to create the ceramic dishware and the bathroom sink.”
The two bedrooms are small, in line with the students’ stated goal of prioritiz-ing social space. But the high ceiling makes the public area feel surprisingly capacious. “When we fi rst moved in, we had a party,” says Schreger. “About 40 people were in the living room, and it did not feel cramped.”
InSite is located on Shannon Street on the campus of Middlebury College in Middlebury, Vermont. Resident students give tours by appointment. To arrange one, contact Andrea Murray at 802-443-5000.
sofia silverglass reads in the hallway window seat (facing page). Small and effi cient does not mean pedestrian: beautiful building materials include maple from the Middlebury Town Forest for the fl ooring and Vermont slate tile used in the bathroom (above). There is even a high-effi ciency washer and dryer.
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108 D E S I G N N E W E N G L A N D. C O M S E P T E M B E R / O C TO B E R 2 0 1 5
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There’s Only One HaymarketSince the 1830s, it has been a constant of Boston commerce, and there is no end in sight
written by bruce irving
Polyglot, cacophonous, bustling, and stuff ed to the gills with bargains. These are the constants at Bos-ton’s Haymarket, and if you close your eyes, it’s not very hard to time-travel.
Pick your decade. The 1830s mark the start of the market in its location today. Brokers and farm-ers from the countryside proff ered hay and straw for
the feeding and care of Boston’s horse population; the straw also made mattress stuffi ng. The 1850s brought the brogue of sellers catering to their fellow Irish immigrants, with cabbages, potatoes, and bacon (corned beef was a later dietary development). By the 1880s, Italians were ascendant, helping large North End families make ends meet with
pomodori, lettuces, and eggplant. In the 1970s, you might have seen the few vendors who stocked them having a tough time selling what were then called “alligator pears” until the rise of Mexican cuisine soon enough had avocados fl ying off the shelves.
Open your eyes in today’s Haymarket and you’ll see jackfruit from Jamaica, Sharon fruit from Israel, and halal meats for Muslim shoppers. Several brick-and-mortar shops, such as Puritan Beef Co., founded in 1911, are open weekdays as well as on Fridays and Satur-days, when the market vendors set up their stalls. Alongside Puritan’s
in the mid 1980s, shopping at Haymarket was a messy, heady adventure. At North and Blackstone streets, cars competed with shoppers and stacks of produce boxes as bargain-hunters descended on the very makeshift stalls. BO
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London broil and sirloin steaks these days are cows’ feet, goat chops, and burnt cow skin, favorites of West Indian cuisine.
Familiar or exotic, fruit, vegetable, or meat, the core virtue and civic value of Hay-market is providing livelihoods to its ven-dors and aff ordable food to the public. When the same package of raspberries that goes for $3.99 in the supermarket is $1 at the stall, the market is fulfi lling its mission: “Always give the people a bang for the buck,” as Otto Gal-lotto, president of the Haymarket Pushcart Association, puts it.
The association represents the 40 or so
vendors who hold city-issued licenses to do business on the streets of Haymarket. There are 196 licenses, each representing an 8-foot section, and a vendor can own one or several, “dividing the real estate up like on a Monop-oly board,” says Gallotto. He’s been selling fruits and vegetables every weekend for the last 30 years, arriving at 2:45 a.m. on Friday to set up, and then cleaning and clearing out Sunday evening. Like his fellow stall owners, he gets his stock from the Chelsea wholesale markets across the river, visiting the same suppliers he’s trusted for years. “Tommy has my cantaloupes, Steven has my carrots.”
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“It’s hard work,” he adds, “and in all kinds of weather. You hope people will come out and want what you’re selling. Basically, we’re all gambling with produce.”
The association’s name comes down from the pushcarts that began to appear outside the storefronts in the Blackstone Block, the grouping of streets and buildings that sprang up aft er the city fi lled Mill Pond around 1833. Now on the National Register of Historic Places, the block (bounded by Blackstone, Hanover, Union, and North streets) is Bos-ton’s only surviving 17th-century street pat-tern, and indeed, stepping off the well-traf-
“midday rush at the Market” (top) shows shoppers, on the left, and vendors, on the right, with neatly displayed produce in between in this photo by Justin Goodstein from the exhibition Haymarket, the Soul of the City sponsored by Historic New England and the Haymarket Pushcart Association at the Adams Gallery at Suffolk University last summer. Also from the exhibit is “Avril Bringing Quarters” (above) depicting a vendor accepting rolls of coins — essential for making change — from longtime customer Avril Gardner. An archival photo (facing page) captures the days when goods were still brought to Haymarket on horse-drawn wagons.
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fi cked edges of the block and into its inner recesses, the eff ect is a lot like Harry Pot-ter entering Diagon Alley — narrow, bend-ing lanes, paved with cobblestones and lined with old buildings with a scale and detail that have all but disappeared from the modern city.
On the corner of Creek Lane and Mar-shall Street stands the red brick Ebene-zer Hancock house, built around 1767 on the site of the circa 1660 home of William Courser, Boston’s fi rst town crier. The building was owned for a time by Ebene-zer’s brother John (yes, that John); from 1798 to 1963, it held the country’s oldest continuously run shoe shop. It is now home to a law fi rm. Down the crooked street and around the corner stands the Union Oys-ter House. The building it occupies was put up in 1714 and has only recently — 1826 — been occupied by the restaurant.
Amid all this history, something new has arrived. Hard against the Haymarket stalls on Hanover Street, on the fi rst fl oor of the Parcel 7 parking garage, the Boston Public Market made its debut in July. With polished concrete fl oors, air conditioning, bright lighting, and aisles lined with pur-veyors of locally sourced foods, it makes an intriguing pairing with the open-air hub-
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bub of Haymarket. On a recent Sunday visit, most of the Public Market vendors were using Apple computers and Squares for transactions, while outside, the Hay-market hawkers brandished fi stfuls of dol-lar bills. Inside, organic eggs were sell-ing slowly but steadily at $7 a dozen, and the Mother Juice stand had sold out of kelp smoothies (and everything else) by midaft ernoon.
Outside, the waning minutes of the marketplace were fi lled with cries of “One dollar, one dollar, one dollar!” as stall own-ers sought to sell off the last of their goods before closing time.
The contrast could seem a cliché of yuppies versus townies, but that’s not at all the way Otto Gallotto sees it.“This is part of a vision of a new market district down here,” he says. “The folks in the Pub-lic Market aren’t selling Chelsea produce — that’s our deal with them. But they’re drawing a whole new crowd of shoppers downtown, and if we get 5 or 10 percent of those folks to check us out, I fi gure we’re ahead of the game.”
a tale of two food worlds unfolds as the new Boston Public Market (above and top) opens around the corner from the no-frills Haymarket (facing page), shown here in 2008.
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116 D E S I G N N E W E N G L A N D. C O M S E P T E M B E R / O C TO B E R 2 0 1 5
great rooms
a vintage cast-iron horse feeder is mounted on the wall above a charcoal sectional sofa from Room & Board in the family room, which is where homeowner Mike Hirshland and his children are most likely to be found spending time together.
Quick A designer’s gusto and a little white paint make a Wellesley, Massachusetts, barn a family friendly home in no time
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INTERIOR DESIGNLIZ CAAN INTERIORS
written by courtney goodrich photographed by eric roth
The 1890 barn perched atop a hill across from the large Victorian farmhouse to which it used to belong is undeniably charming. Its exterior is painted red, trimmed in cream, with green French doors. Though it is located in Wellesley, Massachusetts, a suburb 15 miles west of Boston, on a clear day you can see the
city skyline from the barn’s cupola. The interior has a similar kind of wonder. The space is open, the
decor simple and attractive, with upholstered sofas and chairs, rus-tic wood accents, and distinctive rugs and accessories. Designed by Liz Caan of Liz Caan Interiors in Newton, Massachusetts, the space is perfect for its owner, Mike Hirshland. The divorced dad bought the house a year ago as a place to live and a place where his four children, ages 13 to 19, would fi nd comfort as well as fun.
But since Hirshland’s move-in date was scheduled for just a few weeks aft er he closed the sale, Caan had to pull it all together fast.
“An interior space created really quickly and on a budget can still look just as rich,” Caan says. “Mike was very quick to make decisions, he gave lots of feedback, was involved, and was honest about what he liked and didn’t like, which helped a lot.”
“The barn is unusual,” says Hirshland, whose business, Resolute Ventures, invests in startup companies. “It’s distinct. There’s some-
the exterior of the 1890 barn (right) charms with its painted red clapboards and cream trim. The green French doors lead to a small vestibule and then into the foyer in the center of the fi rst fl oor.
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118 D E S I G N N E W E N G L A N D. C O M S E P T E M B E R / O C TO B E R 2 0 1 5
thing fun about living in a barn. I wanted it to still feel like it had that feeling, still feel rustic.”
Though the barn has three fl oors, with bed-rooms on the second level and a kids’ hangout room on the third, the bulk of the design project took place on the fi rst fl oor — a 1,500-square-foot box broken into the quadrants of dining area, living area/offi ce, family room, and kitchen. First, Caan addressed the natural pine that was almost every-where. “You would see the beauty of the wood,” she explains, “if we painted half of it.” So walls were painted white, which visually separated them from the ceiling, fl oor, and trim, which were left untouched.
For furnishings, waiting weeks or months for custom pieces was out of the question, so Caan turned to her retail sources, her own shop among them. It was, Caan says, a welcome change of pace.
She kept to the classic materials of wood, metal, wool, linen, and leather. A salvaged-wood table from RH seats 12 in the dining area. In the fam-ily room, a wool dhurrie rug from West Elm anchors the Room & Board sectional sofa and armchairs slip-covered in striped linen fabric. “We mixed vin-tage and midcentury pieces intentionally,” says Caan, pointing out the midcentury-inspired sofa and coff ee table in the living area paired with a vin-
great rooms
a brass arteriors starburst chandelier sets an upbeat tone in the foyer (left top), which also features a zebra rug from Liz Caan Interiors and a metal table full of books and accessories that Hirshland (above) enjoys rearrang- ing. The long dining table from RH (left bottom) offers plenty of seating; chandeliers are from Liz Cann Interiors. The door next to the bar cart leads to the kitchen.
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The barn needed to be comfortable, and it defi nitely needed to feel like home. But it also needed to be fun. Interior designer Liz Caan’s solution came in the form of bold lighting fi xtures — and homeowner Mike Hirshland is thrilled. The curiously intriguing fi xtures start in the small front vestibule, where there’s a white painted wood David Trubridge pendant. Past that, a brass starburst chandelier (far left) from Arteriors brightens the foyer. Three large faceted pendants from Liz Caan Interiors add texture to the dining room, where they hang over a dining table that seats 12. Rensselaer Sconces from Schoolhouse Electric, their bare bulbs wired with red twisted cords, light the way at multiple doorways, including the one between kitchen and dining room (near left bottom). And though the kitchen has yet to be redone, Caan couldn’t help but imbue the space with the same lighting boldness. There, she installed a Tangled Chandelier (near left top), also by Schoolhouse Electric, which has six bare bulbs dangling on black cords suspended from a brass ring.
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tage leather chair. “It makes it feel comfortable and not look so new.”
Details such as the original cast-iron horse feeders on each side of the staircase add visual interest, but Caan felt there needed to be more. So she introduced bold light fi xtures, “and I just loved it,” says Hirshland. Three large faceted pendants from Caan’s shop hang over the dining table, while bare-bulb sconces with red twisted cords accent the doorway to the kitchen. Columnar table lamps mea-suring more than 2½ feet tall help separate the liv-
ing area from the foyer, where a brass starburst chandelier from Arteriors makes a great fi rst impression.
“It was a mad dash to get it ready,” says Hirshland, who couldn’t
be happier with the result. The space is comfortable and eloquent, but most important, it feels right. “I wanted the kids to feel like it was a home they would come back to from college or from being away,” he says. With his eldest heading off to college in Cal-ifornia this fall, that philosophy will be put to the test — and quick.
separating the living area from the foyer is a console table (above left) topped with two columnar table lamps more than 2½ feet tall. In a corner of the living area, Hirshland’s offi ce (above right) is kept simple with a large RH glass table and an upholstered armchair.
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124 D E S I G N N E W E N G L A N D
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Mentored by Boston’s design elite, Jeanne Finnerty has charted a roundabout route to success on her own
written by gail ravgiala • photographed by kelly davidson
124 D E S I G N N E W E N G L A N D. C O M S E P T E M B E R / O C TO B E R 2 0 1 5
The list of interior designers for whom Jeanne Finnerty has worked, either as employee or consultant, reads like a Who’s Who of Boston’s design elite. She started as a student with the late Albert Columbro, then, upon complet-ing her training in interior design at the New England School of Art and Design (NESAD) at Suff olk University, she landed a job with William Hodgins, a
disciple of legendary designers Sister Parish and Albert Hadley and a dean of American interior decoration.
“To start at William Hodgins was like a dream come true,” says Finnerty. “The level of work he was doing just exposed me to so much. I owe a lot to him and the four years I spent there.”
That might make it seem hers was a sure and steady career path,
but such was not the case. The second-youngest child in a family of fi ve girls and one boy, Finnerty dreamed of becoming a graphic designer aft er high school. She headed to Massachusetts College of Art and Design in Boston from her home in nearby Milton, Massachusetts, but two years into her studies, her father, Robert Reilly, a founder of Atkins & Reilly Inc., an audiovisual communications company in Bos-ton, died unexpectedly, and Finnerty dropped out of school. “It was a sad time,” she says. “My parents were very devoted to all of us — and growing up surrounded by my father’s creative business was a great infl uence and inspiration to me.”
She took a job at Creative Gourmet, one of Boston’s largest cater-ing companies at the time, where she eventually ended up as a restau-
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with the zakim Bridge in the background, interior designer Jeanne Finnerty takes in the views from the rooftop deck of her condominium in the Monument Square section of Boston’s Charlestown neighborhood. Finnerty and her husband, William, have lived in Charlestown since 2003.
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rant manager. A few years of that and she was ready for another change.
“I was in my late 20s when I went to NESAD to study interior design,” she says. “I loved it. It was an art-based program with lots of drawing and color study. And my background in two-dimensional design really helped me.”
Encouraged by Jane Hassan, an inte-rior designer with whom she had worked at Albert Columbro’s and who was teaching at NESAD, Finnerty applied for the job with Hodgins. “Jane kept telling me, ‘You can do this!’ ” says Finnerty. “So I really sold myself to him.” It was 1990, before com-puters had overrun design offi ces, and all drawing was done by hand. “Mr. Hodgins made me take a draft ing test,” she recalls with amusement.
She values her education and the les-sons learned from her many mentors, yet she believes that “much of what we do as designers is intuitive. Sometimes it can be hard to explain why something is right, but you just know that it is.” She adds, “I don’t consider myself having a style, so to speak, but I defi nitely have a point of view. As much as I love the complexities of our profession, I am guided by simplicity — the plan, the fi nishes, the architectural details, and the decoration. The objective,” she says, “is a place to let real life happen.”
She and her husband, William (Bill)
finnerty relaxes with her rescue cat, Buddy, in the living room of her 850-square-foot condo. “I’m really good at designing small spaces,” she says with a laugh. The painting is by Diane Afton, an art student who worked for Finnerty’s father when she painted it in 1966.
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drawing design plans, such as the sketch of a bedroom scheme for a client (top), is one of Finnerty’s favorite tasks. For the bedroom in their own condominium (above), she and Bill designed built-in shelving and drawers to provide a handsome framework for the bed, while creating storage in the tight space.
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Finnerty, an architect whom she married in 2003, live in an 850-square-foot condo-minium in Boston’s Charlestown neighbor-hood. The fourth-fl oor walk-up in a cozy little building just off Monument Square comes with a bonus — a roof deck with a million-dollar view. Look north and Bun-ker Hill Monument looms; to the east, the Tobin Bridge spans the Mystic River, south is a clear view of Boston Harbor; and west, the Zakim Bridge lights the night sky.
The couple also share studio space in an old industrial building on the other side of Charlestown. “We are both sole propri-etors,” says Finnerty, “but we sometimes work on projects together. If a client needs architectural work, I can turn to Bill, and if he has a job that needs interior design work, he can ask me.”
Aft er Hodgins, she worked as a consul-tant for Judith Ross & Company, another well-regarded interior design fi rm in Bos-ton’s Back Bay. As time went on, she col-laborated with Paul Lanoix, Benn Theo-dore, Susan Reddick, Charles Spada, and Eugene Lawrence, to name just a few, end-ing up in 2002 at Wells & Fox, now Heather G. Wells Ltd., where she worked on projects from New Hampshire to Michigan.
In 2008, she decided to break out on her own. “I wanted the creative value of having my own projects and clients,” she says. Experience taught her not to be afraid of competition. “I like it when potential cli-ents meet with other designers,” she says. “I advise them that they have to like a designer’s work, but they also have to like them — to feel that they can work together. That is very important in this business.”
As a 10-year member and past presi-dent (2013–14) of the New England Chapter of the American Society of Interior Design-ers (ASID), she also thinks it is important to be involved with the design community. “I saw what ASID does on a national level,” Finnerty says, noting it promotes the industry and its foundation gives scholar-ships and grants to members to study issues such as aging in place and healthy environ-ments. On a personal level, she likes mak-ing connections with other designers. “It is also important to show clients that you have a commitment to the profession.”
Finnerty also serves on the board of the
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781.449.7407 :: www.rwinteriors.net :: [email protected]
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Hammer Architects Cambridge, MA 617-876-5121
Truro, MA 508-349-7525
www.hammerarchitects.com
Massachusetts Interior Design Coalition, the organization that pushed, and fi nally won in late 2014, legislation that allows inte-rior designers to bid on state work.
When she is not engaged with a cli-ent project or volunteering for ASID, she and Bill oft en can be found at the vaca-tion house they bought in North Bridgton, Maine, in 2008. The 1½-story brick house, built in 1840, has an attached barn and needs work, most of which they are doing themselves. (What else would an interior designer and an architect do?) “We love the change of pace,” says Finnerty. “Even when we are working, it is a nice break from city life.” And a nice place to let life happen.
though they do share studio space (top) in an old industrial building in Charlestown and on occasion collaborate on projects, Jeanne and Bill Finnerty operate as separate sole proprietors. Jeanne holds sketches of their vacation house and barn in Maine (above), where the couple are happily joining forces in an ongoing renovation.
Finnerty Design 523 Medford Street, Studio 3C, Charlestown, MA, 617-241-2255; fi nnertydesign.com.
Offering
FENCING
RAILINGS
PERGOLAS
ARBORS
ARCHITECTURAL
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FURNISHINGS
visit us at
Call for our free catalog or to
arrange a design consultation
w w w. p e r f e c t i o n f e n c e . c o m I 1-800-537-2900
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local wares hellbent for leather by courtney goodrich • photographed by joel benjamin
Few materials are as versatile as leather. Tough yet beautiful, it is one of the few things that gets better with age as it grows more supple and acquires a rich patina. We discovered four New England artisans for whom leather is a muse inspiring beautiful, useful products for our lives and homes. details, page 132.
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leather pillows, wallets, a catchall tray, and coasters are made by New England artisans who take their craft, and the importance of the bespoke, very seriously.
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1 2
3 4
1 COASTERS When he was a student at New England School of Art and Design at Suffolk University, Eric Heins began making and selling leather wallets in his dorm room. After graduating in 2009 with a fi ne arts degree, he set up shop on Cape Cod and founded Corter Leather & Cloth. Using leather sourced in the United States, he wields hammers, mauls, punches, presses, and a simple needle and thread to turn out cardholders, belts, iPhone sleeves, and accessories. His quirky Butcher’s Coasters (pictured) are hand-punched from a circa 1935 diagram and made from steer hide tanned with tree bark tannin.
Butcher’s Coasters, $29.50 for set of 4, Corter Leather & Cloth, Brewster, MA; corterleather.com.
local wares
2 WALLETS Slim and curved, wallets by Rogue Industries fi t perfectly in a front pocket. Started by Wells Lyons and his father, Michael Lyons, in 2005, the Portland, Maine, company offers several variations, all with a radio-frequency identifi cation (RFID)-blocking sleeve stitched into the lining to protect credit cards from wireless identity theft. In addition to genuine top-grain leather, wallets come in whitetail buckskin, football leather, American bison (pictured with money), and the vegetable-tanned leather used for the Oak Tan Rogue Wallet (pictured).
Bison Rogue Wallet in distressed brown bison, $50, Oak Tan Rogue Wallet, $45, Rogue Industries, Portland, ME; rogue-industries.com.
3 PILLOWS Ronan Cooper founded Leather & Tweed because he wanted throw pillows that weren’t “paisley prints.” His line pairs high-quality aniline leather, which, without a topcoat, has a natural surface with a visible grain, with woven wool tweed. Cooper lives in South Burlington, Vermont, and works in fi nancial services, so making and selling pillows is, he says, “a fun outlet.”
Brandy Leather and Shetland Wool Plaid Pillow Cover, 18-inch square, $95, Black Lambskin Leather and Wool Blend Tweed Pillow Cover, 16-inch square, $85, Chocolate Brown Leather and Italian Tweed Pillow Cover, 18-inch square, $95, Leather & Tweed, South Burlington, VT; etsy.com/shop/leatherandtweed.
4 TRAYS What happens when you earn a degree in a fi eld you are passionate about — for Belle Hilmer, it was cultural anthropology — but fi nd you don’t fi t in that career? You get a hobby. And if you’re good at it, it becomes a business. For Hilmer, in 2013, that meant crafting items out of leather sourced from an outlet near her Portland, Maine, home. She now makes totes, bags, clutches, keychains, beer koozies, camera straps, and rugged leather catchalls (pictured), which are made with two pieces of leather stitched together with one continuous line and fi nished with solid brass studs.
Deluxe Hand Stitched Catchall Tray in black and brown, $65 each, Maine Leather Co., Portland, ME; maineleatherco.com.
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Humphries full page_Ad.indd 1Humphries full page_Ad.indd 1 6/8/15 2:40 PM6/8/15 2:40 PM
Architect: Mellowes & Paladino, Hopkinton,MA
Architect: Mellowes & Paladino, Hopkinton,MA
ECO STRUCTURES, INC. Excellence in craftsmanship and personal service.
Building for the Future
A diversified company specializing in the construction of extraordinary custom
homes. Committed to building for the future by creating sustainable homes
without sacrifice to design, function, or personal style.
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www.ecostructures.com
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historic savesdesign new england september/october 2015
162
Photo by Michael J. Lee
tucked under the staircase, this powder room packs a surprise punch of ultrasleek modernity in an 1890s classic Victorian house, where architectural details otherwise set the tone for a top-to-bottom renovation.
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B E Y O N D M O D E R N
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BUILDING DESIGN FINE LINES CONSTRUCTION INTERIOR DESIGN URBAN DWELLINGS LANDSCAPE DESIGN SOREN DENIORD DESIGN STUDIO
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rethinking a 1960s ranch-style house by tapping into its midcentury architectural provenance
Written by Edgar Allen Beem • Photographed by Trent Bell
designers tracy davis and Alex Lehnen opened up a dark, pine-paneled ranch by replacing walls with screens and space dividers and using plenty of glass inside and out. A subtle striated aesthetic is carried out in elements such as the cloth tape chairs, deck railing, and slat wall (facing page).
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on the Maine coast into a sunny seaside showplace amounted to turning it inside out and expos-ing its midcentury roots. In so doing, the homeowners and their design/build team transformed the nine-room, 3,000-square-foot house, once a Better Homes and Gardens model home, into a retro-chic paean to Modernism.
Set on a grassy site measuring just over 1 acre, the house has a panoramic view of Casco Bay and its islands. “That’s the why,” says homeowner Tonya DiMillo, indicating the soulful view of a peaceful cove from her living room when asked what fi nally motivated her and her husband, Chris DiMillo, to renovate. “We just brought the outside inside.”
Chris, a yacht broker, and Tonya, a social worker, purchased the house in a town just north
THE RENOVATION OF A DARK AND DREARY RANCH-STYLE HOUSE
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of Portland 12 years ago and lived in it year-round for nine before deciding to take on the modern-ization of their “Modern” house.
The project began as just a kitchen renovation, but working with interior designer Tracy Ann Davis of Urban Dwellings in Portland, the DiMillos began to see the potential the house could have if it embraced its location and let in the light. “The defi ning concept from the get-go was to blow out the views,” says Davis. “Chris is in yacht sales, so there was also the idea of a boat with everything in its place and everything has a home.”
In order to, in Davis’s words, “take it from the late 1960s into the 21st century,” Fine Lines Construction, a design/build fi rm based in Freeport, Maine, was commissioned to renovate the house. Though the form and volume of the structure barely changed, Fine Lines project designer
the renovated ranch (above left) sits beside the sea but seems to sail on swards of tall miscanthus and feather reed grass. The new deck (above right) extends the grid of the house and invites outdoor living.
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Alex Lehnen says, “The renovation took a long time because every square inch was touched on and considered.”
“All the water views were previously blocked by small windows,” says Davis. “We slowly peeled back the layers, adding fresh fi nishes but nothing structural.” Among the fi rst things to go were dark pine paneling and fl uorescent tube lighting.
Now the house is clad in cedar with a standing-seam metal roof and a south face of fl oor-to-ceiling windows. The engagement with the horizon is articulated and amplifi ed both outside and in by a recurring horizontal motif. Metal deck railings, variable-width clapboards, screens, trel-lises, an interior slat wall, and the walnut boards of the kitchen island and stairwell all help anchor the home to its site.
To celebrate the ranch’s 1960s provenance, Lehnen reimagined it as an example of midcen-tury Modernism, the postwar aesthetic of fl at planes, large windows, changes of elevation, half walls, and integration with nature made famous by architects such as Frank Lloyd Wright, Charles Eames, and Eero Saarinen.
“With the client’s sense of style and a design process leaving no stone unturned,” says Lehnen,
the spare midcentury Modernist look in the dining area (facing page) is created by Eames Ghost stacking chairs and wooden Secto light fi xtures of Finnish birch. A load-bearing metal column became the occasion for suspended shelving in the kitchen (above), where Tonya DiMillo and son Tiger, 11, pause for a snack.
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the master bedroom (facing page, top) has dreamy water views, while the attention to handcraft is evident in the master bath (facing page, bottom) with beadboard walls and a marble tiled shower. The guest bathroom (above) is light and airy, and the stairwell (right) seems to fl oat down into the basement playroom.
“we focused on a craft -oriented approach to minimalist design while embracing the home’s midcentury architecture.” Throughout there are expanses of glass, natural wood, and a palette of muted grays and soft whites.
The kitchen features both a center island and a work peninsula where one load-bearing column was incorporated as a support for open shelving and another was camoufl aged within a walnut-clad wall. Quartz countertops, fl oating shelves, and a rear wall of painted glass help achieve a seamless look.
Lehnen points to the stairwell between the main fl oor and the basement playroom as an example of “accentuating craft to achieve the less-is-more minimalist look.” Here, white oak treads seem sus-pended in air, framed by thick pieces of clear glass on one side and a
walnut panel wall (attached with custom-made Richlite paper resin so that no fasteners are visible) on the other.
“The level of transparency is just amazing,” says Davis of the way the house opens to the landscape visually and, with sliding glass doors and casement and awning windows, literally.
Landscape architect Soren deNiord of Soren deNiord Design Stu-dio in Portland, directed the dramatic transformation of the grounds. “The pool and gardens and driveway extend the grid of the house,” says deNiord.
Because the house sits close to the shore, there were limits on how much impervious landscaping was allowed, so deNiord used Hast-ings permeable concrete pavers for the driveway and a small heated auto court.
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The new deck, saltwater pool, and distinctive plantings all amplify the beach-house aesthetic of a home that would look just as right in Mon-tauk or Big Sur as on Casco Bay. Foundation gardens feature irises, win-terberry, and lavender, and the sloping yard is planted with swards of mis-
canthus and feather reed grass that sway rhythmically in the onshore breeze outside the master bedroom windows.
“Being outside is what it feels like in the house now,” says Tonya DiMillo. “It’s very peaceful.”
modernist modesty is expressed in the standing-seam metal roof and heated auto court (left top), as well as in the driveway of permeable concrete pavers (left bottom). The new saltwater pool and deck (above) add a beach-house feel to the DiMillos’ year-round residence.
for more details,see resources
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1 entry deck 2 foyer 3 kitchen 4 laundry 5 garage 6 mudroom 7 powder room 8 pool 9 deck
10 dining area11 living room 12 master bath13 master closet14 master bedroom15 bedroom16 hallway17 bath18 office
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9 10
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first floor
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REVIVAL ON
MAIN STREET
IN MANCHESTER, VERMONT,
A LANDMARK IS RESTORED TO
HISTORIC GLORY AND MODERN
EFFICIENCY
W R I T T E N B Y K AT H L E E N J A M E S • P H O T O G R A P H E D B Y G R E G P R E M R U
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ARCHITECTURE RAMSAY GOURD ARCHITECTS
built sometime between 1799 and 1820, the 4,100-square-foot Victorian house (facing page) had fallen into disrepair by the time a Toronto couple purchased it in 2011. The renovation included a new mudroom and staircase at the back of the house. The balustrade’s maple-leaf motif celebrates the family’s Vermont-Canada connection.
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or several years, the once-regal house on Main Street stood empty, languishing on the market. A residential icon in a historic district of Manchester, Vermont, the 4,100-square-foot building was a major fi xer-upper by the time a Toronto couple bought it in July 2011.
The porches sagged and the clapboards were rot-ting. Moss and saplings had sprouted on the roof. Water
trickled through rubble in the dirt-fl oor basement. And a small band of raccoons had taken up residence, ripping away wallpaper to eat the paste beneath. “Other than that, the home was in perfect move-in con-dition,” jokes Ramsay Gourd, the Vermont architect and designer who masterminded its revival.
The new owners were looking for a four-season vacation home in Manchester, a southwestern Vermont tourist town anchored by three ski areas and the luxury Equinox Resort & Spa. Undeterred by the building’s dilapidated condition, they were charmed by its classic Vic-torian style and deep wraparound porch. They had seen Gourd’s work at Battenkill Meadows, a residential development north of town, and hired him to oversee the renovation, from architecture to interiors.
“I gave them fair warning,” says Gourd, who earned his architec-tural degree at Cornell University in 1988 and established his fi rm, Ramsay Gourd Architects, which has offi ces in Manchester and Bur-lington, Vermont, in 1996. “I wanted to be sure they knew what they were getting into. But they had a vision. They fell in love with the idea of what the house once might have been.”
Built sometime between 1799 and 1820 by the Hawley family, the building was one of many summer houses in Manchester that were occupied by affl uent New Yorkers, Bostonians, and other urban dwell-ers looking for a seasonal escape from the city. By the Civil War, the vil-lage had become a well-known vacation destination: Orvis, the high-end fl y-fi shing and hunting company, was founded there in 1856, and in 1905, Robert Todd Lincoln, son of Abraham and Mary Todd Lin-coln, who had spent a summer in Manchester as a boy, built Hildene, a grand estate now a nonprofi t house museum.
“It needed a lot of work, but you could see it was a beautiful home,” says one of the new owners. “We liked the way it felt. So we hired Ramsay and got to work.” Their goal was to create an informal,
a mahogany american Empire game table (above left) that architect Ramsay Gourd found at a Brimfi eld Antique and Collectibles Show in Brimfi eld, Massachusetts, punctuates the front stair hall. To the right (not shown), a laundry room is concealed under the stair behind a panel door. The TV room (left) is furnished with custom-designed pieces, including a Toronto Ottoman from Ramsay Gourd Home. On the fi rst fl oor, the contractor ripped out several small rooms at the back of the house to create an open living space, with an elegant dining area (facing page, top) and kitchen (facing page, bottom).
f
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energy-effi cient home that stayed true to the building’s historic style. They also paid close attention to the village’s strict design criteria; while not formally registered, the building is considered to be a “con-tributing structure” to the historic district of Manchester Village.
The work began by jacking up the building, excavating a deeper basement, pouring a new foundation, rebuilding the chimney, and put-ting on a new slate roof. Gourd and contractor Paul Mackson of Bel-max Contracting Co. in East Dorset, Vermont, documented dozens of architectural details, taking photos and measurements, and salvaged whatever they could, including doors and hardwood fl ooring, before stripping the interior to the studs. To make the building energy-effi -cient, they installed two layers of insulation: spray-foam in the interior
wall cavities and rigid foam board on the exterior beneath the clap-boards. “We basically took a wooden sieve and created an ultratight, high-performance envelope,” says Gourd.
Inside, the fi rst fl oor was transformed by opening up a warren of small rooms at the back of the house to create space for an expanded kitchen, an adjoining mudroom, which is lined with storage cubbies, and a half-bath. Gourd also designed a wide back staircase with maple leaf-shaped cutouts in the balustrade to refl ect the couple’s Canada-Vermont connection.
The spacious kitchen was planned with family vacations in mind (the couple have two grown daughters and lots of relatives within driv-ing distance) and is outfi tted with a central island, a granite-topped bar with stools, a 60-inch Wolf range, and a big Sub-Zero refrigera-tor. From there, the space fl ows through a dining area to a casual TV room furnished with custom pieces designed by Gourd. There is also a living room off the dining area.
The palette throughout was inspired by a landscape painting by Toronto artist Carol Kapuscinsky that hangs in the living room. In soft blues, purples, and greens, it depicts a peaceful rural pasture. “The painting is what we started with,” says Gourd. “It really helped me
the completely rebuilt fi replace in the living room (facing page, top) has an Imperial Danby marble surround. The soft blues, purples, and greens of the landscape painting by Toronto artist Carol Kapuscinsky inspired the color palette throughout the house. Gourd designed the table lamp (facing page, bottom left), which was made by Authentic Designs in Rupert, Vermont, in the fi rst-fl oor library, where built-in bookcases, wainscot, and wood trim (facing page, right) are painted a warm gray. The screened porch (above) on the north side of the house is a favorite place to spend summer afternoons.
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to understand their aesthetic DNA. From there, we just keep rolling with the drawings, the interior details, the furniture, and the fabrics.” There’s also a comfortable library and, hidden under the front stair-case, a laundry room accessed through a swinging door that’s painted and trimmed to match the surrounding wood paneling.
From the living room, French doors lead to a deep porch that wraps around three sides of the house, with a new screened section on the north side, facing the side yard.
Upstairs, a long central hallway leads past fi ve bedrooms, each with its own bath, including the master suite, which has one of the four fi replaces that feed off the central chimney. Each room showcases a unique color scheme: The master bedroom, punctuated with a paint-
ing of a garden shed by Vermont artist Pam Marron, is done in silvery blue while the guest bedrooms are in various shades of turquoise and plum, turquoise and salmon, khaki and cobalt, and muted gray, green,
and gold. The renovation included fi nishing the basement to
accommodate an exercise area, utility room, storage, wine cellar, and dog-washing station.
During the 18-month project, the couple drove six and a half hours from Toronto at least one weekend a month, staying in a local inn and consulting closely with Gourd on every decision. “It’s wonderful to fi nd the rare client who appreciates the value of restor-ing a worthy building,” says Gourd. “They’ve created a built legacy for themselves and for the community to enjoy for the next millennium.”
“We brought our daughters to the fi nal walk-through, before we closed on the house,” says the husband, who notes the couple are plan-ning an eventual Vermont retirement. “It needed a lot of work, to say the least, and our daughters said, ‘Are you sure about this?’ But I’ve learned to trust my wife’s insight. She just knew.”
in addition to the seating area near the fi replace, the living room (facing page) has a small steel dining table with a French industrial base for intimate parties or playing games. In one of the fi ve bedrooms on the second fl oor (above), a large bay of windows provides an alcove for a sitting area, where matching armchairs are upholstered in rich cobalt-blue fabric that complements the deep indigo blue on the patterned headboard and pillows.
for more details,see resources
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the blue garden, restored to the original 1912–1913 Olmsted Brothers design, is lush with fl owering plants such as (this page) lavender (in the foreground), salvia ‘Victoria Blue,’ artemisia ‘Powis Castle,’ and white balloon fl ower. The columns, steps, and trelliswork of the south pergola were rebuilt using Olmsted Brothers drawings. Remnants of the head pool (facing page) near the south pergola’s terrace wall were found intact. Parker Construction of East Providence and Newport, Rhode Island, acted as general contractor.
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LANDSCAPE ARCHITECTURE REED HILDERBRAND
Bluethe
garden
IN NEWPORT, RHODE ISLAND, A LANDSCAPE JEWEL IS LOVINGLY RENEWED WITH MODERN TECHNOLOGY AND AN UPDATED PLANT LIST
Written by Jill Connors • Photographed by Marianne Lee
online video: a tribute to the other olmsteds
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THE RENOVATION OF A DARK AND DREARY RANCH-STYLE HOUSE
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ost eff orts to restore signifi -cant architectural icons in Newport, Rhode Island, focus on elaborate Gilded Age mansions or landmark Shingle Style cottages. But preservationist, philanthropist, and garden lover Dorrance Hamilton had a diff erent kind of vision: She restored a garden — and not just any garden. She zeroed in on the 100-year-old Blue Garden, a glori-ous outdoor space that had fl ourished for a few decades and then vanished, despite having been designed by one of America’s most important landscape architecture fi rms. “The Blue Garden has just been a mystique through all these years,” said Hamilton at a recent celebration of the garden’s revival. “It’s been so exciting to learn about its history and how it was designed, and to save it.”
The original Blue Garden, by all accounts, had tre-mendous cachet. Olmsted Brothers, the landscape fi rm in Brookline, Massachusetts, headed by Frederick Law Olmsted Jr. and John Charles Olmsted (sons of Frederick Law Olmsted, considered the father of American land-scape architecture), designed the Blue Garden in 1912–1913 for the Newport property of wealthy railroad owners Arthur and Harriet James. With Frederick Law Olmsted Jr. as the lead designer, the fi rm drew a garden that was axial and formal, with elegant classical proportions, water features, pergolas, and a planting list of 83 diff erent plants
M
the reflecting pool, graced by white fan fl owers, is a garden focal point and is at the center of the original Olmsted plan (right). Plantings were installed by landscape contractor R.P. Marzilli of Medway, Massachusetts, and Herrick & White of Cumberland, Rhode Island, built the pergolas using wood from overgrown Japanese cedar cut on the site.
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that could be tended by the Jameses’ staff of 30 to 40 gardeners. The garden opened on an August evening in 1913 with a party attended by Newport’s social elite, who were treated to a nymphlike dancer skitter-ing across a shallow refl ecting pool and disappearing into a lily pond.
“I think the original Blue Garden was unusual even for its time, which was an era when beautiful landscapes were being created in America,” says landscape architect Doug Reed, partner at Reed Hilderbrand, the Cambridge, Massachusetts, landscape architecture fi rm that worked with Parker Construction of East Providence, Rhode Island, to restore the Blue Garden. “With its overall concept and the beauty of its proportions and scale, the Blue Garden was truly a work of landscape art.”
Indeed, the Blue Garden’s historical signifi cance derives in some measure from the fact that it is part of a grander plan for the original James estate. “The Blue Garden is much more than a garden — it is a landscape. It has terraces, pools, pergolas, walkways, and a densely planted enclosure that frames the garden. The plantings of shrubs, perennials, annuals, and vines within the garden are part of a much
larger and complex plan,” says Sarah Vance, director of the Blue Gar-den and a former senior associate at Reed Hilderbrand.
However, it was anything but an artful landscape when the resto-ration began in 2012. The original property had been subdivided over the years following the Jameses’ deaths in 1941, and the garden gradu-ally had become covered with a thick layer of vines as overgrown trees cast the site of former splendor in shade. (The James mansion was destroyed in a fi re in 1967.)
Fortunately, the shallow pool where the nymph once danced had survived, and remnants of the garden walls, water features, and struc-tures were intact. When Hamilton was able to secure the original Blue Garden property, which is adjacent to land she purchased for a new house she was building, the endeavor began.
The work of physically clearing the site and re-creating the infra-structure of the garden required excavators, bulldozers, chain saws, backhoes, and dumpsters, not to mention several rounds of permitting and zoning. For example, the south pergola of the original Blue Gar-den, if rebuilt, would stand in a location that violated modern-day set-back requirements; because it was considered a key feature of the his-toric Olmsted Brothers design, the Newport Zoning Board of Review granted a variance.
Thanks to the trove of archival material documenting the original design collected by the National Park Service’s Frederick Law Olm-
true blue urns in the south pergola and throughout the garden were chosen by preservationist and garden lover Dorrance Hamilton, who purchased the land where the original Blue Garden was located and decided to restore it based on its signifi cance as an Olmsted Brothers design. Wisteria ‘Amethyst Falls’ grows on the pergola.
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1) lawn paths along an evergreen enclosure lead to garden gates. The enclosure was designed to hide the garden from the rest of the estate. Evergreens include Eastern red cedar, holly, and arborvitae. 2) Many of the tiles in the head pool and runnel are original. 3) Delphinium ‘Blue Bird,’ ‘Blue Jay,’ and ‘Summer Skies’ add beauty. 4) From within the garden, the view toward the gate includes salvia ‘Deep Patio Blue’ (foreground), ‘Blue Hill’ (middle), and hydrangea ‘Coerulea Lace’ (background).
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sted National Historic Site in Brookline, the restoration team was able to consult myriad plans and drawings for detail and inspiration.
Modern landscape architecture practice was also brought to bear in the renovation. For example, the orig-inal design called for a number of water features: refl ect-ing pool, lily pond, basin at the south pergola, and a run-nel connecting all the features. The team stayed true to those features but designed a new system for pumping and recirculating the water, utilizing new fountain and fi ltering technology. Modern sleuthing techniques also came into play, such as when a building conservator was called on to carefully scrape away layers of detritus to reveal remnants of the original pool coping and tiles. By examining pieces under a microscope, the conservator determined the exact material composition so missing pieces could be recreated.
The biggest challenge, however, was the planting list. “The original plant list from the Olmsted Brothers fi rm had 83 diff erent species of fl owering plants, and was like a cutting garden,” says Vance. “They were very high-main-tenance plants grouped very closely together. It was so labor-intensive that Mrs. Hamilton wasn’t sure she wanted to plant the garden at all. The question became, how little blue could we have and still call it a blue garden?”
There was discussion of having blue fl owering vines on the pergola and trellis, but otherwise letting the garden be all lawn and pools, or only planting a few beds to reinforce the shape of the garden. Recalls Vance: “We did our due diligence and studied planting alternatives, which led us to ask if it was possible to plant this garden more to its origi-nal intent of lush blue fl owering plants, with some purple and white, but have it be less maintenance?”
The list was simplifi ed and reduced to 45 plants. Iconic choices from the original schedule that are in the current garden include delphinium, phlox, iris, nepeta, ‘Stokes’ aster, balloon fl ower, and plumbago. Also included are low-maintenance shrubs not on the origi-nal list. The new plan calls for the fl owering plants to be arranged in the same wavy pattern (unusual compared with the typically geometric outline) of fl ower beds the original plan specifi ed, but with fewer plants in each bed to keep the maintenance simpler.
Perennials, which come and go, are overlaid with annuals so that something is blooming in the beds the entire season. Although annuals had been included in the
looking toward the north pergola, the view of the restored Blue Garden takes in the many elements that made the original Olmsted Brothers design a work of landscape art including runnel, lily pond, refl ecting pool, planting beds with lawn paths, and a perimeter defi ned by stone columns, wood trellis, and an evergreen enclosure.
To Visit …Although the Blue Garden is a private garden, limited appointments can be made to view it June through October. Information is at thebluegarden.org. To learn more about the Olmsted legacy, visit the National Park Service’s Frederick Law Olmsted National Historic Site in Brookline, MA; nps.gov/frla. Coming in 2016 is Legacy in Blue: Recapturing an Iconic Newport Garden, a book by Olmsted scholar Arleyn Levee, who researched the Blue Garden and consulted on its rebuilding.
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for more details,see resources
original Blue Garden plan, they play a bigger role in the restored gar-den. “The annuals provide color throughout the season, while the perennials come into bloom and fade away,” says Vance. The new Blue Garden includes annuals such as African lily, morning glory, gentian sage, True Blue pansy, and Dorrance Hamilton’s favorite, bachelor but-tons. “My mother planted bachelor button every year in her garden, and my father wore one in his lapel every day,” says Hamilton, whose love of fl owers has extended to her patronage of the Newport Flower
Show and the Philadelphia Flower Show for many years.A preservationist who has also saved old houses and farms (her
Swiss Village Foundation in Newport is dedicated to biodiversity), Hamilton sees the importance of saving the Blue Garden as a cultural
legacy. “It’s signifi cant because it was an Olmsted Broth-ers design, a garden room rather than a garden attached to a home, on a very large estate from an earlier era,” says Hamilton. “I do like to save things.”
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REVIVAL ON
MAIN STREET
W R I T T E N B Y K AT H L E E N J A M E S • P H O T O G R A P H E D B Y G R E G P R E M R U
a jonathan adler chandelier hangs above the custom-made dining table. The Danish Modern chairs, which interior designer Michael Ferzoco upholstered in Luxe Boucle fabric from Chella and fi nished with brass tacks for a tailored look, are from the homeowners’ collection. The wallpaper is Daphne by Scalamandre. A vintage wall sconce hangs by the mantel, which conforms to the curve of the oval room.
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INTERIORS ELEVEN INTERIORS
RenovationIN A TRIUMPH OF FORTITUDE, TWO HOMEOWNERS PERSEVERE AFTER WINTER WREAKS HAVOC ON THEIR NEWLY UPDATED HOUSE
Written by Gail RavgialaPhotographed by Michael J. Lee
2.0
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uying a house that needed work wasn’t in the plan. Neither was the winter of the damned — ice dams, that is. But if challenges are the stuff of better living, Chris Prokop and Mark Battista are living well indeed.
Their house is a sweet Shingle Style Queen Anne Victorian with a center entry and steep twin gables. It sits on a hill on a winding street in a well-established neighborhood of houses of similar vintage and size in a Boston suburb. Oh, and there is a pond worthy of Currier and Ives across the road.
No wonder they succumbed to its charms.“We were looking for the opposite,” says Prokop, a partner in a
real estate development company. “We didn’t want an old house, and we wanted no work.” A circa 1890s ark was not on the wish list. They
Bthe family poses in the living room with Lulu, their puggle (a pug/beagle mix); (from left) Chris Prokop, Sophia and Ana Prokop Battista, and Mark Battista. The painting is by Mike McGuire, a Provincetown, Massachusetts, painter.
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a playful portrait of Elton John by Matthew Gamber hangs on the curved wall of the dining room, where Battista and Lulu take a break. The foyer (facing page) has parquet fl oors, a refl ection of the history of the house. Portraits of Sophia and Ana by Provincetown, Massachusetts, artists Cedric and Joanette Egeli are behind the arched front door.
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wanted a turnkey residence they could move into with their twin daughters, 6-year-old Ana and Sophia, and be done.
But in real estate parlance, they had an “emotional response” to this house.
“We knew right away we could make it a long-term home for our family,” says Battista, a former advertising executive and now a stay-at-home dad. “We loved the history and the charm,” adds Prokop, “but we needed to make it work for today’s environment.”
That meant rethinking spaces, updating bathrooms, and insulating walls. Structurally, the building was sturdy, the rooms large — not the tiny warrens so oft en found in Victorian-era houses — and the layout had good fl ow.
They hired interior designer Michael Ferzoco of Eleven Inte-riors in Boston to help them hatch a plan. The goal? Make this a home where no space is off -limits. “We wanted it to be beautiful and livable for us and our girls,” says Prokop.
Ferzoco is a master of designs that are full of energy yet speak to a laid-back lifestyle. With considerable attention to detail, he combines modern sophistication with barefoot ease in rooms that look as though they came together eff ortlessly. He set out to make the exquisite traditional architecture the back-drop for a fresh, modern design scheme.
in a corner of the living room, a swivel chair by Jonathan Adler is paired with a custom ottoman (below) and proves to be the perfect place for Ana and Sophia to share a book while Lulu rests on the window seat beneath the diamond-patterned windows. Comfortable seating is oriented to the living room fi replace (right top). On the far wall, built-ins display objets d’art beneath the beautifully detailed windows. Steep twin gables distinguish the house’s exterior (right bottom).
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1 playroom 2 guest bedroom 3 powder room 4 closet 5 girls’ bedroom 6 master bedroom 7 master closet 8 master bath 9 guest bath10 hall
second floor before
12
2
344
5
6
789
10
second floor after
1 playroom 2 girls’ bath 3 girls’ closet 4 girls’ bedroom 5 master bedroom 6 master closet 7 master bath 8 guest bath 9 guest bedroom10 hall
1 2 3 45
6 6789
10
BUILDER G and S Construction
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against a backdrop of Scrapwood wallpaper by Piet Hein Eek in the kitchen (above), old schoolhouse desks that belonged to Prokop and his sister when they were children are meant to encourage the girls to do their homework. The den (below) was painted red by the previous owner. “We liked it, so we kept it,” says Prokop. Ana and Sophia each have their own patchwork wingback chairs.
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It took some nine months working with TJ Greeley of G and S Con-struction of Boston, but the renovated house was everything Prokop and Battista hoped for. They moved in the spring of 2014, never imag-ining that one of the worst winters in history was headed their way. Snow piled high and deep and despite their best eff orts, they couldn’t fend off the ice dams. “The steep roof is a challenge to clear of snow and ice,” says Battista. “The gutters freeze and then the ice melts when the sun comes out.” Like so many homeowners in the Northeast, they lost the battle. A telltale brown dot, a sign that water was seeping into the wall in the dining room, appeared and began to spread. Then another stain crept into the bedroom. The rest is the stuff of New Eng-land nightmares. Walls and ceilings were ruined. Insulation was ren-dered useless. Much of their beautiful renovation was in shambles. It would have to be redone.
It is a credit to their collaboration with Ferzoco that they had no design decisions to make. They wanted the house restored exactly as it was when the renovation was fi rst completed. Another four months of repair work ensued before the house was back to its former self.
The generous foyer sets the stage for what lies beyond. From there the dining room, an oval marvel with walls sheathed in Scalamandre’s Daphne wallpaper in a delicate aqua pattern, is beautifully framed by the detailed double-door frame. Around the rectangular dining table are two custom wing chairs and six Danish Modern armchairs, all upholstered in off -white fabric and trimmed with brass tacks. “We do laugh about the white on the dining chairs,” says Prokop, “but it is treated to be stain-resistant and kid friendly.”
To the right is the inviting living room where Chilmark Archi-tectural Woodworking in Worcester, Massachusetts, had to copy and replace damaged original millwork. “There was a lot of water damage here,” says Ferzoco. “It all had to be repaired.” The room had to be reinsulated, plastered, and painted.
Furnishings here are an eclectic collection of seemingly dispa-rate pieces that, in Ferzoco’s hands, come together in easy harmony. The custom sofa in navy blue cotton-linen anchors the room while the footed wing chair from American furniture maker BDDW adds a whimsical note.
Television watching is relegated to the small den off the foyer. “It’s very cozy,” says Prokop of the room furnished with a leather sofa for the dads and a matching pair of kid-size patchwork-covered wing
the oversize headboards in the girls’ bedroom (right) inspired Ferzoco to have the wall behind the bureau painted in a similar diamond pattern. Ana and Sophia have a walk-in closet of their own (above left), where their shoes are kept in orderly fashion. The color scheme continues in their bathroom (above right), where a pink-and-orange tile mosaic lines the shower and one side of the custom-painted vanity is in orange, while the other is in pink.
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chairs custom-made for the girls by McLaughlin Upholstery in Everett, Massachusetts.
Upstairs, magic happens in Ana and Sophia’s bedroom, which being above the dining room, has the same unique oval shape. Ferzoco took his design cues from the girls. Ana loves orange and Sophia loves pink (the more the better), and he manages to get plenty of each in the room against a backdrop of cheery yellow. The oversize headboards upholstered in a diamond-patterned fabric that is the reverse of the painted wall opposite them are straight from Wonderland.
The parents also got their own oasis thanks to some clever reconfi guring of the master suite, which had a big walk-in closet — with windows — but a tiny cramped bathroom. Ferzoco took space from the closet (including the windows) to enlarge the bathroom and, in an ingenious move, created a second closet in the space where part of the original bath had been. “Now we have two closets,” says Battista, “one for clothes and one just for shoes and accessories.”
Serious closets aside (the girls also have a walk-in with a special rack that pulls down when they need to get things
they aren’t yet tall enough to reach), this is a fun house full of unexpected nooks and crannies such as the secret hideaway under the stairs, where the ceiling is too low for a grown-up, and the window seat tucked high in the girls’ bath-
room that is just big enough for a kid and a book. “We had fun playing with modern meets traditional,”
says Battista of the renovations, “but creating a space for the girls was our top priority. We wanted them to feel com-fortable here.”
a custom platform bed seems to fl oat above the polished fi r fl oors in the master bedroom (left). The vintage teak bedside tables are from Machine Age in Boston. Artwork is by Ysabel LeMay through Lanoue Gallery in Boston. An antique pendant light of Austrian Amber bubble glass from Orange in Los Angeles hangs above the refurbished claw-foot tub in the master bath (below). A sliding barn-style wooden door isolates the toilet area.
for more details,see resources
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T R A N S F O R M AT I O Nloft y
A CONDO IN A CONVERTED WAREHOUSE ALONGSIDE FORT POINT CHANNEL FINALLY HAS THE STREAMLINED LOOK ITS LONGTIME OWNERS ENVISIONED
stepping into the loft, a neutral palette is emboldened by a colorful photograph hung in a niche, which once held a window, on the newly painted brick wall. In a living room seating area (facing page), black leather Barcelona chairs and a Ligne Roset sectional sofa add to the sophisticated color scheme of white, gray, and black.
WRITTEN BY JILL CONNORS • PHOTOGRAPHED BY JESSICA DELANEY
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INTERIOR DESIGN LOUIS ASHMAN/CONTRACTOR’S CABINET & DESIGN
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1,600-square-foot city loft Tricia and Char-lie Shediac bought in 1986 in a converted warehouse building across from Boston’s Fort Point Channel has been through many changes, but each refurbishment was just a prelude. For years, the couple lived with the building-association-required wall-to-wall carpeting and the 1980s-era walls that carved the space into a conventional apartment layout. Then in the early 2000s, they took down nearly all the interior walls to create an open layout. They also redid the master bathroom. But it wasn’t until the most recent renovation, in 2013, that, working with designer Louis Ashman — whom they refer to with grateful smiles as “Louis — thank God” — they fi nally got the space they craved.
“I wanted sleekness everywhere,” says Tricia, who is the owner of a Boston spa. “We could never quite get everything right, but now, with Louis — thank God, it’s ideal.”
The latest renovation was prompted by a change in the condo association rules, allowing the installation of wood fl oors. “Aft er all those years of thinking carpeting was needed to minimize noise, the
the
homeowner tricia shediac relaxes in the living room of her Fort Point loft with designer Louis Ashman.
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the newly renovated kitchen (above) features a peninsula where a wall once stood, quartz countertops, glass backsplashes at the cooktop and sink, and wenge custom cabinetry that picks up on the wenge of the Poliform dining room table. An overview of the public spaces (facing page) illustrates how a streamlined look was achieved by painting the brick walls white, hanging two tall mirrors so they refl ect the length of the loft, and installing wood fl oors where there had once been gray wall-to-wall carpeting. A leather sectional sofa from B&B Italia provides comfortable seating for TV-viewing.
building realized that wood fl oors add value to the units,” says Charlie, a commercial banker. “Everyone wants wood fl oors today.”
The couple decided to not only redo the fl oors in 2013 but to remake the kitchen too. Enter Ashman, design manager at Contrac-tor’s Cabinet & Design of Boston, who soon became the go-to guy for all things design. He took one look at the Shediacs’ fi ft h-fl oor space and its stunning skyline view and suggested painting the long brick wall that runs the length of the loft white. “On my fi rst visit, I knew that would have the most impact on the aesthetic,” says Ashman. “Tricia loves black and white, but she was getting an orangey-red cast on every-thing because of the brick. The warm white made a huge diff erence.”
For the renovated kitchen, it was a matter of starting from scratch. Working with McDermott Builders in Milton, Massachusetts, the cou-ple had the kitchen gutted and a wall between it and the dining area
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removed. “We achieved a better layout for the kitchen overall,” says Ashman. “We now have a peninsula where the wall stood, and the space appears bigger.”
Tricia’s focus on sleekness guided the materials choices: dark wenge for the base cabinets and appliance panels (to match several wenge pieces already in the loft , including the dining table, buff et, and bathroom cabinets); stark white surfaces such as a quartz countertop, high-gloss Parapan wall cabinets, and glass backsplashes against white walls for contrast; and throughout the loft , glossy-fi nish solid maple fl ooring that replaced gray, industrial-weave wall-to-wall carpeting.
The bathroom was updated with new backsplash tile, lighting, and gray-blue wall paint; the wenge cabinets, fi xtures, and faucets from the renovation in the early 2000s remained intact.
Refl ecting the couple’s interest in design classics, furnishings throughout the loft include black leather Barcelona chairs from Knoll in the living area, a low-slung leather sofa from B&B Italia in the TV area, and numerous iconic pieces for side tables and additional seat-ing. “When we did the fi rst renovation in the early 2000s, we became interested in pieces from Knoll and Cassina, and in designers Mies van der Rohe and others, and from then on we just searched out the clas-
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stunning skyline views add wow appeal to the master bedroom (left), which opens to the balcony. The room’s interior walls were removed in a previous renovation. Ashman added closet space and storage shelves behind a wall of doors.
the walls above the bathroom’s double-basin vanity (below) were transformed with a bar-code-pattern tile; mirrors refl ect the new blue-gray paint on the rest of the room’s walls. The sinks, faucets, and wenge cabinets were installed during a previous renovation.
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sics,” says Tricia. “We wanted a clean, uncluttered look with functional, classic contemporary pieces.”
With lighting and technology too, the couple prefer the cutting edge of contemporary choices. Legrand’s adorne Pop-Out Outlet, for example, sits fl ush to the wall; when a plug-in is needed, a light touch on the wall plate prompts the cubelike outlet to pop into view. The heat-producing halogen bulbs in the loft ’s original track lighting were updated with LED bulbs that give the right type of light while remaining cool.
Latest technology aside, it is the stunning water and sky-line view that is the loft ’s most compelling element — and a vivid refl ection of the fact that over time, this part of the
city has been transformed from a neighbor-hood of urban pioneers and artists looking for inexpensive live/work space into a trendy and quickly developing mixed-use real estate mar-ket. Indeed, the west-facing balcony — com-
plete with a full bar and chrome-and-leather barstools — is the couple’s favorite spot for an evening cocktail three sea-sons of the year. With the sleek renovation complete and their favorite furnishings in slightly new arrangements thanks to Louis — thank God, the couple enjoy the space, and its bus-tling surroundings, more than ever.
the living area is located on a raised platform that was part of the original fl oor plan. A glossy fi nish gives the new maple fl ooring a sleek look. The frosted-glass wall separating the bedroom from the living room was installed during a previous renovation. Ashman, on the balcony with owner Tricia Shediac, repositioned the living room sofa, chairs, and tables so they are angled toward the skyline view. A red vase sits atop the freestanding bioethanol fi replace.
for more details,see resources
One of the elements that Tricia and Charlie Shediac intended to change was the loft’s black track lighting fi xtures and halogen bulbs installed on exposed ceiling beams. The reason for the change? The heat generated from the halogen lamps was making the space uncomfortably hot even in the winter. Designer Louis Ashman devised a new plan that included LED track heads, but the cost was a budgetbuster. Instead, Ashman suggested a low-cost alternative: Replace just the lamps with an LED product, found at a home center, that mimics the light output of a 50-watt halogen bulb — but without generating the heat. After the new LED lamps were installed, Ashman also repositioned all of the track heads to better light the new furniture layout. “For the small cost of the new lamps, we got a new lighting system,” says Ashman.
design decision
Track Lighting Redux
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Established 1933
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MARTHA’S VINEYARD
MVFV SO 15.indd 1MVFV SO 15.indd 1 8/12/15 10:53 AM8/12/15 10:53 AM
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p r o d u c e d b y a l l i s o n n e k o l at h e l i s tet al.
Despite the invisible but strict lines between craft and art, a movement toward embracing the areas in between has emerged. Crafting is no longer simply defi ned as a skillful making of objects by hand, to which Crafted: Objects in Flux can attest. The exhibition at the Museum of Fine Arts, Boston, through January 10, 2016, presents a diverse group of international artists who use a range of 21st-century materials, technologies, and modes to push the boundaries of what makes a crafted object. Fifty works created by 41 artists illustrate the new meaning of craft, one that engages contemporary art and makes viewers think, not just admire. Jewelry is taken to the extreme in the hands of Susie Ganch, whose Drag binds mixed media and steel into a linked “bracelet” that weighs down whoever “wears” it (above). At fi rst glance, The Transit of Venus by Greg Payce (below) is simply a line of beautiful pottery pieces. But look closer, and the negative space between each vase becomes a silhouette of a man or woman. Crafted: Objects in Flux has more than meets the eye indeed.
ART Debonair CraftsCraft ed: Objects in Flux, through January 10, 2016; Museum of Fine Arts, Boston, 465 Huntington Avenue, Boston; mfa.org.
BUY Motif DishesPauline Curtiss; paulinecurtiss.com, available at Hudson, 12 Union Park Street, Boston; hudsonboston.com.
Lincoln, Massachusetts, artist Pauline Curtiss began handprinting patterns on fl oors, walls, ceilings, and larger outdoor projects such as underpasses and urban landscapes. However, it is her gorgeous porcelain tableware that prompted Jill Goldberg, interior designer and owner of Hudson, the home furnishings boutique in Boston’s South End, to select Curtiss as the featured artist in the second annual Hudson Discovers series. Curtiss’s large platter, two serving bowls, and four plates are embellished with hand-drawn pen-and -ink sketches of botanical images and modern geometrics. Using lead-free ceramic pigments, she applies her drawings to the porcelain before each piece is hand-glazed and kiln-fi red. Sold exclusively through Hudson, prices range from $30 to $220.
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184 D E S I G N N E W E N G L A N D. C O M S E P T E M B E R / O C TO B E R 2 0 1 5
et al. b o o k s h e l f
THEY HAVE ANSWERSWhat is Architecture? and 100 Other Questions (Laurence King Publishing, 2015, $14.95)
This little shocking pink book is only 5 by 7 inches. It is just over 200 pages. It costs a modest $14.95. And it is signifi cant. What could be more direct than a wee primer that simply asks: What is architecture?
Authors Rasmus Wærn and Gert Wingårdh, both Swedish architects, note that architecture is so expensive, “we deserve to know what we are paying for.” More practitioners of Occam’s razor than obfuscating theorists, these designers understand that “learning to see the things that elude a distracted observer” is the foundation of an architect’s training. In a seemingly lighthearted manner, they posit serious questions, and then offer both short and long answers.
What does architecture do for us? Short answer: “It gives you comfort, joy, affi rmation, and company.” Part of the long answer: “Architecture is there by your side when you need it most, with the presence of those who have been before and the promise that others will come by before long.” Can’t we design buildings to look like they used to? Short answer: “Sure we can. But everything will always bear the mark of its own time.” Is architecture necessary? As a teacher of would-be architects, I wish these wise designers had been around to enlighten my students. What is a good plan? is something of which we always need to be reminded. Modern architecture courses would be enlivened with straight answers to questions such as, “Why do architects want to paint the world white?” And, “Were Modernism’s missionaries mistaken?”
The authors are too smart to suggest defi nitive answers to existential questions such as, “Does architecture have a moral?” Or, “Does a place have a soul?” But what they do say will encourage a more informed discussion of the inescapable art of architecture. — william morgan
EAT BOUTIQUE’S GIFTSMaggie Battista is at it again. Now, after wowing us with her Boston-based blog, her Eat Boutique Holiday Markets, and the success of last year’s Eat Boutique Holiday Pop-Up Shop, she’s come out with Food Gift Love (Houghton Miffl in Harcourt, 2015, $25), a book that combines Battista’s recipes and food-gift ideas ever so chicly, guided by her humble, gracious storytelling. Photographed by Heidi Murphy, the book showcases more than 100 recipes that celebrate small-batch foods and the simplicity of a good gift; the recipes for vin d’orange and a basil-infused limoncello is downright magical. — courtney goodrich
EASY BEING GREENTovah Martin, horticulturist, author, and contributing writer for Design New England, has made a career of getting her hands dirty and writing about it. Her third book, The Indestructible Houseplant (Timber Press, 2015, $22.95), focuses on houseplants durable enough to survive tough environments, busy schedules, and black thumbs. Proper care for plants is ordered from easy to easiest, while photographs by DNE contributing photographer Kindra Clineff show step-by-step instructions. This book changes the game of indoor gardening with its eloquent repertoire, excellent resources, and concise direction. Martin’s voice is like a friend’s sharing neighborly advice. — a.n.
FOCUSED ORIGINALITYFearlessness takes average to extraordinary and when it comes to interior design, Anna Spiro is fearless. She famously uses pops of pattern, bright colors, and unorthodox decor to pack her rooms with personality. Now the head designer at Australian interior design fi rm Black & Spiro and the creator of the Absolutely Beautiful Things blog offers the Absolutely Beautiful Things book (Conran Octopus, 2015, $29.99). Filled with design advice and vivid photographs of Spiro’s favorite projects, it details how to properly intertwine a collection of colors and patterns, shares favorite resources and references, and challenges readers to tap into their own style. — a.n.
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Produced by the Boston Society of Architects/AIA abexpo.com
MAKE AFFILIATIONS
NOVEMBER 17-19Boston Convention & Exhibition Center
The leading building industry event in the Northeast
10,000 industry professionals await—find a new vendor, reconnect with a colleague, meet a peer. The industry opportunities are endless at ABX. Register at abexpo.com by October 23 for FREE admission to the exhibit hall and early bird workshop perks.
ABX SO 15.indd 1ABX SO 15.indd 1 8/11/15 2:52 PM8/11/15 2:52 PM
For more informaton visit www.designxri.com/designweek
11 Days of Design | Rhode Island’s Celebration
FEATURING:Tours, Lunches, Speakers, Designers, Pop-up Stores, Pop-up Design, Pop-up Celebrations, Businesses, Leaders, Makers, Enthusiasts,Design Thinking, Design Professionals, Design Awards
SEPTEMBER 16–27, 2015Downtown Providence and Beyond
r e s o u r c e sr e s o u r c e s
34–42 • Visit/Point of View Interior design: JN Interior Spaces, Boston and East Orleans, MA; jninteriorspaces.com. Builder: Metro-pole Contracting, Everett, MA; metropolecontract ing.com. Kitchen: Cabinetry: Poggenpohl, Boston; poggenpohl.com. Backsplash: Tile Showcase, Boston; tileshowcase.com. Range and dishwasher: Miele; mieleusa.com. Refrigerator: Sub-Zero; subzero-wolf.com. Banquette: Furniture Concepts, Malden, MA; furn concepts.com. Ceiling lights: Vibia, Edison, NJ; vibia.com. Flooring and wall tiles: Porcelanosa, Boston; porcelanosa-usa.com. Mirror: Made Goods, Baldwin Park, CA; madegoods.com. Living room: Sectional: Kravet; kravet.com. Stool: West Elm; westelm.com. TV console and foyer desk: Old Biscayne, Boston; oldbiscaynedesigns.com. Chair and ottoman: Kirkby Design, Boston; kirkbydesign.com. Cocktail ottoman: Lee Industries, Boston; leeindustries.com. Dining area: Chairs: Keilhauer, Toronto; keilhauer.com. Table ped-estal: Design Within Reach, Cambridge, MA; dwr.com. Tabletop and side table: Gunlocke, Boston; gunlocke.com. Pendant: Varaluz, Boston; varaluz.com. Bed-room: Bed: Swaim, Boston; swaim-inc.com. Wallcover-ing: Phillip Jeffries, Boston; phillipjeffries.com. Closets: California Closets, Boston; californiaclosets.com.
56–64 • Kitchen + Bath/Deck House Redux Interior design: Martha’s Vineyard Interior Design, Vineyard Haven, MA; marthasvineyardinteriordesign.com. Cabinetry: Holmes Hole Builders, Vineyard Ha-
ven; holmesholebuilders.com. Counters: Bianchi Tile & Marble, Teaticket, MA; 508-693-8600. Tile: Martha’s Vineyard Tile Company, Vineyard Haven; mvtileco.com
68–73 • Bath/Finding HarmonyInterior design: Design Studio M, Wellesley, MA; designcafe.biz. Builder: Caisson Construction Corp., Westwood, MA; caissonconstruction.com. Shower hardware: Axor Starck shower module and Raindance E 420 Air 2-jet showerhead with showerarm, Hansgrohe; hansgrohe-usa.com. Tub: Axor Urquiola freestanding, Hansgrohe. Tub hardware: Tara, Dornbracht; dorn bracht.com. Water closet and bidet: Sentique, Villeroy and Boch; villeroy-boch.com. Mosaics, fl oor tile, and vanity: Porcelanosa, Boston; porcelanosa-usa.com.
92–96 • Preservation/Urban RenewalArchitecture: Karen T. Hunt, AIA, Pittsfi eld, MA; karen [email protected]. Interior design: Main Street Hos-pitality Group, Stockbridge, MA; mainstreethospitality group.com. Builder: David J. Tierney Jr. Inc., Pittsfi eld; davidjtierneyjrinc.com. Curtains: Country Curtains, Stockbridge, MA; countrycurtains.com. Light shades: New England Modern, Southfield, MA; newengland modern.com.
116–121 • Great Rooms/Quick Delivery Interior design: Liz Caan Interiors, Newton, MA; lizcaan.com. Foyer: Chandelier: Imogene Large Chandelier, Arteriors; arteriorshome.com. Table: RH; restoration
hardware.com. Dining room: Table: RH. Dodecahe-dron pendants: Liz Caan Interiors. Rensselaer Sconce, Schoolhouse Electric; schoolhouseelectric.com. Living room: Sofa: Stella Sofa and leather chair, Hudson, Bos-ton; hudsonboston.com. Rug: West Elm; westelm.com. Table lamps: Large Fluted Spire Table Lamps, Visual Comfort; visualcomfort.com. Offi ce table: RH. Family room: Sofa: Room & Board; roomandboard.com. Arm-chairs: Leyla Swivel Chairs, Hudson. Kitchen: Chande-lier: Tangled Chandelier, Schoolhouse Electric.
136–145 • Architecture/Beyond ModernArchitecture: Fine Lines Construction, Freeport, ME; fi nelinesmaine.com. Interior design: Urban Dwellings, Portland, ME; urban-dwell.com. Landscape architec-ture: Soren deNiord Design Studio, Portland; sorende niord.com. Engineering: Albert Putnam Associates, PE, Brunswick, ME; albertputnam.com. Roofi ng: Glidden Roofi ng, Scarborough, ME; gliddenroofi ng.com. Cus-tom bed and coffee table: Mark White, Portland; mark whiteinc.com. Landscaping contractor: Coastal Land-scape Construction, Cumberland, ME; coastalincme.com. Interior shades: The Curtain Shop of Maine, South Portland, ME; curtainshopofmaine.com.
146–153 • Getaway/Revival on Main StreetArchitecture: Ramsay Gourd Architects, Manchester and Burlington, VT; rgavt.com. Builder: Belmax Con-tracting Company, East Dorset, VT; belmaxcontract ing.com. Artwork: Carol Kapuscinsky, Toronto; carolkap
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PHOTO: Sign being uncovered during restoration of the Touro Street portico, which is being restored and will be accessioned into the NHS collection.
History has a new home: the Newport Historical Society’s contemporary Resource Center for the research and preservation
of Newport County’s history. Reopening Fall 2015.
NEWPORT HISTORICAL SOCIETY
82 Touro Street, Newport, RI 02840
401-846-0813 | www.NewportHistory.org | /NewportHistory
r e s o u r c e s
uscinsky.com. Custom-designed furniture, fabrics, and wallcoverings: Ramsay Gourd Home; ramsaygourd.com. Decorative painting: Dilworth Decorative, Man-chester Center, VT; goldbeefi [email protected].
154–161 • Garden/The Blue GardenLandscape design: Reed Hilderbrand, Cambridge, MA; reedhilderbrand.com. Construction: Parker Con-struction, East Providence and Newport, RI; parker cci.com. Landscape contractor: R.P. Marzilli, Med-way, MA; rpmarzilli.com. Architectural woodwork: Herrick+White, Cumberland, RI; herrick-white.com.
162–171 • Interiors/Renovation 2.0Interior design: Eleven Interiors, Boston; eleveninteriors.com. Builder: G and S Construction, Boston; 617-323-3181. Millwork: Chilmark Architectural Woodworking, Worcester, MA; chilmarkwoodworking.com. Kitchen: Countertops: Silestone; silestoneusa.com. Island pen-dants: Arteriors; arteriorshome.com. Pendant over table: Lindsey Adelman, New York; lindseyadelman.com. Wallpaper: Scrapwood, Piet Hein Eek; pietheineek.nl/en and at The Future Perfect, New York; thefuture perfect.com. Pendant light: Kartell; kartell.com. Plumb-ing fixtures: Dornbracht, Boston; dornbracht.com. Grohe; grohe.com. Living room: Chairs: Empiric, Los Angeles; empiricstudio.com. Cabinet mirrors: Rob-ern, Boston; robern.com. Hand-knotted rug: Surshe by The Rug Company, New York; therugcompany.com. Cocktail table: Plantation, Los Angeles; planta
tiondesign.com. Swivel chair: Jonathan Adler; jonathanadler.com. Artwork: Mike McGuire, Provincetown, MA; michaelmcguire.net. Window bench cushion: Schum-acher; fschumacher.com. Wingback chair: BDDW, New York; bddw.com. Dining room: Chandelier: Jonathan Adler. Chair upholstery: Luxe Boucle, Chella; chella.com. Wallpaper: Daphne, Scalamandre; scalamandre.
com. Artwork: Matthew Gamber; matthewgamber.com, at Gallery Kayafas, Boston; gallerykayafas.com. Entry: Artwork: Cedric and Janette Egeli, Provincetown; egeli gallery.com. Den: Chair upholstery: McLaughlin Uphol-stery, Everett, MA; mclaughlinupholstering.com. Girls’ suite: Rugs: Surya; surya.com. Floor and mosaic tile: Tile Showcase, Watertown, MA; tileshowcase.com. Master bedroom: Sofa: Roche Bobois, Boston; roche-bobois.com. Side tables: Machine Age, Boston; machine-age.com. Artwork: Ysabel LeMay, Lanoue Gallery, Boston; lanouefi neart.com. Table lamps: Jonathan Adler. Rug: Surya. Master bath: Floor tile: Tile Showcase. Sconces: Hudson Valley, Boston; hudsonvalleylighting.com. Pendant: Australian Amber Bubble Glass, Orange, Los Angeles; 323-782-6898.
172–179 • City Living/Lofty Transformation Interior design and kitchen cabinetry: Louis Ashman, Contractor’s Cabinet & Design, Boston; cscabinetde sign.com and louisashman.com. Builder: McDermott Builders, Milton, MA; mcdermottbuildersinc.com. Ap-pliances: Yale Appliance and Lighting, Boston; yaleappliance.com. Lighting: Custom LED through Contrac-tor’s Cabinet & Design. Kitchen and bath tile: Tiles By Perfection, Quincy, MA; tilesbyperfection.com. Light-ing controls: LeGrand Adorne, through Yale Appliance and Lighting. Brick wall paint: Super White, Benjamin Moore; benjaminmoore.com. Kitchen wall paint: Mt. Rainier Gray, Benjamin Moore. Foyer and master bath wall paint: Normandy, Benjamin Moore.
As part of his pop art-inspired room on Page 48, interior designer Dane Austin chose a contemporary piece of artwork from Artists for Humanity, a Boston youth apprenticeship arts program. The piece, Expressive Pt. 2, is by Kitauna Parker, a Massachusetts College of Art and Design student who believes “art equals voice — my voice.” Now, 21, Parker was 19 when she completed the painting in 2014.
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1. Antiques & Design Show of Nantucket (from left): Charlotte Moss, Susan Zises Green, Suzanne Kasler. 2. Bill Richard, Elle Foley, Wendy Schmidt, Gary McBournie. 3. Joshua Hebert, Gregory Belezarian, Anthony Tivnan. 4. Newport Antiques Show Opening Gala: Boston Beacon Hill antiques dealer Stephen Score (left) in his booth with a guest. 5. Art dealer William Vareika of Newport, Rhode Island, in front of one of the many fi ne art paintings he offered for sale during the show.
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6. Newport Flower Show Opening Night Cocktail Party (from left): Tony Venetucci, Angela Moore, James Berwind, Gary Moore. 7. Elena Kissel, Michele Foster, Kathy Irving. 8. Party guests enjoy the oceanfront lawn at Rosecliff mansion. 9. An entry in the show’s fl oral design competition. 10. Feast for the Farms at Historic New England’s Casey Farm in Saunderstown, RI: Music provided by Local Freight. 11. Heather Minto (far left) and Sheila Nixon (far right) show Design New England editors Gail Ravgiala (center left) and Jill Connors baby chicks from the farm’s Project CHICK: Chickens Hatching in Classrooms program. 12. Flowers from the farm decorate the tables.
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a d i n d e x
2015 PRISM Awards Gala, bragb.org 189A. Bonadio & Sons Landscape Contractors, abstoday.com 91ABX 2015, abexpo.com 185Acorn Tree & Landscaping, acorntreeandlandscape.com 80Advanced Communication Technologies, actces.com 112Aeratis, aeratis.com 20Andrew M. Sidford Architects, asidfordarchitects.com 54Audio Concepts, audioconcepts.com 81Benoit Mizner Simon & Co. Real Estate, benoitmiznersimon.com 84Bertola Custom Homes, bertolacustom.com 88BoConcept, boconcept.com 49Boston Design Center, bostondesign.com Cover 4Building Shelter, buildingshelter.com 83Cabot House, cabothouse.com 45Calico, calicocorners.com 46California Closets, californiaclosets.com 125Cedarworks Inc., cedarworksonline.com 104Chilton Furniture, chiltons.com 63Chip Webster Architecture, chipwebster.com 88C.H. Newton Builders Inc., chnewton.com 19Clarke-Offi cial Sub-Zero & Wolf Showroom, clarkeliving.com 57Coldwell Banker Previews, coldwellbankerpreviews.com 21The Cottage at Monument, thecottage.com 126Crown Point Cabinetry, crown-point.com 32Cumar Inc., cumar.com 55Cushman Design Group, cushmandesign.com 105Custom Floors Design Inc., customfl oorsdesign.com 37Cutting Edge Homes Inc., thinkcuttingedge.com 14–15Dan K. Gordon Landscape Architects, dangordonassociates.com 79David M. Mullen Architect, davidmullenarchitect.com 62DesignCrossover, designcrossover.com 24Design New England, designnewengland.com 190Design Salon at Mitchell Gold + Bob Williams, [email protected] 190Design Showdown 2016: Kickoff Event, designnewengland.com/showdown 191Design Week RI, designxri.com 186Didriks, didriks.com 90D. Michael Collins Architects, dmarch.com 113Dover Rug & Home, doverrug.com 6–7Dream Kitchens, adreamkitchen.com 65Eastman St. Woodworks, eswoodworks.com 67ECO Structures Inc., ecostructures.com 134Estes/Twombly Architects, estestwombly.com 104, 106European Country Antiques, ecountryantiques.com 106Fallon Custom Homes & Renovations, falloncustomhomes.com 1Favreau Design, favreauinteriordesign.com 33FBN Construction, fbnconstruction.com 2Feinnman Inc., feinmann.com 85Ferguson Bath, Kitchen & Lighting Gallery, ferguson.com 66F.H. Perry Builder, fhperry.com 27Fine Lines Construction, fi nelinesmaine.com 42Finelines, fi nelines.com 53Frank Webb’s Bath Centers, frankwebb.com 75Gary Streck CRM Inc., garystreck.com 105, 106Gregorian Oriental Rugs, gregorianrugs.com 98Groom Construction, groomco.com 90Haddad Hakansson Design Studio, hhdesignstudio.com 23Hammer Architects, hammerarchitects.com 129Helios Design Group, heliosdesigngroup.com 102The Holland Companies, thehollandcompanies.com 44HUBweek, hubweek.org 180Inspired Stones, inspiredstones.com 106Jan Gleysteen Architects Inc., jangleysteeninc.com 30Jeffrey’s Creek Land Contractors Inc., jeffreyscreek.com 82Jewett Farms + Co., jewettfarms.com 82John Thayer, Cabinetmakers, johnthayer.com 106J. Todd Galleries, jtodd.com 41Jules Place, julesplace.com 101Kitchen Views at National Lumber, kitchenviews.com 114
great design is always at your fingertips.
magazine or touchscreen
designnewengland.com
free on your ipad, iphone, or android
photo by rob cardillo
Design is a Team SportA home construction project has many players. Find out what you need
to know to build a winning team for your project and why collaboration
gets the best results.
Panelists: • John MacDonald, Morehouse MacDonald & Associates, Architects • Kevin Lagasse, The Lagasse Group• Troy Sober, Gregory Lombardi Design • Manuel DeSantaren, The Muse GroupModerator: • Gail Ravgiala, editor, Design New England
A Design New England presentation
Wednesday, October 14
5:30 - 8:00
Mitchell Gold + Bob Williams, Natick
This event is free and open to the public. Advance registration is required. For more information and to RSVP please email: [email protected].
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LaFauci Tile and Marble Inc., lafaucitile.com 103The Lagasse Group, thelagassegroup.com 74Landscape Collaborative of New England, landcoll.com 64LDa Architecture & Interiors, lda-architects.com 73Let’s Talk About Food, letstalkaboutfood.com 120Ligne Roset, ligne-roset-usa.com 51Lucía Lighting & Design, lucialighting.com 112Marcus Gleysteen Architects, mgaarchitects.com 43Martha’s Vineyard Food & Wine Festival, myfoodandwine.com 182Massachusetts Department of the State Treasury, fi ndingmassmoney.com 109Masterpiece Woodworks Inc., masterpiecewoodworks.com 26Matthew Cunningham Landscape Design, matthew-cunningham.com 126Michael Gaillard Studio, michaelgaillard.com 77Michael Humphries Woodworking, michaelhumphries.net 133Miele, miele.com 95Mitchell Gold + Bob Williams, mgbwhome.com 12–13Moen, moen.com 115Morehouse MacDonald & Associates, morehousemacdonald.com 60M. Steinert & Sons, msteinert.com 87Murdough Design, murdoughdesign.com 127Myopia Polo, myopiapolo.com 122National Development, sienaboston.com Cover 2Nappa Interiors, Inc., nappainteriors.com 106New England Architectural Finishing, nearchitecturalfi nishing.com 70New England Design & Construction, nedesignbuild.com 22New England Shutter Mills, newenglandshutter.com 107Newport Historical Society, newporthistory.org 187Newport Mansions Wine & Food Festival, newportmansions.org 181Nilsen Landscape Design, nilsenlandscape.com 102Oak Hill Architects, oakhillarchitects.com 121Oliver Blumgart Designs, oliverblumgart.com 29Payne|Bouchier Fine Builders, paynebouchier.com 25Pella, pella.com 39Perfection Fence, perfectionfence.com 129Poggenpohl, poggenpohl.com 3R.P. Marzilli, rpmarzilli.com 72Ramsay Gourd Architects, rgavt.com 91Renjeau Galleries, renjeau.com 89Riverhead Building Supply, Heritage Wide Plank Flooring, rbscorp.com 83Riverhead Building Supply, Medallion Cabinets, rbscorp.com 89Roger’s Piano, rogers-piano.com 8–9Room & Board, roomandboard.com 17Rose Garden Party, cityofboston.gov 191Runtal Radiators, runtalnorthamerica.com 119RW Interiors, rwinteriors.net 128Salem Plumbing Supply, salemplumbing.com 71Schopfer Associates, schopferassociates.com 97S+H Construction, shconstruction.com Cover 3SieMatic Kitchens, siematic-boston.com 4–5The Sliding Door Company, slidingdoorco.com 123South County Tourism Council, southcountryri.com 40SpaceCraft Architecture, spacecraftarch.com 38Spang Builders Inc., spangbuilders.com 113Splash – The Portland Group, theportlandgroup.com 61Stonegate Gardens, stonegategardens.com 111Sudbury Design Group, landscapearchitectureboston.com 28Supply New England’s Kitchen & Bath Gallery, kitchenbathgallery.com 10–11Trellis Structures, trellisstructures.com 103Triad Associates Inc., triadassociatesinc.com 99Ugol Woodworks, ugol-wood.co m 127Van Millwork, vanmillwork.com 128Walpole Woodworkers, walpolewoodworkers.com 110WaterSpot Showrooms, water-spot.com 69Woodmeister Master Builders, woodmeister.com 31Wood-Mode, wood-mode.com 59
DESIGN SHOWDOWN
2016KICK-OFF PARTY
CELEBRATE THE 2ND ANNUAL STUDENT COMPETITIONSTUDENTS FIND OUT HOW TO ENTER
DESIGNERS AND VENDORS FIND OUT HOW TO GET INVOLVED EVERYONE ELSE CHEER THEM ON!
WEDNESDAY OCT. 7, 2015
5–8PM
BOSTON DESIGN MARKET
BOSTON DESIGN CENTERONE DESIGN CENTER
PLACE, BOSTON
RSVP AT DESIGN-SHOWDOWN-LAUNCH-2016.EVENTBRITE.COMMORE INFORMATION AT DESIGNNEWENGLAND.COM/SHOWDOWN
BROUGHT TO YOU BY DESIGN NEW ENGLAND, ASID NEW ENGLAND, BOSTON DESIGN CENTER
The Fund for Parks and Recreation in Boston is an IRS-recognized charitable
trust. Donations are deductible as allowed by law. Martin J. Walsh, Mayor
Yawkey FoundationsVictor Stanley, Inc.
University of Massachusetts BostonThe Glynn Hospitality GroupBen & Kate TaylorSkating Club of BostonWendy Shattuck & Sam Plimpton
Museum of Fine Arts, BostonDr. & Mrs. Jeffrey LeidenThomas A. KershawIsabella Stewart Gardner MuseumFriends of Post Office SquareBarry & Tina FeldmanPaul & Sandra EdgerleyLynn Dale & Frank WisneskiCarole Brennan / Brown RudnickKevin & Maggie Ahearn / Otis & Ahearn
New England Baptist HospitalMassachusetts Convention Center AuthorityLaborers International Local 223Kevin J. Joyce, Esq.Harvard UniversitySarah Freeman / Arborway CoalitionEmerson CollegeDemetri & Sarah DascoTheodore H. CutlerLaurie Bosio & Richard LeBlanc
Tanzanite Sponsors:The Lawrence & Lillian Solomon Foundation
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Painted En Plein Air by Paul McMahan at the 2014 Rose Garden Party
Benefitting free programs in Boston parks
2015 Rose Garden Partysincerely thank the sponsors & patrons who supported the
Ms. Lorrie Higgins&
Mayor Martin J. Walsh
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192 D E S I G N N E W E N G L A N D. C O M S E P T E M B E R / O C TO B E R 2 0 1 5
matron of the art
take note
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corita kent’s art: the juiciest tomato of all, 1964 (above left); for eleanor, 1964 (above top); (give the gang) the clue is in the signs, 1966, and (our best) reality proves very little, 1966 (above); and Boston Gas Tank (Rainbow Tank) aka Rainbow Swash, 1971 (below). (inset): Kent teaching with LIFE magazine c.1965.
even in boston, where millions of motorists drive past her great pop art monument, Rainbow Swash, the iconic gas-tank landmark just off Interstate 93, folks barely know who Corita Kent was.
If she had been a man, says Susan Dackerman, curator of the exhibition Corita Kent and the Language of Pop, we’d put her on the list of pop art greats alongside Andy Warhol, Jasper Johns, Claes Oldenburg, Ed Ruscha, Robert Indiana, and Roy Lichtenstein.
“The fact that she was a nun doubly marginalized her,” Dackerman says as she talks about the show, which is at the Harvard Art Museums in Cambridge, Massachusetts, through January 3, 2016. “They were the pop art b oys, a pretty macho group. So often, the art world has left the female practitioners behind. In Corita Kent’s case, what has been written has focused on her biography, and it has overshadowed her work.”
Dackerman confesses that before she came to Cambridge to work as the Fogg Museum’s Carl A. Weyerhaeuser curator of prints, she knew nothing about
Sister Mary Corita Kent, a Roman Catholic nun who taught art at Immaculate Heart College in Los Angeles.
“A colleague brought me a set of her prints,” says Dackerman, “and I was blown away, both by how good they were and by how they tied into the conversation of pop art.”
Kent (1918–1986) produced graphic silk-screen images that juxtaposed spiritual, literary, popular culture, and political writings with symbols of consumer culture and modern life. Among her best-known pieces is the juiciest tomato of all, done in 1964 and included in the exhibit, which focuses on work she did between 1962 and 1971, which is when she produced Rainbow Swash for Boston Gas. (The tank now belongs to National Grid.) By then, she had left the convent and moved to Boston and had been an activist opposing the war in
Vietnam. There were those who said Kent had purposely depicted the profi le of North Vietnamese leader Ho Chi Minh in the gas-tank painting, but Kent always denied it. Dackerman, too, says no. “She made a monument of the brush stroke; resemblance to his profi le was totally accidental.” — regina cole
The Exhibit Corita Kent and the Language of Pop is at the Harvard Art Museums, 32 Quincy Street, Cambridge, MA, 617-495-9400; harvardartmuseums.org through January 3, 2016. The museums are open daily 10 a.m. to 5 p.m. Admission is $15 for adults. Youths under 18, Cambridge residents, and Harvard students, faculty, and staff admitted at no charge. The show will be on view at the San Antonio Museum of Art, samuseum.org, February 13 through May 8, 2016.
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Photography by Eric Roth
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