Annapolis Home Magazine

Annapol i s HOME Vol. 4 No. 4 2013

Anne Arundel | Eastern Shore

Escape 1

Annapolis Home

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Anne Arundel | Eastern Shore

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FEATURES A Summer Evening on Spa Creek

Annapolis Home tours Spa Creek's architecture and waterside community.

Retreat to the Shore

Custom builders create a home whose shingled facade masks bindings made of steel.

Double Identity A fearless hands-on collector modifies his rare Porsches.

DEPARTMENTS

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Robert’s Picks

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Garden: Rain Gardens

54

Fine Design: Endless Summer

56 In the Kitchen: Crab Cakes

60 The Page After: Far Away

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CONTENTS

Annapol i s HOME

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Cabin Fever A love of wood inspires an Eastern Shore couple to new creative heights.

Annapol i s HOME Anne Arundel | Eastern Shore

Editor Kymberly B. Taylor Creative Director Ryan Gladhill Senior Designer Samantha Gladhill Contributing Photographers Geoffrey Hodgdon Christine Fillat Derek Jones Ivana Biela

Publishers’ Letter Most people—certainly most people in the U.S.—look forward to and even dream about getting away from their everyday routine. Taking a vacation or building a weekend getaway is part of the American lifestyle. In the spirit of summer getaways, we present two houses, one a cabin mountain retreat and the other a beach house.

The cabin, built by builder Brad Lundberg and his wife Gail, is exceptional for its use of a rich variety of woods. The Eastern Shore beach house is notable because it is designed with hurricane force winds in mind.

This issue also features a story on Spa Creek, focusing on the rich array of homes sited on this body of water that is central to the character of Annapolis. Some of the homes on Spa Creek are second or vacation homes; other homes are lived in year round.

Cars serve as both a means for routine travel and a form of escape. Our story on a local Porsche and vintage car collector reveals one man’s love of these refined machines on wheels.

Annapolis Home Magazine, which we started three years ago during a recession, continues to grow and expand. In the spirit of growth, we welcome new advertising account executive Taryn Chase. For those of you who are business owners or marketing specialists, we hope you will have a chance to work with her to strengthen your marketing program. You can contact her at taryn@annapolishomemag.com.

Enjoy the rest of the summer!

Kymberly Taylor & Robert Haywood Publishers

kymberly@annapolishomemag.com robert@annapolishomemag.com

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Architectural Columnist Chip Bohl Contributing Writers Ted Sheils Christine Fillat Yvonne Lawson Missy Jones Copyeditor Katie Pierce Marketing Consultants Taryn Chase Jessica White Publishers Kymberly B. Taylor Robert E. Haywood

Advertising in Annapolis Home Through its advertisements Annapolis Home strives to showcase businesses that possess a strong commitment to high standards of professional integrity and customer service. We seek advertisers who share our business philosophy. For advertising inquiries, please contact Robert Haywood at robert@annapolishomemag.com or please call 443.942.3927

Annapolis Home Magazine P.O. Box 6560, Annapolis, MD 21401 Annapolis Home is published bimonthly by Taylor Haywood Media LLC. No part of this magazine may be reproduced in any form without express written consent of the publishers. Publishers disclaim any and all responsibility for omissions and errors. Publishers disclaim any and all responsibility for an advertiser’s products, services, or claims. The views expressed in this magazine are solely those of the writer.

All rights reserved. © 2013 by Taylor Haywood Media LLC

Employment: Realize your highest potential!

Join the Annapolis Home marketing and sales team.

Contact robert@annapolishomemag.com

Rotary Club of Annapolis, Crab Feast Photo Courtesy of Ben Michaelson.

Robert’s Picks 1

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You can attend the world’s largest crab feast while contributing to worthy community and cultural organizations. The Rotary Club of Annapolis will host the 68th annual Crab Feast on Friday, August 2, 2013, from 5 to 8 p.m. at the Navy-Marine Corps Memorial Stadium.

To purchase tickets for this major fund-raising event, visit www.annapolistickets.showare.com.

The Chesapeake Chamber Music 4th Annual Monty Alexander Jazz Festival takes place on Thursday, August 29 through Sunday, September 1, 2013, at the Academy Art Museum, Avalon Theatre, and Tidewater Inn in Easton. The lineup of musicians is terrific. For a full schedule of events visit www.chesapeakechambermusic.org.

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The Chesapeake Pride Festival, the only LGBT Pride Festival in Anne Arundel County, aims to become a premier showcase for emerging and established performers. The Festival will be held on August 3 from noon to 6 p.m. at Mayo Park Beach, Edgewater. For more information and to volunteer go to www.chesapeakepridefestival.org.

Dine at the Reynolds Tavern and enjoy Annapolis Shakespeare Company's production of Moliere's Tartuffe in the Tavern’s courtyard. This seventeenth-century comedy satirizes blind hypocrisy and religious piety, which led the Church at the time to call Moliere a “demon in human flesh.” The production is held on Tuesday evenings in July and August. For details, see http://www.reynoldstavern.org.

Save the Date! On September 21, the 2013 Garden Party to benefit the Hammond-Harwood House will be held at Tulip Hill, a beautiful eighteenth-century home. The event this year will highlight the debut of the 50th anniversary edition of Maryland’s Way, the classic cookbook assembled by the members of the Hammond-Harwood House Association in 1963. To learn more, visit www.hammondharwoodhouse.org.

Robert Haywood, Ph.D., studied art and architectural history at the University of Michigan, Ann Arbor. He has taught at MIT and Johns Hopkins University and has been a residential fellow at the Center for Advanced Study in the Visual Arts and the Getty Center in Los Angeles.

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a summer evening on

SPA CREEK

By Ted Sheils • Photography by Derek Jones

Publishers’ note: The hour is evening and the season summer.

Circumstances are just right for Gina and Terry Fitzsimmons to share one of their greatest pleasures with us: cruising Spa Creek to take a leisurely glance at other people’s homes. As we tour the creek with them, we realize that what propels “the glance” is the inevitable tendency to muse all the while, and to remark, as Gina does, “Look at that little houseboat. They are renting kayaks out of it.” Or, “I love how they incorporated that lighthouse into the design of that house. That home with the barn roof is my favorite!”

It is Gina we have to thank for this topic, in fact, and photographer Derek Jones to capture Spa Creek’s eccentric beauty. After a thoroughly amazing tour led by Terry on his boat, we turned to architect Ted Sheils to help identify architectural elements and define the elusive Spa Creek vernacular.

Along Spa Creek’s short spine, measuring considerably less than two miles, one can view homes large, small, and every size in between, and built sometime over the last three hundred years. They consist of at least a dozen or so different architectural styles, all nestled among neighbors that have a wide range of appearances. Toward Spa Creek’s mouth lie remnants of a more commercialized waterfront; larger condo buildings dot the creek’s south side. But this diversity is as unifying an element as the body of water on which these buildings perch.

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By Kymberly Taylor

Vol. 4, No. 4 2013 13

The shores of Spa Creek were developed piecemeal, gradually over time, which lends a certain charm to this alluring hamlet, one that is both natural and manmade, and not easily reproduced.

It is not just the water that makes this tidewater inlet so scenic: it is also the landscape. Unlike parts of the Eastern Shore and southern Maryland where the landscape is generally flat (and equally beautiful in its own right), the landscape of Annapolis rolls gently down toward the water. This allows boaters and residents alike to look to the north and back toward the city and be greeted by a composition of homes ascending uphill. Beyond, the skyline is marked by four iconic spires that have come to define the city: the Naval Academy Chapel dome, the St. Mary’s and St. Anne’s steeples, and of course the State House dome located on the highest ground in historic Annapolis. It is a picturesque composition of which painters dream and to which city planners aspire.

Spa Creek as a whole is greater than the sum of its parts. You can isolate individual buildings but they become less special if removed from their context. It is the mark of an extraordinary place when you return home from a vacation and realize that where you live is no less exceptional than the place from where you have returned. Walking over the Eastport Bridge, I’ve often looked to my right and left to see the sun setting over Spa Creek or the fleet of sailboats crossing the finish line of the Wednesday Night Races and realized how lucky I am to live here, that this kind of beauty does not occur everywhere and in every town.

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1 A charming yet modest red brick home capped with a French inspired mansard roof. Located off Southgate Avenue and tucked behind taller houses whose water views remain preserved.

2 One of the larger Shingle style homes at the mouth of Acton’s Cove. The full wrap-around porches, nearly floor to ceiling windows, and inviting Adirondack chairs are well suited to enjoy activity on the creek.

3 An interpretation of French Cottage style architecture by Alt Breeding Schwarz Architects. Located on the water’s edge on Shipwright Harbor.

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1 Dense housing located on the south side of Spa Creek. Much larger in scale than the average single family home, each building allows a greater number of inhabitants to live in close proximity to the creek and provides for more open green space.

2 Prominently sited, this perfectly symmetrical home located on the Eastport side of the creek is hard to miss.

Designed by Scott Rand, built by Pat Mona.

3 This house at the mouth of Old Woman’s Cove is representative of a traditional foursquare layout typical of the tidewater architecture in the area.

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1 Houses at the end of Conduit Street huddle closely together. The stepped landscape affords more homes to have views of the water. The State House dome is just peeking out in the background, becoming much more visible in the winter when the trees lose their leaves.

2 The public boat launch and kayak rental at Truxtun Park. Encompassing over eighty acres, Truxtun Park is the largest stretch of green space on the creek.

3 A beautiful sunset sky near the headwaters of Spa Creek. Located just several hundred feet across the water from both Murray Hill and Truxtun Park, comparatively the distance by land is a world away.

4 A Shingle style house on Old Woman’s Cove at the foot of Thompson Street in Murray Hill. Note the “lighthouse” structure included in the design. The landscape provides a seamless transition between house and water.

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1 An interpretation of a Dutch Colonial designed by Robert Hammond. Located on a corner lot of Shipwright Harbor the house is nestled in summer foliage. In winter, bare trees reveal the cityscape, including the obscured State House dome in the background.

2 An example of modern architecture designed by Boggs & Partners. Located off of Spa View Circle, the house, instead of running parallel to the shoreline, is well oriented to take advantage of the long view down the creek toward the Eastport Bridge.

3 A steep yard is no deterrent to outdoor living on the water as these homes on Lockwood Court demonstrate. The deck was designed by Gina Fitzsimmons.

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One of the few remaining boathouses left on Spa Creek serves as a reminder of a previous era. Located just before the navigable end of the creek off of Spa View Avenue.

Ted Sheils, a native Annapolitan, is an architect with Bohl Architects located in Annapolis. He has a Master of Architecture degree from the NewSchool of Architecture + Design in San Diego, CA.

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CABIN FEVER

By Kymberly Taylor Photography by Geoffrey Hodgdon

Together, Brad and Gail Lundberg built a cabin near Alpine Lake in West Virginia from the forest floor up, using seventeen different species of wood. They furnished their mountain retreat, built on a lot purchased by Brad’s father over thirty years ago, with finds from antique shops, local shops, fields, exotic wood outlets, and lumberyards. And, stayed married during the process. The home, perhaps, drew them closer together. The project summoned the most inventive and even zaniest parts of each. In this heightened state, their creativity double-blossomed, even quadrupled—they shopped, chopped, sawed, framed, cemented, and furnished every room, creating in fifteen months a space alive with infinite wood tones and textures, and with something rare, surprise.

For instance, when have you last seen a bear hanging from a tree limb in a living room? The couple discovered Willy the bear in the backroom of a dusty shop in West Virginia, owned by a taxidermist who displayed his animals and other oddities. “I had this perfect place for Willy. But the owner really didn’t want to sell him because it was one of his very early efforts,” says Gail. Eventually, she won the battle: Willy now overlooks the living room.

Also in the living room are whimsical rocking chairs hand-made from hemlock and redwood. These were the first furnishings the couple bought, even before they broke ground; in fact, the design of the entire cabin evolved around the rocking chairs. They came across the pair in an antique shop in upstate New York and planned to buy just one thing. However, they departed with three seminal furnishings: two rocking chairs and an unusual pinecone table. The cabin’s architecture and interior design evolved in just this way, chair by chair, shop by shop, board by board, bear by bear.

Brad, who owns Lundberg Builders in Stevensville, MD, is at his heart a custom builder, a craft that offers him a chance to manipulate his favorite material: lumber. He has more than an average builder’s sensitivity to wood. As the cabin reveals, he has a gift for spotting planks, trees, stone, and granite that to anyone else would look ordinary, useless, ruined, or intimidating. From a chaos of disparate parts, he is able to fashion a design almost instinctively that is unified and dynamic.

The cabin draws its power from the wood itself, which is left as exposed and as natural as possible. The eye is drawn to precious heartwood, growth rings

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The cabin was never meant to be too big, just bomb proofed inside against the grandchildren.

Opposite Page: The front door is made from rare black walnut Brad Lundberg found many years ago, sure he would use it for somthing or other.

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Brad Lundberg built a unique wall in this loft created from tree limbs found around the yard, cut down to size, and neatly arranged.

Above Left: A giant slab of rare spalted maple became the kitchen island. Its rough edge is exposed.

Opposite Page: The interior and exterior design evolved around this pair of rockers, discovered in upstate New York. They were the Lundberg's first purchase for the cabin.

revealing many lives. Old barn beams with splinters, dents, and holes rise, rugged and unfinished. Rough edges, saw marks, dents, splinters, and fungus and worm patterns are not planed away, but cherished; there is great beauty in such contained damage. It is these imperfections, says Brad, that hint at forgotten trades, lost eras. How does he choose one barn beam over another? “I probably can’t tell you what it is . . . it is the same when I look at my wife. I just know. You really can’t quantify it, why one person is attractive to you or not and vice versa.”

kitchen, living room, and bathroom wormy chestnut. The kitchen island and first four stairs leading to the second level are composed of three slabs of spalted maple. Spalted means “almost rotten,” infested with a fungus and harvested at just the right time: the fungus has had time to form unusual patterns but has not yet destroyed the wood, explains Brad. One massive maple slab forms the kitchen island. Two other slabs were damaged so Brad split each in two to create the first four stairs leading to the second floor. The remaining stairs are circle-sawn oak, which is oak still retaining its saw marks.

Brad, a reserved kind of guy who, among many other things, is a seasoned Boy Scout leader, went all out, perhaps happy to be building, uncensored, a cabin straight from his imagination.

The ceilings are antique pine, the floors hickory, and walls in

Each item, each room, has a story, laugh Brad and Gail. The table in the living room is a giant blacksmith’s bellows from the nineteenth century that still works. “The kids put notes inside and blow them out,” says Brad. The kids love the cabin and

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Special finds here are the garden gate salvaged from an old resort in Oakland, West Virginia, barn beams, and four steps made from rare spalted maple.

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All materials in this cabin are left as natural looking as possible, like this stone basin atop a log pedestal.

An antique canoe that was too big to fit in the living room now hangs in the back porch, suspended by its paddles.

the couple built it with them and future generations in mind.

Brad used to hide money in one of the barn beam’s holes at the base of the stairway. His youngest grandchild would pocket the money year after year, without telling his brother and sister. “It was the first thing he did when he got here. He would reach up and there was always money up there. He couldn’t figure out why,” says Brad.

Along with barn beams holding endless money, the home has many other special elements. The kitchen is an example.

Dominated by the island with its dramatic rough edge, it looks almost free of appliances, which is what Gail had in mind.

Toaster, microwave, and refrigerator are unobtrusive, with the cook top, a black piece of glass atop a hunk of black granite, almost vanishing into black granite counters.

Other ingenious touches include a bathroom with a shower floor made of river pebbles and an antique canoe suspended by

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its paddles from the back porch ceiling. The Lundberg’s reflect on the early days, when they had nothing to sit on but folding chairs. Today, the cabin feels finished. It exudes something dear to Gail and Brad, the elusive quality writer David M. Foley speaks about: “Do you know that it’s possible (although very, very hard) to create a building that makes you feel the way you do when a loved one smiles at you or when a child holds your hand?” This cabin has a big heart. In fact, you could say the home is full of itself. Yet, this is a compliment, for this house is full to overflowing. It shares itself with you; it is honest, beautiful, unabashed by its rough edges. There is humor in the very air as if the cabin is chuckling to itself in a pleased kind of way. It knows Gail and Brad will never be done. After all, says Gail, they still need something for the left-hand side of the living room to offset Willy.

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Shore

Retreat to the

By Kymberly Taylor Photography by Ivana Biela

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Previous Spread: This 4000+ foot vacation home on Dewey Beach is anchored in place by subterranean pilings and steel beams.

The walls, another reference to the Atlantic, are painted with "Sea Salt" made by Sherwin Williams. The pale blue-green became the home's neutral unifying color.

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his Nantucket-style home in Dewey Beach is magnificent,

but, if not built correctly, it could be blown to smithereens by

severe hurricane-force winds. However, this residence, steps from Rehoboth Bay, is custom-built and outfitted with disaster in mind. Built by Echelon Custom Homes in Delaware and designed by Architect Paul Kiss of Olivieri, Shousky & Kiss, P.A. in New Jersey, it can withstand winds up to approximately 110 miles per hour, due to a close collaboration between Kiss and Echelon Operations Manager Lance Manlove. This kind of custom building is rigorous and expensive. “Most people want to live on the Bay and think “‘that’s awesome’ but they don’t think about the risks involved, what they could be in for. You want a house built properly.”

Manlove explains that this home succeeds because it is a balance between fine architectural design and engineering. Kiss designed the home with many windows, which adds to its aesthetic value.

However, explains Manlove, windows weaken any structure. Strong winds seek out crevices, door hinges, cracks in weather stripping and spaces around windows. Once a window is broken, winds rush in, creating a vacuum. The house might implode and the roof uplift or blow off. This is why people nail plywood to their windows during heavy storms, he notes. “Once the wind breaks the glass, you are done.”

The homes left standing after hurricanes usually have a steel piling foundation and grade beam system. Manlove explains how this home’s foundation is supported by subterranean steel pilings driven 25 to 35 feet underground, deep enough to hit ground solid enough to bear the load of the house. The home, for reinforcement, is strapped or bound together by steel. He explains that metal rods are sunk into the concrete footers and then tied into the top plate of the second floor. Then, the roof is strapped with steel to the second story below. “Now, the home is one continuous system, with no chance to uplift,” he says.

Next is the addition of hurricane-approved storm windows. These have a double pane but one of the layers is laminated glass so it can resist flying debris. “The glass will shatter but it won’t break,” says Manlove. Code mandates the use of these double-paned windows, roll down shutters, or plywood shutters.

Manlove notes that special doors installed in the most vulnerable spots also protect this home. “Outswing” doors are positioned usually on the northeast side. Most doors are hinged so they open toward the inside, but this can be dangerous during storms, since the wind will rush under and around it and drive rain falling not just down but sideways into the house. Expert flashing and caulking is also imperative. With “outswing” doors, the hinges face outward, adding another layer of protection. “The more the wind blows, the tighter your door gets and the harder it is to open from the inside,” explains Manlove. Gales may howl and rain pelt this home. Yet, the steel pilings 25 feet under ground will hold fast.

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The kitchen's tiled backsplash and walls are a twilight blue black, meant to echo the depths of the Atlantic Ocean, rather than the brilliant blue of the Caribbean.

The home is storm proofed on the outside and perpetually serene on the inside, with the hues of the Atlantic coast masterfully combined by designer Matthew Adler of Echelon Interiors, a division of Echelon Custom Homes. Adler, who designed the interior for an investor who soon sold the home, avoided strong pops of color. Instead, he chose colors and materials that would appeal to many yet not appear too contrived. “I wanted this to reflect the Atlantic, not the Caribbean. The whole idea was to create the timeless feeling of an old beach cottage that is updated,” he says.

The white ceilings in the kitchen and great room are composed of wide plank v-groove, which is the flip side of bead board, he explains. This is complemented by white furnishings, navy blue accents, dark wood tables and light hardwood floors, made of durable sand-colored white oak that can survive sand inevitably tracked in.

Then, Adler chose Sea Salt for all of the walls on the first floor. “It is a blue green but acts as a neutral,” he says. In the kitchen, he chose classic white for ceiling, cabinets and trim. The sea of white is broken only by “twilight blue black” tiles and backsplash. The nautical theme is carried through by the cupboards and cabinets,

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with their vertical boards. These are classic and nostalgic, as they recall old-fashioned lifeguard towers, docks, and boardwalks.

There is nothing to compete with the view, with the sound of the waves. Art on the walls add an occasional splash of color, yet there is a discipline here, a repetition of subtle hues.

This order is relieved by the architecture itself, the way the porches sprawl generously, the way connecting open walkways on both floors invite one to pause and catch the breeze. Also, the upper walks hark back to the widow’s walks found in many classic Nantucket whaling homes and mansions. The balconies were paced by those watching for a ship on the horizon to appear, carrying their beloved safely home.

In the office downstairs, there is a generous window seat welcoming to the soul: one can pause, read a book, or contemplate the bay in peace. Let it rain, let it storm.

Kymberly Taylor has a BA in Journalism from Boston University and an MFA in Creative Writing from Columbia University.

To resist the danger of blowing off during hurricane season, the roof of this home facing Rehobath Bay is bound with steel to the second story below, which, in turn, is bound by steel to the first story, supported by a foundation buttressed by subterranean steel pilings.

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Double Identity

By Kymberly Taylor Photography by Geoffrey Hodgdon

Robert Abbott stores his vintage Porsches in a double lift in a modest garage or parks them upon a quiet, tree-lined street in a neighborhood where the sidewalks are generous and kids eating popsicles whiz by on scooters.

The tranquil scene is a perfect foil for the double identity buried within a Porsche sports car. The German-made edgeless vehicle looks respectable enough, but if deep inside you harbor a desire to roar past your fellow road mates, jump the guardrail, and land on the race track (in the lead), the capabilities are there.

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Vol. 4, No. 4 2013 41

“

In everyday life, it plays the part of an extremely sporty gentleman with the highest degree of driving safety; but, if desired, it can also be a wild animal,” writes Reiner Scholoz about the 911 in Porsche’s Christophorus magazine.

It is perhaps this subtle duality, the call of the wild that attracts Abbott, who likes to purchase a vintage Porsche and then “crazy modify it.” His latest line-up includes cars you have seen in chase scenes and great Hollywood films such as Bullitt, Top Gun, Cannonball Run, Le Mans, and Legally Blonde: a 1956 Hoffman Blue custom-bodied Roadster, a 1957 Slate Grey Speedster, a 1972 914 in rare Willow Green, and five early-model 911s.

These Porsches are rough prizes, the last of their kind, containing Porsche’s signature racing DNA but not the electronic driving aids found in subsequent generations that some complain make them too easy to drive. Abbott travels widely, racing, buying, selling, and trading Porsches, often accompanied by his son Alex, his girlfriend Brandi, and daughter Kati. Many of the cars, says Abbott, are never sold or even seen on the open market.

A highly skilled dentist with a mobile office, Abbott appreciates fine tools and industrial design. He likes that the cars are over-engineered, can drive for 300,000 miles or more, and are often fine-tuned past perfection. Some he builds from the ground up. Others he improves by mixing and matching high performance parts from the period.

This is the case with his 1968 Ivory 911 R, with gas filler cap through the hood and oil tank on the side for quick pit stops. The 911 has lightweight body panels throughout; even the door handles have holes drilled into them to ensure that the car has no unnecessary weight. The hood hold-downs are from a vintage Ferrari. The mesh grills come from a 356 Carrera GT. His 1957 Speedster has been transformed by a high performance engine built to his specification. The 1956 custom-bodied Roadster was built from the ground up. This “one-off” car creatively combines body parts from multiple Porsches to produce an award-winning custom vehicle that has been displayed at the Smithsonian Museum.

Another distinct car in Abbott’s collection is the 1968 Polo Red 911 S. Built in the Porsche factory in Zuffenhausen, Stuttgart, Germany, it was not approved for mass distribution in the United States. This fact did not stop one determined driver. “An American serviceman went to Europe, bought it and imported it to California as a used car with only four hundred miles,” recalls Abbott. “This is a perfect original time capsule car.”

He remembers who sold him his very first new Porsche approximately ten years ago: Mike Maurer. As the new car Porsche sales manager for Porsche of Arlington, Maurer recalls that Abbott visited the showroom for over a year, conducted copious research, and returned with question after question. “Since I was an enthusiast too, I just went right along with him, I was in no hurry,” reflects the soft-spoken Maurer. He left the Arlington dealership in 2008 when recruited to work in the new Porsche of Annapolis dealership founded by C. David Johnson Jr., owner/ principal of Johnson Automotive Group in Raleigh, NC, and General Manager Frank Donatoni.

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Annapolis Home

On the right is a classic get-away car: a Speedster. On the left is a 911 R.

This Speedster's window shield is angled back dramatically and rimmed with chrome.

Vol. 4, No. 4 2013 43

Maurer glances at a couple examining the newest Cayman in the vast showroom just beyond his desk. There is a telltale gleam in their eyes; they could be Porsche-shopping addicts or collectors. Maurer has seen them all. He notes that collectors are joined by their fascination with the car, but that Abbott shatters the stereotype: “He knows more than any other collector I know. With him it is not about possession. He has delved beneath the surface. He can go into the intimate details.

Much like a jeweler who knows the history of each individual stone, its composition, where it is mined.”

To put it delicately, it takes one to know one. Maurer, who has been selling Porsches since 1982, casually reels off at any given moment the history and features of almost any Porsche, historic or new. The son of a Naval Academy graduate, he attended Annapolis High School briefly and lived throughout Europe, where his father was stationed with a branch of NATO. As a teenager in France, he coveted his father’s Porsche 1958 356, which preceded the Porsche 911. “I would push it uphill late at night, disconnect the speedometer and go driving,” he admits.

Maurer sold Abbott his current daily driver—a sleek black Cayenne.

The sports utility vehicle neatly stores his entire office, with sophisticated dental equipment that he and his team use to treat seniors in need of dental care in hospitals and nursing homes. Most would never guess that the respectable Cayenne is but a clue that, if traced back to his serene home, reveals a glistening line-up of his secret loves: the vintage 911 in its purest form.

The family about to take off. From left to right: Rob, Alex, Kati, and Brandi.

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Annapolis Home

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RAIN GARDENS:

An Environmental Approach to Living Near the Water

By Yvonne Lawson

Annapolis residents enjoy life in a beautiful nautical environment. However, this beauty comes at a price: in an area surrounded by water, heavy rainfall has damaging effects on natural waterways and poses structural problems for homeowners. To mitigate these problems, some Annapolis residents are seeking environmentally friendly solutions by creating specialized gardens that mimic natural water systems.

Formed by excavating a shallow depression in the ground, a rain garden re-routes rainwater into the soil with the help of plants that optimize absorption.

“Instead of storm water runoff from driveways, parking lots, and walkways going directly into waterways, the water is absorbed

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Annapolis Home

by the rain garden,” explains Melissa (Missy) Jones, co-founder of Architectural Gardens in Annapolis. “When rainwater falls on these hard surfaces, it picks up pollutants that are otherwise dumped into our drains. Sediment and nutrients from erosion and runoff are major contributors to the decline of the health of the bay.”

Minimizing pesticides, fertilizers, and chemicals, rain gardens maximize the quality of waterways by eliminating the toxins from runoff. As a result, rain gardens reduce erosion, water pollution, and flooding. They also help replenish diminished groundwater.

As Chesapeake Bay residents, it’s essential to decrease the human impact on the bay. “In Annapolis, we are very close to the water, which we make an impact on when we

put down impervious surfaces,” notes Matt Ciminelli, owner of Ciminelli’s Landscape Services. “Rain gardens are the solution to this problem; they clean our waterways without us seeing it.”

Alongside the many advantages of having a rain garden there are a few disadvantages. Rain gardens vary in size, but even the smallest of rain gardens require space, posing a problem for homeowners who wish to utilize all of their yard space for recreational purposes. In terms of maintenance, however, rain gardens only require some weeding and remulching as needed.

“Rain gardens tend to be wilder than a typical garden,” notes Jones. “In order for a rain garden to be effective, people need to realize they cannot have control over it. Rain gardens have the personality of a ‘free spirit’—a combination of being wild, loose, one with nature, and independent.”

In addition, not all land will work, and particular requirements must be met for the rain garden to fulfill a purpose. “Just because a client wants a rain garden does not mean it will work for them.

We have to ask if the rain garden will be a solution to their problem,” cautions Ciminelli.

In creating a rain garden, a strategic process is followed, first to assess the land and then to design and install the garden. To ensure effectiveness, a simple soil test can determine how well the soil percolates, or the amount of water that can be drained and how fast. “The soil has to percolate. If it doesn’t, it won’t work,” Ciminelli explains. “Start by digging a hole, 18 inches deep by 1 foot wide, and fill it with water. Let it soak and then add more. If all this water is gone within twenty-four hours then it percolates well. You don’t want standing water in your rain garden. It’s not a swell.” In addition, once you have installed your rain garden, some tweaking might be necessary for optimum water flow.

Rain gardens are customizable to be as aesthetically pleasing as the homeowner chooses. Sedges, ferns, shrubs, rushes, trees, and wildflowers can be placed in the garden alongside other features such as river rocks. As Jones explains, “The more plants you have, the more roots there are to aid in the absorption of water.”

Many landscapers encourage the incorporation of native plants as they do not require fertilizer and are more tolerant of local weather and water conditions. “Native plants are good because they benefit creatures in our area,” advises Ciminelli. “I typically use ‘sweet plants,’ such as Sweet Bay Magnolias, River Birches, Bottlebrush, and Irises, among others.”

Interested homeowners should do their research and make a plan. Creating a rain garden does not require the expertise of a landscaper nor will it break the bank. Planning a do-it-yourself rain garden project means relying on local resources, such as visiting local rain gardens and plant nurseries.

Living near the water does not have to mean polluted water systems and flooded basements. A rain garden can significantly decrease pollution runoff and bad nutrients that enter the bay and surrounding waters, all the while providing a place for rainwater to go and protecting the environment.

Yvonne Lawson is a freelance writer living in Annapolis with a budding appreciation for rain gardens.

Matt Ciminelli and Missy Jones are both members of the Consortium of Support Professionals for the Watershed Stewards Academy.

For more information about rain gardens and other academy activities, go to www.aawsa.org.

Vol. 4, No. 4 2013 49

How to Build a Rain Garden

By Missy Jones

A rain garden is one of many conservation landscape methods and is a visually pleasing way to make an impact on the health of your home’s watershed. For your rain garden, consider the following basic elements:

Site Assessment

1. Soil Type: Soil type determines the rate of infiltration. Sand and loamy soils are preferred to clay soils when evaluating the success of the rain garden.

4. Install perennials and shrubs 12"–36" on-center, depending on mature size of the plant. A large root mass is desired to aid in quick water absorption.

5. Add river jack gravel (3"–8" mix) at the entrance point of your garden to slow the water inflow.

6. Apply a 3" layer of mulch to attract contaminants.

Maintenance

Inspect the plants for dead or diseased vegetation. Keep your garden weed-free and water during droughts. Cut back perennials and ornamental grasses in March for regrowth. Reapply mulch as necessary.

2. Sun Exposure: The ideal rain garden will be in full or partial sun.

3. Location: You want to be close to the water source, but keep the rain garden 10 feet from the house, property line, and any large shade trees. Stay 25-50 feet from septic tanks and wells. Avoid underground utilities, and don’t forget to call Miss Utility before you dig!

4. Size: Your rain garden should be 25 percent of the roof area you are capturing water from.

Design

Try to match the rain garden to your existing landscape and plant for year-round interest. Include a mix of evergreen shrubs and accent stone boulders as well as plants with multi-seasonal interest. The design should accommodate for a 1" rainfall. Other design elements include a river cobble intake to slow the speed of storm water, a berm on the downslide to retain water, and an overflow escape route or drain.

Installation

1. Outline the shape of your garden with string, hose, or spray paint.

2. Excavate the base to create a depression 14" deep (3" lip, 6" ponding surface, 2" mulch, 3" compost) where storm water can be captured and absorbed. Use the excavated soil to create a berm on the down-sloping side of your garden to help with water retention. A base excavation depth of 29" is necessary for soil or clay replacement.

3. Amend soils or replace existing clay soils with a biosoil (sand and compost 50 mixture).

Annapolis Home

Plants in Missy’s Rain Garden When planting a rain garden, the use of native plant species is recommended to attract pollinators and to create habitats suited for native wildlife. Native plants are also lower in maintenance because they adapt to our specific locale. Natives are pest-resistant, thrive without chemical supplementation or fertilization, and require less pruning because of their natural shape. I love using natives, but prefer a balance of hybrids and exotics (but no invasive species) to create a garden that will delight and provide pleasure year round.

Native Maryland Plants Trees & Shrubs

Sweet Bay Magnolia

Columbine

Aronia “Red Chokeberry”

Virginia Sweetspire

False Indigo

Winterberry

Goldenrod

Inkberry

Perennials & Ornamental Grasses

Groundsel

Redbud “Forest Pansy”

Aster

Iris

Bee Balm

Joe Pye Weed

Black Eyed Susan

Lobelia

Butterfly Weed

Switch Grass

Blueberry

Red Twig Dogwood

Horsetail Rush

To learn more about conservation landscaping, visit the Architectural Gardens resource page: www.arch-gardens.com.

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By Mollie Ridout Photography by Geoffrey Hodgdon

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Vol. 4, No. 4 2013 55

In the

Kitchen

WITH MARK AND MICHELE DEVINE

Crab Cakes

Story and Photography

by Christine Fillat

Sweet tender lumps of joy. We all know that in life, the biggest lumps do not come easy. The same holds true for crab meat. It comes at a price. You just have to reach a little deeper into your pocketbook, but honey you won't be sorry. The recipe here is from a ringer. Mark Devine has been making crab cakes since he was a teenager. He uses the finest crab meat in the market. He knows all about crabs in the market, because he has run a fresh fish stand in Lexington Market.

So the man knows a thing or two about the creatures from the sea and how to prepare them. Here is the basic Mark Devine crab cake. You can add your own favorite herbs and spices.

Mark prefers to use Jumbo Lump crab meat from Windmill of Hooper's Island, Maryland.

CRAB CAKES RECIPE:

Ingredients

• 1 lb. MARYLAND JUMBO Lump Crabmeat • 3 heaping Tbsp. mayonnaise (Top Shelf ) • 3 tsp. Dijon mustard • 3 tsp. Yellow mustard • 4 Tbsp. Worcestershire Sauce • 1 tsp. Old Bay • 1 egg • 1/2 sleeve saltine crackers crushed • A dash of Tabasco

Instructions 1. Spread the crab meat out in a flat pan and sprinkle the crushed saltines over the top.

2. In a small bowl, mix mayonnaise, egg, mustard, Worcestershire and tabasco.

3. Pour the mayonnaise mixture over the crab meat and gently toss or fold the ingredients together, taking care not to break up the lumps of crab meat 4. Let the mixture sit for 2-3 minutes before forming the cakes.

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Annapolis Home

5. Form the cakes by hand or with an ice cream scoop into 8 mounds about 3" in diameter and 3/4" thick.

6. DO NOT pack the mixture too firmly. The cakes should be as loose as possible, yet still hold their shape.

7. Place the cakes on a tray or platter. If you are not prepared to cook immediately, you may cover and refrigerate before cooking.

8. You may broil or fry:

To fry: Pour oil into a heavy skillet to a depth of about 1 1/2". Heat oil and fry crab cakes a few at a time, until golden brown, about 4 minutes on each side.

Remove with a slotted utensil to a paper towel to drain.

To broil: Slip them under a preheated broiler until nicely browned, about 4-5 minutes.

Makes 4 servings.

Christine Fillat lives on the Magothy River and is an aficionado of Chesapeake Bay cooking and living.

Vol. 4, No. 4 2013 57

2011-12

Annapolis Home Magazine

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Celebrate the debut of the 50th Anniversary Edition of the Maryland’s Way cookbook at Tulip Hill, the former home of one of the cookbook’s authors. The party will be the first opportunity to purchase the new cookbook. It will then be available for purchase at the Hammond-Harwood House.

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Vol. 4, No. 4 2013 59

The Page

After

Far Away 60

Annapolis Home

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Vol. 4, No. 4 2013 61

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Annapolis Home

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