design new england 2011 may june
TRANSCRIPT
house proud ▼ interiors ▼
Plane LivingAn architect and his client, both seasoned pilots, have a meeting of the minds at a Cape Cod airpark
Perfectly LivableAn addition designed around a casual lifestyle gives a young family a colorful new place to call home
Boston BloomsAfter 30 years of global showings, the World Association of Flower Arrangers is US-bound
Industrial LightIn an urban loft, architect Paul MacNeely uses a metal framework to strike a luminous balance
Calming NatureWith materials that reference an exotic Asian oasis, architect James Cullion designs a small bathroom that nourishes the soul
kitchen ▼ bath ▼see + do ▼
design
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the magazine of splendid homes and gardens • may/june 2011
new england
www.designnewengland.com
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The design concepts for the “inspired concepts” collection of model residences at The Residences at W Boston, including all loose furnishings and certain fixtures and finishes, were entirely conceived by the participating designers. Starwood Hotels & Resorts Worldwide, Inc., W Hotels and their affiliates were not involved in developing the design concepts or selecting such furnishings, fixtures and finishes for the unit and make no representations that they are consistent with the image, quality, design standards and expectations of the W Brand.
An SW Boston Hotel Venture LLC project. The Residences at W Boston are not owned, developed or sold by Starwood Hotels & Resorts Worldwide, Inc. or its affiliates. SW Boston Hotel Venture LLC uses the W® trademarks and trade names under a license from Starwood Hotels & Resorts Worldwide, Inc. This is not an offer to sell or solicitation of offers to buy, nor is any offer or solicitation made where prohibited by law. The statements set for therein are summary in nature and should not be relied upon. A prospective purchaser should refer to the entire set of documents provided by SW Boston Hotel Venture LLC and should seek competent legal advice in connection therewith. Equal housing opportunity.
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On the Covera cape cod getaway. photo by brian vanden brink. story, page 92.
6 D E S I G N N E W E N G L A N D • M A Y/ J U N E 2 0 1 1
features may/june 2011
“ We planted some peonies and fell in love with them, so we planted some more.” — jane roberts, co-owner of the peony farm in little compton, rhode island
76 Garden • Labor of LovePeonies, the perennial praised for bringing good fortuneand a happy marriage, deliver in Rhode Island.
78 Architecture • A Forever HomeAfter nine years in Boston, architect Paul Weber and his wife,Bonnie, moved to Newport, Rhode Island, where they boughta storied property and built a life around family.
84 House Proud • Plane LivingAn architect and his client, both seasoned pilots, have a meetingof the minds at a Cape Cod airpark.
92 Getaway • Paradise, Take II A much-loved family vacation house is reinvented in a new location — this time with more space for the grandkids.
100 Interiors • Perfectly Livable An addition designed around a casual lifestyle gives a young family a colorful new place to call home.
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STAMP OF APPROVAL • The United States Post Offi ce is giving top honor — top right corner placement, that is — to 12 iconic creations when it issues “The Pioneers of American Industrial Design” stamps this July. Among our favorites of the bigwigs recognized are Henry Dreyfuss with his 1937 Model 302 Bell telephone and Norman Bel Geddes, whose 1940 “Patriot” radio is memorialized.
departments may/june 2011
108
10 Editor’s Note
12 Publisher’s Note
18 visit • Jeff Schwartz After 20 years, the designer gets to buya coveted property on the Maine coast and fi nally live the dream.
27 selections • Take a Seat Outdoor vignettes inspired by a classic porch staple with a modern twist.
36 kitchen • Industrial Light In an urban loft, architect Paul MacNeely uses a metal framework to strike a luminous balance.
42 bath • Calming Nature Materials and colors that reference an exotic Asian oasis form a small bathroom that nourishes the soul.
48 places • A Vernacular Hymn Architect Robert A.M. Stern’s Shingle Style design for a university chapel celebrates its Newport, Rhode Island, legacy.
54 art • Cast Anew The proprietors of Giust Gallery and Skylight Studios see themselves as custodians of the past and creators of the future.
60 icon • Armed and ReadyIn the 19th century, armories were built to send a fi erce and mighty message. But to whom?
66 green essentials • Magazines fi nd a new place and purpose, plus a fresh, fun reason to buy local.
108 compendium • History Lesson Proof that good design endures throughout the decades.
110 advertiser index
111 resources • Details about the design professionals and products featured in this issue.
112 see+do • Boston Blooms After 30 years of global showings, the World Association of Flower Arrangers is US-bound.
5448
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mj2011TOCdeptREVISE.indd 8mj2011TOCdeptREVISE.indd 8 4/20/11 11:37:10 AM4/20/11 11:37:10 AM
from the editor
Olson Lewis Dioli & Doktor
assachusetts
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A R C H I T E C T U R E
JOEL
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gail ravgiala, editor
IN THE DEAD OF WINTER, I often consider ditching my drafty Victorian house for a cozy little condo with a door-man and someone to handle snow removal and leaky roofs. Then one day, usually about mid-April, when New England has a rare hint of spring, I wander into the small yard that wraps my house. Some years it is the sweet little primroses by the fence, others it is the parsley and chives poking through the soil in the purest, brightest shades of green I have ever seen that make me smile. My funk dissipates, the adrenaline fl ows, and I itch to grab garden gloves and a hand trowel and have at it. I can’t wait to pull weeds, lay mulch, and cut the itty-bitty lawn. A condo in a high-rise? Not a chance. To be happy, I need a patch of dirt.
One doesn’t need to share my compulsion to enjoy a garden, however. Some folks are satisfi ed just to look. Lucky for them — and for those of us who fi nd inspiration in the creative work of others — many gar-deners generously open their property for tours in support of local horticulture. (A list of tours is at DesignNewEngland.com.) In Boston, the granddaddy of them all is the 82nd annual Tour of the Hidden Gardens of Beacon Hill (beaconhillgardenclub.org), scheduled for May 19, from 9 a.m. to 5 p.m. Another favorite is the South End Garden Tour (southendgardentour.org), which this year is adding a twist to the standard format. On June 18, from 10 a.m. to 4 p.m., in addition to featuring more than 20 private and community gardens, the tour will have artists at some of the sites creat-ing works en plein air. The pieces will be sold at the Garden Arts Reception at the Lavine Civic Forum, 287 Columbus Avenue, from 4:30 to 7:30 p.m. In the dead of winter, they’ll be nice to have around.
saniya ghanoui, a graduate student at Emerson College in Boston and intern extraordinaire, got a crash course in the intricacies of design when writing two stories for this issue — and loved every minute of it. industrial light, page 36. cast anew, page 54.
peter vanderwarker is a freelance photographer and author in Newton, Massachu-setts, whose work can be seen in the Museum of Fine Arts in Boston, the Addison Gallery of American Art in Andover, Massachusetts, and in this issue. visit, page 18.
lynne damianos of Damianos Photography in Framingham, Massachusetts, specializes in photographing architecture, interiors, products, and people. She used all that experience and added aviation to the list when she shot John Garabedian’s Cape Cod home. plane living, page 84.
CONTRIBUTORS
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IF THERE IS ONE THING THERE IS NEVER ENOUGHof, it is recognition of design excellence. So we were pleased to support the American Society of Interior Designers (ASID), New England Chapter, awards gala at Mandarin Oriental, Boston hotel. Honors went to Jerry Arcari of Landry and Arcari Oriental Rugs and Carpeting, Stacy Garcia of Stacy Garcia Inc., Dennis Duffy of Duffy Design Group, and Taniya Nayak of HGTV’s “Designed to Sell.”
Kudos also go to the winners in the Excellence in Kitchen Design competition sponsored by Clarke, distributor of Sub-Zero and Wolf appliances, announced at Designer Appreciation Night at the company’s beautifully designed showroom in Milford, Massachusetts. Best contemporary kitchen went to architect Marcus Gleysteen of Gleysteen Design LLC, with E. J. Krupinsky of Lee Kimball as run-ner-up. In the traditional category, Gerard Ciccarello of Covenant Kitchens & Baths Inc. took the top prize, with Amanda LaRose in second place for a kitchen she designed for Venegas & Co.
The AD 20/21 Show is a celebration of art and design from the current and last century. We sponsored a seminar featuring legendary designer Jane Thompson, coauthor of Design Research: The Store That Brought Modern Living to American Homes, a history of the groundbreaking retail store founded by her late husband, architect Benjamin Thompson.
There are lots of worthwhile events planned for the months ahead as well. (Check DesignNewEngland.com for a listing.) And we invite you to attend one or more of our seminars, “Real Solutions for the Home” (see ad on Page 73). Let the learning, and the fun, begin!
stephen twombly, publisher
carnival of dreams benefit for the Room to Dream Foundation, from left: Barbara Collins, Kaffee Kang, architect D. Michael Collins (RTD board member), and Rich and Erin Cummings.
ad 20/21 gala, from left, Linda Durant, Marty Smith, and Alinka Amoroso with Massimo and Lella Vignelli, who received lifetime achievement awards, and designer Jane Thompson coauthor of Design Research: The Store That Brought Modern Living to American Homes.
clarke ceo tom clarke, center, with Jim Bakke, right, CEO of Sub-Zero and Wolf, and Steve Dunlap, vice president.
poggenpohl’s women in design Spring Fling, from left: Dani Toole, FBN Construction; Gwen Majewski, Women in Design chair, Rosemary Porto, Poggenpohl; Sharon Reilly, The Women’s Lunch Place; Bob Ernst, FBN.
honoree jerry Arcari of Landry and Arcari Oriental Rugs, at the ASID gala with his wife, Daisy.
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DES I GNnew england
ALL REAL ESTATE ADVERTISING IN THIS MAGAZINE IS SUBJECT TO THE FEDERAL FAIR HOUSING ACT OF 1968, THE MASSACHUSETTS ANTI DISCRIMINATION ACT AND THE BOSTON & CAMBRIDGE FAIR HOUSING ORDINANCES, WHICH MAKE IT ILLEGAL TO ADVERTISE ANY PREFERENCE, LIMITATION OR DISCRIMINATION BASED ON RACE, COLOR, RELIGION, SEX, HANDICAP, FAMILIAL STATUS, NATIONAL ORIGIN, ANCESTRY, AGE, CHILDREN, MARITAL STATUS, SEXUAL ORIENTATION, VETERANS STATUS, OR SOURCE OF INCOME OR ANY INTENTION TO MAKE ANY SUCH PREFERENCE, LIMITATION OR DISCRIMINATION. THIS MAGAZINE WILL NOT KNOWINGLY ACCEPT ANY ADVERTISING FOR REAL ESTATE THAT IS IN VIOLATION OF THE LAW. OUR READERS ARE HEREBY INFORMED THAT ALL DWELLINGS ADVERTISED IN THIS MAGAZINE ARE
AVAILABLE ON AN EQUAL OPPORTUNITY BASIS. TO COMPLAIN OF DISCRIMINATION CALL HUD TOLL FREE AT 1-800-669-9777. FOR THE N.E. AREA CALL HUD AT 617-994-8335.THE TOLL-FREE NUMBER FOR THE HEARING IMPAIRED IS 1-800-927-9275.
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Editor Gail Ravgiala [email protected]
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contributing editors
Editor-at-Large Jill Connors
Style & Interiors Estelle Bond Guralnick
Renovation & Architecture Bruce Irving
contributing photographersJoel Benjamin, Damianos Photography, Michael J. Lee,Dave Henderson, Warren Jagger,Eric Roth, Brian Vanden Brink,Peter Vanderwarker
contributing writersJohn Budris, William Morgan,Carol Stocker
contributing copy editorsBarbara Pattison, Michael Trotman
internSaniya Ghanoui
To advertise: 617-929-2706To subscribe: 800-591-8802email: [email protected]
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acknowledgmentsBoston Globe Account Executives Wayne A. Baker, Mike DeLello, Arlene Evans,Julie Glibert, Joanne Hall, Bruce MacDonald,Linda MacLean, Margaret Mancinelli, Tom Pilla,Melissa Severino, Diane WandersAdvertising Managers Joseph R. Brancaleone,Candice Geers, Barbara Gibson, Mary Kelly,Anthony Merullo, Ted Peterson, Elizabeth SucherDistribution Mark Anastas, Roy Cramond, Tew Chou, Kevin McGue, Nazrudeen Mohammed, Robert Saurer, Yu WangMarketing Kristin Bedard, Vanessa Cassell,Kathy Colafemina, Susan DiManno, Keith Dolan, Scott Halstead, Laura Pond, David Prior, Susan SutliffeProduction Support Sean P. Keohan, Kerol Lundy,Kelly Mallebranche, Irene Mauch, Elisabeth Murphy, Steven O’Connell, Jeffrey Zaks, Mary Ellen ZarroAdministrative Jean Kong
Design New England is published every other month by
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In addition to newsstand and subscription sales, complimentary copies of Design New England have been mailed to select households throughout the Greater Boston region.
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visit written by danielle ossher • photographed by peter vanderwarker
JEFF SCHWARTZ • After 20 years, the designer gets to buy a coveted property on the Maine coast and fi nally live the dream
18 D E S I G N N E W E N G L A N D • M A Y / J U N E 2 0 1 1
NE PARTICULAR PROPERTY ONthe Southeast Maine coast — a former Coast Guard barracks dating to the 1930s with the ideal combination of a storied past and proximity to the ocean — long had Jeff Schwartz daydreaming.
Then, after two decades of patience, he took a call that almost sent him off the road in shock. A friend, aware of Schwartz’s adoration, not only had learned the property was about to go on the market, he also knew the seller. It was a happy combination for Schwartz.
Even a laundry list of problems couldn’t deter Schwartz and his wife, Nancy Moss, from translating the dream into a second-home reality
jeff schwartz plays with Buddy in the front yard of his 1930s Coast Guard barracks turned home (below). A replica of the old Coast Guard boathouse is next door to his property.
O
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M A Y / J U N E 2 0 1 1 • D E S I G N N E W E N G L A N D 19
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— a process that took the better part of two years. “It was near to the ocean but really turned its back to it,” Schwartz says of the building’s appearance when they purchased it in the spring of 2007. “It was very dark and dank, with drop ceilings. There was a garage between the house and ocean, and the site was com-pletely overgrown — to the point people weren’t even aware it was there.”
While he initially considered razing the structure, Schwartz instead decided to work within the estab-lished framework. Given the existing four corners and general dimensions, he set out to fi ll in the rest. “Each space had to have a program, and a lot of things get put into the equation,” says Schwartz, whose fi rm, J. Schwartz Design, is based in Boston and Biddeford Pool, Maine. “It’s not about more, it’s about what’s right, what really fi ts beautifully in the space.”
He drafted a new fl oor plan within the allotted space, reinventing the layout to embrace the ocean view, sea breezes, natural light, and his and Moss’s casual life-style and furniture. The couple worked with John Gagne
Jr. Construction in Arundel, Maine, to execute the building plan.To optimize the ocean views, Schwartz fi lled the southeast side of
the house with windows. He then added two bump-outs — one in the family room to hold a love seat, the other in the living room for a cozy window seat from which he could watch the sun rise over the water each morning. The family room, with almost 19-foot-high ceilings and exposed crossbeams, features two levels of windows to maximize daytime light. Schwartz integrated another bump-out, this one 2 feet by 16 feet, specifi cally designed to make extra room to accommodate the couple’s large sectional sofa without obstructing foot traffi c or
the granite fireplace divides the family room from the dining and living areas. The second story is sheathed in barn board, and an interior window provides the master bedroom with ocean views. The informal dining area off the kitchen (left) features French doors set off with wood trim. A postcard (above left), dated 1938, shows the original Coast Guard boathouse and barracks.
visit J E F F S C H WA R T Z
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Boston | Washington DC | zenassociates.com | 800.834.6654
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sightlines. Reclaimed barn boards, hung horizontally on the upper walls, add warmth and make the room seem more intimate. A stone fi replace crafted by Nate Libby’s Masonry in Saco, Maine, anchors the space and serves to partition it from the dining room.
Upstairs, the master bedroom has prime placement, with four southeast-facing windows and a fi fth interior pane that lines up with one in the family room to offer yet another view.
“Since I was a kid, I wanted a cen-tral hall that was wide and generous, with French doors at the end,” Schwartz says. His new house delivers. The front door opens to reveal a roomy hall and the clas-sic doors beyond, which Schwartz framed with wood detailing to amplify the effect. The placement of the doors
the wide central hall, a feature Schwartz yearned for in a home, is both light and inviting. “Public spaces, for a house to be just right, should be generous,” he says.
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the deep window seat in the living room, one of three bump-outs Schwartz added to the floor plan, is now wife Nancy Moss’s favorite place to sip her morning coffee and watch the sun rise over the ocean.
J E F F S C H WA R T Z
also invites breezes, keeping things cool with just a ceiling fan even on the hottest summer days.
“A house should reveal itself to you, so when you walk in, it beckons you with surprises around every cor-ner,” Schwartz says. “There should be obvious places to walk, be, relax, work. It should be intuitive, so the house does the work.”
Once complete, the 2,800-square-foot retreat surpassed expectations. Not only did it give the empty nest-ers everything on their wish list, it also was the embodiment of Schwartz’s design sensibility.
“We pinch ourselves every time we’re in it,” he says. “We fi nd something new to enjoy or re-enjoy — a place to relax and enjoy the sea, because it really does feel like you’re out on the peninsula. The real evi-dence that the house works is that it all works together.”
mj2011visitb_BCGREVISE.indd 7 4/20/11 11:54:05 AM
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M A Y/ J U N E 2 0 1 1 • D E S I G N N E W E N G L A N D 27
selections Take a seat • But be prepared, this Weatherend Dark Harbor Rocker from Janus et Cie is an attention stealer. A new take on the classic porch staple, its sleek lines and high-gloss black fi nish make it a must-have. Three designers set out to show just how versatile this Maine-made statement piece could be. The results beckon.
produced by danielle ossher • photographed by joel benjamin
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28 D E S I G N N E W E N G L A N D • M A Y / J U N E 2 0 1 1
selections
wendy harrington landscape designer, america dural cambridge, ma; 617-529-0978, americadural.com.
“I see the rocker as an indoor/outdoor piece, so I wanted to set up a three-season porch setting and decorate it as if it’s an exterior room. I like to use modern pieces with quirky collectibles to create good tension.”
eames walnut stool Addo Novo; addonovo.com. outdoor rug, heath ceramics mug Didriks; didriks.com. audubon print, chair cushion America Dural; americadural.com. perforated planter StoneGate Gardens; stonegategardens.com. floor cushions Restoration Hardware; restorationhardware.com. carafe, candles West Elm; westelm.com.
selections
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pumpkin armchair by pierre paulin.
200 Boylston Street (park Square Side of the Four Seasons Hotel)
Boston(617) 451-2212
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selections
30 D E S I G N N E W E N G L A N D • M A Y / J U N E 2 0 1 1
tool chest, workshop mat Craftsman; craftsman.com. industrial work light Northern Tool + Equipment; northerntool.com.
mary burr albert, righter & tittmann architects, inc.boston, 617-451-5740, alriti.com.
“As the classic scene of a cheery rocking chair on a sunny porch seemed incongruous with the high-gloss black, we opted instead for a stormier theme, with a red and noir palette.”ann mccallum burr & mccallum, architectswilliamstown, ma; 413-458-2121, burrandmccallum.com.
When tasked with creating thisvignette, Ann McCallum (left) teamed up with her best collaborator, daughter Mary Burr.
mj2011SelectionsC_BCG.indd Sec1:28 4/12/11 4:33:20 PM
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32 D E S I G N N E W E N G L A N D • M A Y / J U N E 2 0 1 1
selections
garden wagon with canvas sides Janus et Cie; janusetcie.com. square glass lanterns, interlocking rings stool Wisteria; wisteria.com. woven buoy Williams-Sonoma Home; wshome.com. braided rug Restoration Hardware. candles, recycled glass tumbler West Elm. cushion, french postal sack pillow Custom for Kate Jackson Interior Design.
“ The high gloss is sleek and modern. I wanted to tone that down and create juxtaposition by adding contrasting elements with texture and warm, neutral tones.”kate jackson kate jackson interior designprovidence; 401-486-4006, katejacksondesign.com.
mj2011SelectionsC_BCG.indd Sec1:30 4/12/11 4:33:25 PM
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36 D E S I G N N E W E N G L A N D • M A Y / J U N E 2 0 1 1
FROM THE SUBTLE WOOD-PATTERNED tile fl oors all the way up to the aluminum and steel ceiling, the kitchen’s crisp and modern lines are apparent. However, with all that hardware, the owners, a cou-ple who had run a scrap-metal business
that had been in the family for three generations, did not want their kitchen to feel heavy or stifl ing. “We wanted to use materials that were organic but also had an indus-trial feel,” says the wife.
Working off raw space in an old industrial building
in Boston’s South End, architect Paul MacNeely, a partner at Eck/MacNeely Architects Inc. of Boston, transformed the penthouse unit into a contemporary, urbane retreat for his clients. He considered the space as a whole, and with ceilings that soared two stories high, it offered an opportunity to create a loft within the loft that would both offer added square footage and defi ne the kitchen. The problem, he says, was to fi nd a way to make the second fl oor look and feel integrated into the overall design.
A lantern inspired the solution, says MacNeely, who decided to use the “architecture as a light fi xture.”
INDUSTRIAL LIGHT • In an urban loft, architect Paul MacNeely uses a metal framework to strike a luminous balance
written by saniya ghanoui • photographed by eric rothkitchen
the elongated lines of the kitchen make it seem larger than its 315 square feet. The custom maple cabinetry by Caliper Woodworking in Malden, Massachusetts, works with the darker tones of the fumed-walnut island to create contrast.
architecture: eck/macneely architects inc.
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The kitchen and loft were conceived as one big unit. On the lower level, crisscrossing steel beams in a square pattern form the kitchen ceiling, which is inset with perforated alu-minum panels. Embedded in the panels are dimmable fl uorescent bulbs that send light gleaming through the custom mesh design. “One night, I was walking by and I looked up at the building and could see the glow of the ceiling,” says MacNeely, noting that from the street, the condominium did, in fact, resem-ble a huge lantern.
During the day, “the space is flooded with natural light. It’s a gift of the unit,” says MacNeely, pointing to the fl oor-to-ceiling win-dows that also provide sweeping views of the city. The couple wanted an indoor/outdoor effect, so the expansive windows were left curtainless, though there are electronically controlled shades that can be raised and low-ered as needed.
Sunlight washes over the kitchen island, the centerpiece of the room. Made of a richly
steel grid construction separates the kitchen from the media room on the upper level (above and illustration, right). Open shelves keep dinner and stemware within easy reach. The stainless steel backsplash on the peninsula to the leftedits the view from the dining area.
loftmedia roomguest bedroomart room
steel structure
kitchen
CONSTRUCTION White Builders, Woburn, MA
mj2011kitchenREVISE.indd 4 4/15/11 4:39:44 PM
Winner of Boston Magazine’s 2011, 2010 Best of Boston Home™ Award: Best Modern Contractor
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colored fumed walnut — “a nice, warm con-trast” to the maple used throughout the rest of the kitchen, says the wife — the island is used for both food prepara-tion and eating. The fi nishing touch is a marble counter-top that is “so beautiful, you just want to touch it,” says MacNeely. It is a stunning foil to the concrete countertops elsewhere in the kitchen.
At the far end of the room, a window-less wall sheathed in maple holds ovens and a glass-front refrigerator. Behind it is the pan-try. A work of art in itself, the trapezoidal space has enough room to house a microwave and an array of small appliances as well as typi-cal pantry items. The same wall, on the other end, also hides an offi ce nook ideal for the husband, who wanted an area that was private but “very much connected to what’s happen-ing in the kitchen.”
A peninsula divides the kitchen from the dining area. “We do a lot of cooking, and when friends and family visit, I don’t like to
the interior loft space is framed by windows, which keeps the condominium from feeling closed in. Playful accents of bright color counter the darkness of the industrial steel structure.
for more details,see resources
mj2011kitchenREVISE.indd 6 4/15/11 4:22:38 PM
be held captive in the kitchen,” says the wife. The peninsula counter, to which MacNeely added stainless steel cladding, is tall enough to edit the view. “I like to have everything that I’m using available and visible,” the wife says. “We have the open concept, so I wanted the counter to be high enough so when you’re sit-ting at the dining room table, you can’t see the mess in the kitchen.”
It is that contrast between open and hidden spaces, the layering of materials, and the optimization of light that illustrate what MacNeely fi nds so enjoyable about the kitchen. “There’s a sense of discovering the space,” he says.
drop-shaped glass pendant lights (left) that hang above the counter separating the kitchen and dining area add to the industrial sensibilities of the
design. Dimmable fluorescent bulbs shine through the custom mesh ceiling (above) while a long, narrow fixture provides task lighting above the island.
mj2011kitchen.indd 7 4/13/11 4:17:55 PM
42 D E S I G N N E W E N G L A N D • M A Y / J U N E 2 0 1 1
CALMING NATURE • With materials and colors that reference an exotic Asian oasis, architect James Cullion designs a small bathroom that nourishes the soul
written by gail ravgiala • photographed by michael j. leebath
IT IS A REQUEST THATarchitects and interior designers often hear from clients nowadays. They want a home that welcomes family and
friends, one where they can entertain colleagues and business associates or host a charity event,
architecture: james cullion architects
tiles laid to resemble a watery
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bathtub in the new master bathroom.
mj2011bath.indd 2 4/18/11 5:45:23 PM
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but at the end of the day, they want to escape to total privacy. They view the master suite as an oasis of quiet and calm, a retreat of welcome isolation from the world.
For many, that means a master bath of spa-like proportions and sensibilities: spacious yet minimal, modern, spare, and white. Not so for the clients of archi-tect James Cullion of James Cullion Architects in Boston. The husband, an academic, and the wife, a publisher of a children’s magazine, are both of Indian descent and are, he says, “exuberant, warm, hospitable people” who work hard and love to entertain.
The master bedroom and bath he designed are part of a whole house ren-ovation he tackled with Sage Builders of Newton, Massachusetts. The pro-gram called for opening up the Newton house to better accommodate large gatherings, which are fun and frequent. “But,” says Cullion of his clients, “when
they crash, they crash.” They envi-sioned the master suite “as a place to regroup. It is a sanctuary for them. It’s where they can unwind and decompress in the evening and then gear up in the morning and plan their day.”
Still, rather than a pared- down space with neutral tones and silky textures, the master bath is full of warmth and energy. “She’s a loud-color person,” says Cullion of the wife. While someone else might perceive the browns and greens of her nature-inspired palette as rich and vibrant, she considers them calming.
That she finds the small space satisfactory also might seem counterintuitive, but like a favor-ite spot in the woods, it isn’t the vastness of place that is its appeal, but rather its intimacy. “The bath-room is just 130 square feet,” says
two corner vanities were custom-crafted by Kidder BlaisdellWoodworks Corp. of Woburn, Massachusetts. Elegant in their simplicity, they save space and provide storage. Clear glass doors draw the eye to the shower lined with 12-by-12-inch sand-toned tiles.
mj2011bath.indd 4 4/18/11 5:46:49 PM
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Cullion. That may have suited the clients’ sensibilities, but given the amenities they wanted — a deep soaking tub, two vanities, a double-size shower, and private toilet area — it was a challenge for the architect.
The Monaco tub from Victoria + Albert LLC, which sits in front of windows that provide the bather with a leafy view of the backyard trees, became the focus of the room. On the wall opposite the tub, Cullion placed matching curved walnut vanities cat-ter-cornered on each side of the door to the bedroom. This created walls in the shape of half hexagons on which Cullion installed mirrors framed in walnut, a clever placement that uses their refl ection to full advantage to make the tight space seem larger. Torpedo-shaped sconces are mounted directly on the end mirrors and provide ample lighting when needed but nearly fade into the background when not in use. The corner positioning also maximized the amount of storage Cullion could squeeze into the room.
Handsome as the tub and vanities are, the scene stealers are the dramatic tiles used on the fl oor and wall around the windows. Wanting to refl ect her cultural heritage, the wife selected Pietra Di Noto fl oor tiles in a pattern that invokes water imagery. “I saw it as a ‘carpet’ for the tub area,” says Cullion, but his cli-ent saw it as a river. Originally, Cullion thought to set the pat-tern so the “waves” were parallel to the tub, “but she said she had to go into the river, not across it,” so the tiles were laid to resemble a watery pathway.
Custom decorative panels made from cel-adon Modono Glass Enna tiles, which have a captivating bamboo pattern, were installed on the wall. “They created a tropical environment and conjure the exotic,” says Cullion.
The double shower, which features two shower heads and two hand-held
the panels that frame the windows were fabricated with 12-by-24-inch Modono Glass Enna tiles in a tone-on-tone bamboo pattern.
mj2011bath.indd 6 4/20/11 1:35:21 PM
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sprays, is entered via a tall, clear glass door, yet another element that fools the eye and makes the space seem bigger. “It gives a sense of ‘beyond,’ ” says the archi-tect. Opposite the shower, the water closet is tucked behind a door of frosted glass that also keeps the space from feeling closed in. The toilet itself is a state-of-the-art water-saving model from TOTO.
Another space-saving device is the pair of French-style doors opening into the bed-room area. “There are wardrobes on either
side just outside the bath-room,” says Cullion, “and a conventional door would have interfered with access
to one of them.” They play into the sense of balance that comes from the deliberate symmetry to the design, “which the client fi nds appealing.”
The wife was immersed in the selection of fi nishes and fi xtures. “Shopping for materi-als took many trips,” says Cullion, but she knew what she wanted: a calming place that would deliver serenity with a natural warmth.
for more details,see resources
1 shower2 vanity3 bathtub4 toilet
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Master Suite
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CONSTRUCTION Sage Builders, Newton, MA
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places
48 D E S I G N N E W E N G L A N D • M A Y/ J U N E 2 0 1 1
written by jill connors • photographed by warren jagger
A VERNACULAR HYMN • Architect Robert A.M. Stern’s Shingle Style design for a university chapel celebrates its Newport, Rhode Island, legacy
THE BELLS RINGING IN THE TOWER OF Our Lady of Mercy Chapel on the Salve Regina University campus in Newport, Rhode Island, clearly call the community to worship, but the tower itself also sends an architectural message. With its steeply
pitched shingled roof, stone exterior, and eyebrow portico at the vestry door, it speaks the language of Shingle Style.
Architect Robert A.M. Stern designed the chapel with full appreciation for the context of the architectur-ally distinctive campus, which has an 1892 Chateauesque mansion, called Ochre Court, as its main administration
building. “There are two kinds of Newport architecture that exist on the campus at Salve,” says Stern, “the stylis-tically eclectic mansions of the Gilded Age and the more vernacular, naturalistic houses.”
Stern, a renowned New York City-based architect who is also dean of the Yale School of Architecture, took his cues from Ochre Court, which is adjacent to the cha-pel’s building site. Working with his team, led by project architect Grant F. Marani, Stern envisioned a chapel with geometry and orientation similar to the mansion’s, but with Shingle Style elements from other campus build-ings, including the nearby Rodgers Recreation Center, which Stern designed in 2000.architecture: robert a.m. stern architects
elements of shingle Style include cedar shingles on the broad gable end, bell tower, and all roofs, and granite on the lower facade.
OUR LADY OF MERCY CHAPEL AND SPIRITUAL LIFE CENTER Salve Regina UniversityOchre Point AvenueNewport, RI401-847-6650salve.edu
mj2011places.indd 2 4/14/11 3:42:24 PM
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The chapel faces northeast, as does Ochre Court and McAuley Hall, the 1880 Romanesque Revival mansion originally called Vinland, which also stands adjacent to the site. For materials, Stern used New England granite, which complements the stone of the mansions, and, of course, cedar shingles for siding and roof.
“In composition, the precedent was the 19th-century Shingle Style chapels that are
The Catholic Church prefers that religious artifacts continue to fi nd service in a church setting if their original location is dismantled. Our Lady of Mercy Chapel on the historic campus of Salve Regina University, a Catholic college in Newport, Rhode Island, has many examples.
The three bells in the chapel tower date from 1910 and were originally created by the Meneely Bell Company of Troy, New York, for a church in Lawrence, Massachusetts. The Latin inscription on the largest of the salvaged and restored bells translates: “Call the Living, Bury the Dead, and Repel Lightning.”
The chapel’s 13 opalescent leaded glass windows by artist John La Farge were salvaged from a convent in Fall River, Massachusetts. La Farge, who lived in Newport from 1859 until his death in 1910, originally designed the windows, which depict Madonna and Child, various saints (inset), and decorative motifs, in 1890 for a private chapel in a Newport summer mansion. When that house was razed in 1931, the windows were moved to the convent. The university acquired them in 2004 when that building was demolished.
Architect Richard Quinn used salvaged elements from other churches to design the tabernacle shelf, which is supported by brackets that are upside-down pew ends.The lectern and altar are crafted from various pieces salvaged from the same convent as the La Farge windows. The triptych panel behind the tabernacle includes reused panels with carved angels and other decorative details.
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found throughout the Northeast,” says Stern. Although the university traces its begin-
nings to a Catholic order, the Sisters of Mercy, who received Ochre Court as a gift in 1947 and opened the school with 58 female stu-dents, it did not have a purpose-built chapel. For years, the college community worshiped in Ochre Court’s former ballroom. According to Michael Semenza, vice president for university relations and advancement, the intent to build a chapel was always there, but other projects took precedence. Today, the campus covers 80 acres bordering Newport’s famous Cliff Walk and the Atlantic Ocean, with seven contigu-ous 19th-century estates, 21 historic buildings, and 2,500 students. “We have a historic cam-pus, and it was important to contextualize the chapel project,” says Semenza.
Motivation — both spiritual and fi nan-cial — for the chapel arrived in 2004 when the university and donors acquired 13 stained-glass windows created in 1890 by artist John La Farge. The opalescent works, depicting saints, vines, and fl owers, had originally been installed in a Newport house. They had been transferred to a convent in Fall River, Massachusetts, which was facing demolition when Salve Regina res-cued them. Their acquisition and restoration became a central focus of fund-raising efforts.
“We located the La Farge windows where we thought they could be viewed by the most people,” says Stern. Five occupy a vestibule opposite the chapel’s interior doors; four more grace an antechamber of the nave; the other four were incorporated as architectural details in various interior doors and windows.
the chapel nave, accented with oak trusses and beams, includes a lectern and altar made from pieces salvaged from a convent.
mj2011places.indd 5 4/15/11 11:18:54 AM
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the eyebrow portico over the vestry door at the base of the bell tower recalls the whimsical accents of the Shingle Style.
For the main worship area, Richard Quinn, an architect in Middletown, Rhode Island, who has designed many church inte-riors, guided the design, evoking a sense of simplicity with oak trusses and beams accen-tuating the vaulted interior, and oak arches highlighting the altar and passageways. The building, whose formal name is Our Lady of Mercy Chapel and Spiritual Life Center, also includes a lower level, which houses a confer-ence room, classroom space, and offi ces.
As befi ts a structure meant to be a central gathering place for the campus, its bluestone
walkways link to existing pathways. “The sit-ing was done in a way that we didn’t need to rebuild all the paths,” says Stern, whose team considered the crosscurrents of campus traffi c during design. Now it seems as if the new chapel has always been there, and as the bells in the tower call out students, faculty, staff, and passersby, all seem to quicken their pace.
from the street, the asymmetrical design of the chapel presents inviting facades.
mj2011places.indd 6 4/14/11 3:56:58 PM
54 D E S I G N N E W E N G L A N D • M A Y / J U N E 2 0 1 1
CAST ANEW • The proprietors of Giust Gallery and Skylight Studios see themselves as custodians of the past and creators of the future
written by saniya ghanoui • photographed by joel benjaminart
ROBERT AND KATHLEEN SHURE HAPPILYhave the weight of preserving his-tory on their shoulders. Their Woburn, Massachusetts, sculpture studio is home to two unique businesses with deep roots —
the Giust Gallery, which specializes in reproductions, and Skylight Studios, which creates custom commissions.
To understand the scope of what the Shures, who have been married for almost 41 years, undertook, a little his-tory lesson is in order.
In the late 1800s, Pietro Caproni founded P.P. Caproni & Brother in Boston, where he and his sib-ling, Emilio, made reproductions of famous sculptures. The two traveled all over Europe making multi-piece
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plaster molds. “Caproni amassed a huge collection of molds,” says Robert Shure, noting that the great museums, churches, and other stewards of these major works of art gave Caproni access because of his world-renowned reputa-tion as a master of his trade. “They mademolds off all the originals — you can’t do that anymore. He was really way ahead of his time. If you think of the greathistory of art, it was all cast art,” he says, adding that if you have the cast mold, you essentially “have the original.”
During Caproni’s lifetime, his business thrived. “He had very promi-nent clients. He worked with interior designers and architects. It wasn’t until after his death in 1928 that his studio went down,” says Robert. The business changed hands several times until Lino Giust bought it in the late 1960s and renamed it the Giust Gallery.
Meanwhile, in the early 1950s, a little less than a mile from the Caproni
studio on Washington Street in Roxbury, two noted sculptors from the Boston area, Arcangelo Cascieri and Adio diBiccari, started what would eventu-ally become Skylight Studios. The two worked on commissions, including many for the Catholic Church.
“The turning point for me was meet-ing Cascieri and diBiccari,” says Robert. It was the early 1970s, and he was a gradu-ate student at the School of the Museum of Fine Arts, where he was still searching for his medium. “In fi ve seconds, I knew this is what I wanted to do. I became their last apprentice.”
It was through his two mentors that Robert met Lino Giust and his destiny was cast, so to speak. “I was so involved with the sculptors … that I wanted to preserve their studios,” says Robert. And preserve them he did. Robert and Kathleen took over the Cascieri and diBiccari studio in the mid-1980s, fol-lowed by the Giust Gallery a decade
praxiteles’s venus de medici sits in front of a wall of Caproni reliefs fi nished in a variety of patinas. Creating the stains is a “whole art in itself,” says Robert Shure.
mj2011art_BCG.indd 4 4/18/11 1:52:13 PM
art
later. “The Caproni cast collection is prob-ably the biggest in the country. We have around 1,000 original molds” out of the 4,000 in Caproni’s fi rst catalog published in the early 1900s, Robert says.
The couple maintain the standards by which Caproni and his “two masters,” as Robert calls Cascieri and diBiccari, abided. “Quality
is number one,” says Robert. “We try to keep it as true or accurate as possible. Caproni was esteemed; if he wasn’t, he wouldn’t have been able to make all these molds.”
“What was considered good versus bad plaster cast back then still holds true today,” says Kathleen. “We try to keep the tradition alive. It serves an important purpose and is a great way to teach.”
The Shures recognize the wonderful marriage of their studios — one that does repro-ductions and one that does original work. “They complement each other,” says Kathleen.
With 12 people working for them, the couple continue to look to the future. Their dream, says Kathleen, “is to have a little build-ing for a cast museum.”
kathleen and robert shure in their studios. Their work includes statuary at Symphony Hall in Boston.
mj2011art_BCG.indd 6 4/19/11 11:20:52 AM
While the Giust Gallery takes extreme care in reproducing Caproni & Brother pieces, the Shures’ work at Skylight Studios is centered around original sculptures. The process, from concept to fi nal product, is not a quick nor easy one. First, the sculpture is shaped out of clay (bottom). When complete, a negative mold is made by applying rubber backed with plaster (below). This mold is used to make a plaster cast, which in turn shapes another mold that is used to create the fi nal sculpture, almost always in bronze. The studio works on both private and public commissions, including many memorials. The time invested in each pieces varies greatly depending on size and intricacy.
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new england’s armories went through several style phases. The longest and strongest was the Romanesque, inspired by castles of medieval Europe. Boston’s First Corps of Cadets building (above, center) is a prime example.
written by bruce irving icon ARMED AND READY • In the 19th century, armories were built to send a fi erce and mighty message. But to whom?
60 D E S I G N N E W E N G L A N D • M A Y / J U N E 2 0 1 1
THEY TAUGHT US IN SCHOOL THAT THEwhole idea behind the American Revolution was to get away from kings and all their trappings: pomp, circumstance, scepters, castles. So why do so many New England cities and towns — home to famil-
iar building types such as triple-deckers, simple apartment blocks, classic Cape Cod houses, and plain white steepled churches — host armories, elaborate piles that look like they came out of the legend of King Arthur? And what are these fortresses for, anyway?
Their beginnings were humble enough. In 1777, the rebellious young country’s fi rst armory was established in Springfi eld, Massachusetts — in a rented barn. The site was chosen for its proximity to the Connecticut River,
which could be navigated by small commercial vessels but not by something big (like a British man-of-war), and because it was at the crossing of two stagecoach routes, which provided good communication with seaboard towns yet was far enough inland to avoid a naval attack. Used for military storage by the colonists, it later took up mus-ket manufacturing in a new purpose-built structure under orders from General George Washington. (Arms making continued long after the Revolution. The armory built the famous Springfi eld rifl e that was standard issue for the US military during World War I. The M1 used dur-ing World War II was designed and made there as well.) Decommissioned now, the Springfi eld armory’s complex of mostly Greek Revival buildings is the centerpiece of a National Historic Site.
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The new republic’s Constitution tried, in its mangled syntax, to make it clear: “A well regulated militia, being necessary to the security of a free state, the right of the people to keep and bear arms, shall not be infringed.” To support their militias, states built armories, usually modest in size, in the architectural styles of the time. After the Civil War, architects embraced func-tionalism, which held that a building should announce its use as clearly as pos-sible. Churches, banks, and houses needed to look different. Architectural style would henceforth carry meaning.
An armory, in the words of urban histo-rian Robert Fogelson, needed to announce that it housed “a military organization … to stand as a symbol of authority, of the overwhelming power of the state, of its deter-mination to maintain order and, if need be, its readiness to use force.” What better archetype than a castle? It was at hand in the popular Gothic Revival and Romanesque styles, which looked back at medieval for-tresses for features like crenelations (notched walls along a battlement, for shooting arrows and other projectiles), machicolations (open-ings between supporting brackets or corbels, for dropping stones, burning oil, etc., on attackers), and bartizans (overhanging tur-rets, for sentries).
As outlandish as these things sound today, they fi t in rather well with some of the new buildings going up in New England’s cities in the latter half of the 19th century. H.H. Richardson’s 1873 Trinity Church in Boston was a gutsy collection of Romanesque details, with great arches, rusticated stone, and substantial pillars. Not far away, on Park Square, William G. Preston designed in a similar style in what Fogelson calls the most imposing armory in New England, the First Corps of Cadets building of 1891. Today, it is home to the Smith & Wollensky steak-house and an exhibition hall. The building features everything a castle-style armory should. The front, where the restaurant is now located but which was then a formal administration building, features four stories of quarry-faced granite topped off with a cor-belled arcade and crenelated cornice, with a hexagonal tower sporting a carved winged dragon and a battlemented parapet. An inte-rior of rich woodwork, grand fi replaces, and
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staircases (much of it restored by the res-taurant’s owners) made for a men’s club atmosphere, which was how members of the regiment treated it. The exhibition space was once a hall for military drills, with entrances protected by heavy iron doors, loopholes for rifl es to poke through, win-dows protected by retractable bulletproof shutters, even a “moat” between the side-walk and building.
Whom were these structures guarding against? Was the country in imminent dan-ger of attack from Canada or the Canary Islands? Were the British coming back? A clue can be found in the strong uptick in armory construction following the railroad strike and accompanying labor riots that swept the coun-try in 1877. In response, according to labor historian Philip Dray, the National Guard expanded and armories were erected to “keep the workingmen in check.” The elite was pro-tecting its interests from the mob, and railroads, coal companies, and wealthy individuals con-tributed funds to build the new fortresses. In Boston, the Daily Advertiser newspaper urged citizens to support their armories and militiamen, calling them “the last resort in dis-turbances of the peace, and in the protection of life and property.”
Time passed, the labor movement coalesced around organized unions, world wars came and went, and the armories, with their intimidation factor and bulk, faded in both appeal and economic sense. Some have been lost: Boston’s Irvington Street Armory was torn down in the early 1960s to make way for the Massachusetts Turnpike; Boston University razed the Commonwealth Armory in 2002 and built dormitories. Others, like the one in Somerville, Massachusetts, have found new lives. It sat mostly vacant for 30 years, until Joseph and Nabil Sater, own-ers of Cambridge’s Middle East music club, bought it in 2004. Completely restored, it’s now Arts at the Armory, a venue for just about every kind of community art event. The Milk Street Armory, built in 1895 in the Old Port section of Portland, Maine, opened as the 95-room Portland Regency Hotel & Spa in 1987.
Thick steaks, on-stage pageantry, a soft bed at the end of the day — we may have done away with kings, but we’ll defi nitely keep the castles.
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The designers at Dream Kitchens start each project with an in-depth client consultation. Clients thenreceive three unique designs for their project, along with guidance about the pros and cons of each lay-out along with objective opinions. This process helps clients make all the necessary decisions about their project. “Our designers pride them-selves on the ability to creatively solve challenges of budget, space, function and style, to ultimately
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66 D E S I G N N E W E N G L A N D • M A Y/ J U N E 2 0 1 1more
green essentialsedited and produced by danielle ossher
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pretty poly • Brentano’s tex-tile line Sanctuary (above in clear water and hermit crab) is just that for Mother Earth. Rather than becoming postindustrial waste, polypropylene is salvaged and repurposed into a colorful indoor-outdoor fabric. The eco options don’t stop there. Brentano (brentano-fabrics.com) recently launched a 100 percent natural bamboo drapery line. Bamboo, which is a grass, is a rapidly renewable material. It is braised, crushed, decomposed, and refi ned before being formed into a fi ne yarn woven into a handsome cloth that absorbs moisture and deodorizes. Available through Donghia,
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Driven Design • How peonies lured a couple out of retirement • An architect and his family fi nd their Rhode Island idyll • Aviation inspires a house by the runway • A beloved getaway is reinvented with grandkids in mind • Laid-back sensibilities dictate a massive expansion
M A Y/ J U N E 2 0 1 1 • D E S I G N N E W E N G L A N D 8 1
may/june 2011 Inside Summer
photo by david hendersonoto by david henderson
the scarlet “america” peony is noted for
its rich color, single bloom, and strong stem.
Story, Page 82.
mj2011frontis.indd 81 4/18/11 2:23:09 PM
7 6 D E S I G N N E W E N G L A N D • M A Y/ J U N E 2 0 1 1
PEONIES, T H E P E R E N N I A L P R A I S E D F O R B R I N G I N G G O O D
THE PEONY FARM IS A HOBBY THAT “WENT ASTRAY,”
says Jane Roberts, who now fi nds herself running a nursery
with her husband, Clint Thompson. When they married 10
years ago, they retired to Little Compton, Rhode Island, on 2
acres overlooking Watson Reservoir. “We planted some peo-
nies and fell in love with them, so we planted some more,”
she says. It was easy to keep adding to their collection because,
although expensive, peonies are almost maintenance-free.
Local nurseries offered mostly old-fashioned varieties, so the
couple sought out newer hybrids from distant breeders, includ-
ing “intersectional” peonies, which are revolutionary crosses
between herbaceous garden peonies and woody tree peonies
that had recently arrived from Japan.
As the garden grew, more people visited to see the peak
bloom. When garden club members came through on tour six
years ago, they asked to buy the unusual plants, and the couple
found themselves in business.
The garden is open only two weeks a year, usually June
5–19, with weather determining the actual dates. To fi nd out
when to visit and how to order, go to ThePeonyFarm.com, e-mail
[email protected], or call 401-592-0002.
LL A B O R O F
O V E
mj2011peonyF.indd 2 4/8/11 3:28:27 PM
M A Y/ J U N E 2 0 1 1 • D E S I G N N E W E N G L A N D 7 7
G A R D E N
F O R T U N E A N D A H A P P Y M A R R I A G E , D E L I V E R I N R H O D E I S L A N D
jane roberts tends to rows of red “Felix Supreme” and white “Festiva Maxima”at The Peony Farm. Colorful cut fl owers (facing page) are ready for a vase.
Written by
C A R O L S T O C K E R
Photographed by
D A V E H E N D E R S O N
Produced by
L Y N D A S U T T O N
mj2011peonyF.indd 3 4/8/11 3:29:11 PM
2 D E S I G N N E W E N G L A N D • M O N T H / M O N T H 2 0 1 0
written by J ILL CONNORS / produced by LYNDA SUTTON / photographed by ERIC ROTH
mj2011weberREVISE_BCG.indd 2 4/12/11 12:40:41 PM
M O N T H / M O N T H 2 0 1 0 • D E S I G N N E W E N G L A N D 3
A R C H I T E C T U R E
the kitchen’s open layout gives Darcy (foreground) and Ainsley Weber plenty of room to play. Granite countertops add muted color to the neutral palette of tan walls, white trim, and white-oak fl oors. A wall of windows make the most of the southern exposure.
A F O R E V E R H O M EAfter nine years in Boston, architect Paul Weber and his wife, Bonnie, moved to Newport, Rhode Island, where they bought a storied property and built a life around family
mj2011weberREVISE_BCG.indd 3 4/12/11 12:41:04 PM
8 0 D E S I G N N E W E N G L A N D • M A Y/ J U N E 2 0 1 1
but they walked away from their Boston life one fall day in 2001 and haven’t looked back. A soulful streak runs strong in both Paul and Bonnie Weber, so when Paul by chance drove past a stunning piece of land off Bellevue Avenue in Newport, Rhode Island, shortly after the September 11 terrorist attacks, he knew it was the place for them. At the time, Paul was an architec-tural designer with CBT Architects, one of Boston’s leading design fi rms, and he and Bonnie had just put a deposit on a unit in a Boston high-rise. But when they searched their souls in the aftermath of 9/11, they real-ized “home” meant something very different.
“Light is so important to me,” says Bonnie, who grew up in Philadelphia and spent summers on
Martha’s Vineyard, where her fam-ily owns property. Paul, a Michigan native and descendant of two nota-ble Detroit architects, was no stranger
to coastal New England. He studied at Rhode Island School of Design in Providence and summered in Newport for many years.
The piece of property they fell for was indeed stun-ning. A 1½-acre lot, it sits just a few blocks from the ocean in the shadow of Newport’s Gilded Age man-sions. While the large house that once stood on the land was razed in the 1960s, the 19th-century barn was still intact. Most compelling, however, were the glori-ous trees that seemed to be everywhere.
“This site is all about the trees,” says Paul Weber,
noting such specimens as fern-leaf beech, hawthorn, oak, chestnut, and tulip trees, many of them more than 100 years old. After buying the land in 2002, the couple walked the property numerous times — with their daughters, an infant in arms and a toddler running through piles of leaves — to work out the exact location of the house.
“For the arrival sequence and the entry to the house,” says Paul, “we wanted to incorporate the existing barn, which stands at the eastern edge of the property.” During a yearlong planning phase, he worked for a local architectural fi rm by day and drafted plans for their house by night. His design draws from the free-form spirit of famous Shingle Style houses in the neighborhood and includes a series of cedar-shingled gables contributing to a steeply pitched, irregular roofl ine and deep overhangs that create sheltered porches. In addition, he included a porte-cochere, a signature element from Newport’s Shingle Style houses; this one joins the main house to thegarage and also creates a second-fl oor work space for him.The barn stands a few hundred feet beyond the garage.
For the interior plan, Weber played up the light, plac-ing living spaces on the south and west sides of the house. “We had a lot of debate about how open the layout should be and whether to include a formal dining room,” he says. In the end, he created a 1,600-square-foot fi rst fl oor that consists of two main pieces: an open kitchen-breakfast-family area, and an open living-dining area. Ten-foot-high ceilings emphasize the sense of spaciousness, and large divided windows let in natural light. Millwork throughout
newport summers offer refreshing breezes, which Bonnie Weber and the girls (above) enjoy in the living room. French doors in the living room, hallway (right), and kitchen all lead to a south- and west-facing bluestone patio, giving the main fl oor an indoor-outdoor feeling when the doors are open. The east-facing front door (left) is set off by a columned porch formed by a deep overhang. The driveway winds through a porte-cochere, past the garage, and alongside the 19th-century barn before rejoining the street.
THEY WERE A CITY COUPLE WITH CITY PLANS,
architecturepaul weber
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the fi rst fl oor, such as paneled kitchen cabinetry, a coffered ceiling in the living room, deep base and crown moldings, and ample window trim, infuses the open layout with a sense of tradition. A winding stairway with a handsome mahogany handrail leads to the second fl oor, where four bedrooms are posi-tioned for southern and western exposures. The stairway continues to the third fl oor, where, in the fi ve years since the family moved into the house, a partially fi nished attic has become a project space for Darcy, now 8, and Ainsley, now 11.
“All along, my goal was to cre-ate a house big enough to be a family house, but that would also take full advantage of the site and the orien-tation relative to the trees and the light,” says Weber, who a few years ago started his own architecture prac-tice in a restored mill building along Newport’s harbor. Now, with plenty of light for Bonnie and an inviting lawn for two girls to romp, by all accounts, the family is home.
Architect Paul Weber brought his architectural and geographic roots home to Newport when he designed a living room hearth made of vintage tiles (inset) from Pewabic Pottery in Detroit. “When I was about 10, my mother picked up my brother and me from school and took us to a house that was being demolished in
Ann Arbor,” recalls Weber, who salvaged armloads of Pewabic tiles from the house — and hung on to them. Pewabic Pottery, an art pottery still in existence, was founded in Detroit in 1903, and was a favorite source of tile work for Weber’s great-grandfather, John M. Donaldson, and grandfather, Alex G. Donaldson, both architects whose fi rm, Donaldson & Meier, designed many notable civic buildings, including the University of Michigan Art
Museum. “When I started designing this house, I knew I had only a certain number of the old tiles,” says Weber, who used most of them for the living room fi replace. He also used them sparingly as accent tiles in the kitchen backsplash. “I didn’t know my great-grandfather or grandfather, but I feel a connection in using Pewabic tiles in our house,” says Weber, who makes it a point to visit pottery every time he returns to Michigan.
design decision
Vintage Tiles Find a Home at Last
“ ALL ALONG, MY GOAL WAS TO CREATE A HOUSE BIG ENOUGH TO BE A FAMILY HOUSE, BUT THAT WOULD ALSOTAKE FULL ADVANTAGE OF THE SITE ” — PAUL WEBER
for more details,see resources
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gathering places in the house include the sofa in the kitchen-family area (facing page, bottom), where Paul and Bonnie Weber relax with their daughters. The stairway, with white balusters and mahogany handrail, adds a distinctive backdrop to the dining area (facing page, top) and offers a number of landing spots for the girls (right) as it winds up to the third fl oor.
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1 garage2 porte-cochere3 mudroom4 kitchen5 terrace6 living room7 dining room8 foyer9 porch
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radio entrepreneur John Garabedian is in the pilot's seat of his restored 1961 Piper Super Cub as it takes off in front of his house at the Falmouth Airpark on Cape Cod. A 2011 Piper Sport is parked in front of the door to the house's basement hangar.
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An architect and his client
have a meeting of the minds
at a Cape Cod airpark
W R I T T E N B Y J O H N B U D R I S
P H O T O G R A P H E D © D A M I A N O S P H O T O G R A P H Y
A R C H I T E C T U R E B Y L U N A D E S I G N G R O U P
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H O U S E P R O U D
An architect and his client have a meeting of the minds at a Cape Cod airpark
W R I T T E N B Y J O H N B U D R I S / P H O T O G R A P H E D B Y D A M I A N O S P H O T O G R A P H Y
planeliving
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RCHITECT JOSEPH L. LUNA AND HIS CLIENT, RADIO AND television entrepreneur John Garabedian — both seasoned private pilots — were a match made in the heavens. When Luna learned he could fl y his single-engine Piper Cherokee from Boston’s North Shore, where Luna Design Group is located in Lynnfi eld, Massachusetts, to Garabedian’s pro-posed building site at the Falmouth Airpark on Cape Cod, an iconic cinematic
moment came to mind. “I thought of that scene from ‘Casablanca’ when Humphrey Bogart puts his arm around Claude Rains and says, ‘Louis, I think this is the beginning of a beautiful friendship.’ ” Few fi rst meetings between architect and client go so smoothly. Garabedian wanted a house designed around a four-plane hangar, with a revolving carousel to shelter some of his two dozen classic and cutting-edge aircraft. He also needed a state-of-the-art studio from which to broadcast his weekend national radio shows. That’s the nut of the guidance he offered Luna.
“I came back with my preliminary drawings and John immediately loved them,” says Luna, “especially the runway-facing facade that incorporates the expansive hangar door, plus a multistory structure that suggests the look of an air traffi c control tower, complete with a windsock and observation deck.” The tower also does duty as the home’s secondary staircase, “so the tower is not just an aviation motif ornament,” he adds.
Garabedian has roots in two other New England towns, with a house in Vermont 40 miles from the Canadian border, and another on a slope in the woods of Southborough, Massachusetts, with views of the Hopkinton hills. The second house serves as the business and broadcast headquarters for Open House Party, his syndicated contemporary music program heard on some 150 FM stations in the United States and Canada. Both properties have private airstrips, but the Cape house is unusually set in a community specifi cally designed around a communal runway. Given the technical, structural, and mechanical demands of the hangar and broadcast studio, the home “specs out more like a high-end offi ce or university building tucked into a
architecture by luna design group
To create a structure that didn’t look like an overstuffed house plopped on a 5,000- square-foot airplane hangar, architect Joseph L. Lunadesigned a series of decks, clerestory windows, porches, and dormers.
brazilian mahogany fl ooring and Meyda Tiffany chandeliers designed by Garabedian are elegant touches in the central hallway (facing page), which serves as a gallery for some of his contemporary art collection. Unstained Douglas fi r beadboard ceilings (above) and stained glass lighting warm one of the winding staircases. From the street (above left), the house respects the Cape’s traditional vernacular — and gives no hint of its aviation accommodations.
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in the hangar, a carousel holds four candy-colored airplanes. The door opens to a ramp where a fifth plane can be parked.
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Garabedian wanted a house designed
around a four-plane hangar with a
revolving carousel to shelter some of his
two dozen classic and cutting-edge aircraft.
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Architect Joseph L. Luna, who designed John Garabedian’s house along its airstrip, describes Falmouth Airpark as a pilot’s paradise. “It’s kind of like an aviator’s ‘waterfront view,’ but instead of watching boats from your deck, you watch aircraft.” The germ of the 126-acre fl y-in community was planted in 1954 when William Gallagher, a World War II Navy veteran and then mechanic at the nearby Woods Hole Oceanographic Institution, bought the property with plans to create a landing strip and boat storage facility. Gallagher completed a runway, and ran the operation as the Falmouth Airport until he sold the property to a New York development company in 1985. The fi rst houses were built in the late 1980s. The backbone of today’s airpark is a 2,300-foot paved and lighted runway — named in Gallagher’s honor — fl anked by homes with built-in hangars. About half of the development remains wooded. “Many Falmouth residents aren’t even aware that the town has an airport, that’s how secluded it is,” says Garabedian. Though airparks are common in parts of the South and Midwest, the Falmouth development is the only one of its kind in Massachusetts and just one of four in New England. Its approximately 70 residents include active and retired major airline pilots as well as aviation buffs.
H A P P Y L A N D I N G S
private home,” says Luna. His aesthetic challenge was breaking down the scale of the structure so it “didn’t end up looking like an overstuffed house plopped on top of a 5,000-square-foot airplane hangar.”
Bleached cedar shingles and decorative white trim soften the exterior, while a series of decks, trellises, clerestory windows, porches, dormers, and the two towers adds layers to cre-ate visual interest. “You obviously can’t make a 45-foot-long hangar door go away, but you can give it the look of a grand carriage house door,” Luna says. By integrating gables and dor-mers, he also neatly camoufl aged the massive fl at roof in the center of the house. “By nature, a fl at roof has an industrial feel, so if we can make it disappear, all the better.”
Inside, the main fl oor is broken up with a series of transitional spaces organized around the central hall, which leads from the stairs into the great room and “martini” deck. “From both places we can critique the landings of our friends and neighbors, something we pilots
can’t help doing,” Garabedian says with a laugh. Stained glass sconces and massive chandeliers designed by Garabedian and manufactured in Utica, New York, by Meyda Tiffany, a company whose roots go back to the early 1900s and Louis Comfort Tiffany Studios, soften the space and make the 18-foot-
high ceilings seem more intimate. For Luna, “landing” Garabedian’s airpark project had even more benefi ts than commut-
ing in his own Piper Cherokee and skipping traffi c snarls on the Bourne Bridge. A veteran of 170 “Angel Flight” missions, Luna combines visits with Garabedian with fl ying patients at no cost from Nantucket and Martha’s Vineyard to hospitals on Cape Cod and in Boston.
Testing the mettle of a new home’s performance is often best left up to guests rather than the homeowner. Using that measure, Luna hit one out of the airpark, says Garabedian. “When I invite my friends to Southborough or Vermont, they come for a day and evening and leave. I invite them here, and they stay for a week.”
for more details,see resources
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the airstrip is just across the lawn from the house. Inside the hangar (facing page, top), Garabedian, right, and architect Joseph L. Luna bond over Garabedian’s 1947 PA-11 Piper Cub Special. From the observation tower (facing page, bottom), “we can critique the landing of our friendsand neighbors,” says Garabedian.
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WRITTEN BY WILLIAM MORGAN / PHOTOGRAPHED BY BRIAN VANDEN BRINK
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G E T A W A Y
PARADISE TAKE II
A much-loved family vacation house is reinvented in a new location — this
time with more space for the grandkids
this weekend retreat on Cape Cod places the common spaces on the top fl oor, giving the 21-by-37-foot living area sweeping views of sand dunes and sea.
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with Provincetown’s Pilgrim Monument on the distant horizon. The upper level, where living, dining, and kitchen areas come together in one huge great room, feels like the deck of a ship high above the sea, with watery views and the sense that contact with the elements is a constant.
The nautical allusions, however, are incidental. Designed by Schwartz/Silver Architects of Boston, this vacation house traces its genealogy to one done for the same clients a decade earlier. The
owners so loved it that they wanted its spiraling nautilus plan re-created — only this time on a larger scale and with more outdoor space for a tennis court, pool, and “Kennedyesque games of touch football” now that the family included
a bunch of grandchildren. So they asked an old friend, Warren Schwartz, a principal at Schwartz/Silver, to capture the spirit of the fi rst home in the second.
Employing a similar pinwheel plan was easy, but since Weekend House II was considerably larger, it was arranged “in three interconnected masses radiating from a central entry hall,” says proj-ect architect Jon Trafi conte. That decision softened the home’s visual impact by breaking it into smaller units. With a nod to tra-dition (and low maintenance), surfaces were covered in the wood and shingle of the Cape’s vernacular architecture. Details such as the slate chimney and the zinc-coated copper gutters subtly blend into the often-muted landscape. The overall composition recalls the spirit of a 19th-century extended house and barn.
Starkly modern curved glass walls connect the wings, while crescent lines pierce the external envelope, providing bay windows, decks, and balconies. Such gentle collisions of boxy shapes and sweeping arcs offer cues to the contemporary interior.
Another curve — a red oak stairway with aluminum railings — dominates the two-story entrance hall as it ascends to the living area.
THE HOUSE SEEMS TO FLOAT OVER LOW SCRUB VEGETATION AS IT FACES NORTH TO CAPTURE VIEWS OF CAPE COD BAY,
architecture schwartz/silver architects
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schwartz/silver architects project manager Kristen Giannattasio describes thehouse (facing page) “as a cluster of shingle-clad Cape-style masses bound togetherby a two-story glass entry hall,” which results in “a new interpretation of the Cape Cod vernacular.” The curving staircase echoes the serpentine wall.
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the ceiling height in the master bedroom gradually rises from 10 feet 3 inches at the interior wall to a 14-foot-3-inch peak above a row of clerestory windows. The curved wall of windows frames the view.
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the design challenge was to shape the thoroughly modern lifestyle and tastes of the clients into an envelope that fi ts the Cape Cod context. This was accomplished by weaving glass walls through the shingled blocks in a manner that is both daring and respectful. It also maximizes the great variety of views.
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The upstairs hallway, which leads to the master suite, is as much museum gallery as passage-way, the art created by ever-changing patterns of sun and shade let in by a series of skylights.
But the “great room” at the top of the stair-case steals the show. A bank of windows connects this open, airy space to the water. The deck beyond provides a sense of sailing above the dunes, of
being at sea. The brilliance of the design is that the room is trapezoi-dal, not rectangular, so prospects on the three outer sides are never static. The other spaces in this large house are more intimate. With four bedroom suites on the ground level, the house was designed to comfortably accommodate lots of friends and family (and, as a proud grandfather notes, “kids in wet bathing suits”) in a relaxed beach-house environment.
As with the best beach houses, it is hard to stay indoors. The sea and dunes beckon, as does the private area around the pool where everyone seems to grav-itate. Lower and less visible to neighbors, the pool house breaks with local architectural traditions. Its curved shape echoes the lines of the main house, but its ipe-wood deck, granite foundations, and cedar walls provide an easy, if more avant-garde, summer ambience.
The happy clients speak warmly of their intimate collaboration with the architects, while the designers praise the owners for being “as educated a cli-ent as you can get.” The result is a supremely contemporary house wrapped in a practical Yankee mantle.
released from the constraints imposed on the more visible main house, the pool compound was conceived as emerging from the landscape, which consists of several levels defi ned by fi eldstone walls. Sheltered borders provide abundant fl oral color in the summer.
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the site plan shows the relationship of the built environment to the landscape and the beach and bay beyond. The layout of the house takes maximum advantage of the views, while the placement of the pool and cabana ensures privacy.
for more details,see resources
beach walkway
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the seating areaopposite the kitchen
is just one example of the easy-living
space incorporated into the expansion plan. Grass plants
on the custom dining table and
fl oral arrangements throughout the house are from
Minott’s Flowers in Portland, Maine.
An addition designed around a casual lifestyle gives a young family a colorful new place to call homeW R I T T E N B Y E S T E L L E B O N D G U R A L N I C K / P H O T O G R A P H E D B Y E R I C R O T H
P E R F E C T L Y L I V A B L E
I N T E R I O R S
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FOR ONE YOUNG COUPLE WITH TWO CHILDREN,conventional wisdom was trumped by a more visionary approach when remaking their 100-year-old gambrel-style house in Cumberland Foreside, a well-preserved ocean-side suburb 7 miles north of Portland, Maine.
Built close to the road, as was the custom a century ago, the 30-foot-by-30-foot house sits on a 2-acre corner lot with ocean views. The plan was to expand the house by tearing down an unsatisfactory addi-tion to the rear of the building and replacing it with a large new wing and backyard swimming pool. With the original massing intact, from the street, little would change, but inside, a home that suited the lifestyle of this mod-ern family could be realized.
“I absolutely didn’t want a conventional living room,” says the wife. “We’d had one in every other house we’d ever lived in, and they
never got used. We wanted a living room tailored to a family like ours that enjoys spending time together.”
To implement their vision, they hired architect Erik C. Peterson of Peterson Design Group of Portland and Kennebunk, Maine, who, in his words, “created the shell” they wanted, then turned the project over to the homeown-ers and interior designer Tracy A. Davis of Urban Dwellings in Portland “for the visuals.” “Everything behind the origi-nal 30-foot box is new,” says Peterson, who explains how he stood on the hood of his truck to determine the height of the addition. The objective was to keep the new space private while providing more, and better, ocean views. “We polished up the old front facade a bit and made the additions out back feel like part of a rambling house that just grew,” he says. Completed at 6,800 square feet — more than double its original size — the house has an interior layout that’s
interior design urbandwellings
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a mahogany door framed by a leaded glass transom and sidelights give entree to the spacious new foyer (facing page). The dining room (below) now opens to a hallway off the kitchen making it more accessible. The original gambrel-style facade (bottom) that faces the street remained intact.
BUILDER Ledgewood Construction, South Portland, ME
First Floor
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5 closet 6 mudroom7 loggia with outdoor kitchen
8 living room 9 main entry10 powder room11 porte-cochere12 sitting area13 informal dining14 kitchen
15 dining room16 pantry17 office18 billiard room19 foyer 20 porch
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the colorful rug in the living room is balanced by solid blue sofas. The round end table, made of recycled tires, is from Dwellings for Home Accessories in Falmouth, Maine. The eye-opening mudroom (facing page) has a painted ceiling, imposing wallpaper from Osborne & Little, and simple modern lighting.
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slim marble countertops, painted white cabinetry, wheat-grass-colored walls
and ceiling, minimalist light fi xtures, stainless steel around the island sink, and brushed aluminum stools give the kitchen
(right) an industrial edge. The cheery motif in the laundry room (below)
incorporates the house’s original slate sink.
dramatic, welcoming, fun, and of a scale that makes it all totally livable.That starts with the new main entry along one side of the addition,
where there now is a gracious drive-in approach to the house via a porte-cochere with a small courtyard and portico.
“Erik’s comfort with traditional architecture gave us just the right exterior,” the wife says, “but inside I wanted something unique, and that’s where Tracy and I are on the same page. She can do anything a client wants — she did my husband’s offi ces a few years ago — and I happen to love her capacity for edginess.”
As for Davis, “I’d been waiting two years for a client to come along bold enough to use an elegant but offbeat English wallpaper that I myself was in love with,” she says. With this project, the wallcovering found its home, making a statement in the last place one would expect — the mudroom.
The grand, new light-drenched entry hall and broad staircase are wide
open to the living room, which met the homeowners’ defi nition of uncon-ventional. “It is deliberately informal,” says the wife. Twin sofas covered in navy blue wide-wale corduroy and a pair of leather armchairs are oriented to the fi replace, all anchored by a striking multicolored area rug that looks like a contemporary painting underfoot. Also open to the foyer is the adja-cent kitchen with its delightful, long multi-paned windows, corner fi replace, and irresistibly comfortable upholstered chairs. “I asked for long sightlines,” says the wife, “so that from the kitchen, I can look all the way through the living room to the outdoor loggia.”
Off by itself near the old front door, the original living room awaits its imminent reincarnation as a billiards/books/bar retreat, which will complete the renovation and expansion project. “We live in every inch of the house. We enter-tain a lot, and it all feels good,” says the wife. “There’s nothing in the new layout we’d change. This is no cottage; it’s a gutsy reinvented Maine house.”
for more details,see resources
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“This homeowner has a great eye for bold color,” says interior designer Tracy A. Davis (left). “She and I worked very collaboratively, starting with her choice of the living room rug, which is abstract and has a strong palette. We worked hard to mimic the rug’s vibrancy whenever appropriate.” So, all through the house, there are greens, blues, oranges, browns, and a special custom paint color Davis calls wheat grass. In the soaring entry hall and all its contiguous spaces, Davis used the light, organic shade to provide a neutral backdrop. Two smaller spaces hold nothing back in their bent for bold color. The mudroom, with its overscaled wallcovering in two shades of orange, is deftly paired with woodwork painted a dark coffee color. The laundry room, with its backsplash of glass matchstick tiles, each hand-selected by the client and designer, also sings with color. Wall-mounted cabinets are painted lime green, and the wood drying rack is a complementary orange. No wonder the homeowner says she likes to do laundry.
design decision
Boundary-Breaking Color
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SINCE THE 1300s, majolica has been handcrafted in Deruta, a town
in Italy’s Umbria region, where it still drives the economy today. Among
the oldest and most renowned kilns is U. Grazia Maioliche Artistiche
Artigianali, which brings its wares stateside
at Bellezza Home & Garden in Newton,
Massachusetts (bellezzahome.com). On
May 18 from noon to 7 p.m., the store will
welcome Ubaldo Grazia (right), the 25th-
generation patriarch at U. Grazia, who will
discuss the age-old methods used to get bril-
liant, colorful results.
accompaniment compendium
History Lesson • Proof that good design endures throughout the decadesproduced by gail ravgiala and danielle ossher
S E C R E T S O F T H E C E N T U R I E S
108 D E S I G N N E W E N G L A N D • M A Y / J U N E 2 0 1 1
The wings of a butterfl y and the sleek contours of a car fuse
in this limited-edition Roche Bobois sideboard (right),
just one of the hundreds of cutting-edge pieces that have
fi rmly established the French furniture maker in the avant-
garde fi rmament. Founded 50 years ago, the company
is commemorating its golden jubi-
lee with Roche Bobois, a history
of the trendsetting company
written with Philippe
Trétiack ($50, Editions
du Chêne; for sale at the Boston
showroom). Full of previously unpublished
photos of RB’s innovative designs, the tome will have mod-
ern-furniture afi cionados in a swoon. — saniya ghanoui
d e r r i n g - d o
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mj2011compendREVISE.indd 2 4/20/11 11:26:04 AM
PHO
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BY
MIC
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L J.
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Magazine or touch screen Great design is always at your fi ngertips —
never be without New England’s
splendid homes and gardens
apps
FREE on your
iPad, iPhone
and Android
iPadadFIN2.indd 3 4/20/11 11:22:15 AM
F o r t i c k e t a n d e v e n t i n f o r m a t i o n v i s i t w w w. w a f a u s a . o r g
T h i s G l o r i o u s E a r t h
Art lovers, competitors, fl oral design enthusiasts,
conservationists and connoisseurs of international culture
Mark your calendars to attend the 2011 World Flower Show, This Glorious Earth!
Join us as 600 international competitors showcase fl oral art from around the world,
for the fi rst time in the United States.
June 15th-19th 2011, Seaport, Boston MA
ad index
Audio Concepts, audioconcepts.com 39Audio Video Design, avdesigns.com 55Back Bay Shutter, backbayshutter.com 68Barrett & Company, barrettandco.com 40Bigelow Design Concept,bigelowdesignconcepts.com 22Boston Cedar, bostoncedar.com 71, 72Boston Design Center, bostondesign.com Cover 4Builders Association of Greater Boston, bagb.org 69Chimera, chimeralightingdesign.com 47Circle Furniture, circlefurniture.com 45Clarke Distribution, clarkecorp.com 15Coldwell Banker, NewEnglandMoves.com 25Cumar, Inc., cumar.com 44Cushman Design Group, cushmandesign.com 59D. Michael Collins Architects, dmcarch.com 46David Mullen AIA, 781-402-1791 68Designer Bath, designerbath.com 38Didriks, didriks.com 52Design New England Seminar Series,designnewengland.com 73Design New England iPad & Android,designnewengland.com 109Dover Rug, doverrug.com 61Dream Kitchens, adreamkitchen.com 64ECO Structures, Inc., ecostructures.com 74Eliza Tan interiors, ElizaTan.com 5Fallon Custom Homes & Renovations, Inc., falloncustomhomes.com 1
Feinmann, Inc., feinmann.com 49Ferguson Enterprises, ferguson.com 43FH Perry Builders, fhperry.com 13Gleysteen Design, gleysteendesign.com 41Greater Boston Home Tour, bagb.org 69, 70, 71, 72Gregory Lombardi Design, lombardidesign.com 67Herrick & White, herrick-white.com 56Hutker Architects, hutkerarchitects.com 63International Tennis Hall of Fame, tennisfame.com 111Jean Brooks Landscapes, jeanbrookslandscapes.com 57Kitchen Views/National Lumber, kitchenviews.com 53Kleer Lumber, kleerlumber.com 57LaBarge Homes, LaBargeHomes.com 65Landry & Arcari, landryandarcari.com 4Lda Architects LLP, LDa-architects.com 50Ligne Roset, lignerosetboston.com 29Lucia Lighting, lucialighting.com 63M. Holland & Sons Construction,thehollandcompanies.com 14Marvin Windows & Doors, marvin.com 33Medallion Rugs, medalliongallery.com 16Mitchell Gold + Bob Williams, mgandbw.com 34Montage, montageweb.com 31N.E.T.R. inc., netrinc.com 62NanaWall Systems, nanawall.com 7Newton Historical Society, historicnewton.org 111
Nicholaeff Architecture + Design, nicholaeff.com Cover 3O’Sullivan Architects, osullivanarchitects.com 70, 72Olson, Lewis, Dioli & Doktor, oldarch.com 10Payne Bouchier, paynebouchier.com 9Peabody Supply, peabodysupply.com 12Poggenpohl, poggenpohl.com 3Red Concrete, redconcrete.com 59Renjeau Galleries, renjeau.com 58Residences at W Boston, wbostonresidences.com Cover 2Roche Bobois, roche-bobois.com 2Roomscapes, roomscapesinc.com 11RP Marzilli, rpmarzilli.com 26Runtal of North America, runtalnorthamerica.com 24S + H Construction, shconstruction.com 51Sage Builders LLP, sagebuilders.com 23Sirius Landscapes, siriuslandscapes.com 46Techo-Bloc, techo-bloc.com 17The Dorchester Awning Company,dorchesterawning.com 62Thoughtforms, thoughtforms-corp.com 39Trefl er & Sons, trefl er.com 58TS Mann Lumber, MannLumber.com 47Unilock, unilock.com 35Van Dam Architecture + Design, vandamdesign.com 52Venegas and Company, venegasandcompany.com 37Waterspot, water-spot.com 45World Flower Show, wafausa.org 110Zen Associates, zenassociates.com 21
mj2011ad indexREVISE.indd 116 4/20/11 3:51:00 PM
In 1870, Boston-based architects RobertSwain Peabody and John Goddard Stearnsforged a partnership that produced morethan 1,000 buildings! This symposiumoffers a unique opportunity to examinethe architects and their influence onShingle Style design around Newportthrough lectures byhistorians and toursof three magnificent
Peabody & Stearns homes.
Presented by:
International Tennis Hall of Fame Annual Architectural Symposium
Residential Resort Architecture
May 7, 2011 • Newport, RI
For tickets and information call 401 324-4057
accompaniment resources
For more information on products featured in this issue, please contact the design professional associated with the project.
18–23 • Visit/Jeff SchwartzArchitecture/Design: J. Schwartz Design, Boston and Biddiford Pool, ME; 617-584-1295, jschwartzdesign.net. Builder: John Gagne Jr. Construction, Arundel, ME; 207- 229-3724. Masonry: Nate Libby Masonry, Saco, ME; 207-332-2223. Painters: Old Pool Painting, Biddeford, ME; 207-286-4092.36–41 • Kitchen/Industrial LightArchitecture: Eck/MacNeely Architects Inc., Boston; 617-367-9696, eckmacneely.com. Builder: White Builders, Woburn, MA; 781-935-8734, whitebuilders.com. Custom Cabinetry: Caliper Woodworking, Malden, MA; 781-322-9760,caliperwoodworking.com. Countertops: Stone Soup Concrete, Easthampton, MA; 413-203-5600, stonesoupconcrete.com. Lighting: Casa Design Boston; 617-654-2974, casadesignboston.com.42–47 • Bath/Calming NatureArchitecture: James Cullion Architects, Boston; 617-266-9356, jamescullionarchitects.com. Builder: Sage Builders, Newton, MA; 617-965-5272, sagebuilders.com. 48–52 • Places/A Vernacular HymnArchitecture: Robert A.M. Stern Architects, New York City; 212-967-5100, ramsa.com. Associate Architects: Robert Quinn, Middletown, RI; 401-849-5466. Northeast Collaborative Architects, Newport, RI; 401-846-9583, ncarchitects.com. Builder: Farrar & Associates Inc., Newport, RI; 401-849-5820, farrarassociates.com.78–83 • Architecture/A Forever HomeArchitecture: Paul Weber Architect, Newport, RI; 401-849-3390, pfwarchitect.com. Builder: William Foley, Construction Management and Development Inc., C M & D, Wellesley, MA; 781-235-7065, bill@cmdfi nehomes.com. Kitchen Cabinetry: Joseph Yoffa Custom Woodworking, Newport, RI; 401-846-7659. Kitchen Countertops: Olympia Marble & Granite, Needham, MA; 781-455-0199, olympiamarble.com. Vintage Tile: Pewabic Pottery, Detriot; 313-626-2000, pewabic.org. New Tile: Discover Tile, Boston Design Center; 617-330-7900, disco-vertile.com.84–91 • House Proud/Plane LivingArchitecture: Luna Design Group, LynnÆ eld, MA; 781-245-6530, lunadesign.com. Falmouth Airpark; falmouthairpark.net. 92–99 • Getaway/Paradise Take IIArchitecture: Schwartz/Silver Architects, Boston; 617-542-6650, schwartzsilver.com. 100–107 • Interiors/Perfectly LivableInterior Design: Urban Dwellings, Portland, ME, and New York City; 877-533-6248, urban-dwell.com. Architecture: Peterson Design Group, Kennebunk and Portland, ME; 207-775-3399, petersondesigngroup.us. Builder: Ledgewood Construction, South Portland, ME; 207-767-1866, ledgewoodconstruction.com. Woodwork: Zoulamis Fine Woodworking, Bowdoinham, ME; 207-329-1695, [email protected].
NewtonHouseTour
This year’s tour will feature eight private Newton homes located in many of Newton’s historic neighborhoods andvillages.
Sunday, May 22, noon-5 pm
For Tickets and Information,visit www.historicnewton.org or call 617.796.1450
mj2011Resources.indd 117 4/20/11 11:15:52 AM
112 D E S I G N N E W E N G L A N D • M A Y/ J U N E 2 0 1 1
Catkins dangle like earrings from contorted branches of Harry Lauder’s Walking Stick, cut from master arranger Ruth Crocker’s Cambridge, Massachusetts, garden. She anchored it, along with moss and calla lilies, in pottery by Angela Fina. Crocker is president of the 230,000-member World Association of Flower Arrangers, a consortium of fl oral arts societies around the world that will compete at the 10th International Flower Show.
OME JUNE, BOSTON
will become the inter-national hub of fl oral design when the World Association of Flower
Arrangers hosts its 10th International Flower Show. The show, which is held every three years in locations around the globe, including Japan, New Zealand, Pakistan, and South Africa, is making its fi rst United States appearance. Entitled “This Glorious Earth,” the event will offer attendees a once-in-a-lifetime chance to view and compare 630 fl oral displays by artists from 30 countries. There will also be demonstrations by 16 of the world’s most renowned fl oral arrangers, including Julie Lapham and Tony Todesco, bothfrom Massachusetts.
June 16 to 19 at the Seaport World Trade Center. Daily admission, $25 in advance, $30 at the door; Preview Party, June 15, $125. Demonstrations and lec-tures require reservations and a fee. For
information, visit wafausa.org.
— C A R O L S T O C K E R
see+ do photographed by joel benjamin
BOSTON BLOOMS After 30 years of global showings, the World Association of Flower Arrangers is US-bound
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mj2011see+doREVISE.indd 2 4/18/11 5:25:26 PM
FOR THOSEWITH A PASSIONATE VIEW
NICHOLAEFF ARCHITECTURE & DESIGN
NICHOLAEFF.COM | 508 420 5298
PhotographybyPeterVanderwarker
Nicholaeff_DNE_May-Jun:Layout 1 4/18/11 8:59 PM Page 1
inspiring design.brought home by Plush
Story Board:
www.bostondesign.com/consumer-access
BDC.indd 1 4/12/11 3:49 PM