Extreme Makeover: Home Edition

It was like a swarm of bees surrounding a hive on Saturday afternoon at the Hill's home in Suffield, CT. Our innocent offer of a front door lantern turned into an incredible two days of doing the nearly impossible for our company of handcrafted lighting. Once arriving on the scene to deliver the entire package of exterior lighting for the new house, we realized we were one of thousands pulling out all stops for the pleasure of seeing something wonderful unfold before our eyes. The community's generosity was impressive and inspiring.

Jon and I were so shocked that in this swarm of bees it was nearly impossible to detect the queen bee. Of the hundreds on the scene Saturday afternoon, there was a sense of total excitement, yet calm, while fire alarms were being tested, sod was laid, sprinklers were going, a patio was arranged, clapboards were still being cut and placed, trim painting and wallpaper being hung, cabinets being made from intricate plans under nearby tents. Everybody knew how they were meant to participate and we were part of the coordinated chaos. Ultimately, we were able to work with our own team and two electricians to hang the exterior lighting without being dragged down by the enormity of the project.

The feeling of community was indescribable - everyone was part of a puzzle with each part integral to the overall completion.

Historic Homes on the Hudson River Valley 1663-1915

When thinking of historic homes, I see a general trajectory of Northeastern homes and their stylistic evolution over time. On June 24th, Dr. Gregory Long spoke of the developments along the Hudson River Valley, fleshing out a characteristic regional style that I had not been exposed to previously. Dominant styles were articulated and gained popularity due to the influence of specific the European nations ruling the Hudson territory. For example, while the Dutch occupied Manhattan, the Dutch Vernacular style dominated, while the Georgian ruled during the British occupation before the Revolutionary War. Revivals and movements that gained prominence at a national level did not necessary resonate with the Hudson geography if they did not correspond with the regional leadership. In my opinion, styles that worked particularly well for the riverside include the Gothic Revival and Picturesque (i.e. Lyndhurst) although the Federal style clearly stands out as well (i.e. James Vanderpoel House).

Lyndhyrst in Tarrytown, Westchester County, NY (1838-1865)

James Vanderpoel House in Kinderhook, Columbia County, NY (c. 1819)

Scofield Historic Lighting on ABC's Extreme Make Over: Home Edition for a Suffield, CT Home

It is a much welcome but rare opportunity for Scofield Historic Lighting to contribute to the larger community in such a manner. The Hill Family endured a fire that destroyed their home in Suffield, CT. This generous team works with charities and nonprofits in their spare time and besides raising their children, nieces and nephews also live with them- a thirteen person unit! ABC's Extreme Home Makeover is giving back to a family that frequently gives to others.

(Making Use of Overhead Space for Our Chandeliers in Ivoryton, CT)

In the past, we have not been able to fulfill other opportunities to donate our products, as they require rapid turnaround and quick implementation. This is not something that a company can do if we promise our clients superior craftsmanship. Our products require individual handcrafting to chemically augment the aging process or carefully hand punch holes into the metal. Techniques that have been used for centuries cannot be converted to automation and provide the same result.

Fortunately, when we heard of the Hill Family's makeover and thought of the prospect of working with a national organization to create a local difference, we headed straight to the production floor at Scofield. One thing that every house needs is a lights at the front door. As a beacon for travelers, the front door fixture has long acted as a welcome committee for visitors. After such a devastating experience, this family has hope for their future and our contribution has the possibility to make a noticeable difference. The art director shared the plans with us and we found that there were many creative possibilities for this beautiful new Federal style house. Instead of supplying one fixture, we decided to outfit the exterior. After forging through the manufacturing room, we quickly found a few options that would make sense functionally and stylistically. We pulled nearly completed models and ahead of schedule production to we checked our shelves to see what we could pull together some fixtures. The lanterns chosen are Scofield's French Station Lantern for the front door, two smaller French Station Lanterns for the garage, two more of the same for the French doors off the back of the house and one iconic New England Onion Lantern hung by the back door mounted on a straight arm bracket. Below are the fixtures pictured in our Ivoryton workshop.




After receiving approval yesterday afternoon, our master craftsmen started to work on items that were in the middle of production, to be completed for a Saturday morning installation, tomorrow morning (and yes, this is how the lanterns looked on Friday morning). Besides simply helping a family in need, we are motivated to donate these lights, because we know how the fixtures from the front to back doors make all of the difference in how people are welcomed into a home, making favorable and formidable impressions.

Rethinking the Hudson River School on the Connecticut River

I was sculling this morning along the CT River and when in Selden’s Creek, specifically, I contemplated this summer’s environment. For the past twenty-three days there have been eighteen days of precipitation make it difficult to get on the water and for the remaining five days, I have been able to admire the overcast skies from the river. This morning, the relative darkness (although that can only be expected at 6 am) seemed to bring out the subtleties of contained within a dark palette that is shared by the trees, rocks and various colors of vegetation, hitting me as scenes similar to Hudson River School but in New England instead. During the past three lectures provided by the ICA & CA, the particular location of the Hudson River Valley spurred creativity, influencing top output in the fine arts and architecture. This geography borders the New England landscape, inherently holding similar environmental similarities. I have found myself questioning the relationship between the man-made and natural in this climate as well and the influence on Classically derived style.

The near still water caused an almost disturbing inability to distinguish the real fungible difference of water and land from the reflection. In entering this space, one can acutely sense the slight movements of the Great Blue Heron and the noise of a beaver swimming, which jolts me out of the unreal and back to the present. In seeing living or manmade forms, it is easier to distinguish the real (actual water and land) from the overlapping reflection and solid masses. Although the below image by artist Leif Nilsson (a fellow Chester, CT resident) is of the Connecticut River shows the River during autumn, the mix of land, water and air is apparent. The rippling water permeates the heavy, moist atmosphere, highlighted in the painterly brushstrokes, making it difficulty in distinguishing between the real and idealized images (a la Hudson River School).

See: http://www.nilssonstudio.com/ for details

Movements and imperfections in the quiet wake, resonates with me in the manner that light refracts over distance. Scofield lights also fracture light rays with hazy features in out beautiful hand blown restoration glass we use in our fixtures. The glass, made in Germany, is a piece of art in itself. The natural weight of gravity that moves the striations over time, letting only a component, and generally ignored piece of historic lighting, command a different, intensified experience. With the installation of restoration glass, the lighting becomes a moving medium that carries mystery in the way that it cannot be controlled by man-made regulation.

These movements in the glass make you pause and appreciate the beauty between the opaque and clear, solid and liquid. On the River, within the melancholy of the Creek, beauty comes from what is natural. The view is slightly different each day given the light, flowering, animals and birds. The landmarks change slightly through natural causes, no two items of the same species being the exactly the same, nor any day looking exactly the same, however, the image or essence of the River is frequently idealized. The artistry lies in the wonder and curiosity of slight variation preserved by each image. A similar ideal is visible in the Hudson River style, but besides creating something of beauty, the idealized exchanges and compromises with the natural to complete the image, making it extraordinary.

Summer Nights in the Influence of Carnation, Lily, Lily, Rose

Carnation, Lily, Lily, Rose (1885) by John Singer Sargent

The beauty of the natural is never more apparent than during the summer in the Northeast. The past posts have conjured images of the natural as either stylized or more biased towards autumn for the grand Hudson River foliage, but that is not when the pulchritude of the region is at its peak. It is now that we can dine outside, absorbing the remaining warmth of the sun long after the rays set. This is partly due to my suburban upbringing in Connecticut, but my memories are full of long summer nights nestled among the mossy, soft ground, under the canopy of green but surrounded by my mother’s plentiful gardens whose color was optimized by the setting sun’s shadows. My family would eat outside, around a table, dimly lit with candles and overhead bulbs that shone through our sinewy wisteria poolside arbor.

I must stress that I was young when I did the following before I completely divulge. Caveat complete. Moving along, during dinner, my younger sister and I would rummage through the basement until we found the neatly organized container of random glass containers and would choose the large clear cookie jar types, quickly returning to the outdoors. Above our dining table, we ran among the ivy-covered path trying to scoop up as many fireflies as possible to catch natural light to better illuminate the dessert course (obviously, any child’s favorite). Once a summer, we were allowed to bring our catches inside and let the fireflies out in our rooms (the doors were hermetically sealed to the rest of the house and the four windows of my bedroom were set wide open). We were rhythmically swayed to sleep by the melody of light performance in our rooms. By the next morning, all of the creatures were gone, but the magic was still intact. The simple enchantment of summer nights maintained my captivation with illuminated objects.

When looking at Singer Sargent’s painting, Carnation, Lily, Lily, Rose, it is nearly impossible not to inflect my own experience on the captured moment. Even artificial light can hold the same engagement as the natural. Something about summer evenings filled with family and friends guard very dear childhood memories. Although I no longer excuse myself to catch fireflies, the same warmth is holds as we sit around the table, letting the sun sink as we empty our plates. Now we keep the table surrounded with beautiful twelve-inch copper lanterns, each side containing punch work that contributes to the rustic pleasantries of summer evening weekends.

(See: Scofield's Farm Lantern with Candle)

This carefree charm makes the simple elegant and elegant dining rooted in the natural splendor. As we move from dinner to the pool or relax with an aperitif, the portable lighting goes with us, into our backyard, on tabletops or to the beach. The accessory of lighting returns me to time I spent in Italy enjoying food and slowing the built up momentum of the week. In these moments, our family gathers enjoying shared company under the flicker of candlelight and remembering the parts of life that count, together.

Sustainability and Reuse: Not a New Concept

The constant emphasis placed on reuse and sustainability seem commonsense to me. After spending a weekend cleaning out and exploring a recently deceased relative’s house, full of beautifully aged products that were well used and loved, reuse is not a question to me but a celebrated practice. Passing down objects that last, not as a point of trend or following a fashionable idea, makes sense economically, but also sentimentally. I know that my daughters will be using their great-grandmother’s silver and furniture with her in mind for years to come.

Sustainability or the ability to last for a long time is not a guaranteed term for a majority of today’s products. Constantly we buy and repurchase items, and all of a sudden, it is a novel idea to invest in objects that promise a longer lifetime? Today’s ethos is compromised by the way that invasive marketing programs viewers to constantly get the newest version, especially when their product begins to show the appearance of wear and tear.

See: www.apple.com

As consumers, we are meant to make it appear as though we don’t use what we have invested in and the second that the item shows its age; it is discarded. I am thinking of leather bags, the upholstery on couches or when your broken-in pair of jeans becomes “too broken-in,” thus “mom jeans.” However, some things get better with age, even with an age-adverse society.


At Scofield, our products gain beauty over the years as the casein ages on the wood turnings and the finishes absorb to sink deeper into the surface, embracing the raw materiality of the tin or copper. It seems that people who spend their time with historical products and antiques must to teach their customers to rewire their thinking and understanding of the world around them. For some reason, ever since Fordism and assembly line mentality kicked in, sterility and predictability also became difficult to counter, causing people to see the diversity of finished or charm of the slightly mismatched to be an aberration or pejorative factor. Instead, I argue, these human touches imprinted on the objects have both sustainable and sentimental attributes that outlast daily use.

(Ford assembly line, 1913)

Above VERSUS Below

(Detail of a Scofield Chandelier)

The Ideal through History: Ideas of Progress

Kindred Spirits by Asher B. Durand (1849 CE)

On June 17th, Dr. Linda Ferber discussed the Hudson River School painters as representing the “Geography of the Ideal” and articulating the picturesque landscape with poetic elegance. Continuing the conversation from the previous week, the slides progressed from less representational to more interpretive, while maintaining the sublime. Similar to many movements, first a fascination develops, followed by idealized depictions that highlight an almost supernaturally influenced perfection. Take the transformation from early Greek temples in places like Paestum, Italy to the unreal proportions and elegance of the Pantheon.

Ognissanti Maesta by Giotto (c. 13th Century CE)

Or, in Renaissance aesthetic, the transition from Giotto’s flat, Byzantine-influenced Maesta to the Golden Era of the Italian Renaissance with Filippo Lippi’s undertaking that blossoms in ethereal magnificence and the beauty of emotive connection. Ok, enough. The manner that concepts develop in artistic circles is not a novel one, but validates the movement from early etchings of Hudson River School artists (HRS) to the mastery of the scenery by the likes of Asher Durand and Albert Bierstadt. However, it must be recognized that the cognition of ideal changes over time with society’s evaluation of the ideal. Dr. Ferber seemed to indicate that the Hudson River School design reflected the dominant Victorian conventions and values.

Madonna and Child with Two Angels by Filippo Lippi (c. 1450 CE)

Victorian America was obsessed with the expanse of the West, the sublime beauty of open ranges and landscapes. The imagery gains such prominence that over time the river view of the Hudson entered the vernacular. Tableware was ubiquitous and conspicuous deferral to the values invested in the scenes being completely American. As these images became more and more present, they were canonized and simplified in ideal forms and vice versa. This exchange between more popular culture conventions and the fine art development over the course of the 19th Century created an environment that led to a natural progression towards the ideal.

See classicist.org to learn more about the ICA & CA programs.

American Landscapes, Patriotism and Traditional Design

Study of Gneiss Rock, Glenfinlas by John Ruskin (1853)

On June 10^th, Dr. David Schuyler delivered a talk at the Institute of Classical Architecture & Classical America in New York City on the “Sanctified Landscape” in the Hudson River Valley. The landscape of that particular region has preserved the iconography of Colonial America as a culturally viable symbol of its continued identity.

The untouched expanses of American soil represent the sublime beauty of Colonial America and the virtues of the contemporaneous society. The artists’ visuals from the 18th and 19^th Century landscape conveyed the deeply moving and sentimental aspects of environment in depicting the picturesque and the stunning beauty of the terrain. Although the talk did not focus on Classical design in America per say, Paul Gunther, the President of ICA & CA, introduced the conversation by defining the landscape study as “not quite Classical,” but sharing with the tradition of excellence and innovation that is characteristic or attribute of the Classical design.

Dr. Schuyler examined a combination of Washington Irving and Andrew Jackson Downings’ observations and thoughts, concluding that common historic narrative and folklore were established as specific to the location of the Hudson River Valley experience, a religious experience. The lecture title of “Sanctified Landscape” framed the talk with a religious reverence, awareness and a magical aura for the atmosphere of the Hudson River Valley. Writers and artists constructed ideas and associations of virginity to the Earth (a Classically derived motif) that made the scenes spiritual and carry religious importance. Ultimately, by formulating majestic scenery, no different from imposing constructed objects (i.e. idols or houses of worship), the depiction of vast landscapes showed a certain sense of devotion and holy importance.

Although an American phenomenon, Dr. Schuyler referenced this period as similar to the European Grand Tour, but Americanized. The pilgrims or participants would experience nature in a similar way to how 18^th Century characters would visit Florence or Rome. A certain tradition was sought both along the Hudson River and the Arno, as all history is contextualized within the framework of environment, natural and created. Landscape preserved the history of the Revolutionary War. Individuals were conditioned to look at maps and pictures of very specific places and quickly recall the battle or campgrounds situated in that place. Rock faces were identifiable based off of wartime folklore and bodies of water that became part of mythologized culture (i.e. West Point peninsula). Consequentially, the artistic renderings of the Hudson River Valley were valuable to people of that time, as these efforts preserved recent history and today remain valuable in preserving American heritage. In many ways, the undisturbed skylines and tranquil landscape show an America that is new and not limited to preconceived notions or ideas, exactly the image that the colonies sought to achieve at inception. Independence was articulated in the expanse and liberation of open plains and wide streams. These are symbols of traditional American values and the foundation of current ethics in governance and aesthetics.

At the same time, a tradition of depicting the natural also shares a connection to the British Pre-Raphaelites and specifically individuals like John Ruskin who evaluated quality by the close relation between the actual and depicted environments. Ruskin notably condemned individuals such as J.W. Turner for their more interpretive, emotive representations of natural environments.Above is an example of Ruskin’s depiction of a rock face which shares details with Hudson Valley artists. Similar materials were used, namely pen, in recreating the landscape or natural renderings, so as to highlight the details and accurately represent light and linearity. Not only akin in stylistic similarities but also a shared purpose. Nature was meant to show the purest environments and the simplest values, human values. Much of these ideas permeated the borders separated by the Atlantic Ocean and indoctrinated the dominant philosophy.

Upon thinking how these values of honesty and integrity of image may relate to Scofield Historic Lighting, I saw an apparent parallel between Classical simplicity of design and unobscured attempt to recreate the beauty of nature. Some of what SHL does exemplifies and decorates the natural (i.e. the gold leafed Beech Leaf sconce) so as to add brilliance and decoration from the most simple, while other pieces are beautiful in their serene austerity (i.e. the Tulip Bobeche Sconce). The talk illuminated (excuse the poor pun) the importance of design influenced by Western European traditions, however, not dominated by them. The clash of cultures incubated a value that sustains- distinctly American design that carries new and fresh qualifies, laced in elegant simplicity.

See classicist.org to learn more about the ICA & CA programs.