APasadena Arts & Crafts. hentic. Period. 1. Delivered. Direct 994 ppoint.comAMERICAN BUNGALOW Number 8, Winter 2014 ote onan Par John take Ete Edie eopeatnn noes Ete! Crna Faye Swist asp and Peducon [AleanderVerttof Pept Patgoper “Tm Counts apn Corepandet Gordon Bock Tin Cont David Kramer Davi Rud. aeting Wites Setj Bekman Zare ‘bertrg Mone Antje Brinkmann Kanter Groeten Manoger Dane hve Orine Manger Robert Winter ‘assor Ahtecure! toy fice 3 00 950-3363, For ‘nbsp ies ee page 2 wesc aun ow (55 1055-0674 uals quay Seg Sure Fal ant ‘Wirt 829.5 or yeura! 1238. Baga Zn, Soe Mos, C8, Tob Parole Pestogs aia ead at, ee oon robots POST- TASTER Send oss ‘Gorges MIERCAN MNsALOW Po, Box 766, Sara Mote annas7s8 Gb Ses Benes Bigger than Life these days. No architect would claim the house's design. Neither could any archi- tect design the home it became. Its living proof that a house can have a heart that ‘makes it a home even to people who never lived there. Ie is welcoming. Everybody who visits feels at home, starting with Depression-era immigrants and then WWIL servicemen, all from the owners’ faraway hometown. It can connect and bond with a bride who doesn’t speak a word of English. A world ‘map on a wall traces all the relationships and travels, starting with the wartime where- abouts of the servicemen. But most of all, the home is adored by children, Children and grandchildren and great grandchildren and a host of neighborhood kids from other eultures who discovered it after the neighborhood changed. All children fee! at home there. Outside the house there is freedom and adventure. For toddlers there isthe first earthworm squirming in the palm of your hand. Older kids get to go on afier-dark expeditions, armed only with flashlights, hunting wild toads hiding beneath the irises. In the backyard there is room to run as fast as you dare or spin until you collapse into your own dizziness. There is even an out-of-sight patch where you can dig holes and dam rivers. Outside are sumer apricots, blushing with anticipation, and a tite swing Inside is encouragement and humor. Read, build, draw, cook—to it all but do it with laughter. There is a machine that helps you to! make doll eloches—an antique portable with a pedal placed where you can reach it—along with all the colorful stuff that goes with the trade. Once the dolls have wardrobes, you can make one for youre sel. Behind glass doors under the mantel in the living room are volumes of discovery, adventure and entertainment. There are classics and junior classics and the latest book ‘of the month. In some are racy passages, too, if you know where to find thei ‘The home is more than a playground and a happy learning center. [is comforting. One evening the neighbor's oldest daughter came to the house in tears of pain and rage. Her tomboy looks had drawn jeers as she crossed main street, then a front bumper nudged her legs, bruising her pride. Her own house was just a few more steps away, but she knew there would be comfort and understanding behind this doot. That was long ago, but Artie, now in her 80, still feels the comfort. I 18 A TINY HOUSE, architecturally insignificant, in a part of town some people avoid ‘Today my daughter wrote, “We have continued the map tradition. I also have grandma's talcum puff. She used to pouff us with it afer our baths and it was the best. Now the gins get itafter their baths and they love it.” A home lasts as long as it lives inside someone. Miles and cultures distant from this house, which is presently described on multiple listings as “zoned for develop- ment,” children learn and play in ways their parents and grandparents leaned here. We are allotted but one lifetime. What we do with it and what we leave behind ‘can be measured by many standards, but few human accomplishments surpass creating a home that is loved by all who know it, Looking forged ty hearing from you, JphnumbungaloncomNUMBER 84, WINTER 2014 CONTENTS ‘on the Cover: The Huntington jpanese Howe, ergnaly commissioned n 1903 382 ply vero by aPasacea dear in Far Enter are and arcs vas bought in 1911 by Henry Hartington wo moved to is ew esate tosays Huntngton bry and (Gardens negtborng San Marne, A cent later acomprefersve restoration has revesed ew way to underand and recapture the bles eons rarate Soe tory poe 60 BUNGALOW FEATURES Pra Persuasion 8 By Tit Couns ‘took a while, bu the 1913 Purcell and imule oase tat amaced the Faheys when thay fre a ony mewlyveds 38 years ‘ao finaly worked magic on ther secigh the agencies of tne and eicumtance Photogrph by AlsanderVertkotT California on the Potomac 4 By GosDon Bock 1 the Maryland portion ofthe greater Washington metropolian area mast ungaloes fre vag abou her lic oigins. Tt ne ‘fiddly end ot from the ene. Craftsman Weekend 2014 es Pasadena’ annual Ars and Cras ‘celebration draws devotees, ‘The Huntington Japanese House: A Restoration Tale 60 y Jon Lage ‘The resoraton of hs gem, fit commissioned in 1903 in Pasadena then acquired by Henry ‘antngon for his new San Marin ete 1911, irene vetinony to croe-caaral ‘craftmanship over he span ofa century. ‘Family Bond: CCratmanship Is n the Blood 7 By Davo Keane When Justin and Lowa Whipple stared ete uses, hey wanted a howe with los of ‘uid are for tk young daughters. Drawing on Austin’ father’ experince a ‘3 Cra bul they four ny Pordand Cran across the sree Ramona's Legacy The Missions Revived 4 By Rosser Wines, Helen Hos Jackson’ blockbuster 1884 rove! Rarona di lie aid the cause of the [Naive Arerkcans ake revered, bu iid help ‘ate the Mision Revival arltecue, ‘etch gracefully adaped many of 8 amen rom the Arts and Crafs movement Page 18 Page 78 ‘Subseriptons: ern Suga subciton pices re $28.85 br for sus $5435 or opt suns 124197885 for |? sues Caran subpsons sd $8 fer four sues ster cares a8 $18 re ‘Sons pele US funds Amer Brg srt export or undeered copies duet ate ange SS acl srl eo gage er Tsai ‘ad sition nur we at the op of yor malig abel Caran Fost Pbetns Ma io. 240046098 Canadian Return Adres DP Clea! Mal 4940 Waker Read Ware ON NEA, 9. Welter’ Guldeines se ail by request fom edtorsbrbunglowcom Page 60 DEPARTMENTS AND CRAFTSMAN RESOURCES: Aeter from the Publisher Family Abbum 8 ‘Prom cust aca, readers she thelr ride in thei bungalows Perspedtve on Antiques 2 By Davo RuDo "New & Noteworthy 38 Aselection of Arts and Crafis-iapred ‘amenities Joris bangla Ife Page 04AMERICAN BUNGALOW, Page 105 ‘An Arts and Crats President 104 By Bruce Jonson Tiger Rug: The Quaity Story 106 By Davo Kraven Bear Necessies/Trouble Bruin 109 By Linda Raves Directory of Advertisers 110 Add these highly collectible Issues to your AnteRicaN BunGatow library. Nove 15 hess Spring Bron Gada Ving een Aa od Nova 16 Hons Mae Bap nin, Mh ark ami Yah Nae 7 Hence he Lond Fy Wes Pie a asec Nove 18 Hs aig the Ryo Gp (alcing Uber Frio Nove 1 Hess Dies ef Baplow Gado ‘Seber Gi (oli ht es, art For Ce on. Nora 21 Hrs Bano Tchr Colcing Th, Part 2 None 22 tors ho Ce Benge ea ier ages Nora 25 ror Aenea Wary Gost Hae Tayog nage Binge Navas 25 Heros Tes te Ws ed Cats Hose Ary Gals Ware te So Nas 27 Hos Phin AS Calle Paring Ir Bos Hay Fer Heng esas Tear Pa Calne Nanas 29 thers aioom Bibs ke Bongo Gren raat Nek Nove 31 Hes nts rea Cats ies ad aga aor gion Nehbrots Porc, Ei ed Baie Navas 35 Hews fe Gace Bung Seis ore nate Nanas 36 Hews Mare "een vault A Hees Nova 37 Hews unger Te Crtonan i fers i in ‘The above isues are $14 each, plus shipping; see page 4 for recent back issues. (Sory, single Issues 1-14, 25, 24,50, 58 and 35 sold out) To order, ‘al 800 350-3563, use the order form on page 118 or Visit americanbungalow.com.A NS ed aaa are poem ee Talwieer it Bence ean in eee Seni ph. 559-230-1855, www,janetontko.com AY JONES DAY THE Handmade Tile for Fireplace, Kitchen & Bath fayjonesday@gmail.com = 541-424-3359 Dragoniiy Tie wwwwafayjonesday.com Ca KosHerors HanamAne TILE ve il Proesie rarer eer ATE Td AMERICAN BUNGALOW COLLECTOR'S LIBRARY 38, Fomspare Bean Mics 39. Engand Bacal House Binglows in OC. 40 Banglo ity Farey peer 41 side Bunplow Hewen Indanapos'Vineee Negibrioods 42 Monrovia Histone ‘Widros Avenue “Weage Bangalon Photographs 43. Parcels Mimeioa Gar Toss Burgsows 46 The Best of Ropero ‘Wonhoche Bangs 45: The Gable House San Diegat North Pas 46: Burgiow Eemere rear ilige Arts & Cras 48 Marston Howe a 100 Bungalow Poster Samps 49. AnAirondcts Comp ‘Nfbere Winer Casi 50 ArcFiled Berkley Bungalow Stelle "os Cras” 1. brace the Dares: (Cake Hocieat '52_ Mace on South Du S. Dorouys House 53 Collecting for Daly Lie ‘Ntchen that Les Us? S54 Residence Parks Chaplin Hider restr 55. Wiha Carte Tesures Frank Loyd Wri Sams BT Restoring Ching unplow Exerirs Looking for eary Issues? ‘See Pime issues on page 3. Recent back sues above are _avalable for $10 each plus Shipping To order, call 800 350-3365, use te order form on page Ti8 or vst ‘americanbungalow com. Gory, Nos. 47, 56,59, 61-63, 67 and 72 sod oud. Bes SiaRaW I ‘Arroyo onthe Arias Brngirg Bock Sesele Forel Rr Towns. 8. CCllecos Ann and Andre Chaves bec Counry Charles Lummis“ Abea” ‘Yor ciy: Fer dl Mundo Edge Piers Gone Bunglws of akan 1918 Sox Ciy Courtre ‘A Quik Orgen Couage argos of Roc NY. “The Stine Banga ‘The Laguey of Eder Cari Hood Canal Bunow bering Wemars Fashions Bua’ Pastside Lg Gren Cheng (Geo.0. Lean Bulla Veracar ‘Ayo Orage Co Vistonry Rochester Aros Lig ua Morgen Polling» Saul Gam ‘io ssplés Below(CRAFTSMEN HARDWARE COMPANY Sen Rent ee eos eos in the Arts & Crafts ry Hand-Crafted Custom Wood Tara en ee a oR of Greene and Greene. ae Len gery eee mo couric een! handmade by artisans Tare a sod OioYa a 660.376.2481 fax: 660.376.4076 www.craftsmenhardware.comRAFT SMAN a HERITAGE TILE COLLECTION Per Designs Tile Company. Harmonious glazes, decorative mosaics, and this authentic Koi mural will serve COMFORT & to distinguish your American bungalow home. FUNCTIONALITY fon Your petSS 850 B Se Ut @ THORNDALE CRAWFORD TIGER Brus RUG (401) 739-8595 WWW.TIGERRUG.NETMidland, Mich., Aland Teri Caldecoure “en years aer bung our home, wo dscovered our lve of bunglows, and over the last six years wave mada rumarous changes co wansform Jc Weve replaced the vant ding wth cedar shingles and apple ld ‘Stone to the exterior ofthe foundstion The se stones. al of which were collected fom 3 cous arm, wore used for ndscaping 2 wel 1 anew eesning wal: Weve la added custom chery doors and ‘obertraed roe porches at each ery along with ‘windows roof brackew,and a umber-amed deck overlooking a 25-2cre Bond. The open ingrior ofthe house i now fled with custom cherry ‘Grnuan fence and cabinet that beter reflect the perl. ‘Aurora, Mo. Kelly and Mary Johnston “Twenty years ago we ured dawn 2 sal-soyn side sree and spommed this fanatic airplane bungalow bu in 1914 bya local amy in che lumber busines: eas love at frst sight! cen years ater ng 1000 res ave, whl loolg at that sae home on an online map, swe nied For Sale sign nthe yard. In the ive yours snc, we've Purchased the home, rearranged our Bves and moved i. Shee 914 {er cnmers hava made their ark on this hore, Now is our crn. on our blo. etpe/Zjohnston9494] 4 pin and Sara Conrad ‘We purchased our Craftsman bunglow n 2004 after cha fallen ico srepal and been restored by lea coeracear. Located in the Hertage Hstoreal Neighborhood af Gear the home reais mary ofits orignal decals. including colonades, bulls ands sleping porch “The neifbochood whieh had beens vineyard inthe ery 1900s a sub-tivided nt resident oti 1903, ha a ery cect bere of ‘ypes of homes, mast of which were Bulle Between 1909 and 1925, ‘Sur proxmigy to cur downtown makes i easly wllabe and bk-able ‘ resaurant entertainment andrea ‘Township of Washington, N.J, Den and Dorothy Dobres “Thinking about retrement and downs, we unexpactety cae serss this small 1.00054 fe ranch home: The house has orginal hard ‘wood flaring and cak milwork sroughout and dhe Kitchen abies hd maior doors area Sae-panel syle. Weve added a Cafaranstyle ‘dion in the back ad ove the garage ad reed 636 car beams inthe lvglrly room, eecretngscoe ofthe charm ofan ‘origral Crt house: We've thoroughly enjoyed the process of researching and redeiging ou home.98, ‘bans HOME ASSOCUmNON ADMINETRATION BULDING,SAN ECO, ROT, 27, HAZEL WOOD WATERMAN ARCHTECT “RESTORED THE CASA DE ESTUDLLO GE BELOW AACE 9, (C CON Ban HASTRUNENT ACTON LGIART ND. (0) {tNAV000 HSHON NN ANERSIDE CA ARTHUR. EXTON. TEC, om, TH TURE FOSTEAR C1929. SHOWS THE BULDINGAS Florida, at one time a Spanish colony, went Spanish, but the style also appeared in Asheville, Minneapolis. and Washington. [have even seen a Mission Revival house in the Shaughnessy Heights district of Vancouver, B.C. ‘The Mission Revival produced one notable architect, Irving Gill (1870-1938). Gill had worked for a short time for Louis Sullivan in Chicago and had been influenced by Sullivan's “form follows function” principles. When he moved to San Diego in 1893, his first work was in a watered-down version of the Prairie Style, but when asked by Lummis’s California Landmarks Club to par- ticipate in the restoration of the San Diego Mission, he ‘was influenced by its basic simplicity. This experience affected his style, leading him into abstraction almost as severe as that of the slightly later European International Style. He dropped all ornament except for Mission Style arches and created an austere image that got its effect from pure geometry and the play of light on white walls. He had few followers.Bu there were other ways to deal with the Spanish legacy. The Mission Style had its critics, who complained that it was particularly inappropriate when it was applied to domestic architecture, Forgetting that in the early 19th ‘century America had experienced a Gothic Revival that was charmingly carried out in domestic architecture as well asin churches, they pointed to the absurdity of using religious devices on secular buildings. Such a critic was Arthur Jerome Eddy (1859-1920), a Chicago lawyer best known for his pioneering work in buying and promoting Postimpressionist and Cubist painting and writing about these arts. Ironically, Eddy also seems to have admired the simple life, for he decided to build a winter retreat in Pasadena that would reflect California history. While condemning the ‘Mission Revival, he, like Helen Hunt Jackson, was capti- vated by the Spanish myth, In an article for the November 1906 issue of The Craftsman, he described his new house and illustrated it along with a photograph of what he called “an old Mission house near San Diego.” It was the ‘model for his Pasadena home, Adobes tend to look alike, but the structure that he pictures seems to be the old Estudillo house (1827), which is, indeed, near the grounds of the first San Diego mission. An article in the San Diego Union in 1887 described as it as “Ramona’s Marriage Place.” Although the reference to Helen Hunt Jackson's novel is pure fab- rication, the name stuck. The house became a tourist FAST CHQRCH OF CHWS SCENT, SAN EGO RING GL, ARCHITECT, 90) THE CHURCH WAS MODERNIZED” INTHE 955 THE RESUTS WN 99,‘Toranone St 1660 MOAB TE CASA ESTUDLLO (8) NOW GHEATIYETERED AND LNT RECENT CALLED ANCA HARRIE PLACE" BOTTOM ARTUR FROME SDOW HOUSE (AEDERCK ROSH, ARCHITEC 1), ROTH PHOTOS WERE RRLISIED TOGETHER IN THE CAPTENAM NOVEM 90,attraction. Soon a sign was painted on the wall of the house attesting to the fact that it was where the wedding of Ramona and Alessandro took place. Seeking to make the house more like the scene that Jackson had described, John D. Spreckels, a local busi- ‘nessman who owned the house, hired Hazel Wood Water- ‘man, one of the West Coast’s first women architects, to restore it, Waterman had her workers tear down walls, add an indoor kitchen, and plant a lavish garden in the courtyard that in the Estudillos’ day would have been a utility area. So much for history! ‘The restoration of the Estudillo adobe was only one of many attempts to bring old Spanish houses up to date. People liked the white-walled interiors, where furniture stood out with the effect of sculpture. Importantly, new adobes were constructed, sometimes with concrete or brick walls, as in the Eddy house, where a coat of white paint over bricks and concrete gave the adobe affect. This practice occurred throughout the Southwest, especially in cities such as Santa Fe that had a Spanish past. "TE EDDY ESTATE SHEALSOACOURED ALMOST ALL OFTHE EDD FURMTUREAND Ens its day, the Mission Revival was casly related to the Arts and Crafts movement. Gustay Stickley’s furni- ture was, for instance, labeled “mission,” not by Stickley but by dealers, when in fact it did not resemble anything that was used by the Franciscan monks, ‘Many years ago my mother and I visited the Bradley house in Kankakee, Il. It is, of course, one of Frank Lloyd Wright’s masterpieces. It was, at the time we toured it, a restaurant, so we stayed for dinner, We were seated at a table near a wood-paneled wall. So, pedant that I am, I began explaining to my mother that, since ‘Wright hated varnish, he had his workmen stain the wood and then sand it lightly. “Oh yes,” Mother replied, “we called that a mission finish.” © sinc aie 101Ey Tey Psa Nan cs arias AMERICAN BUNGALOW PRESENTS PRESERVING A NEIGRBORA? 2D Pek 102a A Joaquin Montalban film. il i A celebration of bungalow life, what it means and how to save it, as told and filmed by those who made it happen. A film that needs to be seen by all who live in beloved older neighborhoods that are threatened with thoughtless redevelopment or wholesale destruction. Coming soon. See a preview at www.ambungalow.com/bungalow-heaven.FEW YEARS AGO, after Presi- dent Obama slipped back {nto Asheville for an unan- nounced thind visit to the iconic 1913 Grove Park Inn, I won- dered if we had finally found our official Arts and Crafts president. ‘As we later discovered, it wasn't the 510-room Grove Park Inn’s collection of rate Roycroft antiques, natural fieldstone con- struction, or handerafied oak ‘woodwork and signature red tile roof that had drawn President Obama back. Instead, he came to challenge the recently restored Donald Ross championship golf course. ‘While I can’t fault him for that, I also knew that the honor of being a true Arts and Crafts president had been bestowed decades earlier on another famous. individual, one who also had found the dual appeal of | Asheville and the serene Blue Ridge Mountains too tempting to resist. Theodore Roosevelt had never wanted to be vice president. The office was then considered the end, not the beginning, of a political career. A vice president hhad virtually nothing t do, no responsibilities to carry out, and often, as was the ease with Roosevelt, had been selected as a political ally simply for the sake of party unity. Once elected, he was quickly forgotten and rendered politically impotent. ‘Just as 1901 signaled the beginning of President Roosevelt's eight years in office, it also saw the launch of Gustav Stickley’s magazine The Crafisman, which became the symbotic voice of the Arts and Crafts movement in America. It soon became appar- cnt that the articles published by Stickley and his two influential editors—Irene Sergeant and Mary Fanton Roberts—had much in common with President Roos- evelt’s policies. Like the Arts and Crafts reformers, Roosevelt pro- claimed support for the rise of a strong middle class, cone upon which he built his political career. Known as the trustbuster, Roosevelt fought for the new middle class, making companies more responsible to them through the Pure Food and Drug Act of 1906, raising, corporate taxes, regulating railroad shipping rates, +_——————— THE WORLD OF ARTS AND CRAFTS wit BRuct JOHNSON An Arts and Crafts President supporting organized labor, break- ing up monopolies such as Standard Gil, and preserving the country’s natural resources by protecting them from abuse by large corpora- tions. In 1905 he appointed naturalist Gifford Pinchot as the first Chief of the U.S. Forest Service, ‘Together they sequestered more than 230 mil- lion acres of land for five national parks and 150 national forests, prompting the press to dub Roosevelt the “Wilderness Warrior.” Ever the zealous reformer, Roosevelt eventually broke away from his fellow Republicans to form the Progressive Party in 1912, earning yet another nick- name when a would-be-assassin’s bullet was slowed by the 50-page speech in his vest pocket, prompting him to declare, “it takes more than that to kill a bull moose.” Roosevelt then went on to deliver a 90-min- ute speech before allowing doctors to attend to the bullet lodged in his chest. Just as Gustav Stickley, Elbert Hubbard, and other reformers called for the “Simple Life.” Roosevelt advocated the “Strenuous Life,” urging people to take up exercise and physical fitness. He himself had proved an able model, overcoming serious childhood handicaps through boxing, hiking, tennis, boating and camping. Roosevelt left the White House in 1912, but he never left the glare of the public spotlight. He was predicted to retum to the White House in the election of 1920 before a blood clot, believed to have been caused by an infection he contracted on an Amazon expedition, killed him in his sleep on January 5, 1919. ‘As one friend declared afterwards, “Death had to take Roosevelt sleeping, for if he had been awake, there would have been a fight.” Author and historian Brace Johnson isthe founder and director ‘of the National Arts and Crafis Conference held each February ‘atthe Grove Park In, overlooking Asheville, N.C. Visit arte-crafis conference.com. ‘A comprehensive guide to Arts and Crafts destinations can ‘be found at artsanderaftscollector.comiteaelers. guide.EXCLUSIVE SUBSCRIPTION OFFER ‘38 Foursquare Bescyn Milwaukee Ketchere and Gardens 150 Arfiled Belay ungiow ‘Stekley Trac Craftma” 1 The Sucaoable Bungalow ‘The Lg of nar 8 Cures TO A Qurky Oregon Cotage Bunplows of Rockaway NY, 3 FIREE Back Issues F rom now until February 15, 2015, with your subscription or renewal and with each gift subscription you order. choose any three available back issues from the American Bungalow Collector's Library— a $30 value—and we'll send ‘your fee gifts postage paid, at no costo you, to any address in the USA. Select your preferred and alternate back issues from the American Bungalow Collector's Library on page 4 of this provided on the reverse of the order card following page 112, along with the subscription period(s) ‘and an (optional) gift-card message. Then mail the card with your payment to: [AMERICAN BUNGALOW PO, BOX 756 SIERRA MADRE, CA 91025-0756 ‘To onder by phone or via our website call 1 800 350-3363, ‘orlog on to ambungalow.com and click on 3free. Supplies are Finite, so plese give us tla tne allmates. ‘ny of your fin choices are sold ut, we'l substitute your ltertateSeletions of if necessary, ses with similar content. ‘Prime issues are not included, and orders must be received bby February 15, 2015, BINEROW sue, List your choices in the space Order online at ambungalow.com, click on 3free or call toll free 1800 350-3363 0s106 ARTS & Tiger Rua: The Quality Story By DaviD KRAMER HEN STEPHEN AND ELIZABETH PUTNEY founded Tiger Rug Company just over 15 years ago, their goal was to provide a handcrafted product of superior quality that will last a lifetime. Having both been exposed to quality ‘craftsmanship at a young age, this seemed only natural “T grew up in a bungalow furnished with beautiful antiques that were handed down from generation to generation,” says Elizabeth. “We were a multi-genera- tional family living under one roof surrounded by the furniture and chattels collected over many lifetimes, so acquired an appreciation for beautiful handmade items ata very young age.” “The first job T ever had was working at a litle antiques store that used to strip and refinish furniture,” says Stephen. “Working there gave me a genuine appre- ciation for antique furniture, as well as quality crafis- manship.” Bator starting their company, Stephen worked as a successful rug and furniture sales representative and retail buyer for more 20 years. “During this time, 1 developed an appreciation for oriental carpets to the point where I said to Elizabeth, ‘one day I'm going to start an Oriental rug business. CRAFTS PROFILE “Her reaction was stunned amazement, to say the least, But a few years later, I realized that only with her help, especially her organizational skills, could we do this, and the Tiger Rug Company was born.” ‘Through relationships forged in the course of his sales career, Stephen was able to connect with a Tibetan carpet manufacturer whose factory in Nepal employed ‘many Tibetan refugees who carried with them the tradi- tions and expertise of fine rug weaving. The couple honored those traditions by choosing the tiger to repre- sent their company because of its symbolic prominence in Tibetan culture ‘When the business began, it was devoted mainly to importing traditional rugs along with a handful of con- temporary and transitional designs. However, Stephen quickly recognized the need for a specific line of Arts and Craftsinspired carpet designs and approached Alfred Audi, then owner of the L. & JG. Stickley Fumiture Company, about a potential collaboration. ‘This meeting led to the development of an introductoryARTS & selection of carpets designed to complement handcrafted Stickley furniture. “When Imet with Mr. Audi in their facility in Mantius, N.Y, Iwas awestruck by the level of quality furnishings I saw being produced,” Stephen says. “I walked away from that meeting knowing that making Arts and Crafts carpets was definitely a niche market worth pursuing.” Smee Tiger Rug Craftsman Collection has expanded to include styles inspired by some of the many iconic designers of the Arts and Crafts move- ‘ment, including William Morris, Charles Voysey and Charles and Henry Greene. The Collection is always evolving, with inspiration often drawn from speaking with customers and colleagues during annual trips «0 the National Arts and Crafts Conference at the Grove Park Inn in Asheville, N.C. At the upcoming conference in February 2015, Tiger Rug will debut the latest offer- ing of stunning designs developed in conjunction with renowned stained-glass artisan Theodore Ellison, “We're constantly developing and discovering new design ideas because the market is ever-changing,” says CRAFTS PROFILE Stephen. “Our entire business is focused on producing and importing carpets and only carpets, and because we feel there can never be too many options for our cus- tomers to choose from, we also offer an extensive cus- tom program.” “Folks want and deserve to have something that no ‘one else has because it makes their bungalows truly unique,” says Elizabeth. “If we provide our customers with exactly what they've been searching for, then we ‘know we've done our job “There is no greater value than buying once and buying well. One of the most satisfying aspects of our business is hearing back from customers who tell us their carpet is much nicer than they anticipated. This short, sweet sentiment is music to our eat Tiger Rug Company 401 739-6500 tigerrug.net 107Share your bungalow’s lovable characteris with other readers by sending in a photo and brief descrintion of the house you call home. New, old, mansion or budget cottage—we want to see them all Portland, Ore.,jcque Walon and John Kim My band and I purchased cur 1923 bungalow in 2012. Ve abways ‘wanted to ve 2 bungalow so this house ea dream come rue for the. The lnerorinchdes orga bles, French doors caserere ‘windows, and evo closet in each Bedroom, Ineredbly mort ofthe Panes se French doors even cotan she orginal gs. When the "iternoon sun shines through te doors bea wavy pares 2ppear ‘on te lvng room walls. The large Fone porch isthe prfce place to Fela even on ray Pordand day Ear is yar We repaed the ‘Saarior yellow vith earacotes and white tin, The hours looks 10 heer Row that | ant help But smile everytime | come hore. Ellenville, N.¥., Pal and Stren Wormuth ‘We purchased our 1920s Craftsman bungalow in October 2013, When ‘we waled trough the door it immaately fl ke hore. The previous ‘Owner began 2 restoration that we plan to conve. So fr. we've restored the haréwood floors throughout along with Improvements { the property landscaping. Our geal eco integrate modern onveriances Whe maieaing che charm and sle ofthe orig Iheuse. While there may be rany ore projets to compet, We can ‘thnk of no beter way to spend our ves together ‘ur Webmaster as bee tea ering his way though or pit back sue, aig to Staunton, Va, Kits and Courdand Robinson [As first home buyers, my husband and knew tha we wanted an ‘older home wath chariiar Buc nota completa ur. Afar an exhausive ‘three-year search we purchased th charming 1923 Shenandesh ally ‘bungalow. The ergal ower had purchased the land in 1910 and bul the ome 13 years ter upon beng named the lea fire chief.» poskion heheld forthe next 6D yrs Ie retned in dhe sme Fry tl wr purchased ic fom the original owner's grandson this year Ws a won Drogress but our gol tt restore a much pelos dealt the home Ss posible us aie Portiand, Ore, Suan and Bran Wadd ‘We purchased our cory 1924 bunelow inthe histori Se. Johns negh- bothood of Portland in 2007. We are only the third owners of his cue Fee house. fh ust two bedrooms and one bath but te floorplan rae fel mach fargo Ie hae re orga crown molding hardwood ‘foors and tandelers, along wih aul bulincabints with Gass doors inthe chen that ad othe charm. We fel very fortunate to have found ths gem and plan co el home for many years to come colnFaney bum arches. To se he resus org te amerianbunglw cenagaie anyaAmerican Arts & Crafts Movement Dalton’s AMERICAN DECORATIVE ARTS 1931 James St. © Syracuse, NY 13206 (315) 463-1568 © www.daltons.comWAS AT WoRK when I got the call everyone dreads. “T hate to tell you this.” my neighbor's voice began, “ but your chickens just got out.” “What?” I said “They flew right through the netting when the bear ran past them,” he continued “What bear?” I said. “The bear that just ran past ‘your chickens, But don’t worry— the police are at your house now.” “What police?” I said ‘As I hurried back to my suburban New Jersey bungalow, I reflected on how my pet chickens, pur- chased to lend a bucolic, old-time feel to my property, brought me nothing but trouble. My neighbor met me in the driveway with a set of photos showing the bear posing beside my chicken coop. Man has never solved the age-old problem of stock losses by predators, but now thanks to technology you can have high- resolution pictures of the carnage in seconds. ‘The bear had left by the time I got home, and I found my chicken coop intact, with only a small hole in the netting, My Araucana hen Pandemic (named in response to my friends’ bird-flu jokes) was waiting nearby. A frantic search revealed my Rhode Island Red, Biohazard, eating grass at the house across the street. I didn't care that motorists gawked at me, still dressed in my business suit and carrying a chicken. Twas smug in my newfound knowledge of why the chicken crossed the road. 1 secured both birds in the garage just as the bear reappeared, followed by the township police sharp- shooter. I was sure the officer would tranquilize the bear and remove him, but I was wrong. He said bears are protected and he could only shoot the bear if it became a menace by, say, attacking us, Even at that, he said, he'd probably miss, as he was a rotten shot. T glanced again at the man’s three-foot-long rifle and decided I would be better off by the house. For the rest of the afternoon I sat on my front porch and watched the bear go back and forth across my lawn as neighbors on either side shooed him off their properties. It was like watching a heavy- weight tennis match. As word spread, more neighbors, +-————————— FROM OUR FRIENDS Bear Necessities/Trouble Bruin and passersby gathered in the street. Some brought lawn chairs, and all brought cameras and video ‘equipment. Until then, the little ursine knowledge I possessed had come from Disneyland’s Country Bear Jamboree. I knew, for instance, that bears sing in lower registers and prefer rockabilly to sadcore, ‘Thinking that now was the time to lear a bit more, I reached for the bear safety pamphlet I'd picked up at the county fair. ‘The pamphlet said the best way to scare off a bear is to make a lot of noise, so I got out the chainsaw. When I went back to work the next day, the chickens stayed in the garage, but when I came home they went outside and I patrolled the perimeter with the chainsaw. After several days of this, not only did the bear not come back, but there was a sharp drop in the number of local politicians stopping by to solicit my vote. Finally I ordered an electric fence. It arrived in a huge box covered in artsy animal silhouettes with those slash-in-cireles over them. Judging from these pictographs, my new fence would protect my chickens from dogs, foxes, bears and what was either a rhinoceros or a stegosaurus. Inside the box was a tangled web of white wire and plastic that looked like the Ghost of Christmas Lights Past. There were, however, no directions, only a note that the fence could be installed by an average twelve-year-old in less than ten minutes, ‘Two and a half hours later, I proudly surveyed my new PoultryNet electric fence and IntelliShock 20B energizer. The gleaming white fence is now the focal point of the yard, and the neon yellow “Danger! Electric Fence! sign with its Harry Pot- teresque lightning bolt adds just the right homey touch. I haven't seen the bear since. Linda Raven Linda Raven is director of transportation for the Northwest Bergen Council for Special Education in Mabwah, NJ. Her most ‘recent From Our Friends essay, "Paying respects,” appeared in Issue No, 80, Winter 2013. 109nn Wate & fends, perirsd servis oti Ein Tern. Bloerenn Aroyo Casmen. 69605411 Srpeeraomnicon The At 8 cro Press. soe arsndcatpescom or Furie ld 790070 Earanrecae Brody & Body 707 190 Satancom Bungotow Bobs Pet Dass. eo a9 bangiowpsteam eet toe. 029-665 ol ive Furr 5299 ‘ldetnetrecon Coppe Woodworng ne aioe capodworkngcan 40 1" 1 10 = ” ” 38 56 ‘he Cratenan Hamas Coneaton 42 tratornacam DIRECTORY OF ADVERTISERS ‘These companies help make the bungalow lifestyle and this magazine possible. 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PAE FAX YOURVEA MsTERCARD, AMERICAN EXPRES OR DISCOVER ORDER TO 626 355-1220 On MAIL your cHicx oR CREDIT CARD ORDERTO AMERICAN BuNcaLow, [23 SouTH Brown Ava Post Orice Box 756, SERRA MARE, CA 91025.0756, 2 sop onune ar americanbungalow.com ox cain Te Auencan Buncarow onoee une xr 800 350-3363 Te alt Separate at perforation, eld and enclose In stamped envelope with payment.USA for over 100 years, Made tovordér, worth: ten FOR THE'DEALER NEAREST YOUR A cATAl 8.6. STICKLEY, INC. «Ma =Ba rec PM a; Seca os Heh PURE COVUMESIUE | TeRIOR VISION Saas eine IN THE CRAFTSMAN STYLE i KAREN L. HOVPE HISTORIC DESIGN CONSULTANT Historic Design . Concept tenth Consiniction bp:/beauntulbungaows wordpress 425 830 4131 CONSULTATION ANYWHERE mh EXTERIOR UYOIMALNI comSTICKLEY. COLLECTOR QUALITY FURNITURE SINCE 1900 CR EVERY COLLECTION A CLASSIC ee www.Fedde.com Come in today and enjoy the largest display of beautiful Stickley Furniture in California, Our large selection, experienced designers and exceptional values will make it easy to find your own personal style. We feature every Stickley collection, including a large selection of Craftsman style lighting, pictures & accessories, fine homefurnishings since 1937 « interior design 2350 EAST COLORADO BLVD. 32 NORTH SIERRA MADRE BLVD. PASADENA + 626-796-7103 PASADENA « 626-844-1160————__ PERSPECTIVE ON ANTIQUES with Ju) RD In the culture of Arts and Crafts ‘antiques collecting, every pot, lamp, ‘chair and bookcase has a monetary value that is 10 some degree an index of its cultural importance. Craftsman Farms, the home Gustav Stiekley built for his family in Morris Plains, N.J,, in 1911, doesn't have the kind of Es BOVE THE DESK in my gal- lery hangs a lange his- toric photo of Craftsman Farms taken during the short time Gustav Stickley and hi family lived there, I look at this image often. It is a reminder of ‘one of my favorite places, one I visit as often as possible. Lam on ‘monetary value thata Stickle chair Haveyou been wondering about _the board of trustees of the Stick- thas, but it does nevertheless havea the history of afavorite Artsané ley Museum at the Farms, and as significant cultural—even, to some, rafts antique or who might an out-of-town board member 1 9s, spiritual-significance that __ ave made your Incest find? Do perhaps, spritual-signifcance har arama rwr les ind Do spend many hours on the phone ‘many of us celebrate by helping to re, attending meetings, discussing the a h . ies eet ne eee things boards discuss. Living four ep it intact as a historic property gak for when b fa things Doar ; that embodies a unique vision of century collectibles? David away, I sometimes lose sight ‘American life. n a way, its survival [Innit gaan of how fantastic the buildings and lends to every Arts and Crafts por, knowledgeable guide tothe grounds are and what a great job lamp, chais and bookcase, whether world ofantiques.Send your the staff and volunteers have done “ Sey avestions and photos to over the years to interpret this pase Cr CORE CIa at aaa ‘editorsgambungalow.com or simple log home and its environ- value that each object shares with all Spat ga the address om page t- Seem crac is iea ee the others. The Farms is an affirma- tion of the vitality of StieKley’s contri- bution to American life. When we collect and preserve and reproduce these objects and this property, we ‘are recognizing and participating in this vital and enduring idea of how that life looks and feels. —The Editors 12When Ido drive from Syracuse tothe Farms, my anticipation builds with every mile. As T get within shouting distance, passing all the strip plazas and rounding every cloverleaf highway exit, 1 am reminded how fragile their exis- tence is and how amazing that the 30 acres, log house and additional historic structures have been pre- served and given ongoing new life. When I pull off of Route 10 and into the driveway, I scan the area looking for the most recent improvements. I'm never disap- pointed. I park and walk down past the administration building to the Memorial Walkway that takes me to the front door of the Log House. As I enter, I fee! like 'm walking into the image hang- ing in my gallery. Even as a guest ‘who only gets to visita few times year, 'm always greeted as fam- ily in this wonderful historic home. This past October we had our annual Gala weekend. This is the Farms’ largest yearly event and fundraiser. The buildings and grounds always look their best uring this time of year. Building projects have been wrapped up, gardens have been groomed for winter and the Log House pre- pared for the many Gala attend- ees—old friends, new collectors and Arts and Crafts enthusiasts— whose presence kicks off the holi- day season. Regretfully, I don’t get to spend much time at the Farms during the holidays, so for this end-of-year column, I invited some fellow board members, sev- eral members of Gustav Stickley’s family, and other friends to share with us their experience of the Farms. If you are close to Morris Plains and can find time to visit, I promise that you will not be dis- appointed. —DR ““Gusty Sickley wanted to help young men find a trade and sue- cess in fe, Sadly, he did not real- ize his dream, nobe a it was. But his goal is as timely today as it was then Jeg Cohen, Stickley Museum member and supporter “Ste sense OF SERENITY that I feel, both inside and outside of the house, stays resident in my memory. Craftsman Farms is a place Tcan imagine living in.” Lien Cohen, Sicey Museum member and apport | | |4 “awvrime Fray to describe to someone who has never been there what Craftsman Farms looks like, [invariably end up calling it an Arts and Crafts oasis, a lush island of fields and forests in the midst of the city. I made my first trip in 1990 and have been back more times than I can count, T recently had the opportunity to take @ photograph of a family of visitors, a young couple and their three sons. I doubt that they could list the tenets of the Arts and Crafts philosophy, but here they were, enjoying a sunny fall day playing on the front lawn, forging ‘memories that will always be linked to their day at Craftsman Farms. Gus would have been pleased.” —Liruce Johnson, Arts and Crafts Conference founder CcaneTsMAN Faas is a place of incredible tranquility, It abso- Tutely manages to meld the soul of the Arts and Crafts past withthe present. Mr. Stickley would be pleased with this pride of pace.” —imaty MeGinn Sikiey Museum member “CaartsMaw Fars is a special place for me. Not only did Gus there, but my grandparents were married and lived there in the South Cottage, and my mother was born there, [feel each of their lives when I look at the period images and particularly when I'm at the Farms. Today, as I see Craftsman Farms resonate with “others, it becomes even more spe- cial to me. Iam so indebted to the Farms and all those who, yester- day and today, have given of themselves to keep its spirit alive for so many to enjoy.” —Darbara Fuldner, sreategranddaughterof Guster Stckley “Crarrswan FARMS means much more to me than the bricks and logs that were saved from | destruction 25 years ago. I grew | up hearing mystical stories about life on the Farms, and seeing the house with the mannequins in period dress at the recent exhibition brought many of these stories to life. Although quite lated at the time from the city life, the Stickley girls seemed to hhave a lot of fun! I only know Gustav through his writings and my mother’s and. grandmother's stories, but those stories comealive when I walk through the grounds, the embodiment of the ‘dreams of an ambitious and deeply creative mind.” Cynthia MeGinn, great-granddaughter of Gustav Stickley “, Tr 1s DIFFICULT for us to sum- ‘marize in a few words what the Stickley Museum at Craftsman Farms means to us, because it has been such a very important part of our lives for more than 25 years, We have the good fortune of liv- ing in the Township of Parsippa- ny, N.J., and of having played a role in getting the township to purchase the site when it became threatened by a proposed town- house development. We began as docents, giving tours of the Log House, then served as President of the Board of Trustees of the Craftsman Farms Foundation The people we have met and had the pleasure of working with are dedicated to preserving and restoring America’s treasures, as well as celebrating and support- ing today’s crafters. As a National Historic Landmark, the Stickley Museum plays a major role in demonstrating how the principles and philosophy of American Arts and Crafts are still relevant today. While the major transformation that the SMCF has undergone during the past 25 years means a Jot to us, the thing that means the most is being part of the Ameri- can Arts and Crafts family.” —Daney and Nancy Willan, board members “SCrarrsMan FARMS is the framework through which I con- tinue my _great-grandfather’s dream of supporting education.” Lows Glsmann great grandson of Gustr Sth} “ly pacorxtiNG the Log House for the holidays, we work hard to bring our visitors into another era. Each year we edit a little and add a little. We're always tweaking for authenticity. The house feels like a home, bustling with activie ty. In each space there is the sug- gestion of an activity, like wrap- Ping gifts or stringing cranberries, so that it looks as if one of the Stickleys has just left the room and will return momentari- ly. When it snows, visitors stand ‘on the windowed front porch, in a hhush, watching the landscape return to the time of the Stickleys. It is complete magic. Peter Mars, board vce president “, ‘Some OF MY FAVORITE memo- ries are watching the next genera- tion come to visit the Farms, They have the ‘eyes wide open’ attitude of children taking in everything and piecing together the past and how it becomes important to how wwe live today.” Barbara Weiskitle, ‘board presidentTRIE DIGITAL COMPANION T? AMERICAN BUNGALOW FAS ARRIVED Eye ers ‘Scan Here to Get Started Now you can enjoy AMERICAN BuNGALow on your tablet or e-reading device. Scan the QR to subscribe or visit AmericanBungalow.com/Digital to get started today. @IN MEMORIAM Roycroft Champion Kitty Turgeon: “Te’s More than Just the Stuff” Krrry TURGEON, a passionate Arts and Crafts crangels, author and innkeeper who led the campaign w gain recognition and, eventually, national historic landmatk protectionfor the Royeroft Inn and Can ps in Ease Aurora, NY, died on Novem her 3 in East Aurora, She was Sl Acconding to The Bufo News, she was in the midst of writing about the Roycrot campus curent renaissance as a tourist destination and arts centet. She was a founder of che RoyeroftereatLange Association, Preservation Coalition of Erie County and, with her (then) partner, Robert Rust, the Foundation for the Srudy of the Arts and Crafts Movement, She designed the "Road Scholar” program to bring guests to East Aurora to lean about the Arts and Crafts movement. She serve on many boards and committer a institutions such as che Burchfield Penney Art Center, the Buffalo History Museum, che Albright Knox Are Gallery and the Historic Preservation Commission of East Aurora In 1986, she and Ruse worked with US. Congress ‘man Jack Kemp and the National Trust for Historie Preservation to obtain National Historie Landamark Status for the 14building Roycroft Campus. This imporane designation led tothe eventual restoration ofthe Royeroft Inn and Copper Shop and the continuing restoration of the remaining Campus buildings. Tn 2009, she was presented with an Arts and Crafts Lifeeime Achievement Award during the national Ars and Crafts Conference a the Grove Park Inn in Ashe- vill, N.C. In noting her death, conference founder Bruce Johnson wrote: “Author, activist, historian lecturer, tour tuide, preservationist, innkeeperthe list seemingly endless ofthe many oles Kity Turgeon played over the cours of five decades on the Roycroft Campus.” In 1994, Matie Via, Director of Exhi- bitions at Rochester's Memorial Are Gal: ery, cocurated a seminal exhibition, “Head, Heart and Hand: Elbert Hubbard and the Roycrofters,” that toured nation- ally and led to the publication of a hook fof the same ttl, to both of which Tur igeon contributed. “Kitty Turgeon was one of the peo- pile who made my job so much easier when [was doing research for the Roy- croft exhibition,” says Via. “I's hard to believe that was 20 years ago, but I will always be grateful for the introductions she made, the information she shared, and the standing offer that allowed me to sleep over in the [Roycrofi gfe shop when my work ran into the late hours. T could swear I heard echoes of the Anvil Chorus resonat- ing through the old Copper Shop at midnight on several cceasions. Thank you, Kitty, for all that you did to make the Rojcroft real for me and East Aurora a second home.” While unceasingly active in helping to sustain Hubbard's vision of an Are and Crafts community of artisans, Turgeon also found time to write partnering with Rust to publish a newsletter, “Craftsman Home Owner” (1989-1995), and produce three books: Arts and Crafes, Design (1996), The Arts and Crafts Home (1997) and. The Royeroft Campus (1999/2008). In a *From Our Friends” essay in AB No. 45 (Spring 2005), she summarized her commitment to the Arts and. CCrafes movement’s “wholistic” ideas: “The harmony of the Artsand Crafts movement isa way t heal the world... Ares and Crafts isa way to lve I's more than just the suff.” 7PRAIRIE Purcell and Eimslie’s architecture: draws a Minnesota couple down on unexpected path, BrTi Counts TWAS 35 YEARS AGO that Jim and Linda Fahey first passed the 1913, Goodnow house, named for its original owner. They were 19-year- old newlyweds, and had just ‘moved to Hutchinson, Minn., to open an expansion office for the auction business owned by Jim’s family. “We looked atthe house and said, ‘Wow,”” recalls Jim. Planted firmly on a raised comer lot, constructed of brick and stucco, and capped by an expansive roof with exaggerated eaves supported by exaggerated beams, it cut an imposing figure. ButJim and Linda were not “old house” people. “When ‘we were young, we thought we would always want every thing new,” says Linda. So they started a family, grew the auction business, and in 1993 built their ‘brand-new dream home next to the Cath- lic school their four children attended. “Te was perfect,” says Jim. ‘AN ESTATE IS SOLD In 1997, the Goodnow house re-entered their lives. Its occupants, an elderly couple who ran a downtown antiques shop, called and asked the Faheys to ‘conduct an estate sale. They had sold the ‘home and were moving to a townhouse.rv BY ALEXANDER VERTKOFELinda worked with the couple to inventory and orga nize thei possessions forthe sale, "The house, she remem bers, was rather obscured. It was full of antiques, though none were of the home's era or style. Out front, over- grown shrubs and tees hid the projecting glassed.in porch. Inside, extensive shag carpeting covered the floors and layers of heavy drapes blocked the windows Sill, enough of the home's design shone trough that she was smitten, and she shared her enthusiasm with Fim “We had started to develop a taste for old houses,” she says. At the same time, Linda got the sense thatthe sale of the property, which was being handled via purchase agreement without the involvement of a broker, was fall- ing apart But the auction ofthe home's contents proceeded and RECELNGEIEOVEMEHONE STARS ME DSC yay a gyccess, Says Jim, “That night I handed them the CoNSTUcTION MHeancHTEecTs Hap oencuwRscwmc — check and said to the husband, “Harold, if anything ‘he htc oF BcTRNAL ROOF Ganues AND WreHoRceuNs changes regarding the sale of your house, call me,”“No,” Harold barked. “But I'll call your wife, ‘because I like her.” Jim smiles and shrugs. “That's just the kind of char- acter he was.” ‘Nine days later, Jim's office phone rang. “Fahey, this is Harold. So you want to buy my house or what?” Jim, who had not yet even walked through the entire house, came over for a tour. Like many people who picture themselves in old houses, the Faheys had talked about run- ning a bed and breakfast someday. “We thought this house ‘would work if we ever wanted to go that way.” says Jim, So the Faheys offered to buy the house, contingent on the sale of their current home. Jim recalls Harold’s response, “He said, ‘Nope, I'm getting too old for that. You ‘want to buy it, this is the price.”” ‘The Faheys bought the Goodnow house and put their dream home on the market, A BLESSING IN DISGUISE Their dream house did not sell until nine months later. “That was a blessing in disguise,” says Jim, “because it slowed us down.” If their house had sold right away, he explains, they would have immediately started remodeling, “And we would have done more stu- pid things to this house than we did.” In the history of stupid things done to old houses, ‘though, the Fahey’s sins were quite minor—for example, a kitchen remodel (of a previous remodel) for which they ‘would have chosen a different cabinet style, in retrospect. But mostly, the nine-month gap gave them time to ook, listen and lear from the house. They did projects that didn’t require major capital, such as pulling up the carpeting and pulling down the drapes. They removed 2‘overgrowth from the front of the house. “We discovered all those windows out there on the living porch,” say's Linda, Even more fortunate than limited funds, however, ‘was a high school research assignment given to their son Jeffrey—on architecture. For the project, Jeffrey chose the Goodnow home's architects: William Gray Purcell and George Grant Elmslie. 22, DOWN THE PRAIRIE SCHOOL RABBIT HOLE “We had no idea what Prairie architec ture was,” says Linda, “Not did the previous owners.” Says Jim, “We knew the house was fon the National Register of Historic Places, but we didn’t really understand that, either.” ‘Their son’s research led them to a collection of archi- tectural archives at the University of Minnesota in Minneapolis. The Faheys made an appointment with alibrarian, who presented them with several boxes of documents related to the house, including handwritten specifications from Purcell and correspondence with the client, Merton S. Goodnow. When the librarian spread out the home's magnificently detailed blueprints before them, their jaws dropped. “I'm sure we looked like total idiots,” says Jim, laughing. “Our mouths were hanging open.” “Once the librarian spread out those blueprints, we didn’t hear another word she said,” says Linda. PURCELL. ELMSLIE, AND GOODNOW William Gray Purcell, born in 1880, grew up in Oak Park, IIL, not far from where Frank Lloyd Wright would pur- cchase his home in 1889. Purcell studied architecture in college but was dissatisfied with the narrow range of design options offered. After college he met George Grant Elmslie, chief draftsman for Louis H. Sullivan's architectural firm in Chicago. Sullivan, often considered the father of what would later be labeled the Prairie School of architecture, rejected the slavish reinterpretation of historic styles and instead looked to nature for inspiration, Elmslie helped Purcell ———E“THESUIONG PORCH” ASIT WAS LABELED INTHE BLUEFRATS 5 SUPORTED 24 get an apprenticeship at Sullivan's firm, where he embraced Sullivan’s philosophy of “organic” architec- ture, Several years later, in 1910, Purcell and Elmslie joined forces ‘in Minneapolis and sought clients who ‘would appreciate their pioneering style. One such client was Goodnow, a dentist and a prom- inent citizen of Hutchinson, a midsize town 60 miles west of Minneapolis. ‘The Faheys” research on Goodnow has revealed that he was widely admired, “He was extremely community-minded,” says Jim. “His obituary notes that whatever he touched, he always left better.” In later writings, Purcell describes Goodnow as“... a ‘man of ideals who was eager for a work of worthy archi- tecture. We did him a very good job.” Regarding their design for the house, Purcell writes, “Mr. Elmslie caught the feeling of the site. We wanted to keep the lines of the ‘building as low as possible, because the area of the plan‘was small and the house was a considerable height above the street.” ‘The home for Mr, Goodnow and his wife and chil- ‘dren was completed in 1913, DESIGN DEPARTURES ‘Though the house was built mostly according to Purcell and Elmstie’s spec- ifications, there were departures. Elmslie created a pierced omamental design that ‘was to be cut into the front doors of the ining room buffet, as well as into small side wings on its top. Though the designs appear in the blueprint, they were never cartied ‘out—according to vague notes in the archives, it was because they were “too inlticate.” ‘To execute? Too intri- cate for Goodnow’s tastes? It isn't clear. SOIAARE NEW PCS BY L8G SCR‘Another feature present in the blueprints but missing from the house is a set of four lighted posts that were intended for the living room, Two were to be integrated into the fireplace mantel, and two were to be installed just opposite the fireplace at the corners of the living porch doorway. All that was completed were two posts in the mantle, sans the lighted globes on top. A pair of non- functioning light switches on a nearby wall was likely ‘meant forthe postsThe Faheys will probably never know why these architectural elements were omitted from the finished house. But a clue might be found in Purcell’s rumina- tions, written years later, about clients’ tastes, though the words were not a direct comment on the Goodnow house. Wrote Pureell:“... the public was, atthe time so thoroughly drilled by Stickley and his Mission Furniture to find their aesthetic satisfaction in structural craftsmanship that it was difficult to secure acceptance of even the most sincere and restrained architectural embellishments.” RESPECT AND RENEWAL “So then our house sold,” says Jim. “And the light bulbs were starting to ‘come on regarding what we had with this house, Now we had to do it right.” They put a new roof on the house and repaired interior walls that had been damaged by past leaks. They scraped multiple layers of wallpaper off most walls in the house and chose mellow Paint colors to enhance the woodwork. (NOTE THETWO SANA) AT LEFT IS IN EARLIER HOUSES OFTHE VICTORAN RA, aIn addition to deviations from the blueprints during ‘construction, the home’s previous owners had altered other portions of the house. The Faheys have restored, or plan to restore, each of them according to the architects’ original designs. ‘A previous owner had installed a beamed ceiling in the dining room, which the Faheys pulled down, giving them centralized access to most of the home's plumbing for repairs and mod- emization. ‘They upgraded the electrical service and added cir- ‘cuits. The blueprints indicated numerous ceiling and wall light brackets that were now missing. “We'd run our fin- gers across the walls and feel the imperfections where they'd been plastered over,” says Jim. They dug them out and found that the wires were still live—a previous owner had merely wrapped the exposed wires in cloth tape and newspaper and stuffed them into the walls. ‘An intricate, circular design in paving bricks originally adomed the threshold of the front door but was later replaced by a poured concrete slab. Fortunately, the blue- prints include a detailed illustration of the design, And a large, rectangular planter near the front door is missing, replaced by a clunky concrete version. This, too, will be restored according to the architects’ specifications. 2930In addition to the living porch on the front of the house, there was originally a screened porch attached to the back. An upstairs bedroom still has a door that once ‘opened onto its roof, Previous owners removed the porch and added an unwieldy two-car garage built of concrete bblock; the Faheys intend to remove it and reconstruct the porch and roof terrace ‘The original, large upstairs bathroom was remodeled in the 1960s. The only remaining portion is the white- subway-tiled shower, which is still functional, Jim and Linda will remake the room in a manner more sympa- thetic to the house: Finally, though some structural re-engineering may be required, the Faheys would like to re-hang the massive ‘pocket doors that flank the living room fireplace. The door ‘openings are 6 Ye-feet; the doors are huge oak frames cencasing slabs of plate glass. Though they remain in posi tion, they no longer glide on the tracks hidden in the wall above them. They must be dragged along the floor; hence they remain partially open year-round, DOWN THE ROAD With retirement on the not-too-distant horizon, the Faheys are looking forward = not only to more time for restoration proj- |= ceets, but also to simply living in their BS home. “Mornings are amazing here, and we hardly ever get to enjoy them,” says Jim. Settled in the new Stickley sofa in front of the fire- place, they talk about plans to finish off the attic, creating soft” space where they can play with grandkids, install a big-screen TV for football games and have ugly but comfy furniture. ‘They talk about how beautifully the house works for holiday gatherings. “To sit here and drink wine and ‘cheese in front of the fire,” says Jim, “is just amazing. I's ‘been a great place to live and T get to live here with Linda, which makes it all the better. We're really fortunate, to think about us as 19-year-old kids driving past and think ing, that’s a nice house. From that perspective, the house trained us. The house took us down that road.” @ 31THE ARTS AND Crarts LiFe, IuwusTRATED In collaboration wth Arenican BuNGALoW, two of today's most revered bloc print artists, Laure Wilder and Yoshiko Yamamoto, ‘created their ovn unique series of Itho~ ‘rahi print asa gf for our loyal ‘Subscribers. By popular demand, we're now offering these seres for purchase as ‘SEASONS ‘complete sets. Each four-poster set is just “We strive for a life of meaning, a ‘connection with nature...”-Laura Wilder Inthe ionic Seasons series, Laura Wider wanted to share her deepest values depicting each season as seen from the most beloved places ina bungalow. weleoming porch in Crauaugua, Nis the beaut erone hearth ofa neighbor ‘bungalow:and Lauras own Adirondack chair over looking a garden of tornatoes and sunlowers.The ‘window seat, says Laura, was pure imagination: "ie my idea ofthe caziest nook in the covest house, where you can slow down and look out- se.These are the things that make humans happy. We long for more time in the window seat” $25, incuding shipping. 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And the mighty eak is a mélange of memories— ‘raos from fivorite storybooks Yoshiko read asa child, gone but never forgotcen. Says Yoshiko, “My hope was to capture a fecling,a moment to express how fleeting and fragile nature is” "YoU CAN ASO PURCHASE WSDOM OF TRE ORDEANG A ET OF FOUR AMCAN BUNGALOW 2012 EUS SEE PNGE 112 FOR DETALSTNO ere ee ea nee Cou Ce ecL I) ‘Merced River-Yosemite Valley Fine vintage plein air paintings—quality art at affordable prices. COT niyo) vandermolenfineart.comCOLD RIVER FURNITURE by Peter Maynard Makers of fine custom furniture. Commissioned by The Metropolitan Museum of Art and featured in leading publications such as American Bungalow, Architectural Digest, and The New York Times. | draw from the principles of the Arts & Crafts Movement and the visionary work of Charles Rennie Mackintosh to c te an indelible furniture style inspired by the great North American landscape. 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John Raymond, ‘who is known for his attention to detail and unfnehingly high standards, designs and hand crafts custom-ftted, quarter sawn oak frames to finish the portraits. ‘The resule is a Crafesman-style frame of ‘the highest quality befitting the heirloom= ‘quality portrait i showeases. More information is availabe at emailing Security With Style Since 1980, Coppa Woodworking has been building high-quality, competitively priced wood screen and storm doors for residential homes and businesses. Now they've added stylish Wood Security Doors +0 their family of products, combining the look of a traditional screen door made from I-l/s" oak or mahogany and a heavy-duty steel wire screen, adding an extra layer of protection to any home's entry. ‘The screens provide the same airflow and visibility as. traditional screens, but have the added bonus of being resistant to forced entry and impervious to cuts, dents and tears. 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His work is now avaiable at Modern Bungalow in Denver and may also be purchased directly through his websie, johnfinchdesignstudio.com modernbungalow.com Expanding Their Team ‘long-time supplier of quality Ares and Crafts upholstery fibres, Archive Ecltion Textiles is expanding, Joining founderfowmer Paul Freeman and designerhistorian Nancy Eaton is veteran furniture sales executive Karl Eulberg Karl bring a strong back: ground in information technology and ‘marketing to th team, as well as years eae of experience as an Ares and Crafts fur niture collector:"Having a new partner | is energizing” says Freeman. 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For example, here you spend almost as much ‘money air-conditioning your house in summer as you do heating it in winter. And the same is true of bun- galows. They're often neither fish- nor-fowl—vaguely Craftsman per- hhaps but at the same time vaguely Colonial, or just plain vague. That's ‘wiy when I got to know Betty Scott and Jim McMullen, I was immedi- ately struck by the clear personality of their house and the way it confidently stands out from the local pack. “I's a California Bungalow,” Betty explained to me, “or that’s what we always heard.” Like so many houses of a certain age, the prove- nance is sketchy, and records at the County Court House are Iong-gone. “The original owner, Charles Wil- ‘bum, was an interior designer, so the story goes, and he had spent some time in California.”(This must have been in the 1910s because the house was built in 1918.) “Then when he married, he built this house as the first home for hhim and his wife Mary based upon something he had seen out West—so that is where the California idea came from.” Indeed, beyond a cute story, the few facts ring true in the building 46 itself. “The clapboard siding is all redwood,” says Betty, “which is pretty extraordinary for the mid- Atlantic a century ago, but that’s what Wilbur decided the building had to have.” She notes that the wood was a wise choice because, besides having an ample exposure of about 10"—a characteristic bunga- Tow detail, but a stretch dimension- ally for Eastern woods—the clap- boards hold paint beautifully and are still in excellent, bug-free condition, “He also liked to entertain, so he built this wonderful, big dining room —almost equal in size to the living room, depending upon how one accounts for the stairway area.” Betty demonstrates with a walk- around that the floor plan creates anice flow through the rooms, which no doubt would be another asset for a host If bungalows seem to attract their own enlightened breed of owners, this building is no exception, Betty and Jim are both educators—Jim a career science teacher and Betty a music teacher who now heads the Artist in Residence program at Strathmore Music Center, the con- cert venue for lower Maryland. Both ‘are musical omnivores, from blues and jazz to bluegrass, and Betty is a 1999 Grammy-award winner for best choral performance, with the Maryland Boy Choir. However, she is also an avid historic-buikding devotee and co-organizer of the local annual Progressive Dinner, which hosts attendees through a literal moveable feast of courses at noteworthy homes. TerTYscOrT oN T= RLACAL RATBEYOND THE BUNGALOW NORM Architecturally, one might suspect that, like so many bungalows, the house is a ready-cut design or other “kit” building or mail-order plan but, so far, no evidence to that effect has tumed up. On the contrary, it has some distinctive, if not uncommon, features, First to meet the eye are the multiple clipped or jerkin-head gables on the roof. Clipped gables have a venerable history—Andrew Jackson Downing borrowed them from Burope for Gothic Revival houses in his 1840s books—and they pop up in Arts and Crafts architec- ture as a natural way to accent broad, {eczeTc FURNSINGS HANY COLIETED IN RETY AND Js TRAE NCLUDE A CURIOUS THREELEGGED HAR ETAL PHOTO) BUT WM FORTHE AND-TENON ONT ANOTHER TING HOUSE EERE 48,low-pitched roofs, but they are hard to find in this locale. Eave brackets are practically essential for any card- carrying bungalow, and most came from millwork catalogs of the era in solid-timber configurations, but these are a nifty multi-board design that suggests they were made on site. ‘Though the entrance porch is sup- ported by a pair of classical columns, they are straightforward with mini- mal capitals and bases that brings them close in effect to the “heavy, round pillars” favored by Gustav Stickley and others, Clear evidence of the interest lavished on the dining room is the large bay window that brings in light while creating a natural space for a table or sideboard. A nice flourish is the leaded glass in the main window, flanked by six-over-one double- hhungs. “That one got beaned by a neighbor’s rock when my son David was a kid,” recounts Betty, pointing tw a crack, “but since it’s wavy glass and otherwise intact, I've always left it as is.” When asked if there was ever a wainscot or other typical bun- sgalow wall finish in the dining room, Betty says, not that she ever saw. “However, originally there was a large French-doored china cabinet along the wall next to the kitchen,” not surprising for entertainers, Nonetheless, a few quirky fea- tures of the practical past still hide here and there. While Betty says there’s nothing to suggest there was ever a breakfast nook, off the back of the kitchen is a roomlet that unques- tionably was once a pantry. “This is where the shelves were,” she indi- cates, waving her hands in mid-air, “but today it’s much better used for the refrigerator.” Spinning around, she then hunts for a flashlight and guides me out of the kitchen area and upstairs. “What I really want to show you is this.” Taking me into a bedroom and opening a shortened door to a tight, triangular knee space under the eaves, I peer into what I assume will be a tiny closet. “See this,” Betty points with the light, and then mate- rializing out of the darkness and 49THE GARDEN GA7IRO OF THE BACK OFTHE HOUSE STANDS ON THESE OFA FORMER WELLTHAT FED THE COPFER GRAVITY TANK DETAIL PHENO) HEDEN IN SECOND. 50 dusty boxes I could clearly see the bronzy glint of a bathtub-sized solid copper tank, “It’s this amazing wwater-storage system,” she exclaims. ut in the backyard under what is now a gazebo was once a well that apparently pumped water upstairs to the tank. Then, in a likely arrange- ‘ment for the era, water was fed to the Kitchen below by gravity “My mother was skeptical, though,” she says. “Coming from West Virginia, she always wise- cracked that the tank was a still!” A PERPLEXING PAST ‘When Betty bought the bungalow in 1972 for $27,500, it was effectively in an estate with a murky recent his- tory. “I'm not actually sure howmany people lived in the house before we moved in,” she says “rs. Averill owned the house a Jong time, probably raising two daughters there.” (Noting her emphasis on Mrs, I leam that, “Back then, around here you never called a neighbor by their first name!") By the time Mrs. Averill passed away, the two daughters were grown, married, and living out-of-state. “I think the house might have been rented for a while —perhaps to college students, because when I moved in there were some odd colors going on.” She adds that there was also “all kinds of leftover welding stuff downstairs.” No one’s ever been sure what that was about Suffice to say by this stage the ‘bungalow was ready for some TLC. “When we moved in, al this finish was alligatored,” Betty says, pet- ting the natural-wood trim in the dining room, “but I just went over it with denatured alcohol and fine steel wool, and it came back pretty well.” She reports a similar revela- tion for removing the old flooring in the kitchen, “After trying all sorts of stuff, I thought, “Oh heav- cens, this is going to take forever!” ‘Then one day, we spilled water on the floor and discovered the adhe sive was water-soluble!” THE , Mysterious MOVIE Why is it that old houses attract mysteries lie magnets? Yet another bit of hard:-to-pin-down lore about the bungalow is The Mavie.According to Betty land some longtime neighbors, the bungalow eared its 15 minutes of fame in the late 1950s or early 1960s as the background fora race-cartale. ttwas called “Hell on Wheels” according to the collective neighborhood memory, or that was the werking ttle anyway. This was back when the singular Mrs, Averill owned the house, and the plot apparently turned on stock-car racing Some residents remember going to see the movie when it came out, but all agree the house wasnt it for very long. No ‘i, fone can reason why a crew filming a racing yam settled on a bungalow in the outer Z suburbs of Washington, DC., but movie ‘companies run on their own logic—such as shooting American westems in Spain. None- theless ft seems that, at the time, the house ‘tvo doors down fram the bungalow had wee several stock cars eternally planted around aera the property. Gor g Betty and Jim report similar elusive leads "When we heard about the movie, we rented what we thought was the right video" says Betty, “but never saw anything lke the house” Indeed, some quick research today on YouTube reveals 3 1960s deama about rival carracing brothers called "Hell on Wheels” that stars Marty Robbins of the El Paso ballad fame, Set somewhere in the nondescript South, it does indeed align with a few of the sketchy detais— including lots of actorly ‘Yals” and “rmammas’—but, as near as can be deter- mined, features no supporting role by a certain Calfornia-style bungalow. soo AEN CARRIES UPDATED NTME na AKE OVE ROMA 31Another project was restoring the front porch. Betty explains that when she acquired the house, a of the porch deck that was unpro- tected by a roof had rotted away, leaving the porch visually lop-sided “My dad was very handy,” she recalls, “so one day while I was leav- ing for work, he asks ‘How would you feel if T made the porch sym- metrical?” Thinking at the time he vwas proposing some repair carpen- try, she Taughs at the memory. “So he goes out there with a hand saw and cuts off the other end, leaving us with just the middle third—the part under the roof!” Later, Betty had the whole porch rebuilt to the original form. “To my mind that’s one of the things that makes this a California bungalow more than a D.C. bungalow—this wide deck with the middle third under a roof.” Also uncommon for the area— ‘even today—is that the bungalow has its own garage. For a neighborhood that in 1918 was borderline rural, and served more by passenger rail than any paved roads, such a prominent garage smacks of the influence of California’s early car culture—especially when compared with the near by Nation's Capitol (which was a. streetcar town until the 1960s). Moreover, this garage is no after- thought. Nicely related to the main house with architectural details, such as its own clipped-gable roof, the ‘garage is nearly as large. In the same way, it also shows signs of former lifestyles. “In the back right comer there’s a side door,” says Betty, “and when T moved in it had a wall with roosts and shelves—a chicken coop— which was pretty cool.” The simple batten door still shows the chicken entrance cut out in the bottom cor- ner, She notes that since she and Jim had no plans to compete with Frank Purdue in the poultry business, an early project was to open up the garage space by taking down thecoop wall. Jim later completed the tcansformation by paving the garage with a proper floor in brick. In the coop’s place now sits a beautiful 1910sera workbench that Jim res- cued from a building near where he used (o teach. A natural fit for a garage from the early auto era, when every car owner had to be their own mechanic, it's the kind of design the Greene brothers might have owned, Looking at the wide, shallow draw- ers and all-wood handles, you can almost hear the strains of a Scott Joplin rag playing somewhere in the background—or maybe it should be ordon Bock. coauthor of The Vint Gwrinagehousebook.con), Ksts bis seminars, lectures, and workshops a i ordonbock.conCRAFTSMAN WEEKEND 2014 PHOTOGRAPHY By BLAR SMITH This year's Craftsman Weekend, Pasadena Heritage’s annual ‘autumn immersion in the American Arts and Crafis Movement, drew hundreds of visitors from across the country during a warm two days in October to enjoy some of the city’s landmark historic districts and the work of its renowned early-20th-century architects. ‘The weekend featured major works by architect Myron Hunt, including La Casita of the Arroyo, the Spanish wing of the Riverside Mission Inn, Henry Huntington's home and library, and the Rose Bowl. ‘More than 50 juried exhibitors offered Arts and Crafts furnishings in the Pasadena Convention Center Exhibit Hall, where vintage- poster historian and dealer Elizabeth Norris previewed the Huntington Library's new exhibition, “Your Country Calls! Posters of the First World War.” Next year’s gathering will take place November 13-15, 2015. 34Impressions! Add th luxury of marble tr ourhand crafted wooden ‘mantel surounds to enhance any room. We can custom build or you ean seloct fom ne of our many styles and colors. Tum tha great room into FABULOUS with ull surrounds and mantels, wall antes | oran electric, no fs inser 56 ‘We are located in Surrey BC ‘Canada and we take pride in each and every mantel ‘constructed within our manu- facturing facility. We offer a fine selection of our own fireplace mantel designs and ‘custom woodwork to ensure ‘an intimate and personal fireplace that provides you with the harmony you are looking for in any room! 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THE APES HOUSE He JAPANESE House and Garden at The Huntington Library, Art Collections, and Botanical Gardens in San Marino, Calif, a tush residential enclave south of Pasadena, is one of the oldest Japanese-style gardens open to the public in North America. The century-old structure exemplifies the American fascination with Japanese culture and aesthetic traditions that arose in the last quarter of the 19th century and remained strong well into the first decades of the 20th, ‘The house was originally commis- sioned in 1903 by George T. Marsh, an influential promoter of Japanese art and culture who made it the cen- terpiece of his public Japanese tea garden in Pasadena as. a pavilion for the exhibition of Japanese art. In 1911, railroad magnate Henry Huntington bought both the house and the gar- den and disassembled them for aA RESTORATION TALE —THE HUNTINGTON JAPANESE HOL E A RESTORATION TALE short move to his San Marino ranch, where they were reassembled and re- planted by immigrant Japanese mas- ter craftsmen. Since 1928, when the Huntington estate opened to the pub- lic, the Japanese House and Garden have helped draw more than 20 mil- lion visitors to its gardens, galk and research libraries. In early 2008, in preparation f the Japanese Garden’s centennial, 2 the Huntington retained preservation architect Kelly Sutherlin McLeod, FAIA, to lead a restoration of the Japanese House. As she relates hei the project succeeded despite the absence of original plans and other historical documentation, In their ab- sence, the project relied on the house itself to tell its story, as interpreted by the artisans who gave it a voice. ACROSS CULTURES ‘The Huntington Japanese House is not a “typical” traditional Japanese form. Never intended as a residence or tea house, the structure is a unique hybrid of traditional elements of Japanese origin, assembled by im- migrant Japanese carpenters trained in traditional Japanese building tech- niques, adapted as appropriate and necessary for its Western setting.‘De SHOWnECE ArANESE HOUSE OND BAY The project team embarked on its research not yet knowing how much ‘of the house was original or to what extent parts of it had been altered ‘over the past century. The history of the house, the alterations through the years, and the authenticity of de- sign, materials and finishes were not clearly documented. Only after care~ ful exploration and tesearch—and consultation with Japanese master ‘OMA HANDCRAFTED JAPANESE ORNAMENTS AND DESTROYED BY VANDAL WERE RETURNED OTHER builders and scholars—was the team able to confirm that the house's ar- chitectural elements, materials and construction techniques were origi- nal and authentic. With that knowledge, the team elected to focus its work on a holistic, light-handed restoration designed to protect and preserve as much of the historic fabric as possible. This first phase of the restoration focused on 63THE HUNTINGTON JAPANESE HOUSE A RESTORATION TALE the exteriors, with the exception of the painted square medallion on the interior ceiling, which was restored by consultant John Griswold, who care- fully removed a non-original white- ‘wash that had been painted over it. “The approach of repairing an element whenever possible, rather than replacing it, is best preserva- tion practice,” McLeod says. “When there is uncertainty about an ele- ment, material or finish—what it might be or what its significance is— -monaLmorocranisormienouscacssermico the challenge is to do less rather than ATWINTNGIONS NOL SHOWADAKERASTEN” more, Its easy to slip down the path fnuotraarsnnasoscovarcearme of oVerrestoring. As a preservation ‘ORKGRAL FSH ALLOWED FORTHE FREE architect, I frequently find myself re~ RevoxanoormenastexTecuREAx© cout minding clients that a building’s his- OFTHE HOUSES BERR toric character is the very reason they "HE DEcoRAnVE WOOD ELEN AT THE ETRY were attracted to it in the first place. Overdoing a restoration can all too easily extinguish that character, and along with it the building’s authen- ticity, integrity and significance.”HE HU NTINGTON JAPANESE HOUSE: A RESTORATION TALEELEMENTS OF HISTORIC CHARACTER In addition to its age and historic significance, there are specific archi- tectural elements that distinguish the Japanese House as a historic build- ing. They include the exterior plas- ter; intricately carved wood beams and supports; wood-framed rice-pa- pper Shoji screens and stiding wood doors; the wood-shingle roof with its complex curvature; gable roof ends screened with lattice work and or- nate wood medallions; carved wood- cen frieze panels; metal hardware; and natural stone, ceramic and cast stone. Without thoughtful investiga- tion, McLeod says, many of these ‘elements might have been dismissed as unimportant, and historic material ‘would have been forever lost. Atsome point in the house’s past, multiple layers of opaque brown paint were applied to virtually all of its exterior wood features. Careful investigation of painted wood and of isolated areas of unpainted wood revealed a few glimpses of an under- lying rich brown stain that was ulti- mately determined to be the house’s original exterior finish. Rather than stripping off all finishes back to raw wood, which would have reset the hhundred-year-old surface back to an almost-new appearance, project con- servator John Griswold developed a treatment for all materials, including the exterior wood, that was used to remove all non-original paint. The surface profile of the wood was not damaged, nor were corrosive chemi- cals left behind, This allowed for the simple application of a penetrating sealer to produce an appropriately aged finish. ORIGINS REVEALED McLeod cites two character-defining historic elements of the house— @ group of laminated and painted ‘wood panels on the exterior and the wooden deck of the veranda—as examples of how the discovery of original materials led to thoughtful inyestigation and research, and then to meticulous restoration. ‘The panels above the storm doors were thought to have been made of non-original plywood that had been used to replace the originals. When the paint was removed from these panels, distinctive grain patterns were revealed that also could be seen PECES WERE HAND CARVED BY PANES ARTISANS AND CALE TOR NETALED HT ADEE HOME 67| il aSTHE HUNTINGTON JAPANESE HOU! in a few photos from the 1950s. This discovery dated the panels to at least 60 years of age, raising the possibil- ity that they were original. The m: (erial also matched the bottom wood panels of the house's shoji screens, which ‘known to be original Japanese scholars suggested that this cearly-20th-century, three-ply laminat- ‘ed material was most likely selected for its strong. grain characteristics That the wood also strongly resem- bled a Japanese cedar known as S which was one of the most common types of wood used for traditional apanese houses, would have made ita cost effective, available and appropri- ate alternative to imported Sugi Serutiny of the deck of the ve~ randa that wraps around the house on two sides also suggested a con: sideration that the original Japanese SE: A RESTORATION TALE builders may have had in mind, The deck was made from tongue-and- ‘groove boards of western Douglas fir, with cut ends exposed along the perimeter edges. “This. standard Western mate- rial and detailing had long prompted speculation that the veranda might not be original to the house,” McLeod says. “But on the underside of each ‘of the boards we found hand-painted[REARING ORGNAL HOH SCREENS THEIEEARY [WANCETO TIADTIONAL AMNESESUEIMOOD. Japanese characters, or Kanji, that matched layers of old-style Kanji found on the wood framing through- out the house, with which the Jopanese-trained carpenters. provid- ‘ed instructions for assembling the building first in Pasadena, then again on the Huntington grounds in San Marino. A LEARNING PROCESS McLeod believes that the Japanese House restoration project offers many lessons to be leamed by home- ‘owners embarking on restorations of their own. Critical to all such en- deavors, though, is an investment nTHE HUNTINGTON JAPANESE HOUSE A RESTORATION TALE TRADITIONAL PANES LEMENTS UGH ASTHS POWs HOUSE, BROUCHT ANEW AN NOVEL ‘OFTHE 20T CENTURY THE APNESEHOUSEANO {nto careful planning, taking all pos- sible measures to understand the ex- isting building—its original design intent, history of alterations, and cur- rent condition—in order to make formed decisions before implement- ing work. This can prevent the loss of historic materials and stave off critical and eostly missteps. “The Huntington was committed to a preservation-minded restoration plan for the Japanese House,” says McLeod “and realized the value of the time and effort invested in the planning phase for this architectural and cultural treasure, The restoration preserves a unique cultural landscape, and sets a singular precedent for the conservation and understanding of international, cross-cultural design.lenged by the fact that the house's original plans and material spe cations, and documentation of its a terations over the years, were no lon- ger available, the project did benefit from a collection of historical doc ments, including photographs, let- ters and ranch work orders, located both at the Huntington and in local archives.” Still, the house itself proved to be its most eloquent biographer. “Even in the final stages of the project, we continued to discover exciting details about the house’s original form and about the cross- cultural artistry and craftsmanship that brought it to life “Every building has its unique story to tel, if we are willing to listen toit "THE MANES HOUSE SELEWASTHE BEST SOURCE OF Inronnaron ron Te ESTORATION mOyecr John Luke is Bxecuive Editor of American Bungalow. Kelly Sutherlin McLeod, FAIA, is President of KSM Architecture, Long Beach, Calif She is a member of the Board ‘of Directors of the North American Japanese Garden Association. Project Conservator John Griswold, of Griswold Conservation “Associates, also contributed o this article.ARCHIVE EDITION, INC Fine Woven Upholotery Fabrics ~ and custom home decor hand made in America, 310676-2424 wwwarchiveedition.com Catalog with @ 50 actual fabric owatches avalae for 18, i) NN lea S laa lyAa Pa eee Arts & Crafts collection. Se LA Oe eee a Nemeteit: and order samples online. SLs eee) Bradbury&Bradbury 14 Arts & Crafts Outdoor Furniture Ce eee net EO al eae SareeFAMILY OWNED + AMERICAN MADE + ORIGINAL DESIGNS Lighling for the Bungalow : oD ¢ front door to the back patio and all rooms in between, we offer the lighting for your Bungalow home, O sory in Orange, California 7 hand crafied at OLD CALIFORNIA LANTERN COMPANY 975 N. 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Those two notions over- lapped in 2011 when Austin approached his father to help him design and restore a small 1930 cottage that he and his wife, Laura, had purchased in the most unlikely of Portland, Oregon, neighborhoods. At the time, Austin, Laura and their two young daughters were living in a small residential unit they had built inside the warchouse of their custom- printed craft-notebook business, Scout Books, in the middle of Portland’s industrial Eastside, They had purchased the building in 2006 and planned to live there as a temporary measure as they grew their fledgling business “We moved into our commercial space because it facilitated actually being able to afford the building in the first place,” Laura says. “Our mission was always to grow the business to the point that we'd eventually get pushed out.” PHOTOGRAPHY aY ALEXANDER VERTICOF, EXCEPT WHERE NOTED 9iS .. FOR NOW IT'S JUST THE GREATEST LITTLE VIGNETTE As the business continued to grow, their young daughters were growing too, and the need for addi- tional space became more and more evident. So they began to search for a home, not realizing that their future home had been right under their noses the whole time, A BACKYARD PASIS “There's a beautiful old Craftsman- style apartment building directly across the street from our office, Austin says, “and my father and I would often sit outside and admire it when he would come up to visit.” The building was managed by an elderly ‘woman who lived next door to it in a ‘compact, single-story, dormerless Cape Cod-style house. In 2010 she passed away, and the house was listed for sale, Living and working so close to it, they had always been aware of it. But because of its dilapidated condi- tion, they never really considered it as a possible home, It had a small footprint, but it sat on a lot with a large backyard, one that Austin and Laura could see their daughters really enjoying. 80 “We both thought that if it was just the house, then it probably wasn’t for us,” Austin says, “but given its close proximity to our busi- ness, and the fact that there was such huge potential in the backyard, we thought we should go for iti for no other reason than to finally give our girls some space to run around in.” FATHER KN@WS BEST So in July 2011, Austin and Laura bought the house and set out to make it their own, knowing full wel that it needed a complete overhaul. They had an idea of the features they wantedtoincorporate and approached Austin’s father to come up with a design for a restoration “My dad started putting together some sketches, thinking about how we could re-package it,” Austin says, “and he came up with this Craftsman look that we really liked, with a flared skirt, deep eaves and shingle siding.” Rodger, a designer and builder with more than 45 years of experi- ence working almost exclusively in the Arts and Crafts style, isa veteran of countless building and restoration projects up and down the West Coast. He had even built a home in southern Oregon that was originally designed, but never built, by Charles and Henry Greene in 1906 for the F:W. Hawks family. He drew from his vast expe- rience and adapted the house into what he calls a genuine “Portland Craftsman” home. “Craftsman’ in Southern Califor nnia has a different meaning than it does in Portland,” Rodger explains “vs just a different vernacular. They typically have larger lots down there, so they had more room to spread out. They are quite often one story and rambling. Portland Craftsman houses are typically more vertical becaus they were platted on tighter city lot82 RAISING THE ROOF “Before we started, the best part of this property was the backyard.” Laura says. “It’s such a secret little hideaway in this type of neighbor- hood, and it would have been a mis- take to intrude on that with an addi- tion off the back, so Rodger sug- ‘gested that we could go up.” ‘The design for the home cen- tered around keeping the layout of the existing two-bedroom, one-bath first floor essentially the same, while adding a 500-square-foot secondstory that would comprise a master bedroom and bath as well as a small adjoining study. “We were excited to focus all of our energy into this small house and add a lot of the details we wanted,” Austin says. “The flow on the first floor was pretty efficient to begin with, s0 there weren't many changes that needed to be made, except that wwe were able to take advantage of the space under the new stairs for storage “I gutted everything down to the studs and salvaged some of the plumbing and flooring, but just about everything else was cleared out, and then my dad and his crew built it back up. We saved all ofthe original down- stairs windows by stripping, sanding and repainting them, Upstairs we have new windows, but they're traditional weighted windows with sash cords, We still had to meet all of the new effi ciency requirements, but we were able 10 do it with traditional windows that ‘matched the rest of the house.” ‘They were also careful to repur- pose all of the original full-dimen- sional lumber from the ceiling joists that were cut out to allow for the new THERE WAS SUCH HUGE POTENTIAL IN THE BACKYARD, second story, using them to extend the rafter tails of the new roof, pro- vviding a seminal Craftsman detail A COMMUNAL EFFORT “One of things that’s great about working with my dad is that he would invite friends of his that he works with in southern Oregon to come up and help with the project,” Austin says. “They all really enjoyed spending time together working on their craft. There was definitely a lot of camaraderie on the job site.”“LLOVE SUR KITCHEN, IT'S SMALL, BUT IT HAS EVERY- THING WE NEED Rodger and his team of seasoned craftsmen, including Graham Dough- erty and Blake Wilson, worked on the home for eleven months. Some of them, who were in from out of town, took up residence in the house, too—even during the time when the roof was removed to make room for the new second floor. “We tore the roof off in the ‘middle of the rainy Portland winter, but we continued living in it the whole time,” Rodger says. “AS we removed sections of the roof, we had to keep moving our cots around. We even cooked our meals in the house and showered there. It was completely al fresco, and there was wind and water blowing around everywhere, but We had a lot of fun with it” SWEET HOME With the home now finished, Austin, Laura and their daughters couldn't bbe happier with how it turned out ‘The girls now have an inviting back- yard with mature landscape at their disposal. Austin even built them a ‘ree house, from which they look after the three chickens and two ‘goats that also call the yard home. But for Austin and Laura, it’s the simple things that they enjoy most. “Love our kitchen,” Laura says. “Ics small, but it has everything we ‘need, and I can look out the window and keep an eye on the girls playing in the yard.” “Upstairs, with the way the win dows are set up, we get this amazing breeze through our bedroom,” Austin ey OMERopar WHIPPLE: MASTER CRAFTSMAN By DAVID KRAMER Sey yore wets inl FY sents ae Bees eeernrete cavercns win tates of sou re fo, xan ace fe Baer Rodge Vip wie gow Peet rere ee eee ees Sao fdong cnet lng an ‘tring bes ve ayiag mote cece eee eat es Catered atte um afte is cenay Tie's a cast tat pens pert ‘Dering ety yn incomtcen Beers sensi aecr toed cern serge fn a key ssn poe otig abate ae eae ee rae ae tes eee ete camila a ny ngs sn coho fen jou dos, You tlimay a senting fon te ee Tee ante 86 Early in his career, Rodger restored homes that he and his family were living in at the time, including a 1907 bunga- low that had belonged to the family of the plein air impressionist William H, Koester, and later a Craftsman in South ‘Pasadena that had been Richard Nixon’s ‘campaign headquarters during his suc- ‘cessful run for the U.S. Senate in 1950, Rodger also restored historic com- mercial properties, like the old florist shop that he re-packaged and ran as the Raymond Restaurant, a place that’s still 1 Pasadena landmark today. “The building was purported to be fone of the caretaker's units from the original Raymond Hotel, dating back to the late 1800s,” Rodger says. “T tore it all back to its original structure and completely rebuilt it, and ‘made all the furniture for it, 100." ‘Afow years late, after selling the restaurant, he moved his family to a seven-acre plot on the outskirts of Santa Barbara, that had previously been an old dairy farm. “In Santa Barbara everything is Spanish or Mediterranean Revival, but I bought, the property and built a Craftsman house there. The year I fin- ‘shed that house, it won the best new house and the best landscaping award ia Santa Barbara.” HEADED NORTH Rodger and his family lived there for the next ten years until clients he had previously worked with in nearby ‘Montecito asked him to look ata property they had just purchased outside of the small, historic town of Jack- sonville in southern Oregon. ‘On that same trip, Rodger eame across a piece of property closer to town that he ended up buying and developing into what the locals refer to as “Whippl-vill.” ‘The five-acre plot included an 1868 farmhouse, which Rodger restored and moved his family into, and 13 addi- tional lots on which he built nine new cottages that blended in seamlessly with the scale and vemacular of Tacksonville’s other historic homes.‘Two of the Oregon projects he’s most proud of provided him with a grand canvas to showcase his craftsmanship. The first was a home for clients in rural Williams, Ore., who ini- tially wanted to build a Mediterranean-style home on their ‘property. Rodger convinced them that a Craftsman home was ‘more appropriate for Oregon’s rustic, forested landscape. “This is Oregon, and we're out in the woods,” he says. “A ‘Craftsman was just the right fi He worked with architect Mike Casella to design and build 1 dramatic Greene & Greene-inspired home. “The entire interior is all paneled in redwood, and it’s got ‘everything: the millwork, the volume, the big porte cochere. Ws the closest thing I've seen to an authentic Greene & Greene hhouse since the Greenes did it” ‘The second project was 1 home that was actually designed by the Greenes in 1906 for the F'W. Hawks family in Pasadena, ‘but never built. Rodger acquired copies of the original plans from the Greene & Greene archives and brought them to an old friend of his in Pasadena, Lee Herschberger, a well-known, architect who re-rendered the plans for the site just outside of Jacksonville, Rodger and his team then built the home, which, they affectionately refer to as the Lilac House, over the course ‘of just nine months, ‘Roger and his longtime business partner and friend, Tom ‘Swift, made all of the doors, windows and cabinets, as well as all the other millwork, including the redwood barn shake siding, for the home’s exterior, a hallmark of most Greene & Greene designs. He also brought in Tim Allen from SwiftSure Timber- ‘works to produce the timber trusses, curving knee braces and ‘massive porch timbers for the home. For a man who's seen and done just about everything when it comes to the Craftsman aesthetic, he shows no signs of slow- ing down, and he’s eager to find the next great project. “The Craftsman period, for me, was the highest and best adaptation to housing, It's a commitment to material, form and, function, The Craftsman aesthetic is where my heart is. There's {just something spiritual in it for me, You can aso see more of Redger's work at rwhipple.com, or contact him directiy at $41 890-5690, 87says. “So in the summertime as we're falling asleep, we get this beautiful gentle breeze, and it’s really quite magical.” COMING FULL CIRCLE Seeing his father take such pride in the art of his eraft over the duration of the restoration reminds Austin why he and Laura started their cus- tom-printed craft notebook business in the first place. “It comes back to that aesthetic pursuit and being involved in producing something yourself,” he says. “In many busi nesses today, there’s no real attention to detail. It's much more about the bottom line and how fast they ean do something, and in most cases, the fin- ished product suffers. We've focused ‘on making sure that the approach to ‘what we do really is about the details and the care that goes into it, the same way my father does.” “The glorification of working with your hands. should never be something that’s looked down upon,” Laura says. “It’s really what the Arts and Crafts Movement was all about, and that’s a big part of what we do at ‘our work. Design is about execution, so if you only work with acertain part of it and then hand it off to someone else, you don’t get the fulfillment of seeing your vision come to life.” Rodger counts this project among those that he’s most proud of, and he relished the opportunity to breathe ‘new life into another tired old home. “Lm so grateful that the house ‘worked for my son—it's so perfect for them,” he says. “I'm sure there'll come a time when they'll need to ‘move to bigger space, but for now it's just the greatest little vignette, and it ‘was a pleasure to work on. i" gS RODGER COUNTS THIS PROLCT AMONG THOSE THAT HE'S MOST PROUD 9F, “I truly think that people need to know that you can do something beautiful with anything. If you look across the country, there's a tremen- dous amount of homes that need to be saved and revisited, but it doesn’t happen often enough because there are many people who feel it’s easier and more lucrative to just knock a building down and put something new in its place. And that’s really a shame, because if everything is always just about the money, then architecture and craftsmanship might as well be dead.” David Kramer is a Portland-based freelance writer and curator of the website PheCrafts ‘manBunglow.com. He has writen a number of anicles for American Bungalow. He is grate to Rodger, Austin and Laura Whipple for making this article possible 89)SASSAFRASS POTTERY SIMPLY BEAUTIFUL POTTERY custom work available - www.sassafrasspottery.com - sarah@sassafrasspottery.com - 626-230-6661 cas Renee eaeercimatne = 2000 0.Ca Conlin tt unter i EricaHAN? 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Its sentimen- tal theme soared over Jackson’s desire to see her work do for the Native American Indians what het friend Harriet Beecher Stowe had done for black slaves in her Uncle Tom’s Cabin. Nevertheless, in the course of writing about the romance of Ramona (part Indian) and Alessandro (full- blooded), she offered a picture of Souther California that deeply affected the readers of her novel. Jackson (1830-1885) had traveled widely in the area and had interviewed many old-timers who knew California his- tory first hand. She used their experiences as well as hers ‘in her book. It opened the eyes of Americans to what was to them a rich history of places and events that they had long overlooked. It gave them a sense of the exotic. Where had Ramona lived and traveled? As someone has noted, Ramona did more for the tourist industry than it did for the Native Americans. C rrscidcan wit tio writing and publishing of Ramona was the completion of two transcontinental railroads, the Southern Pacific and the Santa Fe. The latter reached San Diego in 1884. The Southern Pacific was completed about the same time and offered stiff competition, Rate wars ensued, but more important for our story, both railroads showered the country with publications adver- tising the beauty of the land along their tracks. Jackson's Ramona and her earlier Glimpses of California and the ‘Missions (1883) were easy sources of information and inspired the wiiters to celebrate the Spanish heritage.Significantly, the Santa Fe adopted the arches and gables of the missions San Diego and San Luis Rey (near Oceanside) as models for their new railroad stations Jackson, who devoted her second trip to California to a study of the missions, mentioned their generally ruinous condition in her novel. The only mission that had escaped neglect was at Santa Barbara, Jackson used it as a back- drop for one of her marriage scenes. In a sense, it sat there waiting for tourists. AS Jackson observed, the rest of the missions had been damaged by earthquakes or by human neglect. Naturally, advocates of the Spanish culture would insist that attention should be paid to their preservation. Such a preservationist was the indefatigable Charles Fletcher Lummis (1859-1928), like Jackson, a New Englander with a conscience. After almost graduating from Harvard, he had walked from Cincinnati to Los Angeles in the year (1884) that Jackson had published her novel. Eventually becoming the head of the Los Angeles Public Library, Lummis began collecting manuscripts from the Spanish period. He published and later recorded -MSSION SAN LUS REY DE FRANCIA (11 AND LATER RESTORED 1-9, Spanish songs. He even donned a Spanish (Mexican!) cowboy hat, which he wore with his corduroy suit. In 1894 hhe and some of his friends founded the California Land- ‘marks Club (incidentally 16 years before the formation of the Society for the Preservation of New England Antiqui- ties!) whose aim was to preserve the Spanish missions. {SANTA FE RALHOAD STATIN SAN BERNARONG (WA MOMARCIOTECT, 1 95‘ARLES LU AND DAUGHTER INTHE CLOSTEN Of FISON SAN IAN CAPISTRANO, CA 192 NOTIGETHATTHE CALFORMA ANOFARES U8 Loummis was especialy intersted inthe San Suan Cap- istrano mission, which had not only suffered from Span- ish and Mexican neglect but had been in picturesque ruins ‘caused by an earthquake in 1812, Believing, like William Mortis, that the beauty of old buildings lies in their look- ing old, Lummis had his workmen shore up the ruins of the large church by inserting concrete in weak places. He roofed corridors so that the structure below would not further deteriorate. But he made no attempt to bring the buildings back to their original condition. Unfortunately hhis example was not followed in the preservation of other missions where restorations took place, often with con- siderable imagination. ‘The missions being preserved and restored, it was almost inevitable that their styles and details would be imitated by architects and their clients as emblems of a 96 ROOFED THE CORRIDOR UT LEFT THE OLD WALLS AND ARCHES W/THOUT COVERING THE CRACKS AN ATTEMPT TO FRESERVETHESIEN OF ACE. slorious past. Since the Philadelphia fair of 1876 that celebrated the centennial of the Declaration of Indepen- dence, Americans had been intrigued by their history. A Colonial revival in architecture was one of the results Architects such as McKim, Mead and White reinterpreted the shingled dwellings of New England to develop what Vincent Scully, an architectural historian at Yale, has called the "Shingle Style.” It swept the country, including the Southwest However, it was natural that some patriots would question the use of an Easter style in the West, which had never experienced British colonialism. Obviously the Spanish mission was the more authentic expression of the Southwestern experienceLactic ppt tiescrem caine, sion Revival in architecture, but the first structure to give ita wide public was the California Building at the World’s Columbian Exposition held in Chicago in 1893. When a San Francisco architect, A. Page Brown, was chosen to design it, he was instructed to fashion it in a “Moorish and Mission style,” which incidentally suggests that it was a term already understood, at least in California, ‘What resulted was the second-largest state pavilion at the fair. I contributed much to the image of California in the ‘American mind, The Mission Style’s greatest popularity, especially in the Southwest, lasted from 1890 to 1915. (In the 1920s, it ‘was replaced by the more sophisticated Spanish Colonial Revival.) But while it lasted, it was appreciated for its religious significance and was adopted by architects of churches (most of them, ironically, Protestant), but also by designers of schools, post offices, libraries, hotels and even factories, not only in the Southwest where the mis- sions were, but also in all parts of the United States CCAUFORNA SLLDING WORLD'S COLLPEIAN EXFCSTION, CHICAGO (A AGE BROMN ‘ARCHITEC. I. THE CLASSICAL FACADE (OTHE LEFT MAY REFERTO THAT AT THE SANTA ‘CRNTRALPESREEAN CHURCH MERCED, CALIE(COWELL ND MUON EHGNEEN, 191617). THE MSH REWDAL WAS 7