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Living

September 2010: Design for a new age

Visualize yourself at home in your senior years. What do you picture? Probably you see a place of comfort and vitality, with views of some golden pond or spaces for beloved hobbies. What you likely don’t imagine (or want to) are lonely or cramped quarters, orthopedic beds and strangers snoring next to you. Assisted living facilities and nursing homes might become necessities for those suffering deteriorating health, but good design can help prevent or at least delay the institutionalizing step. We found three local homes thoughtfully created or adapted to give seniors a chance to age in place—in their very own places—for as long as possible.

Downsizing to a dream house

 

When associate UVA architecture professor Bill Sherman began designing a home for his octogenarian parents—Jean and Bill Sr.—in 2007, his goals were “self-sufficiency” and “low maintenance.” The elderly couple wanted to downsize from their prior residence on Nantucket, address the likelihood of future physical debilitation with more level living, and be closer to their children and grandchildren. Most importantly, they wanted to immerse themselves in the kind of natural beauty to which they’d grown accustomed, living on an island. 

The ability to commune with nature drove the home’s site selection at the base of the Blue Ridge Mountains in Free Union. Nestled next to the shade of an old oak tree, the house sits on 24 acres with a pond and a dock.  Landscape architect Julie Bargmann of D.I.R.T. Studio designed simple planting beds and a small grassy area around the home, giving Bill Sr. a manageable area to mow and mend, but much of the property was left wooded and wild. A lifelong outdoor lover, Bill Sr.’s favorite place at the new home is a concrete outdoor shower with a bench and planter designed by Alexander Kitchin of Pretty Hard. He rinses off there after his daily nature walks on the property.

Harnessing the energy of that surrounding nature also was of primary importance to the home’s overall concept. A proponent of modern and sustainable building—Sherman designed the progressive South Addition to UVA’s Campbell Hall —he employed advanced energy strategies, including a geothermal heat pump, radiant floor heat and soy-based spray foam insulation. The design also includes high-minded, passive design choices—an overhanging, inverted roof that captures energy and water (in a cistern) and numerous energy-efficient casement windows situated to disperse valley breezes for cross-ventilation. These strategies not only keep energy consumption down, they also help to maintain a consistent ambient temperature for his parents, who with age are growing increasingly sensitive to weather changes and extremes. 

Sherman says, “It’s not about precise units of energy saved. It’s about a way of living connected to nature and natural cycles.”

DOWNSIZING WITH A FOCUS ON NATURAL BEAUTY

UVA architecture professor Bill Sherman wanted to design a house for his parents, Jean and Bill Sr., that would be low maintenance and encourage self-sufficiency. Though situated on 24 acres, the Shermans’ Free Union home has only a small area that requires mowing and maintenance. It’s a study in sustainability with features like energy-efficient casement windows. 

The older Shermans definitely are tied into the natural world, but living so rurally and remotely might seem counterintuitive for the aging population. That’s where conventional thinking and design for the elderly is often wrong, however. Sherman, who was active with UVA’s Institute on Aging while he was Associate Dean for Academics, says overly convenient dwellings can be detrimental to the well-being of the elderly, making them deteriorate more quickly: “You can make a house too safe where it becomes a sort of prison and you’re too scared to leave it.”

The home’s main level includes kitchen, dining and living spaces in one room; a master bedroom and bathroom; a small loft office; and an expansive deck overlooking the pond, valley and ridges beyond. Though the Shermans needn’t leave this floor, the 2,700-square-foot home also includes a small flight of stairs down to a walk-out basement with laundry facilities, a guest bedroom, a second bath (which Bill Sr. has adopted as his primary) and a large living area. (Sherman designed the lower level for the possibility of future subdivision into three bedrooms.)

“I like the idea that they are going up and down the stairs. I made them as safe as I could,” says Sherman, referencing their extra width and more moderate steepness than what’s typical.

For now, though, continued mobility is the idea. His parents love to garden, so Sherman constructed beds and a shed several hundred yards away from the house. 

“It would have been too easy if [the garden] was right next to the house.  This gives them a destination,” he says. Should maneuvering outside truly become more difficult, however, Sherman also included elevated window boxes accessible from the kitchen for continued herb gardening. 

“[Downsizing] is always hard, but we were ready,” says Jean. Gesturing to the open expanse of beauty out her windows, she adds, “We don’t feel isolated in the middle of nowhere here.”

Her husband describes the subtle, lovely views the house affords. “With such episodes of beauty,” he says, “I lose any inclination to feel the full weight of years.”

A universal design renovation

 

Lynne and Don Gardner needed to move into a smaller space where they could age in place and accommodate Don’s declining health. Because of the firm’s interest in universal design—the concept of creating spaces for people of all ages and abilities with a strong emphasis on aesthetics (i.e., making a home not look like a hospital room)—Lynne chose architect Burt Pinnock of BAM Architects in Richmond and the builders at Abrahamse & Company to renovate a tiny brick rancher on Lexington Avenue for her and her husband. 

RENOVATING THE HONEYMOON HOME FOR THE GOLDEN YEARS

Lynne and Don Gardner worked with Richmond architect Burt Pinnock to adapt their Lexington Avenue property. Modifications included an open kitchen/living area. The cozy house features two porches, too.

“This was our honeymoon home,” says Gardner of the Lexington Avenue house she and Don purchased as newlyweds in 1962. They lived in it for only a few years, then held onto it as a rental after moving to a larger, three-level home a few blocks away, where they raised their now-grown children. 

When a one-level home with easy access from the street became necessary for Don’s safety, however, Gardner says the small Lexington house with its carved-up, warren-like rooms initially didn’t come to mind: “I never gave it a thought.”

Instead, she scoured town for newer, more age-friendly places that might fit their special needs, but pickings were slim and prices high. Then about a year ago, her son, David, who personally knew of Pinnock and his universal design experience, pointed out the potential of the Lexington pad. 

What Pinnock designed and Abrahamse built for the adapted home was an open kitchen/living area as well as a wrap-around porch and screened-in back porch. They also reconfigured the two bedrooms, added an easy-access laundry area and created two universally designed bathrooms. Both have raised pedestal sinks and elevated toilets and numerous grab bars, cleverly concealed as towel rods. The team widened hallways and doorways and eliminated all thresholds between rooms and from bathroom to shower, to prevent tripping and for easy navigation of a wheelchair, should one become necessary. 

One of the most creatively designed features keeps Don’s in-home dialysis machine and accoutrements easily accessible but out of sight. Before the move and renovation, Don’s medical equipment sat around as an obstruction in their living room.

“We wanted…a special cabinet to house the machine so that when Don’s treatment is finished, we can tuck it into the cabinet and go about our daily life without having to think about dialysis on a constant basis,” says Gardner. “In our other house…the thought of dialysis was always staring us in the face.”

Creating a family compound

 

Sarah Sargent selected the live-in option when her aging parents needed assistance. Instead of simply moving in with them or vice versa, however, she and her sister, who were both living in Somerset, Virginia, at the time, discovered a new dwelling in town that would work for all of them. In the fall of 2007, they found a mostly level home in the Meadowbrook Heights area, with extra bedrooms for family caretakers and grandchildren staying over and a basement apartment with separate entrance for Sarah to reside in full time.  

In order to be close to her parents as they started to need assistance, Sarah Sargent moved into a 700-square-foot lower apartment in a Meadowbrook Heights rancher that already featured an open floor plan that would accommodate their needs.

The main, ranch-style house, built in 1961, already had the stamp of an architect: a well-designed open floor plan that happens to suit the elderly with physical and other ailments, large windows for garden-gazing and bird watching, and enough space for frequent guests. A few minor renovations were needed, but one of the most important issues was adjusting Sarah’s new living arrangement to suit her needs. 

“When you care for someone, it trammels you in ways. You have to find a way to carve out an existence that’s fulfilling. It’s very important to have your own personal space,” says Sargent. 

Though moving to the 700-square-foot lower apartment was a downsize for her, Sargent, who grew up in New York, says it wasn’t a hardship: “I’ve always liked small. It’s all I know.”

Plus, with her artistic background and design sensibilities—she’s a freelance art critic and former director of the Second Street Gallery—Sargent knew how to maximize the space. She hung almost her entire art collection on the walls of the main living/sleeping area, tiny galley kitchen, sleeper train-like bathroom and former utility/storage closet, which she’d converted to another sitting room. 

She expanded the perception of the apartment’s footprint with lively orange walls and new low-pile, dark brown carpeting, and instead of going Spartan, opted for bold upholstered furniture. That includes a queen-sized pull-out couch flanked by robust table lamps, to anchor the room and mimic the scale of the apartment’s one large window that bathes the main room with natural light. 

Sargent actually has the best of both worlds: a separate, Paris-salon-like sanctuary plus the benefits of a fenced backyard where her boxer roams freely. And she has the peace of mind that comes with living with family in need.

 

 

 

Categories
Living

Fall 2010: From Here To Maternity

 Here’s the myth: Once you’re pregnant, your sex life tanks, you can’t take any medication for your headaches and you can forget about dancing the night away or any other rigorous exercise. 

Here’s the truth: Your sex life actually can be fantastic during pregnancy, because pregnancy hormones make your sensitive parts super sensitive (read: The big “O” can be huge). Ibuprofen is out, but there are many over-the-counter and even prescription drugs that are safe to use during pregnancy. And regular exercise that doesn’t risk injury to your abdomen (e.g., kick-boxing) or require the kind of balance you just won’t have while housing a basketball in your belly (e.g., downhill skiing) not only is permitted, it’s recommended. It helps curb the discomfort caused by the stretching of muscles and ligaments necessary to grow a another human inside your body. Plus, regular exercise keeps your weight in check and will help develop the endurance needed for labor. 

All that being said, the quantity and character of your sexual activities, prescription and over-the-counter drug intake and exercise will have to change during pregnancy, and the tougher reality is, you may need to make some adjustments prior to getting pregnant. 

The lowdown on getting down and low

 

You might think that upping your intercourse schedule to a three-times-a-day habit will help your chances of getting pregnant, but there can be too much of a good thing.  

“The research shows that the likelihood of getting pregnant is the same if you have sex every night or every other night,” says local obstetrician Dr. Edward T. Wolanski. 

Plus, according to Wolanski, giving the guy a chance to refill his sperm tank is important. 

“Your best bet is to time intercourse during the fertile days of your cycle—a day or two before ovulation. The sperm has to be there waiting for the egg.”

Pill popping

 

It’s a no-brainer that you have to stop taking oral contraceptives if you’re trying to conceive, but what you might not know is that doctors recommend stopping three months before trying to conceive and using a back-up form of contraceptive during that time. Though you could get pregnant immediately after stopping the pill, the presence of oral contraceptives in your system might be harmful. 

There are also other prescription drugs, such as those for high blood pressure, seizures, allergies and depression, that might affect fertility or present a risk of miscarriage. You should consult your physician about all of your meds and make adjustments in advance of getting pregnant. 

What you should start taking in advance of conceiving is a prenatal vitamin or, at the very least, 400 micrograms of folic acid. The folic acid supplement has been proven to reduce the risks of birth defects to the brain and spinal chord of the growing fetus. Because these types of defects occur during the first 28 days after conception (when you likely won’t even know you’re pregnant), it’s crucial to have the nutrient in your system when conception occurs. Other vital nutrients contained in pre-natal vit-amins are (1) calcium, which helps maintain your bone density during pregnancy as well as provides necessary minerals for fetal bone growth and (2) iron, which helps keep mom’s and baby’s blood rich with oxygen.

Postpone the Ironman

 

Regular exercise is great for your overall health and well-being and therefore, your fertility, but the kind of exces-sive, strenuous exercise that affects your ovulation cycle may decrease your chances of conceiving.  It also can affect sperm count in men, so both of you should start tapering off from your co-ed biathlon train-ing regimen if you’re trying to get pregnant any time soon. 

Katherine Ludwig is a lawyer turned freelance writer and mother of two who thinks passing the Bar was cake next to breastfeeding and potty training.

 

 

 

Categories
Living

August 2010: Your Kids

Problem: Designing a bug-free, fresh air play space

“We feel really strongly about our kids being outside as much as possible,” says Whitney Morrill, mom of two and architect, owner and founder of design firm Woollerton Edifice PLLC. “But we needed to give them a sanctuary from Charlottesville’s heat and mosquito mafia.”

 

Particularly between 9am and 10am, and 3pm and 4:30pm, which Morrill and her husband, Joe, have recognized as mosquito mealtimes, the children—Sasha, 7, and Evan, 5—retreat from the garden. They resume their outdoor play on a screened porch addition to the family’s late 1940s, Locust Avenue-area pad, even dragging up their kiddie pool or occasionally throwing up the bouncy house. 

“A rock fountain adjacent to the porch provides a cooling soundtrack during porch meals and quiet reading times,” says Morrill. 

The boxy, contemporary addition with big beams cantilevers out from the home and original patio and sits up off the yard enough to require guardrails. Morrill framed the screens with FSC-certified cedar and painted the metal guardrails (fashioned vertically because horizontal rails could become ladders for creative climbers!) the exact shade of blackish-gray that disappears into the screens with the sunlight, creating an almost unobstructed, transparent view to the backyard. 

The kids now have a blast watching the insects dance from the other side of the screens and lying down on the cedar floorboards to come eye to eye with the bumblebees in the plantings surrounding the porch, says Morrill. “Evan sees the mosquitoes swarming and says, ‘Suckers.’” 

Though the design is fresh and modern, Morrill was careful to respect the existing architecture of the vintage home by bringing the expanded porch to the same eaves as the original overhanging patio and maintaining some of the patio’s old bones. A beam from the original footprint now stands prominently in the middle of the new porch, sporting sassy lime-green paint for contrast. The colorful pier anchors the kids’ snack and craft table and has become the source of plenty of hide-and-seek games.

The kids also have found inspiration from the new v-groove wood floors: They shoot and race marbles down them, proving that if you give a kid a screened porch, she’ll likely make it into her own open air, cootie-free wonderland.—Katherine Ludwig 

 

Natural wonders

Chances are your kids are collecting lots of beloved seashells, river rocks, pinecones and twigs this season. These treasures should be gathered and admired, not stuffed in pockets and inadvertently assaulted in the washing machine. Organize and display them in glass jars like these. Assorted sizes, $2.99-5.99, at Michaels.—K.L.

Categories
Living

NEW! July 2010: Toolbox

As its name suggests, the utility knife is very, well, useful. Sometimes called a “box cutter” because of its superiority to a pair of scissors for splitting thick packaging tape and cutting open boxes, the utility knife has multiple purposes. The razor blade—most often retractable—can be used for cutting drywall, laminate flooring or carpeting; scraping away old caulk from around the toilet; or cleaning gunk from your putty knife (very carefully). 

Personally, I have two utility knives—one in the kitchen for opening packages and cutting heavier paper and materials for crafts, and another in my garage toolbox for more dangerous house projects that may require safety goggles. Having two in different locations mostly is for convenience, but this also increases the longevity of the blades. 

For serious cutting projects, you’re likely going to need several blades to finish anyway, in which case you should find a knife with a storage compartment on the side or at the bottom for extra blades. Or you could find one of those fancy, newfangled utility knifes that comes with segmented, snap-off blades. In these models, when the edge gets dull, you can snap it off with a pair of pliers and then extend a fresh blade edge. More expensive versions even come with their own attachments for doing the snapping off. 

Whichever kind you use or however many you hoard, treat your utility knife with respect. The sucker is sharp for a reason, so always retract the blade as soon as you’re done cutting, even if you’re going to cut again soon, and use short, slow strokes, pulling the blade toward you, when you cut.—Katherine Ludwig

Terracotta pots can be a medium for creative house numbers; or paint unfinished numbers and attach to dowel rods, then stick directly into the ground. 

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Living

June 2010: Kids

Kids on kitchen duty

Problem: Getting the kids to help themselves

Kate Bennis and Hal Movius designed their kitchen so that Anya, 4, and Luke, 6, can set their own table.

Transferring from more cramped quarters in Cambridge, Massachusetts, a few years ago, Kate Bennis and her husband, Hal Movius, were thrilled to find an old farmhouse in downtown Charlottesville with great bones and a backyard unusually large and level for its location near Martha Jefferson Hospital. The place had been wrecked and converted into a duplex, but the couple immediately saw its potential as a great family compound. They just needed to knock down and realign a few walls for more modern mobility.  

Centering the renovation around a larger kitchen, they designed adjoining spaces for dining, play and office work to be openly visible and easily accessible to their two preschoolers, Luke (6) and Anya (4), and created a free-flowing floor plan that enables mom and dad to get their own professional and domestic chores done while keeping eyes and ears near the little ones.

“The most useful thing we did was to use two Ikea units back to back to make a kitchen island,” says Bennis. “The end facing the play area has many small drawers, and we put all the kids’ plates, utensils, glasses, etc. there so they can set their own table and help themselves. They also each have a ‘Treasure Drawer’ for all the wonderful Valentine’s Day cards, pebbles, glitter, plumes and ephemera that [they] collect.”

Bennis says the Montessori teaching philosophies of her children’s preschool inspired her organizational design choices: “Certainly, Montessori has influenced all of our toy storage ideas. The kids can see, find and lift everything themselves. I don’t really have to do anything!”  

Bennis jokes that designing systems for kid self-reliance might make her

a lazy mom, but we think it makes her one of the smartest and most industrious moms we know.

 

Snack traps

Three tofu nuggets; five peeled apple slices; a tablespoon of peas—tonight’s leftover dinner could be your preschooler’s next lunch if you can spot the small stashes in the back of the fridge. One- and two-cup, lidded glass bowls make great see-through storage and are safe to reheat (no toxic plastics!). Blue Ridge Eco Shop; $4.50-5.25.—K.L.

 

 

Categories
Living

March 2010: Redrawing history

SEE MORE

Click here for a gallery of more photos from Cox and Galfione’s home.

 “Our kids have left. Why are we doing this now?” That’s what local architect Giovanna Galfione says she and her husband, Maurice Cox, asked themselves repeatedly before embarking on a two-year, two-phase project to renovate their 100-year-old home in the Ridge Street Historic District. In phase one, they opened up the kitchen and added a bathroom on the first floor; in phase two, they reopened the first floor back porch and replaced an awkward second floor sunroom addition with a master bedroom, porch and bathroom. Aside from the obvious factors—time and money—the simple answer was this: “The house deserved to be preserved,” says Galfione. 

And for Galfione and Cox, living in the home at its best would be the ultimate luxury. They’d already completed a lot of restoration work to floors, walls and moldings—the house had operated as a funeral parlor for years before the couple purchased it in 1994—and resided there for 15 years.

Giovanna Galfione and Maurice Cox

The couple has a design pedigree as impressive as their home’s broad brick facade. Cox is a UVA architecture professor and former Charlottesville mayor who just finished a two-year stint as Design Director at the National Endowment for the Arts; he and Galfione have partnered on many design and planning efforts, including a community planning project that earned national recognition.

Return to roots

For this close-to-home project, Galfione took the lead on the design plan. Her contractor was Sugar Hollow Builders, a firm that specializes in sustainable and energy-efficient construction and one of Galifione’s preferred contractors for her professional work. Galfione says she and the builders paid special attention to improving the home’s overall thermal performance by increasing insulation, replacing windows and doors and upgrading heating and cooling systems. They also utilized FSC-certified lumber and local and recycled materials as much as possible, plus low- or no-VOC paints and adhesives.

“The renovation’s overall purpose was to improve functionality, natural light and aesthetics of the spaces in the rear volume—in some ways restoring them to their original status,” says Galfione.

Over the century, earlier renovations had carved up the rear of the home, separating the kitchen from several windows now lost behind walls making up a laundry room, bathroom and pantry. By removing those partitions, they made the kitchen the large nerve center of the more modern home. They also incorporated the functional aspects of the home’s original open floor plan. Back then, a wide span of windows would have been necessary for light and ventilation.

Laundry facilities moved to a detached garage and a tiny replacement bathroom was added underneath the main staircase. Historically high ceilings allowed for extra tall kitchen cabinetry to replace pantry space, but custom cabinets were too expensive. Galfione instead chose Kraftmaid plywood box cabinets with solid cherry doors. Marmoleum with radiant heat was an economical, sustainable and energy-efficient choice for flooring. 

Above: At the rear of the couple’s house, the first floor had been carved into a number of small spaces while the second floor held an awkward sunroom addition. Below: After renovation, double porches and more open interior spaces make the most of light.

Though original foundation problems revealed during demo led to other budget compromises, Galfione and Cox did not skimp on windows. They chose Pella Architect Series, aluminum clad, exterior windows with low-E insulated glass for both upstairs and down. Energy efficiency was a main consideration as was the historic integrity of the house. Particularly with historic homes, the quality of the replacement windows is the most obvious detail, says Galfione.

Taking it higher

The couple also didn’t add much square footage to the second floor renovation. It would have been rational, from a design perspective, to match the rectangular footprint up and down, but in putting on her homeowner hat, Galfione says, “We didn’t need the space.”

What they needed (well, wanted) was a view. With Monticello and Montalto directly visible from the back side, Cox says, “We knew there were gorgeous views up there. The novelty was in taking advantage of them.” 

When the house was built, Cox says that an upper level terrace on the back side would have served utilitarian purposes—clothes-drying and ventilation—almost exclusively. By adding the porch off the master bedroom as a space for relaxation and aesthetic pleasure, Cox says they infused their modern sensibilities into a renovation that otherwise responded very carefully to tradition: “You want to do right by a house like this.” 

Galfiones adds, “Although we are modernists, we like to show the home’s honesty.”

 

 

Categories
Living

February 2010: Toolbox

Whether you own your own home or rent an apartment, the putty knife is up there with the screwdriver as a must-have tool. That’s true even if you’re the type who calls a handyman just to hang a picture for you. With its flat blade and sturdy handle, the putty knife is like an industrial-strength kitchen spatula.

They come in two different types—flexible blade and stiff blade—and you should have both. The latter is best for scraping things like paint and wallpaper, while the former is good for spreading things like spackle. Hardware stores carry putty knives in a range of sizes and prices, though all are fairly inexpensive.

There are even so-called “disposable” ones where both blade and handle are made of plastic, but I suggest you get yourself putty knives of decent quality with a metal blades and wooden handles. They’ll last a lifetime, and the soft wooden handle will feel so much more comfortable in your hand when you’re, say, scraping away layers of moldy contact paper from a vintage linen closet. Or patching the nail holes in your walls from all those pictures, so you can get your security deposit back.

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News

Reduce, reuse, redesign: A fresh take on recycling

READ THE FEATURE

• The Paper Chase Challenge [with video!]: Three designers, three weeks and a whole lot of waste paper 

Four local designers turn trash to treasure

What’s old is new again: Local items to attract your eye and your eco-consciousness.

It started as a source of self-gratification and ended up a celebration of sustainability.  ••  For this, our third Design Annual, we came up with a project that dovetailed nicely with the 20th anniversary of C-VILLE Weekly hitting the presses. We’d spent 2009 pondering the many ways we could illustrate our longevity, and one idea was to have a local designer create something cool from the old issues stacked in our archives—a paper monument to our monumental occasion. As our brainstorming sessions typically go, though, the idea for one grand gesture quickly skyrocketed into: “Why-not-have-three?” And the 2010 Design Annual Paper Chase Challenge was born. We selected a trio of local designers—an architect, a clothes designer and an interior design textile artist—offered each of them up to three standard bundles (50 issues a bundle) of old C-VILLEs. The paper should constitute at least 75 percent of their finished pieces, we instructed, and gave them three weeks to make them. They all took the challenge to showcase their skills, albeit with an unconventional material.
 ••  Then, we sought out other local designers specializing in recycled stuff. Among them, a flooring expert, glass designer, landscape architects and more—all, not only salvaging wasted resources, but also manipulating them into something unique.

 

 

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News

The Paper Chase Challenge

Ted Nelson’s chair for a new age

Ted Nelson, architect and owner of Design Build Office and a 2002 graduate of the UVA Architecture School, says it took hundreds of hours to design, test and complete his newspaper chair. 

Architect and builder Ted Nelson takes a seat in his paper project.

The chair is comprised of three separate paper pieces—two legs, made of a mixture of cement and shredded paper, and a seat that layers full paper sheets and an eco-friendly epoxy material. The pieces are assembled by two, thin, stainless steel rods and four bolts. Most of Nelson and his team’s time was taken up with testing, which he says was not nearly as extensive as he would have liked. Given the time constraints, however, Nelson was able to try out two different construction methods and several different cement and paper mixtures before settling on the final leg design and building plan. The triangular shape of the legs is an intentional play off the universal recycling symbol.

“It would have been easy to just make a big block chair, but we really wanted to push it,” says Nelson. 

Nelson and his DBO team on the project, including one-time DBO business partner and fellow UVA Architecture School graduate Ben Dagitz, were inspired by an alternative building material called papercrete. Though the concept of mixing recycled paper and cement to create a concrete-like building material has been around for decades, interest in papercrete with the sustainable building movement has been reinvigorated in recent years. Nelson particularly has been investigating the work of Barry J. Fuller, a papercrete researcher and evangelist in Arizona. Fuller has been spearheading and documenting affordable housing projects in papercrete. His goal: to help set standards that will lead to widespread acceptance of the product as a load-bearing building material throughout the commercial and residential construction industry. On his website, www.LivingInPaper.com, Fuller estimates that we discard enough paper in the United States each year to build a 48′ tall perimeter around the country and only 45 percent of that waste is recycled.  

Nelson and Dagitz experimented to create their own paper and cement mixture to build their chair’s foundation. Shredding the paper in their paper shredder, they tried different sizes and lengths of paper and different ratios of paper to the cement clay and sand. In the end, the combination they found the most stable and strongest was a mixture of about one scoop of cement to one scoop of shredded paper reinforced by rebar rods they’d also made entirely of paper. Once that mixture was settled, it was poured into the triangular molds. Looking closely at the legs, you can see the specks of shredded C-VILLEs that give an effect one C-VILLE staffer likened to Terrazzo—a countertop and flooring material originally made hundreds of years ago in Italy of recycled marble remnants. It was one of the first “green” flooring materials, if you will, and it’s now made of a composite material that combines chips of marble or other stones with either a cement or a chemical resin for binding.

That the finished legs have that kind of polished professional look is a complement to Nelson and his team who for weeks tinkered as amateur scientists in their studio-turned-lab.  Of the testing phase, Nelson says, “I went back-to-school mentality. I was a little nervous.”

When they’d finalized the legs, Nelson set about designing the seat, which had its own complexities. Nelson knew he’d have to use an adhesive resin to give the paper enough strength and stability to support a human derriere, but he hated to taint the project with a typical, eco-unfriendly and caustic epoxy material. Nelson searched the Internet and discovered a company called Ecopoxy Systems which manufactures EcoPoxy®, a line of hardeners, resins and top coats that are odorless, nontoxic, nonsolvent, nonhygroscopic and nonconductive, according to the company’s website. Nelson convinced the company to donate a few gallons to his cause and they graciously obliged provided we agreed to mention their names here. Nelson says he and his team ultimately used about one and a half gallons of the stuff.

Once the papers for the seat were layered with the epoxy, the seat piece essentially took on the design utility and characteristics of fiberglass and had the heft and consistency of thick plywood. But that left Nelson and his team with another construction dilemma: how to cut and sand it to size. Nelson and Dagitz ended up having to design a special jig for their table saw. That and the cutting and sanding took an entire day in itself. 

Although, with all the experimenting and retooling of equipment, it was an intense, time-consuming and anxiety-riddled process and “very labor-intensive,” Nelson says he now easily can see practical applications for recycled paper-based materials and his newfound skills and experiences, including kitchen countertops and accent tiles. “It’s another tool in the toolbox,” he says. Oh, and thanks to us, he also now has a cool, comfortable new place to sit.

 

Sherrie Hannah’s corset as collage

When we approached local sewing instructor Sherrie Hannah, (you might remember her from our 2007 C-VILLE 20 list of emerging players) about making something wearable from our old papers, she told us right away she’d make a corset. The former New York City rock stylist and textile artist who traded in rubbing elbows with the likes of Jeff Tweedy a few years ago to thread bobbins with teens and tweens in the After School Stitch program she founded at Les Fabriques, says, “I studied period garment making in college. Corsets are my favorite things.”

Sherrie Hannah models her own creation sewn of C-VILLEs. 

Hannah, who also teaches private sewing classes as well as designs garments and textile pieces on a freestyle basis, says she easily could have made an A-line shirt and been done in a few hours, but like architect Ted Nelson, she wanted a real challenge. 

“What I teach and what I like to do is work with collage,” says Hannah. She spent a lot of time cutting out and piecing together the visual paper elements on her dress form before deciding how she’d sew it all together. 

“There were infinite possibilities,” says Hannah. “I could play collage all day. The hardest part was picking a direction.”

When Hannah really sat down and surveyed her bundle of papers, she was drawn to the miniature reproductions of cover stories in our 20th anniversary issue and chose to highlight those along the ruffled sweetheart neckline. “I just like small things,” says Hannah. “The scale is perfect for fashion.”

From there, Hannah started cutting out interesting illustrations and shapes that would fit well with the structure of the rounded bust line and fitted bodice, plus a few of her favorite things—David Byrne’s mug here, Blue Moon Diner’s logo there. Next she ironed a fabric vinyl called Thermoweb onto one side of the paper pieces to give them more strength and malleability before arranging them on her dress form. (Incidentally, that vinyl coating makes for an essentially stain-proof garment.) 

Once she laid out the paper pieces the way she wanted visually, she set about sewing them into place using an old Simplicity bustier/corset pattern. She used a men’s business shirt as the base. 

“I was going to use muslin, but I liked the idea of recycling stuff from my studio. I’ve been collecting old business shirts for an idea I had to make a 1950s-inspired shirt dress, and I thought the business shirt fit well with the newspaper theme.”

She first sewed the shirt fabric into the corset pattern, and then she mounted and stitched the vinyl paper pieces on top of the shirt fabric.

Hannah’s dress form served as starting point for her collage.

“I thought about stitching the paper to the pattern pieces first, but with the severe curves of the corset, I didn’t want the paper to get folded into the seams,” says Hannah. Seeing all the stitched edges on the paper pieces does contribute to the corset’s overall collage effect.  

Like Nelson with his rigged-up jig, however, Hannah then had a hell of a time getting the paper-mounted corset through her sewing machine to stitch on the paper pieces. Making a corset, an already structured and stiff style of garment (particularly over the curved bust area), essentially is an exercise in sculpture. With the added quirkiness of the vinyl paper as top fabric, Hannah says the sewing process was “very strenuous, like wrestling.” She spent a few hours aggressively pulling and shaping the structured paper bodice into submission as she stitched.

During the making of the corset, Hannah says she then began fretting about the way the papers were curling up in funky ways and doing their own thing, but then she says she just let it go: “There comes a part in the process when you have to let the medium be the medium.” 

Despite all the arm wrestling and worry, though, Hannah says the challenge “was not as a difficult as I’d thought.” She estimated it took her about 30 to 40 hours, whereas a typical corset would take her about five. 

In the wee hours before turning in her piece, Hannah even found time to stitch us an accessory: a newspaper clutch, which at first glance looked simply like a folded up paper under her arm before revealing its slick inside pocket. For that, we happily awarded extra credit to her already passing grade.

Kelsey Read: "Makerperson" with a pretty pillow

 

“First I started crying. Then I called my mother.”  That’s what local artist and textile designer Kelsey Read told us when we first checked on her progress during the newpaper challenge. Not that Read is a stranger to stress. She spends her days sewing what she calls  “stunning” fabrics into products for “very high-end fancy people” often under crazy quick deadlines at Alana’s Ltd., a design and decoration studio in Downtown’s warehouse district. And when she’s not at her day job, she’s making her own fine art pieces—a combination of sculpture, three-dimensional photo collage and woodworking. 

The quilted, tufted box pillow looks pretty even at close glance.

Read maintained an art studio at McGuffey Art Center for a year and a half and now does most of her work, including sawing and sewing, in her bedroom studio, where there’s a little less public pressure to produce. Still, Read is typical of artists and designers in setting high expectations for herself. Similar to Ted Nelson’s admitted nervousness throughout the project, Read says, “I was having flashbacks to art school. I tend to get hysterical if I think things aren’t pretty.”

No problems there. The pillow Read designed meets to the prettiness standard at any range. 

Still, Read says, “I’m a very precise person and sewing has to be precisely measured, but I had to give up a bit on being precise.”

The call to mom came from Read’s worry that “no matter what I did, it was ugly.” Her mother is often the voice of gentle reason in these creative matters.  

“She told me to think of it as a material and not as an image,” says Read.

It was her mother who first taught her to sew on Grandma’s sewing machine—the machine she continues to use today for all her personal sewing work. That creative spark was further fueled at the Waldorf School, where she says all the kids learn to sew, knit and crochet. She later studied sculpture at the College of Santa Fe in New Mexico.

“I’m a maker person. I get paid to be a seamstress, but I’m really an artist,” says Read. 

The project gave perfectionist Read a rare challenge: “I had to give up on being precise.”

After crisis was averted thanks to mom, Read settled on making a decorative, button-tufted, quilted box pillow—the kind of work she’d typically do for wealthy clients in silks and other fine fabrics.

Read started with two full sheets of paper taped together. “I started folding the papers over and over in an accordion manner until they created a pattern.”

Each face of the pillow comprises eight sheets of the paper with two sheets in each quilted quadrant. Read carefully selected the papers and folded them in such a way to create a muted color pattern of pale blues and greens, purples and reds. Then she ironed a fusible fabric backing to the paper pieces, stuffed the whole piece with typical pillow stuffing and sewed it all together. 

Well, that’s what she did after losing almost all of her work the first time she tried to turn the pillow inside-out to stitch it without the fusible backing, and the papers tore. 

“There are three layers in the fold, but only one layer between the folds and it didn’t take kindly to being turned inside out.” 

That’s when Read realized she’d have to interface the papers with the fabric backing to give them the strength to withstand the sewing exercise.  Later, she almost lost her work again when she dropped pieces into the wet snow on her way to use the industrial machines at Alana’s. 

“I took them home and washed them off. They dried fine. Just a little crinkly,” says Read.

And somewhere amidst all of that drama, she also sprained her neck, making standing over the ironing board to flatten and interface the folded papers more than a little painful. As to how much total time she spent on the project, including all the redos, Read says, “I can’t even guess. An exorbitant amount of time!”  

The real question, though, is what did her mother think of the finished pillow?

“She said it was wonderful.”

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News

Four local designers turn trash to treasure

Willie Drake makes the most out of being a mountain man

Willie Drake, founder of world-renowned Mountain Lumber Co., a reclaimed wood and millwork company in Ruckersville with a showroom in the Main Street Market, says he fell in love with salvaging abandoned wood timbers from old barns and factories “long before I was an environmentalist.” 

Willie Drake sits on his own floor made of English Brown Oak reclaimed from cider vats in England. He alternated cider-stained slats from inside the barrel with unstained slats from outside to create the pattern.

When he started his business over 35 years ago, he says, “I wanted to see how beautiful they could be, but I wasn’t going out to save the world.”

Though he wasn’t thinking on a global scale at the time, he was motivated by a desire to combat the loss of such valuable resources to the landfill (a common practice then as now). Drake observed that Civil War-era mills and factories were being demolished with near-impunity. 

“I was just in awe of these big beautiful timbers being trashed by the bulldozers.”

Drake first ventured into procuring antique wood for reuse because of a carpentry job. A builder had asked him to reclaim American chestnut from dilapidated Appalachian barns in West Virginia. A Charlottesville native, Drake had recently dropped out of UVA shortly after returning from the Vietnam War  to help out a carpenter friend and spend more time rafting and hiking in the mountains of West Virginia—his true passion.

“I didn’t know what I was doing,” says Drake of that first project. In the early years, he had to rely on his skills as an outdoorsman and his love of the backwoods to get going in the reclaiming business. Mostly that meant sourcing in rural West Virginia and in the Northeast, where projects that involved the destruction of early American factories, such as Camden Yards in Baltimore, were leaving a large wake of abandoned wood. 

Back then, though, no one else knew what they were doing, either. In the mid 1970s, Drake recalls there were maybe two or three other companies in the country reclaiming antique wood and milling it for new flooring. At that time, there also were fewer regulations governing the demolition of historic mills and factories, making it a virtual free-for-all. Drake now estimates that there are over 500 companies in the U.S. offering reclaimed wood flooring and related products. Many of them, however, rely on brokers to find and source the stuff. 

“It’s become much harder to procure and almost like a commodity,” says Drake. 

At MLC, by contrast, Drake himself still does most of the purchasing of old wood from around the world that is transformed by MLC’s staff of millworkers and craftsman into an array of flooring products. Those range from solid “Antique American Oak” to centuries-old “Antique Chinese Elm.” Less a commodity than a piece of history, much of MLC’s wood tells a tale of its unique past in all the distress marks and worm holes it shows; although, the company also sells “smooth” lines of reclaimed products where all signs of natural and man-made patina have been milled and buffed away—if that’s your preferred look. 

Though MLC has a long list of residential and commercial customers (including the likes of Monticello, the National Cathedral Chapel and the Portland Museum of Art), Drake says most clients today, who pay a much higher price for reclaimed than newly sawn wood, seem motivated by the overall look of the wood and MLC’s reputation for quality rather than by a deep concern for recycling. That’s O.K., though; we know and now you know that Drake’s doing his part to save the world from becoming one big trash heap.

The clothes off your back: Call her Secondhand Rose

Rosalba Valentino grew up off the grid on an Appalachian farm where her parents farmed, gardened and experimented with hydropower. “I grew up being more concerned with what we’re consuming in resources,” says the clothes designer, who specializes in transforming vintage garments and accessories. Though she also works as a custom designer for weddings, theater and other special occasions and can sew whatever fabrics her clients demand, her true passion is in making original pieces from unique old finds, such as vintage beading and dated clothes with bad designs but great prints. She sources from local vintage stores and antique shops such as Glad Rags, Antics, Goodwill and the Covesville Store and sells most of her original pieces at crafts festivals, farmer’s markets and through her online Etsy store (www.rosalba.etsy.com).

Rosalba Valentino and one of her “secondhand” designs.

“The word ‘secondhand’ has such a negative connotation, but I think old things are totally unique,” says Valentino, who’s inspired by wondering about the previous lives of her found treasures.

She first learned to sew as a kid and later studied at Virginia Commonwealth University in Richmond, majoring in Craft/Material Studies. She also worked with several different materials from ceramics to metals before settling on fibers and fabric for her professional career.

“I’d say I’m more of an artist than a fashion designer. I just happen to work with clothes as my medium,” she says.

The downside to making one-of-a-kind pieces, however, is that Valentino doesn’t have a lot of stock (or, in most cases, more than one size) of any one thing to market, and though she hopes one day to offer at least more size options, she relies on customers who appreciate wearing something unique.

As for future projects, she’d love to convince some of her bridal clients to take advantage of her stack of vintage lace, but “brides want to be new and shiny” and often are unwilling to “let go of a sense of perfection.”

Valentino herself, of course, is willing to throw caution to the wind with her own wedding planned for next year. She found her dress at Glad Rags.

Bill Hess: a glass act

Bill Hess probably is the most overeducated glass artist on the planet. He has a Bachelor of Arts from Dartmouth College with a double major in engineering sciences and studio art and a Bachelor of Engineering. There’s also a Master of Science in Biomedical Engineering from Northwestern University. All of that study came in handy while he was a mechanical engineer for a big product development firm in Chicago and later as he was designing prosthetics for a healthcare corporation. But while he was making plastic-based snowboard bindings and deodorant dispensers, he says he started to worry that “all of this is going right into the landfill.” 

Hess transforms old glass bottles into new works of art and design.

“I moved to Seattle and all these ideas about social responsibility started bubbling up and converging with ideas for design. I started thinking more about recycling.”

It was around this time in 1998 that he came to give his own artistry and design ideas legs. He formed a design business called, natch, Ideas on Legs (www.ideasonlegs.com), and enrolled in classes at Seattle’s Pratt Fine Arts Center to further develop his aesthetic skills. 

“I wanted to infuse more light and color into my metal work,” says Hess.

At Pratt he discovered a passion for glass. In the Northwest, however, where glass artistry is prevalent and everyone knows of Dale Chihuly, the medium is all about precision and perfection. One bubble or crack and a typical glass artist will scrap the whole thing. With recycled glass, imperfections and irregularities are the norm. They’re what give recycled glass pieces their character. As Hess puts it on his website: “…even cracked or broken glass creations, while having a seemingly failed sense to them, often display an unexpected kind of magic.”  

Hess now operates his glass and metal studio out of his Afton home where he sees himself as a modern day alchemist. He combs junkyards and recycling centers for most of his glass. He then melts and reshapes the glass in a kiln and designs and molds kitchen and bathroom tiles, countertops, vanity sinks, lamps, sconces, bird baths and window blocking, as well as fine art pieces and jewelry. Much of his work incorporates salvaged metalwork as well. 

Hess’ vision is to establish a manufacturing facility near his home studio where he can produce more recycled glass products for home interiors, but doesn’t suspect he’ll ever be at a loss for sourcing the glass itself as markets for the material are not robust.

But when glass isn’t recycled back into bottles or useful products like Hess’, its true value is being lost. “It takes too much energy to get it back out of the earth,” says Hess. “You have to start from scratch again.”

Lucia Phinney hears the call of the wild

 

“I’ve always been concerned with the future of humanity and this little piece of land called the earth and how that interacts with architecture,” says Lucia Phinney, an architect, landscape architect and lecturer at UVA’s Architecture School. Phinney’s latest experiments and interests are in designing rainwater collection ponds and reflective shade-cloth covered trellis systems that together create cool, moist microclimates between and around structures. Her online faculty profile describes her work as exploring “the means to reveal rather than erase the incredible potential for natural systems to effectively engage and inform the places we make.” The North Garden home she shares with partner and fellow architect Robin Dripps is informed by frogs. Many frogs.

Bioremediation canal and south porch at Phinney-Dripps home.

“I know all the calls. Wood frogs. Spring Peepers. Carpenter frogs. This is the perfect habitat for them,” says Phinney. 

That frog-friendly haven comes from Phinney and Dripps having designed ways to control the flows of wind, water and light around their 3,000-square-foot home by a system of lattice and scaffolding covered in agricultural screen fabrics, reflective shade cloths and acrylic panels. In addition to that rigging, rainwater is collected on the roof and directed into cannons that deposit the water into a canal that varies in depth from two feet to six inches where jetted pumps spray the water back up into the air. The water and adjacent covered trellis system work together, using the energy from the air, to create evaporative cooling and thereby a comfortable ambient outdoor environment for frogs and people (and mosquito-eating fish) in the warmer months. The reflective shade cloths and screens also buffer the inside of the home from extreme temperatures from both sunlight and harsh winds. 

Architecturally, what they’re doing is creating “fluidity where outside becomes part of the living experience,” says Dripps. Environmentally speaking, what they’re doing, in a sense, is recycling the weather and using it to keep their own energy consumption down. Phinney says that they didn’t turn on their air conditioner once this past summer and instead spent the season with their glass doors sprung wide open to the light and breeze filtered by the screens and shade cloth and cooled by the water vapor. 

The wider implications of this work are vast and global: Just think how different life in the suburbs or in office buildings would be if we didn’t have to spend so much of the year cooped up by our air conditioners or heaters, but could regulate and enjoy the open air by harnessing the weather’s own elements.