Annapolis Home Sept Oct

Annapol i s HOME Serving Anne Arundel, The Eastern Shore & Beyond • Vol. 3 No. 5 2012

garden • dock • garage

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ARCHITECTURE

for the Soul in Eastport Batcave for Rare Porsches Sneak Preview of Annapolis Candlelight Tour Annual Art Awards Announced

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FEATURES Historic Annapolis Candlelight Tour We offer you a sneak preview of a divine restoration.

Batcave for Rare Porsches A look into a family's love of Porsches.

Fostering the Arts

2012 Annie Award winners announced.

DEPARTMENTS

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Publishers’ Letter

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Robert’s Picks

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On the Corner: The Distinct City Plan of Annapolis In the Kitchen: Clams Casino

48 Finance At Home:

Protecting Your Estate

CONTENTS

Annapol i s HOME

Architecture for the Soul How one house changed many lives.

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Annapol i s HOME garden • dock •• garage

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

Publishers’ Letter

Architectural Columnist Chip Bohl

You can tell a lot about a community by its architecture, both private and public. Look at Annapolis. So much of what we experience as distinct about the city is based on its historical architecture.

Contributing Writers Jerri Anne Hopkins Christine Fillat Mollie Ridout Gay Jervey

In this issue, we explore a stunning private home in Eastport designed by architect Joe Boggs. Boggs also designed a public building analyzed in this issue—the Jewish Chapel at the Naval Academy.

We are delighted to offer you an exclusive preview of a public building—a church— that has been transformed into modern condominiums, while preserving the historical character of the architecture. This house will be on Historic Annapolis’s Candlelight Tour later this fall.

Architect Chip Bohl has written an insightful essay on the city plan of Annapolis, which has shaped peoples’ experience of the city for hundreds of years.

While the majority of our stories focus on architectural design, we present here another form of exceptional design—a remarkable collection of Porsches.

As much as you can learn about a community by its architecture, you can also understand much about a place through its art. We celebrate the arts locally in our “Leading Lights” section, which highlights the work of the Arts Council of Anne Arundel County.

Until next time,

Kymberly Taylor & Robert Haywood Publishers kymberly@annapolishomemag.com robert@annapolishomemag.com Cover Photo Courtesy Alain Jaramillo

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Proofreader Jerri Anne Hopkins 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. © 2012 by Taylor Haywood Media LLC

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Robert’s Picks 1

We went to see Barbara Kruger’s Belief+Doubt installation at the Hirshhorn Museum and Sculpture Garden in Washington D.C., and can testify that this provocative installation is a must see this fall. Kruger is an internationally renowned artist who raises questions about power, capitalism, and democracy with her bold text and photographic work. For dates and times, visit www.hirshhorn.si.edu.

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St. Johns College is a great educational and cultural resource for the Annapolis area. Among the notable upcoming events is Meet the Authors, sponsored by the Caritas Society of St. Johns on Sunday, November 4 at 3:00 p.m. Three authors, Roger Rosenblatt, Corban Addison, and Chris Pavone, will discuss their work. To reserve tickets and for more details, go to www.stjohnscollege.edu/events.

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Another event at St. Johns also deserves your attention.

The Mitchell Gallery is presenting an exhibition, Pushing the Line: American Women Printmakers. The show includes work by many major artists. You can find more information at www.stjohnscollege.edu/events.

Barbara Kruger, Belief+Doubt, 2012, Hirshhorn Museum and Sculpture Garden.

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The Annapolis Fall Home and Remodeling Expo offers you a chance to meet with local builders, designers, and home professionals all in one day in one place. The show takes place September 29 and 30 at the National Guard Armory. For related seminars and special events go to www.midatlanticexpos.com.

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The Maryland Green Designer Show Home, conceived

by Baldwin Homes, opens for tours early this fall.

This green, high performance home is located in Gambrills.

For more information and to follow progress on the home, visit www.mdgreenshowhome.com.

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Annapolis Home Magazine is pleased to be a sponsor of Annapolis by Candlelight, a fundraising event organized by Historic Annapolis. Mark your calendar now for either Friday, November 2 or Saturday, November 3, 2012. And make sure you see our exclusive sneak preview in this issue of the magazine! For more information visit, www.annapolis.org.

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

Vol. 3, No. 5 2012 7

Candleligh An Annapolis Home Exclusive

tour

Sneak Preview of Parish House

Laura Auletta always wanted to live in a restored old church. “I thought it would be cool,” she noted. “Some people thought it was a crazy idea, or even sacrilegious, but it was always a dream of mine.” Now that dream has come true.

Three years ago, Laura and her husband Victor started looking for a second home. Their spacious house in Rolling Knolls, near Annapolis, with several bedrooms and an in-law suite, was too large now that their children were grown and her parents were gone. They wanted a place for a vacation spot, one that they could eventually move into permanently. After searching literally from coast to coast, they made an offer on a house on the west coast. However, because of the vacation plans of several parties, the offer technically expired on a Friday without a response. On that Saturday, Laura started looking around on the internet, just for the heck of it. She stumbled upon the listing for one of the Parish House Condominiums, created out of an old church at the corner of Maryland Avenue and Prince George Street in downtown Annapolis. She dragged Victor off to see it and they both fell in love with it.

“It’s funny how it worked out,” said Victor. “We found the perfect vacation home less than five miles from our house! We’d been visiting downtown Annapolis for years,” he continued, “but had never strayed from Main Street and the City Dock area. It’s

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By Jerri Anne Hopkins Photography by Geoffrey Hodgdon

perfect here, relatively quiet but there’s usually something fun going on, you can walk everywhere and, surprisingly, we’ve only rarely had trouble finding a parking spot!”

The building, originally built in the mid-1890s for the Calvary Methodist Church in the Gothic Revival style, has been through many changes over the years, going from church to recreation hall to commercial uses to church again and now a combination of commercial and residential. In 2001, local builder and developer John Pilli, Jr., bought the building and, with the help of architects Gary Schwerzler and Pete Miller, converted the first floor into office space and the second or sanctuary level into 3 three-story residential condominiums. The Parish House Executive Suites are entered from Prince George Street. The Parish House Condominiums entrance is on Maryland Avenue.

The number is 39½ and, coupled with the Gothic-style double door and lettering, the Aulettas frequently find the doorway being photographed by Harry Potter fans.

Once inside the door, the lobby offers visitors a choice of a discretely located elevator or elegant stairs to reach the apartments above. Inside the Aulettas’ condo, you are immediately sucked across the living area to the huge stained glass window, open all the way to the top (28 feet) and spilling glorious light into all levels. All three condos were arranged

ht

to take advantage of the 3 large stained glass windows and all three are open to the top. Each apartment has a different theme, ranging from Colonial style to ultra modern to rustic Tuscan.

The Aulettas’ great window faces across Prince George Street and up to the State House, which is perfectly centered in the window.

Recently, after only 117 years, the sill of the window was discovered to be disintegrating and leaking. Luckily, the Aulettas were able to contract with Art Femenelle world famous for restoring stained glass, to repair and restore the window. The window is now good for several hundred years more.

Once you can drag yourself away from the window, you can take in the rest of the apartment. The floor plan on the first level is all open space. All the wall colors are either several shades of light tan, with cream or white trim—all muted shades to reflect and enhance the light and colors from the great window, not fight with them. The living area holds a sectional sofa with clean lines, covered in soft gray, reminiscent of a church pew. Facing the sofa, under the flat screen TV, is a small table made from an old Gothic arch. Aside from a few old crosses left as decoration, there are few religious touches in the condo.

The kitchen curves along the back wall opposite the great window. The theme is rustic Tuscan style; kept simple with wood cabinetry, black marble countertops and decorative backsplash.

All the colors and the kitchen were chosen by the previous owners and the Aulettas like it so much they have made few changes aside from the furniture. (They are still discussing the future of the backsplash, however.) A step on either side of the island leads up into the kitchen itself. The island separates the kitchen from the dining area, which consists of an antique wood table and chairs in a very plain style pushed up against the wall under the great window.

Nearly all of the flooring, trim and other hardwood are either original or repurposed from the church. The second floor is the master suite. The bedroom faces the great window. A wood and glass wall surrounds the window well. There are blinds on the well walls and the glass panel separating the bedroom and bath can electrically opaqued. However, Laura reports that, while they do opaque the bathroom wall, they have never used the blinds, preferring the view of the State House illuminated at night— especially when the lights are Ravens’ purple.

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The third floor stairs open onto a cozy seating area with access to the attics above. This floor has the Gothic beams and carved brackets of the original church still in place. In the bedroom you have to duck around the bracket to reach the closets. The window well wall is open to below—a dizzying but amazing view downwards.

Here also the plaster on the window wall has been left off to expose the brickwork around three small rectangular stained glass windows.

A 21st century kitchen meets a 19th century space.

Beyond the bedroom is a large storage space and a circular metal stair up to the bell tower and a cozy seating area with a wet bar and another spectacular view of Annapolis. The Aulettas often have morning coffee here or just come up for a quiet retreat.

The Aulettas have enjoyed their vacation home enormously and plan eventually to downsize completely, leaving their Rolling Knolls house and moving to downtown Annapolis full time. In the meantime, they love showing it off and will open their condo for the Historic Annapolis Foundation’s Candlelight Tour this fall. The tour takes place on November 2nd and 3rd, from 5:00pm to 9:00pm. For more information, visit www.annapolis.org.

Jerri Anne Hopkins started her love affair with the written word when she could barely hold a crayon. She has been a writer, editor and graphic designer for more years than she cares to think about. Currently she is president of Words & Pictures, Inc., and also writes the Around South County column for The Capital.

Original beams and brick have been preserved on the second floor.

All brick and flooring are original to this 19th century bell tower converted into a intimate sitting room.

Vol. 3, No. 5 2012 11

Candlelight

A n n a p ol i s by

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This year's tour will be along Prince George, King George, East and Hanover Streets and Maryland Avenue.

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Tucked away on Wells Cove in Eastport, this home is composed of curved modern forms set against a more traditional house outline.

On the cover: The cover shot reveals a modern home in Eastport on the banks of Wells Cove.

Architecture for the Soul

By Kymberly Taylor Photography by Alain Jaramillo & Geoffrey Hogdgon

Can a house change your life?

Can architecture affect one’s soul? Harvey and Jan Stein answer yes to both questions,

especially after living in their light-filled modern home on Wells Cove designed by architect Joseph A. Boggs FAIA, of Boggs & Partners in Annapolis. In the kitchen of this house, another, greater house was conceived, funded through Harvey and also designed

by Boggs: the award-winning Jewish Chapel and Commodore Uriah P. Levy Center at the U.S. Naval Academy. The two structures are very different: one is a 5,000 square foot private sanctuary in Eastport, the other an approximately 30,000 square foot public worship and meeting space in the heart of Annapolis. Surprisingly they share an architecture enlivened by light, curves, and planes that many say are conduits of change.

The House “This house seems to have a powerful effect on family and guests; it changes lives,” says Harvey. The idea of change is not surprising to Boggs, who was one of many architects the Steins interviewed to design their home. He believes architecture can and should change one’s life. He strives to design structures not just to engage visitors from the street, but also to affect the lives of those within. “No one talks about the difference between materiality and the connection between the soul. Architecture is not just what is perceived from the street. It’s what it can do for the client. It should be something that changes your life,” he says.

The changes in the Steins’ life began with practical considerations. Boggs situated the home on the Steins’ family lot in Eastport. Their son, Scott, lived in an old farmers cottage on the property for a couple of years. Beyond repair, it was torn down when the house was built in approximately 1997. Harvey and Jan visited often, commuting from Washington, D.C., where Harvey conducted business as an international designer and entrepreneur.

the first and he received the Steins’ approval. A tour through this house reveals an architecture that strikes the soul with unusual perspectives inside the home and forceful forms throughout.

There is a strong connection to the land, cove and dock, whose views are framed thoughtfully by the architecture. The home provides a backdrop to a beloved oak tree no one wanted to cut down. On the front exterior, curved modern forms are set against a more traditional house outline. Gable forms are juxtaposed unconventionally to frame the home’s entry. Canted and splayed walls shape the interior spaces, creating “a forced perspective,” says Boggs.

Harvey notes this may be a large part of the home’s uniqueness.

“There is hardly a straight line in here,” he says. For example, when entering the foyer, one steps forward and is confronted with a window cutout, centered by a sculpture. “You must pause here. The cut-out frames the sculpture and the art just beyond,” says Harvey gesturing to a view of Jan’s sailboat afloat in the peaceful cove.

Banks of rectangular windows channel light deep into the interior where it is beautifully modulated by wall planes and ceiling angles. With minimal furniture and white walls hung with art infusing selective colors into the atmosphere, the rooms become meditations in themselves.

There is a deep silence within, perhaps due to the home’s location near the river’s end.

Boggs learned that Jan doesn’t like to cook, so the kitchen could be modest, that the Steins are foster parents to Naval Academy midshipmen every year and need plenty of space for entertaining and that the home must have extra wide halls and baths for another son Christopher, who is disabled. They wanted the home to be wheelchair accessible, but without clumsy ramps or obvious concessions to ensure Christopher’s dignity is intact at all times.

Boggs created two renditions of the project, the second one refined

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Canted and splayed walls shape the interior spaces and create interesting forced perspectives

Subtly embedded in the front exterior is a dramatic windowed tower-like form. It begins with the gable-framed entrance, sequences to the vertical window wall on the second floor just above and ends with the five horizontal windows on the third story. On the second level, there is a sun-filled sitting room overlooking the lawn, a bedroom for visiting midshipmen, the master bedroom, and an entertainment room.

From the master bedroom, a spiral stair winds to the library, a light-filled intimate loft that has a high ceiling and gentle curves. It is most often occupied by Harvey, who

White walls and neutral furnishings quiet the mind and accentuate the interior’s spacious planes. Bold, red accessories used sparingly are effective—they awaken the senses and bring the room into a sharper focus.

spends every morning in an oversized chair communing with the view, the powers that be, and his many books that range from Hasidic history to how to live pain free. He retains a strong Jewish faith, a belief in the power of family, and the need to teach religious understanding and tolerance.

Rabbi Jonathan Panitz shares Harvey’s views and indeed, knows the family well. He meant to stay in a hotel when he visited the Naval Academy to explore a post as a Navy chaplain. Instead, he met Harvey, who on the spot invited him over. He stayed for two years, eventually moving his wife and family across the

country to Annapolis. He confirms that there is something unusual about the house, that people seem to gravitate there, that it seems like a spiritual haven where things come together.

Rather than a one-sided exchange, where observers merely project their gaze onto the architecture, there is a subtle interaction between the home and whoever is in it. “The house absorbs the nature of the individuals around it and echoes it back to them, instead of individuals absorbing the architecture,” he says. The home’s pure forms may encourage a kind of clarity.

“Its hard to explain. People met there and get married, big decisions were made.”

Vol. 3, No. 5 2012 21

Light walls and solid accents and furrnishings encourage a meditative atmosphere.

A Temple in the Kitchen Panitz was instrumental in one big decision in particular.

He was standing in the kitchen early one Sunday morning when Harvey blurted out: “Jonathan, I’m supposed to build a Jewish synagogue at the Naval Academy.” Later, when driving along the Academy grounds with Howard Pinsky, the current president of Friends of the Jewish Chapel (FOJC), he pointed to a spot nestled in a courtyard between the wings of Bancroft Hall and said “and we’re supposed to build it there.”

Even though the Steins are devoted to the Academy and have hosted mid-shipmen for many years, the remark was unusual in its ambition, scope, and potential to cost millions of dollars, notes Joseph Rubino, who is now the Naval Academy’s Chief Financial Officer. After all, the Academy has never had a separate place of worship for Jews since its inception in 1845. Before construction of the Levy Center and Chapel in 2005, Jewish midshipmen either shared the Academy’s small all-faith chapel or attended services arranged for them at local Annapolis synagogues.

Rubino was instrumental in working with Congress to raise government funds for the project while Stein traveled the country, raising private equity with the support of a devoted team. “Mr. Stein had no other affiliation with the Academy than being a sponsor of our midshipmen and caring deeply about and respecting what we do,” he says. “He is extraordinary.”

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Stein and his colleagues, along with the Naval Academy, decided the Chapel would honor naval war hero Uriah P. Levy (18121862). Levy, in the mid-19th century, reformed the Navy and is credited with banishing flogging, keel-hauling, and other forms of corporeal punishment. He led the first crusade against anti-Semitism and was the first American Jewish officer in the Navy to reach flag rank, the Navy’s highest rank and equivalent to admiral. He was court martialed six times from charges stemming from anti-Semitism, which were dismissed. Levy may have been one of this country’s first preservationists. During these contentious reprieves, he purchased Thomas Jefferson’s home, Monticello, in 1836. It remained in the Levy family until purchased in 1923 by the Jefferson Memorial Foundation.

This modern home occupies a grassy rectangular lot in Eastport.

The sofa, table, and chairs are configured to create a sense of intimacy within a much larger room.

The Dining Room is hung with giant charts of the Chesapeake Bay.

The exterior rear fascade's multiple window walls channel light deep into the interior where it reflects off of canted and splayed walls.

Vol. 3, No. 5 2012 23

After receiving permission to gift the Academy with a temple, called the Commodore Uriah P. Levy Center and Jewish Chapel, Stein founded in 1994 the Friends of the Jewish Chapel (FOJC).

In 1999, the FOJC began searching for an architect up to the task. Harvey knew who had to design the synagogue: Joe Boggs.

“Boggs built this house, Rabbi Panitz came here to live in the house, the temple began here,” he says. But Stein wondered privately, “Can a gentile design this? Joe has no background for a chapel. I did not know if it would happen.”

Boggs was not sure either. He was interviewed before a panel of rabbis and, during discussions, was asked the inevitable question: Are you Jewish? He said he was not. However, he said he was not of any other particular faith either. It was the right response,

he had to incorporate into his design stone from historic quarries.

With this in mind, all of the stone used in the Center’s walls, stairs, and floors is from Jerusalem, mined from Hebron, one of the quarries worked by slaves to build the city’s first walls and fortresses.

Boggs designed the entrance pavilion to honor Levy’s admiration for Jefferson and his purchase of Monticello. A ceiling of spiraling mosaic helixes are laid in the same manner as mosaics throughout the ages around the world. Ingeniously, the pavilion references ancient history and modernity. Its eight sides pay tribute to Abraham’s multisided tent, which was open in all directions as a sign of greeting. The interior dome pattern design draws the eye toward the oculus, to a dramatic view of the sky, with the intention of lifting the spirit prior to entering the adjoining Atrium Hall.

The Atrium’s mosaic medallion on the stone floor recalls the ancient decorative mosaic floor of Masada. Boggs was moved especially by this desert fortress overlooking the Dead Sea. Inside the fortress, when attacked by Romans in approximately 66 AD at the beginning of the First Jewish-Roman War against the Roman Empire, a group of Jewish extremists, called the Sicarii, burned their homes and committed a mass suicide instead of surrendering. Above the medallion is an oculus and barrel vault ceiling. The light falling on the mosaic floor pattern on the ground represents the earthly realm of spiritual energy. A translucent prismatic skylight fashioned as a three-dimensional Star of David is situated above the center of the atrium.

For the Chapel, he created a 40-foot-high hand-carved Jerusalem stone wall behind the Holy Ark, a cylinder composed of anigre, a highly figured sustainable African wood. Embellished with bronze and a crown of glass, the Ark (aron kodesh) houses the holy Torah scrolls. The wall, hand-carved by artisans in Jerusalem and then disassembled and rebuilt here, pays powerful homage to the “Western Wall” or “Wailing Wall.” When touching the wall or kneeling, one can be in two places, or two worlds at one time.

“The building is grounded on a Jerusalem stone floor, so you are touching Israel and at the same time your spirit is being lifted up,” says Boggs.

The Temple on Naval Academy Grounds

In the Chapel, Shoji glass, composed of handmade rice paper laminated between two layers of glass, allows light to penetrate while lending a sense of protection and solitude. White-painted woven stainless steel scrims or “sails” are suspended with nautical rigging. These also diffuse the light, giving one the sense that the outside world is far away. “They reference how we are immersed in moving seas, in sunlight. Sails and shapes incorporate the essence of sailing and its particular beauty into the structure.

They recall both the Naval Academy’s daily work as well as its position on the Severn,” says Boggs.

The structure Boggs ultimately designed lifts the spirit through a sheer beauty that provokes joy. During the project, he traveled to Israel and visited Old Jerusalem and many sacred sites. He knew

Contemporary worship services are conducted regularly.

Worshippers sit on plain anigre pews placed on a slight radius.

Boggs notes he has created, as in the Stein’s home, a “forced

recalls Boggs. However, he had his own doubts: “The toughest architecture you can do is spiritual architecture. It’s a high-risk venture. You can spend millions but if you walk in and don’t feel anything, you’ve failed.”

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Opposite: The wood and bronze Ark houses the Torah scrolls, including one presented to the Brigade of Midshipmen by the Israeli Defense Forces.

This Page: Shoji glass, handmade rice paper laminated between two layers of glass, is used on the side walls.

perspective.” The curvature of the stone floor and placement of the pews give the impression that the center aisle in going uphill, symbolizing “aliyah” which means “ascending the altar” in Hebrew.

David Hoffberger has been present since the Center’s inception. A board member for the FOJC, he conducts many special guided tours of the Levy Center. “This building changes people’s lives in a bunch of ways. In and of itself, it is a national treasure, right up there with John Paul Jones’ Crypt. It is a symbol of openness.

People come to sit and think here all the time.” He notes that it is inspiring to all.

Many feel that the scrims are like shields protecting the congregation; some say that they resemble God’s palms.

Hoffberger reports that many sense a raw power emanating from the Chapel, perhaps A twelve-foot Star of David skylight illuminates the atrium with ethereal light. Centering the from the Jerusalem stone, the defiled Torah floor is a mosaic medallion inlay inspired by the ancient decorative floors of Masada. rescued from the Holocaust, or from a Jewish breast plate and crowns found so all feel welcome, regardless of denomination. “It is spare so buried in Auschwitz, most likely by a prisoner or sympathizer that here one’s consciousness can be stripped, and one’s troubles attempting to hide them from the Nazis. and sorrows drawn upwards, to the sky, where they can lift and disappear,” says Boggs.

Boggs explains that he wanted to create a space so moving that you walk in and are spirit-moved. “There is a pause, you stop the The Steins’ home and the Chapel at first glance look completely world long enough so the spirit world can enter,” he says. That different. However, both are houses of worship and repose. people are moved and that they experience the space in different They share interiors where light becomes a physical material, ways, regardless of religion or spiritual beliefs, was part of Bogg’s with nuance and allure. They share an architecture of curves, plan. The interior’s religious references are purposely subdued, strong planes, and clean lines. Free of clutter inside and excess ornamentation outside, the forms are pure. It may be that the two structures, one small, the other large, are indeed connected, different facets of a single grand design.

The classical entrance pavilion and dome references Thomas Jefferson’s Monticello. However, there is a twist. The eight sides of the pavilion refer to Abraham’s multisided tent, which was open to all. They invite visitors inside from any direction and mean to signify that all are welcome, regardless of their faith.

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By Mollie Ridout Photography by Geoffrey Hodgdon

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On the

Corner

The Distinct City Plan of

By Chip Bohl

Annapolis is a unique city. Her combination of four salient features is not found in any other city in America. First, the design of the city is a complex composition: at its core are two circles with radiating streets superimposed on a regular street grid. Second, the street plan ingeniously engages the topography of the land and the copious waterfront edges. Third, while the design aims at monumentality, the scale of the city is intimate and personal. Fourth, the city is over 300 years old, and survives today largely intact.

The city was designed by Francis Nicholson as soon as he was appointed Governor of the Colony in 1694. The Crown instructed Nicholson to create a new capital city for the colony, complete with buildings for the seat of government, the church, a market, and building lots to be sold for homes and businesses.

The new capital city was funded by establishing that the import

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Part 1

Annapolis

The 1695 Annapolis City Plan by Francis Nicholson was depicted in the 1718 survey by James Stoddard. The large circle is State Circle, the smaller is Church Circle. The large irregular parcel below State Circle connecting it directly to the city harbor was set aside for Nicholson.

Used by permission of Maryland State Archives,

and export of goods could only occur in the ports of Annapolis and Oxford, on the other shore of the Chesapeake Bay. There were harsh penalties for not paying import and export duties.

Centralization would allow the efficient collection of taxes, and establish a locus of power. The Crown needed a new capital city of stature, in order to maintain its authority in a distant land.

When Nicholson went to the site of the new capital city, there were few or no buildings to be seen. Some previous settlements there were called Proctor’s Landing, Anne Arundel Town, Arundelton and Severn, all failed to last. The main attraction: it had one of the best natural harbors in the area.

Nicholson lived in London for two years prior to his appointment as Maryland’s Governor. There he knew the architect Sir Christopher Wren, who designed St. Paul’s, the

English Baroque Episcopalian Cathedral (1675-1710).

He also befriended the landscape architect John Evelyn, who had developed an innovative baroque urban plan for the rebuilding of London after the devastating fire of 1666. The similarities of Evelyn’s plan for London and Nicholson’s plan for Annapolis are striking. The oval street around St. Paul’s Cathedral has radiating streets superimposed over a regular street grid, and the radiating streets are not precisely symmetrical.

Additionally, St. Paul’s is built on the highest ground in London, just as St. Anne’s Church and the State House sit on the highest ground in Annapolis.

The 1666 plan by John Evelyn for rebuilding London after the Great London fire has remarkable similarities to Francis Nicholson’s street plan for Annapolis. Note the oval street around St. Paul’s Cathedral.

(London Antiquarian Society, Vetusta Monumenta, London 1789) Bottom of this page: View up Main Street to St. Anne’s steeple, and up Francis Street to the State House dome. Francis Nicholson designed the city plan in 1694 so that these two buildings would be situated on the highest ground. The radiating streets add further to the status of the institutions of Church and State.

Nicholson fully grasped the London street plan theory.

He had the vision to see the potential of dynamic Baroque design concepts. For Annapolis he created a new plan embracing the natural features of the site, functionally engaging the harbor, and exploiting the dramatic potential of the high ground. His design creates a rich variety of building sites with dynamically complex urban sequences. Throughout the city, street views capture the sight of the water in one direction, and in the other, the monumental settings for important institutional buildings.

The two highest points of land were made the centers of Church Circle and State Circle. Radiating streets set roughly at compass points diagonally cross the regular street grid. The radiating streets set up the monumental views toward St. Anne’s Church and the State House.

The regular streets: Duke of Gloucester, Prince George,

Courtesy London Antiquarian Society

Baroque architecture was all the rage throughout Europe from 1650 to 1700. European colonization frequently used baroque design with great effect in individual buildings, such as in the construction of important Catholic churches in South America. That the English Crown would endorse a baroque plan for the entire city of their new colonial capital in Maryland is extraordinary. The stylistic influence of baroque design has been enduring and global. In France the Dome des Invalides, designed in 1676 by architect Jules Hardouin-Mansart epitomizes the French Baroque, and was the building that inspired the 1908 Chapel dome at the U.S. Naval Academy.

Charles, and Market, all terminate in water views. The most dramatic of all the streets is Main Street, directly connecting the harbor with Church Circle. The man-made vertical spike of St. Anne’s Church steeple at the top of Main Street is the counter point to the natural horizontal line of the horizon over the Chesapeake Bay. Nicholson created what all artists strive for: the emotional connection of mortals to nature; of individual to society; and of man to their own constructs.

In Part 2 of this series we will explore the charming imperfections of Annapolis, and its remarkable survival.

Chip Bohl is an architect, practicing in Annapolis for 33 years.

Visit www.BohlArchitects.com

Vol. 3, No. 5 2012 31

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Bat cave for Porsches

By Kymberly Taylor Photography By Geoffrey Hogdgon

Vol. 3, No. 5 2012 35

In his vine-draped Bat Cave, Charles Goldsborough III (Chuck) calls for silence. He opens, then shuts the door of a gunmetal grey Porsche 930. A halfsecond later, we hear it—an almost musical “ping” drifts through the racing-oil scented air. He explains the sound of a Porsche door closing is like no other and satisfies like no other, if you are serious about Porsches, that is. Goldsborough is.

In the Cave, located in a remote section of Baltimore County, Goldsborough houses at any given time approximately eight to ten rare and historic Porsches.

Most are 911s, the high performance sports car engineered by Porsche that, at least today, drives most like a racecar. Each new 911 is an evolution of the one preceding it, with ever-faster engines and refined technologies. The first prototype appeared in 1962 and the most recent was released in 2012.

Lightweight, the 911s sit low to the ground. Some

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Annapolis Home

specialty models such has the GT3 RS’s are for purists, more than 85% are raced by their owners.

They have wings, spoilers, and are equipped with door pulls rather than handles to minimize weight.

Goldsborough, an experienced racecar driver who helped Lexus develop cars for its first racing team, is comfortable in a specialty 911. You could say it is his natural habitat. However, keep in mind that cars are in his blood. His father introduced him to Porsches as an infant (he rode home from the hospital in a Porsche 356) and they traveled to car shows across the country as soon as he was able to sit up. Family lore has it that his very first word was not Ma Ma or Da Da but Por-sha.

Attending shows with his father and driving his first Porsches were rites of passage for Goldsborough whose family roots spread wide and deep. The Goldsboroughs trace their linage back to the

Crusades and were one of the five founding families in Maryland. Descended from the family of Maryland Continental Congress delegate Robert Goldsborough and of Charles Goldsborough, governor of Maryland in 1819, one of his ancestors, a lawyer in Easton, helped draft the Declaration of Independence.

Goldsborough is carrying on his father’s traditions, (if not exactly the Colonial ones) and instilling in all five boys a love and respect for these exquisite machines. Each boy, aged five to 15, has his own Porsche in the Bat Cave. They will care for them until they come of driving age.

Luckily for aficionados such as Goldsborough, there is a professional in the area who can help supply him with the rare niche masterpieces he seeks: Frank Donatoni, General Manager of Porsche of Annapolis. Donatoni opened the dealership August 2008 for C. David Johnson Jr., owner/principal of Johnson Automotive Group with dealerships in Raleigh, North Carolina and elsewhere. Donatoni sold the Porsche dealership’s first car to Goldsborough—a green Porsche 911 GT3 RS. It was one of the last of its kind.

Naturally mechanical and drawn to foreign highspeed cars at an early age, Donatoni has worked with Porsches for much of his professional career.

In 2000, he was part of the team that launched the first corporate image compliant Porsche store in the US, an event which attracted a visit from F.A. Porsche himself. This is all a fancy way of saying that Donatoni knows his stuff. Annapolis is lucky to have him and this flagship dealership in town. A sleek four-story postmodern building, it rises on Hudson Street, a luxury sports car oasis.

Donatoni places Goldsborough’s collection in context. “It’s incredible. There are some very important cars here and he keeps them in perfect original condition; they’re like time capsules.”

For instance, explains Goldsborough, the Bahama Yellow car is a 1966 911 2.0, a model of the very first 911 made. The owner purchased the car in Germany in 1966 and shipped it to America in 1967. He kept the car in the family; Goldsborough bought it in 2003 from his son.

Above: A spoiler is designed to deter or 'spoil' unfavorable air movement across a body of a vehicle in motion, usually described as drag, which slows the car down. It also provides down force on the rear wheels.

Previous spread: The 911 emblem on this 911, the first 911 model manufactured, is displayed on a diagonal, a design decision that lasted just two years. This car won the Porsche Parade in Fort Worth Texas in 2004.

Another notable car in the collection is the light blue Porsche 911 Turbo 1976. One of the earliest cars with a turbo charger in the country, it was also the showcase car at the prestigious New York Auto Show that Goldsborough attended when he was fourteen. “There it was spinning around on the turnstile,” he says, running his hand along the immaculate, rust free chassis. “Now it’s right

Vol. 3, No. 5 2012 37

Q.

A.

here.” He recalls that he wanted to buy the car and asked his father for the money. His dad told him to buy it himself with his own money. Years later, Goldsborough tracked the car down and indeed bought it. When he told his dad about the purchase, all he said was: “You’ve got issues.”

Goldsborough’s “issues” gleam in the fluorescentlit nondescript garage, named the Bat Cave by his boys for its unassuming facade that hides the gleaming get-away machines. The fastest car in this collection may be the Riviera Blue 911 GT3 RS 4.0, which he purchased from Donatoni. This particular car is a finely tuned special edition, an intense ride for the thrill-seeker obsessed with speed. Six hundred were produced in Germany and just one-hundred-forty-three imported into the United States. That 4.0 in the car’s title refers to the displacement of its engine, explains Kent Phillips, certified Porsche technician. Whereas other GT3s use a 3.8-liter flat-six engine, the 4.0 borrows a bigger engine from the track-only GT3R/RSR“It’s the closest thing you can get to a street legal racing car,” says Phillips. “It is a pinnacle of evolution for Porsche. They took that engine as far as it could go. It is tuned to the edge of performance.”

This means, he explains, that the engine is more explosive, that it is generating exceptionally high levels of heat in order to power the car, able to go from 0 to 120 mph in 11.9 seconds. “If the car was improved any further, it would explode,” he says. Goldsborough has not improved the engine, at least not as this writing, but he did modify the wing, commissioning an aerospace engineer to add three inches to its height to increase rearview visibility. Now, other owners and racers are purchasing the modified wings from him.

This is but a small example of the rigorous thought directed constantly at the cars. The possibilities for minute perfections are infinite.

This is why you’ll find Goldsborough on many weekends presiding over the Bat Cave with his boys. Together, they fine tune and polish their machines—the only form of rest for the driven.

Left:These cars range from the first model Porsche 911 created in 1962 to the most recent models from 2011.

Right: Pictured is the Goldsborough family from front to back: Charlie 13, Conrad 5, Emerson 11, Graham 9, Charles and Mary Goldsborough, Nigil 15.

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Annapolis Home

Vol. 3, No. 5 2012 41

Leading Lights

Fostering The Arts in Anne Arundel County

By Robert Haywood

Meet April Nyman, Executive Director of the Anne Arundel County Arts Council Annapolis Home: How did you become Executive Director of the Arts Council and how long have you served in this position?

Nyman: I am new to Anne Arundel County and became Executive Director of the Anne Arundel County Arts Council in December 2007. My past experience includes both corporate and non-profit management. I have also serve in many volunteer roles within the Arts Community in Florida. One of my favorite long-term projects was as Development and Advocacy Chair to build the Pensacola Cultural Center. Although not an artist myself, my love of the arts gives me a passion to promote those with amazing talent. Â AH: How does the Arts Council support the arts in Anne Arundel County? Â Nyman: In a nutshell, the Arts Council supports the arts through funding, advocacy, resources and programming. The Mission of the Arts

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Annapolis Home

April Nyman, Executive Director of the Anne Arundel County Arts Council, and Frank Florentine, 2012 Mardi Gras Gala

Ballet Theatre of Maryland performing at the 2011 Annie Awards Ceremony

Council is to encourage and invest in the visual arts, performing arts, and historic preservation for the people of our county. The Arts Council supports over 40 organizations with grant funding annually, and Arts in Education funding to support additional programming for County Schools. Â AH: What do you see as some of the biggest challenges in and opportunities for advancing the arts in the county?

with the City of Annapolis to manage the District that was designated in 2008. Benefits of the district include a state tax exemption for artist who produce and sell in the District. A builder or landlord who improves a space for an artist receives a tax incentive on the improved value. The District is designated for a 10-year period.

Nyman: The greatest challenge for arts organizations in Anne Arundel County is funding. Non-Profit sources for funding, whether corporate, foundation or private sources, do not have the same level of funding available as compared to 5 years ago.

With limited funds available, non-profits are competing for the same dollars. Many innovated organizations are looking for new funding sources and unique fund-raising ideas. This puts additional responsibilities on both non-profit staffs and board members.

AH: The Arts Council is a leader in creating the Annapolis Arts & Entertainment District. Can you explain exactly what this is?

Nyman: An Arts & Entertainment District is a designation approved by the State Arts Council and the Department of Business & Economic Development to encourage economic development and re-vitalization. The Arts Council is partnering

2011 Annie Awards Recipients: Linnell Bowen, Lifetime Achievement; Diane Bragdon, Arts Educator; Richard Niewerth, Visual Arts; Ellenor Alvarez, Arts Patron; Charles Anthony accepting for Iris Krasnow, Literary Arts; Dianna Cuatto, Performing Arts

Vol. 3, No. 5 2012 43

Congratulations

to the 2012 Annie Award Recipients J. Ernest Green, Lifetime Achievement Mr. Green is the Music Director of the Annapolis Chorale and Live Arts Maryland. Mr. Green is a true artist whose life and career demonstrates his belief that music makes life better. His passion is contagious as he collaborates with many organizations in Anne Arundel County.

Michael and Melanie Teems, Arts Patron This dynamic duo generously gives their time, talent and energy to support the arts in Anne Arundel County. They are both involved as leaders in numerous arts organizations.

Janet Luby, Performing Arts Ms. Luby is the co-founder and Artistic Director of The Bay Theatre Company. She is a familiar face starring in many lead roles on stage, as well as a talented writer and Director.

AH: What Arts Council sponsored events can we look forward to in the coming months?

Nyman: The Annie Awards, sponsored and organized by the Arts Council, celebrates its 13th year honoring 6 individuals who have made a lasting, significant and inspiring contribution to an art form, an arts organization, and to the community. This year's event is Wednesday, October 17, 2012, 6:30 p.m. at the Key Auditorium on St. Johns College Campus. The event is free and open to the public.

Our only annual fundraising event, the Mardi Gras Gala, will be held on Saturday, February 9, 2013 at the Loews Annapolis Hotel. Tickets are $150. We are now soliciting sponsorships from individuals and businesses.

Maura Walden, Barbara Dwyer Brown, and Patrick Lee, Jr., President of the Anne Arundel County Arts Council, 2011 Annie Awards Reception

John Taylor, Visual Arts Mr. Taylor is known for his wildlife paintings and served as the State Arts Editor of the State of Maryland's Wildlife Publication. He studied art and design at the Corcoran School of Art. John's life and art has been documented on public television in a segment of Maryland Outdoors..

Laura Oliver, Literary Arts Ms. Oliver is the author of "The Story Within", a publication that Pulitzer Prize Winner Jon Franklin says will make you a better writer. She is also a Creative Writing workshop instructor at St. Johns College and The Writer’s Center.

Suzanne Owens, Arts Educator Ms. Owens is the Coordinator of Arts for the Anne Arundel County Public Schools. She has been recognized for her extraordinary accomplishments in advancing arts education throughout the State of Maryland.

J. Ernest Green, 2012 Annie Award Lifetime Achievement Award Recipient

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209 CHINQUAPIN ROUND RD, SUITE 100, ANNAPOLIS, MD 21401 410-280-2225

In the

Kitchen

WITH DAN POWELL | CLAMS, CLAMS, CLAMS! Story and Photography by Christine Fillat Fall is once again upon us. Let's prepare something delightful in a seashell to conjure those bygone summer days! It's crunchy, briney, and spicy. Clams casino is the perfect dish to prepare and share as a delectable appetizer, whetting the appetite for whatever may follow.

Dan Powell owns Take One Digital Media, a digital media production company in Annapolis.

Dan Powell has made preparing clams casino into a science, preferring Littleneck clams for their tenderness, and Quahogs for their shells! Dan steams quahog clams to use as the vehicle for his clams casino. These clam shells can be washed in the dishwasher and used again and again. He saves the Quahog clam meat for some future purpose (chowder perhaps). He likes to get his Littleneck clams from Whole Foods. He spices the dish with a local crab seasoning mix called Todd's Dirt, pancetta from The Tastings Gourmet in Clock Tower, Annapolis, and a lovely fennel salt.

CLAMS CASINO: Makes one dozen. Serves two, as an appetizer

• 18-24 Littleneck clams (scrub before steaming) • ½ cup dry white wine • 6 thin slices of pancetta (or bacon) • Half a red pepper diced • 1 clove garlic minced • 1 stalk diced celery • 2 scallions thinly sliced • 2 Tbsp finely chopped flat leaf parsley • Todd’s Dirt, a local crab spice (or Old Bay) • freshly ground black pepper • fennel salt • Coarse rock salt for baking and serving • 1 lemon • Parmesan cheese, shredded - optional • 1 dozen Quahog shell halves

Preheat oven to 400 degrees 1. Over low heat place wine and Littleneck clams in a sauce pot with a tight fitting lid. Steam until the shells open, usually within 10 minutes. Transfer clams from the pot to a bowl to stop them from cooking. Remove cooked clams from shells, roughly chop the clams.

Save the cooking liquid.

2. In a sauté pan big enough to fit all the ingredients, cook pancetta about ¾ of the way through, about 6-10 minutes. Be careful to not completely cook!

Remove the cooked pancetta from the sauté pan and set aside.

3. Using as much fat as you desire from the pancetta, bring it to a medium heat. Sauté the red pepper, scallion, and celery. Add the garlic and season with freshly ground pepper and Todd’s Dirt to taste.

Finish off with a light sprinkling of fennel salt. Keep

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Annapolis Home

in mind the pancetta is going to be a bit salty, so easy goes it. Sauté until barely softened, 3-5 min.

4. Add about ½ cup clam cooking liquid to the sauteed vegetables and simmer over medium heat until the liquid is reduced by half.

5. Add parsley and chopped clams; continue to heat on medium for 2 minutes.

6. Fill a 10 inch ovenproof pan with ¼ in. to ½ in. of coarse salt.

Place the Quahog shell halves on top of the salt.

7. Fill each clam shell with a spoon-full of the vegetable-clam mixture. Top with pieces of pancetta, a squeeze of lemon, and optional shredded parmesan cheese.

8. Bake until the pancetta is finished cooking and is crispy, about 8-10 minutes.

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

If you have a favorite receipe to share with Annapolis Home readers, contact Christine Fillat at christinefillat@verizon.net.

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Vol. 3, No. 5 2012 47

Finance At Home

Protecting Your Estate with Long-Term Health Insurance

By Gay Jervey

W

hen financial advisor Carolyn Howard of Pegaesus Advisors talks about health care to her clients who are contemplating retirement, she repeats one mantra over and over again. “You have to have comprehensive benefits. Pure and simple, it’s asset protection.”

The importance of suitable health care options has increased dramatically as the Baby Boomers start to retire and confront a challenging and complex benefits landscape.

Step One: Take Stock of Your Health Care Spending— and See What Coverage Is Readily Available The good news is that there is much that one can do to prepare. First things first: Take a thorough inventory of your health care spending history. Financial advisors and insurance specialists alike can help future retirees analyze

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Annapolis Home

how they have traditionally used their coverage, in order to determine what policies will best suit their needs. In doing so, one should gather as much information as possible, including records from their pharmacies, physicians and previous insurers.

Individuals should also ascertain whether or not they are eligible for membership in professional or personal organizations—various industry associations and so forth —through which they might obtain affordable group coverage.

Medicare: Know What It Does—and Does Not—Do It’s critical to understand the limitations of Medicare in order to assure that you acquire sufficient additional coverage. Indeed, the Kaiser Family Foundation has estimated that Medicare covers only 45% of beneficiaries’ total health care costs.

What’s more—and this is paramount for seniors—Medicare “only pays for a limited amount of skilled care (100 Days) to help to recover from an acute condition, as long as you are improving,” explains Kirk Lynn of the Kirk Lynn Agency, State Farm Insurance, in Crofton, MD. “It does not pay for custodial, ongoing care. And Medicare supplements are also not designed to cover expenses for open-ended long-term care services.”

Long-term Care—Essential for Estate Protection It’s not surprising, then, that experts are unanimous on the necessity of longterm care insurance, which can pick up where Medicare and supplemental carriers leave off—providing for the multi-faceted assistance that those who are at least somewhat incapacitated may need to perform day-to-day activities. These include: eating, bathing, continence, dressing, toileting and transferring. As many know only too well from family experience, such needs typically arise as part of the normal aging process. They also can result from an injury or illness, such as multiple sclerosis, stroke, rheumatoid arthritis, or from such cognitive impairments as Alzheimer’s disease.

“It is likely that at some point in our lives we will require assistance with our daily activities,” Mr. Lynn says. He cites statistics from The US Department of Health and Human Services (HHS) that estimate that 70% of people over the age of 65 will eventually need long-term care. “In 2008, 21 million people required long-term care, according to the HHS. So it’s vital to explore your options and plan ahead,” he says.

For her part, Jane Sinclair, President of Retirement Planning Services in Millersville, MD, couldn’t agree more. “This coverage is necessary in order to protect your hard-earned money,” she stresses. In saying so, Ms. Sinclair emphasizes that these policies can provide you with not only the control and resources to help finance the cost of long-term care services, but also the independence to choose where to receive care. They will also allow you to be proactive about reducing the burdens of care that often fall on family members, who—however wonderful their intentions—may find the demands overwhelming, if not impossible.

Vol. 3, No. 5 2012 49

Annapolis Home Magazine

410.263.4900 2011-12

Builder and Fine Design Awards

BEST KITCHEN

Gay Jervey is a journalist who has written articles on finance for publications including The New York Times, Money, Inc. and Fortune Small Business.

www.kitchenencounters.biz

Resources: Retirement Planning Services, Millersville, MD, www.rps123.com Kirk Lynn Agency, Crofton, MD, www.kirklynnagency.com

ESTABLISHED 1981

At the end of the day, Ms. Howard concludes, “Regardless of the outcome of the Presidential election, or how the new health care mandates sift out, those heading into retirement need to educate themselves on all aspects of their coverage, including supplemental Medicare policies and long-term care.

No ifs, ands or buts about it.”

Award Winning Designs

“I want to make this very clear—you buy long-term care Insurance for estate protection,” Ms. Sinclair says. “If you want to pass assets along at the time of your death, long-term care insurance will help you do that. That is why you need it. I’ve never met anybody who wants to spend $500,000 of their own money on a nursing home when an insurance company can do it for you.”

gg M o re Fin e Services

Annapol i s HOME Serving Anne Arundel, The Eastern Shore & Beyond • Vol. 3 No. 4 2012

Don’t Miss Out!

g garden • dock • garage

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Landscape Design, Installation and Garden Maintenance

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Annapolis Home

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Quayle & Company specializes in inspired spaces that incorporate the natural elements of a home’s existing style with a homeowner’s desire for a beautiful, functional outdoor space. Quality materials and craftsmanship combine with innovative design to create breathtaking and useful outdoor living areas for homeowners.

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Projects include outdoor kitchens, patios, screened porches, pergolas, pools, decks, walkways, landscaping and more.

2011-12

Annapolis Home Magazine

Doctor Recommended!

Vol. 3, No. 5 2012 51

FRUITS of summer

By Mollie Ridout Summer in the Paca Garden means a delicious bounty.

A mild winter and an early spring gave our bee colony a boost. By early July they had produced over sixty pounds of honey which now glows golden in squat little jars. Earlier in the summer, lavender in bloom inspired headily scented lavender sashays, lavender jelly and honey lavender caramels. Then the peach trees came into their own, branches drooping with the weight of the fruit. These heirloom Georgia Belles are white fleshed and easily peeled, and the sweetest peaches you have ever tasted. Soon the sun blushed fruit was processed into peach jam, peach butter, and peach bourbon sauce.

Apples and pears ripened more slowly, but in time they were transformed into rosemary jelly and pear candy.

All these tastes and smells of summer can be purchased at Historic Annapolis’ Museum Store at 77 Main Street.

Mollie Ridout is the Director of Horticulture at the William Paca Garden.

52

Annapolis Home

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8530 Veterans Highway, 2nd Floor, Millersville, MD 21108 Telephone: 443-308-5200 Fax: 410-451-2864 www.RPS123.com | info@RPS123.com

Securities Offered Through Broker Dealer Financial Services Corp. Member FINRA / SIPC Advisory Services Annapolis Home Offered Through Investment Advisors Corp. a SEC Registered Advisory Firm