Annapolis Home Magazine

Annapol i s HOME Vol. 4 No. 6 2013

A n n e A r u n d e l | E a st e r n S h o re

T h e A rc h i t e c t u r e Is s u e Pav i l i o n s o n t h e B ay T h e Nava l Ac a d e my ’s Mi l i t a r y B e a u x A r t s P l a n A rc h i t e c t u r e A ro u n d t h e Wo r l d

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FEATURES Fine Lines

Re-discover a Hugh Jacobsen tour de force in Oxford.

A Beauty on Winding Creek Learn how it took a village to build one beautiful craftsman-style home in Easton.

St. Michaels 2013 Concours d’Élégance

Read our report and view on-the-spot photos of Concours’ winners and participants.

DEPARTMENTS Robert’s Picks Announcing the 2013 Winners of the Annie Art Awards

42 Fine Design: Unforgettable Gifts for the Holidays

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Finance at Home: Tax Advantages to Owning a Second Home

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Get Beautiful at Home and Beyond: Hot Stone Massage

60 In the Kitchen: Reynolds Tavern Christmas Pudding

64 The Page After: Architecture

Around the World 10

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CONTENTS

Annapol i s HOME

On the Corner

The Naval Academy & Annapolis: Baroque and Beaux Arts Architectural Neighbors, Part 2

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Tune in for an up-close analysis by architect Chip Bohl.

Annapol i s HOME Anne Arundel | Eastern Shore

“A house can have integrity, just like a person,” said Roark, “and just as seldom.”

- Ayn Rand, The Fountainhead

Publishers’ Letter

Ayn Rand’s idea of a house with integrity is one in which architecture rises to the level of art. And indeed that is a seldom thing.

In our search for instances of exceptional residential architecture, we discovered two waterfront homes that are distinct in design and engage the Chesapeake Bay differently. Both homes adopt a pavilion design, while one possesses a beautiful stark purity and the other a charming cottage-type design steeped in the landscape.

Read these stories, along with the story on Naval Academy architecture, and you will have a good idea of the transformative possibilities of architecture in our locale.

With the holiday season upon us, we hope that both warmth and joy enter your own home.

Kymberly Taylor & Robert Haywood Publishers

kymberly@annapolishomemag.com robert@annapolishomemag.com

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Editor Kymberly B. Taylor Creative Director Ryan Gladhill Senior Designer Samantha Gladhill Contributing Photographers Geoffrey Hodgdon Christine Fillat Derek Jones Ched Bradley Architectural Columnist Chip Bohl

Contributing Writers Christine Fillat Gay Jervey Tom Levine 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

Alex Prager, Crowd #1 (Stan Douglas), 2010. Archival pigment print, 48 x 81 inches. Courtesy of the artist, Lehmann Maupin, New York and Hong Kong, Yancey Richardson Gallery, New York and M+B Gallery, Los Angeles.

Robert’s Picks 1

On November 23, the Corcoran Gallery of Art opens Alex Prager: Face in the Crowd, an exhibition of forty photographs and four films by the renowned Los Angeles artist. Regarding the subject of Face in the Crowd, Prager says that crowds “may look like a sea of people, but there are so many interesting stories, all colliding silently.” The series features large-scale photographs of people assembled in congested public spaces. Blurring the line between fiction and reality, Prager directed the actions of hundreds of costumed actors on specially constructed sets. For more information, visit www.corcoran.org.

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Every year on the second Saturday in December, the Eastport Yacht Club Lights Parade takes place in the Annapolis city harbor. This spirited event includes seventy or so power and sailboats lit up with holiday decorations. Bring your family and friends to the parade, which takes place on December 14, from 6–8 p.m. in downtown Annapolis on the harbor.

Obtain more information at www.eastportyc.org.

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What is Christmas without Handel's Messiah? You can attend the Messiah on December 7–8 at the US Naval Academy. The concert includes the USNA Glee Club, Hood College Choir, and the Annapolis Symphony Orchestra. For tickets, visit www.usna.edu/Music/Accessable/messiah.html.

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For one night only on Friday, December 13 at 8 p.m. you can enjoy the Annapolis Chorale and Annapolis Chamber Orchestra with special guest Jenny Oaks Baker and Celtic Woman singer Alex Sharpe for A Celebration of Christmas. For tickets go to www.liveartsmaryland.org.

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You can spend a weekend getting in the Christmas spirit by attending Christmas in St. Michaels on December 13, 14, and 15. Events include the Talbot Street Parade, Breakfast with Santa, Santa's Wonderland, and Gingerbread House display.

The Holiday Gala, Tour of Homes, and Marketplace boutique, with artisan-crafted items, offer something for everyone. Music, from gospel and spirituals, to classic holiday music, is available throughout the weekend. The tour of homes includes five historic homes and two waterfront estates. For more information, visit www.christmasinstmichaels.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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FIN LIN FINE LINES // A Tour de Force in Oxford

By Kymberly Taylor Vol. 4, No. 6 2013 15

All the Zamoski family wanted from architect Hugh Jacobsen was a refuge on the Chesapeake Bay that they could leave for long periods of time without fear of vandals or Chesapeake Nor’easters.

What they received is their now-famous home in Oxford, still renowned for its ingenuity. Built in 1980, the home is an early work, an experiment, if you wish, notes Simon Jacobsen, Hugh’s son. It is here that Hugh developed and honed many ideas about linear design and invented features that now appear in more mature variations in his most celebrated residences. These include the Buckwalter House in Lancaster, Pennsylvania, the Boxwood Winery in Middleburg, Virginia, his luminous glass addition to the United States Capitol, and private residences of Meryl Streep, Jacqueline Kennedy Onassis, and the Forbes family, to name a few.

“We invent often non-industry details and fabrications and when they are successful and prove robust, we incorporate them again into the new progressing set of projects,” says Simon, an awardwinning architect in his own right, and partner of Jacobsen Architecture, in Washington, D.C. Each project is a continuation of the last, not a repetition.

“That’s why when you look at our recent work, you can spot features and fabrications from earlier works. They have just been improved and tweaked for each new residence. But Hugh Jacobsen’s Zamoski house was a series of little genius maneuvers.

It is what he didn’t do that makes it so profound,” Simon recalls.

What he did not do includes placing doors, kitchen, bedrooms, and living room in a conventional, or even convenient, configuration. Or, rather, he redefined, with the Zamoskis, the notion of “convenient.” And, the residence does not have a traditional “center.” The home is composed of four pavilions, each heated separately by a geothermal system. They are linked by glass and a linear “street” joining living and entertaining areas.

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Previous Spread: Each section of this pavilion-style structure has its own function, "everything has its place, everything has its space," explains Simon Jacobsen, Jacobsen Architecture.

Below: The sunken living room is essentially the center of this home, a destination for repose.

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Shutters, operated with an electric winch, are designed to close the house up completely when the owners travel or when storms are imminent. They can be adjusted for shade or completely disappear.

At its heart is a series of fine lines, lines that become roofs, walls,

his now signature cut-outs. Neat, retancular and almost invisible,

hallways, and pathways, lines that become living rooms, bedrooms,

they replace conventional heating and cooling vents protruding

and kitchens. “‘Line’ means to many people a sort of boundary,

from walls.

but in architecture it is a feature. Line is often the center, or an axis, or a forced perspective. It is intended to be crossed and investigated and messed with,” says Simon. “The ‘center’ is not the center at all, but center can mean many things. The house has a crescendo as one travels through the spaces, and it is the glass cube at the end of the plan.”

Also, Hugh did not create typical windows with frames and shutters for protection. Instead, there are giant glass panels. Floorto-ceiling shutters, operated by electrically driven winches, seal the entire exterior. What is exquisite here are the pure forms of the roof lines and the seamless transition of wood siding to glass. When the house is occupied and the shutters are in horizontal position, they

This “crescendo,” the sunken living room that looks out over the

serve as sunscreens, while also reducing the heat load inside the

water towards the town of Oxford, is an intentional part of the

house. Their adjustable louvers cast light patterns on interior and

experience. “As with all Jacobsen houses, one knows that they have

exerior spaces.

‘arrived,’” explains Simon. For this room, Hugh developed

Vol. 4, No. 6 2013 19

This residence does not have gutters or any plumbing visible on the outside of the house to interfere with its pure, almost unbroken lines.

Opposite: The home was designed with lines so exact and refined that, paradoxically, you almost do not see them. Instead, the volumes are what leap out, such as the actual rooftops, a wall at the home's end, the single stair to a single door.

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“ Hugh Jacobsen’s Zamoski house was a series of little genius maneuvers. It is what he didn’t do that makes it so profound.”

Vol. 4, No. 6 2013 21

The glass that was made for the house was the largest in the world at the time. “This unique design is ideal for Maryland’s summer climate and the Chesapeake’s sometimes serious weather. It also shuts up the house when the owners are away. A one of a kind innovation,” says Simon.

Many tidewater homes are designed to look larger from the waterside, with diminutive front facades. However, explains Simon, Hugh positioned the house to look smaller than its apparent size, at least from the water.

Instead, shielded by a double screen of cedar, its linearity is emphasized.

What are not lost, though, are connections to water and forest. The living room has a magnificent vista of the Chesapeake Bay. Yet, the other pavilions share closer, more intimate views of a freshwater pond. The home itself is a kind of filter for the natural world, the inhabitant both spectator and mediator. The Bay’s waters are ever changing, as are shadows and weathers, the movements of quail, turkey, geese, and deer. Here is a different kind of beauty, composed of pure lines and the passage through them.

Resources: Jacobsen Architecture www.jacobsenarchitecture.com

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

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Announcing the 2013 Winners of the Annie Art Awards

Elizsabeth Melvin, winner of Annie Art Award in performing arts

The Arts Council of Anne Arundel County initiated the first Annie Awards Ceremony in 2000 to honor six individuals for their outstanding contributions to the Arts. 2013 marks the 14th presentation of these Art Awards. Congratulations to this year's honorees:

Literary Arts – Rebecca C. Jones

Rebecca Jones is credited with a forty year career as an award winning children’s book author, academic editor, writer and professor. Rebecca’s body of work in children’s literature includes Captain John Smith’s Big and Beautiful Bay, as well as fifteen additional titles. She is the recipient of the Children’s Choice Award from the International Reading Association.

Visual Arts – Sally Wern Comport

Sally Wern Comport is a visual artist whose work is prominent throughout Annapolis as well as in many other art installations nationally. Sally’s illustrations of the children’s book Brave Margaret was released in 1999; since then she has added thirty-seven additional titles to her credit. Sally is the founder of Art at Large, producing large scale, commissioned artwork for institutional clients.

Performing Arts – Elizabeth P. Melvin

Elizabeth Melvin is an accomplished multi-instrumentalist and performing vocal artist. Elizabeth holds a Bachelor of Arts Degree in Folklore and Music from the University of North Carolina, Chapel Hill, and has also studied ethnomusicology at the University of Maryland. She is a Co-Founder of the world beat group Mama Jama and Founder of the educational music program, Goombay: The Caribbean Experience, as well as several choral groups.

Arts Patron – Patricia Barland

Patricia Barland has built a legacy in Anne Arundel County through her service as a public servant, her outstanding contribution to the local arts community, and as a leader in historic preservation. Patricia has dedicated her time, talent and leadership over a period of four decades to local arts organizations to help ensure their success.

Arts Educator – Marietta Schreiber

Marietta Schreiber holds a Bachelor’s Degree in Art Education from the University of Kansas and a Master’s Degree in Art Education from Towson University. Marietta was an art educator in Anne Arundel County for thirty-five years; she is also an accomplished visual artist who has been recognized for sharing her artistic ability, enthusiasm and love of art with her students as well as the art teachers she has trained.

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Lifetime Achievement – James W. Cheevers

James Cheevers is the Associate Director and Senior Curator of the United States Naval Academy Museum, where he has been employed for the past forty-three years.

James is credited for his exhibit designs of the extensive collection of art and artifacts related to the history of the U.S. Navy, with an emphasis on the Naval Academy and its alumni.

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A Beauty on Winding Creek

By Tom Levine | Photography by Ched Bradley

Vol. 4, No. 6 2013 29

When a couple from Philadelphia approached Chestertown architect Peter Newlin and asked him to design a weekend (and future retirement) house, he quickly sketched a design that would take advantage of the property’s natural beauty. The couple had recently acquired a fifty-six acre waterfront tract on the Upper Eastern Shore. The house would sit on a slight ridge overlooking a bend in a creek and would be backed by a curtain of mature woods. Newlin proposed a series of interlocking pavilions that would step back from each other and follow the bend of the creek, allowing unobstructed views of the water from each. Without hesitation, the couple accepted this concept and a skilled team of builders and craftspeople set about constructing the house.

The pavilions are the dominant design element of the house. Connected at

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their corners, they lead you through the house, creating anticipation of the next view. And while the waterfront site drove many design decisions, Newlin did not want to ignore the woods to the south of the house. They provide what he calls “the counterpoint view of dappled light.” Halfway up a spiral staircase, a series of windows opens up this view. A separate, beautifully constructed summer house, open to air on all sides, allows further enjoyment of the woods while providing the property’s best view of the water. Ask Newlin about his architectural vision and he will tell you that “there is a lot of joy in craftsmanship. The joy that went into making something can be felt by just being around it.” It is not surprising to learn that he began his career as a restoration carpenter. After earning a master’s degree in architecture from the University of Virginia, he settled in Chestertown and started Chesapeake Architects.

Previous Spread: This home is an antiMcMansion, well crafted and relatively modest in size.

This Spread: Inside this turret is a winding stair; there are progressively more windows as you ascend to the top floor. This stair rail is "a joy to hold" and built by Vicco Von Voss, a local wood artist.

Vol. 4, No. 6 2013 31

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In the eighteenth and nineteenth centuries Chestertown enjoyed the prosperity that came with being a busy port. This prosperity allowed the residents to support local carpenters and craftspeople. In turn, they built the town’s legendary homes that reflect the great eras of early American architecture. This symbiosis between patrons and craftspeople is a part of the local history that has evolved into this thoroughly modern house.

This house is the anti-McMansion. Relatively modest in size, it is the triumph of quality over quantity. Patrick Jones, the general contractor, speaks of the Architect Peter Newlin began his career as a carpenter; his eye for fine workmanship is evident in his collaboration with Patrick Jones, who built the custom ceilings, floors with insets, and beams with his team.

A summer house, open to air on all sides, provides the property's best view of the water.

challenge and ultimate satisfaction of building a house with this degree of customization. In the end it’s a house where “everything is right,” and he attributes a large part of that to the homeowners. “Their main concern was the quality of the work. They did not want to compromise.” While a robust budget can certainly help avoid compromise, the homeowners provided something more. Patience. In an age when a team from HGTV will strip your house to

Vol. 4, No. 6 2013 33

the studs and reconstruct it while you are out buying a gallon of milk, when the average new house is built in three to four months, this house took three years to build. Why? Consider the stair rail. The rail was created by Vicco Von Voss, a local wood artist who also designed and built several tables for the house, including the beautifully organic dining table. One must examine the rail closely to find any evidence that it is anything but one continuous ribbon of wood. Ask Von Voss about it and he will tell you about the ergonomic design of its profile. (Wrapping

your hand around this rail is a joy.) He’ll tell you how, like all of his work, it is constructed from reclaimed wood. And, he will tell you he doesn’t remember exactly how long it took to fabricate. Perhaps 9 to 12 months. Not 9 to 12 weeks; 9 to 12 months. Like many of the skilled artisans who worked on this house, Von Voss appears to live in a different time/space continuum from the rest of us.

This house is very much of its place and time. It’s creation took a village of artisans—carpenters, custom millworkers, landscape architects, a mason, a wood varnisher, custom lighting fabricators, roofers—with decades of experience in a place that nurtured and

valued their talents. They created a home—with its pavilions and summer house, its setting amid woods and water, and its handcrafted details—that evokes a village. They are people who, in Newlin’s words, “think of their work and their craftsmanship as being skillful and thoughtful.” It also took homeowners with patience and a strong engagement in the design process. And it required an architect who could time travel between past and present, creating a modern home that channels the fine workmanship of eighteenth- and nineteenth-century Chestertown.

Above: Trees and woods also drove architect Peter Newlin's design. Unlike many architects, he did not focus exclusively on just a water view.

Left: Connected at their corners, a series of pavilions lead you through the house in anticiption of the next view.

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Vol. 4, No. 6 2013 37

Cars are artfully displayed on the Hyatt's River Marsh Golf Course in Cambridge on the Choptank River. Courtesy Glenn Miller.

The 2013 St. Michaels Concours d'Élégance

By Bill Rothermel

The blurred lines between art and the automobile are becoming more congruent with each and every passing day. Record-setting recent sales of vintage automobiles at auction offer proof of the automobile as not only a collectible, but also as a legitimate form of art—one sculpted of aluminum, wood, fiberglass, and steel able to move under its own power.

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In reality, this is nothing new. The Concours d’Élégance (French translation—“competition of elegance”) has roots dating back to seventeenth-century France when aristocrats paraded their luxurious carriages in the parks of Paris during summer weekends and holidays. Over time, the horse-drawn carriage evolved into the horse-less carriage and voilà, the automobile became revered as both a status symbol and a thing of beauty.

The St. Michaels Concours d’Élégance has continued this tradition for six years, relocating to Hyatt’s Chesapeake Resort in Cambridge, Maryland, this year. Unlike many of its contemporaries, however, St. Michaels offers a laidback atmosphere along with a “less is more” philosophy that compliments its Eastern Shore location. While other concours feature as many as three hundred cars, St. Michaels typically fields between fifty and seventy-five. Wood boats, too! In its early years, St. Michaels featured only cars built prior to World War II, a bit unusual for a nationally recognized event. More recently sports cars fifty years or older (1963 and earlier) and last year, wood-bodied cars through 1953 were added to the roster of eligible vehicles.

The three-day weekend began Friday with a welcome cocktail reception at the resort for exhibitors and participants. Saturday featured a fifty-mile tour from the hotel property with a midmorning stop for tea at a private residence. The weather began both questionable and cold, but quickly warmed up with bright sunshine making for a delightful day. Lunch followed at the Robert Morris Inn in Oxford along with a drive through St. Michaels upon return to the Hyatt. The evening concluded with a dinner and auction aiding the Mid-Shore Community Foundation, the Concours’ beneficiary. Nearly thirty cars participated in the police-escorted tour ranging from the oldest,

Jim Grundy’s 1908 National Touring, to the newest, Jim and Marion Caldwell’s 2013 Rolls-Royce Phantom. The caravan led by new Jaguars (the Concours’ lead sponsor) made for quite a sight on Maryland 50 and the area’s back roads.

Sunday’s concours was greeted with picture-perfect, Chamber of Commerce weather with temps in the mid-70s. The cars were artfully displayed on the Hyatt’s River Marsh Golf Course situated along the picturesque Choptank River. Comments of “a mini-Pebble Beach” and “Amelia Island before the crowds came” were offered by many participants in reference to the two most famous and prestigious concours in the country—heady praise indeed! Keeping with tradition, a gourmet luncheon for participants, along with a fashion show and narrated awards ceremony were included in the day’s agenda.

The cars, however, were paramount, all with a story to tell. Bill Alley of Greensboro, Vermont, received the Preservation Award for his incredible 1910 Stevens-Duryea Model X 5-Passenger Touring. Bill’s car, once owned by the Spalding family (of sports equipment fame), is a virtual time capsule still retaining its original paint and interior as delivered in 1910. The 1930 Cadillac V-16 “Madame X” 2-Passenger Coupe by Fleetwood, owned by Tom Kidd of Zionsville, Pennsylvania, took home 1st Place in the American Classics category. Cadillac was one of only two manufacturers to offer a V-16 production engine and Rob and Barbara VanDewoestine of Durham, North Carolina, received the Best of Show Award for their 1936 Cord 810 Phaeton. Note they are wearing period attire.

Courtesy Glenn Miller.

Kidd's car is one of three known to exist. It cost a whopping $7,155.00 new; this when a Ford Model A retailed for as little as $450.00! Loren Hulber from Macungie, Pennsylvania, fielded his 1948 Chrysler Town & Country 4-Door Sedan and was awarded First in Class in Wooden Cars. The Town & Country was the epitome of the country club set when new. Hulber’s meticulously restored car painted Sumac Red is one of just 1,175 sedans produced in 1948.

Winner of the People’s Choice Award was a 1932 Auburn 12160A Boattail Speedster owned by Sonny and Joan Abagnale of Cedar Grove, New Jersey. The black and orange beauty was designed by Al Leamy at the age of twenty-eight while a young designer for Auburn’s sister company, Duesenberg. Dressed in period attire to match, Rob and Barbara VanDewoestine of Durham, North Carolina, received the Best of Show Award for their stunning 1936 Cord 810 Phaeton. The Cord was America’s first front-wheel drive car offered in 1929. After three years,

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production was suspended and the marque re-introduced in 1936–37. It would be America’s last front-wheel drive production car until Oldsmobile introduced the Toronado in 1966.

Next year, be sure to mark your calendar for the last weekend in September for the 7th rendition of this fabulous event. Whether you like cars, boats, fashion, food, or history, there is something for everyone. Be sure to check it out at www.smcde.org.

Left: 1948 Chrysler Town & Country, First Class Wooden Cars.

Courtesy Bill Rothermel Right: A 1927 Rolls Royce Phantom—Springfield Playboy Roadster, owned by Jim and Marion Caldwell Courtesy Glenn Miller.

A fresh approach to classic design...

Visit our boutique for holiday gifts Or let us help you select just the right home decor to Spruce up your rooms f or the holidays!

Above: Each car in this Concours d'Élégance is historically significant, rare, and with a story to tell. Courtesy Bill Rothermel.

Below: 1932 Auburn 12-160A Boattail Speedster, People's Choice Award. Courtesy Bill Rothermel.

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Gifts For The Holidays

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Hearts on Fire

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On the

Corner

The Naval Academy & Annapolis:

Baroque and Beaux Arts Architectural Neighbors

By Chip Bohl Photography by Derek Jones

46

Annapolis Home

Part 2

Bancroft Hall faces the Academy's park-like quadrangle.

The United States Naval Academy is an extremely rare example of multiple buildings and their setting all designed in the American Beaux Arts style. New York architect Ernest Flagg conceived the campus and all the buildings surrounding the quadrangle in 1902. The architectural principles of the Beaux Arts contrast sharply with the Baroque concepts used by Sir Francis Nicholson when he planned the town of Annapolis in 1694. These very different approaches were described in Part 1 of this series. This installment examines the specific character of American Beaux Arts architecture.

American architecture between 1890 and 1920 was dominated by the buildings of architects schooled in Paris at the École des Beaux-Arts. The historic U.S. Naval Academy campus is the

perfect place to experience the stylistic features of American Beaux Arts architecture. The buildings have strict symmetrical lines centered on the front entrance, deeply grooved masonry, a main entrance elevated above the ground, and architectural elements referring to the Roman Empire. The creative use of lush decorative trims, moldings, cornices, and other highly detailed architectural features are fully integrated into the architectural composition, not added on later as afterthoughts.

The impact of French architectural education on American building cannot be overstated. The New York Public Library, Grand Central Station, the Library of Congress, Union Station in Washington, D.C., and Penn Station in Baltimore are just a few buildings designed by École-trained architects. The Chicago

Vol. 4, No. 6 2013 47

Mahan Hall, which once housed classrooms, is now the Academy Museum.

Columbian Exposition of 1892, the World’s Fair of its day, began the nationally popular run of American Beaux Arts architecture that lasted until the Great Depression of 1929.

Formal training for architects in America was not available until the Massachusetts Institute of Technology opened a program in 1865. Most architects learned the art by apprenticeship or mastering a building trade. The finest architectural school in the world during the nineteenth century was the École des Beaux-Arts in Paris. In 1846 Richard Morris Hunt became the first American to attend the school. Hunt was an extremely successful architect, designing the Metropolitan Museum of Art in New York, the Breakers and Marble House mansions in Newport Rhode Island, and the Biltmore estate for the Vanderbilt family. The first wave of American architects trained at the École included Henry Hobson Richardson and Charles McKim of the architecture firm McKim, Mead & White, among many others. The second wave included every American architectural candidate that aspired to first tier status in the profession. Among the second wave was Louis Sullivan of Chicago and Annapolitan architect T. Henry Randall (1862–1905) who worked for McKim, Mead & White and then opened his own office in New York. Earnest Flagg attended the École from 1889 to 1891. He was devoted to École architectural principles his entire career, which culminated in the design of the buildings and campus of the Naval Academy.

Many Beaux Arts buildings remain throughout the country, but only a few examples of Beaux Arts urban planning survive.

The Chicago Columbian Exposition plan was a tour de force in Beaux Arts urban planning. Monumental with broad vistas to

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Annapolis Home

symmetrical buildings created a popular sensation and inspired the City Beautiful movement. The Exposition buildings were destroyed, as planned, shortly after the fair closed. An excellent existing example of grand scale Beaux Arts city planning is the National Mall in Washington, D.C., which was redesigned in 1901 by architect Charles McKim. The U.S. Naval Academy campus remains a rare environment with multiple buildings and urban planning using Beaux Arts architectural principles.

The main entrance façade of Bancroft Hall faces the park-like quadrangle, and is directly aligned with the entrance of Mahan Hall. Beaux Arts architects were well trained in the creation of architectural ornamentation. Note the battleships plowing out of the Bancroft Hall roof parapets. This ornamentation is not a slavish copy of classical architectural details, but a wholly unique creation explicit to this building.

Beaux Arts architects were also trained to create specific unique floor plans for the building functions. They itemized the needs of the users, identified functional adjacencies, and applied principles of circulation to create distinctive site-specific floor plans intended to function practically and efficiently. While all of Flagg’s Naval Academy buildings have been modified or expanded, the original primary interior spaces are intact and continue to function with efficient grace.

Mahan Hall, now the Academy Museum, was designed as the main classroom building. It includes many features of Beaux Arts architectural principles. The symmetrical entrance is raised a floor above grade with a bold double staircase. The entrance

axis is further emphasized by the clock tower, cupola, and segmented round pediment. Sculptures of allegorical figures, repetitive arches, and a variety of pediments, brackets, and balustrades complete the complex yet tightly controlled composition. Note the wonderful architectural hardware and lighting designed with nautical motifs.

In the original 1908 construction, the Chapel dome was sheathed in highly ornate glazed terracotta with naval military symbols. Flagg warned the contractors of their failure to provide proper waterproofing for the dome. This resulted in the eventual failure of the terracotta ornament, and its replacement with the copper roofing we see today.

The U.S. Naval Academy Chapel is a masterpiece of American Beaux Arts architecture. Flagg placed it on the highest ground and central to the entire campus composition. The dome is based on the design of the 1708 Royal Chapel at Les Invalides in Paris, designed by architect Hardouin Mansart. There are two very interesting parallels here: the Royal Chapel contains the 1840 bombastic imperial burial site of Napoleon while the Naval Chapel contains the crypt of John Paul Jones, father of the American Navy. Jones’ crypt was built in 1913 with a design inspired by Napoleon’s tomb, much more modest but still impressive. The second parallel: the Baroque Royal Chapel was designed and built at the same time that Nicholson designed and built the Baroque urban plan of Annapolis.

This is further evidence of how au courant the Annapolis town plan was in the world in 1694.

Chip Bohl is an architect, practicing in Annapolis for 33 years. Visit www.BohlArchitects.com The nave of the Chapel was extended by an addition in 1939 by architect Paul Phillip Cret. This changed the form of the Chapel from a cruciform to Latin cross plan.

The original Naval Chapel dome (left) was finished in 1908 with a multi colored glazed terracotta roof that featured decorative naval insignia. The 1708 Royal Chapel at the hospital for injured soldiers in Paris (right) was the inspiration for architect Ernest Flagg.

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Vol. 4, No. 6 2013 51

410.643.4040 | 314 Main Street | Stevensville | MD | 21666

Finance

at Home

Tax Advantages

to Owning a Second Home

By Gay Jervey

Whether your second residence is an estate on the Chesapeake, a beachfront cottage in Rehoboth, or a small getaway cabin nestled near duck hunting blinds on the Eastern Shore, today there are many ways that it can provide significant tax advantages to benefit you and your family. The trick lies in understanding the special—and quite specific—tax regulations that apply to additional properties that you own.

First of all, pay attention to both the bold and fine print, as these rules can, at first blush, be a bit perplexing. There are a number of tax consequences associated with owning a second home—most of which are dependent upon the extent to which the home is rented. Essentially, much of the issue boils down to the amount of time you inhabit the residence personally, versus renting it out.

This will determine how the IRS will categorize the property— and, therefore, any tax benefits that you are entitled to.

“Very different tax rules apply depending on the breakdown between personal and rental use,” explains CPA Gary Heldt, who owns and operates Small Business Advisors, in Gambrills, Maryland.

Here’s a quick look at some of the key tax rules.

Second Homes: All Shapes and Sizes The IRS agrees that second homes can come in many packages—houses, condos, duplexes, bungalows, recreational vehicles, and—particularly key to many Marylanders—boats. Having said that, to qualify for a tax deduction, the property needs to have “legitimate, standard cooking, sleeping, and bathroom facilities,” explains Karl Appel, CPA and vice president of The Gardiner & Appel Group in Severna Park, MD. Mortgage Interest: Personal Use Only If, for all intents and purposes, you use the place solely as a second home—as opposed to as a rental property that generates consistent income—you are entitled to deduct any mortgage interest and real estate taxes, just as you can do with your first home. One key hitch: There is a ceiling. You can write off 100% of the interest you pay on up to $1.1 million of combined debt secured by your first and second homes that was used to acquire or improve the properties. (That’s a total of $1.1 million of debt, not $1.1 million on each home.) In other words, the aggregated indebtedness cannot exceed $1.1 million. However, no other expenses—including repairs, maintenance, or insurance—will be deductible.

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Annapolis Home

The Fourteen-Day Rental Rule When you rent the property, the tax rules change, depending upon the precise number of the days you, as well as your renters, are in the house. There is a little wiggle room with the rental regulations, but not much, and it is very specific. You are considered to use a dwelling unit as a personal residence if you inhabit it for personal purposes during the tax year for more than the greater of either fourteen days, or 10% of the total days it is rented to others at fair market value rental price.

If you rent the property for fourteen or fewer days during the year, that income is tax free, regardless of how much you charge for those two weeks. Even if you’re charging as much as $10,000, the IRS will not tax you. As long as you stick to this rental time limit, the house is considered a personal residence, so you can deduct mortgage interest and property taxes under the standard rules for a second home.

Longer Rentals Mean Different Rules If you rent more than fourteen days, you must report all income therein. However, you can deduct all expenses associated with maintaining that rental property up to the level of the rental monies that you accumulate. Deductions include the following: Mortgage interest, Upkeep, Maintenance, Insurance, Utilities, Real estate taxes, Depreciation, Supplies, and other miscellaneous expenses.

One thing is clear: As Heldt and Appel both stress, in order to optimize the tax consequences, you should fully understand the tax implications of owning a second home—in the best of all worlds, even before you purchase it. Otherwise, you may inadvertently run afoul of the IRS or undermine your chances of reaping the tax benefits you are owed.

At the end of the day, it’s crucial to consult tax consultants to ensure that you have read all the fine print. As Heldt cautions, “These rules have lots of nuances and can be complicated, so you really need to get the best advice possible to both maximize tax advantages and make sure that you don’t mistakenly find yourself in trouble because you didn’t fully understand all the rules and regulations.”

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

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Vol. 4, No. 6 2013 55

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Hot Stone Massage The use of stones and gemstones for healing dates back thousands of years. Many believed then, as they do today, that the stones themselves have an energetic charge that can heal and revive. Stones usually heated in 120 to 150 degree water are placed, one at a time, at specific points on the back, in the palms of the hand, or between the toes. The heat warms and relaxes the muscles, which allows the therapist to apply deeper pressure, if desired. Before booking your appointment, inquire whether the therapist is trained in stone massage and ask how long he or she has been practicing this art. Great skill is required.

Some therapists love to administer stone massage but others do not like to handle the hot rocks. You do not want to leave this important experience to an amateur.

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Annapolis Home

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•

WalterWorksHardWare • in Annapolis

410.263.9711 | www.WalterWorksHardWare.com 420 Chinquapin Round Road, Annapolis, MD 21401 Vol. 4, No. 6 2013 59

In the

Kitchen

WITH MARILYN BURGE

Reynolds Tavern Christmas Pudding Story and Photography by Christine Fillat The flavors of delicacies in life transport you: the crunchiness of the fig seeds, the bite of citrus zest, the enveloping aroma of a generous pour of brandy; the moistness that can only come with hours of gentle steaming, the toothsome counterpoint of sweet hard sauce. This is the dessert that memories are made of. When I asked Marilyn Burge, of historic Reynolds Tavern, to create a fabulous holiday dish for us, she absolutely could make nothing less than her Christmas pudding.

In 2004, Marilyn Burge and husband Wes, returned to Maryland with the opportunity to “Tavern Keep” in Annapolis. Their shared interest in history and passion for food has made them well suited to run Reynolds Tavern.

Together, they ensure it is a lively and unforgettable part of Annapolis’ historic community.

Ingredients

• 1 1/2 cups dried currants • 1 cup raisins • 1 1/2 cups golden raisins • 1 cup dried figs, chopped • 3/4 cup brandy • 1 large Granny Smith apple (peeled and cored) and finely grated • Zest and juice from one orange • Zest and juice from one lemon • 3/4 cup butter • 2 cups shredded white bread crumbs • 1 1/4 cups finely ground almonds • 1 1/4 cups flour • 1 teaspoon baking powder • 1/4 teaspoon baking soda • 1 1/2 teaspoons cinnamon • 1 teaspoon ground ginger • 1/2 teaspoon cloves • 1/2 teaspoon nutmeg • 1/2 teaspoon salt • 3 large eggs • 1 cup firmly packed dark brown sugar

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Annapolis Home

CHRISTMAS PUDDING WITH BRANDY HARD SAUCE Grease a 2 1/4 quart, heat-proof ceramic bowl with softened butter. Make sure the bowl will fit onto a stock pot or Dutch oven for steaming. You can place a heat-proof trivet on the bottom of the pot to raise the pudding from the pot’s base, or if you have a large stock pot that has a steaming insert, this works great, too.

In a large saucepan, combine the currants, raisins, golden raisins, dried figs, and brandy over medium heat. Simmer about 5 minutes and let cool.

When completely cool, stir in the grated apple and orange and lemon zest and juices.

In a separate bowl, toss together bread crumbs, flour, almonds, baking powder, baking soda, and the spices.

With an electric beater, beat together butter, eggs, sugar, and vanilla until creamy. Gently stir in the dried fruit and brandy mixture into the butter mixture. Carefully fold in the bread crumb mixture.

Pour the batter into prepared bowl; cover the top with buttered parchment paper that fits inside the rim of the bowl. Cover the bowl with a double layer of aluminum foil, crimping it well around the rim.

2011-12

Builder and Fine Design Awards

Vol. 4, No. 6 2013 61

Annapolis Home Magazine

410.263.4900

What’s Your Style?

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

BEST KITCHEN

For more information about Reynolds Tavern or to make reservations, go to www.reynoldstavern.org, or call 410.295.9555.

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• 2 sticks unsalted butter • 3 1/2 cups confectioner's sugar • Grated zest from one lemon • 1/2 cup brandy

Cream the butter and sugar until light and creamy. Beat in lemon zest, and slowly add brandy until well blended. Refrigerate; let soften just a bit at room temperature before serving with the pudding.

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Lower your pudding into the stock pot or Dutch oven. You want the water to come about one half to two thirds of the way up the side of the bowl. Simmer the pudding gently over medium low heat for about 6 hours. (Check the water level occasionally and refill if needed.) The top center of the pudding should feel firm.

Let the pudding cool a bit; remove the foil and parchment paper. Wrap well, and refrigerate once cool. To serve, you will need to steam it again as before (about 2 hours).

Remove the pudding and invert onto a platter. Pour 1/2 cup brandy over the pudding, dim the lights, and ignite! Serve the pudding with Brandy Hard Sauce.

Gina and Mike Baldwin, Joni Zimmerman

Borek Hlousek and Katalin Farnady

Jane Sinclair, Dana and Currie Mebane

Lauren and Marianne Taylor, Taryn Chase, Mia Cranford

Robert Hruby and Kevin Campion Photo at Right: Bill Machande, Hal Quayle, Robert Haywood, Kymberly Taylor, and Will Schweitzer

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Annapolis Home

Annapolis Home Magazine held its Builder and Fine Design Awards Dinner at the Gibson Island Club on October 24.

Flowers by Little House of Flowers; music

by Sendy Brown Trio.

Kevin Burrowbridge, Laura and Jeff Gosnell

Mark and Jessica White, Brian Fleming, Erin and Chris Olexia

Mark Sanders, Chris Newman, Tina Colebrook

Steve Hammalian, Robert Taylor, Tom Levine

Ben Corson, Jay Graham, Marta Hansen

Cindy Stranger and Joyce Pearl Photography by Derek Jones

Vol. 4, No. 6 2013 63

The Page

After

Architecture Around the World We conclude this special architecture issue with a museum project by internationally renowned architect Steven Holl. The museum is the Herning Museum of Contemporary Art in Denmark, an experimental forum for both the visual arts and music. Holl explains: “Part of the current art collection is housed in an old shirt factory in Herning. This 1960s building was designed in the form of a shirt collar and is across the street from the site.� A fabric theme is evident in the shape of the building that resembles a collection of shirtsleeves when viewed from above. The flat field is transformed into a landscape of grass mounds and reflecting pools that conceal all the parking and service areas. We hope one day to see an art center in Annapolis of this level of ambition and quality!

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Annapolis Home

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