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Arts & Letters

Preserving the Nation’s Heritage, One House at a Time

If walls could talk, what stories would they tell?

During the Civil War, Union soldiers occupied the region of Helena, Arkansas. They quartered inside a Greek Revival-style home that belonged to a local Confederate soldier. It was a stately mansion built in 1858, with a robust pediment and tall, elegant columns on its facade. Union Gen. William Sherman is said to have stayed in the home while planning his battles.

When the house went up for sale, Laine and Kevin Berry—avid lovers of old houses with history and fine craftsmanship—couldn’t resist.

When the couple first viewed the house, they were stunned. Etched glass panels glimmered in the dining room’s double doors, depicting two Biblical figures, Ruth and Naomi, standing on pedestals and surrounded by ornate leaf patterns.

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Laine and Kevin in their home. Laine is a bridal gown designer and operates a local salon, while Kevin owns an advertising and marketing business. (Sam)

Later, the couple went looking through the home’s records and discovered that Laine has ancestry in common with its previous owners. The papers list the name of Laine’s five times great uncle.

In a way, as Laine explains in a video on the couple’s YouTube channel, Our Restoration Nation, it was like she was returning to a family home.

Preserving History

The couple has taken on a number of ambitious projects—houses that have completely rotten foundations or electrical wiring held together by duct tape—that most wouldn’t consider worth salvaging.

They began buying and rehabilitating old houses across the southern United States about 20 years ago. Laine said that she and Kevin, spurred on by a passion for history and fine architecture, “both felt like the best way to preserve some of our nation’s heritage was to tackle these wonderful historic structures.”

For the couple, the homes are a reflection of American culture. “Preserving them helps not only preserve our culture, but it helps educate people—to understand where we’ve come from and what got us to where we are today,” Laine said.

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The interiors incorporate many antique items for a time-worn feel. (David Hatfield)

About a year ago, they started documenting their projects on YouTube, with practical tutorials on topics ranging from how to restore historical picture frames, to the best method for stripping lead paint from wood.

They also film tours of historical houses on the market—many in surprisingly good condition given their age—explaining architectural elements in loving detail.

The couple has amassed a steady following of people who cherish old things and yearn to “see, and touch, and feel a product that their labor has created,” Laine said.

Their Instagram account is filled with the latest updates about their houses, which are dubbed names like Helen, after the region of Helena; Willa, after the Willie family who built the home; and Scottie, after the street where the house is located. Sometimes, a house’s photo is cheekily accompanied by a post written from the house’s perspective.

Growing Trend

Old houses have become an increasingly popular choice among first-time homebuyers.

As the housing market becomes prohibitively expensive and the cost of rent skyrockets in many major cities, the millennial generation is being drawn in by lower prices, while at the same time relishing opportunities to get creative and work with their hands, according to Elizabeth Finkelstein, who co-founded the website CheapOldHouses.com along with her husband.

The site lists historical homes up for sale across the country. Finkelstein created it as a passion project in 2016, hoping to educate people on the value and beauty of old houses.

Real estate agents tend to give little promotion to old houses in disrepair. “What you end up with is a blurry, dusty photo in the dark, taken on someone’s iPhone. But there’s an Art Deco bathroom in there. And then you’re like, wait a minute, no one is going to see this. So I felt the need to show it to people,” Finkelstein said.

Appreciation for the old has struck a chord among the many millennials who make up Cheap Old Houses’ following (more than 1.5 million on Instagram at the time of writing). Finkelstein thinks that “people are getting very, very fed up with, and skeptical of, the superficiality and disposability of so much in our lives right now—fast food, fast restoration, fast fashion—all of it.”

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The fireplace area under construction in the Conway house. (Courtesy of Kevin Berry)

Many of the latest trends are not only wasteful, but devoid of meaning. “You want to feel a sense of purpose in your home. And if anything, this pandemic has just brought that out,” she said. A growing number of people, especially after spending more time at home, are considering alternative lifestyles.

Finkelstein said Cheap Old Houses’ Instagram account gained followers at roughly three times the normal rate during the beginning of the pandemic last year.

Laine Berry expressed a similar sentiment about modern life. “We’re always on our phones. We always are on our computers. And I think there’s a bit of a national longing for things, and times, that were simpler,” she said.

The Berrys hope that more people across the country will see investing in a historical home as a viable option.

They want people to watch their videos and see that the work is not that intimidating. But, at the same time, homebuyers must be willing to take on the research to restore homes respectfully.

“You don’t change the footprint. You allow the history of the house to be the main focus, but you rehabilitate it to be livable by today’s standards fully,” Laine said. That means researching “what is and what is not appropriate for the style and period of your home.”

historic house
The living room features a Victorian hand-painted folding screen that dates to around 1876. (David Hatfield)

Over the years, the Berrys have accumulated an almost encyclopedic knowledge of how different period styles of mantles, staircase spindles, woodwork, and other elements look.

Twenty years ago, they would go to their local library to find resources on microfilm. Today, much of the information is available on the internet.

They’re excited that a new generation will carry the torch.

“That’s the most exciting thing to me, when somebody says, ‘I never thought I could do this. I’ve been so afraid of this. I thought it was out of reach either emotionally or financially. Watching you guys, I realize this is doable for me,’” Laine said.

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Arts & Letters

Reawakening a Giant

How interior designer Chuck Chewning and architect Christian Sottile oversaw a sensitive restoration of one of Savannah’s landmark mansions

In his illustrious design career, Chuck Chewning has executed major projects in Europe and North America, winning big awards. Yet it might have appeared that even someone of Chewning’s virtuosity would need to reach deep into his repertoire to restore the Armstrong Mansion in 2017. This 26,100-square-foot Italian Renaissance Revival palace stands at 447 Bull Street in Savannah, Georgia, across from the 30-acre Forsyth Park with its sensational fountain, and just around the corner from Savannah College of Art and Design, where Chewning studied years before. The sheer scale of the commission was daunting.

How fortunate that his client, Richard Kessler—hotel magnate, real estate developer, and philanthropist—happened to have warehouses filled with decorative arts, musical instruments, and fine-art pieces that he had collected over the years. While working on another commission for a newly built house in Creole plantation style, Chewning and his small staff also bought items for the mansion’s interiors, shopping at auctions for two years. Kessler’s vast inventory helped to get things going much faster.

“Richard’s personal collections are so vast and in such a range, that it was quite easy to go through and say, ‘Okay, I need Jacobean pieces.’ He had them. That actually was not a problem at all,” Chewning said.

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Early 20th-century Italian sculptures sit in the loggia that overlooks Forsyth Park across the street. (Thomas Loof Photography)

When the original architect Henrik Wallin’s completed mansion, with its fireproof concrete construction, was featured in “The American Architect” periodical in 1919, the public rooms on the first floor were decorated in different period styles. Guests were received and entertained there.

“In a way, they’re almost like theatrical stage sets,” Chewning said. “And that really dictated how they needed to be furnished.” The dining room is Georgian, but the music room is a French Louis. Arts and crafts details in a corner room reflect the contemporary trend at the time of the mansion’s construction.

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The interiors, done by designer Chuck Chewning, reflect different period styles, with furnishings from the client’s vast inventory of fine-art pieces and objects bought by Chewning’s staff at auctions. (Thomas Loof Photography)

The primary objective was to return the three-story mansion to its original purpose as a home—in this case, for Kessler and his wife. George Ferguson Armstrong, a shipping magnate, first commissioned the project in 1916. After his family’s time in it, the mansion served as a junior college from 1935 (Kessler took classes there before moving on to Georgia Tech). Later, it was briefly owned by Jim Williams, famed as the protagonist of the nonfiction book about a local murder, “Midnight in the Garden of Good and Evil.” After 1970, it became a law office. Kessler’s acquisition and the restoration program delighted Savannah’s preservationists. While the mansion was well-maintained, it had grit and smudges from nearly a full century of use. Previous owners had also made interior modifications, such as dropped ceilings and built-out walls.

“It was very satisfying to know that the building had been purchased by someone with the means to reverse some of those less sympathetic changes,” said Ryan Arvay, the Historic Savannah Foundation’s director of preservation and historic properties.

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The dining room, done in the Georgian style. (Thomas Loof Photography)

Assessing the job ahead, Chewning admitted himself through the solid-bronze front doors with their elaborate Beaux Arts detailing, registered the first floor’s stylistic variations, and ascended the cantilevered solid-marble staircase. He found 13 bedrooms and 19 bathrooms. There are also four kitchenettes and a commodious chef’s kitchen. On the first floor, a crew stripped away the walls shrouding features such as carved walnut panels and a cozy wall fountain. Meticulously molded plaster and dramatically sculpted friezes also emerged.

“We discovered original details and finishes still existing that we were surprised to see because we thought possibly they had been destroyed or lost in the renovations,” Chewning said.

A special challenge was the fenestration. The 125 steel-framed and mullioned windows with bronze hardware had represented something of a breakthrough for their maker, International Casement Co., which featured them in a catalog in 1920. Having determined that the glass panes were originally covered with lace, Chewning set about to replicate the panels. He found a lace mill in Scotland but worried about the effects of Georgia’s summer sun on the natural fibers.

“They would just sort of rot,” he said. The solution was to use a flame-retardant, dimensionally stable polyester yarn called Trevira CS. “That was one thing we were able to do that was innovative but still was in the context of the traditional history.”

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The music room, done in the French Louis style. (Thomas Loof Photography)

Then he had to rustle up the damasks, silks, velvets, and tapestries that would be expected inside traditional period rooms. One of the best expressions of his decorative approach was the original music conservatory room, which opens onto the roof terraces. He placed a drum kit, a Hammond B-3 organ, and Kessler’s Bösendorfer Imperial grand piano that was designed by F.A. “Butzi” Porsche. An ornamental theme of Chinese antiques seemed to work with the rest of the house. “And that idea of this decadent chinoiserie party room speaks to the period of the 1920s, when the house had just come to life,” Chewning said.

Meanwhile, the architect behind the restoration, Christian Sottile, proceeded with the structural work. He designed a new carriage house in keeping with the original style and added a pool. Yet the mansion was also technologically advanced for its time, with features like a central vacuum system, some 21 miles of wiring, recirculating hot water system, and rain-head showers.

“It was built to the highest standards of its time, really a commercial standard,” Sottile said. “Our thinking with the restoration was to bring in the best technologies of today to show it’s not a museum piece, but it’s in fact a living building.” Air conditioning topped the list of modern amenities to be added. “We ended up with 37 separate air-conditioning units hidden throughout the home so that they’re invisible.” And the building got digital updates, allowing every light switch to be controlled with a smartphone.

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Stately granite Ionic columns stand tall in the portico, inspired by the villas designed by Italian Renaissance architect Andrea Palladio. (Thomas Loof Photography)

Upon completion of the restoration program in 2019, the home—now called the Armstrong Kessler Mansion—received the President’s Award from the Historic Savannah Foundation. Ryan Arvay said this recognition is reserved for projects of unusual scope and complexity. “It’s meant to showcase a standout property in a field of already outstanding projects,” he said. “That is a landmark house, no doubt about it. … It is really an architectural masterwork. Everything that Kessler did on the property, from cleaning the masonry to restoring interior spaces to original configuration, was really exemplary.”

Ronald Ahrens’s first magazine article was 40 years ago for Soap Opera Digest. His contributions to the much lamented Automobile Magazine spanned a 32-year period. Nowadays he’s on a 15-year run with DBusiness (“Detroit’s Premier Business Journal”). Ronald lives near Palm Springs, Calif., where he struggles to understand desert gardening.

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Arts & Letters Book Recommender

Looking for Signs of Life: ‘The Disappearance of Rituals’

We may be communicating with one another daily, but are we relating? This significant question has been asked in our society in recent years, and it needs to be addressed. Byung-Chul Han’s new book, “The Disappearance of Rituals,” makes useful and necessary philosophical distinctions that allow the reader to further contemplate man’s place in a chaotic world and possibly change not only the way we perceive the world but also to encourage creation rather than destruction.

“Rituals stabilize life,” writes Han. The repetition of rituals leads to a meaningful reflection on the events that we experience. In addition, Han notes that “every religious practice is an exercise in attention,” thus we have to find ways to take care of our souls. One of the ways to move beyond an empty state of being is to not only be aware of the spiritual problems our society is facing but also to learn again how to “linger,” or to be, mindfully, in the present moment. There are many objects that have become part of our lives (such as smartphones) that negate lingering, but it is always within our own power to choose a different path.

This path involves a firm recognition of the necessity of community, as opposed to the collective. We acknowledge our own personhood by rejecting any form of one-size-fits-all ideology, and thus humanize not only ourselves, but others as well. If society is rooted in rituals that imply permanence, then it would follow that each individual would contribute to the stability of the society as opposed to the cruel destabilization of immutable ideas that make us human. As Han writes, “We must defend an ethics of beautiful forms” against the “formless morality.”

According to Han, “rituals are symbolic acts,” and because of the dismissal of the symbols (including rituals) that hold society together, we have been engaging only in production and consumption. Han includes religion, festivals, and morality that recognize beauty and other values among rituals. Symbols rely on the recognition of something higher than ourselves, and “symbolic perception … is a perception of the permanent,” which then, in turn, stabilizes our lives. Today’s perception and use of time “lacks solid structure.”

“It is not a house but an erratic stream. It disintegrates into a mere sequence of point-like presences; it rushes off,” but symbolic rituals can make us feel as if we have found home, he writes.

The idea of home must be, in some way, related to a larger tradition. Drawing on Jewish tradition, Han notes that “Sabbath consecrates the work of creation. It is not mere idleness. Rather, it is an essential part of creation.” There is a sense of historical continuity when people are engaged in such rituals. Quoting Jewish philosopher Franz Rosenzweig, Han makes the case that the Sabbath is a “‘holiday of resting and of closely reflecting,’ a ‘holiday of completion.’” Han implies that there is a sense of creative inwardness, a reflection on our inherent dignity and humanity.

By contrast, Han notes that “festivals such as Easter, Whitsun, and Christmas are key narrative moments within an overall narrative which provides meaning and orientation.” While a ritual such as a Sabbath is exemplified by sacred silence and human interiority, a festival such as Easter is an experience of sacred utterance and human exteriority. Both, however, deal with a relationship between a singular person and a community.

Cover for The Disappearance of Rituals
Book cover for “The Disappearance of Rituals” by Byung-Chul Han. (Courtesy of Polity Press)

Han’s book is not simply a short philosophical treatise on the loss of spiritual and embodied life. Rather, by diagnosing the ills, Han creates a space of perception and thought that might take us to a better path. By pointing out the depth and gravity of the problem, Han is not offering a prescriptive and fast solution, which would defeat the purpose and depth of rituals themselves. Rather, his incredible thoughtfulness on the interior and exterior life of an individual and a community is leading us to consider the absurdity of today’s existential entrapment.

In many ways, Han’s message is simple: We must see each other face to face again. If the human face is removed from the very notion of what it means to be a human being, then how can we expect to leave the hamster wheel of joylessness? If the human face is “canceled,” then our relationships are fundamentally changed. A free and flourishing society functions properly only when human dignity is affirmed.

One of the most important aspects of Han’s book is a simple acknowledgment that human beings are not ciphers or bits of data. Rather, to be human is to have an interior life and a soul that, like any life form, needs tending and care. Rituals—be they festivals, or of a religious nature, or simply sitting down with family and friends and sharing a meal—are a way to not only connect but to relate. Every time we engage in a ritual, we affirm that human beings are relational and that our relationships transcend the chaotic impositions of the current times.

“The Disappearance of Rituals” by Byung-Chul Han. Translated from German by Daniel Steuer. Polity Press, 2020.

Emina Melonic writes about books, films, and culture. Her work has been published in The New Criterion, Claremont Review of Books, Law and Liberty, and Splice Today, among others.

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Arts & Letters Book Recommender

‘Oblivion or Glory: 1921 and the Making of Winston Churchill’

As 1920 ended, Winston Churchill seemed headed for obscurity. The British failure at Gallipoli brought his political career to collapse in 1916. While partially restored before the Great War ended, he was stalemated in a dead-end cabinet position as 1921 opened. His judgment was widely questioned. He was experiencing financial difficulties.

When 1921 ended, everything seemed changed. His political star was rising again, and his finances were secure. Far from heading to insignificance, Churchill was again heading to a destiny of leadership.

“Oblivion or Glory: 1921 and the Making of Winston Churchill,” by David Stafford, tells the story of Churchill’s transformative year. It was a year of great opportunity and great tragedy for Winston Churchill.

Churchill’s professional fortunes reach a nadir as the year opens. His anti-Bolshevik policies against Soviet Russia collapse. Churchill then becomes colonial secretary and leads the Cairo Conference that reshapes the Middle East. As colonial secretary, Churchill becomes deeply involved in negotiating a settlement in Ireland. He would see this through to a successful conclusion. In turn, his efforts lead to a positive reevaluation of his judgment. Churchill also closes the year inking a lucrative book contract, sealing his reputation as an author as well as a politician.

(Book cover image courtesy of Yale University Press)

Stafford shows the role of family and heritage in Churchill’s life during this tumultuous year. Churchill gained stability from his marriage to Clementine and his circle of family and friends. An inheritance unexpected that year provided Churchill financial independence. Churchill’s Irish roots helped seal the Irish deal. Yet family also offered disruption. A beloved cousin made common cause with the Soviets that year, sculpting Lenin. His brother-in-law committed suicide. Churchill’s mother died in July, his youngest daughter in August. Stafford shows how Churchill soldiered on despite tragedies.

Stafford breaks his story into seasons: winter, spring, summer, and autumn, providing an arc to the story. A cold, barren winter leads to a spring in which the seeds in Churchill’s future success are planted. A fruitful summer follows, and Churchill harvests the fruits of his endeavors in the autumn.

“Oblivion or Glory” is a story about the value of perseverance in the face of disappointment. It shows the importance of patience and the necessity for seizing opportunity when it appears. It offers fascinating insights into Churchill’s character using an almost-forgotten year from his life. It was a year that rescued Churchill from oblivion and set him on a path to glory.

“Oblivion or Glory: 1921 and the Making of Winston Churchill,” by David Stafford, Yale University Press, 2021, 288 pages.

Mark Lardas, an engineer, freelance writer, historian, and model-maker, lives in League City, Texas. His website is MarkLardas.com