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Annapol i s HOME Serving Anne Arundel County, The Eastern Shore & Beyond • Vol.3 No.2 2012

garden • dock • garage

Waterfront Haven tour a woodworker's


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Growing Oysters At The Dock Discover West Annapolis Chip Bohl on Governor's House

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garden • dock • garage

18 38 44 Annapolis Home

Hooray for the Independent Shopkeeper! Annapolis Home visits West Annapolis’ shopping district and finds much to admire.

On The Corner:

Grandeur & Demolished Grace Chip Bohl traces the checkered history of Governor’s House in Annapolis in Part I of this series.

A Garden of Oysters A teenager grows oysters at the end of her pier & invites you to help save the Bay.



Publishers’ Letter


Robert’s Picks


Fine Design: Have a Seat




In the Kitchen: Pavlova, a Dessert as Light as a Ballerina


Annapol i s HOME


An Artisan at Home & In the Garage Tour a wood worker’s private world.

Annapol i s HOME garden • dock •• garage

Editor Kymberly B. Taylor Creative Director Ryan Gladhill Senior Designer Samantha Gladhill

Publishers’ Letter

Contributing Photographer Geoffrey Hodgdon

Spaces are fascinating. The spaces we feature here go beyond superficial attributes; they reflect the extraordinary minds and spirits of those who have brought them to a life all of their own. They are rarely the work of just one person. They result from unpredictable energies flowing from the land, the materials, and the ideas of all involved.

Architectural Columnist Chip Bohl Contributing Writers Jerri Anne Hopkins Christine Fillat

We discovered a home tucked away on a cove in Annapolis resulting from a collaboration among architect Michael Ryan, builder Brad Lundberg, and artisan Doug Pearson, a woodworker carrying on his deceased father’s art. It is filled with fine handcrafted woodworkings, vessels, and furnishings—objects that reflect Pearson’s lineage, art and heart, including a magnificent garage-studio. This home, where cherry, sycamore, and ebony woods cure in the afternoon light, satisfies our yearning for the handmade instead of the readymade.

Account Executives Stacia Simmons Publishers Kymberly B. Taylor Robert E. Haywood

Just pages away, read about a dock where a teenager grows oysters to help clean the Bay, an integral part of all of our homes. Her project reveals her dismay at what she sees happening to the Bay and the Little Magothy River. Her actions and hope are an inspiration to us all. In this issue, you can also read about West Annapolis, a section of our city filled with a curious blend of old world charm and contemporary independent spirits—shopkeepers who have survived recession to continue to build small businesses housed in a village of charming homes. This area is wonderful because it truly is a daily collaboration of creative people working alone and also together to give to Annapolis a taste of rugged individualism and persistence in the fact of a mall culture that always threatens to erode the small business. You will find much more in this issue, including an essay on the Governor’s Mansion by architect Chip Bohl. This building’s changing locations and metamorphoses in its bricks and mortar façade tell a fascinating tale about how architecture reflects the politics of a young colonial city and how this architecture changes in startling ways. On our final page is a recipe revealing a dessert created during the 1930s, a golden era of classical ballet when Russian Prima Ballerina Anna Pavlova rose to fame. The “Pavlova” our featured chef whips up is so light it almost floats off the last page of the magazine. We look forward to hearing your thoughts on this issue, as well as your suggestions and ideas for more things to discover and uncover in our beloved region. Until next time,

Kymberly Taylor & Robert Haywood Publishers

Proofreaders Christine Fillat Jerri Anne Hopkins Patti Leo

Advertising in Annapolis Home

Through its advertisements, Annapolis Home strives to showcase businesses that possess a strong commitment to high standards of professional integrity and customer service. We seek advertisers who share our business philosophy. For advertising inquiries, please contact Robert Haywood at or please call 443.942.3927

Annapolis Home Magazine P.O. Box 6560, Annapolis, MD 21401 Annapolis Home is published bimonthly by Taylor Haywood Media LLC. No part of this magazine may be reproduced in any form without express written consent of the publishers. Publishers disclaim any and all responsibility for omissions and errors. Publishers disclaim any and all responsibility for an advertiser’s products, services, or claims. The views expressed in this magazine are solely those of the writer. All rights reserved. © 2012 by Taylor Haywood Media LLC

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As writers and publishers, we appreciate the tremendous value to our community of the Annapolis Book Festival, hosted by The Key School. The Internet, mobile and digital worlds have introduced into our culture new technologies of reading. Rather than the death of the published word, people appear to be reading more than ever. This festival places value on both the pleasurable and intellectual qualities of reading. Now in its 10th year, the festival will be held on The Key School campus Saturday, April 21 from 10:00 a.m. to 4:00 p.m. The festival includes nationally renowned authors, workshops, panel discussions such as 21st Century China, Young Adult Fiction and the Politics of Food, a book sale, entertainment and educational performances. For a list of events geared to the whole family, visit


Here is your chance to introduce your children to grand tradition of opera. The Annapolis Opera will present the children’s opera performance, Ariel’s Tempest, based on Shakespeare’s The Tempest. The performance will be held at the Maryland Hall for the Creative Arts on Saturday, April 28, 2012 at 10:30 a.m. For ticket information, go to


Given our story in this issue on oysters, we cannot go without mentioning the Second Annual Annapolis Oyster Roast, sponsored by the Annapolis Maritime Museum.

The festival, held on Saturday, March 24, from 12:00 a.m. to 4:00 p.m, includes live music by The Oyster Boys and Sly 45, a shucking contest, and, of course, oysters. To purchase tickets, go to


Need some extra fresh ideas for you home? Be sure to see what talented emerging designers are up to at the Washington Design Center’s 2012 Dream Home on March 15. Celebrating the next generation of design in Washington, D.C., eight emerging interior designers have been selected to create rooms inspired by the works featured in the exhibition "40 Under 40: Craft Futures," opening this summer at the Renwick Gallery. The Washington Design Center is located at 300 D Street, SW in Washington DC. Viewing hours are Mon.–Fri., 9 a.m–5 p.m., and admission is free. For general information, the public may call 202.646.6100. For more information about the 40 Under 40 exhibition, visit


You don’t want to miss out on attending an exciting new Home event held just over the Bay Bridge. Lundberg Builders, featured in this issue of Annapolis Home Magazine, is sponsoring its first Home Show on Saturday, April 28 from 11:00 a.m.-5:00 p.m. Held in Lundberg’s beautiful custom remodeled office building at 314 Main Street, Stevensville, the show will be distinct in showcasing some of the finest products and services around. Robert Haywood, Ph.D., studied art and architectural history at the University of Michigan, Ann Arbor. He has taught at MIT, Johns Hopkins University and been a residential fellow at the Center for Advanced Study in the Visual Arts and the Getty Center in Los Angeles.

Vol. 3, No. 2 2012 11


In The Kitchen By Kymberly Taylor

If you want to use color in your kitchen, experts say to use it sparingly, using no more than two colors and one neutral shade. Unless you are Picasso, any more than this could overwhelm your space and, worse, confuse your senses. However, beware of using just two tones or choosing paints and furnishings that all blend together. The eye needs a sense of order yet some contrast for delight. If everything blends, your kitchen will be bland, and your guest may doze off. Skilled designers are aware that color is powerful and many use it with color psychology in mind, either consciously or intuitively. Research in the still-emerging field of color psychology reveals that certain colors affect our moods and physiology in similar ways, according to Faber Birren, author of his book Color Psychology and Color Therapy: A Factual Study in the Influence of Color on Human Life. Marketers have manipulated color for decades. For instance, because yellow is thought to enhance concentration, so it is used for legal pads. Restaurant interiors are often red; studies reveal that red stimulates the appetite. Pink supposedly causes the body to release chemicals that calm and relax, which is why it is used to encourage romance. Some of the most popular classic colors used in kitchens are reds, greens, and browns. It is not surprising to learn that our choices for this safest and most comfortable room in the home may be instinctive and reflect what is most necessary to our species’ survival. Red, green, and brown, since our inception, are the colors of our basic foods. They are also the color of the elements fire, water, and nature. Food researchers say that when humans searched for food, they learned to avoid toxic or spoiled objects, which were often blue, black, or purple. One study finds that when food dyed blue is served, appetites decrease. Blue is praised for its other qualities though. Paula Shantzis, a kitchen designer who previously worked for Kitchen Encounters in the Annapolis Design District, manipulates color and texture to create calming effects or exciting ones. If it is calm that a client wants, she suggests using an analogous color scheme, or colors close to each other on the color wheel. For a client in Annapolis desiring a tranquil yet dramatic atmosphere, she decided on a “cool” palette composed of three colors: Kelly green, pale turquoise and cabinets with a yellow-orange hue. “With two colors and a neutral, you can create lots of drama, she cautions. “Don’t muddle it.” She points out that the tile in this kitchen is all glass. “We used a lot of it but it works well because we didn’t use a hodge-podge of colors. Glass gives a reflective, calm feeling.”


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Kitchen Design: Kitchen Encounters Photo Courtesy: Mike Gullon Phoenix Photographic

Kitchen Design: Kitchen Encounters Photo Courtesy: Mike Gullon Phoenix Photographic

Vol. 3, No. 2 2012 13

If it's stimulation you crave, she suggests using contrasting colors such as blacks and whites or “colors that pop away from each other.” “If everything blends, it’s a bland space, you are not even soothed by it. Your eye needs to settle on a thing in order to enjoy the space,” she says. For example, in another waterfront home in the area, the owners chose light neutral tones in wood and flooring and painted a section of their island a vibrant blue. They did not want to create a clichéd cottage-style beach look and instead wanted something more sophisticated and subtle. Blue is used sparingly and appears only on the island, accessories and pendant lights. Yet, a little blue invigorates the entire space and references the sky and sea just beyond. This is what a kitchen should do, she comments: “You want your kitchen to wake up the house. It should be alive and relate to the other spaces around it.” She reminds us not to pay too much attention to trends. For instance, in the 1990s, popular kitchen colors were cranberry and green. Today, many favor lavendars, purples, and greys. In fact, she advises, if you want to make any color softer and more “livable,” try toning it down by mixing in some grey. But, if you don’t like grey or lavendar, don’t do it. “You must choose for yourself,” she emphasizes. To help you decide, she suggests that before you paint a wall, go to a craft store and buy foam core boards. Paint the board and walk around your kitchen with it, examining it under different kinds of light.


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Kelley Proxmire of Kelley Interior Design in Washington, D.C. gets right to the point when queried about how to best use color in the kitchen. “My recommendation is not to do it on cabinets or tile and to do it sparingly.” Paint the walls, paint the ceiling, paint your kitchen cabinet knobs instead. Make sure that what you choose can be changed and does not contrast with something else. For instance, it is safer and less expensive to repaint a wall than it is to replace your stove.” When choosing counters, she favors marble and engineered stone. With engineered stone, such as Corian, she says “You get exactly what you see and there are no surprises.” The kitchen she decorated for the Rabbit family, who live in Annapolis, is blue, white, and yellow. Colors associated with hope and optimism are used lavishly only in the hand-painted chairs. She has not studied color psychology in a formal sense but is highly interested in how and why colors affect people’s emotions, since she believes this to be true. As more research is done in this fascinating field, Annapolis Home will keep you posted, especially when it comes to kitchens. Perhaps someone will develop a shade that makes everything you cook taste amazing. Or, perhaps there is a color combination that helps you lose weight. If so, this will be certainly be the subject of another article.

The color of royalty, purple connotes luxury, wealth, and sophistication. It is also romantic. However, because it is rare in nature, purple can appear artificial.

Kitchen Design: Kelley Proxmire Photo Courtesy: Kelley Interior Design

Vol. 3, No. 2 2012 15


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Solid, reliable brown is the color of earth and is abundant in nature. Light brown implies genuineness while dark brown is similar to wood or leather. Brown can also be sad and wistful. Men are more apt to say brown is one of their favorite colors.

Always a popular decorating color, green symbolizes nature. It is the easiest color on the eye and can improve vision. It is a calming, refreshing color. People waiting to appear on TV sit in "green rooms" to relax. Hospitals often use green because it relaxes patients.

Pink is a tranquilizing color. Sports teams sometimes paint the locker rooms used by opposing teams bright pink so their opponents will lose energy.

Cheerful sunny yellow is an attention getter. While it is considered an optimistic color, people lose their tempers more often in yellow rooms, and babies will cry more. It is the most difficult color for the eye to take in, so it can be overpowering if overused. Yellow enhances concentration, hence its use for legal pads. It also speeds metabolism.

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Red is often used in restaurant decorating schemes because it is an appetite stimulant. The most emotionally intense color, red may cause your heart to beat faster. In decorating, red is usually used as an accent. Decorators say that red furniture or a red paint job should be perfect since it will attract attention.

Doctors and nurses wear white to imply sterility. Brides in Western Europe and North America wear white to symbolize purity. White is popular in decorating and in fashion because it is light, neutral, and goes with everything. However, white shows dirt and is therefore more difficult to keep clean than other colors.


To help you choose the right palette for your kitchen and other rooms in your home, we have compiled from a variety of sources some general opinions about color’s effects on mind and body.

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Hooray for the Independent Shopkeeper!

The Village of West Annapolis By Jerri Anne Hopkins Photography by Geoffrey Hodgdon


n its colonial heyday, Annapolis was favorably compared to Paris for its fashionable society, its wealth and cosmopolitan sophistication. Today it is widely renowned for its history, abundance of well-preserved colonial architecture, boats and more boats, the US Naval Academy, and its position as the state capital. People flock to downtown Annapolis to watch the boats, sample the many restaurants, see the historic sites, shop, and do it all over again. But there’s a lesser-known part of Annapolis, not far from downtown, that deserves recognition. It’s called the Village of West Annapolis and it has its own history and its own brand of charm. What were once family homes now house quirky, independent and highly individual retail businesses. There are no big box or chain stores here. The charming late 19th- and early 20th-century homes have been remade into charming 21st-century shops. You can find just about anything you want and be certain that it will be something you probably can’t find anywhere else. And your shopping experience will be just as unique. You can sip cappuccino, go antiquing, stock up on elegant stationery, infinite artist supplies and quilt fabric and find superb hair and skin care. If none of this appeals, there are many more choices. Just a few include renting a tux and buying a gown, or browsing specialty shops including a


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Opposite: Annapolis Street in West Annapolis is bookended by Melvin Avenue and Giddings Street. This Page: Curiosities and collectibles from The Well-Dressed Nest.

Above: Estate jewels and rare objects, including 19th century lorgnette, from West Annapolis Antiques. Below: Imari china collection from Bon Vivant Antiques.


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frame shop, sweet shop, bike shop, and fresh daily bread market open for business at 7 a.m. You can even find caring professionals to help you plan an estate sale. Eileen Hoyland, owner of The Well Dressed Nest, offering home design, furnishings and decor, explains, “Almost every time you walk into one of the shops here, you’ll deal directly with the owner. That means personal attention and accountability. You can’t get that at the average chain store. And we’re all doing what we love to do and I think that comes through to our customers.” Carla Lucente, owner of b.b. Bistro

The pace here is calmer, more relaxed. No one hustles a shopper in order to move on to the next one. The shop owners take the time to talk with their customers, to find out what they’re looking for and how they can best be helped. Each owner knows his or her inventory in detail and is proud to share that knowledge with the customer. They know that a satisfied customer is a happy customer and happy customer comes back, often with friends.

Pam Levin, owner of West Annapolis Antiques


Aside from the pride they take in their merchandise, the shop owners feel a strong sense of community. Mary Slidell, owner of The Giant Peach, which sells unique children’s clothing, notes, “We all look out for each other and we try to work together to promote West Annapolis. We have several community events, or festivals, each year, like Cinco de Mayo, Octoberfest and the Holiday Magic.” Just across the street is Lynne Sherlock, proprietress of Tara’s Fine Gifts & Tea Parties. She founded her shop over a decade ago. Stepping into her tea studio Lynne Sherlock, proprietress of is a little bit like going down Alice’s rabbit hole. Here, children may dress up, Tara's Gifts & Parties of Distinction don hats, and have tea parties with bears and dolls. Sherlock and Hoyland are organizing the Street’s first high-end flea market, due to debut this summer. Just next door is Salon West, operated for approximately twenty years by master stylist Debbie Robinson. Here, you can get your hair done in front of a big plate window and watch the world stroll by. The geography of the neighborhood itself plays an important role in the ambience. The streets are wide and lined primarily with former single-family homes, with big trees and small, well-tended yards and gardens. You can wander along, in and out of the shops, as if in a European village. Many of the shop owners have paid careful attention to that same residential feel, using the building’s layout and as much of the original architecture as possible to retain that friendly, intimate feeling, as well as a sense of history and continuity. Carl Ihli, owner of Bon Vivant Antiques, proudly notes that his shop is housed in a Sears’ kit house. Stella Breen-Franklin, owner of One Petticoat Lane, vintage clothing, accessories and artwork, uses the layout of her shop to display her wares to best advantage and to best showcase the art pieces of modern local artists she has for sale. A narrow winding stair leads to her second floor room, which actually stretches overtop the shop sharing the building with her. She laughingly notes, “This is a quirky kind of place but I love it here. I’m quirky too, so I fit right in!” One more thing that sets West Annapolis apart from downtown is, you guessed it, parking. The wide streets offer plenty of on-street parking, with no meters, and a number of the shops have off-street parking as well, either

Vol. 3, No. 2 2012 21

in their own or shared parking lots. Eileen Hoyland, of the Well Dressed Nest, also notes that the wide streets make deliveries very easy. “I can get a semi in here with a full load of furniture without blocking traffic at all,” she said. “You can’t get that downtown!”

For a Full Listing of the West Annapolis Shops, since they are too numerous to mention here, please visit

These distinguished pooches have just emerged from Grand Paws, a pet grooming salon on Annapolis Street.

The Sears Kit House The Sears kit house was a cultural and entrepreneurial phenomenon. Sears offered their kit homes from the late 1880s to 1940. Several other manufacturers also offered kit homes but not in as many different styles and with much less success. Sears kit home styles ranged from a simple bungalow to substantial structures of 2 or 3 stories. Each kit came with detailed plans and all the lumber and supplies needed to erect it, excepting only bricks, stone and A Sears Kit house now housing Bon Vivant Antiques

mortar. The homes were relatively modestly priced and could be

purchased on an installment plan. Thousands were sold across the country and whole neighborhoods were created using the kits. Unfortunately, the Great Depression caused many Sears homeowners to default on their payments, which cost Sears millions of dollars. The kits were discontinued finally in 1940. A few years afterwards, corporate officials disposed of all sales records of kit homes in a company clean-up effort. Today, many of the Sears kit homes still remain, most in surprisingly excellent condition. Many have been remodeled and rebuilt, many remain almost pristine. Without the sales records, it’s impossible to tell exactly how many were sold, or where. But because they were so popular and so many remain, there are a wide variety of sources of information. Individual owners and communities that have Sears houses are proud of this heritage and are carefully preserving them.


Annapolis Home

Vol. 3, No. 2 2012 23

Art isan



Annapolis Home

at home and in the garage By Jerri Anne Hopkins Photography by Geoffrey Hodgdon & Yerko Pallominy


The home, originally a brick ranch house, was designed and built with the homeowners' input by Lundberg Builders with architect Michael D. Ryan. The Pearsons' creativity extends to their landscape. Their English Border Collies especially enjoy romping through lush grasses.

hat could a new house possibly need besides a lovely wooded waterfront lot in a great community, high quality materials, knowledgeable and involved homeowners, a talented architect, and a superb builder? Just the unique and exquisite touches created by a master woodworker who happens to be the homeowner himself.

Douglas Pearson inherited his love of woodworking from his father and spent many hours learning as his father worked at his hobby. “Dad had a very stressful job,” Pearson remembers. “I guess it was a relief for him to cut things up and bang wood around and then build it into something beautiful.” Pearson and his family still have and cherish many pieces that his father made.

Vol. 3, No. 2 2012 25

Every vase and vessel displayed are the works of Doug's hands or his father's.

As an adult, Pearson turned his woodworking skills to good account as he and his wife worked through several remodeling projects in the various homes they lived in. When they decided to build a new home, he knew that he wanted to have a sizeable role in making the house into something unique. The first step in building a new home, of course, is finding the right property. The Pearsons wanted a waterfront lot and quickly discovered there’s more to it than just finding a lot on the water. “You have a lot of things to consider,” said Pearson. “You have to figure the depth of the water, how far to the Bay, are there any bridges between you and the Bay, is the channel easy to follow, what other kinds of boats are nearby, not to mention the surrounding community, and so on. It’s a lot more than we considered before we started looking.” They looked at quite a few properties before they found the perfect lot on Ridout Creek in Annapolis. “We pulled up, got out of the car, and said ‘This is the place’,” Pearson remembered. The property had an existing brick rancher, in which the Pearsons lived while they planned their new home. While there, they went ahead and remodeled the kitchen, which later caused a little headscratching by architect and builder to fit the new house around it without damage. Choosing that architect and builder was a process of elimination, helped by recommendations from family, friends and neighbors. They knew that they wanted people they felt comfortable with, ones who would be amenable to working unusually closely with the Pearsons, and who could “go with the flow” of the inevitable last-minute alterations to the plans. “We didn’t want someone who’d say ‘This is my vision for you and you’re going to do it’,” Sue said. “We needed someone who could help us make our vision a reality.” They chose well. The Pearsons selected architect Michael Ryan, who is the chair of the Architecture, Interior Design and Construction Management department at Anne Arundel Community College and keeps a selective architectural


Annapolis Home

design business. As builder, they chose Lundberg Builders, working closely with owner Brad Lundberg and project manager Keith Germershausen. “We felt at ease with all of them,” Pearson said. “And they were fine with me wanting to do so much of the cabinetry and woodwork. We worked together well, even when it came to changing things here and there as we built. We had weekly meetings and discussed things in detail, and they kept us informed on all the details. It was a great experience.” Brad Lundberg adds, “The Pearsons are wonderful people and it was a pleasure working with clients who were so closely involved in the project. They already had a lot of knowledge and wanted to know everything about their new house. Doug is a master craftsman and added some amazingly beautiful pieces to his house.”

Close-up of an object on the Wall Unit.

Close-up of the Cabinet Door

The Pearsons’ new house is a tribute to the abilities, expertise and hard work of everyone involved. The front entrance opens into a spacious living room that rises two stories to a vaulted ceiling. On the right is a lovely curving staircase to the “west wing,” as the Peasons call it, and on the left is a little powder room with a cabinet and rich cherry vessel sink, both created by Doug himself. The ceiling of the front porch is covered with flooring planks saved from the original home and the living room ceiling is filled with planks cut and stained to match. Doug and some family members made and stained the planks but wisely let the builders install them. The living room faces south across the creek and is lined with large windows to maximize the view. Sue reports, “Those windows also let in enough sunlight to warm this big room several degrees, a real boon in winter.” The east side of the room holds a magnificent stone fireplace. It is the original fireplace, once surrounded by brick. “We were going to just replace the original brick that only went up as far as the mantel,” said Pearson. “But once we started putting in the stone, we decided to run it all the way up and make it a real focal point.” The room, like every room in the house, is filled with Pearson’s wood creations, both furniture and artwork. The “west wing” is reached by a long hallway, off of which are a den with a large screen TV and the master suite, all with a lovely view of the creek. There is also a former mother-in-law suite overlooking the backyard, which the Pearsons will eventually turn into an office space. Upstairs, reached via the curving staircase, are the bedroom suites of the Pearsons’ daughters, all with bathroom cabinets and closets created by Doug’s clever hands, and balconies overlooking the creek. Doug grumbles half-heartedly that his daughters chose the rooms with the best views.

Vol. 3, No. 2 2012 27

This grey oval vessel, veined in blue at the crown, was created by Doug when he sat for hours on the back porch and used a burn pen to create each dark dot.


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The wall unit is composed of Cherry, Tiger Maple, and Sycamore. The cabinet panels are Tiger Maple. An elegant inlay composed of natural and died maple ribbons the edge of the upper shelving. This inlay repeats on the living room mantle and on all ten dining room chair seat bands. Extraordinary details like these create a subtle continuity sensed from room to room.

Vol. 3, No. 2 2012 29

The “east wing,” which was created mostly from the original house, is reached from the living room. The dining room has a creek view and a dining set, which Doug made from a cherry tree, felled to make room for the expansion of the house. The kitchen retains most of the renovations the Pearsons made earlier, with a few of Doug’s cabinetry touches to make it flow into the rest of the house. From the kitchen, a hallway leads to a laundry room and then to the garage. Like most modern American homes, the garage doesn’t hold cars. It houses a freezer, storage for tools and the ubiquitous odds and ends, and the big toys­—a small tractor, a motorcycle and a SeaDoo personal watercraft. The hallway also leads to the upper east wing through a stairway (another of Doug’s creations, made from a red oak and a pin oak also felled on the property) to a


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large recreation room with another view of the creek and a cutout looking down into the living room. It also leads to a bonus guest room that started out as attic storage but was changed into a lovely guest room with angled ceiling and adorable window seats built over the heating ducts. Out in the backyard is the small building Doug had built for his woodworking shop. He has many of the large tools his father had and has added quite a few new ones. He alternates between cabinetry and artwork (although anyone in his right mind would call all of his work art). “The logical part of me likes the cabinetry,” says Doug, “but sometimes I get an idea for an art piece and it won’t let me go—I just have to do it.” Resources: Lundberg Builders, Michael Ryan Architecture,

Above: Doug Pearson in his Garage Below: Tools of the Trade

The garage doors were buit by Doug Pearson's brothers Roy and Donald. Roy lives in Kensington, MD and Donald traveled from his home in Maine for the occasion.

Vol. 3, No. 2 2012 31

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“Wood” Chair Designed by Marc Newson in 1988. Bent beechwood.

Actually, you can’t sit down on the chairs included in this striking exhibition of furniture and home accessories from the Philadelphia Museum of Art’s collection of objects of modern design. In celebration of the fortieth anniversary of the Museum’s Collab group that supports the collecting of examples of twentieth and twentiethfirst century design, this edited selection is displayed in the Perelman Building, a short ride in the Museum’s trolley from its main building.

Although the exhibition includes lamps and chandeliers, tableware and technological inventions such as Ettore Sottsass’s red “Valentine” portable typewriter for Olivetti (1969) and an iMAC computer by the Apple Industrial Design Team (1988), the real standouts are chairs. Designed primarily by architects, these diverse approaches to seating evidence genius and whimsy. For starters, look at Gaetano Pesce’s “Up 5 Chair” and “Up 6 Ottoman” in lipstick red. Designed

“Up 5” Chair and “Up 6” Ottoman Designed by Gaetano Pesce in 1969. Expandable polyurethane foam, stretch jersey fabric.


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“Sheraton” Chair Designed by Robert Venturi in 1978-1984. Bent laminated wood, plastic laminate with applied pattern, and upholstery.

in 1969 and also referred to as Pesce’s “La Mama” armchair and footrest, these objects of expandable polyurethane foam covered in stretch jersey fabric take the forms of a reclining prehistoric female figure and a large spherical footrest tethered to its base by what might be an umbilical cord. Transporting this frameless pair involves “squashing” them flat between two sheets of vinyl, as they will recover their original shapes upon release and exposure to air. Robert Venturi, a Philadelphia-based architect and designer known for his contemporary references to historic styles in architectural projects throughout the world, is represented by one of the nine chairs he designed for Knoll, Inc. The “Sheraton Chair” (1978-1984) is made of bent laminated wood and plastic laminate, with an applied silkscreen pattern and an upholstered seat cushion. The published drawings of Thomas Sheraton, a late-eighteenth-century English furniture designer who appropriated classical architectural motifs, influenced American cabinetmakers in the early decades of the nineteenth century. Venturi’s chair parodies the eccentricities of originals in the squared line of the crest rail, the streamlined vase-shaped splat, the cartoon-like swag and Prince-of-Wales feathers silkscreened onto the chair back, and the clunky “spade” feet. Venturi’s symbolic use of historical referents introduced ornament into the sleeker modern designs of the earlier twentieth century. In an overt nod to the machine age, he reveals the industrial process in the profiles of the laminated layers. In picturing the style of an antique American furniture design that itself was an adaptation of an earlier English one, Venturi has placed himself in a long line of inventive furniture makers, while incorporating wit into his modern play on the notion of a chair. Australian-born Marc Newson began to design household objects at an early age, and has designed an array of products and environments. His “Wood Chair” (1988) of bent natural Tasmanian pine is perhaps the most purely sculptural object in the exhibition. Starting at the upper edge of the chair’s back, strips of bent wood swoop down and around to form the bulbous seat before threading through their own interstices to anchor the chair

Vol. 3, No. 2 2012 35

“Jenette” Chair Designed by Fernando Campana in 1999. Injection-moulded polyurethane, steel, stainless steel covered with stalks of flexible PVC.

from behind. Lacking a separate frame, the chair is entirely self-supporting and gives the impression of having been self-generated. Newson has designed products ranging from lighting, faucets and cell phones, to a shoe for Nike and a concept car for the Ford Motor Company. As the creative director of Qantas Airways, he has designed cabin interiors for their Airbus jets and the first class lounge in Sydney. The Wood Chair’s fluid lines and celebration of the natural properties of its material are emblematic of Newson’s organic approach to the design of practically everything. Although it is not possible to sit down on these examples of high design by contemporary masters, a visit to the exhibition at the Philadelphia Museum of Art (on view until September) will spark or enhance an interest in creatively conceived objects for everyday use. Virginia K. Adams, Ph.D. is an art historian specializing in modern and contemporary art history. She has taught art history at University of Maryland, College Park and Maryland Institute College of Art.

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Vol. 3, No. 2 2012 37


the Corner

Two colonial Maryland governors, Horatio Sharpe and Robert Eden, lived in the 18th-century home of Edmund Jennings.

Grandeur & Demolished Grace governor's house Part 1 By Chip Bohl The history of the Maryland Governor’s House is a long, troubled, winding tale. There is ruinous abandonment, then demolished grace, followed by enlightened eclecticism, and finally pale imitation. The story begins in 1744 with Colonial Governor Thomas Bladen starting construction on his official residence. Work commenced with a legislative appropriation of £4,000 ($662,000 today) on one of the largest and most elaborate houses in all of the colonies. The 14,000 square foot house had a footprint 80 feet by 60 feet. The brick walls reached two stories above a raised basement on high ground commanding views of all of Annapolis. There were Portland stone entrance steps imported from England, and a grand entertainment space with a two-story high interior. Unfortunately, the walls were left without a roof. Work stopped for lack of additional appropriations. “Bladen’s Folly” stood as a ruin for nearly fifty years. Imagine the presence of this massive moldering ruin at the time all of the great 18th-century homes of Annapolis were built.


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After the Revolutionary War the ruins and property were confiscated from the British. In 1788, the building was completed with a third floor, roof and bell tower cupola, and has been in use by St. John’s College ever since. When we look at McDowell Hall today, the bottom two thirds is Bladen’s Folly. In the 1788 renovation, Bladen’s two-story entertainment space was doubled in size. Today it is the beautiful Great Hall in McDowell, and is a spectacular example of an eighteenth century salon. The architect of Bladen’s Folly was Simon Duff. As an early architect/ builder, he relied on English “architectural pattern books” to create his designs. These books depicted the latest “Georgian” architectural styles, derived from the work of Italian architect Andrea Palladio. The architect of McDowell Hall was Joseph Clark, who was also the architect of the State House dome. Clark went beyond imitating style books to create his own designs. The similarities of the State House Dome and McDowell Cupola are fascinating. Both have eight-sided bases surmounted by domed cupolas with acorn finials, yet the dramatic difference of architectural scale and monumentality perfectly fit

each building. It is a remarkable accomplishment for one architect. While Bladen’s house was under construction, Edmund Jennings, Secretary of the Province of Maryland and Chief Judge, began building his own mansion on land now consumed by the Naval Academy. Jennings had the resources to complete his mansion, which shared striking similarities of size and floor plan to Bladen’s Folly. Both houses featured grand two-story entertainment salons. The Jennings house featured a long broad garden sloping down to the mouth of the Severn River as it opens into the Chesapeake Bay. It has been described as a place of great serenity and grandeur. Edmund Jennings rented his house to Colonial Governor Horatio Sharp during his term 1753-1768. When Sharp was replaced by Colonial Governor Thomas Eden in 1769, the Jennings family sold the

house for £1,000 ($150,000 today) to Governor Eden, who received his appointment by his marriage to the daughter of Charles Calvert 5th Lord of Baltimore. A drinker and gambler, Eden excused himself to England to avoid any unpleasantness during the Revolution. The house and property was confiscated after the Revolution to become the first official residence of the Governor of the State of Maryland. It continued to serve as the official residence until 1869, hosting many U.S. presidents and world dignitaries. The Naval Academy was established in 1845 and situated on the east flank of the Governor’s House. During the Civil War the Naval Academy moved to Newport, R.I. After the war, there were rumors that the Academy would not return to Annapolis. Political pressure in Maryland to “recapture” the Academy must have been intense. The Governor’s House and property were viewed by the Academy as an obstacle Chip Bohl is an architect practicing in Annapolis for 33 years. in expanding the campustoback toward the city. In Visit see images of McDowell Hall during the 1989 renovation.

Above: The Naval Academy fills up the far right side of this image. The Jennings House, with its prominent tower, is located to the left of the Naval Academy. Its gardens and pond extend to the waterfront. Detail is from Edward Sachse’s print Bird’s Eye View of the City of Annapolis., 1858. Courtesy Maryland State Archives. Opposite, bottom: Exterior view of McDowell Hall. Courtesy Celia Pearson. Also, The Great Hall inside of McDowell Hall. Courtesy Celia Pearson.

Vol. 3, No. 2 2012 39

Birds Eye View of the City of Annapolis by Edward Sachse, 1858. Behind the State House and to the right is McDowell Hall (Bladen’s Folly). It can be identified by its majestic cupola that closely resembles the State House Dome. Architect Joseph Clark designed both buildings, a remarkable accomplishment. Courtesy Maryland State Archives.

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Annapol i s HOME garden • dock • garage

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Oysters growing under a dock on Little Magothy By Kymberly Taylor

With its simple grace, this dock overlooking the Little Magothy River is beautiful. It is owned by Eva and James Theologus who moved their family to this secluded peninsula overlooking the Magothy River and the Little Magothy in 2006. But, today, especially when it comes to the Bay, beauty is as beauty does. Annapolis Home reports on the beauty found within this dock or to be precise, in the waters beside it. Oysters begin life as free-swimming larvae moving with the tides and winds. Alas, this carefree existence is short. They become something called “spat” as they drift down to find a clean hard shell or rock surface, called a cultch, and anchor themselves with a tiny foot. Now that they have settled or “spatted,” according to the Horn Point Lab Oyster Hatchery, they grow a shell and reach the size of a dime in three months. At the end of her pier, the Theologus’ daughter Lydia, a senior at Broadneck High School in Arnold, cares diligently for infant oysters living in wire mesh cages suspended from her pilings. The cages protect them from moon snails, whelk, and other predators. Lydia says getting started was easy. The Oyster Recovery Partnership, a nonprofit based in Annapolis devoted to restoring the Bay’s oyster population, delivered pre-loaded cages to her door in September.


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Lydia recruited five families in the neighborhood to join her project. Every two weeks, she bundles up and shakes twelve cages one by one, rinsing them in the river to remove debris that may inhibit growth. In April, ORP will collect them and replant the oysters in a local sanctuary. Lydia is participating in the Marylanders Grow Oysters program launched by Governor Martin O’Malley in 2008. The Program is managed by the Department of Natural Resources in conjunction with the ORP, the University of Maryland Center for Environmental Science, which produces the “spat,” and the Maryland Department of Public Safety and Correctional Services. Prison inmates construct the mesh cages. Through their Shell Recycling Alliance program, the ORP collects old clam and oyster shell from restaurants and wholesalers in Annapolis, Baltimore, and Washington, D.C., says Stephan Abel, executive director of ORP. The recycled shell, an ideal habitat, are then delivered to The University of Maryland’s Horn Point Hatchery in Cambridge. Here, scientists plant the shell with “spat.” The precious cargo is transported in cages to individuals like Lydia and many organizations who nurture them through their first year.

Abel estimates that 450 homeowners in the Annapolis region grow oysters from their docks. More help is needed, though. He reminds us that these unassuming mollusks are complex wonders. “Oysters are the Bay’s unsung heroes. They are the coral reef of the Chesapeake Bay,” he says, explaining that oyster beds attract and sustain many forms of marine life and clean the water they live in. As an oyster feeds, it pumps water through its body, absorbing algae and detritus while filtering out silt, sediment and dangerous nitrates. Oysters alone cannot undo the harm to the Bay caused by irresponsible organizations that continue to allow run-off raw sewage to flood the Bay. However, they are powerful healers. In the 1600s, says Abel, oysters could cleanse the Bay in a few days. Today, it would take a year or more. In the past ten years, he says, there has been more awareness about the oyster’s plight and today there is much more government support, though more funding is necessary for his organization to accomplish its goal of planting 2 million oysters a year. Currently the ORP plants about a half million. “The program is worthwhile—you think it’s just a bunch of oysters but you look inside the cage and see eels, shrimp, crab. I’ve seen sea horses. It’s unbelievable what this pile of shells can attract. If this pile does that, imagine what acres and acres of oysters can do.”

The Theologus family, who wake to the Little Magothy every morning, fear they are witnessing its gradual demise. “There are belly-up fish in the Bay. People don’t know it but we see it,” says Eva. The family urges others to help save the Bay in this very tangible way. “It is a satisfying feeling. I have the resources, I have the water. It doesn’t make your dock any less beautiful but it makes you feel more beautiful on the inside,” says Lydia. Kymberly Taylor grew up on the Magothy River. She has a B.A. in journalism from Boston University and a MFA in creating writing from Columbia University. She intends soon to grow oysters on her family dock.

how to help To participate in the Marylanders Grow Oysters Project, go to or www. To donate to or volunteer with ORP, visit them at and Facebook. You can support the program even if you don’t live waterside. Patronize local restaurants that recycle oyster shells, or volunteer to help build a buffer or reef. Your local River Keeper can guide you. Find yours in the Chesapeake Waterkeepers Guide at chesapeake-contact-sheet. The Chesapeake Bay Foundation at operates a similar program that requires a modest fee.

Photo Courtesy: Erika Nortemann Above: Oyster Recovery Partnership planting spat (baby oysters) in the Bay. To Left: Lydia Theologus tends her baby oysters. Opposite Page: The homeowners, who plan to eventually retire in their home, chose to build their dock out of composite decking instead of pure wood because they wanted maintenance-free material. “In different brands of composite decking, there is a percentage of wood and a percentage of plastic, some people like more wood and others more plastic” explains Laura Gosnell, Co-owner of Bay Pile-Driving. The homeowners chose Timber-Tek decking in Harvest Bronze, which has a 25-year limited warranty.

Vol. 3, No. 2 2012 45

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Interior Design and Home Furnishings

West Annapolis Business

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the Kitchen

By Christine Fillat

With Louise Nielsen | Pavlova, A Dessert as Light as a Ballerina Pavlova. Light. Cloud-like. A cumulus dream, topped with fruit. Its base is a meringue, egg whites whipped and baked into a crisp shell, its center soft and delicate. A New Zealand chef created this dessert in honor of 20’s Russian ballerina Pavlova, saying she danced like a cloud. Here, Louise Nielsen spreads the Pavlova with a tart lemon curd, and tops it off with pretty fruit from the market. The lemon curd may be substituted with whipped cream, further elevating this confection to the lofty heights of its namesake.

For Pavlova:

• 4 egg whites • 1 1/4 cups white sugar • 1 teaspoon vanilla extract • 1 teaspoon lemon juice • 2 teaspoons cornstarch

Pre-heat oven to 300 degrees F. Line a baking sheet with parchment paper. Draw a 9” circle on the paper. In a large bowl, beat egg whites until stiff but not dry. Gradually add in the sugar. Beat until thick and glossy. Gently fold in vanilla extract, lemon juice and cornstarch. Spoon mixture into the circle on the parchment paper and spread mixture toward the outside edge, building edge slightly. Bake for 1/2 hour. Turn off oven and let meringue sit for another 1/2 hour, being careful not to let it brown. Cool on a wire rack. Fill the center with lemon curd, whipped cream, or pastry cream and top with sliced fresh fruit. Christine Fillat lives on the Magothy River and is an aficiando of Chesapeake Bay cooking and living.


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Louise Nielsen is an Instructional Specialist at HCAT (Hotel, Culinary and Tourism Institute) at Anne Arundel Community College where she teaches baking and pastry making. She trained at the Culinary Institute of America and has been pastry chef in renown DC and Annapolis restaurants. She enjoys waterfront life with her family on the Magothy River.



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