Design New England 2011/11/12
109
city living ▼ architecture ▼ Top Priority A blank slate with an expansive Vermont backdrop becomes an intimate urban home Berkshire Bold Industrial meets avant-garde modernism in a house that is itself a work of art kitchen ▼ DOWN TO A SCIENCE • A refreshing aesthetic – and the capacity to bake 1,200 cookies in a weekend – drive one sweet renovation FLOORED • From carpet to paint cans, everything is wearable at the annual International Interior Design Association fashion show take note ▼ 5 LUMINARIES • New Englanders who influence and inspire with cutting-edge technology and old- school techniques fifth anniversary ▼
Transcript of Design New England 2011/11/12
city living ▼ architecture ▼
Top PriorityA blank slate with an expansive Vermont backdrop becomes an intimate urban home
Berkshire BoldIndustrial meets avant-garde modernism in a house that is itself a work of art
kitchen ▼Down to a science • A refreshing aesthetic – and the capacity to bake 1,200 cookies in a weekend – drive one sweet renovation
flooreD • From carpet to paint cans, everything is wearable at the annual International Interior Design Association fashion show
take note ▼5 luminaries • New Englanders who influence and inspire with cutting-edge technology and old-school techniques
fifth anniversary ▼
the magazine of splendid homes and gardens • november/december 2011
new england
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8 D E S I G N N E W E N G L A N D • N O V E M B E R / D E C E M B E R 2 0 1 1
66 Anniversary • Five LuminariesNew Englanders who infl uence and inspire with cutting-edge technologies and old-fashioned techniques.
72 Interiors • Not Quite Empty NestA family in transition fi nds happiness and a newdesign outlook in a Back Bay condo.
78 Getaway • Light HouseTwo Maine architects bring a respectful presence to the past in a vacation home with Down East sensibilities.
84 Architecture • Berkshire BoldNew England’s industrial heritage meets avant-garde modernism in a house that is itself a work of art.
92 City Living • Top PriorityA blank slate with an expansive Vermont backdropbecomes an intimate urban home.
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On the Covera burlington, vermont, penthouse fit for displaying art. photo by jim westphalen. story, page 92.
Celebrating a half decade of splendid homes & gardens.sculpture by boston ornament company.
features november/ december 2011
Fifth Anniversary Issue
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BOSTON DESIGN CENTER ONE DESIGN CENTER PLACE, SUITE 144 617.737.3765
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6254 104
12 Editor’s Note
14 Publisher’s Note
22 visit • Rindala Awad WagnerSeeing potential where others couldn’t, this architect transformed a South End condo into a home with room to grow.
31 selections • Curl Up Under the Covers Linens and accessories for sweet dreams.
38 kitchen • Down to a Science A refreshing aesthetic — and the capacity to bake 1,200 cookies in a weekend — drives one sweet renovation.
44 bath • Outside PerspectiveA master bathroom offers up relaxed vantage points of Vermont mountains and ponds.
48 places • Second Act From performance center to pottery studio, the old Broadway theaterin Somerville, Massachusetts, makes a comeback.
54 art • Fay Chandler’s Connection First Night Boston pays tribute to a doyenne of the art community by commissioning her to design its marquee symbol.
58 icon • Covered in Contradictions Though historic covered bridges have been swept away by fl oods, those that remain stand strong.
62 green essentials • Dreamy dishes, handmade soap,and cotton that does double duty.
100 compendium • High fashion on the stage and tabletop.
101 resources
102 advertiser index
104 take note • Floored From carpet to paint cans, everything is wearable at the annual IIDA fashion show.
A person who has attained eminence in his or her fi eld or is an inspiration to others.
Word wonks that we are, we struggled to describe the fi ve New Englanders we celebrate on Pages 66–71 in this, our Fifth Anniversary Issue. Then we came upon
this defi nition in our Random House Webster’s Unabridged Dictionary and knew we had found just the term to describe these lights of technology and tradition.
lu.mi.nar.y (noun):
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from the editor
CONTRIBUTORS
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susan lapides has been photographing for magazines for 25 years. Recently, she delved into fi ne art with a 2011 exhibition at the Griffi n Photography Museum in Winchester, MA. She serves on the board of the Danforth Museum of Art in Framingham, MA. Photography and fi ne art dovetail in fay chandler’s connection, page 54.
michael j. lee, a former designer, shared a common vocabulary with architect Rindala Awad Wagner and interior designers Rachel Reider and Lisa Pennick when he photographed their work for this issue. visit, page 22; kitchen, page 38; not quite empty nest, page 72.
jan shepherd, a Boston freelance journalist and former arts editor at The Boston Globe, produces New England Crafts Connoisseur and ne-crafts.com. She relishes fi nding bits of regional history (heavy metal, page 69) and talented artists who create functional and non-functional work in glass, fi ber, wood, and clay, such as the potters in places, page 48.
gail ravgiala, editor
IN CERTAIN NUMEROLOGICAL INTERPRETATIONS, 5 IS an expression of harmony, unity, and balance. As our dead-line loomed for this, our Fifth Anniversary Issue, it often seemed that chaos — the other side of No. 5’s infl uence — reigned. However, in the end, our little can-do staff and dedicated band of contributing editors, writers, and photog-raphers came together to produce one comprehensive yet widely varied package. They do it every time. So hats off to them for getting us to this milestone edition and for looking ahead to all the planning, writing, and shooting that will go into our terrifi c lineup of projects in 2012. If our feature “5 Luminaries” (Page 66) is any indica-tion, the number also stands for talent. The New Englanders in this special package range from an MIT scientist to an installation artist to the folks who make nails the way it was done 190 years ago. Our house projects also are varied, with a modern masterpiece in the Massachusetts Berkshires (Page 84), an updated condo in a historic brownstone in Boston’s Back Bay (Page 72), and a sensitive hommage to our Federalist roots on the woodsy Maine coast (Page 78). We also take a peek inside a movie theater turned pottery studio in Somerville, Massachusetts (Page 48), and prepare for winter’s chill with our “Selections” picks of beds, bed linens, and bedroom accessories (Page 31). In further exploring the meaning of 5, we found the numeral stands for expansiveness, vision, adventure, and the constructive use of freedom, à la the International Interior Design Association’s annual fashion show covered on Page 104. That sums it all up.
nd2011ednote.indd 2nd2011ednote.indd 2 10/25/11 3:50:37 PM10/25/11 3:50:37 PM
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A R C H I T E C T U R E
JOEL
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WE CAN HARDLY BELIEVE IT — IT HAS BEEN FIVE YEARS since we launched Design New England! It’s time to celebrate and to thank the many design and building professionals who have con-tinually supported us and our mission to bring better understanding of the design process to our readers.
We’d also like to celebrate the winners of the PRISM awards (Page 103), those hard-earned prizes given to designers, architects, and builders by the Builders Association of Greater Boston (BAGB) at its October gala at Boston’s House of Blues. (The kitchen featured on Page 38 is among the winning projects.) BAGB is just one of the many trade organizations with whom we partner to support the design and building community. Others include the Boston Society of Architects (BSA), the New England chapters of the American Society of Interior Designers (ASID), and the International Furnishings and Design Association (IFDA), all of which offer information, con-nections, and camaraderie for their members.
In addition to connecting our readers with design through the projects and advertisements we publish, we host Design Salons, our interactive series of discussions and presentations. Since 2007, we have connected more than 200 design professionals with thousands of consumers in relaxed and casual settings where they can discover the secrets of executing a successful project.
Also celebrating an anniversary, its 15th, is the Boston International Fine Art Show at Cyclorama at Boston Center for the Arts (Page 99), from November 18-20. A must-see for art lovers, the show features works from 40 galleries from the United States and Europe.
As we look forward to our sixth year of publishing, the team at Design New England thanks all our readers for their continued support and wishes all of you a happy and healthy holiday season.
stephen twombly, publisher
salon at venegas and Company (from left): George Lellios, Audio Concepts; host Donna Venegas; Lucy Dearborn, Lucia Lighting & Design; Paula Daher, Daher Interior Design.
salon at g green Design Center (from left): Mike Coutu, Sudbury Design Group; host Nicole Goldman; Sally Grant, Eco Structures; Budd Kelley, South Shore Millwork.
salon speakers at Viking Center (from left): Carter Johnson and Frank Harnedy, Stone Systems; publisher Stephen Twombly; Donna Venegas, Venegas and Company; Jan Gleysteen, Jan Gleysteen Architects; host Jim Ingram, Viking Center.
greg premru and Bruce Irving signing copies of their new book, New England Icons, at the Cambridge Historical Society.
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Style & Interiors Estelle Bond Guralnick
Renovation & Architecture Bruce Irving
contributing photographersSandy Agrafi otis, Carolyn Bates, Trent Bell, Joel Benjamin, Michael Lavin Flower, Christopher Harting, Susan Lapides, Michael J. Lee, Doug Mindell, Eric Roth, Jim Westphalen
contributing writersJohn Budris, Nancy Humphry Case, Jaci Conry, Katie Gleysteen,Kathleen James, William Morgan, Pamela Renyolds, Jan Shepard
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South CoaStSouth Coast Post and Beam, Inc. - N. Dartmouth, MA(508) 636-4444 - [email protected]
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the BerkShireS Berkshire Landmark Builders - Becket, MA (413) 623-2222 - [email protected]
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north Shore/MerriMaCk Valley in Ma Howell Custom Building Group, Inc. - Lawrence, MA (978) 989-9440 - [email protected] www.howellcustombuild.com
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Hunter.indd 3Hunter.indd 3 8/17/11 5:44:52 PM8/17/11 5:44:52 PM
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22 D E S I G N N E W E N G L A N D • N O V E M B E R / D E C E M B E R 2 0 1 1
RINDALA AWAD WAGNER • Seeing potential where others didn’t, she transformed a South End condo into a home with room to grow
written by jaci conroy • photographed by michael j. leevisit
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IN 2005, A HOUSE-HUNTING DAVID WAGNER CAME UPON A CONDO-minium on Union Park in Boston’s South End that had been on the market for more than a year. “He really liked it,” says his wife, architect Rindala Awad Wagner, “but he told me that it wouldn’t work for us. We wanted a three-bedroom unit, and this one only had two.” But Awad Wagner had a designer’s eye for possibility.
Located on the lower two levels of an 1850s brownstone, the unit had lofty ceilings and lovely mouldings on its street-level main fl oor. “The realtor told us that potential buyers couldn’t see what to do with the vast entrance hallway,” says Awad Wagner. “But we loved its sense of openness.” What cinched the deal for the couple, however, was the basement level, with its exposed brick walls and archways and access to a coveted outdoor space.
After the showing, Awad Wagner, who worked for renowned Boston archi-tect Moshe Safdie for a decade before starting her own practice in 2010, did a small sketch that reconfi gured the open living space on the lower level to accom-modate a bedroom. “And [David] said OK,” she recalls with a smile.
They bought the unit and, shortly after moving in, embarked on a two-phase renovation project. To maximize the just under 2,000 square feet of space, Awad Wagner “made sure that every room had a link to the outdoors.”
They concentrated fi rst on the upper level, where the existing two bedrooms were located. To enhance the master suite, they took some space from the front bedroom, which David Wagner, who is the president of a high-tech company, uses as his study. A new hallway connects the study and master bedroom. Lined with closets and built-in drawers on two sides, it serves as both a passageway and a
the kitchen was moved from a windowless space at the back of the garden-level living area into an underused alcove defi ned by a brick wall with arched openings. The window at the breakfast nook affords both natural light and views to the garden. Rindala Awad Wagner (left) at the garden table where the family enjoys outdoor meals.
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N O V E M B E R / D E C E M B E R 2 0 1 1 • D E S I G N N E W E N G L A N D 23
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visit rindala awad wagner
dressing area. “When sitting at his desk, David not only has a view out the front windows, he can look down the hall and out the bedroom windows,” says Awad Wagner.
The existing master bathroom was enlarged and trimmed with generous mouldings that match the orig-inals found throughout the condo. Traditionally styled custom cabinetry, Carrara marble, and semigloss subway tiles are all in a palette of white and off-white. Though the bathroom has no windows, Awad Wagner designed it so that when the bedroom door is open, there is a view to the trees outside its window.
Where other potential buyers saw dead space at the end of the long entrance hall, Awad Wagner saw an oppor-tunity for transformation. She created an offi ce space for herself in a loft nook that overlooks the breakfast area in the kitchen and has a prime view of the garden through a dual-height window on the rear wall.
Reconfi guring the lower level to accommodate a third bedroom involved moving the kitchen from the back of the open space to what was previously an awk-ward, little-used alcove alongside the living room. To keep the new bedroom from feeling closed off, Awad Wagner installed two interior windows, complete with window boxes, that open to the living area and offer a view of the garden beyond. The room now belongs to the couple’s
interior windows, complete with window boxes, add a whimsical touch and connect son Julian’s room (formerly the kitchen) to the main living space. The built-in cupboards accommodate a wine cooler, audio equipment, and the Wagners’ collection of family china.
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Boston | Washington DC | zenassociates.com | 800.834.6654
At ZEN Associates there’s a reason behind every stone, every texture, every color, every angle and
every thing we do. From our award-winning Landscape Architecture to our Construction, Interior
Design and Maintenance services, no one puts more thought into it, so you get the most out of it.
For more information, visit zenassociates.com or find us on Facebook at Zen Associates, Inc.
B e h i n d e v e r y d e s i g n , t h e r e ’ s a s t o r y .To hear this one, call 800.834.6654.
Transforming a historic property, the “Ice House”
ZEN_DNE_Oct11.indd 1 10/5/11 1:53 PM
visit rindala awad wagner
2-year-old son. “Julian sticks his head out the windows and calls to us all the time,” says Awad Wagner. “It’s like a house within a house, which is what I envisioned with the sketch.”
Though just slightly bigger than a gal-ley, the new kitchen — fi tted with white Poggenpohl cabinetry selected for its min-imalist appeal and contrast to the brick walls — functions for the couple as “a double kitchen,” says Awad Wagner, who likes to cook with her husband. “We’ve got two of everything.” There are two sinks, one on each side of the room, and the Viking stove and cooktop are enhanced by a separate induction wok. There’s a full-size refrigerator as well as refrigerator and freezer drawers.
The couple cultivate herbs in their garden, and in the winter they bring the plants inside, where they continue to
grow under a fl uorescent light box. Awad Wagner also installed the lights outside Julian’s bedroom, where orchids flour-ish in the window boxes. To brighten the lower level, walls were painted in light, soft hues. The fl oor, however, is dark-stained birch. “We love the color of exotic woods, but they were too expensive,” says Awad Wagner. “The birch has a similar look, for a lot less money.”
After the family had lived in the reno-vated condo for a couple of years, disaster struck the reimagined space last winter when the pipes burst in the unit above, fl ooding the Wagners’ entire unit. “It was awful. The ceiling caved in; so much was ruined,” says Awad Wagner. They had to move out, and it took months to repair the damage. Although they had the opportu-nity to renovate the interior again, they opted to rebuild exactly the way they had the fi rst time around. “It works so well for our family,” says Awad Wagner. “We didn’t want to change a thing.”
for more details,see resources
on the street level, Awad Wagner converted hall space into an offi ce nook with a view of the kitchen and garden.The sculpture is of her mother.
c i r c l e f u r n i t u r e . c o m
ActonRte 2A
978.263.7268
Cambridge Alewife Brook Pkwy
617.876.3988
DanversRte 1 North
978.777.2690
Framingham Rte 9
508.875.0707
Pembroke85 Washington St
781.826.2728Coming soon to
downtown Boston!
nd2011visit.indd 6nd2011visit.indd 6 10/25/11 11:28:27 AM10/25/11 11:28:27 AM
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Over the last 20 years, Dream Kitchens has earned more than 135 awards for best value and best design. They have had projectsfeatured in national media every-where, from HGTV to Woman’s Day magazine. What sets the com-pany apart? Not only do they design beautiful kitchens, they pledge to increase storage and counter space by at least 30 percent.
Nina Hackel, President, de-signed her fi rst kitchen when she was eight years old, “work-ing” for her fa-ther’s kitchen design business.
Her passion and creativity hasn’t cooled over the years. She and fi ve other designers create award-winning kitchen and bath designs at Dream Kitchens in Nashua, New Hampshire.
“So much of our work is done in and around Boston that we consid-er ourselves to be a locally owned family business,” says Hackel.
Dream Kitchens is not like other remodeling companies. “We don’t just replace kitchens and bath-rooms. We create lifestyles for our clients. We can knock down a wall and create a space that enables family and friends to be together, yet not underfoot in the work area.”
Hackel believes in creating spaces that make every multi-tasking parent’s life easier; where the television is visible, the kids are in view and the dishes are getting done, all at the same time.
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
provide a dynamic new lifestyle for each client,” Hackel says.
Dream Kitchens’ designers are well-versed in many style options, from traditional to contemporary and ev-erything in between. They provide cabinetry, countertops, sinks, faucets,
decorative hardware and accessories, bath fi xtures andcustom closet sys-tems; along with design services and products for many other rooms in the home.
Dream Kitchens focus is giving the client the best possible layout, beautifully paired with functionality and a “Wow”factor. These are the keys to making every client’s dream a reality.
Dream Kitchens truly makes dreams come true
139 Daniel Webster HighwayNashua, New Hampshire
ph: (603) 891-2916www.adreamkitchen.com
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DNE.indd 1DNE.indd 1 8/17/11 1:18:09 PM8/17/11 1:18:09 PM
393 Fortune Boulevard • Milford, MA 64 South Main Street • South Norwalk, CT
800-842-5275 • www.clarkecorp.com
Start your kitchen project at Clarke.
CLK_DesignNE_11_11.indd 1 10/13/11 5:00:57 PM
21A Trotter Drive | Medway MA 02053800.794.5480 | 508.533.8700 | f: 508.533.3718
www.rpmarzilli.com
Creating New England’s Finest LandscapesLandscape Construction | Site Development | Masonry | Maintenance
Landscape Architecture by Morgan Wheelock, Inc.Photography by Rosemary Fletcher
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N O V E M B E R / D E C E M B E R 2 0 1 1 • D E S I G N N E W E N G L A N D 31
selections Curl up under the covers • Few things are more inviting than a warm, comfortable bed, but style counts as much as enticing softness. Our tastemakers found three linens that stack up (just like these pillows) on both counts, and then added accessories to dream on.
produced by danielle ossher • photographed by joel benjamin
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32 D E S I G N N E W E N G L A N D • N O V E M B E R / D E C E M B E R 2 0 1 1
selections
wagner table lamp Salgado Saucier;
salgadosaucier.com.
match pewter square alarm clock
$178, Didriks; didriks.com.
candler queen bedHickory Chair;
hickorychair.com.Available through
Ailanthus Ltd., Boston Design Center;
ailanthusltd.com.
west paces side table Hickory Chair. Available through
Ailanthus Ltd., BDC.
F R E T T Ehotel charme bed set
in white, from $350; frette.com.
“ Especially in the bedroom, I like a calm environment that’s very clean and comfortable without a lot of fuss.”
thomas j. o'neill thomas j. o'neill inc., mashpee, ma; 508-477-5600, thomasjoneill.com.
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DAHER INTERIOR DESIGN
419 Boylston StreetBoston, MA. 02116
617.236.0355
www.DaherInteriorDesign.com
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selections
34 D E S I G N N E W E N G L A N D • N O V E M B E R / D E C E M B E R 2 0 1 1
alarm dock by Jonas Damon,
$40, Areaware; areaware.com.
tolomeo wall spot $180, Design Within Reach;
dwr.com.
U N I S O Nregatta navy sheets
$108-$148; unisonhome.com.
adventure sleeping bag in Canoe Green, $119-$159,
L.L. Bean; llbean.com.
alex platformtwin trundle bed
in White/Khaki, $1,495, ducduc; ducducnyc.com.
“ We wanted a space for children to set up as they would with sleeping bags — head to head, toe to toe.”
gavin l. engler & carol a. wilson carol a. wilson architect, falmouth, me; 207-781-4684, carolwilsonarchitect.com.
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DESIGN PORTRAIT.
Col
lage
Stu
dio
Clente Arch resources_Sun Valley mag SRay_eri.indd 1 04/11/10 09:18
Sophie is in love with Ray and Contemporary Art. Ray is designed by Antonio Citterio. www.bebitalia.com
75 Arlington Street Boston, MA 02116 617 451 [email protected] www.montageweb.com
36 D E S I G N N E W E N G L A N D • N O V E M B E R / D E C E M B E R 2 0 1 1
selections
L E O N T I N E L I N E N Saddison + grace blanket cover $1,405-$1,515; leontinelinens.com.
iris daphne ikat pillow Madeline Weinrib;
madelineweinrib.com.
dwellstudio custom ornate bed
$1,390, ABC Carpet & Home; abchome.com.
echo bedside tablein mirror, Ironies; ironies.com. Available through Studio 534,
Boston Design Center; s5boston.com.
bourgie table lamp in crystal, $362, YLighting;
ylighting.com.
“ Nothing could be cozier in wintertime than a richly layered bedroom packed with texture and glamour.”
jill litner kaplan jill litner kaplan interiors, west newton, ma; 617-558-7751, jilllitnerkaplan.com.
mj2011SelectionsREV.indd Sec1:30mj2011SelectionsREV.indd Sec1:30 10/21/11 4:44:47 PM10/21/11 4:44:47 PM
The Symbol of Excellence in Architectural Woodwork
7 Maple Street, Norton, MA 02766phone: 508-226-5500
www.southshoremillwork.com • blog.southshoremillwork.com
20th
Anniversary
Catalano Architects Inc., E.B. Norris Builder, Peter Bart Photography
COME DECEMBER, PAT FINCHER’S kitchen turns into her workshop — a place where, in one weekend, she and her husband, Ed Chao, churn out 80 to 100 dozen cookies in eight to 10 varieties, pack them in tins,
and hand them out as holiday gifts. It’s a family tradi-tion that dates back 30 years, when the couple lived in Minneapolis and Fincher worked in product develop-ment at Betty Crocker.
“I had a few recipes I really liked and I’d give them to friends, and it kind of just mushroomed from there,” says Fincher, a food scientist who helped develop some of Betty Crocker’s staple cake mixes. “We always try new ones, but we
also stick to the eight that everyone is always asking for.” So when it came time to address her tired “build-
er’s model” kitchen — the fifth room in her Sudbury, Massachusetts, house she was to tackle with interior designer Rachel Reider — the design had to marry functional neces-sities with a light, clean aesthetic.
“Knowing that this kitchen was going to get put to good use made it really fun to design,” says Reider of Rachel Reider Interiors in Boston. “Pat is great because she wanted to be very involved and literally had drawings of what was going into every cabinet to make sure we did it in the most functional way possible.”
Reider teamed up with Venegas and Company, a kitchen design showroom in the Boston Design Center, to create a highly effi cient space within the original 20-foot-by-
38 D E S I G N N E W E N G L A N D • N O V E M B E R / D E C E M B E R 2 0 1 1
DOWN TO A SCIENCE • A refreshing aesthetic — and the capacityto bake 1,200 cookies in a weekend — drive one sweet renovation
written by danielle ossher • photographed by michael j. leekitchen
while the footprint remained the same, the open space has a completely new personality. The family room features a bolder, more playful palette that echos the kitchen’s neutral foundation. The casual dining area is set off by the Lampa star chandelier.
interior design: rachel reider interiors
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Winner of Boston Magazine’s 2011, 2010 Best of Boston Home™ Award: Best Modern Contractor
Winner of Boston Magazine’s 2009, 2008 Best of Boston Home™ Award: Best Builder
www.thoughtforms-corp.com 978.263.6019Thoughtforms
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10-foot space. New white cabinets extend to the ceiling and drawers are equipped with cutlery and tray dividers, rollout shelving, and pullout storage. Her “perfect work triangle” mapped out, Fincher selected appliances, deciding on Miele for all, including her much-desired double ovens and induction cooktop. Glass cabinets, which sit on a Silestone countertop to the left of the sink, are backed in contrasting dark wood, as is the corner open shelving. Both are ideal places to display her white china or collection of bright orange vases.
“A kitchen is a personal space in a lot of ways, depending on how you work,” says designer Barbara Baratz of Venegas and Company. “The conversation wasn’t just about function, though. It was about an aesthetic, and I didn’t want to make it look typical.”
The handmade mosaic backsplash, selected early on, proved to be a “major force” in the renovation. The ceramic and glass slivers from DiscoverTile feature a slight chamfer and subtle yet captivating
texture. The coloring — dubbed tea green — fi ts the neutral palette and the gold tones enhance the “creaminess of the cabinets,” says Baratz. Around the crisp Miele hood, the tiles extend to the ceiling. “To me, the hood is obviously practical, but it’s almost like an art piece of in itself,” says Reider. “When you add the backsplash to it, the wall becomes really dynamic.”
The neutral-with-pops-of-color sensi-bility is amplifi ed in the other half of the open layout, where a casual dining area is anchored by a rustic teak table playfully paired with acrylic chairs and a Lampa star chandelier. In the adjacent family room, Reider injected bolder colors, such as per-simmon, lavender, gray blue, and avocado, “to create a warm, inviting palette.”
Due to water damage, the family room
creamy-white cabinets and warm Silestone countertops are paired with the rich, earth-toned backsplash, which extends to the ceiling behind the sleek Miele hood to draw the eye upward, creating a sense of spaciousness.
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No matter how you stack it… the result is culinary perfection.
To meet all your culinary needs, Miele’s MasterChef Collection™ stacks up as the best, offering countless design options to suit virtually all tastes for every kitchen décor. From healthy cooking in our steam oven to brewing the perfect cup of cappuccino in our coffee system, MasterChef allows you versatility all in one place — your kitchen. When compromising is not an option… there’s Miele.
FOREVER BETTER
Serving all of New England978.448.8555www.riverbendandcompany.com
DAN HISEL ARCHITECT
d a n h i s e l a r c h i t e c t . c o mPhoto: Eric Roth
Featured as a Rising Star in Boston Home, Fall 2010.
nd2011Kitchen.indd 5nd2011Kitchen.indd 5 10/24/11 11:01:58 AM10/24/11 11:01:58 AM
ARCHITECTURE & INTERIORS
222 Third Street, Suite 3212Cambridge, MA 02142
617 621-1455www.LDa-Architects.com
kitchen
fireplace had to be reconstructed. Fincher and Reider capitalized on this opportunity to replace the typical brick surround and wooden mantel with a sleek yet warm pietra cordosa tile surround. The change not only redefi nes the room’s personality but also is a subtle reference to the kitchen at the other end.
The spaces serve different functions, says Reider, but because they are open to each other, “they defi nitely had to work in collaboration.”
At its core, the new space refl ects its pur-pose — a place for family to unwind and pass on a holiday tradition. “My husband is very
display cabinets lined with dark wood and lit with LEDs sit directly on the counters (above), just one of the ways Venegas and Company added subtle, unexpected touches to the kitchen. Pat Fincher (right), whose background is in food science, packs tins full of cookies she baked, a holiday tradition 30 years strong.
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R e a l E s t a t e l B a r r e t t a n d C o . c o m
Guests? Sweet!
good at the fi nishing — great at rolling out dough and frosting. He’s the engineer behind the thing,” says Fincher. And their children, Adam, 25, and Hannah, 20, still come home to help bake (and eat) cookies.
Pat Fincher’s Oatmeal Fudge BarsMakes about 72 bars
1 cup (2 sticks) butter2 cups light brown sugar, packed2 eggs4 teaspoons vanilla extract21⁄2 cups all-purpose fl our1 teaspoon baking soda3 cups quick-cooking rolled oats1 can (14 ounces) sweetened condensed milk1 package (12 ounces) semisweet chocolate chips1 cup sliced almonds
Preheat oven to 350 degrees. Set aside 2 tablespoons of the butter. In a large mix-ing bowl, add the remaining butter and beat with an electric mixer on medium speed for 30 seconds. Add the sugar and beat until it combines with the butter and is creamed. Beat in the eggs and 2 teaspoons of the vanilla. In a small bowl, sift together the fl our and baking soda, then stir in the oats. Gradually stir the fl our mixture into butter-and-sugar mixture. Set aside.
In a medium saucepan over low heat, combine the reserved 2 tablespoons of but-ter, the sweetened condensed milk, and the chocolate chips and cook until the choco-late melts. Remove from the heat and stir in ¾ cup of the almonds and remaining 2 tea-spoons vanilla.
Line a 151⁄2-by-101⁄2-by-1-inch jellyroll pan with aluminum foil. Firmly press two thirds (approximately 31⁄3 cups) of the oat mixture into the pan. Spread the chocolate mixture over the oat mixture. Using your fi ngers, dot the remaining oat mixture over the chocolate. Sprinkle with the remaining 1⁄4 cup of almonds.
Bake 25 to 30 minutes or until the top is lightly browned (the chocolate mixture will still look moist). Set the pan on a wire rack and let cool. Invert the pan and remove the foil. Cut into 2-inch-by-1-inch bars.
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44 D E S I G N N E W E N G L A N D • N O V E M B E R / D E C E M B E R 2 0 1 1
bath written by nancy humphrey case • photographed by carolyn bates • styled by terri gregory
OUTSIDE PERSPECTIVE • A master bathroom offers up relaxed vantage points on the Vermont mountains and ponds
ANYONE WHO HAS GONE FOR A DIP in a swimming hole, enjoyed an outdoor shower at a beach house, or stood under a waterfall in an exotic locale knows the pleasures of bathing in the great outdoors. It is a mystery, then, why we closet ourselves
in small bathrooms with tiny windows. Not so for Milford Cushman of Cushman Design Group in Stowe, Vermont, and his clients, who formed the rationale of master bathroom as living space, both generous in size and fl ooded with light and views.
“This house is about celebrating a connection with
the outdoors,” Cushman says of the contemporary house he designed for a mountaintop site in northern Vermont. His clients “appreciated that the bathroom would not be excluded from that quality.”
The owners say that Cushman understood what kinds of spaces nurture their well-being and that the master bathroom refl ects that sensibility. It has nearly the same dimensions as the master bedroom — 13 feet by 16 feet — and just as much window area, which makes perfect sense to them.
“When you’re in the bedroom, you’re sleeping,” the wife says. “When you’re in the bathroom, you’re awake, alive, doing things. This bathroom is a wonderful room to be in together in the morning.” In warm weather, birdsong or the architectural design: cushman design group
like every other room in this mountaintop house, the master bath celebrates the home’s place in the landscape. The deep tub from Sunrise Specialty invites an unhurried soaking up of sunlight and views.
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The Fine Art of RadiatorsThe Newest Gallery in Town: Where Innovative Technology is Wedded to Unique Design
In celebration of our 25th anniversary of manufacturing in the United States,
Runtal unveils our expanded showroom with our new design gallery. Experience our entire
offering of radiator designs for hot water, steam and electric heating systems.
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fragrance of lilacs fl oats up through open windows. In winter, a view of frosty mountains invigorates the morning routine.
One of her favorite features is the long, deep, free-standing tub bathed in light from a bank of windows that measures 6 feet wide by 9 feet high. Made of cast iron, the tub is positioned to offer views of either the Green Mountains to the south or the pond and forest to the north. “I sit both ways, depending on my mood,” says the wife. “It’s one of the best places in the house to sit and look at the pond.”
Tumbled Grigio Carnico marble with a Mira Matte color enhancer lines the shower and bathroom fl oor. The dark gray material speaks to the stone-worked landscaping outside their windows, which includes a hut replicating the cleits in the husband’s native Scotland and a low wall enclosing a vegeta-ble garden. The roomy, oversize shower offers a mountain view.
Like the overall design of the house, the vanity refl ects the simple, util-itarian beauty of agrarian buildings. Fashioned of steel and reminiscent of a worktable, it nonetheless offers artistic grace. The countertop and rectangular sink are cast and polished concrete. Here again, Cushman challenged conven-tional thinking about master bathrooms, suggesting one large bowl instead of
the welded steel vanity (right) by John Bornemann of Morrisville, Vermont, is topped with cast and polished concrete and evokes a simple worktable with contemporary style. Tumbled Grigio Carnico marble provides the bathroom (facing page) with a bedrock connection.
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two smaller ones, which would have crowded the vanity. With one oversize center bowl, the counter space on either side is generous and visually more in keeping with the workta-ble concept. For the wall above the vanity, the wife chose a large antique mirror, which refl ects the view of pond and forest.
Initially, the couple left the windows unadorned, but when a family crowd was invited for Christmas, with children sleep-ing in the wife’s studio across the lawn from the master bath-room, they decided they needed curtains. Made of lavender silk, elegant as a dragonfl y’s wing, they comple-ment the pale dusty rose walls. “I didn’t want a pretty pink,” says the wife of her choice of wall paint. “I wanted something more earthy.”
It’s a fitting comment from someone who enjoys a dip in one of the three man-made ponds on the property and who wanted a bathroom that embraces the sense of open landscape.
for more details,see resources
nd2011bath.indd 5nd2011bath.indd 5 10/19/11 12:36:12 PM10/19/11 12:36:12 PM
LIKE A POTTER WHO SEES THEpotential in a lump of clay, Mudfl at Studio turned an eyesore in Somerville, Massachusetts, into a dream home for its pottery school and studios. After a decade of legal and fi nancial delays, the
Broadway, a former vaudeville and movie palace built in 1915, is now a $3.8 million state-of-the-art facility.
Moving four blocks east to 81 Broadway from cramped quarters in a repurposed department store last August, Mudfl at doubled its space to 16,000 square feet. The new digs include spacious throw-ing and handbuilding classrooms, 18 studios for 34
potters, a room for four elec-tric and three super-effi cient gas kilns, glazing areas, offi ce space, a lounge-kitch-enette, and a multipurpose room.
“It’s so great to be in the new building,” says Lynn Gervens, executive director of Mudfl at, which enrolls 270 students in pottery classes and workshops each year. “It’s making everyone very happy!”
A milestone in Mudfl at’s 40-year history, its new
48 D E S I G N N E W E N G L A N D • N O V E M B E R / D E C E M B E R 2 0 1 1
SECOND ACT • From performance center to pottery studio, the old Broadway theater in Somerville, Massachusetts, makes a comeback
written by jan shepherd • photographed by eric rothplaces
new doors and windows don’t mask the essence of the old Broadway, a vaudeville house turned movie theater, shown (right) in 1945.
architecture: brooks a. mostue, the casali group
ace, a lounge-kitch-
MUDFLAT STUDIO INC.81 Broadway, Somerville, MA 617-628-0589, mudfl at.orgHoliday Open House & Studio Sale: December 2–18
nd2011placesB.indd 48nd2011placesB.indd 48 10/19/11 12:41:35 PM10/19/11 12:41:35 PM
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home is a major achievement for the nonprofi t enterprise, which doesn’t have the luxury of uni-versity or arts-center affi liation for support.
The Broadway folded in 1982 and became a warehouse with leased storefronts fl anking the central lobby. After taking the property for back taxes in 1996, the city sought reuse proposals in 2001. Somerville architect Brooks A. Mostue and Tom Murray of the Casali Group of Boston con-sidered it for artist housing but soon realized that such a plan wasn’t feasible. Enter Gervens, who
had a vision for Mudfl at. Mostue and Murray saw the merit of her plan, and the three teamed up. Mudfl at won approval to buy the building in 2002, but a storefront tenant-at-will refused to vacate and thwarted the purchase until he lost his fi nal appeal four years ago.
“A $300,000 grant in 2009 from the Massachusetts Cultural Council was the
potters work beneath exposed original beams and trusses, shiny new ductwork, and one salvaged carving from the theater’s heyday.
nd2011placesB.indd 50nd2011placesB.indd 50 10/19/11 12:45:42 PM10/19/11 12:45:42 PM
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impetus for us to fi nally do the project,” says Gervens.
Adapting the cavernous brick box — 80 feet wide, 100 feet deep, and 42 feet high at the roof monitor — to meet modern needs began last summer. With unbroken sightlines from front to back, the building’s exposed orig-inal trusses, beams, and bricks, along with its shiny new ductwork provide an industrial-chic vibe. The addition of a floating mezza-nine (“for seismic reasons, we couldn’t tie it into the existing second fl oor,” says Mostue), an atrium, and a 15-foot-by-38-foot clerestory at the roof enhances the sense of openness.
“Theaters are built to keep out natural light, and this building completely covers its lot,” says Mostue. “For reasons of fi re protection and abutter privacy, the build-ing could not enjoy exterior windows where they did not already exist. We were left with only one way to bring natural light inside for the occupants in a very tall, wide, and deep building. Conveniently, the clerestory is also nicely dramatic.”
Although the marquee and its massive recessed stained-glass archway were long gone, Mudfl at retained some remnants of the past, among them ornate tin accents and dec-orative plaster paneling. The 21-foot-high tin proscenium sports a mysterious face and hints of vintage colors and gilding.
“We wanted to honor the history of the building. Unfortunately, the building was in
the addition of a fl oating mezzanine, an atrium, and a 15-foot-by-38-foot clerestory at the roof enhances the sense of openness.
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pretty sad shape by the time we got to it, so there wasn’t much to save,” says Gervens. “The proscenium is beautiful and still needs some repair work done — maybe that can be a future renovation. Adding the balcony [over-looking Broadway] provides an outdoor seating area but also references the marquee.”
Mostue wanted to keep more, but it was impossible. “The stamped metal ceiling was rotted and dangerous,” he says. “There were roof leaks that damaged it.” The screen was crumbling, so multimedia presentations are done on a new plaster wall. The box offi ce, hidden behind a warehouse garage door, had to be removed in order to level the entrance to comply with the Americans with Disabilities Act. The entry’s terrazzo fl oor with “Broadway” spelled out also was removed and saved for future use.
The facade’s restoration included returning to the theater’s black, red, and white paint scheme, while Gervens selected tangerine, powder blue, red, and cream for interior walls. The foyer is adorned with a colorful frieze of tiles made by past and pres-ent Mudfl at potters.
With the project complete, Gervens, who joined Mudfl at in 1973 as an instructor, plans to carve out time to work in one of the new studios. “I love throwing and altering the pots,” she says, but that’s been impossible to do for years. This appealing new space should change all that.
many exterior details were restored and the building’s facade was returned to its original red, black, and white color scheme.
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54 D E S I G N N E W E N G L A N D • N O V E M B E R / D E C E M B E R 2 0 1 1
ar t written by pamela reynolds • photographed by susan lapides
FAY CHANDLER’S CONNECTION • First Night Boston pays tribute to a doyenneof the art community by commissioning her to design its marquee symbol
AMONG ARTISTS, ALL BUT THE LUCKY few know the problem: You create art, the art does not sell, you fi nd a place to store the art. After a while, it builds up in storage bins as thick and deep as oil impasto on a linen canvas. Boston artist Fay Chandler found an
elegant solution to this problem, simultaneously transforming the local art community, the hallways of many a charitable organization, and her own iconoclastic career.
She gave her art away.Chandler, who turned 89 in September, is the
self-effacing founder of The Art Connection, which has donated original artwork to nonprofi t organizations since 1995. Recipients range from Rosie’s Place to the Boston Public Health Commission to the Asian American Civic Association. To date, The Art Connection and its nearly 350 artists have placed more than 5,100 works of art, free of charge, in
more than 300 nonprofi t agencies in Massachusetts.“I couldn’t sell the stuff,” Chandler says of her whimsical,
colorful canvases. “That’s when I fi gured: ‘Here I am, I want to paint. I’m liking doing it. Other people don’t like it. Nobody’s buying my work.’ That’s when I started The Art Connection.”
While The Art Connection represented Chandler’s bril-liant (“selfi sh,” she says) resolution to a common predicament among creative types, it also consolidated her own standing in
the art community, where respect and esteem can be hard to come by. If Chandler’s career was stalled before
the founding of The Art Connection, these days she stands as the highly regarded art doyenne
— and not just for her advocacy but also for her chimerical imagery. In September 2010, the Boston Center for the Arts fea-tured a retrospective of Chandler’s work. More than 400 paintings and 120 objects fashioned by Chandler over fi ve decades
were included in the show, with proceeds
fay chandler, founder of The Art Connection, painted a new piece specially for this year’s First Night Boston button (left).
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nd2011art(faye).indd 2nd2011art(faye).indd 2 10/18/11 3:43:57 PM10/18/11 3:43:57 PM
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from sales going to The Art Connection. Enchanted by her work, First Night Boston commissioned Chandler to paint First Night, a new work that will grace the 2012 button that will admit revelers to events at the city’s annual New Year’s Eve celebration.
Originally from Norfolk, Virginia, Chandler came to art late in life. After mar-rying business historian Alfred D. Chandler Jr. at age 22, she spent a couple of decades as a housewife raising four children. She began painting in the mid-1960s near the age of 40 as a response to reading Christian existentialist philosopher Paul Tillich. His exhortation that “to truly see, one should learn to make full use of one’s eyes” prompted Chandler to take up an artist’s brush. She began rather igno-miniously at the Famous Artists School, which advertised correspondence art courses in the back of magazines, but worked her way to a master’s degree in painting from what is now the Maryland Institute College of Art.
That was in 1967, and the art of the moment consisted of the big bold abstracts of Franz Kline, the aggressive pop images of Roy Lichtenstein, the minimalist sculpture of Donald Judd, and the suggestive post-mini-malism of Eva Hesse. Chandler, on the other hand, was painting dreamy, ethereal, and unapologetically spiritual paintings in a man-ner best compared to German-Swiss painter Paul Klee. Her art was not easy to classify, and her art heroes heralded from an earlier time — Miro, Kandinsky, Matisse, and children’s book author and illustrator Ludwig Bemelmans. Her point of view was earnest rather than ironic, personal rather than monumental. Her paintings in that period carried endearingly inspirational titles such as Chin Up (1970), Woman Emerging (1974), and Innovative Growth (1974). Though Chandler saw herself as a cut-and-dried fi gurative painter, it was not fi guration of the classical variety. “If I wanted to make people purple, I made them purple. And people didn’t always like to be odd col-ors,” she says.
Like all artists, she experienced rejec-tion. She recalls a trip to New York in which she sought to interest six Manhattan galleries in her work. Since Chandler was older and her fi gurative work often crossed the line into illustration, she was not well received. The experience inspired her to paint a series of grim hallucinatory works titled A Week in New
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York City. Melting edifi ces seemed to sum up Chandler’s frustration with the art world and her deep longing for artistic acceptance.
That was not easy to fi nd — in part, says Robert Rovenolt, resident artist at the Boston Center for the Arts and curator of the 2010 retrospective, because Chandler “was late to the game.” Meanwhile, Chandler’s husband Alfred steamed ahead with an illustrious career as an economic historian at Harvard Business School, writing many groundbreak-ing books and ultimately receiving a Pulitzer Prize. Chandler acknowledges feeling over-shadowed at times but continued to paint using the Benjamin Moore latex house paint samples that have become her trademark medium. She also constructed many “objects” incorporating found household detritus into droll fi gures. She joined the boards of the Boston Landmarks Orchestra and the Boston Center for the Arts. She satisfi ed herself with her prolifi c output. Until, that is, she hit upon the idea of The Art Connection. With that idea and her deep interest in and support of so many Boston artists, she became well known in the arts community. “She has hundreds of friends,” says Rovenolt. “That’s part of her legacy. She’s always been available and open to everyone.”
After her husband’s death in 2007, Chandler moved from the home the couple shared in Cambridge, Massachusetts, to a converted fi rehouse in the Brighton neighbor-hood of Boston where she continues to paint, though not necessarily every day. Blindness in her right eye and a couple of broken bones in recent years have slowed her pace, but only a bit. She lives surrounded by her canvases and the artwork of friends and family, who have also given her cartoons, newspaper clippings, and books with such titles as Transcendence and Living Buddha, Living Christ. It is all piled in happy disarray on most any available surface. After nearly 50 years of creating, the search for acceptance is over. Ironically, at the moment in which Chandler let go of her desire for art-world fame, she received a good measure of it, due to her own generous spirit.
Fay Chandler: 617-254-0428, faychandler.com.
The Art Connection: 617-338-7668, theartconnection.org.
First Night Boston; fi rstnight.org.
nd2011art(faye).indd 5nd2011art(faye).indd 5 10/25/11 11:48:04 AM10/25/11 11:48:04 AM
58 D E S I G N N E W E N G L A N D • N O V E M B E R / D E C E M B E R 2 0 1 1
COVERED IN CONTRADICTIONS • Though historic covered bridges have been swept away by raging fl oodwaters, those that remain stand strong
written by bruce irving icon
the 460 foot Cornish-Windsor bridge spans the Connecticut River, con-necting New Hampshire and Vermont. It was surpassed as the longest covered bridge in the country when Ohio’s 613-foot Smolen-Gulf Bridge opened in 2008.
AMID THE TELEVISION FOOTAGE OF the aftermath of Hurricane Irene’s dev-astation was the stunning video of the Bartonsville covered bridge in Vermont being washed away by floodwaters. The bridge represented 141 years of
irreplaceable history and was one more blow to the dwindling number of what has long been a nostalgic
symbol of life in rural New England. The once ubiquitous covered bridge is now a
rare sight along upcountry roads. In addition to the Bartonsville bridge, the town of Rockingham at one time had 17 covered bridges; before this year’s fl oods, only four remained. Nature has long been the enemy. Floods in 1927 washed away nearly 200 Vermont bridges in the span of 48 hours. The Bartonsville bridge was itself
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a replacement, its predecessor destroyed in a freshet in the spring of 1869.
Indeed, perishability is central to the story of covered bridges. Wooden structures exposed to the harshest of conditions, they are covered to extend their lives. Credit for the country’s fi rst goes to Rowley, Massachusetts, native and bridge builder Timothy Palmer. He’d already established his reputation by engineering major spans across the Merrimack River when, in 1801, the direc-tors of the Schuylkill Permanent Bridge Co. called him in to build a wooden bridge across that river in Philadelphia. It was 1,300 feet long and the world’s fi rst bridge with masonry piers in deep water. Mindful of the $300,000 he’d just spent, the president of the company asked if the bridge would last longer if it was protected from the elements with a cover-ing; Palmer guessed that a roof and side walls might extend its life from the standard 10 to 12 years to perhaps 30 to 40, and so it was that Pennsylvania beat our region to the title of “birthplace.” Nonetheless, New Englanders went on to build nearly 1,200 covered bridges over the ensuing years.
While Palmer’s solution makes perfect sense, over time the underlying reasoning seems to have become murkier. Wrong expla-nations for why bridges are covered span the gamut: to trick horses into thinking they were barns; to prevent horses from panicking at the glint of water; to keep snow and ice off the fl oor (in fact, “snowing a bridge,” that is, adding snow to its surface, was a common winter task, allowing for easy sleigh crossing); to make them less lightning-attractive than iron spans. The best/worst of all is cited by the late Richard Sanders Allen in his won-derful Covered Bridges of the Northeast: “to prevent a traveler’s knowing what kind of town he was approaching until it was too late to turn back.”
But before you could protect a bridge, you had to build it, and the early carpenters were an ingenious bunch. While fram-ing with heavy timbers was an ancient art brought over from Europe, getting wood to span long horizontal distances called for new solutions. The truss principle was well known, based on a triangle’s quality of being the only two-dimensional shape that cannot
nd20111icon.indd 59nd20111icon.indd 59 10/21/11 5:44:55 PM10/21/11 5:44:55 PM
www.billleearchitect.comDuxbury, MA
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be distorted under stress. Short bridges used one triangle truss, bisected by a “king” post. Longer spans were tackled with an ever-growing list of strategies, some patented, often named after their inventors. Twelve different kinds are found in New England bridges, including the famous Town’s Lattice Truss of 1820, named after Ithiel Town of Connecticut. A series of crisscrossing tim-bers forming multiple triangles, it was light and incredibly strong, and Town collected a royalty of a dollar per foot for every one built. One upside: It was easily constructed by relatively unskilled labor. One downside: A minimum of two holes had to be drilled (by hand, with an auger) and a pin driven through thick timber at the intersection of every element — 2,592 holes and 912 pins for every 100 feet of bridge. All that work paid off in sturdiness. One Town bridge, over the Batten Kill in Vermont, was knocked off its abutments by a fl ood, fl ipping it on its side. It was used for months in this attitude, lying across the river, before being righted.
But it wasn’t just engineering fi nesse that made these structures special. The roof and walls that went up to protect them also protected people passing through from pry-ing eyes, which is why many old-timers called them “kissing bridges.” Deep in the shadows, away from the cod-liver-oil adver-tisements and circus posters pasted inside the entrances for all to see, young lovers might slow their buggy or car down for a spell, lead-ing to graffi ti like this, quoted by Allen:
F. Brown, August 1892 — I hugged Polly P. in this bridge
LiarDid tooDidn’t Didn’t Didn’t. F. B’s a Liar!Did too
The peace and quiet needed for such stolen moments was hard to come by on the big bridges that provided crucial crossings. Some were “double-barreled” bridges, which allowed travelers to forgo the looking and wait-ing that smaller one-way bridges necessitated. Others were “combination” bridges, with train tracks on top of the roadway. If the old story of horses being saved from the horrors of glinting
icon
nd20111iconREVISE.indd 60nd20111iconREVISE.indd 60 10/25/11 11:41:57 AM10/25/11 11:41:57 AM
water isn’t true, there’s no doubt that many an animal was terrifi ed when a train thun-dered overhead. One horse literally died from fright inside the old combination bridge in Montague, Massachusetts.
Vehicle traffi c of another kind spelled the doom of many a bridge. Cars and trucks intro-duced weight and vibrational stresses that no covering could guard against, and as bridges aged, towns often opted for concrete and steel replacements. But Joe Nelson, vice presi-dent of the Vermont Covered Bridge Society and author of Spanning Time, a book about Vermont’s bridges, relates a favorite man-bites-dog story: After the hurricane of 1938 took out the North Hartland, Vermont, covered bridge, it was replaced with a modern steel span. Sixty-two years later, in 2000, it was shot, and the town elected to put up a wooden bridge in its place. It’s a Town truss, and Nelson esti-mates that, if properly cared for, “There’s no reason it shouldn’t last as long as the old Waitsfi eld bridge — that one was built in 1830 and still’s going strong.” And it’s not even the oldest survivor: New Hampshire’s Haverhill-Bath bridge just celebrated its 182nd birthday, a fact the good people of Rockingham are no doubt considering.
The once ubiquitouscovered bridge is now a rare sight along upcountry roads.
only wide enough for one car, the bridge that connects Sharon and West Cornwall, Connecticut, spans 242 feet.
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62 D E S I G N N E W E N G L A N D • N O V E M B E R / D E C E M B E R 2 0 1 1
It was while waiting for attendees to arrive at our fi rst fall Design
Salon, hosted at the ever-fabulous g Green Design Center in
Norwell, Massachusetts, that we spotted the alabaster dishware by
Shiraleah (shiraleah.com). Its ethereal texture called to us, its 100
percent recycled glass form hooked us, and its prices ($4-$15) had us
walking to the register. Along with the usual dinner plates and bowls
are the adorably small cups, all pictured above, and dramatically
slanted bowls at the Mashpee, Massachusetts, g Green store.
Cotton Inc., in partnership with Bonded
Logic, has been transforming old denim
into insulation that outdoes its fiberglass
counterparts since “Cotton. From Blue
to Green.” started in 2006 as part of
their Dirty Laundry tour at five colleges.
To date, the program has collected more
than 600,000 pairs of jeans, which in
turn outfitted 1,000-plus houses with
UltraTouch Denim Insulation. It all
starts with actually getting the jeans to
recycle, something Cotton has done
with the help of university programs,
community drives, and through the
mail, as well as promotions with major
D I S H E D U P d r e a m y
G R E E N J E A N S
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nd2011greenEssREVISE..indd 2nd2011greenEssREVISE..indd 2 10/26/11 10:19:37 AM10/26/11 10:19:37 AM
NOW IS THE TIME TO ORDER YOUR AWNINGSGET AHEAD OF THE SPRING RUSH!
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customers brought an old pair to recycle). All
the denim goes through a multi-step process to
bring it back to its original state — cotton
—which then goes on to make up 80 percent
of the no-chemical insulation. But “Cotton.
From Blue to Green.” didn’t stop there — it
partnered with Habitat for Humanity,
contributing UltraTouch to its efforts
(including 12 of 30 displacement homes built in
2007 right after Hurricane Katrina). Last year,
Cotton launched its grant program to help
rebuild communities in need. That’s one
powerful pair of jeans. Cotton. From Blue to
Green.; cottonfrombluetogreen.org.
Bonded Logic; bondedlogic.com.
Abby Freethy, a.k.a Northwoods Gourmet
Girl, makes mouthwatering meals in her
Little Leaf Cafe in Greenville, Maine. She
bottles up delectable homemade jams
and condiments sold in local shops
scattered throughout the Northeast (and
online at northwoodsgourmetgirl.com).
But it’s her Chef Hands Soap that’s one
well-kept secret. The goat’s milk and
grapefruit concoction,
sided in poppy seeds,
is a welcome weapon
in the kitchen — it
washes away pesky
odors (think garlic),
leaving hands soft and
fruity. This is one gem not currently sold
online, but it never hurts to ask, and retail
locations are listed.
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YOUR #1- STOP SHOPPING SPOT!
RAYMOND’S HOME / ABC CARPET322 Reservoir Street Needham, MA 02494
781-455-9200
nd2011greenEss..indd 3nd2011greenEss..indd 3 10/25/11 11:20:12 AM10/25/11 11:20:12 AM
ECO Structures builds high quality, craft-oriented, custom homes.
Current innovations, new technolo-gies and the finest craftsmen are
utilized throughout the job.
ECO can also advise and incorporate the latest in sustainable
construction including green products and methods.
PO BOx 757NOrfOlk, MA 02056
508.541.4108www.ECOStruCturES.COM
Architect: John Chapman
PO BOX 757NORFOLK, MA 02456
508.541.4108WWW.ECOSTRUCTURES.COM
We build high quality, craft-oriented, custom homes. We are committed to bringing in the finest craftsmen, quality products, innovations in con-struction methods and newtechnologies. We can also advise and incorporate thelatest in green building prod-ucts and methods.
ECO STRUCTURES, INC.Excellence in craftsmanship and personal service.
Architect: Hutker Architects
Architect: Gleysteen Design
Eco Full.indd 1 2/11/10 4:08:17 PM
Photographer: Shelly Harrison Architect: Hutker Architects
N O V E M B E R / D E C E M B E R 2 0 1 1 • D E S I G N N E W E N G L A N D 6 5
november/december 2011 fi fth anniversary
photo by michael j. lee
a peacock perchedon the dining room mantel is a regal counterpoint to the custom de Gournay walls. Story, Page 72.
Let’s Celebrate • Five New Englanders who set the bar • “Barefoot elegance” in a Back Bay condo • A Maine house with Federalist bones and an eye for light • Bold lines set apart a modern Berkshire marvel • Expansive views and New York style in a Vermont penthouse
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keep New England
in the design limelight
with new technology and
old-school techniques
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Besting Ancient RomeLUNAFORM’S JUMBO URNS and planters are a marriage of ancient Roman and 21st-century technologies. With shared back-grounds in design, architecture, art, and small business, founding partners Dan Farrenkopf and Phid Lawless opened Lunaform in coastal Sullivan, Maine, in 1992. Their mission: create garden containers — both grand and modest — strong enough to endure Maine winters and Arizona summers. Add to that stunning design and eye-riveting fi nishes, and it’s little wonder Bill Cosby and Martha Stewart just had to have some for their own gardens.
Similar to conventional pottery, Lunaform’s pieces are crafted on a wheel, but the similarities end there. Instead of clay, Lunaform uses a proprietary recipe of concrete fortifi ed with polymers and reinforced with steel. “Needless to say, the ancient Roman recipe for concrete is strong and lasting,” says Farrenkopf. “But as the water evaporated, tiny holes were left behind, which in our formula is countered by the addition of polymers, which fi ll those voids with plastic and both strengthen and waterproof the piece.” Brushed-on liquid metal fi nishes give the vessels a patina ranging from bronze to copper. And says Farrenkopf, water features, which they can either just design or completely install with pumps and plumbing, can be added.
The studio, which employs fi ve artisans, is completing a per-manent 15-vessel installation commissioned by the city of Boston for the park at Post Offi ce Square. With Lunaform’s technology, it might outlast the Colosseum. — J O H N B U D R I S
LUNAFORM, Sullivan, ME; 207-422-0923, lunaform.com.
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5L U M I N A R I E S
Heavy Metal“EVERYTHING IS MADE as it was in the 1800s,” says Eric DeLong, president of Tremont Nail Company, theoldest steel cut nail manufacturer in the country. Founded in 1819 by Isaac and Jared Pratt in Wareham, Massachusetts, Tremont was a fi xture in that coastal town until it was sold six years ago to Acorn Manufacturing, makers of restoration hardware, which moved it to its head-quarters in Mansfi eld, Massachusetts.
There, the steel cut nails that restoration specialists seek are still made as they were 190 years ago. “We have 24 machines producing 19 different types of nails,” says produc-tion controller Larry Bickett. “Two of the machines were built in 1990 from patterns used in the 1800s. Parts from old machines are still used.” The four edges of the cut nail tear through the wood fi bers, rather than splitting them as wire nails do, providing superior holding power. The nails are hard to pull out because the wood fi bers are pushed down and wedge against the nails, reducing the chance of loosen-ing. “The form is what makes them special,” says Bickett.
Tremont Nails can be found in expected places (the 1991 restoration of the Charles River Esplanade Hatch Shell) and unexpected places (on the sets of The Patriot and the Pirates of the Caribbean series). And this is one American-made product sold around the world. “New Zealand, in particular, is a big customer,” says DeLong. — J A N S H E P H E R D
Tremont Nail Company, Mansfi eld, MA; 800-835-0121, tremontnail.com.
Waves of GraceJANET ECHELMAN’S ROOTS are in New England, but her experience and infl uence can be found in the graceful volumes of shadow and light she has created for public spaces in more than 11 countries.
From her studio in Brookline, Massachusetts, she has produced art installations using woven fi ber or atomized mist to create pieces that respond to wind, water, and light. Her work includes the Water Sky Garden at the 2010 Vancouver Olympic Winter Games and the recently completed Every Beating Second, an indoor installation (rare for her) at San Francisco Airport. In the works is Pulse, a piece at Philadelphia’s Dilworth Plaza that will trace three subway lines running beneath it with colorful 5-foot walls of mist activated by train arrivals and departures. “The site had been the city’s fi rst waterworks and then the hub of the Pennsylvania Railroad in the era of the steam engine,” says Echelman, who compared the piece to “an X-ray of the city’s circulatory system.”
Although she studied textile weaving in Bali, net building in India, and lace making in Lithuania, the use of modern technology to articulate unseen connec-tions and elemental structures is Echelman’s forte, and she is constantly infl uenced by the engineers, archi-tects, designers, and fabricators with whom she works. These days, they are the researchers at Massachusetts Institute of Technology’s Center for Bits and Atoms, where she is helping create an armature for a sculp-ture that changes shape with fl uctuating temperature. Soon she will begin a residency at The Broad Institute of MIT and Harvard University, where the human genome was sequenced. Her fans can’t wait to see what new work that might inspire. — K A T I E G L E Y S T E E N
Janet Echelman, Brookline, MA; 617-566-0770, echelman.com.
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Window to the PastROBIN NEELY HAS been a stained-glass conserva-tor for decades, but her job description is ever changing. Researcher, painter, analyst, historian, puzzle solver — it’s all in a day’s work for this seasoned artisan, whose restorations and reproductions can be found in churches, institutions, and museums, including in the Museum of Fine Arts, Boston, where she re-created Colonial windows for the Brown-Pearl Room.
“Every window is different. It’s like restoring a house. Every house requires different work, as does every window,” says Neely from her studio in Westbrook, Maine. She relo-cated in 1991 from New York City, where she was a project manager for a stained-glass studio, to open her own fi rm, and since then has taken on challenges that run the gamut of dis-repair. She spent two years working on the 30-foot skylight in the three-story open foyer at the Victoria Mansion Museum in Portland, Maine. That masterpiece had been knocked out by a hurricane in 1938 and all that remained were mere frag-ments stored in a box at the back of a closet for 60 years. With no drawings, images, or descriptions to aid her, Neely spent 12 months researching (which included “a lot of standing and staring”) to decipher the pattern, and then set to work on fabrication, which included a painstaking process of precisely matching to the existing white glass.
It is the many layers of work — the technical elements along with the historical threads — that continue to capture Neely’s attention. “I feel like I become very intimate with not only the window, but with the artist, the building, and the time period. They’re right behind me, looking over my shoulder.” — D A N I E L L E O S S H E R
Robin Neely, Westbrook, ME; 207-857-9015, robinneely.com.
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Midnight SunTHE PESKY THING about solar electricity is that it only fl ows when the sun shines. Perfecting the effi cient storage of generated energy for 24/7 use is the Holy Grail — something a team of scientists at Massachusetts Institute of Technology, led by professor Daniel Nocera, is well on its way to achieving. Its breakthrough technology uses the sun’s energy to split ordinary tap water into hydrogen and oxygen, gases that have up to 1,000 times more energy-storage capacity than the ineffi -cient and costly batteries used today.
With Nocera’s development, which uses abundant and inexpen-sive catalysts (cobalt and a nickel-molybdenum-zinc alloy), the gasesare simply stored in tanks until needed. Pass them through a fuel cell(a technology that already exists), and voilá, serious amounts of round-the-clock electricity.
Nocera envisions a time when every home will be its own power plant, with solar panels on the roof, hydrogen and oxygen tanks in the yard, and a fuel cell in the basement. “Plants have known how to store sunlight for billions of years,” he says. “Now so can we.” The Cambridge, Massachusetts-based company he founded in 2008, Sun Catalytix, is work-ing to commercialize the process developed at MIT. It just unveiled a wireless catalyst wafer that can access the energy generated by solar panels and convert it to electricity without physical connections of any kind. “You just drop it in a glass of water, and it starts splitting it,” he says. Going green might, someday, be as simple as that. — B R U C E I R V I N G
Daniel Nocera, Sun Catalytix, Cambridge, MA; 617-374-3797, suncatalytix.com.
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apricot-toned silk curtains make the custom de Gournay wallcovering sing. The Directoire-style table, chairs (covered with cut velvet Pierre Frey fabric), and chandelier add to the sophisticated scheme.
W R I T T E N by Estelle Bond Guralnick
P H O T O G R A P H E D by Michael J. Lee
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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
I N T E R I O R S
Notquite
empty nest
A family in transition fi nds happiness and
a new design outlook in a
Back Bay condo
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mahogany cabinets and 2½-inch-thick marble counters grace the remodeled kitchen (above) where homeowner Suzanne Kelley selected the graphic linen for the Roman shade. Beyond the room, a breakfast niche is tucked in the bay window. In the living room (facing page), interior designer Lisa Pennick used pattern to bring life to the decor, mixing silk check at the windows, wool check on the skirted table, beige silk mohair velvet on the rolled-arm sofa, and a hand-blocked documentary pattern in white, brown, and green on the settee. Pennick (above, right) in the new foyer.
INTERIOR DESIGNER LISA PENNICK HAS AN INTERES-ting “second-time-around” theory. “Everybody should redeco-rate in their 40s or 50s” is her saucy assertion.
“Mostly, we’re on a learning curve when we do our fi rst homes. Twenty or so years later, we’ve evolved into our real per-sonas, and that’s the time for an update in our private decor,
whether a redo or a new project.”In view of Pennick’s philosophy, nothing could have been a better
fi t than the project — the renovation of a Back Bay triplex condomin-ium — she recently completed with clients Suzanne Kelley and Keith Block. The couple, who have active business careers, fi ve children (the oldest now 22), and two King Charles spaniels, were moving to Boston from the suburbs. “Given the kids’ ages, not everybody is around all the time, so we’re really verging on empty nesting,” says Kelley. “But we made sure always to have room for everyone, so there are four bedrooms and a media/family room, and we all love this place.”
Located on Commonwealth Avenue just a block from the Public Garden, the apartment comprises the top three fl oors of a handsome old fi ve-story building with a rooftop garden overlooking the city and a separate small deck off the kitchen. The interiors hadn’t been touched since the l980s. “It needed updating and freshening, all classically appro-priate,” says Pennick, whose design fi rm, Lisa Pennick Interiors Inc., is based in Salem, Massachusetts.
Improvements included a new foyer, kitchen, and breakfast niche, along with remodels of two of the four existing bathrooms. “Since the bones were solid, all the other changes were purely cosmetic,” she says. With her typical exuberance, she dubs the result “barefoot elegance” — lived-in, well-loved, unabashedly pretty, with a mix of comfort and sophistication. “It’s a true home,” she says. “They both like traditional — he even more than she — and we had fun reinterpreting ‘traditional’ to Keith’s satisfaction.” Adds Kelley: “He’s a cranberry, navy, and hunter-green type. Dark woods, jewel tones, very 1980s. We had to get him to the neutrals, then to the addition of color.”
Designer/client shopping trips generally are purposeful and pleas-ant, but Pennick and Kelley, who are longtime friends, turned a jaunt to Los Angeles into a work/play spree. By day, they’d hit the showrooms
interior design lisa pennick interiors inc.
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the glamour of gray is established in the master bedroom (facing page), where the chinoiserie-infl uenced headboard is handsome against soft gray walls and an oversize fl oral-patterned linen from Lee Jofa is used at the windows. The whimsical “Nantucket Table” is from Rose Tarlow. The remodeled bath (above) is fresh and tranquil. With a view of the city, the small side terrace or “kitchen deck” (right) has a Janus et Cie table and chairs, with cotton Sunbrella cushions.
with their fl oor plans and lists and gather samples; by night, they’d toast their efforts at glam restaurants such as The Ivy and its home furnishings boutique, Indigo Seas, which became another source of inspiration.
Back home, they ran their choices by Block, got his stamp of approval, then Pennick ordered fabrics and carpets at the Boston Design Center and other favor-ite area sources. “LA is a great mecca for shopping as a design dress rehearsal,” she says, “but Boston can supply everything needed, and I am utterly loyal to my local decorating connections.”
Considering the scope of the enterprise, it was accomplished in record time, with no attention to detail overlooked. From the elevator, the foyer is a chic introduction to what lies beyond — a mélange of beige, cream, and gray, with bursts of color scattered judiciously against neutral backgrounds. The 20-foot-by-18-footliving room is a haven of beautifully composed and lay-
ered furniture groupings, with warm and stylish walls given a two-toned beige faux “cheesecloth treatment” by decorative painter Jill McDonough of Concord,
New Hampshire. Subtle pattern in fabrics and carpet contribute just the right dash of quiet panache.
The showstopper is the scenic de Gournay wallpa-per in the dining room, custom hand-painted in what Pennick describes as “cocktail hour” colors that sing both by day and by night. “Walk into that room, and it’s always beautiful,” she says. “Keith likes it so much, he often neglects his home study in favor of working in the dining room. To the couple, it’s happy, vibrant, peaceful — an investment in beauty.”
“Living here is wonderful,” says Kelley. “Indoors, we feel cozy, casual, elegant. Outdoors, walking is sheer paradise for our spaniels, and we feel pretty much the same way.”
for more details,see resources
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“Neutral backgrounds are enhanced by the addition of pattern and color,” says interior designer Lisa Pennick. “But when the patterned walls are the star, as in the dining room, then solid colors play an important but supporting role. Decorating should make people feel good about themselves.”
design decision
Supporting Act
living room: logo in mirage 100 percent wool, David Hicks Collection for Stark.
stair runner: reeder in white/natural 100 percent wool, Stark, Boston Design Center.
carpeting accents
living room pillows: gran conde in spice Scalamandre.
kitchen: lorenzo in chocolate on oyster Bennison Fabrics.
master bath: palampore in charcoal/oyster Bennison Fabrics.
window treatments
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GETAWAY
L I G H T H O U S E
Two Maine architects bring a respectful presence to the past in a vacation home with Down East sensibilities
Written by G A I L R A V G I A L A / Photographed by S A N D Y A G R A F I O T I S
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sun pours through the skylight dormer, washes the glass-block fl oor on the landing, and then fi lters through to the foyer (facing page) below it. The palette and furnish-ings were selected with the guidance of interior designer Judy Schneider of Interior Resources in Portland, Maine.
G E TA WAY
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TO PUT IT IN FASHION TERMS, THE CEN-turies-old Federalist houses that Freeman Zausner wanted to emulate are akin to fi ne-wool business suits: dignifi ed, straightforward, and a bit stuffy. The property where he wanted to build his new vaca-tion home, 30 primitively beautiful acres along the
Medomak River in Waldoboro, Maine, was more suitable for a rus-tic cutoffs-and-T-shirt cabin. The delightful house Nancy Barba and Cynthia Wheelock of Barba + Wheelock, Architecture Preservation Design, in Portland, Maine, designed for him is neither.
Despite its 3,860-square-foot size, it’s a demure addition to the landscape — a crisp, perfectly tailored linen sundress, fi tted and detailed, yet light as air, sophisticated enough for dinner at the country club and casual enough for a barefoot romp on the beach. If ever there was a house that successfully gave tradition a fresh sensibility, this is it.
“Freeman wanted to be respectful of the Federal houses all around this area,” says Wheelock, “but Federal houses have 7-foot ceilings and boxed-in fl oor plans.”
The rooms in this house, on the other hand, fl ow as smoothly as the outgoing tide. The ceilings are 10 feet 6 inches high, all the better to accommodate the 8-foot-tall doors and windows. And everywhere, there is natu-ral light bringing a liberating sense of airiness to the interior spaces.
“I like light,” says the understated Zausner, a specialty retail executive who lives in Delaware but fell in love with Maine as an 8-year-old sent Down East for summer camp.
Barba and Wheelock got the message. They oriented the building for the sun rather than the water view. “If it were par-allel to the river,” says Zausner, “it would have made it darker.” Instead, the architects sited the house for a southeasterly exposure. At Zausner’s request, it is set on a crest, well back from the river, barely visible to kayakers paddling past.
Just getting to the house is a journey of quiet expectation. A narrow dirt road that took 18 months to build meanders a mile and a half through otherwise untouched woods. The house reveals
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1 terrace 2 conservatory 3 dining room 4 open hallway 5 living room 6 library 7 bathroom 8 foyer 9 powder room10 kitchen
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architecture barba + wheelock, architecture preservation design
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Second Floor
1 office/guest room2 master bath3 master bedroom4 closet5 alcove6 upstairs hall 7 laundry 8 guest bathroom
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BUILDER Bruce Laukka Inc.
the kitchen reflects traditional sensibilities while including modern amenities. The fi sh fossils behind the stove are from Wyoming. “I wanted something in the house that was older than me,” says Freeman Zausner. The library (facing page) doubles as a guest room.
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the epitome of the light- fi lled space Zausner was seeking, the conservatory (above) provides views of the woods and water beyond. From the river, the unadorned symmetry of the building’s exterior (left)refl ects the classic Georgian houses found throughout Maine. However, skylight dormers and a standing-seam roof hint that this is a more modern cousin. The master bath (facing page) is fl ooded with light from the skylight tucked into the dormer above the tub.
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itself with a whisper, not a wow, as it becomes visible from behind an oasis of trees in the center of the circular driveway. The white clapboards and classic nine-over-nine windows hint at tradition, but a glimpse of sky through the peak of the six dormers says otherwise. A visitor just wants to take a deep piney breath and slowly take it all in, so as not to miss a detail or a play of light and shadow.
The front door opens to a foyer where a glass-block ceiling dis-perses light — natural by day, artifi cial by night — from the landing above. Straight ahead, where in a Federal house there would be a dark, if wide, hallway with rooms on each side, Barba and Wheelock created a kind of hall without walls by lowering the oval-shaped cof-fered ceiling to defi ne the space. The view is through the house to the woodsy backyard. To the right is the living area, to the left, the dining area.
The furnishings are simple, spare, and somewhat formal, yet the house has a warm, welcoming ambience. The windows, the reclaimed Southern yellow pine fl oors, and the constantly chang-ing light are the stars in this show. Beyond the dining area is
the English conservatory that for Zausner evokes childhood memories of an uncle’s greenhouse. “I wanted a place fl ooded with light, where we could see the water, the woods, and the wildlife,” he says.
In it is a formal dining table that seats 10. “In the summer, with the doors and windows open, it really becomes part of the land-scape,” says Barba.
At the opposite end of the house is a cozy library/guest room with a wood-lined cathedral ceiling, comfortable seating, a raised hearth, and built-in shelves fi lled with books. “This space has a different sen-sibility,” says Barba. “It is more casual, more of a winter room.”
Upstairs, the two bedrooms and two baths are fl ush with natu-ral light from the ingenious skylights Barba and Wheelock designed to fi t precisely in the peaked roofs of the dormers. There is one each above the stairwell and the second-fl oor landing — the source of the light that fl oods the foyer below the glass-block fl oor.
“Even in the dead of winter,” says Zausner, “this house is fi lled with light.”
“We wanted to bring in light and fi lter it from above without losing the traditional feel of the house,” says Cynthia Wheelock (left in photo) of Barba + Wheelock Architecture Preservation Design. To do that, she and partner Nancy Barba designed “skylight dormers” using Wasco Classic Extended Pyramid Skylights instead of roofi ng above the dormers. The window wells allow dramatic overhead light into bedrooms and baths without sacrifi cing privacy. And though the skylights are not vented, each dormer has an operable window to allow warm air to escape.
design decision
Light from Above
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+ W
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HIT
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N O V E M B E R / D E C E M B E R 2 0 1 1 • D E S I G N N E W E N G L A N D 8 3
for more details,see resources
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Written by William Morgan Photographed by Michael Lavin Flower
BERKSHIRE BOLDNew England’s industrial
heritage meets
avant-garde modernism
in a house that is itself
a work of art
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ARCHITECTURE
the house literally extends itself into the Berkshire Hills. Angled skylights bring light into the guest suite, which hovers above a concrete terrace, providing it with both shade and protection from the elements.
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in the evening, circular skylights over the kitchen island (above) are lit from the roof to give the space a nighttime glow. A plaster “architectural intervention” (above, left) by artist Daniel Arsham acts as a divider between entry hall and living space. William Eggleston’s “Cadillac” series of photographs line the hallway beyond the two office cubes.
1 5 6 7
511
42 3 2
8
9
13
14
10
to pool
First Floor
1 master bedroom 2 closet 3 master bath 4 gallery 5 study 6 living room 7 dining room 8 screened porch 9 kitchen10 pantry11 foyer12 powder room13 laundry14 garage
Second Floor
1 guest bedroom 2 guest bath 3 guest sitting area
1
2
3
12
BUILDER Well-Kamp Enterprises
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Berkshire House XIII is hard to miss. Its upper story, with factory-like saw-toothed skylights, cantilevers dramatically over a meadow. A sheathing of Vermont roofi ng slates on the walls contrasts with the rigorously modern concrete and steel construction.
It is a house of delightful contradictions and arguably the most excit-ing example of new architecture in the rural, yet culturally endowed, Berkshires. It may also be the fi nest work to date by Burr and McCallum, Architects, a small practice in Williamstown, Massachusetts, led by prin-cipals Andrus Burr and Ann McCallum, a husband-and-wife team that produces handsome, understated museums, schools, commercial build-ings, and houses that refl ect the region’s history.
The owners of Berkshire House XIII are a Boston couple who used to have a summer home on a lake in Maine. But once the kids were grown, they realized they wanted “scenery and culture,” which brought them
to this 11-acre spot a couple of miles from Tanglewood. On the property was a conch-shaped composition from the 1960s. The house, built by a New York gallery owner, was “adorable,” but not the “modern Bauhaus style” residence they wanted to complement their contemporary art col-lection. Embracing the grand view was also a given, so the architects designed a house with lots of glazing while still protect-ing the art from the light.
The bold design drawn up for the new house was grounded by the trust that emerged almost immediately between architects and clients. The owners had interviewed other archi-tects, but, says the husband, “within 45 seconds with Ann [McCallum] and Andy [Burr], the personality bell went off. We knew they were the ones for us.” The feeling was mutual, says Burr. “This was one of our most collab-orative houses.” He adds that “there were zero problems, zero aggravation
PERCHED AT THE RIDGE OF A STEEPLY SLOPING HILL,
architecture burr and mccallum, architects
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a cutout in the terrace wall frames the sky in an abstract composition. The screened porch, perched above the steps, offers views (facing page) of the distant hills and the meadow that rolls down to the Japanese teahouse built by a previous owner in honor of neighbor, conductor Seiji Ozawa.
between client, builder, and architect.” The 4,600-square-foot house was completed in just 13 months.
A 94-foot-long rectangular pavilion serves as the primary living space. This box — which is only one room deep and thoroughly embraces the view — is broken up by a series of cubes that accom-modate two studies, the front entry, and a screened porch. These pods provide separation and spatial defi nition in what would other-wise be one large, open space, recalling the canonical doorway-free
house plans by modern masters such as Mies van der Rohe and Gerrit Rietveld. Best of all, these cubes create several serendipitous gallery spaces.
A second rectangular unit housing the garage, mudroom, and laundry joins the main block at a right angle to form an entrance court that is sheltered from the prevailing winds. Exposed structural steel framing accentuates the industrial aesthetic. In contrast, slate roofi ng tiles, turned sideways for horizontal emphasis, wrap the exterior walls.
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Quarried from the rugged New England landscape, this natural material offers the solidity of stone softened by its mottled coloration.
The spatial dividers — backdrops, display walls, and sometimes pieces of art — reinforce the house’s overall geometry, while neutral walls and white oak fl ooring unify the living area. Floor inserts of tinted concrete break up the broad expanses of wood and serve as markers for a journey of exploration through the house.
The cubes-within-rectangle scheme brilliantly allows the primary liv-ing space to feel unrestricted, yet offers intimate alcoves for experiencing the collection of paintings, sculpture, and photography. Discovery of these little galleries is simultaneous with the constant panorama of revealed landscape — framed glimpses of nature instead of picture-window views.
The kitchen, fl ush with natural light from three skylights and a window wall, has the simplest of islands topped with polished concrete. It stands in front of a Shaker-like wall of cabinets complete with an
aluminum ladder that moves along a barn-door rail.Just off the kitchen, a prominent extrusion breaks the walls by push-
ing out and upward, creating an aerie where a screened porch affords a view to the Japanese garden below and Taconic hills beyond.
A guest suite — a third rectangle atop and perpendicular to the main block — boldly extends over the main terrace, creating a shaded spot for outdoor dining on the broad trapezoid-shaped terrace. At the end of this belvedere, steps lead down to the landscape, but the retaining wall continues on, forming a strong sculptural element that, pierced with a rectangular hole, becomes a framing device for viewing the landscape.
So is Berkshire House XIII a museum-size house, or is it a domesti-cally scaled museum? Designed as a showcase for a collection, the house is instead its foremost work of art. “We would change nothing,” say the sat-isfi ed owners.
for more details,see resources
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N O V E M B E R / D E C E M B E R 2 0 1 1 • D E S I G N N E W E N G L A N D 9 1
an extended exterior wall forms another “picture frame” visible from the master bedroom (above). Simple furnishings and muted colors defer to the ever-present view. From a distance, Berkshire House XIII (above, right) seems to emerge organically from the sloping landscape. The site plan (right) illustrates the careful placement of the building along the ridge above the surrounding meadow.
Site Plan
teahouse
pool
house
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W r i t t e n b y
KathleenJamesP h o t o g r a p h e d b y
JimWestphalenS t y l e d b y W e n d y Fa n n i n
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C I T Y L I V I N G
TOP PRIORITY
A blank slate with an
expansiveVermont backdrop
becomes an intimate
urban home
walls of windows set at an angle frame westward views of the Adirondack Mountains, Lake Champlain, andBurlington’s busy waterfront.
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4 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
all three of the couple’s sons wore the hand-me-down overalls now framed in the light-drenched seating area off the kitchen. Cherry cabinets and a fused metal veneer backsplash define the kitchen (facing page).
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Occupying 2,300 square feet on the ninth, and highest, fl oor of The Westlake Residences, their three-bedroom penthouse offers a 270-degree view of Lake Champlain, the distant Adirondack Mountains of New York, and the marinas and parks of the busy Burlington, Vermont, waterfront.
“Our guests get about 20 feet into the apartment, and then we hear the big ‘Wow,’ ” says Carol of the moment the lake view unfolds. “After they get over that, the most common description we hear is ‘comfort-able.’ ” The decor is an eclectic mix of unpretentious antiques, muted colors, and contemporary touches that cogently realize Carol’s vision of “a vintage New York City apartment that had been successfully ren-ovated.” At their fi rst meeting, she presented architect Paul Robert Rousselle with a binder stuffed with notes, brochures, and magazine
photos. “That binder should be a collector’s item,” says Rousselle, who started his solo practice, Paul Robert Rousselle Architect, in Stowe, Vermont, in 2005 and designed the 2011 HGTV “Dream Home” there. “It contained a lot of cool images and eclectic notions and they all rein-forced her idea of a Manhattan brownstone.”
Rousselle started with a metaphorical blank slate as the building was still under construction — a high-profi le project (on one of the last available lakefront lots in downtown Burlington) by Dousevicz Inc., the real estate, development, and construction fi rm that Jim and Carol founded in 1990.
Guests enter through a simple foyer that segues toward a small oval room with a recessed ceiling and soft lighting, a space that serves as a dramatic art gallery. Its curved walls boasting colorful lithographs
FOR A VIEW AS SPECTACULAR AS THAT FROM JIM AND CAROL
DOUSEVICZ’S DOWNTOWN BURLINGTON CONDOMINIUM, YOU’D
USUALLY HAVE TO HIKE A MOUNTAIN — OR HIRE A HELICOPTER.
architecture paul robert
rousselle architect
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by artists such as Picasso and Miró open to the sweeping lakeside view. “Instead of moving in a straight line from the front door to the view, we introduced a little twist,” says Rousselle, who spent two decades work-ing for several New York architectural and engineering fi rms before moving to Vermont. “More than a turn in a hallway, it’s a place to dis-play art, most notably the natural art that lies ahead.”
Most important, the apartment, where the Dousevicz clan gathers weekly for family dinners, refl ects the couple’s family-cen-tric lifestyle. Jim and Carol, high school sweethearts from nearby Winooski, Vermont, have been married since 1969. They raised their three sons in Essex, Vermont, outside Burlington, but moved down-town to another condo complex (also developed by their company) on the day after their youngest child graduated from high school. Today, all three sons are married and live in town, with fi ve chil-dren among them. Jed, 38, and Brad, 35, work for Dousevicz Inc., while Jed is also a partner in V/ T Commercial, a real estate com-pany. Luke, 31, owns a local nightclub (the Half Lounge) and pizza parlor (Mr. Mike’s Pizza).
“We love living downtown,” says Carol. “It just zipped things right up. We walk everywhere — to the movies, the market, the shops, and to our boat at the King Street Dock. We’re surrounded by great
restaurants, and we’ve probably tripled our entertaining.” The main living space is defi ned by the fl oor-to-ceiling panorama.
An Oriental rug and large round table defi ne the dining space. The kitchen is set apart by a long granite countertop and widely spaced structural columns. True to Carol’s vision of a vintage apartment with modern accents, the cherry cabinets incorporate sleek stainless steel handles and upper panels of translucent glass, while the backsplash tile by Vermont-based Questech has a veneer of fused metal. The coffered ceiling is decidedly retro, with deeply recessed mahogany panels set off by painted beams and hand-forged lighting fi xtures by Vermont’s Hubbardton Forge.
“Paul understood our vision,” says Carol, looking out over Lake Champlain, where Coast Guard boats circle in a training exercise and a passenger ferry pulls into the municipal harbor. “He really listened. I would see a pic-ture that I liked, and I wouldn’t even know what drew me: the light, the color, or maybe the wood? Paul was able to sift through it all and fi gure out what we wanted. That was important, because when we’re talking about something as personal as our homes, we don’t always know what we mean. We just have a feeling. And we didn’t want a showcase; we wanted a home.”
for more details,see resources
the foyer angles left into an oval art gallery with a recessed ceiling (facing page). The master bathroom’s whirlpool tub faces cityside (below). The dining area (left) is handy to the kitchen,as is the custom window seat in the foreground,a favorite spot for the fi ve Dousevicz grandchildren to watch the boats in busy Burlington harbor.
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Don’t miss this opportunity to connect with the region’s tunity totunity to
best architects, designers, contractors and developers.ers, conters, cont
Sponsorships still availaable. a
For details, visit architects.org/awardsgalacts.org/aects.org/a .
EVENT SPONSORS MEDIA SPONSORS The Boston Society of Architects/AIA is committed to professional development for our members, advocacy on behalf of great design, and sharing an appreciation for the built environment with the public at large.
BSADESIGN
GREAT ARCHITECTURE CELEBRATED ON ONE GREAT NIGHT
The BSA announces the winners of its
2011 DESIGN AWARDS PROGRAM on JANUARY 26, 2012
at the Boston Marriott Copley Place
ArchitectureBoston
BSA.indd 1BSA.indd 1 10/24/11 11:47:12 AM10/24/11 11:47:12 AM
Sponsoredby:
FIFTEENTH ANNUALBOSTON INTERNATIONALFINE ART SHOW
21st/Legacy Editions (MA)Arcadia Fine Arts (NY)Avery Galleries (PA)Bowersock Gallery (MA)Brick Walk (CT)The Caldwell Gallery (NY)The Christina Gallery (MA)Clarke Gallery (MA)Cooley Gallery (CT)Davenport and Shapiro Fine Art (NY)Debra Force Fine Art (NY)Eckert Fine Art (CT)Edward T. Pollack Fine Arts (ME)Elizabeth Clement Fine Art (MA)Fraser Gallery (MD)Fusco & Four Modern (MA)Galeria Quorum (Spain)Gladwell and Company (UK)The Hooke Sculpture Gallery (NY)International Art Acquisitions (NY)Jay Chatellier Fine Art (NJ)Joy Kant Fine Art (MA)Marine Arts Gallery (MA)Martha Richardson Fine Art (MA)Museum Works Galleries (IL)Newman Galleries (PA)Pierce Galleries (MA)Portico New York (NY)Principle Gallery (VA)Questroyal Fine Art (NY)Quidley & Company (MA)Renjeau Gallery (MA)Sunne Savage Gallery (MA)Susanna J. Fichera Fine Art (MA)Tom Veilleux Gallery (ME)Tree’s Place Gallery (MA)Vose Galleries (MA)William Vareika Fine Arts (RI)
40 Outstanding Galleries
from the U.S. & Europe
offering Traditional and
Contemporary Fine Art
The CycloramaBoston Center for the Arts539 Tremont Street, in the South End
GALA PREVIEW
Thursday, November 17, 5:30-8:30pmTo benefit The Greater Boston Food BankEnjoy fine food, festive music, and of coursethe first choice of a dazzling array of fine art,while benefiting this worthwhile organizationone week before Thanksgiving.Co-presented by Design New England, nowcelebrating its 5th Anniversary. Tickets $100& $250 at GBFB.org or call 617-363-0405
WEEKEND SHOW & SALEFriday 1-9, Saturday 11-8, Sunday, 11-5Admission $15, under 12 free. Café at theshow. Valet and discount parking available.Friday Evening "NewCollectors Night"Saturday and Sunday Special Guest Lectures.
For information: 617-363-0405
www.FineArtBoston.com
Produced by Fusco & Four/Ventures, LLCFor information on all of our shows, visit:www.BostonArtFairs.com
November 17-20, 2011
For your complimentary VIP weekend passes visit: www.BostonArtFairs.com/VIP
BIFAS2011_DesignNE:Layout 1 10/17/11 5:30 PM Page 1
accompaniment compendium
High Fashion • Dazzle for the stage, rich color for the tabletopwritten and produced by danielle ossher • photograph by joel benjamin
1oo D E S I G N N E W E N G L A N D • N O V E M B E R / D E C E M B E R 2 0 1 1
Music aside, anyone with a designer’s eye has to love the spectacle that is opera. And nothing is more dazzling than the wardrobe. Fashion Design-
ers at the Opera ($60, Thames & Hudson) is a tome bursting with inspired costumes designed for the
world’s best stages by fashion bigwigs. It is illustrated with scores of luscious original sketches (such as Christian Lacroix’s, for Poppea in Agrip-pina, above) and dazzling performance photos.
AS THE WEATHER CHANGES, so, too, do the rich colors offered by
Mole Hollow Candles in Sturbridge,
Massachusetts. Fall and winter
palettes range from the many
shades of a New England
autumn to snowy white
(no typical crayon colors
here). Artisans hand-dip
or pour each candle, as they
have since 1969, and then sign the
box in which they are packaged.
These tapers have a subtle crisscross
“Spun Finish” that adds
depth to the stunning
hues. Mole Hollow
Candles; 800-445-
6653, molehollow
candles.com.
C U R T A I N C A L L
in season
dium
e for the stage, rich color for the tabletopsher • photograph by joel benjamin
E C E M B E R 2 0 1 1
AS THE WEATHER CHANGES,so, too, do the rich colors offered by
Mole Hollow Candles in Sturbridge,
Massachusetts. Fall and winter
palettes range from the many
shades of a New England
autumn to snowy white
(no typical crayon colors
here). Artisans hand-dip
or pour each candle, as they
have since 1969, and then sign the
box in which they are packaged.
These tapers have a subtle crisscross
“Spun Finish” that adds
depth to the stunning
hues. Mole Hollow
Candles; 800-445-
6653, molehollow
candles.com.
season
nd2011compendB.indd 2nd2011compendB.indd 2 10/18/11 4:06:01 PM10/18/11 4:06:01 PM
accompaniment resources
For more information on products featured in this issue, please contact the design professional associated with the project.
22–26 • Visit/Rindala Awad WagnerKitchen: Poggenpohl, Boston; 617-236-5253, boston.poggenpohl.com. Construction: Beaudry Construction, Rockland, MA; 617-529-6175. 38–43 • Kitchen/Down to a ScienceInterior design: Rachel Reider Interiors, Boston; 617-942-2460, rachelreider.com. Kitchen design: Venegas and Company, Boston Design Center; 617-439-8800, venegasandcompany.com. Backsplash: DiscoverTile; 617-330-7900, discovertile.com. Wall urchin sculptures: Element Clay Studios; 828-275-8279, heatherknightceramics.com.44–47 • Bath/Outside PerspectiveArchitectural design: Cushman Design Group, Stowe, VT; 802-253-2169, cushmandesign.com. Construction: Conklin Associates, Hyde Park, VT; 802-888-5134, conklinassociates.net. Tile: Down East Tile, Stowe, VT; 800-561-9257, downeasttile.com. Vanity: LWI Metalworks, Morrisville, VT; 802-888-2394, lwiweld.com. Vanity countertop, bowl: Red Concrete, Burlington, VT; 802-862-3676, red-concrete.com. Bathtub: Sunrise Specialty, Oakland, CA; 800-444-4280, sunrisespecialty.com. 72–75 • Interiors/Not Quite Empty NestInterior design: Lisa Pennick Interiors Inc., Salem, MA; 978-745-2811, [email protected]. Construction: Dave Riordan Construction, Salem, MA; 978-740-0202. Woodwork: The Cabinetry, Hingham, MA; 781-749-6777, thecabinetry.net.78–83 • Getaway/Light HouseArchitecture: Barba + Wheelock, Architecture Preservation Design, Portland, ME; 207-772-2722, barbawheelock.com. Construction: Bruce Laukka Inc., Rockport, ME; 207-236-4407, brucelaukkainc.com. Interior design: Interior Resources, Portland, ME; 207-828-5082, interioresources.com. Flooring: Antique heart pine, Carlisle Wide Plank Flooring; 800-595-9663, wideplankflooring.com. Stone: Morningstar Marble and Granite, Topsham, ME; 207-725-7309, morningstarmarble.com.84–91 • Architecture/Berkshire BoldArchitecture: Burr and McCallum Architects, Williamstown, MA; 413-458-2121, burrandmc callum.com. Construction: Well-Kamp Enterprises, Great Barrington, MA; 413-528-5161. Engineer: John Novelli, Shaftsbury, VT; 802-447-4950. Landscape design, civil engineering: Greylock Design Associates, Lenox, MA; 413-637-8366, grey lockdesign.com. Interiors: Janet Bilotti Interiors Inc., Naples, FL; 239-597-3636, janetbilotti.com. Steelwork: J.F. Graney Metal Design, Sheffield, MA; 413-528-6744, graneymetaldesign.com.92–97 • City Living/Top PriorityArchitecture, interior design: Paul Robert Rousselle Architect, Stowe, VT; 802-253-2110, paulrobertrousselle.com. Tile: Questech, Rutland, VT; 802-773-1228, questech.com. Lighting: Hubbardton Forge, Castleton, VT; 802-468-3090, hubbardtonforge.com. Dousevicz Inc., Essex Junction, VT; 802-879-4477, dousevicz.com. ❧
A Holiday House TourSaturday, December 3in historic Concord, Massachusetts
Seven beautiful homes professionally decorated in the holiday spirit
Reservations: 978.369.9763Ticket information: www.concordmuseum.org
Sponsored by
The Concord Museum’s Guild of Volunteers presents
2011 Bulfinch AwardsCongratulates the Winners of the
GRAND PRIZECivic
Decarlo & DollBest Urban Residence
Dell Mitchell ArchitectsBest Suburban Residence
Jan Gleysteen Architects
classicist-ne.org
ExhibitionNovember 28th ~ December 2nd, 2011Doric Hall, Massachusetts State House
Presentation and CeremonyWednesday, November 30th, 201 1 ~ 6:00 pm Reception ~ 7:00 pm Awards Cerernony
Grand Staircase Hall, Massachusetts State House ~ 24 Beacon Street, Boston, Massachusetts
Keynote SpeakerJudge douglas P. Woodlock
Thomas Jefferson Award for Public Architecture
Tickets$75 for ICAA/BSA members and employ ees of professional member firms,
$100 after November 14th; $100 for general public
LandscapeGregory Lombardi Design
InteriorsCarter and Company
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RiverBend & Company, riverbendandcompany.com 41
Rob Bramhall Architects, robbramhallarchitects.com 61
Roche Bobois, roche-bobois.com 4
Roomscapes Luxury Design Center,
roomscapesinc.com 11
Runtal of North America, runtalnorthamerica.com 45
S + H Construction, shconstruction.com Cover 3
South Shore Millwork, southshoremillwork.com 37
The Dorchester Awning Company,
dorchesterawning.com 63
Thoughtforms Corporation, thoughtforms-corp.com 40
Timberpeg, timberpeg.com 17
Van Dam Architecture and Design,
vandamdesign.com 52
William F. Lee Architect and Associates,
williamleearchitect.com 60
Zen Associates, zenassociates.com 25
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104 D E S I G N N E W E N G L A N D • N O V E M B E R / D E C E M B E R 2 0 1 1
A s a first-time judge at the annual fashion show put on by the New England chapter of the International Interior Design Association, I can tell you that car-pet remnant rolled up in the attic has taken on new dimensions. Heck, it could be my next evening gown. Held each October, this highly competitive extravaganza saw 22 teams from the region’s top architectural and design fi rms turn commercial fl ooring, textiles, paint, and hardware into runway opulence. Witness this year’s Best of Show (designnewengland.com/blog), won by Bergmeyer of Boston with its over-the-top Disney sendup — a racy trio of costumes themed “Magic Kingdom Come.” But we thought the entry from SMRT of Portland, Maine, was more suited for our end page. Dissecting the show theme, Iconography, “We just went with ‘graphy,’ which became ‘graphic,’ ” says Paul Lewandowski, design principal. With that, they turned a quote into a coat. Now that’s graphic design. — Gail Ravgiala
take note photograph by joel benjamin
FLOORED • From carpet to paint cans, everything is wearable at the annual IIDA fashion show
using water-jet technology to cut Mannington fl ooring into letters (and a quote from The Devil Wears Prada), the SMRT team created a chic coat to go over architect and model Abigail Cram’s upholstery fabric skirt and vinyl bustier. Origami fl owers (vinyl wallcovering) and sandals (rubber fl ooring) complete the ensemble.
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26 New Street, Cambridge, Massachusetts 02138 • 617-876-8286www.shconstruction.com • www.facebook.com/shconstruction
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To see all the BDC design trends for 2012, visit:
www.bostondesign.com/design-inspiration
Purple ReignBDC Color Forecast:
Hot for 2012 – shades of amethyst, hydrangea, orchid and fuchsia
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