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R E S T O R A T I O N
38 Drawn to a Rescue Charmed by the diminutive house down the street, an Ohio couple embarks on its restoration, reversing a mid-century, Colonial-style remodeling. by Regina Cole | photos by Gridley + Graves
T H E G U I L D
46 Raw Urth Amy and Stefan Sasick transitioned from landscaping to metalwork design during a re-evaluation of lifestyle. Now they’re known for their range hoods and patinas.
by Mary Ellen Polson
N E W W O R K
48 Hideway Haven ln this upgrade of a 1956 cabin, raising the roof created
bungalow lines and a well-crafted cottage interior. by Patricia Poore | photos by Susan Gilmore
O U T S I D E
56 An English Country Garden The classic Arts & Crafts landscape surrounding a Tudor manor near San Francisco has both grandeur and intimacy.
by Brian D. Coleman | photos by William Wright
COVER The offset, double-gable bungalow façade was restored
on the cozy Sears house in Ohio. PHOTOGRAPH BY GRIDLEY + GRAVES
56
10
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800-253-5668
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8 | ARTS & CRAFTS HOMES Summer 2016
E D I T O R ’ S L E T T E R &
In All Things, Art I GREW UP IN SUBURBAN HOUSES of no particular pedigree—housing, really,
not architecture, certainly not art. My parents were buying a roof and
just enough room, “a decent yard.” Maybe they would spring for new
carpeting, or wallpaper for the dining room. Then, we lived there, with
no further thought to interior design or collections.
My first encounter with the old-house mystique was when, in first
grade in New Jersey, I met Barbara and started going over to her house.
It was a colonial-era Dutch house; Barbara’s grandmother, the town
librarian, proudly told me it dated to 1693. (The center room did, the one
that was always cold. Most of the house was ca. 1710, the kitchen wing
built perhaps a hundred years later.) For me, it was love at first sight. The
staircase was dark and medieval, with troughs worn
in its tread nosings; I was quite sure ghosts were
watching. Barbara’s bed tucked into a steep eave
under the roof. The yard was large by local standards,
with hidden caves in vast rhododendrons.
That wonderful house was, nevertheless, a
vernacular residence—different, interesting, old
enough to be respected, but simple and pragmatic.
I discovered home as an art form in my 20s, in a
black-and-white monograph by Randell Makin-
son, then Director of the Gamble House. Imagine
a time when very few people even had heard of
Greene & Greene. My jaw dropped as I browsed the pages. I swear I
felt pinprick tears come to my eyes. It was…so utterly fantastic. What
was this?
At that moment, the country was in long-gas-lines, reduce-reuse-
recycle mode. Preservationists were scrambling to explain the concept
of embodied energy: all that old-growth wood and those bricks hold
the energy consumed by all the processes—mining, felling, milling,
transportation, and construction labor—used to build them.
Yes, old houses are embodied energy. But some houses are
embodied soul.
10 Harbor Rd., Gloucester, MA 01930
arts & crafts homes a n d t h e R e v i v a l is the quarterly that covers contemporary
practitioners as well as the historical
antecedents of the continuing A&C movement.
OUR MISSION is to offer expert
advice and perspective for those building,
renovating, or furnishing a home in the Arts
& Crafts spirit. a Our mission is to celebrate
the revival of quality and craftsmanship,
going beyond the narrow definition of
American Arts & Crafts as a “style” confined
to the first decades of the 20th century.
Offering hundreds of resources, we showcase
the work not only of past masters, but also of
those whose livelihoods are made in creating well-crafted homes, furnishings, and works
of art today. a Each issue is a portfolio of the
best work in new construction, restoration,
and interpretive design, presented through
intelligent writing and beautiful photographs.
NEED TO CONTACT US?
arts & crafts homes a n d t h e R e v i v a l
(978) 282-3170 artsandcraftshomes.com
renew, give a gift subscription, or change
your address, log onto our website
artsandcraftshomes.com
[email protected]
begin with images. We often assign professional
photographers for features, but “scouting shots”
tell us what the project looks like. These can be
presented as digital jpegs, transparencies, amateur
shots—sent to the editorial department by email
or on a CD by mail. a Please describe the project
concisely, and let us know where you think your idea
fits into the magazine.
W For FREE information go to artsandcraftshomes.com/freeinfo W For FREE information go to artsandcraftshomes.com/freeinfo
Spring 2016 ARTS & CRAFTS HOM
+
To Live By Express your deepest sentiments with a quotation,
proverb, or epigram cut in beautiful typography on an
artisan-made oak panel. The panel carving shown mea-
sures 6" tall x 32" long x ¾" thick. It’s $289.95; a percent-
age goes to a charitable program. From Good Thinking
International, (630) 661-9328, wisdominwood.com
John Finch’s tea caddies and other copper creations are
exquisitely fashioned with repoussé work and real precious
stones. The candlestick is $165. A set of six napkin rings
costs $240. Tea caddies are $450 and $750. From John Finch
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salvaged oak creates rich tones from near black to
espresso to chocolate with
NEWwoodworks, (585) 289-
Verdigris Beacon With its steeply pitched roof with articulated vents
and crosscut overlays, the Stonehaven 14"-wide
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porch pier. Shown in verdigris patina and gold-
white iridescent art glass, it’s $1,560. (800) 243-
9595, brasslightgallery.com
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Your Own Greene Modeled after an original design by the architects Greene & Greene,
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hand-leaded art glass, and handcrafted copper foil. The chandelier
is $5,800 and can be customized for size and height. From Craftsmen
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For the Table 7KH$UWV &UDI WVIULHQGO\3LQHKXUVW VWDLQOHVV DWZDUH IURP
Liberty Tabletop features a heavy, textured design that
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from U.S. materials, a 20-piece place setting is $129.95.
From Fair OakWorkshop, (800) 341-0597, fairoak.com
Architectural Support These builders of log homes—
including designs in the Arts &
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ing trim accents such as cor-
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Z Z Z
S V F R P
11441 BRADLEY AVE
PACOIMA, CA 91331
up front NEWS + PEOPLE
New Home for Dirk’s Tools Fascinated by the coppersmithing of Dirk van Erp since adoles-
cence, high-end antiques dealer Gus Bostrom received an un-
expected opportunity four years ago, when van Erp’s grandson
walked into his Berkeley shop.
Bill van Erp invited Bostrom to see the family’s collection,
which included all of the Arts & Crafts coppersmith’s original tools,
workbenches, and display furniture. They had been kept together by
Forrest L. Merrill, who’d been best friends with the elder van Erp’s
son. Promising never to sell the tools and to use them for educa-
tional purposes, Bostrom struck a deal with Merrill and the van Erp
family. The result is the nonprofit Dirk van Erp Foundation, estab-
lished in 2014. “We have it as our mission to continue the legacy by
educating younger craftsmen,” says Bostrom, the owner of Califor-
nia Historical Design (acstickley.com) and author of Bay Area Copper
1900–1950 and Dirk van Erp.
With van Erp’s tools as a backdrop, the foundation hosts a
workshop museum that’s open on Saturdays at the store. Copper-
smith Matthew Mackie, a stogie clamped in his lips, takes on the role
of van Erp as he demonstrates the techniques that made the early
20th-century coppersmith an icon of the Arts & Crafts movement.
“I moved to Berkeley so I could use the tools,” says Mackie,
whose talents extend to jewelry, knife making, ceramics, and any
kind of metalwork. “Two years ago I unboxed them and started
hammering with them that day.”
A large part of the foundation’s mission is for skilled met-
alworkers to teach younger ones the tricks of the trade, using
the precious van Erp tools. “I taught myself this stuff,” says
Mackie, noting that among other gigs, he built parts for the
space shuttle fleet. “I don’t want to die with this knowledge.
I want to share it.” Dirk van Erp Foundation, (510) 647-3621,
dirkvanerpfoundation.org
Mountains at Sunset Based in mountainous western North Carolina, stained-glass artist Dianne Lee often features mountain
vistas in her work. “Each mountain has its own signature,” says Lee, who was recently chosen to create
an installation for the historic elevators at the 1913 Grove Park Inn in Asheville. Lee’s design for the
elevators, renovated in the style of Greene & Greene, will incorporate a view of SunsetMountain, where
the inn is located. Stained Glass Bungalow, (828) 400-4002, stainedglassbungalow.com
LEFT A mountain landscape by Dianne Lee.
ABOVE MatthewMackie demonstrating coppersmithing techniques at the Grove Park Inn, working with a van Erp repoussé hammer.
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U P F R O N T & B O O K S
THE GAMBLE HOUSE Building Paradise in California Essays by Robert Winter et al, photographs by Alexander 9HUWLNR 7KH *DPEOH +RXVH USC School of Architecture, +DUGFRYHU SS
© A L E XANDE R V E R T I K O F F | V E R T I K O F F A R C H I V E
This very personal book about the residence
designed by architects Greene & Greene lets
readers experience the emotional impact of
the Gamble House. Essays dense with fact and
familiarity rely on new scholarship based to
some extent on a collection of archival materi-
als, including writing by Clarence Gamble, the
younger son who was 14 years old when the
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Curator Anne E. Mallek paint the picture of a
family home, praising the Gambles for their
patronage and collaboration with the Greenes.
In describing the history of the Gambles’
gardens, house archivist Ann Scheid reveals
just how groundbreaking was this period of
landscape design, when the Arts & Crafts
movement met southern California’s climate.
Historian and professor Robert Winter
talks about his memories of encountering the
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furniture Japanese Chippendale: “I became a
disciple of the Greenes and have remained so,”
he writes. With fond humor, he looks at some
of the house’s quirks.
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preciate the house as a resident might. There
are stunning closeups, yes, but also tender,
prosaic views. This is the “richness of detail,
materials, and craftsmanship” that moves
HYHQ UVWWLPH YLVLWRUV —Patricia Poore
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permeates the dining room, the most formal room in the
house. Paneling is red-brown mahogany; the leaded-glass chandelier hangs from leather straps. ABOVE The beautifully
detailed screen door leads to a sleeping porch. LEFT Mansion or bungalow, it is a house built for
California. Boldly anchored to the land, it provides terraces and porches under its wide eaves.
W For FREE information go to artsandcraftshomes.com/freeinfo W For FREE information go to artsandcraftshomes.com/freeinfo
Terra Firma Handmade Arts & Crafts Tile
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U P F R O N T & E V E N T S + E X H I B I T S
MAY 7–NOV. 6
of ceramics from Newcomb Pottery will be
on view at the StickleyMuseum at Crafts-
man Farms in Parsippany-TroyHills. The collection was amassed over the past three
decades by Barbara Fuldner, a great-grand-
daughter of Gustav Stickley, and her late
husband,Henry Fuldner. The works will be
on display in the dining room of the Log
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Newcomb pottery in an authentic period
Arts and Crafts setting.
A related exhibition, featuring both
ceramics and handicrafts from Newcomb
College, will be on view at the Princeton University ArtMuseum in Princeton, N.J.
through July 10 (artmuseum.princeton.edu).
1890 and 1940, grew out of the ceramics
program at H. Sophie NewcombMemorial
College in New Orleans, Louisiana (now
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focus of the Princeton exhibition will also
be pottery, other elements in the show will
include embroidered textiles, metalware,
MAY 22
Tudor residence and gardens designed by
Arthur Loveless in 1928 for the Bloxom
family. The house retains its understated
English-style character within a setting of ponds, formal and cutting gardens, a newly
created Japanese garden, and a great lawn
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Sound. The property is part of a community
designed to preserve a country-like atmo-
sphere within easy reach of Seattle. The
house is also the showcase for the owner’s
outstanding collection of work by early 20th
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The collection helped inspire the devel-
opment of the Cascadia ArtMuseum in Edmunds (cascadiaartmuseum.org), which
opened in September 2015.Historic Seattle,
(206) 622-6952, historicseattle.org
Roycroft Dreamer A solo exhibition by artist CJ Hurley, “Hous-
es, Landscapes, Flowers & Dreams,” will be
on view at the Chur Gallery on the Roycroft
Campus, East Aurora, N.Y.Hurley is known
for his hand-painted friezes, mixed-media art, and watercolors inspired by the themes
and values of the Arts & Crafts and Art
Nouveau movements. The show opens with
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Thanhouser, “From Dystopia to Utopia: The
Artistic Visions of CJHurley,” will be screened
as part of the exhibition. Roycroft Campus,
(716) 655-0261, roycroftcampuscorp.com
JUNE 18 –OCT. 3
Greene in Black & White More than 40 years ago, the noted photog-
rapherYasuhiro Ishimoto photographed
architects Charles and Henry Greene for
the Japanese design magazine Approach. The photos have their U.S. debut at the
Huntington Library, Art Collections, and
Botanical Gardens. Forty-six sumptuous
theMuseum of Art, Kochi, Japan, showcase
Ishimoto’s work for the magazine, along
with six photographs made in 1954 of the
17th-centuryKatsura ImperialVilla in Japan.
“Yasuhiro Ishimoto: Bilingual Pho-
tography and the Architecture of Greene
& Greene” coincides with the reopening of a permanent Greene & Greene furniture
display, organized in collaboration with the
GambleHouse/USC. The proximity of the
two galleries lets visitors experience the de-
signs of the brothers Greene just steps away
from their photographic interpretations by
Ishimoto. (626) 405-2100, huntington.org
JULY 27–30
Boston A&C ([SORUH %RVWRQ ZLWK )DUPV $HOG D ZHHNHQG sponsored by the StickleyMuseum at Crafts-
man Farms, to include an Arts & Crafts tour
of BeaconHill and the North End; a cocktail
party at the home of a Stickley descendant;
a curator’s tour of the A&C collection at the
Museum of Fine Arts; a visit to Stonehurst.
Members’ fee is $1,350 inclusive. (973) 540-
0311, stickleymuseum.org
A signature detail at the Blacker House, photographed in 1974.
C OU R T E S Y HU N T I N G TON L I B R A R Y , AR T C O L L E C T I ON S , AN D B O T AN I C A L GAR D EN S
© K OC H I P R E F E C T U R E , I S H I M O TO YASUH IRO P HO TO C EN T E R ( TO P ); TO M G L E A S ON
BELOW Lily pitcher byHarriet Coulter Joor from the Fuldner Collection, part of the Newcomb Pottery exhibit.
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U T I L I T Y S P A C E S &
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HOMES southlandloghomes.com
T HE GARAGE DOOR can make up as much as 30 percent of a home’s façade.
That in itself should make investing in the right one a priority, especially if your
home is weighed down with an older steel or fiberglass model out of sync with
the architecture of the house. Architecturally intriguing options for the garage
have never been so plentiful, or available at so many price points. Manufactur-
ers have continued to improve the looks of their products so that even a simu-
lated wood door looks a lot more realistic than those of just a few years ago.
b y M a r y E l l e n P o l s o n
all in the DETAILS
The garage tucks into the steep site, elevating living areas of
a new English Arts & Crafts house designed to blend into the traditional neighborhood.
Note the large window box held on corbels. Design by TEA2
Architects, Minnetonka,Minn.
U T I L I T Y S P A C E S &
The newest designs not only reflect favorite styles and design
motifs of the past, but also are state of the art in durability and
ease of care. Many basic doors also come with an R-value for
insulation of at least 6, while some custom doors are rated at
R-16 or even R-18. An added bonus in hurricane-prone areas is
rating for wind resistance and high wind loads. Since most garage doors are sold and installed by local
companies, choose a contractor who offers doors from man-
ufacturers you’ve explored and liked online. At least one man-
ufacturer, Clopay, offers a “home imagination” feature to help
you visualize what a new door will look like on your home. (You
upload a recent photo, then click to try out different designs
and variations.)
priate designs will be wood, simulated wood, or a paintable
composite. With all three options, the door is engineered with
a real wood or wood-look exterior surface, backed by a high- R-value polystyrene core (sometimes with a thermal “break”),
and sealed on the interior with either wood, plywood, steel, or a
composite material. (Of course, the interior appearance can be
upgraded for those desiring a finished interior or “man cave.”)
A well-made wood door will have the benefits of insulation
and a durable interior finish, but look as beautiful as the origi-
nal millwork in your house. Everite, for instance, uses superior
woods and deep mortise-and-tenon joints on its custom series.
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Woods and finishes are selected for their longevity. Stain-
grade doors are usually fitted out in a choice of luxury and more
economical tropical woods (African mahogany versus sapele,
for instance), as well as Spanish or Western red cedar, Douglas
fir, various types of cypress, teak, or even black walnut.
Simulated or faux wood doors are made with a wood- grain textured composite overlay. Recent technical innovations
have produced long-wearing, wood-look doors with voids and
other character marks, like Clopay’s Canyon Ridge Limited
Edition series. A new introduction is a faux wood composite
overlay in pecky cypress.
treated wood composite that is moisture, rot, and termite resis-
tant. In other words, it’s wood, but wears better.
Once you’ve chosen a basic door you like, the surface ap-
pearance may be configured in almost any panel or plank trim
design. Depending on the manufacturer, the door’s appearance may be matched to original details on your house, or you could
take this opportunity to upgrade to a coordinating entry door
as part of the package. Architects working on new-builds and
renovations often will start with a basic design from a trusted
maker, and then tweak it to match the architectural elements
on the house.
ditional patterns (e.g., beadboard, raised-panel, tongue-and-
These paint-grade Amarr doors roll up, but they look like swing-out carriage house
doors thanks to decorative hardware and
cross braces in a two-color paint scheme.
When closed, these grooved panel doors from NEWwoodworks
look like old-fashioned swing-out doors, but they actually
fold away, permitting a wide opening for this boathouse.
Summer 2016 ARTS & CRAFTS HOM
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the trend toward framing or accenting the
area around it with additional architectural
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groove). The surface then can be trimmed with relief pieces, such as horizontal and vertical boards, cross braces, half brac-
es, or curved half braces.
A row of windows across the top of the door is also an
early 20th-century tradition. Usually this is in a row of two-
over-two squares or rectangles, but Arts & Crafts-style doors
may have a single row of elongated rectangles. Even if you’ve
chosen a modern roll-up door, it’s possible to further the illu-
sion that it’s a swing-out model by placing dividers between the
windows at the midpoint of the door. More affordable dividers will be simulated divided lights; true divided lights are available
as an upgrade. As for glazing, options include clear, tempered,
or insulated glass, plus seedy, glue-chip and other traditional
types of patterned glass.
The finishing touch is hardware. Going far beyond the
basic lock and lift set, options today include the purely decora-
tive (clavos, window grilles, and strap hinges, for example) as
well as functional (entry sets, operable hinges, and rollers). a
26 | ARTS & CRAFTS HOMES Spring 2016
For FREE information go to artsandcraftshomes.com/freeinfoWFor FREE information go to artsandcraftshomes.com/freeinfoW
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essential elements for timeless design
Yardage
& D E TA I L S
Unexpected Rhythms
patterns: subtle decoration for Arts & Crafts houses.
b y M a r y E l l e n P o l s o n
V ICTORIANS LAVISHED fancy-cut wood shingles on Queen
Anne homes, especially at the gable—just one of many
exuberant accents. Architects favored continuous rows
of cedar shingles to wrap the walls, towers, and eyebrow
windows of their Shingle Style “cottages.” While earlier styles lend
precedent for shingle patterns used on Arts & Crafts houses, the over-
all effect is subtler on a bungalow or Foursquare.
Certainly, the most common use of shingles was the straight-
forward laying of evenly butted rows of tightly spaced shingles march- ing across the façade. Sometimes simple works best, especially when
paired with architectural elements that tend to stand out, like massive
porch piers and airplane-hangar trusses. In other cases, the modest
bungalow or the grand architectural statement gets a slightly different
look through minor variations in how the shingles are cut, laid, or both.
Like clapboards, shingles are tapered, cut to be thinner at the
top and thicker towards the bottom (butt). Again like clapboards,
they are installed in overlapping rows, exposing several inches of the
COURTESY CALBUNGALOW .CO M
is accented with exceptionally long vertical shingles in the gables. Ribbon-coursed shingles
upstairs and ribbon-coursed clapboards
of shingles. Since there are gaps (called
keyways) between each shingle, it’s im-
portant to stagger the next row. That way,
the overlapping shingles fall so that all
the exposed keyways in the course below are completely covered.
Like clapboards, courses of shin-
gles throw horizontal shadow lines. As an
added textural feature, the keyways create
a vertical element in the overall compo-
sition of a shingled exposure. That’s the
reason shingled facades seem to have a
rhythmic quality, even when the shingles
are installed as simply as possible.
Varying that rhythm while main-
taining the purpose of the shingles—that is, to shed water and protect the house—
is easier than you might think. Simply
varying the exposure of the butt ends
or the width of the keyway can lead to a
dramatically different appearance overall.
on Arts & Crafts houses:
DOUBLE COURSING In this method,
each course is two shingles thick—in effect, doubled up—to create a deeper
shadow line. It is especially dramatic
when used with fancy cut shingles.
RIBBON COURSING In this technique,
the exposed depth of shingle rows varies
between courses to create a series of al-
ternating wide or narrow bands. Depend-
ing on preference, the narrow bands can
be very tight and the wide bands broad,
or anywhere in between. Ribbon coursing was also used with clapboards, as on
the Gould house, a 1924 design by “Ul-
timate Bungalow” architects Henry and
Charles Greene.
CUSTOM S H I N G L E S ( L E F T ) , W I L L I AM WR I G H T
Today’s best siding shingles are cedar,
preferably vertical grain, a cut that
produces a tapered shingle that’s
tight-grained and long-lived. Al-
cut shingles, most of today’s products
are precision-cut by machine, squared to install uniformly, and de-
signed with ridges on the backs to aid
ventilation for moisture control.
material in ready-to-install panels
to nail up shingles one at a time.
They’re idiot-proof, too: some come
with marks on the rows to help the
installer line them up perfectly
with the desired overlap.
able as paneling systems from many manufacturers. Beyond the
size of the shingle (most top out at
16" long), you can specify even or
staggered butt exposures, with or
ZLWKRXW RSHQ NH\ZD\V DQG GLHU-
HQW RYHUODS OHQJWKV /LNH RRULQJ
it’s even possible to specify a mix of
grains or colors.
LEFT Fancy-cut sawtooth shingles WULSOHG IRU H[DJJHUDWHG HHFW RIGHT,
FROM TOP Ribbon coursing adds texture
to a new Arts & Crafts cabin. Ribbon- coursed shingles accent the front façade and gable of a Seattle bungalow.
TRANSFORM
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a BEAR CREEK LUMBER bearcreeklumber .com Cedar shingles, shakes, fancy-cuts
a CEDAR VALLEY MANUFACTURING cedar-
valley.comSingle, multi-course, and specialty paneling systems in red cedar
a CRAWFORD CREEK LUMBER crawford creeklumber.com Old-growth cedar shingle panels
a CUSTOM SHINGLES customshingles.com Standard and fancy-cut shingles in cedar and tropical woods
a{DOW ’S EASTERN WHITE SHINGLES dowseasternwhiteshingles.com White cedar shakes and shingles
a ECOSHEL ecoshel.com Cedar shingle systems
a EXPERIA BUILDING PRODUCTS experiabp.com Shingle and shake panel systems
a{GRANVILLE MANUFACTURING CO. wood siding.com Quarter-sawn shakes and shingles
a HIGHLAND CRAFTSMEN barkhouse.com Real bark siding shingles and panel sheets in poplar, birch, and pine
a MAIBEC SIDINGS maibec.com Eastern white cedar shingles and solid-wood siding in traditional patterns, factory stained any color
a MICHIGAN PRESTAIN michiganprestain .com Prestained shingles; shingle
panels in 8' lengths
fancy cuts
a{ WARD CLAPBOARD MILL wardclapbpard .comQuarter-sawn clapboards and bevel siding
a{ WESTERN RED CEDAR LUMBER
ASSOCIATION{UHDOFHGDURUJ Tips and resources for cedar siding installation
a WHITE CEDAR SHINGLES whitecedar shingles.comWhite cedar shingles and shakes
STAGGERED BUTT COURSING In its
most subtle form, the butt exposures
are staggered slightly (up to an inch)
with each shingle. Shingles can also be
laid in an “up and down” pattern that re-
semble picturesque slate. Although each
course follows a general line, there’s not
a straight horizontal in sight.
KEYWAY VARIATIONS Simply elim-
inating or enlarging the gap between shingles alters the look of the house as
well. A pattern variation popularized by
the Greene brothers was to create a key-
way gap of about ½" between even-butt-
ed shingles. The effect is quite different
from butting the shingles closely togeth-
er. Another technique, especially in shal-
low gables, is to create an inverted zig-
gurat effect by laying staggered rows of
shingles with wide keyways.
LONG EXPOSURE Another Greene &
shingles with exposures much longer than
the typical 3" to 7" used in most shingle
sidewalls. Although they’re visually long,
the shingles are in perfect proportion for
the scale of a massive yet graceful struc-
ture like the Gamble House. a
L I N D A S V E ND S E N ( TO P ), D OU G L A S K E I S T E R
ABOVE Staggered butt shingles are picturesque. BELOW Wide gaps or keyways between shingles FUHDWH DQ HHFW ERWK UXVWLF DQG HOHJDQW
shingle sources
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Susan Hebert Imports 503-248-1111
B R I N G I N G I T B A C K &
A very pretty accoutrement long ago went missing on many a Chicago brick bungalow. Some are back, looking better than ever.
b y B r i a n D . C o l e m a n
C hicago is famous for its
architecture—from gleaming
know that the region’s bungalows, too, are
unique? About 100,00 brick bungalows
(dating to after the great fire) were built
between 1910 and 1940 in “the bunga-
low belt,” an arc sweeping from the city’s
mid-section to outlying suburbs; bunga-
lows make up over a third of the region’s
modern housing stock. Set on Chicago’s
long and narrow lots, the single-family,
mostly working-class homes were solidly
built of yellow or red brick with limestone
accents. They were modern, up-to-date
homes, always with front lawns and small
gardens, which also embraced Arts &
Crafts tenets. Masonry façades were laid
with projecting stone corbels meant to
hold a window box (which was optional).
Over time, the boxes were ditched
as high-maintenance relics of a bygone
era. With the revival of bungalow living,
planting window boxes and front-stoop
urns has come back in a big way.
The original box containers were
made of unpainted cast stone or con-
crete, often detailed with geometric
bands or scrolls. Replacing them in kind
can get pricey—they cost $400 and up. A
concrete box is appropriate (it blends in
even when empty), develops patina, and
is too heavy to steal. But drainage may
not be adequate, you have fewer options
for size, plants will need more frequent
watering, and the box may crack during
freeze-thaw cycles.
popular material today and easier on the
budget ($50 and up). Design and color
options abound, wood is easier to move,
plants stay cooler and better drained. But
wood does require refinishing every few
years. Metal, fiberglass, and PVC planters
are also sold today. These are very econom-
ical and can be painted. (Plastic must be
kept painted to avoid fading and cracking.)
Paint color may match window trim; or
choose a neutral color that complements
the masonry and doesn’t compete with
the plants. Liners protect the wood and
maintain moisture longer; a simple plas-
tic box liner also makes planting easier.
WINDOW BOXES in the WINDY CITY
H I S TO R I C C H I C A GO BUNGALOW A S S N .; JO FR I D STAV IG
THRILLERS, FILLERS & SPILLERS Plant expert Jackie Riffice says the best window boxes
have a combination of annual and perennial plants to
provide color and bloom longevity. Gardeners refer to con-
tainer selections as “thrillers, fillers, and spillers.” Thrill-
ers rise dramatically as focal points. Fillers soften the base
and add fullness. Spillers cascade over the sides.
Evenings are cool in Chicago (Zone 5) until June, so
don’t plant too early. Use a clean, organic, mixed potting
medium developed for containers. Loosen root balls; don’t
plant too deep, but do crowd plants a bit for lushness in a
short season.
like mandevilla, bougainvillea, clematis, nasturtium
a Perennials like lavender, sedum, moor grass, Shasta daisy
FILLERS
a Perennials like coral bells, lady’s mantle, fescue, sedum
SPILLERS
sweet-potato vine, hops
a Perennials like ivy, lysimachia, vinca
OFF SEASON Many planters can be left out all year, so
don’t limit yourself to a summer planting.
SPRING (plant April or May)
a Allium and crocus
a Primrose, iris, and moss
a Lily of the valley, pansy, and licorice plant
AUTUMN (cool weather through first frost)
a Mums
a Place small gourds or pumpkins between plants
a Geranium, ivy, verbena, and sage
a Zinnia, pansy, and lemon verbena a Hosta, coleus, and sweet-potato vine
WINTER (beyond plants to twigs, bottles, candles)
a Holly, evergreen boughs, painted branches, pinecones
a Miniature conifers, ivy, willow branches
a Lights and outdoor ornaments for holidays
a Ornaments, baby mittens, bells, ribbons
JO FR ID STAV IG
B R I N G I N G I T B A C K &
resources
a OAK PARK HOME & HARDWARE oakparkhome-hardware.comCustom- order cast-stone boxes in five natural colors, designed to sit on the corbels
a WINDOWBOX .COM windowbox.com Boxes from PVC to copper, stock or custom, any size
a FLOWER WINDOW BOXES RZHUZLQGRZ boxes.com Everything from self- watering systems to liners and brackets; see their installation videos
a HOOKS & LATTICE hooksandlattice.comWide range of boxes copper to wood, liners, etc.
a PRAIRIE GODMOTHERS prairiegodmothers .com Plant expert Jackie Riffice consults, offers gardening services, and educates
a HISTORIC CHICAGO chicagobungalow.org Bungalow association, a great
general resource
a JOFRID STAVIG [email protected] Interior designer and window-box consultant
CLOCKWISE, FROM TOP LEFT Replaced window boxes rest on two pairs of corbels, softening the façade of a gable-front brick house with limestone accents. A carpet of low yard plants, urns, and an original cast-stone box on corbels create a pretty urban picture. Separate boxes rest between buttresses in
each bay of an octagon bungalow. A Prairie-style wood box rests on limesone corbels. BELOW )ORZHU :LQGRZ %R[HV RHUV WKLV VHOI ZDWHULQJ ER[
JO FR I D STAV IG ( TO P L E F T ); HC BA
Size is critical for these boxes,
which should extend several inches be-
yond the corbels, and rise approximate-
ly ¼ the height of short windows and 1⁄5
the height of tall windows. Measure the
width of the window or group of windows, also the supports from outside
edge to edge, and their depth front to
back. Next measure the height from the
top of the corbel to the lower edge of the
sill; if the distance between sill and brack-
ets is less than 10", also measure sill pro-
jection. You might make a cardboard cut-
out of the proposed box front, setting it
on corbels to check size and proportion.
If the corbels are still there, just
set the box on them. Filled with soil, it should be heavy enough to stay put. For
other houses, wooden brackets are ap-
propriate and may be painted to match
the siding or the box. Cleats (interlock-
ing brackets placed on the wall and the
back of the window box) make an invis-
ible hanging system. If there’s concern
about the box shifting or falling, per-
haps because of wind load or structural
issues, do attach the back of the box to
the masonry with lag bolts. Selecting plants is the fun part.
Consider how many hours of full sun
the box will get. Be honest about com-
mitment: will you deadhead every day?
Combine plants that offer height, low
massing, and a vining or cascading
habit. A wand with a ratcheting head
allows even watering without damaging
blooms. Self-watering systems (with
hollow pipe to wick water) cut watering
maintenance by a third, and take over when you go on vacation: Flower Win-
dow Boxes’ ‘Wickinator’ system comes
highly recommended. a
cago Bungalow Assn.), Jofrid Stavig, and
Jackie Riffice. —BDC
800.269.5697
www.shutterblinds.com
f abricated shutters
high quality custom
. | info@. | 612.337.5060
For FREE information go to artsandcraftshomes.com/freeinfoW
36 | ARTS & CRAFTS HOMES Spring 2016
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38 R E S T O R A T I O N
Drawn to rescue the bungalow down the street.
46 T H E G U I L D
A commission for a metal fence opens a door.
48 N E W W O R K
An upgrade along bungalow lines for a 1956 cabin.
56 O U T S I D E
Unity, function, simplicity, and scale in an English Tudor garden.
SUMMER 2016
Someone has facetiously remarked that…a bungalow
should be defined as ‘a house that looks as if it had
been built for less moneythan it actually cost’.
& R E S T O R AT I O N
DRAWN TO A RESCUE Charmed by the diminutive house down the street, a couple embarks
on its restoration, reversing a mid- century Colonial-style remodeling. BY REGINA COLE | PHOTOS BY GRIDLEY + GRAVES
A town of 4,000 people about 20 miles southeast of
Cleveland, it has the storybook name Chagrin Falls
Sam and Kathleen live here, in “a wonderful, friend-
ly neighborhood,” says Sam. One day, in fact, as Sam
worked in the garden, a man walking by stopped to comment.
“You have a Sears kit house,” he told his new neighbor. “It was called the ‘Argyle’.” Quite delighted, Kathleen and Sam went to
their local library and found a copy of a 1919 Sears Homes catalog:
indeed, there was the familiar house plan.
The couple found the bungalow charming long before they
bought it—they used to live just down the street. “We’d walk by
it and Kathleen would say, ‘That’s the house we’re going to retire
in’,” Sam remembers. “She works as a registered nurse, but she
should have been an interior designer. She was moving furniture
In a historic district about a block from town center, the
Sears ‘Argyle’ kit house has been restored. The handsome new porch brings back the
original bungalow-era design.
ABOVE Opening directly into the living room, the more appropriate
new door has leaded-glass panels set into quarter-sawn oak. RIGHT The
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to dining room to kitchen creates a
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around when she was eight years old, she knows what colors go
with what and she has a great eye for design.” (Sam, for his part,
is an emergency-room doctor.)
Kathleen’s eye had been drawn repeatedly to the dimin-
utive cottage surrounded by an overgrown garden. In 2006,
when it went on the market, the couple bought the house and
rented it out. But by 2013 they’d sold the bigger house where
they’d raised their kids, and moved into the cottage, which sits in a historic district.
“The Sears kit had been shipped here via railroad and, in
1920, put up for a local man named Frank Eggleston,” Sam ex-
plains. “His name was stenciled on all the various house parts;
we found those stencils when we did some work on the house.”
The couple installed a new roof and new siding, and re-
moved a small portico that was part of a “Colonializing” of the
house in the mid-20th century. “Kathleen always said that the
entry porch looked wrong,” Sam says. “She wanted to replace it
with something heftier and not centered. Lo and behold, when
we saw those pictures of the ‘Argyle’ in the Sears catalog, the
original porch was exactly as she said it should be.”
The renovation was overseen by Clemens Pantuso Archi-
tecture in Chagrin Falls. The house, now offering 1,750 square
feet, had had just one bedroom; a second was added at the rear
in 1978. Its ceiling was removed to gain height at the rafters for a greater sense of space. The garage was rebuilt to turn it into
guest bedroom furnished with a Murphy bed; it connects to the
house through a laundry and mudroom addition. A wall be
tween the kitchen and the dining room was removed, the mas-
ter bathroom enlarged, and the house’s beautiful quarter-sawn
oak trim restored. “All the oak mouldings and trim were there,
but had been painted with blue-grey paint,” says Sam. “It took
a long time to strip all the door and window casings.”
CLOCKWISE FROM ABOVE Travertine
tiles laid in a herringbone pattern were a practical choice for the kitchen
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kitchen is a large gas stove set into the quarter-sawn oak cabinets and
topped by a vent hood; reproduction
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With the help of an enthusiastic crew of craftspeople,
Sam and Kathleen installed a new kitchen featuring quar-
ter-sawn oak cabinets, which Sam designed to match the origi-
nal millwork. “For design inspiration, we looked at magazines
and books picturing Arts & Crafts cabinets and millwork,” he
says. They chose green and black granite for the countertops, with travertine tile laid in a herringbone pattern for the floor.
Sam is a passionate gardener whose renewal took two
years, resulting in an informal, colorful cottage garden suitably
filled with old-fashioned flowers and plants. An ancient lilac
was “growing under the chimney,” Sam says. “I moved it and
it came right back. Nothing says ‘old-house garden’ like lilacs.”
Throughout, the couple was delighted by the quality of
the original building. Yet “it was designed and built so well that
a reasonably skilled handyman could put it all together,” Sam
says. “I never thought that I would have so much fun working
on a house!” Kathleen adds, “It’s cozy and just feels so comfort
able. We love living here!”
Their crew became fond of the house, too. “My carpenter Jason Perry, said, after eight months on the job, ‘Sam, this has
been one of those four or five jobs in my career where every-
thing clicks, where I’m excited to come to work and I am so
proud of the job we have done together. It’s almost a shame
that it’s ending.”
For Sam and Kathleen, however, this is just the begin
ning of their time enjoying the bungalow. a
ABOVE The master bedroom was
added in 1978, but the current owners removed the ceiling to add height.
RIGHT The owners slightly enlarged the
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FOR SOURCES, see p. 71.
A SEARS HOUSE
From 1908 until 1940, Sears, Roebuck and Co. sold over 70,000
kit houses through their ModernHomes and Honor Bilt catalogs.
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the guild
years—Amy in design and sales, Stefan as a mas-
ter builder in multiple media. They were ready for a
change in how they worked.
Stefan and Amy Sasick had
already named their new venture
Raw Urth, staying in the land-
scaping vein, when Amy won
a bid that included a new metal
fence. With no skilled resource to
turn to, the couple bought every
book on welding they could find, and boned up on
their rudimentary blacksmithing skills.
tive metalwork projects followed. “Our ignorance
helped us do things differently, because we didn’t
know they were ‘wrong’,” Amy says. Stefan de-
scribes the Raw Urth philosophy as “swimming up-
stream” (a term familiar in northeastern Colorado)
against the tide of anonymous, automated design
and fabrication. The Sasicks make use of wind en-
ergy, and their steel comes from American mills
AMY & STEFAN SASICK Raw Urth
Fort Collins, CO (866) 932-7510
rawurth.com
and appliances.
metalwork from fireplace screens to elaborate fire
features; beams, railings, and staircases; and, most
significantly, range hoods and countertops, which
the Sasicks initially crafted in steel rather than the
more traditional copper.
says. “The range hoods stood out. We love mak-
ing them, and clients couldn’t get enough.” Heavy
gauge, these hoods are fully welded and ground.
“There are no seams or folded metal,” Amy contin-
ues. “Each hood is a finished piece of furniture that
hangs on the wall.”
Work has been steady since the beginning, and
the firm will soon move to a larger shop with a show-
room. A new website is on the way, too. Through it
all, Amy and Stefan have abided by core values. “We
want to make things that our children will hold onto.
We want to do something that’s human.” a
— M a r y E l l e n P o l s o n
AMY & STEFAN SASICK
FROM LEFT Amy and Stefan Sasick transitioned from landscape to metalwork design as part RI D VHDUFK IRU D PRUH I XOOOLQJ OLI H 7KH &KHUU\
Hills range hood is supported on corbels
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R I C H A R D T . ANU S Z K I EW I C Z , EW I NG C A B I N E T CO . (CT R . )
HAPPY CAMPERS
Before there was Raw Urth, the couple owned a landscaping business
called Fluid Designs. Convinced that an outdoor environment should
include hardscape elements made from steel, they searched the market
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blacksmithing camp.
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the smell of burning coal and, most of all, how steel can be manipulat-
ed and hammered,” Amy recalls. Working with an antique anvil found
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left-handed leather gloves, Stefan and Amy learned the craft that set
them on the path to Raw Urth.
THE HANDCRAFTED WAY
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its patinas, all of them originated by Stefan Sasick. “For steel alone,
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Every piece is custom designed and unique, and made by a single
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one person has it from beginning to end.”
ABOVE A riveted copper slab makes an unusual island FRXQWHUWRS WKH KRRG LQVSLUHG E\ 5DZ 8UWKoV /HDGYLOOH GHVLJQ KDV VLPSOH KRUL]RQWDO VHDP GHWDLOV DQG ULYHWV RIGHT The Island
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Joining original board-and-batten siding, shingles and a cedar-shake roof add more texture. The cottage shutters are a Heide design. Boardwalk decks connect house to garage and other outbuildings.
48
T HIS COMPLETE MAKEOVER shows how the cottage sensi-
bility can be preserved even when a vacation cabin becomes a year-round home, updated with modern
amenities. Working within the strict guidelines of
the Lower Saint Croix National Scenic Riverway, which are reg-
ulated by the federal government as well as local townships,
David Heide Design Studio put a handsome new face on the
house while retaining original features. The board-and-batten
siding remains, enhanced now with shingles on the second lev-
el and a cedar-shake roof. Heide had to stay within the original
footprint, and so raised the roof ridge three feet and added dor-
mers to create a second floor. Now bungalow rooflines envel-
op the forest-color exterior with its whimsical cottage shutters. The steeper pitch allowed conversion of the children’s loft into
a new master suite, a guest suite, and a laundry room.
“The Scenic Riverway guidelines go beyond setbacks,”
David Heide explains. “They essentially demand that the hous-
es be discreet, if not invisible, when viewed from the river. Ma-
terials and colors must reflect nature, height is restricted, as is
clearing of vegetation…it was a challenge.
“The house was a ’50s rambler,” Heide says, “mostly
ABOVE Stairs were reversed and rebuilt in a cabin vernacular, with black iron rails made by local blacksmith Clay Beardshear.
Lighting was designed and made for the house.
The main-level kitchen remains in its original location, and retains the unique stainless-steel
GUDZHUV DQG FRXQWHUWRSV LQVWDOOHG E\ WKH UVW owner. The seating area and shelving terminus
is new. The art tile mural is by Motawi.
LEFT In the new suite upstairs, the bed faces the full-width bank of
dormer windows and a river view. (The TV disappears into the cabinet below.) The bed is backed by a
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GUHVVLQJ DUHD RSHQ WR WZR ZDONLQ closets; the cozy window bench is
a practical addition at one end.
FOR SOURCES, see p. 71.
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a Sheetrock box but with some cabin-like details, including
knotty-pin paneling. My clients had added some wood details
over the years.” Doug and Ann McMillan bought the cabin in
Hudson, Wisconsin, in the early 1990s, using it as a family summer getaway. But 20 years later they were spending more
time at the place and decided to upgrade.
“Our original intention was to create a master bedroom
with a bathroom that would work in cooler months,” Ann says.
“But during the remodeling we missed a summer—the project
was complete in September. So Doug and I moved in just to take
advantage of the remaining good weather. We never returned to
St. Paul!” The couple, in fact, sold their other house.
The family’s everyday kitchen is in its original location,
and still has the stainless-steel cabinet interiors, drawers, and
countertops installed by the first owner, who was a metal fab-
ricator. But now it opens through new French doors to a deck, and has a peninsula and seating areas embellished with Arts
& Crafts tiles by Motawi. The foyer was reconfigured and the
staircase changed for better flow and access to the new suite
above. “Heide’s elegant design solutions were quite extensive,
but relatively subtle; they changed our quality of life,” Ann says.
“The team generated ideas we never would have thought of.”
The overflow kitchen downstairs was reconfigured using
original materials, then given cottage charm with forest-theme
The spacious washroom leads to a separate shower and toilet. A cabin aesthetic, locally crafted, shows up in knotty-pine vanities and new skylights by Century Studios in St. Paul. This one is Spring; another one celebrates Autumn.
wallpaper and a pair of cutout shutters to separate it from the
family room. “It comes in handy,” Ann says, providing addi-
tional storage, ovens, and workspace for caterers during big
family gatherings. The room is immediately accessible to an
outdoor terrace and the path to the river. Square backsplash
and wainscot tiles here are from North Prairie Tileworks; the
paper is ‘Evergreen’ from Thibaut.
Before, the house had an open loft, with two twin beds
tucked into the space left between knee walls at the eaves. With
the raised roof and four large, shed-roof dormers for headroom,
the new second floor accommodates bedrooms and a laundry area. The master bedroom is long and narrow; Heide placed
the bed closer to the windows and backed it with a custom
dresser, dividing the room into sleeping and dressing spaces.
The dresser was inspired by tramp art, a folk art practiced
ca. 1870 to 1940 and given the whimsical name, appropriately
enough, during the 1950s, by antiques dealers. Like the old pic-
ture frames and decorative pieces, the dresser is chip-carved,
and inlaid with mirrors and stone. Behind it, doors open to
walk-in closets from a dressing area with a built-in bench seat.
The room is further divided by a fir beam supported on tree
trunks, a detail that also appears on the staircase.
Behind the dressing area, the master bath has a spacious
lavatory with twin facing sink counters; a door opens to a sepa-
rate shower and toilet. The knotty pine vanities by a local com-
pany, and new skylights with leaf motifs, celebrate the forest
setting. (LED lights lining the skylights allow the glass pattern
to be seen at night.) The Stark wallpaper is a contemporary
interpretation of William Morris’s ‘Honeysuckle’ pattern. The
marble tile floor was set in a traditional basket-weave pattern over radiant heat.
The owners say they had a master plan created for the site
during the 1990s, after a terrible storm took out many of the old
white pines. “I have a degree in landscape architecture,” Ann
confides, “and I’ve tried to maintain the original design, but I
can’t resist the temptation to experiment with new plants and
colors.” Wearing cedar shakes and old-fashioned green shut-
ters, the quietly updated house nestles into this lovely setting. a
In the classic Arts & Crafts landscape surrounding a Tudor manor south of San Francisco, vistas provide grandeur, garden rooms intimacy.
BY BRIAN D. COLEMAN | PHOTOGRAPHS BY WILLIAM WRIGHT
T HE RAMBLING English country house looked like it had
been there since at least the 1920s (in fact, it was built in 1973). Set on five acres south of San Fran-
cisco, its original landscape plan had been laid out
by renowned 20th-century landscape designer Thomas Church.
Even after almost a half-century, it remained a testament to his
genius. A long, winding entrance drive led to the house through
groves of coastal live oak and past stretches of lawn, lending
a stately presence. Already, a series of outdoor rooms afford-
ed multiple viewpoints around the property, and broad terraces
helped integrate the handsome stone Tudor into its surround-
ings. But by the time the current owners purchased the property
some years ago, the gardens needed reinvigorating. Several of the once majestic live oaks, so important for privacy, were in
decline; a specimen stone pine, long a focal point, had been
lost in a winter storm. Around the pool, the perennial gardens
needed reworking, and the kitchen and cutting gardens were
tired. Working with landscape designer Stephen Suzman (who
is now with Zeterre Landscape Architecture), these owners re-
stored the property over the next decade, carefully preserving
Church’s design while updating sympathetically.
A gracefully winding drive sets a tone of anticipation. It
was now given more emphasis, including a new entry court laid in cobblestones, which replaced an asphalt parking strip.
Towering eucalyptus lining the drive were supplemented with
redwoods. Near the house, purpleleaf plum and Pittosporum ,
grown unattractive, were removed and replaced with a simpli-
fied ground cover of uniformly graded ivy. The homeowners
love specimen trees, Stephen Suzman explains, so he intro-
duced more of them as focal points and as screens to better
enclose and define different sections of the landscape.
A trio of large swamp oaks (swamp white oak Quercus
bicolor ) replaced a giant live oak lost to Armillaria root rot; spec-
imen apple trees were planted to screen the back terrace; a new horse chestnut and a graceful weeping beech added interest to
the central lawn. Drainage had been problematic as the center
of the property rested in a low basin, and was one of the reasons
the old live oak succumbed; water was rerouted with French
drains and the clay soil supplemented with organic substrate.
The property’s hardscape was updated, more in keeping
with the architecture (rather than the 1970s). Wire-cut brick
pavers on terraces had clashed with the house’s color, scale,
ABOVE LEFT Near the house, garden rooms are formal. Centered in a grass island on the rear terrace, an antique, carved stone planter is the focal point. The table is a design by English architect Edwin Lutyens. ABOVE RIGHT 6WRQH XUQV DUH OOHG ZLWK IR[JORYHV *HUEHUD GDLVHV DQG
miniature roses. PREVIOUS PAGES Climbing roses soften a stone arch; a niche near the front door holds an urn with ferns and calla lilies.
CLOCKWISE FROM TOP LEFT
A pair of bronze birds adds an amusing accent. Roses cascade
over stone balustrades (and more bronze wildlife) in the rose garden. The landscape
includes intimate areas and vistas; trees are the backdrop
to a curving perennial bed
bordering the bluestone pool terrace. Trimmed
ER[ZRRG DGGV GHQLWLRQ WR
the rose gardens in front.
LANDSCAPE DESIGNER THOMAS CHURCH
Thomas Church, one of California’s most famous 20th-century landscape designers, laid out the original grounds here. Church is
credited with introducingModernism into landscapes, afterWorldWar II, in a fashion that came to be known as California Style—
gardens “meant for living.” The “outdoor room” was one of the designer’s signature concepts. In his 1955 book Gardens Are For
People, Church outlined four principles of garden design, all relevant today:
1 UNITY Integrate the house and its gardens together as a
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2 FUNCTION Outdoor recreational and service areas should relate to their interior counterpoints to make living comfortable.
3 SIMPLICITY Aesthetic and economic success depends on
simplicity of design.
4 SCALE Elements should relate to each other in size and proportion to create a functional and integrated landscape design.
ABOVE AND RIGHT Guardian squirrels and wise owls adorn the bronze gate that
opens to an enchanted kingdom. BELOW Garden rooms are punctuated by modern sculptures that provide a counterpoint to the traditional Tudor architecture.
and Tudor character; they were replaced with more attractive
bluestone. Terraces both in front of the house and in the rear
extend the house into the landscape. Lovely stone balustrades
in the front rose garden, original to the design, have been
replicated for back terraces as well, unifying and integrating
the two aspects into a seamless whole.
Suzman added structures throughout for height, and
also to separate and better define the plantings. Tuteurs and
arbors showcase the roses, while an Asian pear tunnel designed by Suzman, overplanted with climbing roses, creates
an enticing passageway from the front gardens to the work-
ing beds on the southern end of the cultivated garden. A new
pergola helps shade and soften the greenhouse.
The rear terrace is a garden room, its walls formed by the
house’s lovely diamond casements, over which clamber climb-
ing roses. It is “carpeted” with a lawn set into the bluestone,
and furnished with a carved stone planter and a fanciful table
designed by English country-house architect Edwin Lutyens.
“These owners love the magic in nature,” says interior
designer Paul Wiseman, explaining his inspiration for the pair of custom bronze gates set between two stone pillars at the
start of the garden drive. Decorated with cast birds and ani-
mals—squirrels, owls, sparrows—they set the scene.
Container plantings and pots by Jeanmarie White–
Brizio, colorful and lush, were placed throughout the garden
as focal points and bright accents. It has been her masterful
eye overseeing the garden for the past decade that has given
it continued beauty and appeal. a
the talent LANDSCAPE DESIGNER STEPHEN SUZMAN, Zeterre Landscape Architecture, San Francisco: zeterre.com
GATE DESIGN PAUL WISEMAN, The Wiseman Group Interior Design, San Francisco: wisemangroup.com
HORTICULTURIST JEANMARIE WHITE–BRIZIO, The Broom Closet, San Francisco: [email protected]
0,//:25.0,//:25.

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Abatron
Page 17
BarnFurniture Mart
Page 65
Pages Inside Back Cover, 66
Crown Point Cabinetry
Pages 1, 66
David Heide Design
Pages 29, 66
Fair Oaks Workshop
Pages 13, 66
Page 68
Pages 11, 68
Page 26
Sundial Wire
Page 70
WisdomInWood.com
LOGHOME.COM
www.WARDCLAPBOARD.com
restoration and new construction
P.O. Box 1030 Waitsfield, VT 05673 802-496-3581
CELEBRATETHE REVIVAL
ARROYO CRAFTSMAN LIGHTING
Custom product upon request.
BARN FURNITURE MART
Since 1945, Barn Furniture has handcrafted American made furniture in the Arts & Crafts,
Greene & Greene and Mission styles for every room in the home.
Available in a variety of woods and finishes.
888-302-2276; www.BarnFurniture.com
ARTS & CRAFTS PERIOD TEXTILES
Textiles made with techniques used at the turn of the century. Curtains, pillows,
table scarves, and bedspreads created withhand-embroidery, applique, and stenciling, in traditional as well as custom designs.
Embroidery kits also available.
BRADBURY & BRADBURY ART WALLPAPERS
“Tulip” Frieze, from our Arts & Crafts II Collection is a traditional floral motif, reminiscent of the warmly
hued stenciled designs from the Craftsman-era home. Samples available at:
www.bradbury.com
ARTS & CRAFTS PRESS
Hand-carved linoleum block prints and letterpress note cards by Yoshiko Yamamoto
at the Arts & Crafts Press in Tacoma, WA.
360-871-7707 www.artsandcraftspress.com
ABATRON, INC.
ABOCRETE™ epoxy patching and resurfacing compound forms a super strong and permanent
bond to concrete, metal, wood and most surfaces. It excels at repairing cracks and salt damage,
bonding broken pieces, and anchoring. It can be applied on dry or damp surfaces.
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800-445-1754; www.abatron.com
ACORN MANUFACTURING
Founded in 1937, a third generation family-owned business is today the finest and largest manufacturer
and distributor of forged iron builders hardware in the United States.
800-835-0121; Acornmfg.com
Americana offers the entire Devenco line of high quality, custom-manufactured window coverings,
including old-fashioned wood roll-up Porch shades, Colonial Wooden Blinds, Georgian and Plantation
movable-louver shutters and Raised panel shutters.
800-269-5697; www.shutterblinds.com
ARCHIVE EDITION
Archive Edition is your premier source
for the finest Arts & Crafts era textiles.Combining authentic period design with contemporary durability.
Yardage, home goods and custom projects.
310-676-2424; www.ArchiveEdition.com
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BUCKS COUNTY SOAPSTONE Soapstone is a simple contributor to its
environment never dominating the scene. This slant front hand-built sink is accessorized
with our recessed and runnels combination drainboard.
215-249-8181; www.BCSoapstone.com
CARREAUX DU NORD
The small working studio of Carreaux du Nordhas been making handmade tile for architectural projects and decorative use since 1995.
To see more art tiles please visit our website.
920-553-5303; www.carreauxdunord.com
THE BRIGHT SPOT Famous website of Arts & Crafts, Mission and Mica Lamps and lighting fixtures like Southern California Lighting’s unique Flattop Column Mount lantern.
800-736-0126 www.thebrightspot.com
THE BRIGHT SPOT Nationally renowned website of Arts & Crafts, Mission and Mica lamps and lightin

arts and crafts homes - summer 2016

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