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garden ▼
Fun Follows FunctionA Rockport, Massachusetts, house combines high and low tech to deliver a breezy summer retreat.
architecture ▼interiors ▼
Flying ColorsWith bold strokes, artist Robin Coleburn turns a one-note landscape into a garden symphony.
Perfect SettingAt last, a Cape Cod vacation house where the owners and their iconic furniture feel at home.
kitchen ▼
kitchen ▼In the Zone • A well-planned addition gives a chef and his family room for showmanship and good eating.
selections ▼Door’s Open • Curb appeal details, because nothing says “come on in” quite like a pleasing curbside view.
design
new
englan
d • july/august 2011 b
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new england
the magazine of splendid homes and gardens • july /august 2011
designnewengland.com
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Coastal getaways made for family summers
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On the Coverphotographer brian vanden brink took to the water for this view of a cape cod retreat. story, page 84.
6 D E S I G N N E W E N G L A N D • J U L Y / A U G U S T 2 0 1 1
features july / august 2011
“The whole intent of this place was a beach cottage, with as many areas as possible to be together and also wander off on your own.”—architect donald powers
66 Green • Shack ChicA fi sherman’s cottage offers lessons in preservation, effi ciency, sustainability, and easy island living.
72 Garden • Flying ColorsWith bold strokes, artist Robin Coleburn turns a one-note landscape into a garden symphony.
78 Interiors • Fun Follows FunctionA new house in Rockport, Massachusetts, combines high and low tech to deliver a breezy summer retreat.
84 Architecture • Perfect SettingAt last, a Cape Cod vacation house where the ownersand their iconic furniture feel at home.
92 Renovation • One for AllA multi-generational approach to renovating a RhodeIsland summer house benefi ts from the power of three.
NAT
REA92
ruby enjoys a sunny Rhode Island summer day lounging in her new backyard.
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8 D E S I G N N E W E N G L A N D • J U L Y / A U G U S T 2 0 1 1
SMALL SCALE • Already in the miniature mood from painting sets of dollhouse doors for Selections (Page 25), and in the midcentury mind-set thanks to the Knoll classic furniture in Perfect Setting (Page 84), we couldn’t resist these itty-bitty replicas of iconic chairs, including the Mies van der Rohe Barcelona chair (left, 5 inches high, $430) and Eero Saarinen’s Tulip chair ($220), available from the MoMA store; momastore.org.
departments july/august 2011
10 Editor’s Note
12 Publisher’s Note
18 visit • Kevin McLaughlinSince landing in Provincetown, Massachusetts, this furniture craftsman and his wife have adopted a stop-and-smell-the-roses lifestyle.
25 selections • Door’s Open Curb appeal that welcomes all.
32 kitchen • In the Zone A well-planned addition gives a Rhode Island chef and his family room for showmanship, camaraderie, and good eating.
40 bath • Pattern Power Interior designer Kate Coughlin makes her biggest statements in the smallest rooms.
46 green • The Good Old Stuff At greenGoat, one building’s discards are another’s recycled bonanza.
48 places • Quiet Evolution The Providence Art Club expands and updates its quirky cluster of 18th-century buildings without compromising its soul.
54 art • Brave New Rugs With wool as her medium, artist Meg Little creates sublime painterly images for wall or fl oor.
58 icon • Sleeping Porches Promoted for the health benefi ts of resting in the night air, these architectural remnants stir nostalgia for a simpler time.
62 green essentials • Reuse that takes all forms.
100 compendium • New spinson the old, and a pair of books.
102 resources
103 advertiser index
104 see+do • Natural High An enchanting treetop location enhances the spa experienceat Maine’s Hidden Pond resort.
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CONTRIBUTORS
nat rea is an interiors, lifestyle, and location photographer in southern New England and beyond. Recent work in Rhode Island, including for three stories in this issue, has taken him to “almost every corner, wall, door, and fence post of the state, twice.” kitchen, page 32; brave new rugs, page 54; one for all, page 92.
pamela reynolds is an abstract painter with work in numerous private and corporate collections. A former Boston Globe reporter, she now writes on design and the arts. She profiled textile artist Meg Little, who specializes in creating abstract rugs. brave new rugs, page 54.
jim westphalen specializes in photographing architecture, interiors, and landscape designs. For this issue, he explored the vibrant colors and varied textures of artist Robin Coleburn’s eclectic garden in Charlotte, Vermont, just a short distance from his home in Shelburne. flying colors,page 72.
gail ravgiala, editor
from the editorREMEMBER WHEN SUMMER STRETCHED BEFORE you like the endless blue ocean of an Atlantic beach? When summer “time” was truly a different dimension, a magical elongation of dreamy, purposeless days and nights? No creaky school bus honking at the curb, no homework, no dinner at 5. Instead, you could swim until you (literally) turned blue or read only the books you liked, and lunch was a picnic at the park. This issue of Design New England brings me back to those days. First, there’s our Visit with furniture crafts-man Kevin McLaughlin and his wife, Jeannie, who changed their work/life ratio when they discovered Provincetown, Massachusetts, one summer weekend. Then there is the old-time cottage feel of the new kid- (and pet-) friendly sea-side house in Rockport, Massachusetts, where I imagine the happy rhythm of slamming screen doors sets the tone for summer. The adult me knows that the fl eeting time between the solstice and Labor Day demands the rigors of work and daily chores and fi xing the roof, but the kid me still looks forward to summer with an expectation of endless ad lib.
Then again, things in the workaday world can prove rewarding. Design New England has, for the third year in row, won Best Shelter magazine honors from the National Association of Real Estate Editors. We are especially proud of this award because our content is judged by the E.W. Scripps School of Journalism at Ohio University. And hats off to our printing house, The Lane Press Inc. of South Burlington, Vermont, which won silver in the Sappi Printer of the Year for North America competition for the production of the September/October 2010 issue of Design New England. The award recognizes print excellence for work produced on Sappi papers, and this year there were more than 2,100 entries.
So, seems we’ve all earned a day at the beach.
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W E L L E S L E Y M A S S A C H U S E T T S
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RAISE A TOAST. DESIGN NEW ENGLAND HAS JUST completed its eighth season of home design seminars. Launched in 2007, this series of interactive discussions among design professionals and consumers is just one way we take our editorial mission beyond the pages of the magazine. At our “Real Solutions for the Home” sessions, architects, inte-rior designers, builders, landscape designers, and specialists in areas such as lighting, stone work, and furniture go behind the scenes to demonstrate how a successful project comes together. Beautiful and informative presentations are followed by a lively question-and-answer period, when we all learn something new. Add to that the settings in stunning showrooms and it’s no won-der that we’re already planning our fall seminar series.
Meanwhile, there are summer design events to consider: antiques shows in Manchester, New Hampshire (Page 50), Newport, Rhode Island (Page 101), and Nantucket, Massachusetts (Page 99); the League of New Hampshire Craftsmen’s annual Craftsmen’s Fair at the Mount Sunapee Resort (Page 103); the Vermont Festival of the Arts at Mad River Valley (Page 103), and, for boat lovers, Nantucket Race Week (Page 99).
If you just want to relax in the hammock, this issue of Design New England will be good com-pany. Or charge up the iPad and download our free app. Either way, here’s to good reading.
stephen twombly, publisher
audio concepts seminar panelists (from left): Jean Brooks, Jean Brooks Landscapes; Peter Feinmann, Feinmann Inc.; Eliza Tan, Eliza Tan Interiors; George Lellios, Audio Concepts.
mike connors (left) and Amy Porchenick of Woodmeister Master Builders, and architect Ronald F. DiMauro at Woodmeister’s Architecture Symposium in Newport, RI.
the world association of Flower Arrangers 10th International Flower Show preview gala: WAFA President Ruth Crocker (center) with former US Sen. Sam Nunn and his wife, Colleen.
lucia lighting seminar panelists (from left): Bill Mead, Olson Lewis Dioli & Doktor; Paula Daher, Daher Interior Design; host Lucy Dearborn; Stephen Twombly, DNE publisher.
JA2011pubnote.indd 2JA2011pubnote.indd 2 6/21/11 5:32:11 PM6/21/11 5:32:11 PM
BPC ArchitectureLux Lighting DesignGary Sloan Photography
ONE OF A KINDYou’re one of a kind. Shouldn’t your home be?Call us today for a personal consultation.
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DES I GNnew england
ALL REAL ESTATE ADVERTISING IN THIS MAGAZINE IS SUBJECT TO THE FEDERAL FAIR HOUSING ACT OF 1968, THE MASSACHUSETTS ANTI DISCRIMINATION ACT AND THE BOSTON & CAMBRIDGE FAIR HOUSING ORDINANCES, WHICH MAKE IT ILLEGAL TO ADVERTISE ANY PREFERENCE, LIMITATION OR DISCRIMINATION BASED ON RACE, COLOR, RELIGION, SEX, HANDICAP, FAMILIAL STATUS, NATIONAL ORIGIN, ANCESTRY, AGE, CHILDREN, MARITAL STATUS, SEXUAL ORIENTATION, VETERANS STATUS, OR SOURCE OF INCOME OR ANY INTENTION TO MAKE ANY SUCH PREFERENCE, LIMITATION OR DISCRIMINATION. THIS MAGAZINE WILL NOT KNOWINGLY ACCEPT ANY ADVERTISING FOR REAL ESTATE THAT IS IN VIOLATION OF THE LAW. OUR READERS ARE HEREBY INFORMED THAT ALL DWELLINGS ADVERTISED IN THIS MAGAZINE ARE
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contributing editors
Editor-at-Large Jill Connors
Style & Interiors Estelle Bond Guralnick
Renovation & Architecture Bruce Irving
contributing photographersTrent Bell, Joel Benjamin, Sam Gray, Inside Outside Photography,Warren Jagger, Greg Premru, Nat Rea, Eric Roth, Brian Vanden Brink,Jim Westphalen
contributing writersRegina Cole, Jaci Conry, Tovah Martin, William Morgan, Pamela Reynolds
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acknowledgmentsBoston Globe Account Executives Wayne A. Baker, Mike DeLello, Arlene Evans,Julie Glibert, Joanne Hall, Bruce MacDonald,Margaret Mancinelli, Tom Pilla,Melissa SeverinoAdvertising Managers Joseph R. Brancaleone,Candice Geers, Barbara Gibson, Mary Kelly,Anthony Merullo, Ted Peterson, Elizabeth SucherDistribution Mark Anastas, Roy Cramond, Tew Chou, Kevin McGue, Nazrudeen Mohammed, Robert Saurer, Yu WangMarketing Kristin Bedard, Vanessa Cassell,Kathy Colafemina, Susan DiManno, Keith Dolan, Scott Halstead, Laura Pond, David Prior, Susan SutliffeProduction Support Sean P. Keohan, Kerol Lundy,Kelly Mallebranche, Irene Mauch, Elisabeth Murphy, Steven O’Connell, Jeffrey Zaks, Mary Ellen ZarroAdministrative Jean Kong
Design New England is published every other month by
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18 D E S I G N N E W E N G L A N D • J U L Y / A U G U S T 2 0 1 1
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J U L Y / A U G U S T 2 0 1 1 • D E S I G N N E W E N G L A N D 19
visit written by estelle bond guralnick • photographed by eric roth
KEVIN McLAUGHLIN • Since landing in Provincetown, Massachusetts, this furniture craftsman and his wife have adopted a stop-and-smell-the-roses lifestyle
LITTLE DID CITY-BRED KEVIN AND JEANNIE McLAUGHLIN suspect when they bought a getaway retreat in Provincetown, Massachusetts, that not only would it change their lives, but their value system as well. “I used to live to work,” says Kevin. “Now — and we both feel the same way — we work to live.”
As third-generation leader of McLaughlin Upholstering Co. in Everett, Massachusetts, the high-end, to-the-trade fi rm started by his grandfather in 1889, Kevin is no stranger to the importance of beauty in personal surroundings (see his Charlestown, Massachusetts, triplex in Design New England’s May/June 2007 issue). But now he and Jeannie feel truly at home. The wonders of nature and the remarkable warmth of village life have got them hook, line, and sinker.
It all started in 2004 when a friend invited them to dinner at Captain Jack’s Wharf, fi shing cabins turned condos on a colorful, authentic wharf, followed by an alluring tour of what the locals call P-town. The food — and vibe — were great, and so the next summer they returned for a week, found a condominium to buy, and sub-sequently had an intimate P-town wedding followed by a clambake on the beach.
Two years ago, totally immersed in the community, they decided the time had
the second-floor living room (left) features a 25-foot-high vaulted pine ceiling. Its generous size allows furnishings in two zones: one for entertaining or watching TV; theother, a “Zen” zone for quiet reading. The sofa and lounge chairs are McLaughlin designs. Kevin and Jeannie McLaughlin, outside their P-town home (right), are ready to bike to town.
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come to invest in a house. One of the small-town advantages for those on the hunt is word of mouth. As art collectors, both McLaughlins had come to know and befriend many gallery owners. So when word got out that they were looking for a house, the tips came in. One was about a generic 1950s shingled Cape-style house that Kevin had always admired in the East End of town. It was owned by Francine D’Olimpio, a local artist, gallery owner, and real estate agent. “If it’s big enough for you,” she told the McLaughlins, “I’m planning to sell.”
Sold! As Jeannie remembers, they were in love from the minute the front door opened; when they walked up the staircase and saw the soaring second-fl oor living room, the deal was sealed. They even kept D’Olimpio’s color scheme and bought her pine pedestal dining table and the three model sailboats in the living room window,
which gave the almost 1,400-square-foot house its iconic presence in town.
Since then, they’ve been on a col-laborative decorating romp, made all the sweeter for Jeannie, a former corpo-rate fashion executive, because when she met Kevin, his triplex was already camera-ready. “This is the fi rst house we’ve cozied together” she says, an easy task, she adds, because they both have the same taste. “Oh, we sometimes move things when the other isn’t looking, but it’s all very amica-ble. Every decision has been made jointly, including our mission to buy only local,
a recycled door is cleverly fl ipped on its side to form a transparent half wall at the staircase to the studio. Locals know “the house with three boats in the window.” Limited-edition hand-painted plates in the kitchen (left) depict early regional industries, such as ice cutting and fi shing.
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20 D E S I G N N E W E N G L A N D • J U L Y / A U G U S T 2 0 1 1
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living artists’ work. Most of the artists are our friends now, too.”
Over the six years that P-town has been in their lives, it’s completely changed their priori-ties. Instead of a 60-hour workweek, Kevin and his staff now work four longer days and take Fridays off. Once in P-town, the McLaughlins have their routine of “hunting and gathering.” Clamming, oystering, fi shing, picking cranberries, and shar-ing the bounty of the land is a regular activity for them. “I always bought my edibles,” says Kevin. “I never knew how much better everything tastes when you eat off the land.”
The McLaughlins are so much a part of the community that last summer, they welcomed 200 guests to an open house/birthday party for a friend, with drinks out front and a tented back-yard fi lled with tables, food, and a live band. “These are all our local friends,” says Jeannie. “It was very celebratory. There was so much
dancing that we had to re-sod half the grass.”Year-round, Fridays fi nd them heading to
the Cape, where they both feel they’ve found their core. During halcyon summer days, there’s a grass and bluestone path from their back garden to the beach. The walkway is surrounded by rose bushes that grow as tall as a can-opy. Winters have their special pleasures, too. No traffi c, dinner with friends, relaxing by their big brick fi replace or wood-burning stove. “P-town,” says Jeannie, “is where we’re making our memories.”
in the living room’s “Zen” zone, custom Edwardian chairs from McLaughlin are upholstered in a hand-printed leafy coral and white patterned fabric. The coral color repeats in the matching ottoman. All the art and accessories in the house were local purchases.
for more details,see resources
visit K E V I N M c L A U G H L I N
JA2011visitB.indd 6JA2011visitB.indd 6 6/20/11 5:43:27 PM6/20/11 5:43:27 PM
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J U L Y / A U G U S T 2 0 1 1 • D E S I G N N E W E N G L A N D 25
selections Door's open • Nothing invites visitors to “come on in” quite like a pleasing curbside view. Crafting a welcoming entry takes big-picture design rounded out by details. So we devoted our pages to accents that enhance the exterior — and stop the passerby. To set the scene, we painted dollhouse doors with vibrant colors from Farrow & Ball. Entréz, s'il vous plait.
produced by danielle ossher • photographed by joel benjamin
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26 D E S I G N N E W E N G L A N D • J U L Y / A U G U S T 2 0 1 1
“In a nod to mid-20th-century design, I chose the Eames font house numbers, then paired them with colorful graphic pieces that had whimsical undertones.”danielle ossher design new england associate editor
clockwise, from top left: fretwork rug Martha Stewart
Living, through Home Decorators Collection; homedecorators.com.
zinc outdoor thermometer Terrain; shopterrain.com. eames
house numbers Heath Ceramics; heathceramics.com. knocker
and doorbell Avalon in brushed nickel, through Needham Lock
& Decorative Hardware; decorativelocks.com. centrifuge transit
mailbox Modern Karibou; modernkaribou.ca.
selections
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DAHER INTERIOR DESIGN
419 Boylston StreetBoston, MA. 02116
617.236.0355
www.DaherInteriorDesign.com
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selections
28 D E S I G N N E W E N G L A N D • J U L Y / A U G U S T 2 0 1 1
“Bringing in vintage and antique pieces mixed with modern elements makes it look as though spaces developed over time. It’s a wonderful prelude to what lies beyond that door.”michael ferzoco eleven interiors, boston, new york, los angeles; 617-423-1114, eleveninteriors.com.
clockwise, from top left: regency door knocker
The Antique Door Knocker Co.; antiquedoorknockers.co.uk.
house numbers Detroit series by Kyle Daevel; kyledaevel.
com. door hardware Stepped Entry Set in white bronze by
Rocky Mountain Hardware; rockymountainhardware.com. ratio
planter Brown Jordan; brownjordan.com. exterior wall
sconce Archer Collection by CL Sterling & Son; clsterling.com.
JA2011Selections.indd Sec1:28JA2011Selections.indd Sec1:28 6/22/11 10:59:39 AM6/22/11 10:59:39 AM
DESIGN PORTRAIT.
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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
30 D E S I G N N E W E N G L A N D • J U L Y / A U G U S T 2 0 1 1
selections
“I paired coastal and modern elements and a slight vintage edge to create a look that is classic, sleek, and rustic while achieving balance with simple, clean lines.”cecilia walker cecilia walker design, hingham, ma; 617-816-4775, ceciliawalkerdesign.com.
clockwise, from top left: vintage "c" train signal
sign Water & Main; waterandmain.com. house numbers
6-inch Ribbon in bronze by Architectural Numbers by Weston;
westonletters.com. outdoor sconce Seafarer by Norwell
Lighting and Accessories; norwellinc.com. compass doormat
Wisteria; wisteria.com. door hardware Lausanne in oil-
rubbed bronze by Emtek; emtek.com. teak planter Mulholland
by Kimberlee Keswick Design; kimberleekeswick.com.
eving
Lighting and Accessories; norwellinc.com. compass doormat e "c" train signal gee "c" tra
cecilia walker cecilia walker d617-816-4775, ceciliawalkerdesign
JA2011Selections with shad.indd Sec1:30JA2011Selections with shad.indd Sec1:30 6/21/11 4:46 PM6/21/11 4:46 PM
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32 D E S I G N N E W E N G L A N D • J U L Y / A U G U S T 2 0 1 1
kitchen written by jill connors • photographed by nat rea • produced by lynda sutton
IN THE ZONE • A well-planned addition gives a Rhode Island chef and his family room for showmanship, camaraderie, and good eating
carved legs give the travertine-topped island in Anthony Tarro's home kitchen the look of a chef ’s table. Windows above the counters allow plenty of natural light into the space.
THIS IS THE KITCHEN THAT A LOVE of two enduring passions, food and fam-ily, built. As a professional chef, Anthony Tarro rules the kitchens of Siena, his pair of well-known Tuscan restaurants
in Providence and East Greenwich, Rhode Island.But at home in North Kingstown, Rhode Island,
he wanted a kitchen where he and his wife, Patricia, could comfortably gather with their three teenage daughters and also entertain a large cadre of friends and extended family.
Enter designer Patti Watson of Taste Design Inc. in Jamestown, Rhode Island, who worked with the Tarros to design a kitchen that blends Old World sensibili-ties with modern aesthetics, professional specifi cations interior design: taste design inc.
JA2011kitchen.indd 2JA2011kitchen.indd 2 6/20/11 6:04:55 PM6/20/11 6:04:55 PM
Kitchen Vieww.indd 1Kitchen Vieww.indd 1 6/14/11 5:54:41 PM6/14/11 5:54:41 PM
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with it’s-our-kitchen-too-Dad practicalities. Part of a three-story addi-tion the Tarros undertook (two-car garage, kitchen/family room, girls’ bedroom), the design could take shape without restrictions imposed by an existing footprint.
“We had to fulfi ll Anthony’s technical requirements without com-promising the role of the room as a family gathering spot,” says Watson. With full appreciation that Anthony’s cooking involves great showmanship — he’s constantly in motion, for one thing — Watson designed an 18-by-15-foot U-shaped kitchen with Anthony’s work zone at its center.
A 48-inch-wide six-burner-with-griddle professional range anchors the back section of the U. Opposite the range stands a 7-foot-long, 5-foot-wide island that doubles as chef’s table, complete with prep sink. Here,
casual meals are shared at the kitchen table (left). Grilled vegetables served with Lemon and Sweet Corn Risotto (right) top Tarro's summer menus.
for more details,see resources
JA2011kitchenREV.indd 4JA2011kitchenREV.indd 4 6/22/11 10:43:45 AM6/22/11 10:43:45 AM
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at the core of his zone, the chef whirls from cutting board at the island to burners at the stove, reaching into drawers and cabinets strategically placed and stocked with utensils, pots, pans, spices, and serving plat-ters. Anthony explains: “I had to have those things nearby.”
Key to the success of the “zone” is the placement of the refriger-ator and pantry along one side of the U, away from the workstation, so that teenagers can grab food or drinks without crossing into chef terri-tory. The main sink is along the opposite wall, also outside the zone, keeping the cleanup area out of his way. In addition, Watson designed the aisles on three sides of the island extra wide so that there is ample room for the chef to move freely even when a person stands at the refrigerator or sink. While “I always suggest at least 42 inches for work aisles in kitchens,” says Watson, she specifi ed 48 inches for this plan to
for a savory fi rst course, Tarro serves Schiacciatta, small Tuscan fl atbreads historically used to test wood-fi red pizza ovens, topped with Parmesan cheese and sage, or other fresh garden herbs.
CONSTRUCTION Cedarhurst Builders, North Kingstown, RI
1 refrigerator2 pantry3 cabinets4 range5 island with prep sink6 double sink7 dishwasher8 breakfast table
The U-shaped layout features three core spaces. [ ] The fi rst is chef Anthony Tarro’s cooking area, with a 48-inch-wide range and 7-foot-long work island. [ ] Next is the cleanup station, strategically placed out of the cook’s way. [ ] Last is the food storage section, where refrigerator and pantry are accessible for snacking non-cooks. Space around the island accommodates an audience for Tarro's showmanship.
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design decision
Defi ning Zones
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make sure the chef was never crowded.The island is also sized and positioned
so that friends and family can watch Anthony cook — with seating for fi ve at the island itself and room to mingle at the perime-ter. The kitchen fl ows into the new family room, which is anchored by a fi replace and sofa, “so the girls could hang out right here,” says Watson. Materials and surface fi nishes create that Old World-meets-modern look that Anthony and Patricia, both from large Italian families, prefer. Appliances are stainless steel, island and countertops are travertine marble, cabinetry is gray-stained
maple, the fl oor is stained oak.Adjacent to the kitchen, in a space that
formerly housed a combined living and dining room, the dining room now reigns. With enough space for a 10-foot-long table, the room suits the Tarros’ penchant for large family gatherings. Holiday par-ties routinely see 60 guests in dining and kitchen areas combined.
And that’s fi ne with Anthony. Whether it’s just Patricia and the girls gathered in the family room or a party for dozens more, he’s right at home in the kitchen — deftly maneuvering in the zone.
a platter of Fiori di Zucca (left) is garnished with arugula. Tarro uses a pastry bag (right) to fi ll the squash fl owers before dipping them in fl our and egg and sautéing.
JA2011kitchen.indd 6JA2011kitchen.indd 6 6/20/11 6:07:27 PM6/20/11 6:07:27 PM
Fiori di Zucca (Squash Flowers)Makes 12 Flowers
If you grow your own fl owers, pick them in the early morning sun when the blos-soms are wide open. If you buy them, select fl owers that are open and fi rm. Remove the sepal leaves and stems and use a soft towel to gently wipe the fl owers clean, inside and out.
½ cup mascarpone ½ cup goat cheese1 teaspoon Kosher salt¼ teaspoon ground black pepper 4 large basil leaves, chopped 12 squash fl owers, 3 to 4 inches long¾ cup fl our 6 eggs1 teaspoon fresh parsley, chopped ½ cup grated Parmesan cheese1 cup vegetable oil extra-virgin olive oil, for drizzling
In a bowl, mix the mascarpone, goat cheese, salt, pepper, and basil to a soft consistency. Transfer the mixture to a pastry bag with a medium round tip. Open each fl ower carefully and squeeze the mixture into the center until about three-quarters full. Close the fl owers by gently running your hand from the base to the top, so that the petals sticks to the fi lling.
Have a 10-inch sauté pan on hand. Spread the fl our on a dinner plate or wooden cutting board. In a separate bowl, beat the eggs. Add the parsley and Parmesan cheese and combine. Place the pan over medium heat, add the oil and heat. Do not let the oil get too hot. Roll each fi lled fl ower in the fl our, pat off any excess, then coat with the egg mixture. Pick up the fl ower by the stem (allow some egg to drip off) and place it in the hot oil. Use tongs to turn the fl ow-ers as soon as they are golden brown on one side. Turn and cook until the other side is golden brown. Transfer cooked fl owers to a paper towel.
Drizzle the fl owers with extra-vir-gin olive oil and sprinkle with grated Parmesan. Serve immediately.
JA2011kitchen.indd 7JA2011kitchen.indd 7 6/21/11 5:52:01 PM6/21/11 5:52:01 PM
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kitchen
Cioppino (Italian Fish Stew)Serves 4
Stock
1 quart water1 stalk celery 1 small onion1 small carrot 1 bay leaf6 whole black peppercorns 1 1¼ lb. live lobster1 live blue crab
In a large stockpot, bring the water, celery, onion, carrot, bay leaf, and peppercorns to a boil. Add the lobster and crab and cook, covered, on high heat for 8 minutes. Using tongs, remove the lobster and crab and set them aside. Cover the pot, reduce heat, and let simmer. When the shellfi sh is cool enough to handle, remove the claws, set them aside. Remove the lobster tail and, using a sharp knife, carefully cut it in half, leaving the shell on. Set it aside. Return the lobster body to the stock. With a sharp knife, cut open the crab body and return it to the stock. Leaving the pot uncovered, bring the stock to a boil then lower the heat and let simmer until reduced by half (2 cups). Strain the stock and set it aside.
Sauce
1 small carrot 1 stalk celery 1 small onion3 cloves garlic¼ cup extra virgin olive oil1 cup white wine 1 28 oz. can whole peeled plum tomatoes1 teaspoon fl at leaf parsley, chopped½ teaspoon crushed red pepper 6 large basil leaves, chopped ¼ teaspoon ground black pepper Kosher salt to taste8 littleneck clams8 mussels8 medium shrimp, peeled and deveined8 medium scallops1 cup swordfi sh and/or salmon, cut into 1-inch dice1 cup squid rings Reserved shellfi sh claws and tail
JA2011kitchen.indd 8JA2011kitchen.indd 8 6/20/11 6:15:06 PM6/20/11 6:15:06 PM
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In a food processor, combine the carrot, celery, onion, and garlic and pulse until it resembles fi ne dice.
Heat the olive oil in a large saucepan over medium heat. Add the chopped vege-tables and cook, stirring continuously, for 5 minutes. Add the white wine and cook until the mixture is reduced by half. Meanwhile, place the tomatoes in a bowl and crush them with your hands.
When the sauce is reduced, add the tomato pulp and juice, the reserved stock, parsley, crushed red pepper, basil, black pep-per, and salt. Bring to a boil, then reduce heat and let simmer for 30 minutes. Add water to thin sauce, if necessary.
Add the clams and mussels and cook until they begin to open. Add the shrimp, scallops, swordfi sh, salmon (if using), squid, and the lobster and crab claws and the lob-ster tail. Cook for 10 minutes, stirring gently. Season with salt to taste.
Serve as a soup or over linguine with garlic bread or grilled crostinis.
native lobster, blue crab, littleneck clams, and mussels give classic Cioppino a distinctive New England fl air.
chef anthony tarro and wife, Patricia, relax together in a corner of their new living space.
JA2011kitchen.indd 9JA2011kitchen.indd 9 6/20/11 6:17:15 PM6/20/11 6:17:15 PM
PATTERN POWER • Interior designer Kate Coughlin makes her biggest statements in the smallest rooms
40 D E S I G N N E W E N G L A N D • J U L Y / A U G U S T 2 0 1 1
written by danielle ossher
orient way, an Osborne & Little wallpaper (left) adds a sophisticated touch to a top-floor powder room. Katie Ridder’s Oiseau print paper (right) gives a light air to a small half-bath.
bath
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PEOPLE LOVE TO LOOK AT WALLPAPER,” says Kate Coughlin. And she, in turn, loves working with it. An interior designer with a penchant for blanketing walls in fun, fresh papers, Coughlin’s favorite place to create an
unexpected backdrop is a room often overlooked.“I love bathrooms,” says Coughlin, who launched her
Dedham, Massachusetts, fi rm, Kate Coughlin Interiors, in 2003. “When working on a project, there are a lot of big investments. You don’t want a lot of crazy wallpaper in the bedroom, where you’ll get sick of it. The bathroom is the
place to have fun, especially because it’s normally a small space with windows and mirrors.”
Be it for powder rooms with tight quarters or spacious master retreats, her designs spark conversation. You won’t fi nd white walls paired with subway tile in her repertoire (“It is just so blah,” she says). Coughlin blends color, pat-tern, and texture for pops of visual interest, which she then balances with neutral elements. She might offset bold, bright wallpaper with simple tile, for example, or juxta-pose strong fl oor designs with subtle wall treatments — all intended to draw attention, but not overwhelm. Bathrooms,
‘
JA2011Bath.indd 2JA2011Bath.indd 2 6/20/11 7:44:01 PM6/20/11 7:44:01 PM
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,
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The showroom is open Monday–Friday, 9 a.m. to 5 p.m.
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Showroom located at: Runtal North America, Inc.
187 Neck Road, PO Box 8278 Ward Hill, MA 01835 (Haverhill)
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after all, are places to unwind and relax.All for “keeping it calm” in the mas-
ter bath, Coughlin focuses on understated details, tying in elements from the rest of the master suite and bringing in color through small accessories. But subtle is by no means boring. “It’s really important to still have fun with things being simple,” she says.
For one master retreat, where walls and woodwork were all a neutral off-white hue, Coughlin conceptualized a herringbone tile floor. Made from 12-by-12-inch white and cream tiles she had custom-cut into strips and inlaid in the pattern, the new fl oor is visually fresh yet understated and classically timeless.
“The master bath should be soothing, but with one strong accent,” says Coughlin. “In a powder room, you can be a little bit more playful.” In secondary baths, Coughlin likes to let loose with wallpaper. Whether her selec-tions feature big patterns, whimsical shapes, or subtle embellishments, there is always a con-necting thread: Color palettes echo accents in adjacent rooms; prints refl ect the users; and walls complement preexisting fl oors.
In a powder room in a Boston brown-stone, Coughlin used Katie Ridder’s Oiseau wallpaper to pick up orange details through-out the fi rst fl oor and keep the windowless
to add subtle visual interest to a master bath, Coughlin designed a herringbone floor from 12-by-12-inch cream and white tiles.
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JA2011BathREV.indd 4JA2011BathREV.indd 4 6/22/11 10:44:46 AM6/22/11 10:44:46 AM
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room light. For a top-floor powder room, she selected a brown and metallic print by Osborne & Little “that my client fell in love with.” It plays off the blue-and-white palette of the other rooms and has a sophisticated yet not overly formal air. For children’s bath-rooms, Coughlin uses a spectrum of wallpaper critters, from fi sh (for a gender-neutral Jack-and-Jill bathroom for an expecting family) to elephants and dinosaurs.
Clever exuberance meets everyday real-ities — that is the epitome of Coughlin’s design sensibility, honed during her time working with famed designers Bunny Williams and the late Mark Hampton. “Both of those designers shaped the way I see proj-ects today,” says Coughlin. “I can be more playful, make every piece comfortable, and have every room used.”
And while fundamental, bathrooms and powder rooms are rarely the crux of attention. That is where Coughlin’s expertise comes in. With a little encouragement — often as sim-ple as sharing favorite enticing wallpaper swatches — these tucked-away spaces become statement makers. “I think most clients are willing to be adventurous in a bathroom,” she says, “because it’s just that, a bathroom.”
green trellis Carleton wallpaper brings a sense of the outdoors to this small bath.
ERIC
RO
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design decision »
JA2011BathREV.indd 5JA2011BathREV.indd 5 6/22/11 10:45:46 AM6/22/11 10:45:46 AM
ActonRte 2A
978.263.7268
Cambridge Alewife Brook Pkwy
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DanversRte 1 North
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Pembroke85 Washington St
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design decision A selection from Kate Coughlin’s inspiration vault
bath
brunschwig& fils shawnee, in orange and white. interior designer kate coughlin contrasted the navy blue of a young boy’s bedroom with this electrifying vinylin his bathroom.
brunschwig.com.
osborne & little perroquet collection— aquarium.for a gender-neutral jack-and-jill bath coughlin designedfor an expectingfamily, this schoolof playful crittershit the mark.
osborneandlittle.com.
katie ridder oiseau,in chocolate. coughlin chose this, in orange, for the powder room on page 40. “we wanted something that had some life to it,” which the bird figures in the pattern provide.
katieridder.com.
phillip jeffries voyage collection — moroccan, in blue.this hand-screened grass cloth added exotic texture to a powder room.
phillipjeffries.com. available through webster & company, webstercompany.com.
JA2011Bath.indd 6JA2011Bath.indd 6 6/20/11 7:17:18 PM6/20/11 7:17:18 PM
Lifestyle By Design
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617.734.1800
90 Commonwealth Ave.North Attleboro, MA
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Providence, RI • Westerly, RI • Woonsocket, RI • Natick, MA
Asian design inspiration
From the Far East to the Northeast.
Okapi Step-in Bathtub
page 45.indd 1page 45.indd 1 6/21/11 2:43:19 PM6/21/11 2:43:19 PM
green written by jill connors • photographed by inside outside photography
THE GOOD OLD STUFF • At greenGoat in Somerville, Massachusetts, one building’s discards are another’s recycling bonanza
amy bauman founded greenGoat, a building materials conservation company in Somerville, in 2001. Among the items she salvages for reuse are decorative tiles (left), which she arranges in a frame (center) to show clients, and a 19th-century stained glass window (right).
FOR AMY BAUMAN, OLD BUILDING MATE-rials are more than just the chimney bricks, slate roof tiles, or fi r fl oorboards of New England’s centuries-old houses. These objects have value in their reuse. “Conservation is not just green, it’s smart,” says Bauman, who runs greenGoat, a
building materials conservation company based in Somerville, Massachusetts. Why greenGoat? “Well, goats eat everything,” says Bauman as she hauls a 19th-century stained glass win-dow frame up the front steps of her Victorian house. “They are stubborn, agile, resourceful. And I added green because con-servation is the center of everything we do.”
Functioning a bit like an old-fashioned matchmaker, Bauman makes connections between materials that are being removed from a house and new locations where they can be incorporated. “It works best if I can capture a renovation proj-ect when it is still in the planning or pre-drawing phase,” says Bauman, who works closely with area architects. If she can fi nd two architects whose projects are both in early stages — one where old materials are going to be replaced, and one where the new owners are interested in reuse — it’s a perfect match. For example, a recent renovation project in Wellesley was brought to her attention by a contractor even before the 5,000 feet of fi r fl ooring and 70 Pella casement windows were removed. Bauman set to work fi nding a new home for the materials.
Applying the asset management skills she once used as an analyst at Fidelity Investments, Bauman can present the fi nancial side of building-material conservation to potential clients. When homeowners donate old materials to green-Goat, they get a tax deduction that can recoup more than the cost of deinstalling the materials. “Before, good-quality
building materials were being discounted to zero value for convenience,” says Bauman of the practice of pitching old materials into a dumpster. “If there is a way to re-rate these materials back into use without costing time or money, why wouldn’t you do it?”
One of greenGoat’s selling points is timely removal of materials, ensuring a project continues on track. “We show up with the right-size truck and the right-size crew and we work safe,” says Bauman, who might take the materials to a warehouse or transfer them right from point A to point B.
“If I can catalog materials ahead of deconstruction, that works best,” says Bauman, who often will go into a house where a renovation or demolition is imminent and photo-graph and measure all the reusable objects.
As an enterprise that practices conservation, greenGoat sometimes receives grants for special projects, but the main income stream is in selling reusable materials. That transac-tion is a fi nancial plus for the client as well: “If a homeowner has an architect who has the vision to incorporate reused material, that becomes a strategy for saving some serious money,” says Bauman.
Bauman started greenGoat in 2001 and has seen myriad building materials cross the threshold from the unwanted to the newly appreciated. Whether it’s bricks, slate, or bluestone reused in outdoor projects or windows, fl ooring, and cabinetry retrofi tted for indoor applications, inevitably some refash-ioning is required. “No reclaimed material fi ts an existing footprint exactly,” says Bauman. But the rewards, both fi nan-cial and soulful, are real. “Reuse is part of a new awareness consumers have today,” she says. “We aren’t just conserving because of lean times. We are consciously consuming.”
GREENGOATSomerville, Massachusetts617-504-2095greengoat.org
46 D E S I G N N E W E N G L A N D • J U L Y / A U G U S T 2 0 1 1
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48 D E S I G N N E W E N G L A N D • J U L Y/ A U G U S T 2 0 1 1
FOUNDED IN 1880, THE NATION’S SECOND oldest club for artists and like-minded friends (the fi rst being the Salmagundi Club in New York City, founded in 1871), the Providence Art Club has occupied a row of four historic
18th-century houses on College Hill for well over a century.
Facing the First Baptist Church and surrounded by the Rhode Island School of Design, the handsome ensem-ble of brick, clapboard, and half-timbering barely hints at the recent renovation that transformed the spaces hidden behind these facades.
“At the end of the 19th century, when a group of Providence artists wanted a clubhouse, these ancient
QUIET EVOLUTION • The Providence Art Club expands and updates its quirky cluster of 18th-century buildings without compromising its soul
written by william morgan • photographed by warren jaggerplaces
north light, as well as views of downtown, enlivens the new studio (above). The addition of a bar off the main gallery creates a warm, masculine club space.
renovation: bay + bay architects
PROVIDENCE ART CLUB 11 Thomas StreetProvidence 401-331-1114providenceartclub.org
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buildings were all they could afford,” says Robert Emlen, curator of the Brown University collections, adjunct professor at Rhode Island School of Design, and past president of the club. “Ironically, the incidental preservation of these buildings has become one of the Art Club’s greatest legacies.”
Over time, the houses had grown awkward and inadequate for their pur-poses. Inside, rooms had morphed into a warren of odd spaces. (One member described the beloved old club as “a low-maintenance, creaky fi retrap.”)
Still, amid an ever-popular offering of classes and exhibitions, which
are open to the public, and dining, which is limited to members and their guests, the multilevel club had managed with no elevator and only a two-burner stove in an inadequate kitchen.
There had been occasional updates (one building was jacked up an entire fl oor in 1906 and had a store inserted into it), but none of the structures had been renovated since the 1980s. The delightful Arts and Crafts–style Fleur-de-Lys Studio, designed by artist Sydney Burleigh in 1885, remained pretty much unchanged.
the providence art club comprises three 18th-century houses and the Fleur-de-Lys Studio (far left) that climb College Hill. These varied facades offer no hint of the renovated spaces behind them.
JA2011places.indd 4JA2011places.indd 4 6/16/11 6:10:58 PM6/16/11 6:10:58 PM
places
A few years ago, architects and club members Angela and Lance Bay of Bay + Bay Architects in Providence volunteered to craft a master plan. They argued that while the club’s quirky ambience was endearing, an overall vision was essential if it were to function effi ciently. Instead of the occasional repainting or responding to a structural emergency, the Bays orchestrated a masterful reallocation of space.
“Planning for the recent renovations took a long time,” says Emlen, “and construction went on for years after that. I think the results of this
deliberate approach demonstrate that the architect and the Art Club managed to fi nd the right balance between creating an effi cient, effective physical plant and being responsible stewards of historic buildings.”
The beloved dining rooms and main gallery in the 1791 Seril Dodge House, the club’s fi rst building, were considered sacrosanct, but the archi-tects managed to restore both while retaining their medieval tavern-like charm. A bar with the style and warmth of a London gentlemen’s club was added to the gallery. With timbered ceilings, tile fl oors, and silhouettes of
pocket doors connect a street-front gallery with the new dining hall. The sun-fi lled space is also used for receptions; its walls provide additional exhibition space for paintings from the club’s collection previously kept in storage.
JA2011places.indd 5JA2011places.indd 5 6/21/11 2:31:21 PM6/21/11 2:31:21 PM
www.billleearchitect.comDuxbury, MA
Email: [email protected]
Photo : Eric Scott
William Lee Architect and Associatesplaces
past members painted on the paneled walls, the cozy dining areas look essentially the same, but circulation and support were con-siderably improved.
A sunny dining hall was created in the house next door. The walls are lined with paintings stacked salon fashion, and one club member adorned the ceiling with a trompe l’oeil Baroque-style painting of blue sky and puffy white clouds.
To service the expanding dining spaces, Bay + Bay created a new kitchen three times larger than the one it replaced that is fi lled with natural light from clerestory windows. The expanded kitchen forms an attractive courtyard that brings light into the new din-ing room, provides a pleasant outdoor eating space, and gives the rear of the club a new identity. A skylight bridges the gap between the 1785 wooden house and the kitchen and transforms a former service alley into a dramatic light well where part of the club’s collection is displayed.
Gallery space throughout the club was doubled, thanks in part to new con-necting hallways. While 3,000 square feet were added, clever utilization makes it seem more like twice that. Much of that space includes Bay + Bay’s addition — made pos-sible by the purchase of a small piece of abandoned land — which contains the kitchen, print and painting studios, and service rooms.
The new wing redefines the now accessible and usable back of the complex, yet can stand alone as a notable work of
the restored dining hall retained the romance provided by dark woods, tile fl oor, and early members’ silhouettes.
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architecture. Like the Seril Dodge House, the addition is brick, but its copper trim and fl ashing and windows framed in mahogany thoughtfully solve a problem rather than mimic the past. Beautifully realized, the contemporary part of the club is a good neighbor in this rich historic district. The studio skylights create a picturesque skyline echoing similar art-student spaces in RISD’s oldest building across the street.
“The Art Club is one of those wonder-fully quirky institutions that, in my mind, could only happen in Providence,” says William McKenzie Woodward, architec-tural historian at the Rhode Island Historical Preservation & Heritage Commission. “The recent building project physically embodies the individualistic spirit of the club and its members.”
The project stayed within the club’s $3 million renovation and expansion budget, and client and architects are happy with how it turned out. “The Art Club was a great cli-ent,” says Lance Bay. “Living in Providence has made us better architects. I believe the PAC project refl ects the architectural nuances that our city embodies and makes such a proj-ect so unique.”
“For an addition to a collection of somewhat fragile buildings more than 200 years old,” says Woodward, the new section “asserts itself appropriately without chal-lenging the existing built environment. In other words, it becomes the newest part of the evolving whole.”
accentuated by stone and copper, the new brick wing provides plenty of outdoor space with a roof deck and terrace, and gives the historic club a modern outlook.
.
ArchitectsInc.
JA2011places.indd 7JA2011places.indd 7 6/16/11 6:22:23 PM6/16/11 6:22:23 PM
54 D E S I G N N E W E N G L A N D • J U L Y / A U G U S T 2 0 1 1
THERE ARE TWO TYPES OF RUGS IN THIS world. The fi rst is simply a fl oor covering — practical, utilitarian, low-key. The second nourishes the soul.
Rhode Island artist Meg Little makes the latter — handmade one-of-a-kind wool
creations that have more in common with contemporary painting than traditional rug making. A happy collision of riotous colors, bold shapes, and emphatic patterns laid out in large gestural swaths, her rugs hang commandingly on museum walls (she was featured in a show at the Newport Art Museum earlier this year) but are never too precious to settle comfortably under a beloved easy chair.
Created in her home studio, a converted barn in
Middletown, Rhode Island, Little’s rugs are infl uenced by design originating in Africa, Australia, and Central America. She adores South African painted houses, Yoruba beads, Australian aboriginal paintings. For the large-scale rugs cre-ated for her Newport exhibit, she looked to the work of the African-American quilt makers of Gee’s Bend, Alabama.
“I cherry-pick,” says Little, a stately woman with silver hair and a melodic voice. “I pick things that I’m interested in. If you don’t have a personal connection with it, I don’t think you should be using it.” Her favored motifs are energetic circles, res-olute lines, and imperfect rectangles — the sorts of basic shapes you see repeated in tribal art all over the world, from prehistoric cave paintings in Scotland to Native American petroglyphs in New Mexico. “I like the idea that there are many permutations
written by pamela reynolds • photographed by nat rea • produced by lynda sutton
BRAVE NEW RUGS • With wool as her medium, Rhode Island artist Meg Little creates sublime painterly images for wall or fl oor
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as deftly as a painter would use a brush on canvas, Meg Little wields her special tufting tool across a backcloth stretched fl oor to ceiling on a wooden frame.
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of these basic shapes through time and cultures, and that I’m just part of that,” she says. “I think of them as the collective unconscious.”
It wasn’t always this way. Throughout the 1990s, Little made rugs leaning more heavily toward the purely decorative. Many of them incorporated cute animals (mainly chickens, fi sh, and dogs). She sold through Maine Cottage Furniture and Neiman Marcus, as well as high-end craft galleries. After Metropolitan Home magazine featured her as a “hot property” in its September 1991 issue, requests for her rugs poured in, resulting in a perpetual waiting list. Little hired fi ve assistants to keep up with the backlog of orders. Something, however, was missing. The work she was doing began to feel a little too commercial. “In terms of my back-ground and interest,” she says, “well, I never wanted to do a portrait of anybody’s dog.”
So, in 2006, Little decided to shift gears. She radically downsized and began concen-trating on designing abstract, offbeat rugs that satisfied her artistic vision. Now her work is freer, riskier, and more lyrical than ever, and her rugs are sold primarily through high-end craft shows.
“It took a lot to walk away from that,” she says of her move into art rugs. “But you’ve got to do things that you love and pay attention to what’s happening around you. My mantra, even from the very early days, was ‘Be brave.’ ”
Her art school background helps explain her affi nity for contemporary art. She trained at both the Tyler School of Art in Philadelphia and the Rhode Island School of Design in Providence. To tread upon a Little rug is to walk with such painters as Jasper Johns, David Hockney, and Wayne Thiebaud. Nancy Whipple Grinnell, curator at the Newport Art Museum, says Little’s work should be categorized as fi ne art as much as fi ne craft. “The sources of her design — circles, squares, crosses, stripes — resonate through time, yet she brings a contemporary sophistication to her work,” she says. “Most amazing is her exciting use of color and the skill with which she incorporates it into her designs.”
The painterly feel of her rugs may partly derive from her technique using a hand-held tufter and skeins of yarn integrating many colors, which allows for modulation. Just as an artist might, Little uses charcoal to draw a design on backcloth stretched across a giant frame in her studio. She then sweeps her tufter — a cross between a staple gun and a hand-
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held sewing machine that rapidly punches looped yarn through the backcloth — across the surface. She uses the tool as freely as a paintbrush. “I think there’s something about paint that made me more timid,” she says. “Whereas with this, I am totally unafraid. When I learned this technique after graduate school, I was like, Wow.”
With the help of one assistant, Little creates between 30 and 50 rugs per year that vary in size from small (2 feet by 3 feet) up to room size. While most of her work sells for $900 to $12,000, her largest rugs, 15 feet by 20 feet, sell for as much as $45,000. Her pieces have become something of a collector’s item among impassioned patrons, including Robin Bell and wife Shelley Kramer, who started small with a rug for the bathroom of their Westborough, Massachusetts, home. Eight rugs later, Bell says, “We might be able to squeeze more in. The number and variety of designs that have emerged from Meg’s mind are remarkable. She has an acute color sense, producing combinations that are incredibly vibrant and pleasing to the eye.”
And they are very satisfying for their creator.
meg little in front of “Out of the Blue,” an 8 foot by 10 foot rug she designed as part of her spring exhibition at the Newport Art Museum.
JA2011Art.indd 5JA2011Art.indd 5 6/21/11 4:49:02 PM6/21/11 4:49:02 PM
58 D E S I G N N E W E N G L A N D • J U L Y/ A U G U S T 2 0 1 1
IN SEPTEMBER 1776, FOUNDING FATHERS John Adams and Benjamin Franklin were travel-ing through New Jersey. Finding themselves in a crowded inn, stuffed into a small room, in one bed, the two had a disagreement that would continue among Americans for the next century and a half:
Leave the window open or shut? “I,” recalled Adams in his autobiography, “who was
an invalid and afraid of the Air in the night (blowing upon
me), shut it close. Oh! says Franklin dont shut the Window. We shall be suffocated.” Adams complied, while Franklin “began an harrangue, upon Air and cold and Respiration and Perspiration, with which I was so much amused that I soon fell asleep.”
Night air had long been suspected of carrying disease. The miasma theory, going back to the ancient Greeks, held that impure air, fi lled with the emanations of stagnant water, rotting food, and other malodorous things, was surely at the
SLEEPING PORCHES • Promoted for the health benefi ts derived from resting in the night air, these architectural remnants stir nostalgic memories of a simpler time
written by bruce irving • photograph by brian vanden brinkicon
open to breezes on three sides, this sleeping porch in a new house designed by Boston architects Albert, Righter & Tittmann is an inviting nook to spend a summer’s night.
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root of human illness. The effect was thought to be particularly pernicious at night, and such beliefs held sway in the United States until the late 1800s. Many of our great-grandmothers made sure that windows were closed when the family was sleeping.
Over time, germs replaced noxious vapors as disease culprits. Scientists, household-advice writers, doctors, and even architects promoted the health benefi ts of fresh air, and many peo-ple (though perhaps not their grandmothers) began to sleep as old Ben Franklin would have recommended.
The National Association for the Study and Prevention of Tuberculosis concurred and published books and pamphlets with titles like “Sleeping and Sitting in the Open Air.” In its 1911 “Directions for Living and Sleeping in the Open Air,” the association showed how to build tents on tenement roofs, shacks in backyards, and porches on suburban houses. For $50 to $100, a homeowner could expand a window into a door and build out over an existing porch or fi rst-fl oor structure to create a 10-by-10-foot room with a roof and sides protected with glass or canvas or bamboo curtains. If the budget was tight, $12 or $15 and some cheap or secondhand lumber would get you a spot large enough for a bed and a chair, with a roof of canvas or tar paper.
In New England, Queen Anne houses, with their many nooks and crannies and asym-metries, lent themselves to the insertion or addition of sleeping porches, but the style was on the wane by the turn of the last century. Victorian architecture’s last gasp, the high-end Shingle Style, took full advantage of its usual setting — the seaside summer haunts of coastal Maine, Massachusetts, and Rhode Island — to provide comfortable outdoor sleeping, usually behind metal screens (patented in 1884). Subsequent styles, including Tudor and Colonial Revival, and especially Craftsman bungalows, almost always found space somewhere, usually off the master bedroom, for a sleeping porch.
The architecture of these spaces varied, as did their amenities, but all offered some man-ner of protection from the elements. A roof was a must, but some were truly porches, open to the night air without the benefi t (or some would say the confi nes) of screens or glass, while oth-ers were set atop a porte-cochere with windows all around, offering both protection and, with astute placement of curtains, privacy.
A beautiful, historic example of a sleeping
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porch is at Blithewold, a 1908 mansion and gardens open to the public in Bristol, Rhode Island. There, off the master bedroom and taking in the breezes of Narragansett Bay, is a spacious sleeping porch with original hang-ing canvas beds. “Visitors love that space,” says former director of horticulture Julia Morris. “It seems to capture their imaginations.”
According to Joseph E. Wing, an agricul-tural writer, the man with a sleeping porch is blessed: “Be he rich or poor he can have his bed out where he can see the stars, where the cool-ing health-bringing breezes surround him. No millionaire can have more of the really satisfy-ing things of life.”
In 1910, House & Garden magazine declared “sleeping outdoors seems to have progressed well beyond the fad stage. The practice appears to require but a single trial to convince even the most skeptical that ‘night air,’ that bete noir of our grandmothers, is in reality a pretty fi ne thing to get into one’s lungs in large quantities.”
The Book of Little Houses, published in 1914, extolled the virtues of the plein-air custom. “Many sleeping-porchers state that less sleep is required outdoors than indoors,” it stated. And catering to diehard fans who wanted to indulge themselves beyond the balmy evenings of sum-mer, the book offered an ingenious solution to that off-season downer of climbing into an icy bed: Place double doors between the house and porch, attach casters to the bed, and roll it out from inside, nice and warm, when it’s time to sleep. Another idea: Put a radiator, “twice as large as ordinarily needed,” in a protected spot on the porch — just make sure to turn it off and drain it at the fi rst sign of extremely cold weather.
After World War II, window air condi-tioners became popular; central air followed, and sleeping porches gave ground to artifi -cially cooled bedrooms. Summer camps and vacation homes are their last bastion, pleasant echoes of a simpler time.
Architect Christopher Dallmus of Design Associates in Cambridge and Nantucket, Massachusetts, designed a new sleeping porch for a client who was renovating her Federal-style Nantucket house. “We put it on top of an enclosed porch and adjacent to the mas-ter bedroom, and it fi t in beautifully,” he says. “The owner asked that it be air-conditioned, but I hear her grandchildren like to sleep there with the windows open.”
JA2011icon.indd 5JA2011icon.indd 5 6/15/11 3:33:37 PM6/15/11 3:33:37 PM
green essentials
2 D E S I G N N E W E N G L A N D • M O N T H / M O N T H 2 0 1 0
written and produced by danielle ossher • photographed by joel benjamin
R O L L O N“Recycle. Reuse.
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another, equally interesting Varaluz design. Recycled glass bottles shaped into
varying sizes of circles marry with hammered iron in Fascination ($775), a
five-light chandelier that visually transforms as one’s vantage point changes.
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Summer Idyll • A humble island retreat is rescued at the eleventh hour • Colors and textures collide in a North Country garden • Sea breezes and smart design keep a beachy cottage comfortable • Sweeping views meet the classiclly modern in a long-desired getaway • Three generations celebrate a Rhode Island vacation house built for, and by, all
J U L Y / A U G U S T 2 0 1 1 • D E S I G N N E W E N G L A N D 6 5
july/august 2011 by the sea
photo by jim westphalenphoto by jim westphale
balls of bloom on echinops lure pollinators to Robin Coleburn’s garden. Story, Page 72.
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2 D E S I G N N E W E N G L A N D • M O N T H / M O N T H 2 0 1 0
in good weather, the deck “becomes another room,” says Kim Goodnow. It is one of many design-conscious ways she and husband, Ted, stretch space in the 1,040-square-foot cottage. A Murphy bed (facing page), which disappears into the wall when notin use, is another.
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G R E E N
s h a c k c h i c
A Madaket
fisherman’s cottage
offers lessons
in preservation,
efficiency,
sustainability,
and easy
island living
W R I T T E N B Y
Gail RavgialaP H O T O G R A P H E D B Y
Greg Premru
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shades of green appear in the kitchen’s recycled-glass countertops and end-grain bamboo cabinets.
pop-top patterns play out in Sam’s shower with small square tiles made from recycled aluminum.
a vanity becomes a night light in the master suite when its onyx top is illuminated from within.
cutting edge meets history in the fi replace surround crafted from petrifi ed wood.
design decision: Sustainable and recycled materials add luxury touches
W E S T W I N D, a tiny cottage in Madaket, a low-key village of fi shermen’s shacks and modest summer houses at Nantucket’s west end, is every bit as romantic as its name.
“Madaket is the shorts and fl ip-fl ops end of the island,” says West Wind’s savior, Ted Goodnow, who is chief executive offi cer and founder, with his wife, Kim, of Woodmeister Master Builders, which has offi ces in Nantucket and Holden, Massachusetts; Newport, Rhode Island; and New York City. “That’s what we were looking for.”
Bordering an Audubon sanctuary and overlooking Hither Creek, West Wind is surrounded by raw natural beauty, a perfect spot for a vacation getaway. But when the Goodnows fi rst saw the property in 2005, it had issues — big issues.
“The septic system had problems,” says Ted, “the house was built across the lot line and was par-
tially on public land. There are major erosion problems on that end of the island, and the house was sunken down in the dune. There was no heat, and it wasn’t winterized.”
But in that colossal pile of dysfunction, they saw opportunity. “We
wanted to do a ‘green’ project,” says Ted, “to do the right thing and to be the guinea pigs for things that we might recommend to our clients.”
From the beginning, they planned to use recycled and sustainable materials and up-to-the-minute environmentally sound technologies, but thanks to a serendipitous interlude, it was at the eleventh hour that they made the greenest decision of all.
After spending 15 months obtaining permits to tear down the house and detached garage and build a new two-story home on the site, they invited architect Matthew Moger out for a look. At the time, Moger was with Lyman Perry of Philadelphia and working on another unique Nantucket project with Woodmeister. “There, instead of building a large house on the water, we did a compound of simple structures that are a contemporary interpretation of the fi sherman’s shack, like the ones in Madaket,” says Moger, who in 2010 became a founding principal of Moger Mehrhof Architects in Annapolis, Maryland, and Wayne, Pennsylvania. So when he pulled up to West Wind, it was an “Omigod!” moment. “Ted and Kim may not have known that their house was literally our inspiration.” Moger spent the evening inform-ing them, and brainstorming alternatives to demolition. The next day, the Goodnows decided to scratch their plans and save the little house.
architecture matthew moger
construction woodmeister master builders
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a floor-to-ceiling mirror refl ects the tub and vanity and visually expands the master suite. Painted wood ceiling and walls hint at the rustic, while elegant light fi xtures speak to the luxurious. The bed (facing page, left) is tucked into a windowed alcove with water views on three sides; the upholstered headboard abuts the tub. The Goodnows (facing page, right) relax in their Madaket living room.
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a swarovski crystal chandelier above the dining table/bunk is one of several “little jewels” throughoutthe house, says Kim Goodnow. Son Sam’s multipurpose bedroom, Murphy bed up (facing page, left). The worn wood mantel in the living room (facing page, right) is a relic from the bed of the Mississippi River.
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1 deck 2 family room/bedroom 3 murphy bed 4 bathroom 5 kitchen/dining area 6 living room 7 fireplace 8 office area 9 dressing area 10 bathtub 11 master suite12 water closet13 outdoor shower14 front porch 15 entry/laundry room
Renovating meant many more months of planning and complicated the goal of getting a gold rating from the National Association of Home Builders National Green Building Standard program, but the Goodnows were undaunted. They used a combination of beautiful things, such as countertops of recycled glass and custom-designed bamboo cabinets, and less glamorous material and technology, such as Icynene insulation and geothermal heating and cooling.
Because the house was right on the street — and over the property line —it had to be moved back 20 feet. The footprint could not exceed that of the original buildings, so to maximize square footage, they slid the garage over and
made it part of the house. Then they put the whole thing up on two dozen 15-inch-diameter wood pilings, driven 35 feet deep, to protect the house from storm surges. Plumbing took the form of Clivus Multrum foam-fl ush toilets and compost
and gray water (water from all non-toilet fi xtures such as showers and washing machines) systems, which also ensures that no damaging nitrogen is discharged into the delicate coastal ecosystem.
Preserving the unique indigenous architecture applied only to the exte-rior. “This is a sleek contemporary interior in a rustic shell,” says designer Wendy Valliere of Seldom Scene Interiors Inc. of Nantucket, Boston, and
Stowe, Vermont, who worked with the Goodnows on fi nishes and furnish-ings. With a mere 1,040 square feet of space, every inch mattered. Thus, the front entrance is also the laundry room; the kitchen table converts to a bunk when daughters Brooke, 22, and Heather, 23, visit. Son Sam, 13, has a Murphy bed, making his room a multipurpose family room, and the ingenious integration of the master bedroom and bath turns that tight space into a luxury spa. “This was a great exercise in learning how little you can get by with,” says Kim.
Fishing tackle always at the ready, the Goodnows have no doubt they made the right call.
“Here, you don’t want a house that could be anywhere,” says Moger. “This is a particular type of architecture you only fi nd in Madaket.”
TO QUANTIFY the “greenness” of West Wind’s renovation, Woodmeister Master Builders turned to the National Association of Home Builders National Green Building Standard third-party certifi cation program. NGBS projects are rated in the categories of site development; energy, water, and resources effi ciency; indoor environmental quality; and homeowner education. They are awarded Emerald, Gold, Silver, or Bronze ratings. West Wind earned a Gold rating, the fi rst in Massachusetts, which means the building is at least 50 percent more effi cient than Energy Star ratings require. Nahbgreen.org.
for more details,see resources
the garage was attached to the left side of the house and became the new master suite. The outdoor shower, to the left of the porch, can be accessed from the porch or the master bath.
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COLORS
F L Y I N GWi t h b o l d s t r o k e s , a r t i s t
R o b i n C o l e b u r n t u r n s a o n e - n o t e
l a n d s c a p e i n t o a g a r d e n s y m p h o n y
W r i t t e n b y To v a h M a r t i n
P h o t o g r a p h e d b y J i m We s t p h a l e n
GARDEN
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bayberry and amaranth attract feathered clientele to Robin Coleburn’s bird garden, where sedum edging is heavy with seed heads and perennial ornamental grasses capture the late-day autumn sun. Ubiquitous and self-seeding, poppies (facing page) grow throughout the garden, lending a sense of continuity.
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a sort of schizo-phrenic gardener,” says Robin Coleburn. And for visitors to her Golden Apple Orchard in Charlotte, Vermont, her split personality plantwise is a wonderful state of affairs.
The diversity Coleburn brought to the 18-acre prop-erty is a complete reversal of the landscape’s original persona. When she bought the land in 1992, it was almost solid apple trees. We’re talking 3,000 fruit trees lacing arms and stretching on fertile land to overlook Lake Champlain. All those blossoms fl oating down in spring and all that juicy, ripe harvest in autumn might seem like anyone’s vision of Eden. And that’s the way the orchard looked to Coleburn at fi rst. Then the reality of a monoculture hit home, and she found her inner schizophrenic.
Fact was, all those apple trees were an albatross. Most troubling, she was saddled with the necessity of applying more insecticide than she (or the birds she dotes on) could conscientiously handle. And despite the environmental wallop its fruitful upkeep was delivering, the orchard was still operating in the red. It wasn’t until Coleburn moth-balled the spray rig and gave the orchard back to nature
that she felt the fi rst rustlings of liberation. Ever since, she’s been stealing land away from the orchard and hand-ing it over to her eclectic gardens instead.
First she installed a bird garden because she’s crazy about anything with wings. Then, to furnish shelter for her feathered residents, she let her conifer collection wade into the farther fi elds. Meanwhile, terraces were enlisted to shoulder the slope. They are covered with a carpet of blossoms (to attract hummingbirds and other pollinators) that glory in the radiant sunbeams refl ected off the lake.
When Coleburn, who is also an artist, built a studio where she could work on her paintings (inspired by the gar-den, of course), it needed anchoring, which explains the little hop, skip, and jump into a series of garden rooms walled with hedges. Because each room explores suffused colors in outspoken terms, her solution was to segment them, letting artistic license loose in all its most vibrant ramifi cations. If someone asked your opinion of orange poppies swarming within easy viewing distance of apple red roses, you might wince. But Coleburn takes the color cues and runs — no apologies offered. Think magenta rose campion and cherry
the retired orchard is still mowed (below), and the apple trees blossom beautifully in the spring and bear fruit in the fall. facing page: 1. The courtyard garden close to the house is thick with astilbe, aconitum, persicaria, and cimicifuga. 2. Lotus and waterlilies fl oat in the pond in front of Coleburn’s art studio. 3. A tin-man scarecrow is more whimsical than foreboding as it protects the potager from animal poachers.4. Coleburn gathers beets and zucchini in front of the verdant asparagus hedge.
‘I am
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red salvia or maybe goldfi nch yellow rudbeckia and bronze spirea or a daring mix of purple salvia and sky blue delphinium or pink silene and orange Maltese cross. Coleburn embraces the challenge and makes it look like a cakewalk. What would be anyone else’s train wreck is her triumph. “Put purple and salmon together in your house, and it might not work,” she says, “but in the garden, they absorb each other. It’s almost as if nothing can go wrong in nature.”
What also helps is familiarity. As an artist, Coleburn daubs and dips into color daily. For most of the winter, she stays ensconced in her studio creating massive, suffused, gar-den-inspired canvases. But that’s not all she’s up to. Given the nasty little reality of a lingering northern Vermont win-ter, she spends a lot of time devising diabolically dicey color schemes that require yet another garden to execute. When the growing season fi nally arrives, she pulls off those dare-devil rainbow maneuvers with fl ying colors.
The reason it works has to do with quantity. It’s eclec-ticism with conviction. Sure, she makes the color wheel do her bidding, but she insists that texture is more her signature. Conifers do a lot to cool everything down. The evergreens
also wrestle with the winds off the lake before the breezes can whip the garden. Even so, large-leafed plants such as bananas are out of bounds, and stately tall delphiniums would just fall to the laws of gravity. But the lake also has its blessings. The warming effect of Lake Champlain adds an astonishing (and much welcome) 45 days to the growing season, allowing Coleburn to act like she’s in Zone 5 and grow accordingly.
In her garden, color is not limited to fl owers. Coleburn is as much about foliar hues as blossom reverberations. The evergreens are anything but just plain green, hardscape plays harmony, and even the cement benches and white-washed birdhouses enhance the palette.
Fruit trees still abound at Golden Apple Orchard, but nowadays the orchard that stretches around the garden is allowed to go wild and take wing. It’s a haven for Coleburn’s feathered friends, fl itting with pollinators and serving as nesting sites. Meanwhile, Coleburn has extended her food crop repertoire into vegetable gardens, peaches, and cher-ries. The fruits of her labors remain plentiful, in a different sort of way. The apple wasn’t this gardener’s downfall — she’s moved on to further temptations.
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the art studio (8) is at the heart of the garden plan. A path leads from it to the lily pond (5) and knot garden (4), which is flanked by the kitchen gardens (1,3) and the color (10) and bird (11) gardens. Elsewhere (facing page), dwarf conifers are place holders in a rock garden blanketed with sedum, candytufts, and veronica.
1 potager2 garden shed3 herb garden4 knot garden
5 lily pond6 white garden7 lawn8 art studio
9 dwarf conifer garden 10 hot colors garden11 bird garden
Robin Coleburn’s Gardens
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A new house in Rockport, Massachusetts,
combines high and low tech to deliver a
breezy summer retreat
W R I T T E N B Y R E G I N A C O L E
P H O T O G R A P H E D B Y E R I C R O T H
F U N
F O L L O W S
F U N C T I O N
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two steel i-beams reinforce the ceiling to allow one large room on the first floor. In the spirit of summer living, windows let in salty breezes and the door is almost always open. Both airflow and noise are controlled viaa horizontal window, which slides into place above the dining table.
INTERIORS
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the 1920s “shaky ancestral summer shack” was foundering. “One bedroom was falling off, into the ocean,” recalls Don Knerr, proj-ect architect for Charles R. Myer & Partners Ltd. of Cambridge, Massachusetts. When the current owners, a professional couple, inher-ited the structure and its glorious site atop a rocky promontory at ocean’s edge in Rockport, Massachusetts, they envisioned a summer retreat that would easily accommodate them, their four children, various pets, and a con-stant fl ow of friends and relatives. Remarkably, they got a new house that sits on the same foot-print as the demolished original, but at 3,600 square feet is more than double the size of its predecessor — all without deviating from the unpretentious spirit of the original cottage.
The new two-story structure is a modern take on the Cape Cod–style house, complete with tradi-tional cedar shingles stained gray and wood trim painted white. As befi ts an ocean-side summer home, it fairly bristles with decks, porches (both open and screened), viewing platforms, and bays. The cheerful crown-ing touch is a rectangular, windowed cupola sporting a sea serpent weather vane riding above a blue glass sphere.
“The house is very complicated in its simplicity,” says John Ellis, project man-ager for S+H Construction, the Cambridge company that built the house. “It looks very simple, but the technology is carefully thought out.” He points to two steel beams supporting the structure. “They are what allow the fi rst fl oor to be wide open.” The
glass tops a large, brightly painted island in the kitchen, which echoes the functional informality of the overall design with open shelving. The house (facing page), which is hard by the Atlantic Ocean, is glorious in summer but requires construction rugged enough to weather winter storms.
W E L L L O V E D A N D U S E D B Y T H E C H I L D R E N
A N D G R A N D C H I L D R E N O F I T S F I R S T O W N E R ,
architecturecharles r. myer & partners ltd.
interior designandra birkerts interior design
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design decision
Simply Air
motorized awnings
fan vents
interior windows on second floor
counter- weights
sliding horizontal sash
steel beam
friction cleat
J U L Y / A U G U S T 2 0 1 1 • D E S I G N N E W E N G L A N D 8 1
BUILDER S+H Construction DIA
GRA
M B
Y D
ON
KN
ERR
The cupola (cicled below) is more than just a fun add-on. It is part of an intentional design in which state-of-the-art systems regulate temperature, light, and noise while also maintaining structural integrity.
“First thing the homeowners said was that they did not want air conditioning,” says John Ellis, project manager for builder S+H Construction in Cambridge, Massachusetts. “They talked about how, once a house has AC, it gets sealed off from the outside. That’s not why they come here.” So keeping the house naturally cool drove much of the design, including the cupola, which architect Don Knerr says “was almost an afterthought. I designed it when the homeowners decided against a fi replace, to give the crowning height you usually get from a chimney. It’s the only thing for which we needed a special permit, because it exceeds the height limit. That cupola is not only
decorative, it turns out to be incredibly important.”Relief from August heat comes when
low-tech whole-house fans draw hot air out through the cupola windows, which open at the touch of a button. At the same time, the cupola, which is open through the second fl oor to the living area below, allows natural light to fl ood the interior spaces. An architectural element in its own right, the second-fl oor “air shaft” provides unexpected interior windows
that can be closed and curtained. If the owners don’t want to funnel heat up and out, say in the chillier days of the off-season, or if they want to shelter sleeping children from adult fi rst-fl oor noise, they can close the air shaftwith a horizontal window thatis operated with wall-mounted ropes, weights, and pulleys.
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a corner of the living room (below) is furnished with a Richard Mulligan rope bed and 1960s French beechwood chairs. The bunk room (right) is outfitted with boat ladders and retro-style fans. Ochre’s Arctic Pear chandelier (facing page, bottom) lights the kitchen’s office nook.
space is 22 feet by 26 feet, with no walls to block the views. “The house is overbuilt and the windows are double-glazed, because the house is so exposed to the weather,” Ellis says, noting that in winter, storms often sheath the house with frozen saltwater spray. Invisible high-tech ele-ments include radiant heat, steel porch columns, blown-in insulation, and soundproofi ng.
But the decor is low-key old-time summer. “We were careful to not overdesign the interior,” says Andra Birkerts of Andra Birkerts Interior Design in Wellesley, Massachusetts, who previously had teamed up with Charles Myer and S+H to build the family’s year-round residence in Lexington, Massachusetts.
“The last thing they need is fussy furniture that’s hard to care for,” says
Birkerts. “The family comes here to enjoy being by the sea. They sail, swim, barbecue, go to the Fourth of July bonfi re, watch the sunset. We kept the interior light, with blues and greens used as accent colors.” And, she notes, “all the fabrics have to be tough.”
Her greatest challenge was the big, open fi rst-fl oor living/dining area. There, she opted for conversational groupings that allow for a constant fl ow of traffi c. “People are always coming and going through all these doors,” she says. “Usually, there are wet dogs, sand, or wet bathing suits involved.”
Upstairs in the children’s bunk room, steel ladders lead not only to upper beds, but also to ceiling-height aeries and secret hide-aways. Enormous windows fl ood the room with light. “This is a kids’ house
for more details,see resources
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as much as it is for adults,” says Birkerts. “Ten children can sleep in this bunk room, and there’s another chil-dren’s room, which has a little private deck looking down on the main entry. Kids can come and go; there are all sorts of magical spaces.”
There are nautical overtones throughout, but Birkerts steered clear of clichés, opting instead for subtle touches like a shower curtain that once was a sail.
The basement, which contains the laundry area and a guest suite, also functions as a rainy-day room with a roll-ing cart full of cubbies stocked with art supplies. “There’s no TV in the house,” Birkerts notes with a smile.
During the design phase, the location of the bed in the master suite changed several times. “At fi rst it was against the wall,” says Birkerts. “Then the homeowner told me that she wanted to wake up looking right at the water, so we put the bed in the middle of the room. Now it feels like an old-fashioned sleeping porch.”
“It looks rustic and simple,” John Ellis says. “But in the very careful use of space, and in the way the design is all about function, this house is constructed like a boat.”
“The house is really kid-centered and playful,” Don Knerr says. “But it’s also seriously functional.”
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the view from the master bedroom is a dramatic vista of the property. The landscape terraces down from the porch below into an upper backyard, a lower yard including the pool, the natural coastal bank, and the beach and harbor’s edge.
AT L A S T , A C A P E C O D V A C AT I O N H O U S E W H E R E
perfect AAAAAAAAAAAAAAAATTTTTTTTTTTTTTTTTT LLLLLLL setting
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T H E O W N E R S A N D T H E I R I C O N I C F U R N I T U R E F E E L AT H O M E
W R I T T E N B Y J A C I C O N R Y / P H O T O G R A P H E D B Y B R I A N V A N D E N B R I N K
A R C H I T E C T U R E
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8 6 D E S I G N N E W E N G L A N D • J U L Y / A U G U S T 2 0 1 1
of Polhemus Savery DaSilva Architects Builders in Chatham, Massachusetts, Staniar and his wife, Nancy, have created a getaway custom-designed to suit them, their art, and their classic pieces from Knoll, the iconic manufacturer of modern furniture where Burton is chairman of the board and former CEO.
Set far back from the road, the Staniars’ lot is a large, verdant site on Stage Harbor with majestic views of Nantucket Sound. “We fell in love with the location immediately, and that was that,” says Burton. Dream location secured, “we wanted the house to seem as though it had always been there.”
The couple engaged DaSilva to design that house, one that would provide both a comfortable venue for an eclectic mix of art and furnishings and a place where the couple, who live year-round
in New York City, could entertain a large crowd.The Staniars were drawn to the architecture of traditional
English country houses, and DaSilva sought inspiration from British architect CFA Voysey. To make the house compatible with the coastal Cape Cod setting, staple elements of 19th-cen-tury Shingle Style (extensive porches, eaves, and gables) were included in the design.
The front of the house acts as a formal backdrop for an expan-sive landscape crafted by David Hawk of Hawk Design of Boston and Orleans, Massachusetts, replete with informal gardens, a wildfl ower meadow, and lush grass, which the architect and homeowners refer to as the “park.” The back of the house faces the water for stunning views. To take full advantage of the setting, DaSilva conceived a
Burton Staniar SUMMERS ON CAPE COD, AND
ALWAYS HAS. “WE’VE OWNED AND RENTED IN VARIOUS LOCATIONS,”
HE SAYS, “BUT THE HOUSES WERE ALWAYS LACKING IN SOME WAY.”
UNTIL NOW, THAT IS. WORKING WITH ARCHITECT JOHN DASILVA
architecture + construction polhemus savery dasilva architects builders
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mies van der Rohe Tubular Brno chairs are paired with a custom-made table in the dining area (facing page), which is separated from the living room by several steps. The two-story entry features a gracious staircase, oak floors stained walnut, and Louis Poulsen pendant lights.
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layout in which two wings are at 45-degree angles to a rectangular center. “This plan maximizes a site that has harbor views wrapping partly around it,” says DaSilva. “The wings capture direct sunlight at ideal times of day for the home’s different spaces — eastern light for the kitchen, western light for the living room.”
“We wanted the ocean to be visible as soon as one stepped through the front door,” says Nancy Staniar. To accomplish that, DaSilva placed French doors framing the view at the end of the long, gracious entry hall.
To allow for uninterrupted water views and to enhance the sense of one large continuous space, there are no walls separating rooms on the fi rst fl oor. Living, kitchen, and dining areas all fl ow into one another. “The different rooms are defi ned by ceiling soffi ts and shapes, light coves, and archways,” says DaSilva. “The spaces have just enough defi nition so they are comfortable as separate areas, but they are wide open to each other in terms of circulation, passage, and
social interaction. The house works very well for entertaining.” Nancy, an interior designer, tailored the home to be relaxed
yet lively with some collaboration from colleague Eric Cohler of Eric Cohler Design in New York City. Clean-lined furniture is combined with a range of art. Among the collection are many paintings by Cape Cod artists, whimsical African pieces, and con-temporary photography. Midcentury furnishings are paired with antiques: In the entryway, weathered, dusty red painted 17th-cen-tury chests stand in contrast to Louis Poulsen artichoke pendant lamps (icons of modern Scandinavian design) that illuminate the space with dramatic impact. “The juxtaposition of very different eras and styles adds fun and interest,” says Nancy.
The kitchen is outfi tted with Bertoia barstools — fashioned out of metal rods and manufactured by Knoll since 1952 — that com-plement the sleek, minimal SieMatic cabinets painted a custom high-gloss gray. The room is refi ned and understated: Appliances are
design decision
At Home With Iconic Knoll (still in production today)
TUBULAR BRNO CHAIRLudwig Mies van der Rohe, for the Tugendhat house in Brno, Czech Republic, 1930. “Architecture is a language; when you are very good you can be a poet.”
BERTOIA BARSTOOL Harry Bertoia, 1952.“If you look at the chairs, they are mainly made of air, like sculpture. Space passes through them.”
SAARINEN EXECUTIVE CHAIR Eero Saarinen, 1957. “Always design a thing by considering it in its next larger context — a chair in a room, a room in a house, a house in an environment . . .”
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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 7
thick marble tops the SieMatic cabinetry, which is painted a high-gloss custom gray that reflects light and the harbor view. With floor-to-ceiling bookshelves on all four walls, the library (facing page) is designed to be cozy, a place to hunker down during the winter.
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9 0 D E S I G N N E W E N G L A N D • J U L Y / A U G U S T 2 0 1 1
integrated with the cabinetry, and the warm neutral tones in the white marble countertops are matched in the upholstery of the midcentury Eero Saarinen Executive Side Chairs around the kitchen table.
The Staniars’ children and grandchildren visit often. A big hit with the kids is a loft fashioned in the shape of a bright blue boat hull in one of the guest bedrooms. “We even fi nd some of the adults up there occasionally,” says Burton. While the house is frequently fi lled with guests, it’s also a retreat, where the hus-band and wife relish spending time together. The library, the sole room that doesn’t have an ocean view, is one such spot congenial
for a party of two. With coffered ceilings and fl oor-to-ceiling book-shelves, the room is furnished with a glass Mies van der Rohe coffee table and a Florence Knoll lounge sofa. “It’s a very cozy space,” says Nancy. “We love to be in here during the winter months.” In the summer, the couple pass much of their time on the porch off the living room, which has prime sunset views and a wood-burning fi replace.
“After spending years in houses that weren’t quite right, we decided to try to build the perfect place for us,” says Burton. “And we think that’s exactly what we’ve done.”
1 sitting area2 master bedroom3 master closet4 balcony5 hallway6 master bath 7 guest room8 closet9 guest bathroom10 guest suite
First Floor Second Floor
11
2
3
5
46
105
8
9
7
1 10
2
34
1210
9
up
up
57
6 8
11
upto
loft
opento
below
for more details,see resources
1 back porch 2 living room 3 dining area 4 hallway 5 kitchen 6 breakfast nook 7 sitting area 8 screened porch 9 garage10 foyer11 front porch12 library
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the sunset views from the porch and adjacent terrace off the living room make them prime spots for evening entertaining. At the end of the grand entry hall is a secondary hall (facing page) where French doors frame the landscape. The ceiling is painted a creamy gold, a backdrop for a Louis Poulsen chandelier. The living and dining areas are to the left; the kitchen is to the right.
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9 2 D E S I G N N E W E N G L A N D • J U L Y / A U G U S T 2 0 1 1
the 10-foot-high ceiling and the tall corner windows make the new living room seem more spacious than its 16-by-20-foot dimensions. The family, gathered on the new front porch (facing page), are, from left, Andrew Kahn, Dana, Nate, and Donald Powers, and Arnold and Joanne Kahn, with family mascot, Ruby, settled at center.
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J U L Y / A U G U S T 2 0 1 1 • D E S I G N N E W E N G L A N D 9 3
R E N O V A T I O N
O N E F O RA L L
A multi-generational
approach to renovating
a Rhode Island
summer house benefits
from the power of three
Written by Jill Connors
Photographed by Nat Rea
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9 4 D E S I G N N E W E N G L A N D • J U L Y / A U G U S T 2 0 1 1
the pool and bluestone terrace were key to the renovation plan. Nate, 6, prepares to plunge as his grandparents (seated) and uncle watch. Behind them, the two-story addition blends seamlessly with the original bungalow. Nate and his mother, Dana (facing page), take a break around the 13-foot-long kitchen island finished with honed granite.
at occupying the beloved place, with perhaps only a few cal-endar days marked as times when one family member’s clan overlaps with the next.
Not so with this two-story clapboard-and-shingle house on a quiet street a few blocks from the shops and harbor of Jamestown, Rhode Island. Three groups from the same family, a total of six peo-
ple spanning three generations, spend every summer weekend in the 2,200-square-foot house together — and keep coming back.
The conviviality speaks to the sensible design of a renovation that emphasizes numerous gathering spots, indoors and out, while committing the minimum square footage to bedroom space.
“The whole intent of this place was a beach cottage, with as many areas as possible to be together and also wan-der off on your own,” says architect Donald Powers, who with his wife, Dana, and their 6-year-old son, Nate, form one-third of the house’s ownership. Another third is owned by Dana’s parents, Joanne and Arnold Kahn, while Dana’s
brother, Andrew Kahn, constitutes the final third. They all went in on the purchase of a dilapidated 1910 bun-
galow in 2006 and made the renovation work by following a few simple rules: Everyone was consulted on every decision, but the fi nal veto on structural matters belonged to Donald and the fi nal veto on interiors went to Joanne, an interior designer, and Dana.
The psychology of thirds made many options seem within reach: “If you know you are splitting the cost of something three ways, lots of things are affordable,” says Dana. But the overall ethos of simple beach cottage held sway, guided by the under-lying philosophy of the family architect.
Donald Powers Architects in Providence, the fi rm Donald founded in 2000 and where he is principal and Dana is vice pres-ident of operations, is known for designing communities where small houses create close-knit neighborhoods. One such project, Cottages on Greene in East Greenwich, Rhode Island, was rec-ognized this year by the Congress for the New Urbanism for its “walkability, sustainability, and exemplary design.”
The small-but-livable mantra as played out in Jamestown
F O R M A N Y FA M I L I E S , S H A R I N G A S U M M E R C O T TA G E M E A N S TA K I N G T U R N S
architecture donald powers architects
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9 6 D E S I G N N E W E N G L A N D • J U L Y / A U G U S T 2 0 1 1
meant increasing the size of the original two-bedroom, one-bath bungalow from 1,300 square feet to 2,200 square feet and making it a four-bedroom, four-bath house without changing the overall scale. “We wanted to keep it additive and small,” says Powers.
Thus, the house grew with modestly sized rooms appended strategically. The existing structure was gutted with not much more than the subfl oor salvaged. Most of the increased square footage is in a two-story addition that seamlessly melds with the existing house and holds a fi rst-fl oor living room and second-fl oor master suite.
Most importantly, rooms were sized for functional comfort, not wanton excess. “My whole thing is to make a room just as big as you need, and no more,” says Powers. For example, the living room measures 16 feet by 20 feet, a footprint based primarily on
seating — window seats around the perimeter, two large sofas near the fi replace. “To size a room, you should always start with furniture grouping, then snug the room down,” he says. Two of the four bed-
rooms measure just 9 feet 3 inches by 12 feet each, enough to fi t twin beds and a nightstand. No more.
As for strategy, Powers positioned the living room three steps down from the adjacent dining area and kitchen, which makes the room seem like its own retreat while maintaining a visual connection to the other spaces. A den, tucked behind the stairs, is also placed to be its own destination. The new front porch and backyard pool and
deck add more areas for gathering, or seeking a moment’s solitude.Interiors display a casual, beach aesthetic. “We wanted to
make it feel like a summer house, so we used sandy beiges and soft ocean blues,” says Joanne Kahn, who had an interior design fi rm in Buffalo for more than 20 years. She and Arnold, founder of a human resources fi rm in Buffalo, maintain a year-round house there, moving to Jamestown for the summer.
Consistent elements throughout the house include a neu-tral color scheme of white oak fl oors, white walls, trim, and ceilings, woven bamboo window shades, and marble bathroom sinks and fl oors. Traditional yet simple motifs lend an air of the original bungalow: Ceilings sectioned by battens create a faux coffered effect; kitchen cabinetry features bin pulls and fl at-panel doors; V-groove boards cover a dining room wall and the ceiling in the kitchen.
Most of all, the house comes into its own when fi lled with family: Donald, Dana, and Nate Powers arrive from Providence at week’s end, noting a palpable lessening of stress the moment they cross the Jamestown Bridge. Andrew Kahn, a commercial real estate professional in New York City, comes in most week-ends by train. Joanne and Arnold Kahn are there, ready to share drinks and dinner on the porch, the deck, poolside, around the kitchen island — wherever the clan migrates — in a house that embraces its own close-knit community.
steps lead from living room to dining area, which is located in the original part of the house. Traditional elements include white oak floors, built-in bookshelves, and a painted wood stairway. The blue paint in the master bedroom (facing page) is repeated in the other bedrooms and baths, providing a connecting thread and evoking a beach house ambience.
for more details,see resources
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J U L Y / A U G U S T 2 0 1 1 • D E S I G N N E W E N G L A N D 9 7
Each bedroom has a pitched ceiling, which gives the modest rooms a sense of spaciousness. The master bedroom (pictured), at 15 feet by 18 feet, is the biggest of the four bedrooms and is located in the new addition. Painting the inside of the ceiling peak white adds to the airy effect. The ceilings of the three other bedrooms, all located in the original section of the house, have different pitches depending on the roofl ine, but each gives the modestly-sized rooms a dose of scale.
design decision
Perfect Pitch
JA2011powersC.indd 7JA2011powersC.indd 7 6/13/11 4:21:50 PM6/13/11 4:21:50 PM
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page 99.indd 1page 99.indd 1 6/21/11 5:55:20 PM6/21/11 5:55:20 PM
accompaniment compendium
As New As Old • Fresh life for classic correspondenceand setting the candlelight mood without the fl amewritten and produced by danielle ossher
100 D E S I G N N E W E N G L A N D • J U L Y/ A U G U S T 2 0 1 1
P E N N E D P R E T T YIn the age of elec-tronics, a thoughtful handwritten note is that much more valued. Script that note in a card that is a piece of art in its own right, and texting will seem so déclassé. clockwise, from top left: Animal Parade card by Rifl e Paper Co. (rifl epaperco.com), through Twelve Chairs; twelvechairsboston.com. Portland Observatory Card Set by Eli Phant; eli-phant.com. Garden Thank You card by Rifl e Paper Co. Adirondack by Felix Doolittle; felixdoolittle.com. Nantucket by OCD; calypsocards.com.
a l wa y s A G L O WForgo the matches, not the ambience — go wickless. LED
alternatives to the fl ame are tailor-made for New England’s alfresco
lifestyle (and coastal winds). While an abundance of designs has
hit the market, our hands-down favorite is Oxo’s Candela (oxo.
com), with its tall, sleek frame, eight-hour life, and uber-handy
cordless charging base. The Glow set of eight (pictured, $130)
is fi t for large soirees; packs of two and four are also available.
JA2011compendiumREV.indd 2JA2011compendiumREV.indd 2 6/22/11 3:00:26 PM6/22/11 3:00:26 PM
2011 PresentingSponsor
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Gala Preview PartyFriday August 12 6 - 9pmEarly Preview Party Tickets Available–Call For Information
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To benefit the Newport Historical Society and the Boys & Girls Clubs of Newport County
g o o d r e a d sThe architecture of a historic town and a portfolio of landmark gardens
DUBLIN IS THE ONE PLACE I HAVE ALWAYS LONGED FOR,
but never knew it existed in fact until now.” These words,
spoken by Mark Twain, fi ttingly open William Morgan’s latest
book, Monadnock Summer: The Architectural Legacy of
Dublin, New Hampshire ($35, David R. Godine). Morgan, an
architectural historian and
contributing writer at Design
New England, explores the
architecture, from the 18th
century to the present, that is
at home in this New Hampshire
mountain town. In doing so, he
also gets to the heart of Dublin’s cultural sense of place and its
attraction for the artistic, literary, and society fi gures who
came to wile away the summer. — melissa savignano
COMPLETE WITH DETAILED
schematics, striking photos (in
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and telling quotes, Gertrude
Jekyll and the Country
House Garden: From the
Archives of Country Life ($45, Rizzoli) captures
the stunning care and inspired ideas behind the
work of Gertrude Jekyll (1843–1932), one of the 20th
century’s most influential garden designers. Author
Judith B. Tankard follows Jekyll through the Arts and
Crafts movement, her 40-plus professional years,
and collaborations with architect Edwin Lutyens
and Country Life magazine. The book, like Jekyll,
elevates gardening to a fine art.—M.S.
‘‘
JA2011compendium.indd 3JA2011compendium.indd 3 6/21/11 4:46:54 PM6/21/11 4:46:54 PM
accompaniment resources
For more information on products featured in this issue, please contact the design professional associated with the project.
18–22 • Visit/Kevin McLaughlinCustom furnishings: McLaughlin Upholstering Company, Everett, MA; 617-389-0761, mclaughlinupholstering.com.
32–39 • Kitchen/In The ZoneArchitecture/Design: Taste Design Inc., Jamestown, RI; 401-423-3639; tastedesigninc.com. Builder:Cedarhurst Builders, North Kingstown, RI; 401-932-9576, cedarhurstbuilders.com. Structural Engineer: South County Design Group Inc., Wakefi eld, RI; 401-792-3933, southcountydesigngroup.com. Kitchen cabinetry: Wickford Kitchen & Bath, North Kingstown, RI; 401-294-4494,wickfordkandb.com. Lighting: Mancini Fine Lighting, East Greenwich, RI; 401-886-9125,mancinilighting.com. Countertop: Northeast Tile & Granite, Johnston, RI; 401-943-5469, northeastgranite.com.
66–71 • Green/Chic ShackArchitecture: Matthew Moger, Moger Mehrhof Architects, Annapolis, MD and Wayne, PA; 484-343-2099, mmarch.net. Builder: Woodmeister Master Builders, Holden, MA; 800-221-0075, woodmeister.com. Countertops: Edge, Waltham, MA; 781-891-0050, counteredge.com. Fireplace sur-round: Cumar Marble and Granite, Everett, MA; 800-774-7818, cumar.com. Dining room chande-lier: Design Within Reach, Boston; 617-451-7801, dwr.com. Master bath chandelier: Irwin Feld, Stamford, CT; 203-588-0567, irwinfelddesign.com.
78–83 • Interiors/Fun Follows FunctionArchitecture: Charles R. Myer & Partners Ltd., Cambridge, MA; 617-876-9062, charlesmyer.com. Interior Design: Andra Birkerts Interior Design, Wellesley, MA; 781-235-7073, andrabdesign.com. Dining chairs: Reside, Cambridge, MA; 617-547-2929, resideinc.com. Rope daybed: Webster and Company, Boston Design Center; 617-261-9660, webstercompany.com.
84–91 • Architecture/Perfect SettingArchitecture/Construction: Polhemus Savery DaSilva Architects Builders, Chatham, MA; 508-945-4500, psdab.com. Landscape Design: Hawk Design Inc., Boston; 617-242-8300, hawkdesigninc.com. Kitchen Design: Classic Kitchens & Interiors, Hyannis, MA; 508-775-3075, ckdcapecod.com.
92–97 • Getaway/One For AllArchitecture: Donald Powers Architects Inc., Providence, RI; 401-272-4724, donaldpowersarchitects.com. Builder: Haley Design Building, Worcester, MA; 508-340-2313. Horticulture Consultants: Flowerscapes, Kingston, RI; 401-783-7559. Upholstered furniture: Mitchell Gold + Bob Williams; mgbwhome.com.
JA2011ResourcesREV.indd 116JA2011ResourcesREV.indd 116 6/22/11 3:10:35 PM6/22/11 3:10:35 PM
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Above and Beyond, aboveabc.com 102Andra Birkerts Design, andrabdesign.com 12Audio Concepts, audioconcepts.com 45Audio Video Design, avdesigns.com 9Barrett & Company, barrettandco.com 63Battery Wharf, batterywharf.com Cover 2Berman’s Wine and Spirits, bermansfi newines.com 102Bigelow Design Concepts,bigelowdesignconcepts.com 53Boston Design Center, bostondesign.com Cover 4Circle Furniture, circlefurniture.com 44Clarke Distribution, clarkecorp.com 21Coldwell Banker Residential Brokerage, NewEnglandMoves.com 17Countertop Valet, countertopvalet.com 15Cumar Inc., cumar.com 36D. Michael Collins Architects, dmcarch.com 37D. Schumacher Landscaping Inc., dschumacher.com 3Daher Interior Design, daherinteriordesign.com 27David Mullen AIA, 781-402-1791 38Designer Bath, designerbath.com 34Didriks, didriks.com 39Dover Rug & Home, doverrug.com 16ECO Structures Inc., ecostructures.com 64Fallon Custom Homes & Renovations Inc., falloncustomhomes.com 1Gregory Lombardi Design, lombardidesign.com 59Hutker Architects, hutkerarchitects.com 56Jan Gleysteen Architects, jangleysteeninc.com 53Jean Brooks Landscapes, jeanbrookslandscapes.com 51K. Powers & Company, kpowers.com 61Kitchen Views, kitchenviews.com 33Landry & Arcari, landryandarcari.com 4LDa Architects LLP, LDa-architects.com 42League of NH Craftsmen Fair, nhcrafts.org 103Ligne Roset, lignerosetboston.com 55Lucia Lighting & Design, lucialighting.com 39Manchester NH Antiques Show, nhada.org 50Medallion Rugs, medalliongallery.com 31Museum of Fine Arts Boston, mfa.org Cover 3Mitchell Gold + Bob Williams, mgandbw.com 2Montage — B&B Italia, montageweb.com 29N.E.T.R. Inc., netrinc.com 38Nantucket Antiques Show, antiquescouncil.com 99Nantucket Race Week, nantucketraceweek.org 99Newport Antiques Show, newportantiquesshow.com 101Pan Zhai, panzhai.com 56Peabody Supply, peabodysupply.com 22PRISM Awards Gala, bagb.org 98R. P. Marzilli & Company, Inc., rpmarzilli.com 24Ralph Lauren Home, ralphlaurenhome.com 7Renjeau Galleries, renjeau.com 57Rob Bramhall Architects, robbramhallarchitects.com 60Roomscapes Luxury Design Center,roomscapesinc.com 11Runtal of North America, runtalnorthamerica.com 41S + H Construction, shconstruction.com 43Scott Crosby Builder, scottcrosbybuilder.com 23Sirius Landscapes Inc., siriuslandscapes.com 37Susan Reddick Design, susanreddickdesign.com 10T.S. Mann Lumber Co., mannlumber.com 52Techo-Bloc, techo-bloc.com 5The Dorchester Awning Company,dorchesterawning.com 60The Holland Companies, thehollandcompanies.com 14The Viking Center, vikingcenter.com 47Thoughtforms Corporation, thoughtforms-corp.com 35Unilock, unilock.com 49Van Dam Architecture and Design,vandamdesign.com 57Vermont Arts Festival, vermontartfest.com 103Waterspot, water-spot.com 45William F. Lee Architect and Associates, williamleearchitect.com 52Woodmeister Master Builders, woodmeister.com 13
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JA2011ad index.indd 117JA2011ad index.indd 117 6/21/11 5:07:30 PM6/21/11 5:07:30 PM
104 D E S I G N N E W E N G L A N D • J U L Y / A U G U S T 2 0 1 1
see+ do written by estelle bond guralnick • photographed by trent bell
NATURAL HIGH • A unique treetop location enhancesthe spa experience at Maine’s Hidden Pond resort
BLISSFUL SPA EXPERIENCES literally rise to new heights at Hidden Pond, a boutique resort in Kennebunkport, Maine, where treehouses suspended 8 feet above
ground are the setting for sybaritic massages, facials, and foot treatments. Open to the public, the tree spas are accessed by a wooden pathway that winds upward. Once inside, the decor is intentionally simple: unfi nished pine walls and vaulted ceilings, birch lamps and accents, free-form oak mirrors, and a wooded view through 6-by-8-foot windows. Custom skincare products incorporate herbs from the resort’s own organic garden, which also supplies Earth, the on-site restaurant opened this year by Boston chef Ken Oringer. “Hidden Pond is a celebration of nature,” says owner Tim Harrington, and all her indulgences, too. hiddenpondmaine.com.
JA2011see+doREV.indd 2JA2011see+doREV.indd 2 6/22/11 11:15:34 AM6/22/11 11:15:34 AM
Photo © Tony Rinaldo Photography.
Now Open
Art of the Americas Wing
Museum of Fine Arts Boston mfa.org
MFA.indd 1MFA.indd 1 2/23/11 10:41:39 AM2/23/11 10:41:39 AM
inspiring design.brought home by Plush
B. Hive
Ann Sacks
Farrow & Ball
Story Board:
Green for everyday life
Eco-Friendlywww.bostondesign.com/consumer-access
EcoMode
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BDC_JulyAug11.indd 1 6/13/2011 3:28:16 PM
