Design snapshot: Brick might

Click on this photo to see it in the KHS photo note cards/prints gallery.I walk past the back of this historic brick building several times a week. So often, in fact, that I sometimes forget how remarkable it is. Warm, old brick, bold, over-hanging eaves, delicate snow guards, spare windows with simple, single-leaf board shutters, sporting minimalist star cut-outs and hard-working strap hinges create a spare, yet distinguished, presence that is quietly stately. It isn’t hard to guess that this is a Federal period building. Materials and their thoughtful arrangement can be powerful communication tools. This building says ‘trust me’.

by Katie Hutchison for House Enthusiast

Design snapshot: Entry Portal & Gate

Some consider fences, arbors, gates, and hedges to be the domain of landscape architecture. To me, more broadly, they’re elements of architecture. As an architect, I’m interested in the design of it all.

This gated entry portal elegantly draws attention to the threshold between the public way and the private garden and home on the other side of the gated fence.

The exposed rafters (complete with shaped tails) and eave brackets form a small rooflet just wide enough to provide a moment’s shelter and to formally announce the property entrance. The rooflet's detailing complements that of the flanking fence posts and contrasts the simple fence they in turn abut.

The blue gate, with the arched top comfortably below the rooflet, acknowledges that this is an outdoor passageway to a private, but welcoming place. The shape and disposition of the gate’s recessed panels suggest the proportions of an abstract person: head, shoulders, legs. The hardware could even be seen to express arms, the rooflet an implied hat. All of which make it a relatable scale. The peek-a-boo cutout further entices and invites.

An entry portal like this sets the stage for a house and garden which exhibit thoughtful scale, proportion, craftsmanship, and whimsy.

by Katie Hutchison for the House Enthusiast

Katie’s beginner (idjit) garden

Frequent House Enthusiast readers will recall that I’m no gardener. I’ve come clean on this count before. Last summer The Boston Globe planted a seed in my head though. Michael Prager wrote about various forms of lawn farming and piqued my curiosity

So this summer I’m taking a big step. I’m entering the world of gardening in the form of two, four-foot by four-foot, raised-bed plots in a community garden.

My first task: learn how to garden. For this, I looked initially to the Head Butler. Wouldn’t you? There I discovered Mel Bartholomew’s All New Square Foot Gardening. Somehow I had managed to be ignorant of him and his best-selling book, the cover of which boasts “two-million copies sold”. 

It reads like an infomercial. The best kind, with over-the-top enthusiasm repeatedly emphasizing the same two or three features, which turns readers/consumers into propaganda spreading machines, parroting the amazing features to friends, family, and beyond. I caught myself saying at lunch last weekend, “Square-foot gardening is so much more efficient than gardening in rows.  One four by four plot can provide enough produce to feed one person salad every day of the growing months.” Never mind that I was saying this to a seasoned gardener or that I don’t really eat salad; my husband does. (For others who do and those who love veggies in general, consider my friend Susie Middleton’s new book Fast, Fresh & Green.)

Next: order seeds. But what kind and from whom? Enter my mother, an avid gardener. (I wrote about her house garden here.) I scheduled a consult, and when we sat down with my graph paper, she presented me with a new copy of Gardening All-in-One for Dummies. She knows me too well. She had marked the most helpful pages in the Vegetables and Herbs section of the book. There I learned some “garden jargon” like what hybrids and heirlooms are. Please don’t test me. Her advice: “Radishes are a must. They’re easy to germinate…And they are adorable.” Never mind that neither I, nor my husband, eat radishes. I was sold anyway, he less so.

As my mother and I headed off to one of her favorite local nurseries to shop for seeds and seedlings, she warned, “Anything that’s easy to grow, the garden shop looks down on. You just can’t listen to that cr#p.” No, the apple didn’t fall far from the tree. I couldn't help but recognize a parallel (or two). What’s true for garden shops is true for the Architecture establishment who pooh-pooh the vernacular.  You just can’t listen to that cr#p.

by Katie Hutchison for the House Enthusiast

Maine Museum of Photographic Arts

Browsing through the recent Art Issue of Maine Home + Design magazine I discovered an exciting development -- the Maine Museum of Photographic Arts. It's in an early fund-raising stage. Inspired by a well-received 2009 photography exhibit co-curated by gallery owner Elizabeth Moss, the new Maine Museum of Photographic Arts (MMPA) hopes to represent the work of 200 contemporary photographers, film/video makers, and new-media artists working in Maine. Their first goal is to create a virtual museum comprised of a full-featured website to display artists' work, interviews (via podcasts), resources, and more.

Elizabeth Moss Gallery and Maine Home + Design magazine are holding a MMPA fund-raising exhibit titled Capture: 50 Photographic Artists to run April 2 through May 9, 2010 at the former W.M. Home located at 190 US Route One, Falmouth, Maine. Nearly 100 prints and a sampling of new-media works will be on display. Attend the opening reception April 2, 2010 from 5-7pm.

Of the 50 featured photographers, a few caught my attention: Jeffrey BectonTonee Harbert, Christopher Becker, John G. Kelley, Scott Peterman, and Cig Harvey.

Visit the MMPA Kickstarter site to view a quick video about the museum and to become a founding contributor. Spread the word in support of the photographic arts.

by Katie Hutchison for House Enthusiast

Museum of Arts & Design (MAD): Artist's book binds laser-cut pages portraying house in sections

At MAD through April 4, 2010

Section image by Katie Hutchison Studio The image above captures a rare moment during construction when a building section, typically illustrated in an architectural drawing, is visible in reality on site.

The resolution of the building section in relation to the plans and elevations often drives the design of a building. I know it’s where I focus much of my attention when designing a home. I suppose the attraction is the third dimension, which I wrote a primer about here

The building section is particularly concerned with the space we shape or carve above, below, and around us. I would argue that it’s the most experiential of the orthogonal drawings which architects include in construction drawing sets. Still, it describes a somewhat analytical experience.

Olafur Eliasson has created an artwork which allows that experience to migrate from the rational to the emotional realms of our minds. His creation Your House 2006 is on display as part of the “Slash: Paper Under the Knife” exhibit at the Museum of Arts & Design at Columbus Circle in Manhattan. The artwork is a 11.5” x 17.75” x 4.5” hand-bound book of 454 leaves (908 pages) in which each laser-cut leaf represents a cross section at a scale of 85:1 sliced through the artist’s house in Denmark at 2.2 cm intervals.

The cut-out sections create spatial voids within and between the pages. You can’t touch the book which is displayed in a Plexiglas case. But a monitor above it displays the turned pages in fast action, so the spaces carved from the pages appear animated, much the way a flip book brings still images to life.  Flipping quickly through the pages of Your House allows you to experience the house's architecture as if you're traveling through it.

It captured my imagination as a dollhouse might. I peered into the book’s tiny carved rooms, stages for fanciful musings rich with architectural detail, and felt connected to this house on the other side of the Atlantic. In a 2009 TED talk Eliasson describes his work as being concerned with “making space accessible”. Indeed, he’s made the cerebral concept of the building section accessible in a new, playful and more tangible way. Later in the same TED talk Eliasson asks rhetorically, “How do we create an idea which is both tolerant to individuality and also to collectivity?” He answers his own rhetorical question via Your House; the artwork's individual leaves form the collective of the book which allows individual museum goers to collectively share the spatial story of the artist’s home.

by Katie Hutchison for House Enthusiast