The Atterbury Group of Sheldon Close

By Matt Ayer

What makes a model town? Architect and pioneer in town planning Grosvenor Atterbury expressed his thoughts on this subject in a 1912 article in Scribner’s Magazine. He suggested a comparison to snakes in Iceland: “With, but one or two exceptions, there are none.” He described that “model town” is a “neat label with which to docket a package, but we have to open the wrapper and roughly analyze its contents.” He describes that “model” in town planning was taking on a new meaning, “following the beginning of organized attempts to apply scientific, aesthetic and economic principles and methods to the problem of housing civilized humanity.”

To raise the standard of living for citizenry of modest means, Atterbury recognized that the “high cost of high living” could be largely offset by removing cumulative profits of production and distribution – cutting out the middlemen – the profiteers in speculative development and building. “Combined action is the most distinctive feature of a model town. A theoretical definition should be based on the essential element of collectivism. This means collective purchase, design, development and control.”

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Concerning general aesthetics, Atterbury points out that certain odors are almost universally abhorrent. In a residential community, cont'd on next page the public sense of smell is “generally protected from malodorous activities as unconstitutional hindrances to the pursuit of happiness. However, our sense of sight has no similar protections.” Acknowledging that fashions and tastes in architectural style vary, Atterbury advocated “simple, honest and straightforward structures when designed and placed with regard to general harmony and color of mass.” He valued “intelligent use of common inexpensive materials” and clearly appreciated the intrinsic beauty of rough, natural materials.

Atterbury also recognized serious flaws in conventional suburban development. Lots are sold in economic, standardized dimensions with a “one size fits all” set of restrictions. The first purchaser places his house as near to the street as allowed, for fear his neighbors may cut off the view from his parlor windows. He places his kitchen on the north side and as near as allowed to his neighbor’s lot line. The result? Countless miles illustrating the disadvantages of individual planning, as everyone has made equally poor use of their lots. “Pure democracy in town-planning.” In contrast, Atterbury suggested groups of homes expertly designed and arranged according to a master plan including green spaces and community amenities.

When selecting the architects for the Mariemont project, Charles Livingood was familiar with Atterbury’s work on the Forest Hills project in Queens, New York. In 1925, Atterbury was commissioned to design a group of homes on Sheldon Close, which was named after Mary and Thomas Emery’s eldest son. A chiefly British term, a “close” is a road closed at one end. Atterbury created this enclave of charming homes in the Elizabethan style. The group of ten stone, brick and stucco homes, with their half-timber details, steep roofs in “Vermont mix” slate, and private garages is considered by many the most attractive street in Mariemont. Atterbury echoes the symmetry of Albert Place, with twin homes flanking the entrance to the cul de sac. On the close, he incorporated twin “double houses” facing each other, followed by two more matching pairs of detached homes.

Bob and Michelle Rich purchased one of the “wing” homes in 2005. The photograph by Nancy Ford Cones (previous page) shows the oversized window that brightens a stunning room featuring a beamed cathedral ceiling and brick fireplace. As a transplant from Texas more familiar with neighborhoods of ranch-style tract homes, Michelle was enchanted by the home’s picturesque charm. She appreciates the many interior details such as the airy stairway, beautiful woodwork, built-in cabinetry and radiators tucked into walls behind attractive grating. While some owners have chosen to “open up” the living spaces of Sheldon Close homes, the Rich’s have chosen to retain the historic layout, albeit with “doors everywhere.” They converted the attached garage to a master bedroom and an adjoining alcove to an en suite. The garage’s original brick wall and wood ceiling beautifully complement this bedroom. In a kitchen renovation, they matched new cabinets and hardware to the one remaining piece of original cabinetry. To accommodate all four children, they finished the basement to include another bed and bath.

As an architect, Bob appreciates the “sense of craft” in the Atterbury homes. These architects of Mariemont’s first homes typically produced a set of construction drawings on four sheets, in contrast to approximately 50 for a home today. The architect could communicate with scaled drawings of a finished product, then rely on skilled craftsmen to execute the finer details. As one walks along the close, he points out subtle differences between homes in features such as stone masonry and the relief carved into wood trim by the carpenters. Bob and Michelle also discovered that, contrary to Architectural Review Board guidelines for the group of homes, Atterbury had used a signature peacock blue for window trim and shutters.

Grosvenor Atterbury understood that an American “model town” would require a benefactor, a master plan, a collective enterprise with overall control, and technical expertise.

Mary Emery, Charles Livingood, John Nolen, the Mariemont Company, and a carefully selected group of talented architects fit this description and defied conventional profit-based development. The Sheldon Close group exemplifies the potential for the Mariemont formula. Exceedingly wellbuilt homes of timeless beauty were constructed cost effectively and within the financial reach of the middle class American. Atterbury and the Mariemont Company delivered “high living” with project control and economies of scale. They used honest materials to create a harmony of mass and color. Craftsmen of the 1920s executed the vision. Once again, thank you, Mary Emery!

References:

Scribner’s Magazine, July 1912, Volume 52, Issue 1, Atterbury G., “Model Towns in America.” The Architecture of Grosvenor Atterbury, Pennoyer, P. and Walker, A., 2009, W.W. Norton & Co.

Historical Photographs from the collection of Mariemont Preservation Foundation.

By Margaret Jevic, Tree Advisory Board

It’s almost landscape season, which is, truth be told, my least favorite time of year. Every morning I walk my kids to school at 8 a.m., yelling over a gas-powered leaf blower or industrial sized lawnmower. I appreciate the peace of a quiet winter morning walk. But, the silver lining to the hum of landscape equipment is that it signals the tentative start of warmer weather. Soon the trees will begin budding new leaves, and the first flowers will begin to bloom.

With the imminent arrival of spring (and cacophony of lawn equipment) my mind turns to protecting our Village trees. Every season the Tree Advisory Board (TAB) takes note of tree trunks unfortunately damaged by errant lawn mowers or string trimmers, as well as trees suffocating under mounds of fresh mulch. The solution to both problems comes down to one thing: proper mulching. This seemingly simple aspect of tree care has impacts that go beyond aesthetics and can change the story and trajectory of a tree.

I’m not sure why it’s so compelling to pile mulch high into a volcano around the base of a tree - our provider instincts maybe? We want the tree to be cozy and make sure it has plenty of mulch? But, in our loving care, we end up hurting it. The same can be asked of our mulch shaping habits - why round? Is it because the trunk is round, and we subconsciously apply the logic to the ground? If there are any psychologists out there who know the answer to this, please email me.

When it comes to mulching, there are good practices and bad practices. Improper mulching can cause excess moisture buildup which can soften and weaken the trunk wood. This same excess moisture can cause root rot and growth of fungus and bacteria. Any compacted or excessive mulch can cut off good water and oxygen supply to the roots and exacerbate root girdling, where the roots grow around in a tight circle, strangling the