Archive for the ‘Projects’ Category

Chadsworth Provides Columns for New Fisher Houses

Wednesday, December 8th, 2010

First Lady, Michelle Obama assisted in the ribbon-cutting ceremony which marked the opening of three new Fisher Houses at the National Navy Medical Center in Bethesda, Maryland on December 2, 2010. These houses join two other houses at the Bethesda Medical Campus, and will lodge more than 60 families that have loved ones at nearby medical centers.

Ninety (90) of Chadsworths columns garnish the exteriors of the three Fisher Houses, combined. Made of both Western Red Cedar & Poplar Wood, the column sizes range from 10 x 8  18 x 20 and showcase the pure, architecturally correct taper that was established by Vignola.

With the addition of these three houses, the Fisher House Foundation is now up to 53 homes that span the country and service over 130 thousand families. The importance of these homes is emphasized when Michelle Obama is quoted as saying, when our men and women in Uniform are called to serve, their families serve too. Their sacrifice is their familys sacrifice as well.

Chadsworth is both proud and humbled to assist in the creation of such a dedicated cause for all those who serve our country  and their families.

Architect: Carl Zarrello

To contribute to the Fisher House cause, you can make a donation here — http://www.fisherhouse.org/donate/index.html

To read more about the Fisher Houses across the country, you can visit the Fisher House Foundations web site at http://www.fisherhouse.org/

And http://www.fisherhouse.org/news/FisherHouses_09_23_DCM.html

And to see a few photos of the Fisher Houses, please visit http://www.fisherhouse.org/houses/md_national_navy.html

 

And http://www.billpressshow.com/gallery/

All the best,

The Column Guy

Chadsworth’s Columns Shown in Elizabeth Locke’s Jewelry Store

Monday, September 13th, 2010

Credits:  From the New York Social Diary

                Written By:  Carol Joynt

 

           http://www.newyorksocialdiary.com/node/1903513

 

 

This is what happens in Washington when the calendar begins to move toward autumn:  we think of Virginia, especially the verdant Piedmont region, which stretches from nearby Leesburg down to practically the North Carolina border, with the Blue Ridge to the West and the Potomac to the east.  Within these boundaries are sprawling estates, fox hunts, cattle ranches, vineyards, an evolving colony of artists, trees bearing a dozen or more varieties of apples and pears; abundant good food and a ravishing palette of autumn color.  There’s also, I learned over Labor Day weekend, the lure of luxury – in particular, world class jewelry.

 

Manhattanites may claim jewelry designer Elizabeth Locke as theirs, but the truth is the lovely pieces she sells on Madison Avenue – and in stores from Charleston to Beverly Hills – are conceived and designed at practically the banks of the languorous Shenandoah River.  All within a few miles of each other are her home in Millwood and her company headquarters in Boyce.  To say it’s a one stoplight rural area is an understatement.  We’re talking one stop sign and a railroad track.

 

While Elizabeth is a native of the area, which is hard-core hunt country, and her local clients and friends are the landed gentry, her designs are not gold stirrup earrings and horse head pins.  Oh, no.  These are sophisticated baubles for a lux lifestyle:  gems, precious stones, glass intaglios, ancient Roman and Greek coins, South Sea pearls, antique mosaics and lots of gleaming yellow gold.  They reflect the sensibility of Elizabeth, who is, above all, a passport-wielding citizen of the world.

 

Still, home is where the heart is and for Elizabeth and husband John Staelin their 19th century “farmhouse,” Clay Hill, is another beloved work of art, one they just lavished with a complete upgrade and redo. Anybody who’s ever renovated a house knows completion of the project is a moment for celebration (after months of threatening murder and contemplating suicide).

 

For Elizabeth and John the job’s end was reason to pitch a big tent, hire a caterer and dance band, and toss a swell party for more than 100 friends.  An added bonus was that it occurred on one of the more spectacular days of the summer, with dry and cool air, and a painter’s sunset.

 

Elizabeth invited me when she learned I would be a houseguest of our mutual friend Jean Perin who, along with Alison Martin, did the interior makeover of Clay Hill. My friendship with Jeannie dates from the early 80s, when I lived in Upperville and she lived outside Middleburg.

 

Over the years I relocated to Georgetown and Jeannie settled in Upperville, where she created one of Virginia’s most exquisite mini-estates.  Not only is she a gifted interior designer, but also she makes poetry with landscaping.  Garden groups come from all over to admire Les Jardins de Jean Perin.  It’s a treat to be her houseguest.  Each morning I woke to a view that was a landscape painting.

Given the holiday it was surprisingly easy to get out of the city Friday.  I arrived in time for an afternoon swim and a chance to savor twilight, a quiet intruded upon only by birds, frogs and crickets.  A family of deer romped across the field.

 

Jeannie is Bunny Mellon’s next door neighbor, though in this part of the world “next door” can mean separated by dozens of acres, even hundreds.  Her many beautiful views include the Mellon jet landing strip, designed to accommodate the latest Gulf Stream.  Only in the land of Mellon could a private airfield be considered beautiful; even the trees are so artfully tended they define well pruned.

 

In advance of the Clay Hill party Jeannie had some plans for us, but first thing Saturday morning she said, “you must go to see Elizabeth’s store in Boyce.”  Good advice.

 

It’s a sweet town but completely rural and the last place one expects to find a high-end jewelry emporium that’s done up like an Italian palazzo, but that’s what I found, complete with columns, a hand-painted faux-marble floor, swaths of gold silk, an elaborate ceiling and cases of precious gems.

 

Bit of the décor are loopy due to a side story Elizabeth created of an imaginary twin sister who is a wayward Contessa, thus the haute invitations tacked to the mirror in the faux bathroom, an alluring boudoir and a shrine to Elvis.  If you arrive minus appropriate clothing, never fear; the shop sells stylish caftans that go well with palazzos, gold and gems.

 

The store is open on weekends.  It’s less than a half hour from Middleburg and a 70-minute drive from Washington, but loyal customers have been known to fly in private to do their shopping.

 

Nearby in Millwood is the Locke Store (same name but no relation) where I stopped both coming and going, because the peanut butter chocolate chip cookies were that good.  They have other well made prepared foods, including potpie, meat loaf, chicken salad, assorted sandwiches, apple crisp; also wine, beer sodas and coffee.  Carry your food across the street for a picnic by the cascading race of the restored 18th Century Burwell-Morgan Mill.  That would be a perfect autumn day – history, jewels and a picnic . . .

 

 

 

 

 

 

BABYLAND GENERAL HOSPITAL: The New “birthplace” for the World-Famous Cabbage Patch Kids®

Thursday, July 22nd, 2010

 

 

Allotted on 650 acres of sweeping Georgia countryside, the newly constructed BabyLand General Hospital is the latest “birthplace” for the world-renowned Cabbage Patch Kids®.  Xavier Roberts, Cabbage Patch creator and Georgia native, envisioned a new structure that would foster quality family time along with providing business for the local community.

 

Inside this hospital estate, the culmination of a “Fathers’ Waiting Room,” maternity wards, and even a room containing a sonogram machine used for “Mother Cabbage” allows a fantasy world to transform into reality.  Equally eye-grasping is the hospital’s exterior components.  The front entrance showcases four massive, round 36” x 24’ Fiberwound columns with Tuscan capitals and bases.  The hospital’s architectural elegance does not stop at the front entrance, though.  In fact, throughout BabyLand General Hospital an additional 63 columns can be seen – including within the 20,000 square feet wrap-around porch.  A variety of column sizes contributes to BabyLand’s Southern architectural charm.  Included within, among, and around the hospital are:

 

–  16″ x 12′ PolyStone® columns with Tuscan capitals & bases

–  20″ x 12′ Fiberwound columns with Tuscan capitals & bases

–  24″ x 14′ Fiberwound columns with Tuscan capitals & bases

 

The little world of Xavier Roberts’ classic creations complemented with magnificent columns offers a chance to experience both an interior daydream and an exterior, architectural paradise.

 

 

Chadsworth Columns Used for the Louise S. McGehee School for Girls

Saturday, June 12th, 2010

2344 St. Charles Avenue — New Orleans, Louisiana

 

Architect: Jahncke Architects Inc.

Contractor: Crane Builders of New Orleans

 

 

“Restoration: the process of returning, as nearly as possible, an existing building to its condition at a particular time in history.  The work may include removing later additions, making hidden repairs and replacing missing details.”                 — Bruce Eggler

 

The Louise S. McGehee School for Girls was established in 1912.  Almost a century later, Crane Builders, through the direction of Jahncke Architects, was set to the task of restoring the columns on the front of this beautiful historic masterpiece.  Chadsworth was selected to replicate the orginal columns on the structure– columns which would not only pass rigid historical guidelines, but in a synthetic material that would endure many more centuries to come.

 

Using a filament-wound process, Chadsworth fabricated 18 columns for the school.  10 Ionic (Roman) columns with fluted (Ionic) shafts and Ionic (attic) bases and 8 Corinthian (Roman) columns with fluted (Ionic) shafts with Ionic (attic) bases – all approximately 14″ tapering to 12″ x 14′.

 

This project was honored by the New Orleans Historic District Commission with an award in restoration.

 

 

 

   To learn more about Chadsworth’s projects, visit us online at

                                     www.ColumnPhotos.com

 

 

 

 

‘Invoking an Ideal’ — Chadsworth Featured in Architectural Digest

Tuesday, June 10th, 2008

Invoking an Ideal

Romanticized Forms Pay Homage to Southern Architectural Traditions in a Historic Landscape
 
Architecture by Ike Kligerman Barkley/Interior Design by Renée O’Leary
Text by Joseph Giovannini/Photography by Durston Saylor
Published June 2008
In some circles, having multiple personalities may be viewed as a psychological disorder, but in architecture, it can be a good thing.

  

When the New York firm Ike Kligerman Barkley was commissioned to design a house in the Virginia horse country, several considerations pulled the architects in complex and contradictory directions. Thomas Jefferson, Monticello and the Palladian tradition of plantation houses still weigh heavily on the collective architectural psyche. Yet in the more specific context of the Green Springs Historic District, a protected agricultural landscape, most buildings are modest farmhouses. While the house had to hold its own on a 1,000-acre site within the historic-land trust, it couldn’t overwhelm empty nesters who were retiring from New York to live in a landscape they had no intention of dominating. “We wanted something that would fit in with the area,” says Renée O’Leary, the client, a professional designer who did the interiors. She and her husband had worked previously with the architects on their home in Connecticut (see Architectural Digest, August 1999). 

  

  

The land, then, with rolling hills, pasturage, native cedars and a 10-acre lake, looked innocent—and large enough to handle just about anything—but it was actually a multivalent site charged with conflicting expectations. Fitting it into a context polarized between manor and farmhouse meant multiplying its architectural personality. The big house had to be small, underbuilt for a very large piece of land, and it had to be significant yet discreet. “We wanted to do something appropriate, something that would sit lightly on the land,” says Thomas Kligerman, one of the firm’s three partners. The clients needed a horse barn, one that could also shelter the cats and dogs the couple foster. 

 

  

“It was the first house of any size in that area since the 1880s, so we felt a lot of pressure to build something worthy of the setting,” says partner-in-charge Joel Barkley, who was born and raised in the South and who seemed to breathe a southern accent into the project. Complicating—and enriching—the task was the ruin of Hawkwood, a pre-Civil War Tuscan-style house designed by the eminent New York architect Alexander Jackson Davis. “It’s just across the road, so there’s a direct visual connection,” Barkley adds. “Since it’s a ruin, there’s a kind of romantic sense here, a nostalgia, that I wanted to pursue.” 

Barkley brought other extrinsic concerns to weigh on the character of the design: “Escaping to the country from city living makes me think of Virgil and his Bucolica,” he says. “I wanted to build on the classical ideal of taking refuge in the pastoral landscape, a civilized retreat that would contrast with the brutal reality of the great heat here and the hard clay soil. I think southern architecture can be so powerful because it’s like a white mirage in a green world.”
 
 
 
The architects were essentially mining the spirit of the place to shape the design, but sensing the subtleties of the land, weather and near and distant history meant that no single form could embody all considerations. Barkley chose several forms rather than one, creating an episodic structure with a narrative instead of casting the building as a single image built at a single point in time. The centerpiece of the house is a stuccoed, templelike entrance pavilion with an august portico of four columns. The roof slopes down to a clapboard appendage, which looks as though it was added by subsequent owners in more humble circumstances. On the other side of the portico, there’s a slightly grander wing with tall, aristocratic, triple-hung windows, which in turn abuts a two-story clapboard building that reads as a farmhouse. The rear side opens to a second-story porch over a gallery paved in brick. An arched porte cochere springs to a pure, pointedly simple two-story, Greek Revival-style structure that recalls small country churches.
 
  
The house may be large at 6,500 square feet, but it is modestly rather than proudly large, and it appears even smaller because the architects have broken the whole into a rambling, charming concatenation of sections expressing different historical periods and social conditions. Barkley purposely made the house unsymmetrical, but he explains that it is composed of “locally symmetrical objects that form a kind of jumble outside any normal hierarchy.” Each segment is only one room deep, without corridors. “I maximized the outside surface area to get lots of windows, breezes, views and sunlight,” he says, noting, “It’s not the cheapest way of building a house.”
 
 
To add more diversity to the diversity, partner John Ike designed the nearby barn as a steeplelike building, inspired by entirely different sources. “We heisted the idea from an early-20th-century architect named Harrie T. Lindeberg, who himself probably took it from English structures,” explains Ike. “We wanted to create a simple, iconic form.”
 
 

The stable adds another chapter to the narrative on the property. The geometrically abstract, acutely triangular structure houses the tack and feed rooms and 28 stalls for Renee O’Leary’s horses, as well as a spiral staircase that leads up to an apartment for the groom, in the gable, where there’s a steep, 60-degree pitch. The architect ties the barn visually to the main house via the standing-seam Galvalume roof and the spanking-white paint.

 

Despite the ramble of exterior shapes in the main house, its interior flows with ease and logic. A tall, impressive entrance hall with a black-and-white checkerboard marble floor leads straight onto a library centered on a dignified escutcheon of white molding celebrating the view through a tall window. To the left lies the master suite and to the right the living room, with the dining room beyond. All the public rooms, along with the master suite, are on the first floor. The other three bedrooms are on the second floor. When the couple have no guests, it’s basically a one-bedroom house on the first floor.

 

“In every job I do, I try to think of three adjectives to describe my intentions, and here they were stylish, comfortable and authentic,” says O’Leary. She stressed comfort and informality because the couple keep the doors wide open 10 months of the year, and the free-range dogs drop by on casual visits and roam through the house. In this historical context of Virginia, you have to look twice to realize that the designer cuts the edge with contemporary pieces, such as the dining table with a plaster top and a patinated-steel base. Despite the traditional chairs, the lines overall are clean and softly up to date, eased by natural materials.

 

 O’Leary characterizes the style as “warm modern,” and her palette—pumpkin in the living room, Clydesdale brown in the library and eucalyptus in the dining room—indeed warms the interior. “Once we realized the outside was going to have columns, that it’d be a white house with black trim, I knew we’d have a lot of color inside,” she explains. “I was interested in the contrast.”

 

In addition to the multiple architectural personalities, there were the multiple design voices working in concert from the beginning. “We picked our focal points and tried not to have too many things to look at,” adds O’Leary. “I asked Joel whether he designed from the outside in or the inside out, and he said that it all came up together. That’s how we did the whole house. The exterior, interior and the décor all came up together.”

 

 

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