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Arts

ARTS Pick: Nora Jane Struthers

Virginia-born and Nashville-based, Nora Jane Struthers makes her country roots come alive on the energetic new album, Wake. The former high school teacher’s first self-produced record crosses Emmylou Harris with Pearl Jam in a collection of percussive panoramas and Southern-fried slide guitar. Struthers and her backing band, The Party Line, strip away the safety net of the traditional bluegrass canon to craft her autobiographical lyrics into a rollicking melee of old-time acoustic roots and rock ‘n’ roll.

Wednesday 3/25. $10-12, 8:30pm. The Southern Café & Music Hall, 103 S. First St. 977-5590.

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Living

Duck Donuts fits the bill as Stonefield’s newest tenant and more local restaurant news

Icing on top

You decide to treat yourself to something sweet in the morning. The perky woman behind the counter hands you a cup for your coffee, a plate with two icing-topped donuts and…a knife and fork? The iced, powdered and sprinkled deep-fried breakfast item is generally known for being an easy-to-eat finger food, but not at the newly opened Duck Donuts at The Shops at Stonefield. Instead of a thin, glossy layer of sugar glaze that’s been sitting out long enough to solidify, the freshly made icing is globbed on top in a way that’s more reminiscent of cupcake frosting. Toppings like sprinkles are added by the handful, and the donut itself is so soft, fresh from the fryer, that it practically melts in your mouth. Your clean hands and face don’t stand a chance without some silverware.

Owners Rebecca and David Johnson introduced Charlottesville to the made-to-order donut franchise that originated in the Outer banks of North Carolina on Saturday, March 14. Despite being located hours from the coast, the Stonefield store has a decidedly beachy vibe to it—pink and blue decor; framed posters featuring a nautical-looking cartoon duck and sayings like “I don’t do mornings, I do Duck donuts”; shelves lined with rainbows of T-shirts, coffee mugs and Frisbees. Each franchise remains true to its Outer Banks roots (even the coffee comes from that area), regardless of location, and Rebecca Johnson said Charlottesville, despite being in the middle of the state, is a logical city for it.

“So many people here vacation in the Outer Banks and they’re excited to have a Duck Donuts at home now,” she said. “It creates a lot of nostalgia for people.”

What Duck vacationers who are familiar with the shop haven’t seen yet, however, is a menu item that will be specific to Charlottesville. Johnson said they’ve been working on coming up with a Cavalier donut “to identify us with the area,” so keep an eye on the menu for orange and blue.

In the meantime, you have dozens of flavor combinations to choose from, plus daily specials like the Wednesday zebra donut, which features vanilla icing and a chocolate drizzle. Coating choices include freshly made icings in flavors like peanut butter, maple and strawberry, plus classics like glazed, powdered sugar and cinnamon sugar. As for toppings, pick from sprinkles (chocolate or rainbow), chopped peanuts, shredded coconut and chewy bits of bacon. Bacon maple is unquestionably the most popular, but Johnson’s favorite is the French toast—maple icing, cinnamon sugar and powdered sugar. A new cherry frosting is in the making, and just wait until fall, the only time of year that the folks in the kitchen deviate from the classic recipe to roll out a pumpkin donut. You may feel a little silly when you dig into a donut with plastic cutlery, but trust us. Once you reach that perfect bite of maple icing and bacon (or lemon icing and coconut, or chocolate icing and peanuts, or…) oozing through the hole of the donut, you’ll be grateful for the fork.

Re-rolling on the river

James River Brewing Company held a soft re-opening March 7 and 8. In a related story, James River Brewing Company closed in early January.

According to a spokesperson for the new ownership group of Tim and Ron Byers, Scott Minor and Shannon Brown, the previous owners had backed away from day-to-day operations and officially shut the doors of their Scottsville brewery on January 4. Former brewmaster Kelby Barnhill reportedly resigned late last year before the new owners moved in. Barnhill declined to comment for this article.

The ownership group spokesperson said the team would prefer not to divulge JRB’s new brewmaster at this time but indicated his first batch of beer will be ready in time for a grand opening celebration in April. The ales flowing in the remodeled tasting room for now were produced in December.

Cake walk

“I’ve been here for six-and-a-half years and I love it, but unfortunately, it’s time to close my doors,” said Frank Cappellino, owner of Cappellino’s Crazy Cakes.

Cappellino announced last week that the Third Street bakery—hailed for the allegedly labor-inducing lemon drop cupcakes adored by expectant mothers, shots of buttercream frosting and treats topped with edible glitter—will make its final sales on Saturday, March 28. According to Cappellino, it’s getting increasingly more difficult for downtown businesses to stay afloat.

“It got to the point where my business, along with others on the mall, aren’t what they used to be, and we are struggling,” he said. He added that things like dwindling foot traffic, a proposed meal tax hike and an increase in panhandling have made the mall less welcoming for pedestrians and business owners.

The good news is, Cappellino himself isn’t going anywhere, and neither are his recipes. On April 1 he’ll start his new gig as a baker at Foods of All Nations, and he said he plans to continue making a lot of the goodies that made the bakery so popular.

“As far as the lemon drop cupcakes are concerned, as soon as I get over there that will be the first thing I’m going to implement,” he said. “So pregnant ladies will still be able to go and get those cupcakes.”

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Arts

Roots meets grassroots: John McCutcheon pays tribute to Joe Hill

John McCutcheon is equal parts musician and storyteller, skilled with a variety of instruments but also engaging when telling tales between tunes. He is a Wisconsin native who called Charlottesville home for years before moving to Smoke Rise, Georgia. He is also an avid community organizer and political figure in folk music.

Given this multifaceted career and his interest in grassroots efforts, it’s no surprise that McCutcheon has also dabbled in theater, portraying activist musician Joe Hill onstage in a one-man play titled Joe Hill’s Last Will. This year, McCutcheon will release an album under the same name, paying homage to Hill’s songs and life. And on March 28, he returns to Charlottesville for a concert at Piedmont Virginia Community College.

Far from a household name for many, Joe Hill was a labor activist in the early 1900s. A Swedish immigrant to the U.S., he struggled to find steady employment and became an itinerant worker, eventually joining the Industrial Workers of the World (IWW). It was as a union member that Hill made a name for himself, writing protest songs and drawing cartoons to bring greater public awareness to the plight of the worker. Seeking relevance rather than fame, many of Hill’s songs actually reuse or adapt sections of other songs from the time, creating new meaning through his cause-related lyrics. These songs helped popularize the union message to workers, urging them to organize in order to demand better conditions and pay from their capitalist factory owners.

In one of Hill’s better-known songs, his lyrics express this message poetically: “Workingmen of all countries, unite/Side by side we for freedom will fight. When the world and its wealth we have gained/To the grafters we’ll sing this refrain. You will eat, bye and bye/When you’ve learned how to cook and how to fry/Chop some wood, ’twill do you good/Then you’ll eat in the sweet bye and bye.”

“Joe Hill was the ultimate utilitarian artist,” said McCutcheon. “He wasn’t writing songs to gain notoriety. He was writing songs to do a job, a very specific job.”

Understandably, Hill became something of a folk hero among industrial laborers. And like most heroes, he died young but stays alive in myth. At the age of 36, he was executed for murder, though his guilt, last words, and even the locations of his cremated ashes remain contested as we approach the 100th anniversary of his death later this year. Some believe Hill was a martyr to the IWW cause; others think he was victim of political subterfuge by those wishing to silence his organizing efforts. Regardless, Hill’s music has persisted, inspiring numerous musicians in folk traditions, including Woody Guthrie, Joan Baez, Bob Dylan and now John McCutcheon.

“My introduction to folk music was watching the March on Washington with my mother, when I was 11 years old,” he said. “The music felt old and deep, yet it was wedded to something utterly urgent and contemporary.” On Joe Hill’s Last Will, McCutcheon attempts to apply his unique sound to this type of traditional folk song, updating Hill’s lyrics in places to make songs easier to understand and playing with instrumentation to highlight his own talents with the hammer dulcimer and jaw harp, among others. Ideally, these songs will prompt his fans to dig deeper into the original work by Hill and his contemporaries.

For those interested in more diverse interpretations of Hill’s songs, Smithsonian Folkways has two albums of his work: Don’t Mourn—Organize! Songs of Labor Songwriter Joe Hill, released in 1990, as well as an album of Hill’s songs performed by Joe Glazer that was originally released in 1954. Indeed, many of Hill’s songs are timeless in content and rhythm, making them ripe for covers and re-interpretations. “Many of the issues he wrote about a century ago—immigration, worker’s rights, war, religion, women’s leadership—are still things we’re struggling with today,” McCutcheon said.

As an artist, McCutcheon has spent decades supporting these very issues through his own community organizing and grassroots efforts. “The community organizing work began when I was living in Knoxville in the very early 1970s, working in an urban ministry that focused on neighborhood issues in the immediate community,” he said. “I was also working in rural, mountain communities collecting folk music and, inevitably, was informed about and involved in the issues of those communities.”

During his time in Charlottesville, McCutcheon was active in supporting Live Arts, the Jefferson Area Board for Aging and Virginia Organizing, among others. McCutcheon was also involved in the formation of Local 1000, the traveling musicians union within the American Federation of Musicians. In addition to helping financially support member musicians when they perform at free public service events, the union also has a Joe Hill Scholarship Fund to support members who want to learn about union history and community organizing through music.

John McCutcheon will perform at PVCC’s Main Stage Theatre of the V. Earl Dickinson Building on Saturday.

For those interested in learning more about grassroots community organizing, the next meeting of the Charlottesville/Albemarle chapter of Virginia Organizing is on April 6 at the Legal Aid offices on Preston Avenue.

Which local community organizer would you like to hear a song about? Tell us in the comments.

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Abode Magazines

Art underfoot: Two city bathrooms get a colorful treatment

What’s an art collector to do about the bathroom? You can’t hang valuable paintings in there. But Don and Allison Innes—who own an impressive collection of American representational art—found a way to bring their passion into even the smallest rooms of their home.

The couple, whose 1949 Rugby neighborhood home was due for a double bathroom renovation, asked Alloy Workshop to come up with designs based on two of their favorite abstract painters. For the small bathroom off the entry hall, De Stijl master Piet Mondrian would be the inspiration. And in the larger master bathroom, it would be Gene Davis, member of the Washington Color School known for his compositions of vertical stripes.

 With the bathroom’s open floor plan, the shower “stall” seamlessly blends with the rest of the room, and the water stays contained in the appropriate area. Photo: Andrea Hubbell
With the bathroom’s open floor plan, the shower “stall” seamlessly blends with the rest of the room, and the water stays contained in the appropriate area. Photo: Andrea Hubbell

“Alloy ran with it,” said Allison. The Mondrian bathroom dances with playful square and rectangular fields of primary colors on a white field—all executed in small glass tiles made by the Italian company Mosaico.

“We looked at other tiles, and we didn’t see anything else with that color quality,” said Don. The color blocks not only reference Mondrian’s geometrically pure compositions, they delineate spaces and features within the room—like a red field marking where one would stand to use the sink, or a yellow pathway leading from shower faucet to drain.

The Alloy team completely reimagined the layout of the bathroom, too, finding new storage space and eliminating the need for a separate shower area. Instead, the shower “stall” seamlessly blends with the rest of the room. “The water stays contained in a certain area,” said Allison, adding that although there is a shower curtain in the room, they haven’t needed to use it.

The open feel speaks to one of the couple’s major goals—greater accessibility for aging in place. Alloy widened the doorway to accommodate a wheelchair, installed a pocket door to save space and worked grab bars into the tile composition so that, as Allison said, “it doesn’t make it look like an institution.” A towel warmer doubles as a radiator, and a new frosted-glass window eliminates the need for curtains, brightening the room.

Local soapstone tops the sink counter and a built-in wall niche handles all the toiletries. Squarish Kohler fixtures are the perfect complement to the tilework.

Local soapstone tops the sink counter and a built-in wall niche handles all the toiletries. Squarish Kohler fixtures are the perfect complement to the tilework. Photo: Andrea Hubbell
Local soapstone tops the sink counter and a built-in wall niche handles all the toiletries. Squarish Kohler fixtures are the perfect complement to the tilework. Photo: Andrea Hubbell

In the master bathroom—built in 1990 as part of an addition undertaken by the Inneses—a tall ceiling had made for a cavernous feel. The Alloy designers lowered it in most of the room but left it high in the shower area, lending contrast that’s enhanced by daylight from a light tube. From the top of the shower wall, the Gene Davis stripes, in unusual color combinations like green-blue-brown or pink-orange, flow all the way down and across the floor.

This may not be Davis’ biggest canvas (he added similar stripes to streets in Washington, D.C., and Philadelphia), but it is certainly a dramatic one. The white and gray background for the stripes finds an echo in the Carrara marble countertop, added along with cylindrical metal hardware to update the existing wooden vanity.

The master bathroom is due to be finished soon, while the Inneses have been using their Mondrian bathroom for about a year, and happily so. Said Don, there is a “feel-good joy that the colors and the design create.”

Photo: Andrea Hubbell
Photo: Andrea Hubbell

The breakdown

42 square feet (Mondrian); 63 square feet (Davis)

Primary materials or finishes: Mosaico glass tile on walls and floors

Cabinets: Custom-built vanity cabinets by Jeff Barratt Woodworking with an Alberene Soapstone countertop and custom-built tall recessed cabinet by Jeff Barratt Woodworking (Mondrian); existing cabinetry (Davis)

Tiling: Wainwright Tile & Stone

Plumbing fixtures: Grohe shower fixtures; Kohler undermount sinks and faucet; Runtal “Fain” heated towel bar/radiant heater (Mondrian)

Other notable, custom or innovative features: In the Mondrian bathroom, a custom-built light box conceals a shower curtain track and differentiates the shower zone from the vanity zone; grab bars and a shower seat for accessibility. In the Davis bathroom, a custom-built “faux skylight” differentiates the shower zone from the vanity zone; the shower ceiling steps up and two sun tubes bring natural light into the shower.

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Abode Magazines

Embracing its place: An Arts and Crafts estate branches out from tradition

In architecture, to honor tradition is no simple matter. But the land is a good place to start. Whatever materials are native to the site can become an indelible link between building and ground. Such was one of the goals at Green Mountain Station, where the Van Clief family has just settled into a brand-new house that nods to many different traditions, and its bucolic site, too.

Set on a 400-plus-acre tract in southern Albemarle, the house is meant not only to shelter its inhabitants—Alan and Cyndra Van Clief and their four children—but to create for them a way of life that is woven into the surrounding fields and woods. “We wanted a house that embraced its place,” said Cyndra.

_HAM0025
The exterior of Green Mountain Station is stucco with a terra cotta roof. The stone anchors the home to the ground, while the broad hipped roof provides a strong sense of shelter. At the front entrance in particular, “the roof extends forward over stone piers and heavy timber brackets to create an intimate scale where you enter,” said architect Bruce Wardell. Photos: Virginia Hamrick

Photo: Virginia Hamrick

Photos: Virginia Hamrick

From the homesite, they enjoy both complete privacy and long views, all the way to Carters Mountain, across a rolling landscape embroidered by creeks. “You come out in the morning and experience a panoramic view,” said Cyndra.

“We walked the entire property,” said architect Bruce Wardell, “and became interested in the boundary between two adjoining pastures,” where there was a remnant of an old railroad bed leading to the Alberene Quarry. At this, the eventual site of the house, “You come out in the morning and experience a panoramic view,” said Cyndra.

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A high-ceilinged, light-filled room is sandwiched by the music room and dining room, and opens to the front entry hall. On either side of the central core, the house relaxes into greater informality, with the master suite at one end and the kitchen at the other. Photos: Virginia Hamrick

Photos: Virginia Hamrick

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When they decided to move from their home of 16 years in Charlottesville, the Van Cliefs approached Wardell’s firm to create a house that would, like their previous home (designed by Milton Grigg), turn to tradition as a way of centering itself in a place. Whereas Grigg’s homes are connected to Charlottesville by virtue of his impressive legacy here, the new house would grow from the Arts and Crafts tradition—not a widely imitated style locally, but, said Cyndra, one that is “at home here in Albemarle County.” The use of natural materials like stone and wood make it appropriate, she added, for a rural place.

So while this large house is meant to serve a very contemporary and active family, it includes many time-honored touches. For example, arched roof gables create spaces for semicircular windows, peeking beneath custom-designed rafter tails. The exterior is stucco with a terra cotta roof. “We used the stone to anchor the home to the ground, and developed a broad hipped roof with deep overhangs to provide a strong sense of shelter,” said Wardell. “At the front entrance the roof extends forward over stone piers and heavy timber brackets to create an intimate scale where you enter.”

Add in some of the Photomatix Outdoor Scene
“The house is Arts and Crafts, pushing modern,” said homeowner Cyndra Van Clief. Kitchen cabinets are maple and flooring is red oak, while more contemporary notions are evident in the appearance of glass and metal. A dramatic steel and wood staircase with open treads, designed by John Rubino, extends from the music room. Photos: Virginia Hamrick

“The house is Arts and Crafts, pushing modern,” said homeowner Cyndra Van Clief. Kitchen cabinets are maple and flooring is red oak, while more contemporary notions are evident in the appearance of glass and metal. A dramatic steel and wood staircase with open treads, designed by John Rubino, extends from the music room. Photos: Virginia Hamrick

Stone on site

In a nod to very local conditions, the house makes extensive use of soapstone, a material that’s still quarried very nearby and was available right here on the property. The stone shows up as sinktops, tile and walkways, tying the structure to its surroundings. One raw-edged soapstone piece forms a primitive-style backsplash for a powder room sink.

Kitchen cabinets are maple, flooring is red oak, and the main living space centers on a stone fireplace. Here is where many eras come together. The past lives in the room’s formal symmetry and in the prominence of the hearth. Yet, as Cyndra put it, “The house is Arts and Crafts, pushing modern”—more contemporary notions being evident in the wall of glass and metal that surrounds the fireplace. Its mantel is hyper-local, and made of a repurposed rail in reference to the railroad that once crossed the property.

This high-ceilinged, light-filled room looks through glass on either side to a music room and a dining room. It also opens to the front entry hall, where stacked stone wraps the coat closet and powder room. On either side of this symmetrical, central core, the house relaxes and bends into greater informality, with a master suite on one end and the kitchen on the other.

From the music room rises a dramatic steel and wood staircase with open treads. Wardell partnered with local sculptor John Rubino for its design. “John worked closely with us to create a staircase where the steel alluded to the railroad heritage of the site,” said Wardell, “as well as the metalwork traditions common in the Arts and Crafts movement.”

“We didn’t want to have a big home and not use much of it,” said Cyndra. That meant not having too many formal spaces. And with their kids ranging in age from 17 to 24, attracting them and their friends to spend time here was also a priority. “The home is convenient and comfortable for people to come and hang out in,” said Alan. Last summer, the couple’s son brought home some friends from college to help put up hay, and then the party gathered for dinner on the curved stone deck in the back.

Other times, guests avail themselves of the home theater in the basement, ping pong and pool tables or the poolhouse and hot tub a short walk from the house. When they inevitably end up hanging around the kitchen, they find themselves under a barrel-vault ceiling that makes the kitchen feel both spacious and cozy. A large central island, topped with granite, stands in contrast to the soapstone counters around the outside of the room. A soapstone woodstove radiates heat near the kitchen table.

The Van Cliefs are busy embracing their new rural lifestyle, planting berry bushes and fruit trees, observing hawks living near their creek, and above all, drinking in the views from every room of the house. “When we’re here,” said Cyndra, “we wanted to feel like there’s no place we’d rather be.”

The breakdown

10,000 square feet (main house), 900 square feet (pool house)

Structural system: Insulated concrete formed foundation; wood framing

Exterior material: Stone and stucco

Interior finishes: Oak flooring, painted gypsum wallboard, painted wood trim

Roof materials: Clay tiles

Window system: Marvin Windows

Mechanical systems: Geothermal heat pump

General contractor: Robb Construction

Custom or innovation features: Sculptural stair by John Rubino; landscape architecture by Waterstreet Studio

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Abode Magazines

At home with…Christy Ford

Any list of tastemakers in Charlottesville needs Christy Ford’s name on it. The owner of And George, an antique and home store she started with her mom, designer Jan Roden, in 2001, Ford is also a co-founder of The Scout Guide, a high-end advertising publication that spotlights area businesses. What’s more, her own home (and shop) has been featured in magazines like Lonny and Southern Living. We asked her to tell us what she’s been up to lately.

Christy’s favorite room in her home is the gallery, which spans the back of the house and was designed by architect Bethany Puopolo. “It connects all of our rooms and has become the main vein,” she said. Photo: Eric Kelley Photography
Christy’s favorite room in her home is the gallery, which spans the back of the house and was designed by architect Bethany Puopolo. “It connects all of our rooms and has become the main vein,” she said. Photo: Eric Kelley Photography

What are you currently reading?

Not reading anything currently…don’t have the mental head space. The last book I read I adored: Where’d You Go, Bernadette? [by Maria Semple].

What are you listening to?

Taylor Swift and Adele over and over. My girls are obsessed and they kind of man the iPod.

What are you watching on TV?

Not a huge TV watcher. My family is obsessed with “Adventure Time.” I am looking forward to “Mad Men” starting up.

What are you eating/drinking lately?

In the winter, we do a lot more pot roasts and one-dish meals. We have an AGA [cooker], so we often empty the fridge into a Le Creuset and let it cook all day in the lower oven. It feels very gratifying to come home to a hot meal. As far as what we are drinking, the whole family is obsessed with Fairweather Farm herbal teas from the farmer’s market. We all have a cup of “sleepy tea” after dinner.

What are you working on?

Lots! We continue to work on our house. We are currently transforming our master sitting room into a dressing room with built-in closets. My husband is opening an abattoir in Lynchburg early this summer. A big redesign of our Scout Guide website and, of course, And George. Not to mention running around with our three children.

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Abode Magazines

Model scheduling: Here’s how to get your remodeling job done at the right time

Quick. Call a contractor. It’s remodeling season!

Your intuition has long told you the best time to upgrade your home is during the warm months. And local contractor Scott Abbott of Abbott & Company General Contractors confirms your suspicion. Not only is cold ground unyielding, but cold weather means moist earth that freezes, thaws and repeats.

“When it’s wet, it complicates things for dirt work and excavation,” Abbott said. “The quality is at risk. You really have to do it the right way when it’s cold.”

That means major renos that involve adding structural elements or trying to throw in a porch to enjoy this summer definitely have to wait till spring. On top of the foundation-laying concerns, Abbott advised that insulation is difficult to apply properly when the air is cold.

Remember, though, that you won’t be the only person looking to take on your dream home jobs as the ground warms and dries. Spring is the second busiest season for contractors behind fall, when projects are wrapping up. So here’s a somewhat academic tip at this point: Plan ahead!

“For a lot of projects, you want to start working really early on like in January,” said Howie Hilsinger, a remodeling consultant for Integrity Home Contracting. “There is a lot of planning involved in doing something like that—you’ll want to walk your way through the design, selection, ordering and permitting processes. That takes a couple of months.”

Hilsinger said to budget about four weeks of planning for a project like window replacement. Once everything is measured and ordered, the actual job shouldn’t take more than one or two days. The same goes for the work time on doors. Both projects are best suited to milder temps, so again you’ll want to aim for spring or fall.

Painting contractors are also busy as pants turn to shorts, though Hilsinger advised there’s typically a lull in exterior jobs, which should take about two weeks, in July. Interior painting jobs can be left for winter, he said, as paint companies are putting out products with reduced fumes that don’t require as much venting. Indoor drywall projects are likewise ripe winter fare, and Abbott said attractive pricing might be available from some contractors.

Flooring is another year-round job, Hilsinger said, though the fumes are far worse than with paint. “We do a lot of that kind of work when people are on vacation,” he said. “They go away, and when they get back it is done.”

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Fresh face: Waynesboro factory Solutions Place gets a second life

It’s easy for a lobby to go nearly unnoticed; it’s just a place to pass through or wait for a few minutes before moving on to the real destination. But for small startup companies, a lobby can be significant. “You don’t necessarily want to spend a lot of money on a fancy lobby, but clients want it,” said Rebecca Polan with Solutions Way Management.

Polan’s company operates an office and warehouse facility in Waynesboro that rents space to a variety of small companies—everything from a regional printer to a company that makes parts for the aeronautics industry. The building, called Solutions Place, dates to the mid-1950s, when New York-based General Electric came to the region, bringing several thousand manufacturing jobs to what was then a primarily agricultural community.

GE’s presence here was connected with big social changes. Its first local employees were all women. Later, a GE administrator publicly denounced Massive Resistance, helping to spur the desegregation of Virginia’s public schools.

Yet the story ended less than happily, with environmental damage and the loss, by the 1980s, of many of the local jobs. The old GE building is now, under Polan’s company, the center of a resurgence of sorts, with high-tech manufacturing and logistics firms coming to roost as tenants in Solutions Place.

“We try to offer our tenants a full basket of services,” said Polan. Companies can access a fitness center, ample parking, a shared conference room—and the lobby, which provides a professional face even for companies who are just getting off the ground.

Charlottesville architects Hays + Ewing provided a master plan for the property (including flex space to be built in the future, plus open acres on which the local soccer club plans to build new fields). Chris Hays also helped design the lobby. “We reworked the entry and lobby space consistent with what we understand from original drawings,” said Hays, pointing out that trying for historic tax credits dictated much of his firm’s work.

Thus, some original midcentury details live on, while modern cork flooring and cabinetry update the space. What were once windows into an adjoining room, where GE displayed some of its products museum-style, are now cabinets highlighting the global reach of Solutions Place.

“We decided to make it a space where we welcome people from around the globe,” said Polan, pointing to the slogan “Welcome to Solutions Place” in a couple dozen different languages. Outside, Hays + Ewing restored the entry sequence. “There was parking right in front of the building,” said Hays, “so we tried to make a more gracious entry more consistent with the original plan.”

Polan is passionate about the second chance this place offers the community. “This is just one example of how you can take an old building and revitalize it,” she said.

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Strong influence: VMDO architect David Oakland is making his mark

What does it mean to make a mark on the land? That was a question posed of VMDO principal David Oakland as a first-year UVA architecture student, and one that Oakland (and, he notes, many other architects) continues to answer as best he can. The question came from Robert Vickery, his teacher at the time and the founder of VMDO, where Oakland has worked since graduating from UVA in 1978. He’s spent much of his career focusing on college and university campuses.

“The time a college student spends on campus is perhaps the only time in their lives that they live in a community designed to encourage and inspire them,” Oakland said. “Our work focuses on how these places can be strengthened, preserved and maintain their relevance and usefulness as needs and people change.”—Caite White

David Oakland. Photo: Amanda Maglione
David Oakland. Photo: Amanda Maglione

Why architecture?

That is a question an architect will spend a career trying to answer. We know that buildings must satisfy the increasingly challenging functional and practical needs of people. But who are those people? Our client who pays for our work? The people who use the building and perhaps live there? What about the people who walk by each day? Architecture communicates with people and it influences how they live, work and see themselves. It is an art, but it is a public art. As architects we have an obligation to make the lives of the people who come in contact with our work better in big and small ways. We make them more comfortable, work more productively and live within the boundaries of a sustainable future.

I came to it more or less by accident. After my first year at UVA in liberal arts I transferred to the A-School. I was excited about the creative community of the studio experience. While it was out of my previous experience and comfort zone, I have never looked back.

Why did you choose to practice in Virginia?

I came to Charlottesville in the Fall of 1971 as a first-year at the University and have lived here since then. I have been very fortunate to be able to practice outside Charlottesville and participate significantly in many places, but I have never come across a place I would have preferred to live and raise my children.

What was your life like as a child and how did it lead you to design?

I grew up, mostly, in the suburbs of Atlanta. I think it may have been the lack of a meaningful sense of place that has had me searching for it ever since. In Charlottesville, I had immediate access to forests, mountains and lakes. This access is something many of us appreciate in living here but seems out of reach for too many.

The Virginia Military Institute. Photo: Virginia Hamrick
The Virginia Military Institute. Photo: Virginia Hamrick

Tell us about your college studio experience. Was there a stand-out teacher who had a lasting impact on you?

I remember lessons learned from most of my teachers. Two stand out, Carlo Pelliccia and Bob Vickery. They came from very different places and taught different things. Carlo was Italian with what to me were urbane European and Italian values. He introduced me to many beautiful things: architectural form, witty conversation and good food and wine. Bob has been my teacher, mentor, partner and friend for most of my life. Not incidentally, he founded VMDO, where I have worked since I left UVA in 1978. Bob taught me that architecture is fundamentally about people and how they should live together in community. Architectural theory and practice can get abstract quickly. Bob has always been quick to remind us that we err when we diverge from making buildings and communities better places for people to enjoy and live in.

Much of David Oakland's career has been focused on buildings to support student life. Among them, the Averett University Student Center. Photo: Virginia Hamrick
Much of David Oakland’s career has been focused on buildings to support student life. Among them, the Averett University Student Center. Photo: Virginia Hamrick

On process: How does it begin?

VMDO has focused on educational buildings since it was founded. For many years, I have focused exclusively on college and university campuses. For me, these schools are diverse; all are unique. We start in two places. First, we work to understand that uniqueness. How is the campus structured and how should our building be integrated? Second, what should the building be? What are the problems it is meant to solve?

Among Oakland's past projects is the Liberty University library. Photo: Alan Karchmer
Among Oakland’s past projects is the Liberty University library. Photo: Alan Karchmer

What inspires you?

I’m inspired by the places people before us have created. I understand how difficult and challenging it is to make a beautiful or satisfying place, and I want to know how it was done. I find inspiration in everyday things: the way the sun shines on the mountains in a moment or how a person might answer a daily challenge. In my work, I’m inspired by ideas. I find most of my ideas come from thinking about problems in a new way. Architectural design is iterative. Our first ideas are never the best. “Architecture is a patient search.”

Oakland designed UVA's Wilsdorf Hall. Photo: Virginia Hamrick
Oakland designed UVA’s Wilsdorf Hall. Photo: Virginia Hamrick

What’s in the studio at the moment?

We have for the past several years been focused on a series of buildings to support student life. Six years ago we planned the reconstruction of the Core of Clemson University’s campus. Like many schools, development has been directed almost concentrically around the periphery. Our work was to redevelop the core to become the meaningful heart of campus. We have planned a replacement student union, dining hall, academic space and student housing. We are now (finally) completing design work on the first phase of the work which will include the dining and honors college. At Georgia Tech we are finishing work on the renovation of one of the oldest residence halls on campus. It will include a wide range of study and learning spaces in an addition that opens to a rejuvenated courtyard. Closer to home we are doing similar work in planning the renovation of Gooch/Dillard Residence Area at UVA. We have been working at Liberty University in Lynchburg on a mammoth redevelopment and master plan involving much of the campus. We have completed a new library and are currently working on a new school of music, science building and student center. In North Georgia we have almost finished an interesting project that combines the student center and library. In much of our work, the boundaries between learning and living are becoming blurred. We are working to understand how learning can be facilitated and encouraged inside and outside the classroom everywhere, but currently at George Mason and at the McIntire School here at UVA.

How would you assess the state of architecture in our region?

In 1976, VMDO was founded on the idea that an inventive and thoughtful architecture could thrive here. I have practiced here for over 35 years and have seen us change from a small college community attached to a dying agricultural base to a vibrant, diverse university small city. The design community has advanced even faster. The quality of life that attracted me and encouraged me to stay has had the same effect on countless others. While much of it is based on our connections to UVA and its School of Architecture, the quality of life here has brought architects and landscape architects from everywhere. I think our Central Virginia perspective is especially relevant to current design thinking about how our environment can point us toward a more healthy and livable place for ourselves and the generations that will come after.

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News

Police: No evidence to support Jackie’s claims in Rolling Stone rape story

Charlottesville Police Chief Timothy Longo said in a press conference Monday, March 23 that investigators have found no evidence to support the claims of a 2012 gang rape at UVA’s Phi Kappa Psi fraternity detailed in an explosive Rolling Stone story and attributed to a University student referred to only by her first name, “Jackie.”

“A Rape on Campus,” published in November 2014, rocked the community and thrust the University into the center of an ongoing national debate over campus sexual assault and the role schools should play in preventing and punishing it. But within weeks, the story began falling apart. Author Sabrina Rubin Erdely admitted she hadn’t tried to contact the alleged rapists or verify the account with Jackie’s friends. Other news outlets attempted to do both, and as inconsistencies piled up, Rolling Stone issued two separate apologies, saying they believed the magazine’s trust in Jackie had been “misplaced.”

In Monday’s 40-minute meeting with reporters and in a six-page document summing up the department’s investigation, police detailed their efforts and findings over several months spent looking into the allegations.

Longo said Jackie first told UVA Dean Nicole Eramo about a sexual assault on May 20, 2013 after she was referred to the administrator because of poor grades. In that meeting, Jackie told Eramo that she “went to a party at an unknown fraternity on Madison Lane and was sexually assaulted.”

At the press conference, Longo said that account was “wholly inconsistent” with the violent story of a gang rape detailed in the Rolling Stone story, but he declined to elaborate on the inconsistencies.

Nearly a year later, on April 21, 2014, Jackie met with Eramo again, Longo said. This time, she had more to tell, and the next day, police were called in. On April 22, in a meeting with an investigator and Eramo, Jackie described a physical assault that had happened just a few weeks before: On April 6, she was followed by four men on the Corner near Elliewood Avenue, one of whom called out to her and then threw a bottle that struck her in the face. Longo said she told the officer her roommate had to pick glass shards out of her cuts, and that she called her mom from the Elliewood Avenue parking garage. In the same meeting, she revealed more about the alleged 2012 assault, saying it had happened at the Phi Psi fraternity House, said Longo. She provided no further details, he said, and when Charlottesville Detective Sergeant David Via met with her again the following week, she told them she didn’t want to proceed with an investigation of the April physical assault and again refused to discuss the 2012 sexual assault.

That was the last the department heard from Jackie for seven months, Longo said. On November 19, the day the Rolling Stone story published online, UVA President Teresa Sullivan contacted police and requested an investigation, and Detective Via quickly realized the woman at the center of the story was the same Jackie he had talked to back in the spring, Longo said. Via called and e-mailed her offering support and help. She agreed to meet after the Thanksgiving break.

On December 2, 2014, she came to the police station with UVA Dean Laurie Casteen and her Legal Aid attorney, said Longo, and through her lawyer refused to give a statement or answer any questions. She later declined to give permission for UVA to release records pursuant to the police investigation, he said.

“Since that time, despite numerous attempts to gain her cooperation, ‘Jackie’ has provided no information whatsoever to investigators,” reads the investigation summary released by the department.

Longo said police have devoted “a lot of time and resources” to investigating the Rolling Stone account anyway. They reviewed redacted documents from Eramo’s meetings with Jackie and from a separate anonymous sexual assault. They acquired a Phi Psi membership roster and interviewed nine of the 14 men living there when the alleged 2012 sexual assault took place. They interviewed two of Jackie’s friends mentioned in the story. They searched for any record of the student she’d called Haven Monahan—“Drew” in the Rolling Stone story, the man she told friends took her on a date and then orchestrated her assault—and tried to track down his phone number. They interviewed supervisors at the UVA Aquatic Center, where Jackie told Erdely she and her assailant both worked.

Their searches yielded no evidence that supported the claims made in the Rolling Stone story, Longo said: Bank records and a photo from inside the Phi Psi house on the night of the alleged assault indicate the fraternity did not have a party that night. None of the men interviewed admitted to knowing anything about a sexual assault and did not know Jackie. Her friends said they were told a dramatically different story than the one that appeared in the magazine. Web searches turned up no records of Haven Monahan and the number Jackie’s friends were told belonged to him could only be traced to a Google voice account, which Google would not release details for. The Aquatic Center supervisors could recall nobody named Haven Monahan or Drew working there.

“Unfortunately, we’re not able to conclude to any substantive degree that an incident that is consistent with the facts contained in that article occurred at the Phi Kappa Psi fraternity, or any other fraternity house, for that matter,” Longo said.

Police also investigated Jackie’s claim of being struck by a bottle on the Corner in April 2014, Longo said. Her roommate at the time told police she had never picked glass of Jackie’s wounds, and a photo of Jackie’s face allegedly taken the week after the attack showed swelling and an abrasion, but not injuries “consistent with being struck by a blunt object.” In addition, police checked Jackie’s phone records, Longo said, and could not find a record of the call she claimed she made to her mother that night.

Their findings don’t mean that “something terrible” didn’t happen to Jackie, Longo said. “We are just not able to gather sufficient facts to conclude what that something may have been. So this case is not closed,” it’s merely suspended until police obtain any further information.

At the press conference, Longo stressed the importance of early police involvement in cases of sexual assault—something he has emphasized in earlier public discussions about the Rolling Stone story.

“With every second of every minute of every hour of every day of every week of every month of every year, we lose evidence,” he said. “We lose testimonial evidence, we lose physical evidence, we lose forensic evidence. We lose the evidence that’s important to get to the truth behind these cases so that justice can prevail.”

He said he believes offering victims of campus sexual assault multiple options when they report is important, but, he added, “once they’re in a position to listen and think through the next series of options, I would want them to really have the opportunity to hear how time can damage our ability to gather evidence.”

Jackie has not been charged with any crime. Longo says he doesn’t know if the city ever charged anyone with making a false report of rape, and he wouldn’t pursue such a charge without the support of the Commonwealth’s attorney.

There were certain things he wouldn’t speculate on, either.

“Why do you think Jackie told her story to the Rolling Stone reporter and wouldn’t talk to you?” asked one reporter as the press conference wound down.

Longo’s reply: “I can’t answer that question.”