HOMElife February-March 2011

Right where it

Belongs

Constant beauty

Lake Charlevoix home designed with continuity in mind

HOMElifea n u p - n o r t h M A G A Z I N E

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4 a n u p - n o r t h M A G A Z I N E

a note from the editor

A s I type this, trying to shake the winter chill off my fingers and bones, there are two thoughts that come to mind.

The first is we are in the thick of it, this cold, white, windy, snowy season. The sec-ond is that because we’re in the middle of it, it’s all downhill to spring.

I’ve been told that my optimistic view of spring being right around the corner is borderline delusional, but I can’t help it. Certainly, there are many weeks left to go before we emerge into the next season — many cold, snowy weeks. Even I can’t deny that.

But for as frigid as it is in the out-of-doors, we at HomeLife found warm, invit-ing spaces that helped knock some of the wind out of winter’s sails.

In Petoskey, we visited the home of Bob Blanz. The residence is a shrine to sculp-tors whose Western art is immortalized in bronze, and a constant reminder to Blanz of his career years spent out West.

Traveling to the southwest, we found a Nantucket-style home on the shore of Lake Charlevoix. This classic exterior is matched inside with rich and natural materials that create an overall feeling of continuity and comfort.

The final home in this edition belongs to Jim and Sylvia Walworth. I first met the Eastport couple while working on a dif-ferent publication, and was drawn to their home by the way the artwork and the archi-tecture enhanced the other. It seems there’s always one house in each edition where photographer G. Randall Goss and I have a very hard time narrowing our focus because there are so many good angles and photos, and this was it.

And so as winter continues to throw its curveballs at us, I hope you find a bit of shel-ter and warmth in this HomeLife.

And remember, it’s a downhill slide to spring!

Maggie PetersonHOMElife Editor

[email protected]

2617 M-75 S • Boyne Falls • 231-549-2780

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HOMElife 5

HOMEa n u p - n o r t h M A G A Z I N E

lifeFebruary / March 2011

Publisher Doug Caldwell

Editor Maggie Peterson

[email protected]

Photography G. Randall Goss

[email protected]

Layout & Design Renée Tanner

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advertising Information: Advertising Manager

Christy Lyons [email protected]

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contents

16Constant beauty

20Right where it belongs

8 Product Guide:Light up your life with these attractive lamps

HOMElife 7

28Layers of illumination

CorrectionIn the December 2010/January 2011 edition of HomeLife, the article on the Walker home should have listed the remodeling design was completed by Dan Gorman Design Associates of Harbor Springs, and the pendant lights in the kitchen were crafted by Jordan Valley Glassworks in East Jordan.

10Western

infl uence

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PRODUCT GUIDE

A handcrafted, sculpted metal cattail table lamp by Ann Arbor artist Michael Wolfe. Avail-able at Freshwater Studio in Boyne City.

A glowing blue neon table lamp titled “Two Figures” by local artist John Stevens of Advance. It is available at Freshwater Studio in Boyne City.

A pair of glass bottles recycled into light-filled table lamps by Suttons Bay artist Kathy Schmidtz of Cedarburg Fusion. Available at Freshwater Studio in Boyne City.

A wall sconce light made of sliced Petoskey stones by Charlevoix artist John Hess. Available at Freshwater Studio in Boyne City.

Add a touch of artful, decorative light to any room with these lamps and lights.

Photography by G. Randall GossLight up your life

HOMElife 9

A blue and white swirl blown glass table lamp by East Jordan artist Alan Swan. Available at Freshwater Studio in Boyne City.

A handcrafted, sculpted and painted daff odil table lamp by Ann Arbor artist Michael Wolfe. Available at Freshwater Studio in Boyne City.

A green with gold fl eck blown glass table lamp by East Jordan artist Alan Swan. Available at Freshwater Studio in Boyne City.

A stained glass Victorian table lamp hand made at Shadetree Stained Glass Studio in Petoskey.

A hanging lamp made of sliced Brazilian agate and jewels from Shadetree Stained Glass Studio in Petoskey.

artist Michael Wolfe. Available at Freshwater Studio in Boyne City.


FEATURE

By Maggie Peterson • Photography by G. Randall Goss

Western infl uencePetoskey man’s love of the West evident by his decor

HOMElife 11

Bob Blanz doesn’t give off the impres-sion of a cowboy, but a look at the

decor of his home reveals a different story.

It starts the moment you walk in the door, with the striking bronze sculpture

“Trophy Hunters.” It’s a piece by E.E. Heikka, known as the sculptor of the American West and a favorite of Blanz. The depth of the detail in “Trophy Hunters” is immense — horse muscles tensed under the strain of walking a jagged stone path, braided ropes lax as a horse bends its head, the hunters’ clothes wrinkled af-ter a long trip.

Reaching up from the foy-

er is a spiral staircase, with a banister that is nearly a piece of art in and of itself. Quar-ter-inch pieces of oak were steamed, bent into shape and then glued before be-ing moved into place in one piece. The spiral matches exactly the curve of the wall.

Open space behind that wall became the perfect op-portunity for highlighting more bronze pieces through recessed niches.

The front doors are West-ern red cedar, reminiscent of the arched doors of a cathe-dral. Solid on the bottom, the top is punctuated by small panes of water glass, whose blue color and rippled texture allow light but not sight in.

Continued on page 14


The artworkThe life and works of E.E. Heikka

Earl E. Heikka was born on May 3, 1910, in Belt, Mont.

When he was 2 years old, he, his five siblings and his parents moved to Great Falls, Mont., where his father found work. When Heikka was nearly 5 years old, in 1915, his father died, leaving his mother to provide for the family.

Shortly after his father’s death, his sister, Esther, married Ben Egan, and Heikka went to live with them. It was here he began to model animals out of mud, around the age of 6.

School was a trial for Heikka, who was embarrassed by a stammer he would carry with him to some degree throughout his life. But for his struggles, his teachers noticed his ability for and dedication to modeling and drawing animals.

The summer before 10th grade, he decided to drop out of high school. Around this same time, the 17-year-old’s talent was recognized by the local newspaper, which wrote about his eight-model display in the window of a local business.

Heikka dabbled in various jobs, but always came back to his art. His first success outside Montana came in 1931 when his first patron, William Andrews Clark III, arranged for an exhibition in Los Angeles.

Heikka married Virginia Middleton on June 16, 1933, and the couple went on to have four children.

In 1935, Heikka’s brother, Mike, died. After Mike’s death, friends and family noticed a marked change in Heikka, including weight loss, nervousness, increased drinking and troubles at home. Heikka’s wife and children began to spend more time at her parents’ house.

It was there, on May 18, 1941, that Heikka died by a self-inflicted gunshot at the age of 31.

In his short life, he created more than 200 pieces. The pieces were inspired by the outdoor life of Montana. Heikka would intently watch the ranchers, cattle and wildlife of the surrounding area, and mimic what he saw in his pieces.

Heikka worked mainly in Marblex clay, although used other commonplace materials to enhance the final product — wood, soft lead, leather, tin, canvas, string and copper wire. He generally used artist’s oil paint to add color. It was never in his mind that his works would be cast in hard metal.

— Source: “E.E. Heikka, Sculptor of the American West” by Vivian A. Paladin

“Chief Joseph” by Harley Brown

Painted bronze by Robert Duerloo

“Star Fancy Dancer”by Gary Schildt

“Hang in There, Cowboy”by Bob Scriver

HOMElife 13

“Trophy Hunters”by E.E. Heikka

“Crowded Trail”by E.E. Heikka

“Kid Russell and his Horse Monte”

by Buckeye Blake

“Charlie Russell”by Terry Mimnaugh

“Changing Riders”by E.E. Heikka


Blanz’s love for the West comes from his career years. He spent years with Moun-tain Bell telecommunica-tions company. Despite mov-ing to Petoskey permanently in 1993, the West still has its hold on Blanz.

“It’s majestic and beauti-ful, and it’s very challenging as well. It took people of great courage and stamina to settle the West,” he noted.

In keeping with this passion, the bronze sculpture in the foyer is joined by a collection in the living room.

One standout feature of the living space is a split granite fireplace, which was made by Gino Longo of Boyne City and matches the exterior of the home. The rocks were sourced from a sandstone quarry near Lansing. Above the mantel hangs a painting by Neil Pat-terson of a lake in British Co-lumbia. Titled “Paddling the Moraine,” the painting depicts a lone paddler navigating a red canoe through a glacier-stud-ded pass.

“I just happened to catch it at the C.M. Russell art auc-tion,” Blanz recalled. C.M. Russell was another great Western artist, and one of E.E. Heikka’s influences.

The hues in the painting perfectly complement the spectrum of color seen in the granite — sandy tans, light gray studded charcoals, rose

Western influenceContinued f rom page 11

HOMElife 15

and salmon tinted pinks, and the occasional muted blue and purple.

More color is picked up in the kitchen, which elegantly combines textures and pat-terns. Smooth blue cabinetry is cut through by a granite backsplash that matches the countertops and island sur-face. The island bar seats four, additional seating popular when the kids and grandkids come to stay.

A walnut bar along the wall that separates the kitch-en from the living room ties together the furniture in each, and adds a warm dimension. Additional texture comes from the floor, which is done in mutenye, a West African wood.

Town and Country built the home, which deviates from the company’s known forte of log homes. Instead, the siding is 1 1/4-inch thick white cedar.

Designed so the home takes full advantage of the Little Traverse Bay view, all but a few rooms look out onto the watery expanse.

“We just enjoy the fireplace and the dynamic of the bay,” Blanz said, noting that when the time of year is right, “The sunlight that comes through the ice caves make the ice blue.” HL

Echoing the arc of the front door and its water glass panes are the palladium windows in the living room.

HOMElife 17

FEATURE

hile the size and scale of this Lake

Charlevoix home is expansive, that’s not

what sets it apart for Tim Fisher.“I think what differenti-

ates this house are so many real and natu-ral materials,” noted the head of design for indesign in Charlevoix. The team at indesign — Fisher, kitchen and bath de-signer Cheri Dubay and interior designer Sara Fisher — worked together with H. Jack Begrow of H. Jack Begrow Architect in Charlevoix on this project. Ray Wallick Inc. of Charlevoix constructed the build.

One of the most apparent of these natural materials is cherry, which runs throughout all the levels of the home. It’s most evident in the ceiling of the great room, but also comes into play on the rail-ing of the upstairs bridge and the lower level kitchenette and wine room.

Cherry is also a dominating feature in the home’s spectacular entry. The arch of the front doors is echoed in the top arc of the entry to the great room, along with the circular sweep of the stairs that step down into the space.

Strong vertical lines come from cherry pillar-style beams that flank the entry to the great room. The wood is matched in color and strength by the stairs’ banister.

A single paint color covers the walls of the main floor, forming a neutral back-ground that accentuates the elements and personality of each room. The same ap-

plies to the other levels.“When you have so many

great materials, show them. Don’t compete with them,” Fisher noted.

In one corner of the great room is a bar, whose slate floor is one step down from the rest of the space, while the bar itself features otto-mans for sitting. The layout is designed to keep the bar-tender at eye level with those sitting at the counter, and the lower profile helps the bar blend in with the rest of the room.

Opposite is a fireplace with a stone facade that stretches over nearly the entire wall, up to the wood-covered, high ceiling. The fireplace casts a rosy glow over the room, in sharp con-trast to the sometimes wick-ed winter weather visible through the wall of windows.

Slate covers the entryway floor, matched in the kitchen and laundry room as a sur-face that can handle dogs, shoes and wear.

Joining the cool feel of the slate are smooth granite surfaces. But instead of the standard appearance, the granite in this home combines unusual patterns and colors — maroon with seams of

By Maggie Peterson • Photos courtesy Mike Gullon of Phoenix Photographic

Constant beautyLake Charlevoix home designed with continuity in mind


The L-shaped wine room on the lower level flows seamlessly off the kitchenette.

A space apartThe guest suite deviates from the warm colors of the rest of the home with its cool blue walls and a nautical theme — living up to the lakeside escape feel many seek while on vacation in the area. The living space is open to the kitchenette overlooking Lake Charlevoix, where guests can enjoy a cup of coffee or bite to eat before joining in the activities of the day. Two bedrooms, each with their own bathrooms, are outfitted with two twin beds and enough closet space to accommodate more than just an overnight stay.

HOMElife 19

Stunning ceilingsThe eyes can’t help but look up in this home.In the great room, the ceiling extends up to the second story, giving a sense of grandeur and infinite space. An inverted V-shaped row of skylights cuts through the timber canopy, allowing sunlight to stream to the main floor and the upstairs bridge.The kitchen features a coffered ceiling, its beams the same white as the flat recessed spaces between them. The pattern extends into the adjacent television/sun room, and is matched in the downstairs wine room.The upstairs features several eyebrows, arches cut into the ceiling above rounded windows in the bedrooms and staircase. The light from outside stretches into the room via the curves.

lime green and white is found on accent tables; veins of sand, charcoal and cop-per intersect on a bathroom vanity; in another bathroom, shades of gray and tan are punctuated with jagged spots of stone circles.

The kitchen has several unique fea-tures, including a gas fireplace and large, island-style dining table that occupies the center of the room. The table is cov-ered in a swirling, pink and gray granite that complements the slight pink of the walls. Chairs are clustered at the table, above which hangs a chandelier from a coffered ceiling.

The lower level incorporates a kitch-enette, wine room, living space with a walk-out patio, a workshop and office, which doubles as a craft room complete with its own closet housing scrapbook-ing papers, fabrics and a multitude of other supplies. Inspiration from within is paired with inspiration from the out-doors, with sweeping views of the tree-edged shoreline.

The L-shaped wine room on the low-er level flows seamlessly off the kitchen-ette. Glass walls allow it to be seen from various points in the room, its cherry shelving an inviting color that match-es the beams of the coffered ceiling. Around the corner of the room the se-lection continues, offset by a painting of vineyards by the homeowners’ daughter.

Extending into the wine room is a glasstop table, whose base is a veined boulder that echoes the coloring of the slate floors. The boulder was on the property when the home was being built, and there was no real way to move it out. Instead, it sat in the frame of the basement for the few years before the lower level was finished.

Fisher said this home is one in which all the elements come together, each built on another.

“It’s the compounding of it, layer upon layer, and the consistency as the house unfolds ... The lower level — I think that’s what it does. It’s the final straw,” he added. HL

Constant beautyContinued from page 15


COVER STORy

Right where it


Belongs

HOMElife 21

Jim and Sylvia Walworth’s home is many things, not the least of which is captivating to the eye.

Situated on Grand Traverse Bay outside Eastport, the home is a space designed around its owners’ passions

— artwork, Frank Lloyd Wright and the ski lodges of Aspen all have their place.

The exterior features cedar shake shin-gles with strong, deep green accents around the windows, doors and roofline. The front doors are inset with and framed by windows, fractured like stained glass but without the bright coloring. Strong angles run through the side panels, a design reflected in the windows that frame the peaked roof above the porch.

The front entry floor is slate, a theme that is continued into the kitchen.

Hickory cabinets cover much of the wall-space in the kitchen, surrounding a large is-land in the center of the room. The original plans called for a bar extended off the island, but the Walworths said they did not want to be sitting on bar stools while eating.

So instead of the bar, one step down from the expansive island, is a dining table cov-ered in the same gleaming granite.

By Maggie Peterson • Photography by G. Randall Goss

Everything is meant for its space in this Eastport home.


FireplaceThe fireplace in the main living space is one of the key references to Frank Lloyd Wright found in Jim and Sylvia Walworth’s home.

That’s because the stone on the double-sided, peek-through fireplace was sourced from a quarry in Wisconsin favored by the architect.

Sylvia said the arrangement of the stones was a happy accident — when the masons went to lay the stone, they mimicked the pattern that had been put together to showcase the rocks. She added that the four masons would alternate sides, so one style didn’t prevail.

The finished structure is a masterpiece, rising from the floor up to the 32-foot ceiling. Hand-chiseling made every piece look like it belongs with the ones surrounding it. Artwork hangs above black, metal shelf mantels by Torch Tip Ironworks in Central Lake, running parallel to the single-slab hearthstone below.

COVER STORy

HOMElife 23

Right where it belongsContinued from page 19

Jim said the approximately 4,000-square-foot home is unique in its structure.

“You see through the house. It’s only one room in depth,” he noted.

This allows for most of the rooms to be lit by the large windows that cover the lake-facing side of the house. It’s most ap-parent in the main living room, which is divided by a floor-to-ceiling fireplace.

The two sides of the space have a dif-ferent feel. On the one, a leather couch and large chair offer those passing through a warm and in-viting space to sit and talk. The large painting above the mantel — “Thun-der Cry” by Den-ver artist Veloy Vigil — along with the deep and rich colors, give a feel of the Southwest.

On the other side of the fire-place is a chic and art-dominated space. A large painting, “Sappho’s Lyre” by California artist Jeannette Debonne, hung behind the couch leads the eyes across the room to the windows and a view of Grand Traverse Bay.

Charlevoix-based architect H. Jack Begrow drew the plans for the house, and said the prairie style of Frank Lloyd Wright is evident in the use of skylights, glass facing the lake and the loft that looks down over the living room. Lead-ing the design was indesign of Charlevoix, while Site Planning Development Inc. of Charlevoix did the construction.

Just around the corner from the liv-ing room is the master bedroom and bath (pictured on page 25), both a study in textures. The walls of the bathroom sheen metallic, paint details added by the delicate touch of feathers instead of

Continued on page 26

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HOMElife 25

A study in linesThe lines of the Walworth home lend as

much intrigue as the artwork that covers the walls.

A staircase commands attention as it climbs to the second floor. The stair supports and handrail are done in hickory, with Brazilian cherry in the detail work and treads. Instead of traditional wooden balusters, glass forms a buffer between the stairs and living room. The glass-and-wood design continues upstairs, lining the loft of the second floor.

Visual interest continues with the ceiling of an upper level guest room. The room’s height is different on two sides, and to avoid one high, sweeping, angled ceiling, a peak was put in place. This is echoed by an inverted V canopy above a door wall.

The lines of the windows tie the space together, as much of the lake-facing wall is covered in panes. Small square panes run like a filmstrip across picture windows, with a mirror image above them.

COVER STORy


Right where it belongsContinued from page 23

a sponge. A large tub abuts a freestanding glass-walled shower, which is reflected in the his and hers vanities across the room.

The light porcelain tile surfaces are cool in contrast to the warmth of the master bedroom, which has an African flair. Yel-low-tinged tan walls play off the maple furniture, and complement a quilt hand sewn by Sylvia. A fireplace casts its glow over the room on chilly nights.

Upstairs are two guest bedrooms, an office and a sleeping room situated over the garage, which is often filled with visit-ing family members and friends.

Also upstairs is Sylvia’s work room, where pieces of art are inspired and cre-ated. Windows line the circular space, and overhead lighting assures the most minute of details can be seen. Hanging from the walls are finished pieces, a collage of self-made and those gifted from friends and family members.

The overall feeling of the home is that everything belongs in the space it’s been placed, even though many of the objects don’t necessarily fall into the same genre or medium as what’s next to it.

“I think what this has really done is combine some of those chic, modern touches with a lodge feel, rustic feel,” Syl-via said. HL

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HOMElife 27

A guest bedroom

The studio

The master bedroom and bathroom


FEATURE

Diff erent types of lighting create a comfortable eff ect

F or Lucie Dykhouse, nothing is more important to a home than its lighting.

“Lighting makes or breaks a residence,” noted the lighting de-

signer with L u m e n 4 in Petoskey, who specializes in residential properties and also does commercial and resort work.

It is more efficient to incorporate the lighting into the plans of the home before a space is built or remodeled, however amending a bad lighting situation in an

existing space is possible.“You can buy a house that you love and

you love everything about it except the lighting. The chances are pretty good that we’ll be able to relight that space,” she noted. “If you’re building a house, you’ve picked out your kitchen cabinets and the granite and the door hardware and the kitchen sink, and by then, you should have also picked out your lighting.”

There are several different types of lighting for consideration in a home.

By Maggie Peterson

Layers of Layers of illuminationPhotograph courtesy of James Yochum

HOMElife 29

Photograph courtesy of James Yochum

Accent lighting brings focus to a “fowled” mirror and artwork at the back wall.

Lighting qualityThe Illuminating Engineering Society of North America Lighting Handbook lays out a diagram

of the three elements of lighting quality — human needs, architecture, and economics and the environment.

Economics and the environment is concerned with installation, maintenance, operation, energy and environment. Architecture focuses on form, composition, style, and codes and standards.

Finally, human needs include visibility, task performance, visual comfort, social communication, mood and atmosphere, aesthetic judgment, and health, safety and well-being.

Where the three elements intersect is the point where lighting quality is achieved. Good lighting quality affects and fulfi lls human needs, while poor lighting quality has the adverse effect.

Th e combination of recessed downlighting and accent lighting creates an overall sense of well-being in this space.

Dykhouse said it is important to use two or three lighting types to create layers of illumination.

The first layer is accent lighting, which brings attention to artwork or architec-tural features of the home. This is often achieved by recessed adjustable or track lights, which are aimed at a focal point and illuminate vertical surfaces.

The second layer is decorative light-ing, such as wall sconces, chandeliers and table lamps. This is followed by general lighting, which comes through recessed downlights, decorative lighting or a com-bination of both.

Dykhouse said by utilizing those three forms of lighting, there’s generally no need for lights in the middle of the room because that space is already lit.

“If you light the walls with accent light-ing, you should be lighting the space,” she noted.

Additional lighting includes task light-ing, which could be a desk lamp, reading lamp or pendant lights in a kitchen. These forms of illumination help brighten work spaces to make them more user-friendly.

Dykhouse note that when lighting is done right, it integrates all the elements of the home into one cohesive space.

“When the lighting’s done right, you tend to feel comfortable in the space, but you don’t know why,” she said. HL


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HOMElife February-March 2011

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Transcript of HOMElife February-March 2011