American Lifestyle by Margarita Gazivoda Kocovic by Erich Ziebarth

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ISSUE 97

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TAKING PERFECTION Front of Tear Out Card 1 FARTHER Dear Bill and Judy, A woodworker's daughter, a bike shop owner, and a group of history guardians--the building blocks of a legacy are often found in the form of ordinary people. This issue of American Lifestyle magazine explores the missions people embark on in the name of community and preservation. Margarita Gazivoda Kocovic

Marin Tockman wanted Dashing, a neighborhood cycle shop in New Orleans, to be a gathering place. A central location means she sees tourists, older residents who live nearby, and folks on their way to and from work. Affordable rates for bike maintenance and repair are at the crux of her vision for a sustainable biking community. Mira Nakashima came to work for her furniture-builder father, George, in 1970. She became his apprentice and later took on the business after he passed away. She carries on his legacy of honest joinery and improvising with the materials to allow them to be what they want to be. Fairfax, Virginia, resident Hildie Carney and four of her neighbors made it their mission to preserve an endangered nineteenth-century historic residence known as Blenheim--and the inscriptions made by Civil War soldiers hidden within its walls.

Licensed Real Estate Salesperson

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Cell: (914) 879-9372 Office: (914) 902-3207 E-mail: m@margaritasellswestchester.com www.LuxuryWestchesterNYHomes.com

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Fairfax, Virginia, resident Hildie Carney and four of her neighbors made it their mission to preserve an endangered nineteenth-century historic residence known as Blenheim--and the inscriptions made by Civil War soldiers hidden within its walls.

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DASHING THROUGH THE BIG EASY BACKYARD BOUNTY

ISSUE 97

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OF THE MILLIONS OF AMERICANS WHO

commute to work each day, some 860,000 people get there on a bicycle. That’s a 51 percent increase from 2000 to 2016, according to the League of American Bicyclists. Marin Tockman thinks that number should be much higher. Tockman, a native of Maine, took to biking as a child as a way to explore the outdoors where she lived. She never thought of bike riding as a lifestyle until she needed her bike to navigate the busy and sometimes dangerous city streets. When she moved to New York, she began balancing her career in the film industry with advocacy work, teaming up with other passionate cyclists through nonprofits and grassroots organizing. “For years, people had been looking for an alternative to the subway—but when you look down the street, it’s so overcrowded and congested with cars,” says Tockman.

DASHING THROUGH THE

BIG EASY w r i t t en by alexa bricker pho t o gr aphy by bobby bonsey

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While she made advocacy a priority, Tockman admits that she came onto the cycling scene at a good time, when positive changes to the city’s infrastructure made it safer and easier to ride bikes on the streets. Because of the efforts of people like her, cities across the country have adopted stricter safety laws regarding the interaction of cyclists and motorists on roadways, and, overall, America’s largest urban centers are becoming more bike-friendly places. The road to better bike safety was not always so clear, though. A NEW HOME FOR BIKING

Tockman traveled between New Orleans and New York multiple times for work, and she had come to love

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transportation—can be something really special.” Tockman wanted Dashing to be a truly distinctive boutique bike shop that could serve the community’s needs, as well as be a gathering place of education, advocacy, and togetherness. To service the community more effectively, Dashing moved to its current home on North Broad Street, a central meeting point for many of New Orleans’s neighborhoods.

the laid-back lifestyle of the southern city. The outdoor living, sense of community, and diversity among the neighborhoods proved to be the exact type of environment she was looking to call home, and she made a permanent move in 2010. She continued advocating for better bike safety in New Orleans while juggling her film career. However, in 2013 she decided to switch gears to a full-time career in the cycling industry. Tockman opened Dashing—a popup neighborhood cycle shop—that same year to serve what she describes as a gap in the market for everyday cyclists. “I wanted to expose people to the self-appreciation that can come when you choose to bike,” she says. “The gratification you get from using your own body—what’s called active

It was one of the first small businesses to open on North Broad after the destruction of Hurricane Katrina, which has given Tockman a sense of responsibility to the community members who rely on her. This central location allows Dashing to service customers from all walks of life. Tockman explains that, on any given day, the store will likely welcome tourists just visiting the city, older residents who live nearby, and folks on their way to and from work—it caters to people of all backgrounds with a variety of needs. EMPOWERING, AFFORDABLE, FUN

One of the most important aspects of the business for Tockman is keeping Dashing’s services affordable. The shop handles everything from small repairs and adjustments, which often run between five and ten dollars, to tire changes and custom installations of rims, spokes, and hubs—the most expensive service, which costs about seventy dollars. It also carries a large selection of reasonably priced bikes and accessories from top brands like Bianchi, PUBLIC, and All-City Cycles. Helping the city’s cyclists keep their bikes in order for a modest rate is an

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important component in sustaining the biking culture in New Orleans and making people feel comfortable. “It’s really a space that, no matter who you are, you can come and feel appreciated,” says Tockman. “To me, that’s a big success. It’s been really fun to see the way that New Orleans has embraced a new store like this, and at a time when, post-Katrina, anything was possible but nothing seemed to be going right.” In addition to empowering the community, Dashing has a mission to empower women cyclists in particular— those who may not have a place to feel comfortable, safe, and appreciated— especially in an industry dominated by men. The shop offers free monthly workshops on basic bike maintenance and safety, as well as group rides for women cyclists of all skill levels. Since Tockman opened Dashing six years ago, she says that she has seen great success in bringing women cyclists together through the shop, but it hasn’t necessarily been easy. “When more women are out riding and being visible, it makes the streets seem more approachable and makes more women feel empowered to do it,” she says. “But sometimes you feel like you’re ahead of the curve, and sometimes finding supportive women is the biggest challenge. I see biking as a safe activity and a health benefit, so my biggest goal is just to try and share those concepts with people and help them feel more confident.” Tockman notes that seeing the biking community in the city come together and expand over the last few years has been a beautiful thing to watch. The culture in New Orleans is already so lively and community-oriented, so

witnessing the growth of cycling and how that fits into the collective interests of residents has been particularly exciting for her and the business. “I don’t think owning your own business is for everyone,” she says. “You put your neck on the line and set yourself up for multiple challenges. But I think that Dashing is really becoming a part of

the fabric of why biking is so great. You can walk into an inviting store that’s got your back and welcomes you. To our customers, it’s about being a part of this lively culture and being seen—and they’re doing it on the seat of a bicycle. It’s a great time to live in New Orleans.” For more info visit www.dashingnola.com

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Short ribs were made for grilling! These meaty ribs are rubbed, grilled, and topped with an easy-to-make Pennsylvania Dutchstyle chowchow: an amazing pickled condiment of cabbage, corn, tomatoes, peppers, and onions.

backyard bounty

SERVES 4

GRILLED SHORT RIBS WITH COUNTRY CHOWCHOW

re c i p e s b y patterson watkins p h o t o g r a p h y b y shana smith

INGREDIENTS: Chowchow: 2 cups apple cider vinegar 1 cup water 18

/ cup salt

½ cup sugar 1 teaspoon mustard seeds 1 teaspoon celery seeds 2 teaspoons ground turmeric ½ teaspoon crushed red pepper flakes 1 cup green cabbage, chopped ½ cup red cabbage, chopped 2 cups corn kernels ½ cup red bell peppers, chopped ½ cup green tomatoes or tomatillos, chopped ½ cup yellow onions, peeled and chopped Ribs: 1 teaspoon salt 1 teaspoon paprika

INSTRUCTIONS:

1 In a medium saucepan over medium-high heat, bring apple cider vinegar,

water, salt, sugar, mustard seeds, celery seeds, turmeric, and crushed red pepper flakes to a simmer, whisking frequently. Once salt and sugar have dissolved, remove from heat, and set aside.

2 Stuff the cabbages, corn, peppers, tomatoes, and onions in a large Mason jar, and fill with the apple cider mixture. Cover, and refrigerate for 2 hours.

3 Preheat grill to medium-high heat. 4 In a small bowl, stir salt, paprika, cumin, garlic and chili powders, and brown sugar together. Coat the ribs with the rub, and grill for 10–12 minutes for medium rare, flipping frequently to make sure all sides are nice and charred.

5 Let the ribs rest for 5 minutes before slicing and serving, and top with the chowchow.

Tips: Extra chowchow will last for a few weeks refrigerated. It is excellent on hot dogs as well!

1 teaspoon cumin 1 teaspoon garlic powder 1 teaspoon chili powder 2 teaspoons brown sugar 2 pounds beef short ribs, with bones For video versions of these delicious dishes, visit americanlifestylemag.com/video

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There’s nothing like transforming the outdoors into your dining room on a nice night, and this tangy and savory recipe is an unexpected take on a side dish or veggie-centric appetizer for such occasions. SERVES 4

CHARRED EGGPLANTS WITH TOMATO JAM AND WHIPPED FETA INGREDIENTS: Tomato jam: 2 cups canned crushed tomatoes ¾ cup sugar 2 tablespoons lemon juice 1 teaspoon fresh ginger, peeled and minced ½ teaspoon crushed red pepper flakes 1 teaspoon salt ¼ teaspoon cinnamon ¼ teaspoon cumin Whipped feta: 1 cup feta cheese, crumbled ¼ cup cream cheese, softened ¾ cup heavy cream Eggplants: 2 eggplants, split (or 4–5 medium-sized heirloom varieties)

INSTRUCTIONS:

1 In a medium saucepan over medium-high heat, whisk together tomato jam

ingredients. Bring to a simmer, and simmer for 15 minutes, whisking frequently. Remove from heat, and let rest at room temperature until ready to serve.

2 In a large bowl, combine whipped feta ingredients. Use a hand mixer or an

electric stand mixer fitted with a whisk attachment to whisk until smooth. Keep refrigerated until ready to serve.

3 Preheat grill to medium-high heat. Coat eggplants with oil, and season

with salt, coriander, cumin, and garlic powder. Grill eggplants, flipping halfway through, for 7–8 minutes or until tender and lightly charred.

4 Serve eggplants with tomato jam and whipped feta, and garnish with chopped chives.

Tip: The tomato jam and whipped feta, when wrapped and stored in the refrigerator, will keep for a week.

4 tablespoons olive oil 1 teaspoon salt 1 teaspoon coriander 1 teaspoon cumin 1 teaspoon garlic powder Chives, chopped, for garnish

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This easy summer squash casserole will be the hit of any backyard barbecue. A slight twist on the southern classic, this version is filled with creamy ricotta and shredded Parmesan for a perfectly cheesy side dish. SERVES 6–8

SUMMER SQUASHAND-RICOTTA CASSEROLE INGREDIENTS: 1 cup mayonnaise 1 cup ricotta, drained 1 cup Parmesan cheese, shredded 2 large eggs 2 garlic cloves, peeled and minced 1 teaspoon sugar 1½ teaspoons salt ½ teaspoon black pepper 2 pounds yellow squashes, sliced 2 pounds zucchini squashes, sliced 2½ cups Ritz crackers, crushed ½ cup unsalted butter, melted 2 tablespoons fresh chopped basil, for garnish

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INSTRUCTIONS:

1 Preheat oven to 350°F. 2 In a large bowl, whisk together mayonnaise, ricotta, Parmesan cheese, eggs, garlic, sugar, salt, and pepper until smooth and blended. 3 Overlap squash slices on the bottom of a casserole dish, and top with ¾ cup

of the ricotta mixture. Repeat this step until all the squashes and ricotta mixture are gone (about 4 times, depending on the size of your casserole dish).

4 In a medium bowl, stir together crushed crackers and melted butter until

combined. Top casserole with cracker mixture, and bake for 30–35 minutes or until golden brown and bubbly.

5 Let rest for 10 minutes before slicing and garnishing with chopped basil.

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This fruit tart is truly a masterpiece. Sweetened sour cream pastry filling is layered underneath a bounty of fresh summer fruit, making this a dessert no one will forget. SERVES 6–8

SUMMER FRUIT-ANDSOUR CREAM TART INGREDIENTS: Ready-to-bake piecrust 2 cups half-and-half ½ cup sugar 5 egg yolks 3 tablespoons cornstarch (dissolved in 3 tablespoons of half-and-half) 2 teaspoons vanilla extract 1 cup sour cream 6 strawberries, sliced 2 kiwis, sliced 2 3

/ cup blueberries

2 3

/ cup raspberries

2 3

/ cup blackberries

2 3

/ cup mandarin orange slices 4–6 fresh figs

INSTRUCTIONS:

1 Bake piecrust according to package instructions, and let cool. 2 In a large saucepot over medium heat, whisk together half-and-half with ¼ cup sugar. Bring to a scald of 180°F, whisking frequently.

3 In a large bowl, whisk together yolks with remaining sugar until fluffy. Using a

ladle, pour the hot half-and-half in a thin stream into mixture while whisking to temper the eggs. Return to the pot, and whisk in cornstarch mixture and vanilla. Whisk for 2–3 minutes or until thickened. Remove from heat, and let cool to room temperature. Fold in sour cream until combined. Keep refrigerated until ready to assemble.

4 Fill baked piecrust with pastry cream, and top with fresh fruit. Refrigerate until ready to slice and serve. Garnish with mint.

Fresh mint sprigs, for garnish

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Mira Nakashima, daughter of renowned woodworker

DOVETAILING A LEGACY in t e r v i e w w i t h mira nakashima w r i t t e n b y shelley goldstein p h o t o g r a p h y c ou rte sy of nakashima foundation for peace (nakashimafoundation.org)

and furniture builder George Nakashima, took the reins of her father’s studio after his death and has continued his legacy of impeccably designed furniture that respects the life and will of the wood. What was your father’s education?

My father went to the University of Washington and majored in forestry for his first two years before switching to architecture; while there, he won scholarships to Harvard and to Ecoles d’Art Américaines de Fontainebleau outside of Paris. He quickly switched from Harvard to MIT, where he received his master’s in architecture in 1930. Your father worked as an architect in India and Japan for seven years before moving back to the United States. Did he intend to be an architect in Seattle? What happened in 1942?

My parents were married in Los Angeles in 1941 and then moved to Seattle, where my father decided he would rather make furniture than be an architect. In 1942, shortly after I was born, all the Japanese nationals

and ‘nonaliens’ within 150 miles of the Pacific coast were rounded up and sent to internment camps out of fear that they would collaborate with the Japanese across the Pacific Ocean. My father’s experience as an Eagle Scout helped him cope in Camp Minidoka in Idaho. He worked side by side with a Japanese carpenter to make our barracks more livable and comfortable. They used the materials at hand and improvised with hand tools as best they could, which turned out to be a very important learning experience in my father’s life. Why did your father move the family to New Hope, Pennsylvania? How was he able to use his skills?

My father’s former employer in Tokyo, well-known architect Antonin Raymond, had left Japan in 1939 and was living in a farmhouse in Bucks County in Pennsylvania. Antonin and his wife, Noémi, petitioned to have my father come and tend the chickens on their farm, so we were allowed to leave the camp in 1943, two years before the war ended. On the farm, my father made furniture out of found materials, along with one coffee table made of his precious planks of East Indian teak he had brought from Seattle.

Learn more about this iconic woodworking company by visiting americanlifestylemag.com/video

18 | AMERICAN LIFESTYLE MAGAZINE

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Do you still live on the land where your father first built a house?

I live across the road from the land where my father first built his house. In the beginning, he bartered three acres of land for labor on the owner’s farm, purchased two more small parcels, and then had the opportunity to purchase twenty-five acres across the road. As an incentive to bring me home from Pittsburgh, where I was raising my growing family, he offered me two and a half acres of that new parcel of land, a house, and a part-time job in 1970, and I couldn’t pass up the offer. The workshop on the original property was built in 1945, and in subsequent years my father constructed many other buildings, including his house, an Arts Building, and the Conoid Studio. How did your father’s work initially get noticed?

It was a hard go in the beginning. Dad developed a relationship with Rabun Studios in New York, where he occasionally sold a few pieces, but it was not until he joined a group of designers at Knoll Studios in 1945 that he began to be recognized as a prominent furniture designer. This recognition gave him the freedom to make furniture on his own terms in his own shop and to earn a decent living. What are some hallmarks of the Nakashima line? Will you talk about one or two of your favorite pieces?

My father always said that he would not be interested in making furniture out of any material other than solid wood. He believed in honest joinery and a minimum of metal fasteners, never used plywood, except where it was not seen, and had such an uncannily keen sense of proportion that some people say he could see the error of

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one millimeter from across the room and would immediately correct it. He happily went with the flow of postwar interest in Japanese design and the concepts of wabi, sabi, and shibui, which were embodied in his work. One of my favorite pieces is the Persian walnut coffee table in our living room that my father made. It has a large hole in the middle, which my youngest son used to climb into and pretend he was driving. My youngest grandson came to visit and did the exact same thing! My other favorite is the Conoid chair, once criticized for being structurally unsound but since proved otherwise by being in constant production since 1960. It is always graceful, always comfortable, and always beautiful in its simplicity. Why was it important to your father to leave the imperfections in the wood? Do you think it was a metaphor for other parts of his life? Or do you see it as more of a contradiction to his perfectionism?

I believe that it was perhaps a metaphor for our lives—living with imperfection and making the most of it, adding butterflies here and there not only as mending devices but also as “beauty marks,” and improvising with what life throws in our path. We strive to make something beautiful by respecting the wood and the life it has lived, not just cutting it apart and gluing it back together to make a man-made shape. It is also a lesson in humility and sublimation of ego to allow the wood itself to tell you what it wants to be. Did you want to follow in your father’s footsteps or forge your own path?

I had no intention of following in my father’s footsteps and no intention of ever coming home after college.

Conoid coffee table

Conoid lounge chair

STRIVE TO MAKE SOMETHING BEAUTIFUL BY “WE RESPECTING THE WOOD AND THE LIFE IT HAS

LIVED, NOT JUST CUTTING IT APART AND GLUING IT BACK TOGETHER TO MAKE A MAN-MADE SHAPE.

However, my father convinced me to major in architectural sciences at Harvard instead of linguistics or music and then arranged for me to attend graduate school at Waseda University in Japan to earn an advanced degree in architecture. The university worked on the atelier system, so as students we worked on real projects with real architects as our instructors, which provided invaluable and unforgettable lessons. While I was a student in Japan, I taught English on the side, did some translation work, and brought my first baby to graduation.

What was it like being an apprentice for your father?

It was tough being an apprentice to my father. He never explained why or how he did what he did, except when I would accompany him to the sawmill. He did not tolerate having his authority questioned or challenged and fired me many times. I eventually learned to do as I was told most of the time, until he had his stroke shortly before his death in 1990, when I had to take over and do what I thought he would have done. His mantra was to forget your ego, which was a hard lesson to learn.

How would you describe your work ethic?

My work ethic is a bit obsessive, as I never seem to be able to finish what needs to be done in the time available during work hours. One of our former secretaries marveled that my parents’ jobs were not only all-consuming but also served as their entertainment, social life, happiness, and self-fulfillment. I used to think they were a bit crazy, but my own life has become the same way. There is little time for anything else, other than a bit of music here and there.

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As you carry on your father’s legacy, are you carving your own path as well? Did you ever feel you were in his shadow?

My friend Erica Stoller, who inherited her father Ezra’s legacy of fine photography, complained that she, too, is always in her father’s shadow. I told her that I was quite comfortable being in my father’s shadow as the backdrop to my life, and it was a lot better than being nowhere. Every now and then, I am inspired to do something that my father had not done but still ask myself, “What would George do?”

What is some life wisdom your father passed on? What qualities do you feel he passed on to you that have served you well?

I’ll never forget my father’s advice: “Keep your nose clean, and create a little beauty around you.” My father also said, “The best you can do is the best you can do,” which is always comforting as well as inspiring. Humility and steadfastness in the face of adversity, as well as lack of ego, are still ongoing lessons, often taught and learned the hard way. What do you find most fulfilling about your career?

There is always something that needs to be done. Waking up each morning and going through the shop, checking on each project, visiting briefly with each of our employees, looking for wood, creating drawings, talking with clients, watching over architectural restoration—it is always interesting and challenging. I love seeing a piece of furniture emerge from the hands of one of our craftspeople, to watch its fuller beauty develop as it goes through the finishing process, and then to sign it and kiss it goodbye. For more info, visit nakashimawoodworkers.com

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IF THE CLIMATES OF CITIES WERE

SHADES OF SAN FRANCISCO w r it t e n b y shelley goldstein | p h otog rap h y b y shelley rose photography

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people, San Francisco would be a fussy toddler flinging his winter coat to the floor, only to complain two minutes later that he’s cold as he wrestles to reintroduce his arm into the sleeve of his discarded jacket. Thanks to a preemptive email from my tour guide, in which he had suggested, “Wear layers,” I was prepared to take on the three-hour urban hike of hidden staircases, my first adventure in the city. I imagine if you condensed the hike into a twenty-second aerial video, it would look like a flipbook featuring a tiny figure running up and down stairs while taking her coat off and on, and off and on. DAY ONE: OUTDOOR ADVENTURES

Greg, our tour guide, is a Dublin native, with only 5 percent of his Irish accent still intact but 100 percent of his personality. A runner and former radio deejay, he had begun leading tours via Airbnb (“Hidden Stairways of SF Urban Hike”) as an interim job and ended up liking it so much, it’s now

his primary job. Our little group met on Judah Street in front of St. Anne of the Sunset Catholic Church, a building reminiscent of a frosted birthday cake, built in the style of Romanesque revival, and painted the color of bubble gum. The part of town we were in was once called Outside Lands, and it’s built on sand, which was all that existed there back at the turn of the century. But after the 1906 earthquake and fire, people camped out here to escape burning, falling buildings. The city decided to use the space and created roads, and the neighborhood began to fill in. We made our way to 15th Avenue, a magical street that becomes stairs at one point and then resumes being a street. (Cue the confused Uber drivers.) The staircase is quite long, and there was a collective sigh of relief when Greg said we would not be climbing it. Our first stop on the hidden staircase tour was the Hidden Garden Steps, one block over on 16th Avenue. They were built in the 1930s out of plain gray cement.

Clockwise from Top Left: Alice Yee Xavier and her friend Jessie Audette had a vision for the steps (now known as the Hidden Garden Steps) in their neighborhood. The transformation of the Hidden Garden Steps was completed in 2013. Aeoniums and other succulents thrive in a neighbor’s garden.

americanlifestylemag.com | 25

FIRST “OUR STOP ON

THE HIDDEN STAIRCASE TOUR WAS THE HIDDEN GARDEN STEPS, ONE BLOCK OVER ON 16TH AVENUE. THEY WERE BUILT IN THE 1930S OUT OF PLAIN GRAY CEMENT.

Clockwise from Top Left: Various stops on the Hidden Stairways Tour include a charming cottage, a hillside garden alongside the 16th Avenue Tiled Steps, the 16th Avenue Tiled Steps themselves, and the Hidden Garden Steps.

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The neighborhood residents, inspired by another set of stairs called the 16th Avenue Tiled Steps, wanted to add beauty to their own community in a similar way. In 2011, they presented the idea to the city, who approved it under one condition: they had to pay for it themselves. Most of the names on the steps are people in the neighborhood who donated money toward the project. Artists Aileen Barr and Colette Crutcher, who had previously designed the 16th Avenue Tiled Steps, were called in to spearhead the design. The completed mosaic, to which donors had contributed over $216,000, was installed in 2013. In addition to the art tiles, the hillside was planted with a variety of succulents, like the popular rosetteshaped aeoniums. We soon arrived at the first set of stairs Aileen and Colette tackled, on Moraga Street. Greg laughed and explained, “They are called the 16th Avenue Tiled Steps, though, because the people on 16th Avenue paid for them, and the people on Moraga did not.” Alice Yee Xavier and her friend Jessie Audette had a vision for the steps in their neighborhood. Jessie had lived in Rio de Janeiro, where painted stairs are plentiful, and they were inspired to bring the same vibrancy to their corner of the world. The stairs feature a sun at the top, then a moon, a stream, a river that runs through a forest, and, finally, the ocean. On one particular step, you’ll find a tea kettle tile with Alice and Jessie’s names on it and two tea cups with Aileen and Colette’s names.

Alice Yee Xavier also lives next door and tends the hillside garden. She took the time to label the names of each plant, and once in a while you might also find a sign with a photo of someone stealing a flower or plant. Vigilante justice can be quite creative. If you hang a right at the top of the 16th Avenue Tiled Steps, you’ll eventually encounter Noriega Street and the entrance to the zigzagged wooden staircase that leads to Grandview Park. The amount of wind at the top is shocking, but it’s worth it for the panoramic splendor, including a view of Golden Gate Park. This behemoth of a park was the dream of Scotland-born John McLaren, who wanted a park on the West Coast that would rival Central Park. (It’s actually 20 percent bigger!) He managed to create an evergreen expanse, despite the existing landscape of sand dunes. He loved trees but hated statues, and if he could not win the battle against one, he was known to rearrange the park to hide it as much as possible by planting trees or other greenery. From this high up, it’s easy to see how compact San Francisco really is. At about seven miles by seven miles, it holds more than 850,000 residents in comparison to the Bay Area’s whopping 7.5 million. The tour wound down and through the Forest Hill neighborhood where Willie Mays, one of the greatest baseball players ever, lived for a short while in a home on

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Mendosa Avenue. The tour concluded near a pizza shop, thankfully, because I was ready to eat a street sign somewhere around the three-hour mark. Note to self: eat breakfast. Gregâ&#x20AC;&#x2122;s accent may have faded, but his Irish hospitality and friendliness shone in every interaction he had with his neighbors, who were surprisingly pleased to have visitors traipsing through and admiring their staircases and gardens. After inhaling a pizza, I stopped into the Game Parlour, an open and airy game cafe that was packed with people set up at long tables. I snuck onto the end of a table to munch on a sweet gluten-free waffle with strawberries and coconut whipped cream and listened to the soundtrack of happy people in competition mode. It was nearing sunset, and I knew the Sutro Baths would be a prime viewing spot. Though signs declare the ruins are dangerous, people were walking all over them like a jungle gym. A bride teetered on high heels as she crossed a concrete beam with her groom, as their photographer followed closely behind. The Sutro Baths were once a privately owned public saltwater swimming pool complex in the Lands End area of San Francisco. They were built in 1896 by Adolph Sutro, a wealthy entrepreneur who also owned the nearby Cliff House. I tried to imagine it in its heyday as the sky stratified into peach, rose, and lilac layers. Above: Sunset descends on the Sutro Baths during golden hour. Light streams in the windows of the Game Parlour. Opposite Page, Clockwise from Bottom Left: Eggs and greens and almond-and-quinoa-flour pancakes are served up at Little Gem. Staff awaits brunch orders at Little Gem. Hot fortune cookies are quickly folded around paper fortunes at the Golden Gate Fortune Cookie Factory.

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DAY TWO: INDOOR ADVENTURES

A hearty brunch was my first priority, given my appetite misjudgment of day one. Little Gem, a sweet, order-atthe-counter brunch place, is great for people with food allergies. I indulged in almond-and-quinoa-flour pancakes with vanilla coconut cream. My brunch mate had the simple scramble with eggs and greens. We parted ways, and I went in search of the Golden Gate Fortune Cookie Factory, an aptly named hidden gem, as its entrance is tucked away in Ross Alley in bustling Chinatown. Letting my nose navigate, I followed the humid and sugar-laced scent of baked dough to a doorway where Kevin Chan welcomed

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me with a platter of flat, circular cookies. This shoebox-sized factory has existed in the same location since its inception in 1962. The original owner, Franklin Yee, passed away in 2015, and it’s now owned by Nancy Chan. Her son, Kevin, came on board to help transform it from a cookie factory to a retail shop, tourist attraction, and historic landmark. Two of the three cookie-making machines are antiques from the 1950s with just one speed, which means the three employees have four seconds to fold the cookie before it hardens and ends up in the free customer samples bin. The golden batter, made of sesame seeds, butter, eggs, flour, and sugar, is pumped onto little griddles, which reappear four and a half minutes later, hot and soft, ready to be folded around a tiny paper fortune by deft fingers that have the motion down in muscle memory. Kevin urged me to write my own fortunes for a friend, and I asked what his favorite is. “Be who you are,” he answered me. It’s not an easy business and the hours are long, but Kevin feels rewarded by the knowledge he is helping the city and his community. I wanted to know if he will stay in the business, and he pointed to a quote painted on the wall: “Happiness is serving.” I felt a part of something special as I sat at the small desk tucked against a wall, watching a process that’s long been automated in other factories. I’m grateful to Kevin and Nancy for preserving this bit of San Francisco history and sharing it with others. His generosity was touching as he loaded up a cloth bag with the personalized fortune cookies plus another container of chocolate-dipped cookies. I think of what I wrote in one of them, “Love folded up into a crispy cookie,” and

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SHOEBOX-SIZED FACTORY “THIS HAS EXISTED IN THE SAME

LOCATION SINCE ITS INCEPTION IN 1962. THE ORIGINAL OWNER, FRANKLIN YEE, PASSED AWAY IN 2015, AND IT’S NOW OWNED BY NANCY CHAN.

it’s evident both Nancy and Kevin have poured their love into this doughy legacy. It seemed logical to continue my pursuit of sweet things, so I reserved a time slot for my friend and me to tour the Museum of Ice Cream, a quasi-art installation and elaborate ice cream tasting that I sensed was primarily for selfies and Instagram. When the tour guide, whose job title seemed to be “hype master,” jokingly chided us for not responding enthusiastically enough, I wanted to yell back, “Where is the tour for 37-year-olds who do not like audience participation?” But I persevered and dutifully waited in line to swim in the sprinkle pool, which I will admit was a very pleasing sensory experience. There were ice cream tastings along the way, as well as mochi and paletas—I chose pineapple! Sure, at $38, it was a bit pricey, but I now have a hilarious photo of my friend hugging a pink wall full of whipped cream cans. San Francisco’s changing climate does not only refer to the weather—it’s an

apt metaphor for this city, in that people can find whatever experience they seek, whether it be a three-hour hike with an affable former Dubliner, a glimpse into the history and soul of an iconic cookie shop, or indulging your inner teenager by posing with giant gummy bears and naming yourself after ice cream flavors. On that note, this is Rainbow Sherbet Shelley signing off from the Golden City, California.

Opposite Page: Owner Nancy Chan and her son, Kevin, fold fortune cookies at the Golden Gate Fortune Cookie Factory. Above: Colorful displays and fun times abound at the Museum of Ice Cream.

For more info, visit goldengatefortunecookies.com, museumoficecream.com, hiddengardensteps.org, and 16thavenuetiledsteps.com

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Laura Hodges is a Baltimorebased interior designer whose

A BALTIMORE

DESIGN ODYSSEY in te rv ie w with laura hodges | w ritten by rebecca poole | photogra phy by jennifer hughes

worldwide travels and passion for design from an early age have given her a keen eye, making her projects truly tailored to the client. Laura discusses her signature aesthetic, the importance of practicing sustainability, and what has impacted her work the most.

Where does your love for design stem from, and how did you break into the business?

My family traveled a lot when I was growing up, so I was exposed to many styles of architecture and design, which expanded as I began traveling on my own as a young adult. I earned my interior design degree from the New York School of Interior Design and worked with distinguished designers such as Jamie Drake and Thomas Jayne after graduating, before starting my own firm in 2016. You define your aesthetic as clean and classic. How do you incorporate this aesthetic into your various projects?

As much as I love seeing new trends and design styles, I always take my cues from classical architecture and design. I lean more toward a modern take on traditional shapes with an emphasis on contrast and form.

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What is your process like as you approach each project?

I always start with an in-depth discussion with my clients to find out not only their practical and functional needs for the space but also how they want to feel in their home and what would bring them joy and a sense of calm. From there, I look to their art collection (if they have one), travels, and interests, as well as my own intuitive take on their design style, to find inspiration for their project. Where do you find the balance between functionality and style?

Luckily, we’re in an age when style and functionality do not need to be mutually exclusive anymore. We have access to so many beautiful fabrics and materials that are specifically designed to last. The primary function always comes first, but we consider both at the same time and happily have to make few compromises.

What’s your favorite piece in your own home?

I found a beautiful, handmade Italian Savonarola chair from the early 1900s at an estate sale, and it has remained my favorite piece. You’ve traveled to many places in your life. How have your travels impacted your work?

I absolutely love traveling and never want to regret not having made the effort to visit historically significant or naturally beautiful places. My travels inform me every day—whether it’s the colors, culture, and style of another country or simply understanding how historically important architecture feels in person. I grew up traveling to France and England with my family, which formed my love for classical architecture. I later traveled to countries like Peru, Thailand, and Morocco, and they really opened my eyes to more extensive design styles and cultural influences.

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and fabrics from companies with sustainable manufacturing practices and a commitment to fair trade. We also help our clients find a new home for their unwanted furnishings and commit to donating salvageable building materials from our projects. Tell us more about the Patapsco residence you designed:

You recently opened your own boutique home-decor shop, Domain. How did that come to be?

It’s been a longtime dream of mine to have my own home-decor shop. My husband and I had the opportunity to purchase a property in the historic district of Catonsville, Maryland, in 2017, and we were excited to explore the possibilities. How do you balance heading Domain with your design responsibilities?

MUCH AS I LOVE SEEING NEW TRENDS “AS AND DESIGN STYLES, I ALWAYS TAKE MY CUES

FROM CLASSICAL ARCHITECTURE AND DESIGN. I LEAN MORE TOWARD A MODERN TAKE ON TRADITIONAL SHAPES WITH AN EMPHASIS ON CONTRAST AND FORM.

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Since the shop is in the front of our design studio, I’m able to physically be in touch with the day-to-day responsibilities while leading our design projects. I love sourcing locally for the shop and incorporating design finds from our projects. The two businesses definitely feed off each other. Sustainability is a big part of your mission. How do you go about achieving this?

I always start my sourcing of furniture

The Patapsco project is in Catonsville, near Patapsco Valley State Park. The park was a big inspiration for the general color scheme and feel of the space. The main living space is very bright and airy, with beautiful views of the park, so I used a very light ivory color on the walls to draw focus to the view. This property was the model home of a newly built neighborhood, so it was important to bring a sense of character to the home and inject the clients’ personality as much as possible. I pulled the color palette from the breakfast room rug, which was one of the first design choices I made. Once the color palette was established, I chose modern sculptural pieces that would have a significant presence in this open space. Creating more intimate gathering areas that felt more welcoming was important to me. The clients have a very fun and quirky sense of style that I loved incorporating into the design. They love birds and other animals, so the palette for the fabrics and rugs is upbeat and colorful with a sense of humor. I wanted each element to feel as personalized as possible. Describe your favorite design elements in this project:

The red cabinet with the round wood mirror in the entry is one of my favorite parts about this project. The vignette feels so striking yet inviting when you

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As an homage to their love of birds, the dining room has an oversized art installation of watercolor paintings on silk that makes a dramatic statement in this open-concept space. enter the home, and it instantly gives you a sense of the homeowners’ taste. The breakfast room is a warm and bright space off the kitchen that originally was of little use to the homeowners. I brought in an oversized daybed full of comfortable plush pillows and nesting tables, as well as a colorful rug, to create a cozy reading nook that’s now one of their favorite places in the home. As an homage to their love of birds, the dining room has an oversized art installation of watercolor paintings on silk that makes a dramatic statement in this open-concept space. Sitting in front of these paintings are a beautiful, handmade dining table and bench from a local woodworker. In the family room, the navy Chesterfield sofa anchors the large space, defining the room and creating more intimacy. A round wood coffee table brings in more natural textures and visual interest. The black-andwhite photograph above the mantel and brightly colored chartreuse chevron lumbar pillows are perfect examples of their quirky style. Who in your life has been most influential to you?

My grandmother and mother were big influences on me. They were both amazing mothers and wives, while also pursuing their own interests and education, which included art, travel, and all kinds of crafts.

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How do you define success in this industry?

My own definition of success is based simply on being able to do what I love for my clients and for them to be happy with our service and projects. When do you feel most creative? How do you overcome times when the creativity is harder to come by?

I feel most creative when I’m able to travel and visit new cities and meet creative people. I love going to High Point, North Carolina, twice a year for the furniture market. We find great pieces to create and design with there. When I feel uninspired, I usually find

ways to spark interest by visiting an art museum, a design shop, or a maker’s space. What is your favorite part about designing a space?

My favorite part is creating a space that is beautiful and functional but still speaks to my clients’ aesthetics and makes them feel good in their own home. For more info, visit laurahodgesstudio.com

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Inspired by her military veteran father, singer-dancer Erinn Dearth found her true calling with Letters From Home, her USO-style show that travels across the country to honor those who have served.

Have you always been a fan of USOstyle music and tap dance?

Definitely. I still remember, after seeing a play at age three, declaring that I’d perform on stage and have my own theater one day. Tap dance was my first true love; I started taking lessons that same year. I took voice lessons when I was around eight. I always knew I was going to perform and wanted to incorporate tap dance into it. I never wanted to do anything else.

OUTSHINING THE SHADOWS

I’ve also never listened to pop music. I only know ‘40s, ‘50s, and ‘60s music and musical theater. My family was always playing oldies and musicals. My grandparents listened to Frank Sinatra, the Andrews Sisters, and the McGuire Sisters, and my parents listened to Vietnam-era music but also all the standards like Eleanor Powell and crooners like the Rat Pack.

in t e r v i e w with erinn dearth | writte n b y matthew brady | photogra phy by zimbro photography studios, unless noted

Tell us about Letters From Home’s origins:

Pictured: Erinn Dearth (back) performing with Courtney Groves (front).

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I’d started a company called First in Flight Entertainment, and we were doing a lot of small, customized shows. One night, I was talking to my dad, and I told him I needed ideas for a new show. He said, “You’ve got to do a show for veterans.” He was a veteran of the Coast Guard and always spoke very highly of our service members.

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I recruited two other girls, practiced tight three-part harmony with them, and taught them how to tap dance. We started in 2010 as a local Andrews Sisters tribute. One day, we did a show at a VFW in Raleigh, and the national commander was there. Afterward, he invited us to fly down to San Antonio to perform at their national convention. That show got our name out all over the country, and we haven’t stopped touring since. What are your shows like now?

We do USO-style shows, as opposed to focusing on one specific artist. Most of the Letters From Home performances feature myself; Courtney Groves, who’s been performing with Letters From

Home for three years now; and Dan Beckmann, who started with Letters From Home in the summer of 2018. There are also several variations of the show. Sentimental Journey, our World War II show, features lots of numbers from artists like Frank Sinatra, the Andrews Sisters, and Glenn Miller. We Gotta Get Out of This Place, our Vietnam-era show, features some amazing songs from Steppenwolf and Creedence Clearwater Revival. Love to Keep You Warm is an all-around fun classic Christmas show. Since all our shows are interactive and we’re always coming up with new material, no two are the same and it never gets old to perform.

ON THE ROAD A GOOD “WE’RE THREE HUNDRED DAYS A YEAR, AND WE AVERAGE ABOUT ONE HUNDRED SHOWS A YEAR.

How many shows do you put on each year? Where do you perform? How much time goes into it?

We’re on the road a good three hundred days a year, and we average about one hundred shows a year. We’ve performed on cruise ships for many years. We do air shows, including the world’s premier air show in Oshkosh, Wisconsin. We’ve also performed at theaters, VFWs, and American Legions. Some of my favorite shows, though, are at retirement homes, since many veterans are so excited to be honored in their home. We are constantly preparing for the shows. Between time in the car singing together, time by ourselves singing, and coming up with, learning, and tightening the choreography, we probably put six to ten hours a day into development and rehearsal. I alone probably log sixty hours a week. It goes back to our nomadic lifestyle—our offices are hotels and Starbucks.

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toll booth or in our hotel, is thank them for their service and start singing their branch song—they get so excited! We also have this fun undertaking called the American Story Project, where we interview veterans after shows and share their stories on YouTube, and we just started a radio podcast called On Location, where we talk to veterans.

Letters From Home is pretty much my life, but I wouldn’t do anything different. I love it with all my heart. What are some of your most popular showstopping numbers?

“Boogie Woogie Bugle Boy” is always a popular hit with World War II veterans and anyone who loves vintage music. It’s fun, upbeat, and has lots of tap dancing. I also enjoy performing “I'm Gonna

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Live Till I Die,” a Frank Sinatra song that is usually one of my solos in the show. Audiences have really responded well to “Bad Moon Rising,” which the three of us perform in an almost bluegrass style. Also, “The Ballad of the Green Berets” is probably one of our most popular songs. I choreographed it to be an a cappella dance set to the music that

we all sing together in three-part harmony, using our tapping feet to represent the marching of the soldiers. Besides performing, what other ways do you help veterans?

The little things matter. We’ll try to call veterans on their birthdays or on Veterans Day. One of my favorite things to do on tour when I see a veteran with a veteran's hat on, even when we're at a

On a personal level, after my dad passed away in 2015, I started the Pat Dearth Veterans Fund. This pays for our travel expenses to go to places like VA homes, hospitals, and veteran fund-raisers across the country—any veteran places that may not have a budget or where vets may have limited mobility. 100 percent of sales from our CDs, calendars, and other merchandise goes to these funds. Was your dad proud of Letters From Home?

It was his pride and joy. He loved what we were doing for veterans and used to come to a lot of our shows. Letters From

Home is my life, but it’s my dad’s legacy. I have a picture of him onstage at every show, and I talk about it being his idea. I feel him with me during the shows. He was my best friend and my mentor. What are some unforgettable moments you’ve experienced at the show?

One of my favorite stories comes from years ago. We were in a VA hospital in Asheville, North Carolina. After the show, a man stood up out of his wheelchair to give me a hug. All the nurses rushed over—I thought I did something wrong! Later, I asked if everything was OK. They said that it was, but he hadn’t stood up by himself in over three years. We went back to that same place six months later to do our Christmas show, and he was walking down the hall! And then there was this super sweet couple. We were singing “I’ll Be Seeing You,” and, as soon as the song started, a couple in the front row—a World

War II veteran and his wife, who had to have been in their nineties—looked at each other. She got a little tearyeyed and smiled at him, and he smiled back, reached over, and took her hand. They gazed into each other’s eyes for the duration of the song. Afterward, he came up to me and said, “I just want you to know that that was the song I heard when I first saw my wife. Hearing it again was so special.” How will people feel after a Letters From Home show?

In our shows, we strive to highlight positivity and all the good out there; I call it “outshining the shadows.” We do it through old-fashioned fun: a variety of singing, dancing, audience interaction, remembrance, laughter, and tears. I hope that people are changed for the better in their mind-set and in their spirit, and that they leave with a little kick in their step. It’s an experience, not just a performance. For more info, visit lettersfromhomesingers.com

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SHE KNEW IT, AND THEY KNEW IT.

NAMES WORTH SAVING w r it t e n b y elizabeth bellizzi p h o t o g r a p h y b y elizabeth bellizzi

The destruction of the house would be a heartbreaking loss. But the work Hildie Carney and her four fellow preservation-minded neighbors in Fairfax, Virginia—Brad Preiss, Bill Jayne, Andrea Loewenwarter, and Fairfax mayor David Meyer—were about to take on was a far greater commitment than a few weekends, and time was not on their side. For over a year, beginning in late 1997, they met a couple days a week in Carney’s basement with a goal to save a nearby residence known as Blenheim. The home’s most remarkable feature, a Civil War treasure in what was once Confederate territory, was untouched for 137 years: graffiti left by Union soldiers on the attic walls. Carney and her neighbors didn’t know it at the time, but other walls in the house contained their own hidden stories. The owner, Bill Scott, died earlier in 1997. His wife, Barbara, the last direct descendant of this historic property, had passed away ten years prior. In

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his later years, Bill could not afford to care for the twelve remaining acres of property on which the home was situated. (Blenheim’s heirs had sold off the majority of the land, once a vibrant agricultural landscape of 367 acres, for residential development in the 1950s.) As a result, the Greek Revival-style home, built around 1859 by Albert Willcoxon, was now shrouded by vegetation and “had a lot of trees and overgrown bushes,” Carney says. Only a narrow, dirt driveway—not the home, which was set two hundred feet back— was visible from the road. Through her dining room window, Carney could take stock of the challenge ahead for her and her neighbors. She had moved here in 1964, and, thanks to her boys discovering Blenheim after venturing through the woods, she had met Barbara Scott. Over the years, Carney and Scott became close. Scott showed her the attic and expressed concern about what would happen to the house after she and her husband died, as they had no children.

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saw a foot. So then I kept going, and I saw a leg. I started realizing that I was uncovering something that no one had seen in at least one hundred years.” The painstaking effort had a positive result: graffiti was indeed on all the walls.

The serenity of the Scotts’ years at Blenheim could not be further from the mayhem that befell the home in the early 1860s. Albert Willcoxon was the one hundred fifth male in Fairfax County to vote for secession. In July 1861, Union troops destroyed or occupied homes that belonged to secessionists on their way to the First Battle of Bull Run. It is believed that this is when the family took what it could and temporarily abandoned the home. By March of 1862, Fairfax became Union held; in September of 1863, Willcoxon signed an oath of allegiance to the United States, and he was allowed to return home with his family. “Blenheim was built only a few years before the beginning of the Civil War, so there were these blank walls that the Willcoxons hadn’t painted because the plaster wasn’t dry. The Union soldiers were bored, chomping at the bit awaiting orders. Over a twoweek period, 75 percent of the 122 identified names were written on the walls throughout the home, and then the soldiers were gone, on to their next assignment,” says Loewenwarter. While other structures in Virginia have Civil War soldier graffiti, Blenheim has the state’s largest collection of identified and best-preserved soldiers’ signatures and well-protected pictographs and sayings, some cartoon-like. For example, Private Theodore Raefle decorated his inscription with a wreath and crown reminiscent of the coat of arms of his home in Prussia. Private Henry van Ewyck, a former sign-painter born in the Netherlands, wrote in precise, formal handwriting. Although far from water, there are several drawings of ships, including three elaborate ones in

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the attic. Most notable is an unsigned comic-strip-style series of vertical pictures that charts the progress of a soldier from a flag-waving civilian to a slouched, disillusioned figure after four months of service. An item sold at Blenheim’s 1997 estate sale first offered a hint that the home’s graffiti might not be contained to the attic. A board member of the nonprofit Historic Fairfax City, Inc. purchased a datebook that belonged to the Scotts, which mentioned a November 1964 discovery of a drawing on a second-floor wall. “That made us think, why wouldn’t there be graffiti in other places?” Loewenwarter says. Conservator Kirsten Travers Moffitt was hired in 2006 to uncover more of Blenheim’s story. Her goal was to strip the walls without damaging the possible graffiti underneath. “I was sitting there, wearing a respirator because of paint stripper, with my face three inches from the wall,” she says. “I started gently scraping away the softened paint, and I

This discovery would not have been possible if not for Carney and her neighbors’ fight to save Blenheim a decade earlier. The five knew they only had months, not years, to produce research notes, talking points, and executive summaries. They took on an official title, the Citizen Coalition for the Preservation of Blenheim. One belief bonded them: this place and this history could not be destroyed. “Once it’s gone, that’s it. It’s gone. You can’t bring it back,” says Preiss.

While other structures in Virginia have Civil War soldier graffiti, Blenheim has the state’s largest collection of identified and best-preserved soldiers’ signatures and well-protected pictographs and sayings, some cartoon-like.

Expressing that urgency to approximately 21,000 city residents was a challenge. This was before social media—and its potential to reach thousands of people—existed. Their only option was one door and one phone call at a time. Family members of the five were not exempt from this allhands effort. Loewenwarter’s husband, Jim Gillespie, pushed their son in a stroller while canvasing neighborhoods across the city. Their two-man mission was to distribute flyers titled "Protect the Past for Your Future." Preiss became the “town crier” of the coalition outside a grocery store. “I literally stood on a box with a picture of the house that said, ‘Save Blenheim,’” he recalls. “People would stop and say, ‘What’s this?’ and I would explain it over and over until my voice gave out. I did this eight to ten hours every Saturday for weeks on end.” More neighbors joined their volunteer effort. They were making an impact.

But others, who saw Blenheim as no more than an old house on prime real estate, were moving at a quicker pace. “Once the developers began to display their proposals in city hall, people told us that it was all over and that we should give up,” said Preiss. A bed and breakfast, a community center, and a townhome development were among the plans. On June 2, 1998, the attorney handling the Scotts’ estate informed the coalition that written offers for millions of dollars were being accepted for the property. The group of neighbors did the only thing they could: they contacted national and local historic preservation organizations and hoped for a buyer. No sale was made. It seemed likely that Blenheim would be lost to development. But the coalition had one more card to play, a “protective bubble” tool that it urged the city to adopt. Three weeks later, the City of Fairfax held a joint city council and planning commission public hearing. Under consideration was the creation of the Blenheim Historic Overlay. It would make the property unattractive to developers through burdensome preservation regulations. It passed. Yet Blenheim was still without a buyer. The property was one of the last parcels of land for sale in the city. What began as an effort to save local history grew into a campaign to protect something the city realized it also valued: open space.

same year. Eventually, it was determined that the house was not stable enough to support visitors on the upper floors. A solution was needed. How could an attic be moved to another building? The answer was to copy it. And that’s just what they did. The Civil War Interpretive Center at Historic Blenheim opened in November of 2008. The 3,800-square-foot facility, a $1.5 million city-funded project, is part of the historic home’s twelve acres. The center presents the Civil War in the context of its impact in Virginia, the Willcoxons’ family history, and a fullscale replica of part of the attic graffiti. Twenty years after the coalition’s goal was achieved, Blenheim’s history remains enduring. The Blenheim house was added to the National Register of Historic Places in 2001. Approximately 1,500 people attended the 2018 Fairfax History Day held at the property. Those who had never seen the home were awestruck, even if they could only tour the first floor. The five were named Citizens of the Year in 1999 for their efforts to save Blenheim. Yet, to them, the accolades never mattered. What they valued most was changing the fabric of their community for future generations. Decades later, the groundbreaking for the Interpretive Center remains an emotional moment for Carney. Welling up, she recalls, “I looked at David and said, ‘We did it.’” For more info, visit fairfaxva.gov/government/ historic-resources/historic-blenheim

In January of 1999, the city council voted to purchase Blenheim and its twelve acres from the Scotts’ estate for $2.275 million. The first annual public tour of the house and attic began the

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Front of Tear Out Card 2

Dear Bill and Judy, A woodworker's daughter, a bike shop owner, and a group of history guardians--the building blocks of a legacy are often found in the form of ordinary people. This issue of American Lifestyle magazine explores the missions people embark on in the name of community and preservation. Margarita Gazivoda Kocovic Licensed Real Estate Salesperson Marin Tockman wanted Dashing, a neighborhood cycle shop in New Orleans, to be a gathering place. A central location means sheCell: sees(914) 879-9372 tourists, older residents who live nearby, and folks on their way to and Office: (914) 902-3207 m@margaritasellswestchester.com from work. Affordable rates for bike maintenance and repair E-mail: are at the www.LuxuryWestchesterNYHomes.com crux of her vision for a sustainable biking community. Keller Williams Realty Group

ar off your 760 WHITE PLAINS RD Mira Nakashima came to work for her furniture-builder father, George, SCARSDALE, NY 10583 y Recipe Card in 1970. She became his apprentice and later took on the business after or to share. he passed away. She carries on his legacy of honest joinery and Margarita Gazivoda Kocovic improvising with the materials to allow them to be what they want to Licensed Real Estate Salesperson Luxury Certified Marketing Specialist be.

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Cell: (914) 879-9372 Office: (914) 902-3207 E-mail: m@margaritasellswestchester.com www.LuxuryWestchesterNYHomes.com

Cell: (914) 879-9372 Keller Williams Realty Group m@margaritasellswestcheste www.LuxuryWestchesterNYH Office: (914) 902-3207

Keller Williams Realty Group What legacy are you hoping to build? As always, it's a pleasure to send 760 WHITE PLAINS RD you this magazine. SCARSDALE, NY 10583

objects of wonder

Margarita Gazivoda Ko

Margarita Gazivoda Kocovic

Discover unique home decor, gifts, jewelry, and apparel created by North American artists and designers—all shipped directly from the artists’ studios to your home. Call 877.223.4600 for a free catalog or visit artfulhome.com

Licensed Real Estate Salesperson

Star Portal by Karen Ehart

Z:/American Lifestyle/VARIABLE IMAGES/TOC\Please tear off your complimentary Recipe Card.

Cell: (914) 879-9372 Office: (914) 902-3207 E-mail: m@margaritasellswestchester.com www.LuxuryWestchesterNYHomes.com

Margarita Gazivoda Kocovic Keller Williams Realty Group 760 WHITE PLAINS RD

Keller Williams Realty Group SCARSDALE, NY 10583 m@margaritasellswestchester.com www.LuxuryWestchesterNYHomes.com Office: (914) 902-3207

Cell: (914) 879-9372

art & apparel for your extraordinary life

Cell: (914) 879-9372

Margarita Gazivoda Kocovic Keller Williams Realty Group 760 WHITE PLAINS RD SCARSDALE, NY 10583

***********AUTO**5-DIGIT 19406 THEIR NAME 1100 FIRST AVE STE 200 KING OF PRUSSIA, PA 19406

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Margarita Gazivoda Kocovic Keller Williams Realty Group m@margaritasellswestchester.com www.LuxuryWestchesterNYHomes.com Office: (914) 902-3207

Cell: (914) 879-9372