Tag: Barns

The Farm Backstory

As we hurtle toward completion of the icehouse rehab, I catch myself in barn reflection. Again. Yes, I consider the icehouse a barn. And, yes, migrating my books and artifacts and works in progress from a bedroom-turned-office (aka study/studio) in our home into the almost renovated icehouse is enthusing me beyond reason. It’s also catalyzing reverie and rumination into my farm backstory. Let’s dig a little deeper?

Undoubtedly my affinity for barns is rooted, albeit subconsciously at times, in early to mid 1970s recollections of a tumbledown farmstead tucked into a wooded holler in Cossayuna, New York.

The Farm in Cossayuna, New York (Painting: Louise Coldwell)

The painting above, made by my godmother, Louise Coldwell, has hung above my study/studio fireplace for the last 15 or so years. In this façade of the first home I remember, the two small windows at the top, right were my bedroom. Below my bedroom, the dining room. To the left of the entrance doorway, the living room. My parents bedroom was above the living room. I say, “the first time I remember”, but there were others. An apartment in Manhattan and another in Bronxville. Also, overlapping, a house in Glens Falls and another in Lake Placid. Itinerant years when my parents were still primarily living and working in New York City and then orchestrating a shift upstate. I’ll sit down with them to try and map out these years and lodgings. I muddle these memories in part to offset the fact that The Farm stands out for me. I’m not 100% certain why, but it is the first home the main impression on me, a home that still conjures poignant flashbacks.

Recently I’ve been sifting through memories and mementos of those few-but-formative years, and I’m coming to suspect that my association between barns — especially old, weathered, rural farm barns — and “home” (as well as “homing” and basically all matters related to “homeness”) is intrinsically rooted in my early childhood adventures at The Farm.

Omnipresent: OMC and The Farm (Photo: Geo Davis)

Note the painting, partially cropped, in the photograph above. For a decade and a half this is what I saw when sitting at my desk, if I turned away from Lake Champlain to look at the fireplace. And if you allow your eyes to drift down to the cluttered mantle above the fireplace, you’ll see a black-and-white photograph.

That’s me as a shaggy, bowl-cut youngster, with OMC, a family friend and neighbor when we were at The Farm. He was also my godfather and, in many respects, a surrogate grandfather. The initials stand for Old Man Coldwell, a nickname he used to sign the pottery he made (including the enormous bowl featured in this post: “Generosity of Friends: Lemons from Afar”).

Memories of The Farm and OMC overlap for me. Not always, but often. His presence and guidance, his physicality — apparent in this photograph — and his wonder-welling words. Our time together was guided by adventure. Riding an old tractor through a field to round up a cow that had gotten out. Riding an old tractor through a field to round up a cow that had gotten out. Walking to a distant meadow where he kept a rowboat and fishing rod ready on a pond bank. Squatting among strawberry bushes hunting for the largest, ripest fruit. Harvesting honey from a hive and eating it, thick and warm from a spoon. Massaging clay and squishing it through my fingers when he and my mother were potting…

At The Farm with OMC circa 1974-5

My parents’ friendship (and eventual falling out) with OMC remain intertwined with their memories of The Farm as well. I’ll inquire what if any memories they might share. Until then, I’ll loop back to the property itself.

My parents, living and working in New York City, had purchased an 1840s farmhouse on 85 acres in Greenwich, New York five months after getting married. I was born less than two years later. Although The Farm served primarily as a weekend getaway for the next five years, it dominates the geography of my earliest childhood. A stream of nostalgia gilded memories flow from this pastoral source: exploring the time-worn barns, absent livestock except for those conjured up by my energetic imagination and the swallows which darted in and out, building nests in the rafters, gliding like darts through dusty sunbeams; vegetable gardening with my mother; tending apple, pear and quince trees with my father; eating fresh rhubarb, strawberries and blackberries; discovering deer and raccoons and snakes and even a snapping turtle. (Source: The Farm)

Bucolic. Burnished, no doubt, by time’s spirited sentimentality.

I weave The Farm in Cossayuna (aka “The Farm“) into a conversation, a blog post, a social media update. Why? Not sure. Maybe the omnipresence of The Farm as a defining point of reference in my own life? (Source: Preservation by Neglect: The Farm in Cossayuna)

I’ve explored elsewhere the overlap between my lifelong fascination with barns (and barn vernacular) and my early memories at The Farm. The chicken or the egg? Which came first?

Woven into the earliest tapestries of my childhood are fond associations with barns. (Source: A Barnophile of Bygone Barns)

I wander my patchwork memory map and wonder, wandering, wondering, where is the margin mocked by tides and waves, the littoral boundary of fact and fiction, fluctuating with wind and moon? What was The Farm? And what have I imagined into it?

I inevitably distort history, omitting and abbreviating and emphasizing, distilling the vast landscape of data into vignettes. These accrete gradually, revealing the narrative design of my story. (Source: Remembering and Recounting)

Are these memories of The Farm in Cossayuna accurate? Reliable? Are they actually defining details in my life, reliable anchors tethering my current contemplation of homeness?

“Life is not what one lives, but what one remembers and how one remembers it in order to recount it.” — Gabriel Garcia Marquez, Living to Tell the Tale (Source: Remembering and Recounting)

This rings true to me. We are our story. Our stories. And The Farm, embedded inextricably into my attraction to Rosslyn, has provided a sort of scaffolding for many of my homing initiatives since about 2005.

As I bring this meandering meditation to a close, it’s worth noting that I’ve shared images of The Farm over the years. Always the farmhouse, never the barns. Peculiar that I don’t have any images of the barns. I’m almost certain that I took a few photographs when I visited within the last decade, but I haven’t managed to put my fingers on them. I will keep looking, but in the meantime, I’ll ask my parents if they might have an old photograph or some other representation of the outbuildings at The Farm.

June 5, 2023
Horse Stall Haiku

Carriage house horse stall door (Source: Geo Davis)

Horse Stall Haiku

Carriage house stall door,
pockmarked, patinated, but hale,
relates tenants past.

— Geo Davis

Wabi-sabi Horse Stall

Patina. Rust. Wear-and-tear. The horse stall door in the photograph above abounds in visible reminders of imperfection and impermanence. And yet beauty brims. The image, indeed the horse stall and the horse stall door themselves, exude warmth and comfort and reassurance. No frisky filly within. No stately stallion. Yet life has invested this space with memories and, as Donna Baribeau pointed out, “Authentic Beauty”. The bumps and bruises of horses and those who tend them are part of this carriage barn story. But for much of the last 200+ years that Rosslyn has presided over Merchant Row there were no carriages and no horses in this barn. The stables were repurposed for storing firewood, bicycles, lawn mowers, lumber, tools, children’s forts, and possibly briefly even as a bedroom (if firsthand accounts are accurate.) All of this, and more, has left marks and stories. All of this contributes to the wabi-sabi allure of this space (and this photograph of the space.)

In traditional Japanese aesthetics, wabi-sabi (侘寂) is a world view centered on the acceptance of transience and imperfection. The aesthetic is sometimes described as one of appreciating beauty that is “imperfect, impermanent, and incomplete” in nature… Characteristics of wabi-sabi aesthetics and principles include asymmetry, roughness, simplicity, economy, austerity, modesty, intimacy, and the appreciation of both natural objects and the forces of nature. (Source: Wikipedia)

Wabi-sabi is at the root of my attraction to time-worn buildings and artifacts. I consider aging utility buildings — barns, boathouses, ice houses, sugarshacks, etc. — to be at least as intriguing as old houses. More sometimes. So many relics, unselfconscious, candid. Less penchant for concealing, fewer makeovers, more concurrently present years and lives. Sometimes it’s the old, banged up subjects and objects that look the best. Thank goodness for that!

August 20, 2022
Icehouse Rehab 10: East Elevation Gable Window

Rendering for Icehouse Rehabilitation: East Elevation Gable Window (Source: Tiho Dimitrov)

I mentioned recently that framing for the expansive gable window in the west elevation of Rosslyn’s icehouse was completed, and the change was monumental. Now we’re on hold, anticipating the big reveal in a few months when the new windows arrive and the sheathing can be trimmed. For now that facade is concealed behind a plane of green ZIP paneling, effectively shrouding the dramatic transformation until springtime. Anticipation, I tell my dog, is have the pleasure…

Today, however, I’m able to update you on Hroth‘s gable window framing for the *east elevation*. Hurrah! As you can see in Tiho‘s rendering above, the openings on the lake-facing facade will remain virtually unchanged except for a shift from opaque (solid wood openings) to transparent (glass window and door). But the the east elevation gable window will be integrated into a whimsical Essex sunburst motif that echoes the same detail on the third story, west elevation gable end of the main house. I will focus on this detail separately once we’ve made a little more progress.

Icehouse Interior, Hroth framing East elevation gable window (Photo: R.P. Murphy)

In short, we’ve endeavored to maintain the public view shed much as it has appeared in recent decades albeit with a reimagined sunburst embellishment that weaves the icehouse together with the main house, the gates, and multiple additional sunburst motifs throughout Essex and the Champlain Valley.

Envisioning the icehouse rehab from within, the photo below helps orient the new window as it will be experienced from the loft (still not framed) and, to a lesser degree, the main room. Morning light will illuminate the interior, offering a restrained prelude to the magnificent afternoon lighting that will bath the icehouse as the sun sets into the Adirondack foothills.

Icehouse Interior, East elevation gable window (Photo: Hroth Ottosen)

The closeup below captures Hroth at the end of a long day of carriage barn carpentry looking a more than a little bit ready for some heat and a more comfortable perch. But it also captures the just completed window framing below the header, perfectly echoing the slope of the icehouse roof.

Icehouse Interior, Hroth framing East elevation gable window (Photo: R.P. Murphy)

Another closeup, gets a little closer to imagining the perspective when standing on the future loft floor.

Icehouse Interior, East elevation gable window (Photo: Hroth Ottosen)

Framing East Gable Window

Shortly this aperture will be concealed behind insulated paneling much like the west elevation, but for a fleeting moment longer we can appreciate the natural light entering through the east elevation gable window framing, and we can try to imagine the daybreak view of Lake Champlain, warm sunlight illuminating the north elevation of the main house as it rises up into the summer sky.

A new perspective is emerging as Hroth frames my future office window (from the icehouse loft). Looking east (actually southeast in this photo), this will be my morning view. Panning to the left 10 to 15° the view will be filtered through the enormous American Linden (basswood) tree and across the upper lawn, through the ancient ginkgo tree and across the front lawn to Lake Champlain. (Source: Loft Office View)

Holes in walls. Such rudimentary changes to a building envelope. And yet such profound transformation!

By strategically introducing apertures and maximizing transparency in this small structure we’re endeavoring to dilate the living experience beyond the finite building envelope, to challenge the confines of walls and roof, and when possible and esthetically judicious, to improve porosity with abundant new fenestration, dynamic interior-exterior interplay, subtle but impactful landscaping changes (including a new deck) that will work in concert to amplify the breathability of the interior and temptingly invite insiders outside. (Source: Gable End Window in West Elevation)

The photo below hints at the future porosity of the this space. Imagine the window near bottom right once it is glass.

Icehouse Interior, East elevation gable window (Photo: Hroth Ottosen)

Of course, framing in the balcony and eventually adding blisters will shift add interesting layers, shadows, textures, and other nuances to the transparency looking east from within. Perhaps an interior rendering or two will help imagine forward…

December 19, 2022
Toward a Barn Vernacular
Barn Vernacular (Source: Geo Davis)

I’ve talked around my fascination with barns, barn architecture, barn construction, and barn aesthetics for long enough. But I haven’t outlined the tenets for my enduring intrigue, nor have I articulated exactly what I mean when I refer to a barn vernacular. It’s time to draft at least a preliminary look at my love of barns. I’ll circle back as I achieve clarity, but in the mean time, I’m going to venture into the white space, plant a flag, claim the territory. Excuse the untidy, incomplete effort. For now. In time I hope to revisit and expand this post, but I’ll start today with a precocious first foray toward a barn vernacular.

Barn Vernacular Haiku
```
          Barn vernacular,
          so utilitarian
          and so efficient.
          — Geo Davis
```
Yankee Barns

In the vernacular vocabulary of quintessentially North American architecture, the barn endures as a practical yet proud icon of rural living. First and foremost a utility structure, the barn evolved to maximize usability while prioritizing efficient construction, cost, and maintenance. Barns have evolved regional and agricultural nuances to accommodate local materials, agricultural use, and climate but the fundamentals are similar. In the northeastern United States consistent elements, volumes, geometry, and even materials appear in many barns. Although history offers various compelling variations such as gambrel roof barns and round barns, one of which existed in Essex in the 1800s, these are not as compelling to me as the traditional New England or Yankee barn. Its familiar austerity, tidy efficiency — and I would argue — its exceedingly pleasing utilitarian aesthetic have appealed to me for decades. Based upon my personal experience it feels like the quintessential barn.

Although the term, “Yankee barn” is often associated with the customs timber frame home building company, Yankee Barn Homes, I’m harkening back to an earlier and broader style of barn architecture.

In New England, English barns were further adapted into larger, timber-framed structures, which became known as the Yankee barn. Yankee barns have large sliding doors on either of the gable ends, with large areas for livestock on either side of a central hallway. Overhead lofts allowed for convenient hay storage, and oftentimes basements were added in the bank barn style.

Yankee barns, also called New England barns, allowed for more cattle to be housed, and were the first step in a continuing trend of larger barns to accommodate more animals. (Source: History of the American Barn – Grit

Well proportioned, not only for agricultural utility but also in a more classic architectural sense, the Yankee barn was well built. The gabled roof was pitched to shed rain, snow, and ice during inclement weather. Positioning the principle entrances at the gable ends proved especially practical in rainy, snowy climates, allowing convenient access without needed to contend with ice and snowbanks collecting rom the roof. And traditional post-and-beam construction was well suited to the punishing loads and the swings in temperature and humidity to which the historically hand-hewn beams easily adjusted again and again over the years.

Here’s another overview of Yankee barns.

Yankee Barns (beginning ca. 1820s) In these barns, the main entrance is on the gable end and the drive bay parallels the ridgeline. Yankee barns usually have a larger footprint than English barns, and are characterized by sawn timbers (circular or water-powered up-and-down), large doors on either end, roofs at half-pitch (45 degrees), and stables along an eaves’ wall. They are sometimes banked with a basement level, and were often expanded by adding additional bays to the rear gable end. Rooftop cupolas and added windows help with light and air flow. Metal roofs became standard in the late 19th century. (Source: New Hampshire Preservation Alliance)

Although my fascination with barn vernacular isn’t limited to Yankee barns, it is my most consistent and encompassing vision. For now, at least, I’ll narrow my inquiry and reflection to this general design.
September 29, 2022
The Farm

Rock Harbor Rhubarb (and memories of The Farm!)

We walked down the road from the tennis court and stopped off at my parents’ house, still closed up for the winter. It would be several weeks before my parents arrived in Rock Harbor for the summer, and by then the asparagus would have gone to seed, so we picked enough for dinner and enough extra to bring back to the city for another meal.

I also picked a fistful of rhubarb to sauté with maple syrup for dessert. Susan disliked rhubarb, but I loved the lip puckering tartness. The taste transports me instantly to The Farm.

My parents, living and working in New York City, had purchased an 1840s farmhouse on 85 acres near Greenwich, New York five months after getting married. I was born less than two years later.

Although The Farm served primarily as a weekend getaway for the next five years, it dominates the geography of my earliest childhood. A stream of nostalgia gilded memories flow from this pastoral source: exploring the time-worn barns, absent livestock except for those conjured up by my energetic imagination and the swallows which darted in and out, building nests in the rafters, gliding like darts through dusty sunbeams; vegetable gardening with my mother; tending apple, pear and quince trees with my father; eating fresh rhubarb, strawberries and blackberries; discovering deer and raccoons and snakes and even a snapping turtle.

May 31, 2011
Bygone Barns
Swapping December for January signals that we’re four months into Rosslyn’s icehouse rehabilitation which, in turn, means that I’m four months overdue for a look at (or perhaps the first of several looks at) my love of barns. Truth be told, I’m a bit of a barnophile. And, given my weakness for wabi-sabi, I’m especially keen on bygone barns.

Backcountry Bygone Barns (Source: Geo Davis)

By “bygone barns” I’m conjuring an entire class of rural farm and utility buildings belonging to an earlier time. Think of a barn vernacular with classic lines, practical design, form following function, wearing age and even obsolescence with pride,… I’m even smitten with buildings so dilapidated that they’ve been reduced to their skeletal essence by the forces of nature. Sunlight, moonlight, weather, wildlife, and vegetation permeate these carcasses. The sparse assembly of materials — beaten by the elements for more years than anyone alive can definitively claim to know — endure erect, monumental, lavishly adorned with forgotten functions and the patina of passing time.

My romantic heart and my wabi-sabi aesthetic cling conspiratorially to the possibility of resuscitating, reimagining, and repurposing. Meanwhile the rights of rewilding attempt to discipline my disposition; I ache for the victory of natural forces over human will, the return of these materials to the earth. This tension between between revitalizing and rewilding winds my wonder and perpetuates my desire.
```
Backcountry Barns Haiku
Time torn, weatherworn
byways by backcountry barns.
Watercolor skies.
(Source: Backcountry Barns)
```
It’s not uncommon for me to interrupt a bike ride in sight of a bygone barn, ostensibly to make a photograph (which I do), but often I’m still standing ten minutes, fifteen minutes later, still observing, often lost in a sort of contemplative gaze.

[Bygone] barn architecture, especially minimalist barns, patinated with weather and time, speaks to something practically primordial in me. My earliest hope when looking for North Country properties was to convert an old barn into a home. I looked at lots of backcountry barns, but I never made a match. (Source: Backcountry Barns)

Inevitably this lead us to farms, mostly no longer actively being farmed, vestiges of an early time, and earlier lifestyle.

I began looking at forgotten farms, bygone barns, meandering stone walls hemming in overgrown fields… (Source: Leaping & Untethering)

Sagging Bygone Barn (Photo: Geo Davis)

It was a romantic errand that exposed Susan and me to many fascinating properties.

Susan… shared my dream of an old farmhouse surrounded by open meadows with views and sunlight. She liked barns and was even receptive to my occasional flights of fancy about converting an old barn into a home. (Source: The Hunt for a Perfect House)

But the bygone barns in my mind and those we visited were failing to align.

Although a farm on the lake (especially an old barn that could be reimagined as a home) was proving an impossible ambition, our imaginations were piqued on several occasions…

A handsome slate roofed barn, still square after a century or more standing at the crest of an immense field just south of Westport, beguiled me for a while. I imagined a lofty open plan; exposed, rough hewn beams; magnificent views in all directions. But the seller was unable or unwilling to subdivide the field and barn from a much larger farm which included additional fields, an immense dairy barn, various other building for hay and equipment storage, a “pond” for storing cow manure and a large square farmhouse with cupola. And in the end it was a relief to Susan, because, after all, this magnificent barn did not stand on the shores of Lake Champlain. (Source: The Hunt for a Perfect House)

Gradually our search evolved. And shifted.

Some day I still hope to explore the barn vernacular, perhaps in a modern and somewhat interpretive way. (Source: Backcountry Barns)

I wrote that last sentence about a year and a half ago. And, while it’s still 100% accurate, I’m also allowing this curious quest to inspire the icehouse rehab which is, after all, a bygone barn, albeit a diminutive one, purpose built for storing ice. Watching the building get stripped back to its oldest and boldest elements, honoring the legacy of a functionally perfect building that has outlived its functional utility, searching for the simplest and purest path forward, restraining the instinct to disguise the building’s age, and summoning the bygone barn’s story from the dusty darkness. It would not be absurd to compare this last four month’s endeavor to a protracted meditation.

In reworking my notes for this post — notes is too vague; perhaps field notes is closer, or travelogue — I come across a hastily jotted note.

Renovation or Story?!? (Photo: Geo Davis)

I’d written the question to myself as if posed by another, perhaps one of the many capable collaborators on this project. I don’t recall when or why I wrote this, nor am I certain why this seemingly frustrated inquiry was posed in this way. It’s as if I imagined Pam or Hroth or someone else, exasperated, almost pleading to simplify the journey, our journey, to focus fully (and exclusively) on rehabilitation of this bygone barn.

What’s more important, the renovation or your damned story?!?

I’m only about halfway through these notes, but this feels like the right place to pause. I’ll continue this reflection tomorrow, but for now I’ll prime the contemplative pump with an intriguing short film by Matt McFarling called “Bygone Barns” that the inimitable Katie Shepard discovered while helping me sort my jumbled thoughts.

Thanks, Katie!
January 2, 2023
A Barnophile of Bygone Barns
Yesterday I meditated a minute on bygone barns. Ancient farm buildings. Tempered by time, tempted by gravity, and sowbacked beneath the burdens of generations, these rugged utility structures retain (and sometimes gain) a minimalist elegance long after design and construction and use fade into history. My meditation was meandering and inconclusive. In part this was due to the wandering wonder these timeworn buildings inspire in me. And in part it was because my observations are still evolving and inconclusive. I’m not a barn expert, an agricultural architecture preservationist, or even a particularly astute student of barns and farms. But I am a barnophile.

Barn·o·phile /bärnəˌfīl/ noun (from Greek philos ‘loving’)
1. 1. a connoisseur of farm buildings
  2. a person with a fondness for structures used to house livestock, grain, etc.
  3. an admirer and/or collector of agricultural outbuildings
Aside from the hubris I’ve just exercised in birthing this barnophile definition, I’m generally inclined to a humbler and less presumptuous relationship with the mostly agrarian artifacts we categorize as barns.

[As an unabashed barnophile with a] weakness for wabi-sabi, I’m especially keen on bygone barns.

By “bygone barns” I’m conjuring an entire class of rural farm and utility buildings belonging to an earlier time. Classic lines, practical design, form following function, wearing age and even obsolescence with pride,… I’m even smitten with buildings so dilapidated that they’ve been reduced to their skeletal essence by the forces of nature. Sunlight, moonlight, weather, wildlife, and vegetation permeate these carcasses. The sparse assembly of materials — beaten by the elements for more years than anyone alive can definitively claim to know — endure erect, monumental, lavishly adorned with forgotten functions and the patina of passing time. (Source: Bygone Barns)

Barn Vernacular (Source: Geo Davis)

But why do forgotten farm buildings enchant me? What reason lurks beneath the tidy text, what foundation for my unusual fascination with these vestiges of a simpler, more local, perhaps even a slower time? Katie Shepard, so very rarely off target, suggests this childhood reminiscence might play into my barn-centric attraction.

My parents, living and working in New York City, had purchased an 1840s farmhouse on 85 acres in Greenwich, New York five months after getting married. I was born less than two years later.

Although The Farm served primarily as a weekend getaway for the next five years, it dominates the geography of my earliest childhood. A stream of nostalgia gilded memories flow from this pastoral source: exploring the time-worn barns, absent livestock except for those conjured up by my energetic imagination and the swallows which darted in and out, building nests in the rafters, gliding like darts through dusty sunbeams; vegetable gardening with my mother; tending apple, pear and quince trees with my father; eating fresh rhubarb, strawberries and blackberries; discovering deer and raccoons and snakes and even a snapping turtle. (Source: The Farm)

As usual, Katie is right. Woven into the earliest tapestries of my childhood are fond associations with barns. This was undoubtedly further reinforced during our years at Homeport given the inordinate amount of time that my brother, sister and I occupied ourselves in the mysterious old barn complete with ballroom and servant’s quarters long since adapted to other uses. And in my grade school years my siblings and I memorized Dylan Thomas’s “Fern Hill” to recite as a birthday gift for my father. I wish I could take credit for this creative gift giving tradition, but it was my mother, Melissa Davis, who gently guided the three of us each winter to select a poem that would appeal to my father, and then to memorize it during our daily 45-60 minute commute to school each morning and and each evening. Three days after Christmas, on my father’s birthday, we would recite the poem together, and (with one notable exception that’s better reserved for another day) my father enjoyed the gift, leaning back, sometimes closing his eyes, and listening attentively. I think “Fern Hill” may have been the best received, and it became a go-to for family recitation over the years, hypnotically weaving itself into the ethos of our childhood the way a prayer might.

Boundaries of a Barnophile

There comes a time to focus the “philos”, or at least to try and narrow or delineate the subject of interest.

I’ve talked around my fascination with barns, barn architecture, barn construction, and barn aesthetics… But I haven’t outlined the tenets for my enduring intrigue, nor have I articulated exactly what I mean when I refer to a barn vernacular. It’s time to draft at least a preliminary look at my love of barns. […]

In the vernacular vocabulary of quintessentially North American architecture, the barn endures as a practical yet proud icon of rural living. […]

Although my fascination with barn vernacular isn’t limited to Yankee barns, it is my most consistent and encompassing vision.(Source: Toward a Barn Vernacular)

In other words, I’m inclined toward classic geometry, roofs steep enough to shed water and snow (with a particular fondness for 9:12 pitch), and unembellished details. And I will always favor bygone barns to new construction. The quality of workmanship and materials stands out, but so too does the story stretching across decades, even centuries.

I consider aging utility buildings — barns, boathouses, icehouses, sugarshacks, etc. — to be at least as intriguing as old houses. More sometimes. So many relics, unselfconscious, candid. Less penchant for concealing, fewer makeovers, more concurrently present years and lives. Sometimes it’s the old, banged up subjects and objects that look the best. Thank goodness for that! (Source: Horse Stall Haiku)

And what of other barn-like buildings, rural utility buildings designed and constructed after the same manner?

School Bus Stop Ahead (Photo: virtualDavis)

They appeal to me as well. In fact, the agricultural DNA isn’t essential to me at all. I suppose I’m somewhat “barn androgynous”, equally smitten with similarly origined buildings even if they’ve never seen a horse, cow, chicken, pig, or hay bale.

That said, it’s worth acknowledging that the architecture of New England barns, Yankee barns, and even — drifting a little further southeast — tobacco barns are especially appealing to me. And if it’s fair to assume that my affinity is at least partly nostalgia-driven, then it’s probably worth adding another influence the those sited above. Four year of boarding school in Old Deerfield, Massachusetts definitely instilled in me an appreciation for early colonial building, and there were a couple of barns that still loom proud in my memory.

Beyond Boundaries

Although I wish I could gather these strings and call it caput, I must further complicate the boundaries I’ve endeavored to delineate above.

While there’s something alluring about the volume and the efficiency of barns, the unpretentious posture with no attempt to conceal functions or mechanism, scale isn’t essential. The small corn crib above, for example, intoxicates my imagination nearly as much as the grand barn at the top of this post.

Baked into my identity as a barnophile, into this somewhat esoteric aesthetic and philosophical appetite, is a tendency to stretch my definition of barns to include other similar outbuildings.

While Rosslyn didn’t fit squarely into the vision of an old farm or a collection of dilapidated barns that I originally was hunting for, this stately home does have three remarkable outbuildings, all three of which lured me as much as the house. In fact, well before we completed our top-to-bottom rehabilitation of the home, we tackled the icehouse, boathouse, and carriage barn. All of them were on the brink. Actually much of the house was as well. But just as we committed to salvaging the home, returning it to its former grandeur, we likewise undertook laborious, challenging efforts to salve the icehouse, boathouse, and carriage barn. All buildings were dilapidated, but the icehouse and boathouse were both succumbing to the omnipresent challenges of weather and neglect.

I’ve posted plenty in the past about Rosslyn’s boathouse, the lakeside folly that beckoned to us from the beginning. For a whimsical mind like my own, smitten with boating adventures — real and imagined — becoming irreversibly enchanted with our small dock house protruding out into Lake Champlain was pretty much inevitable. Although its mission has always been tied to watery locomotion, it is for all practical purposes a sort of barn. A diminutive lakeside barn purpose-built for boating. A utility outbuilding conceived and specifically confected to serve the Kestrel just over a century and a quarter ago.

And Rosslyn’s icehouse, occupying much of my attention these last few months as we cartwheel through an ambitious rehabilitation and adaptive reuse project, is likewise a barn. We often refer to the carriage barn and icehouse, standing as they do side-by-side, as “the barns”. As a utility building designed to complement the architecture of the carriage barn and home, it was nevertheless first and foremost a utility building constructed to support the residents with year round cooling at a time when refrigeration did not yet exist. It was an ice barn!

And so you see perhaps the elasticity of my identity as a barnophile. A barn might not immediately appear to be a barn. But the rudiments, the purpose, and likely the longevity have profited from the heritage of barn building. And this, my friends strikes me as the right place to wrap up. If this this post was intended as a more intimate look at the romance of bygone barns, those that have endured a looong time and even those no longer viable, then I’ve covered my bases. And too, I’ve revisited my original hope of locating an old barn to convert into a home, a hope that has not altogether faded away.

In fact, Susan and I have been for a few years brainstorming a barn-inspired for the future, our future, that just might begin to emerge in the years ahead. Stay tuned…
January 3, 2023
Leaping & Untethering

Rosslyn Dock House, by Bill Amadon

In the spring and summer of 2006, when Susan and I took a leap of faith and made the decision to pursue Rosslyn as our future home, it was apparent to both of us that we were biting off considerably more than we could chew.

Dream big. Dream a little bigger. And then leap!

From leaping capriciously, optimistically, idealistically, and oh-so romantically into this Rosslyn adventure 16 years ago to an eventual and inevitable untethering at some point in the future, Susan and I have courted an unconventional but rewarding existence. In a sense we’ve never stopped leaping.

Now with 20/20 hindsight (and a decade and a half of years of lessons learned and humility earned) I’m comfortable admitting that we got in over our heads. Waaayyy over our heads. Our skillset and our checkbook were too lean; our romantic outlook and our self confidence were too stout. Needless to say, that’s a fraught combination. But I wouldn’t change a single thing. Well, maybe a few things…

I envisioned Rosslyn’s rehabilitation as an adventure, a risky adventure, but an adventure well worth the risk (and the 100% investment it would take, not the least of which was our undivided time and energy.) Rosslyn would become our love affair, our work and play, our vocation and avocation, and — despite a resolute decision early in our relationship to embrace unclehood and aunthood while remaining childfree — Rosslyn would become our surrogate child.

In due course, heck, practically from day one, Rosslyn would eclipse literally everything else in our lives. That’s truly not an exaggeration. And, in all candor, it wasn’t particularly wise on our part. If we could do it again, we would try harder to define and observe boundaries. We would create actual limits. We would take breaks. Or at least, we tell each other that that’s what we would do differently. We would try to create boundaries. We would try to take breaks.

But you can’t un-live life. And regrets are uncomely.

Re-examining life, however, is not only possible. In this case it’s prerequisite to the task at hand. The tasks at hand…

Rosslyn Dock House, by Melissa Davis

Leaping

Today Susan and I are longer-term Rosslyn residents — by a factor of four! — than even our most unbridled expectations at the outset. And yet we struggle to untether ourselves from our adventure fairytale with this home, property, and community. In the months ahead I’ll explore this curious connection with place, with an old house that became our home, with a community that beguiled us from the outset and wove us into its enchanting tapestry, and also with the fact that we originally envisioned this chapter of our lives as a temporary transition, a wholesome regrouping, and how challenging it has been to separate ourselves from Rosslyn, and from this community. The complex liminal space we envisioned Rosslyn becoming way back in 2006 was not ready to graduate us after three of four years as we’d originally anticipated. And today Rosslyn’s remarkable liminality is once again catalyzing profound and important growth for us. Transformation is omnipresent, not only at Rosslyn, but everywhere. We’re living through many levels of concurrent transition. And Rosslyn, as she has since 2006, is guiding us, nurturing us, and preparing us for what awaits us down the road.

Today’s post, though rambling and unwieldy, comes at a time when we are brainstorming and daydreaming and contemplating what it would look like to untether and disembark on a new adventure. The vision is still forming, the seed still germinating. But you’re invited to join us as we contemplate and eventually cast off.

Bur first, before introducing the wonders we’re currently navigating, let’s hopscotch through a few earlier posts that refresh our memory about how this marvelous tale began.

Rooted in a personal shift from wanderlust to houselust, I spent 2003 through 2005 recognizing that I was thinking differently about home and community.

I’d made it into my early thirties without owning a home due to my intentionally peripatetic lifestyle, and despite an aesthete’s appetite for buildings and furnishing and gardens, I hadn’t the least interest in settling down. No biological clock ticking. No nesting instinct. No yen for taxes and maintenance and burst pipes and snow shoveling. No desire whatsoever for the trappings of a settled, domestic life. I understood why it appealed to others, but for me the commitments and encumbrances far outweighed the pride and financial wisdom of home ownership.

Until recently.

Something had changed, and I couldn’t quite figure out how or why. (Source: Paris Renovation Bug)

Perhaps for nostalgic reasons I began looking at forgotten farms, bygone barns, meandering stone walls hemming in overgrown fields…

The perfect place, I explained to Bruce, the friend and realtor who shuttled me from property to property, would be a small, simple farmhouse in the middle of fields with a sturdy barn and some acreage, maybe a stream or a pond or access to a river. Barns, in particular, pulled me. Secluded places with good light and views, forgotten places with stories still vaguely audible if you slowed down long enough to hear the voices. No loud traffic. An old overgrown orchard, perhaps. Asparagus and rhubarb gone feral near the barn. Stone walls, lots of stone walls and maybe an old stone foundation from a building long ago abandoned, the cellar hole full to bursting with day lilies. A couple of old chimneys in the farmhouse with fireplaces. A simple but spacious kitchen. A bedroom with plenty of windows. A room to read and write and collage the walls with notes, lists, photos, drawings and scraps. Someplace I could tinker at myself, gradually restoring the walls and plaster and roof. Timeworn wide plank floorboards of varying widths that I would sand by hand to avoid erasing the footpaths and dings and cupping from a burst pipe years before. (Source: Serene, Patinaed Fantasy)

As Susan became more and more interested in my North Country real estate search, we both began to imagine what it would look like to spend more time in a place that pulled us like poetry, viscerally if sometimes inexplicably.

“I’d be living a green lifestyle in the Adirondacks too. I love it here. I’d be thrilled to live here for a few years.” Peripatetic by nature, I enjoyed relocating every three to four years. Having grown up in the Adirondacks, mostly in the Champlain Valley, I had long yearned to reconnect, not just for vacation or a weekend. (Source: Postprandial Soak)

Projecting our lifestyle fantasies onto the tapestry of the Adirondacks’ Champlain Valley became a constant pastime.

We could waterski and windsurf for half the year instead of just two or three months, starting in May with drysuits and finishing in the end of October. We could sail the Hobie Cat more instead of letting it collect spider webs on the Rock Harbor beach. I could fly fish the Boquet and Ausable Rivers in the afternoon while Tasha snoozed on the bank. We could join Essex Farm, the local CSA, supporting a local startup while eating healthy, locally grown and raised food. I could grow a vegetable garden, an herb garden, an orchard. Susan could work for an architecture firm in Burlington and volunteer at the animal shelter. We could buy season passes to Whiteface and downhill ski several days a week. We could cross country ski and snowshoe and bike and rollerblade and kayak and canoe and hike, and maybe I would start rock climbing again… [With] our collective brainstorm leap frogging forward, it all started to make a strange sort of sense, to seem almost logical. (Source: Almost Logical)

Susan and I loved to tell stories, and increasingly we were beginning to insert ourselves into the intoxicating plot of a co-authored fairytale nestled into the Adirondack foothills, rebooting our lives and our work in a more intentional, healthier, happier way. Creating a new chapter together.

“Are you serious? Would you really want to live at Rosslyn?” Susan persisted.

I was unclear whether she was horrified or excited. I had made the suggestion spontaneously, without forethought, and now I felt embarrassed. I knew the idea was absurd. We both knew it made no sense at all. And yet we had returned to see the house again that morning. A second visit to a house we had already decided not to buy. Why? It exerted an inexplicable pull for both of us. It had awakened our imaginations, our fantasies, our hopes.

“No. And yes,” I said, hedging. “No, I’m not really serious. I just suggested it off the cuff. It’s probably the stupidest idea ever, or at least the least serious idea ever. But yes, there is a side of me that would love to live at Rosslyn. I’ve felt it each time we’ve visited the house. I’m not sure I can explain it…”

“You don’t need to,” Susan said. She was beaming. “I agree.” She rose out of the bath and wrapped a towel around her broad shoulders. “What a dream it would be, to live in that grand old home!” (Source: We could live at the Rosslyn)

Little by little we were talking ourselves, talking each other into a transformation that would encompass virtually every aspect of our lives. It didn’t happen overnight, but the possibilities we were conjuring had begun to eclipse our desire to stay in Manhattan, my desire to return to Europe, and our realistic sense that anything else in the world could possibly make as much sense as relocating to the western shores of Lake Champlain to build a home together.

October 26, 2022
Is Home a Place, a Feeling, or a Relationship? ⁣

Is Home a Place, a Feeling, or a Relationship? ⁣(Source: Geo Davis)

In the days since publishing “What Makes a House a Home?” I’ve been fortunate to enjoy follow up exchanges with many of you. It seems that we all have some compelling notions of homeness! Thank you for reaching out and sharing your often personal stories. I’ve mentioned to several of you that I’d like to dive in a little deeper if/when you’re inclined. This inquiry is foundational to Rosslyn Redux, and I believe that the objective is less to answer the question and more to propagate more questions, to seed wonder and reflection.

There are so many little forays into this residential quest, that I’ve decided to follow up with three follow-ups posts that intrigue me and that have been percolating with renewed vigor since sharing the previous post. I’ll jumpstart the three with a preliminary introduction of sorts, maybe more of a welcome, today in seeding the three questions as one. Is home a place, a feeling, or a relationship? ⁣I’m hoping to intersperse more narrowly focused posts on each of the three questions with progress reports on the icehouse rehab (It was a big day today!) and the boathouse gangway. And I’m hoping to hear from you if you feel moved to share your thoughts on any of the three. I suspect that many of us consider all three to be connected in some way to our ideas of home. More one than another?

Is Home a Place?

Obviously Rosslyn is very much a place. It’s an historic property in Essex, New York, on the Adirondack Coast of Lake Champlain. Pretty specific, right. Place, place, place. And to be sure much of what I showcase in these posts is a reflection on place, even the poetics of place.

Two weeks ago I shared a tickler for this post on Instagram, a short reel offering an aerial view of Rosslyn that I filmed with my drone last summer. It feels meditative to me. Like a soaring seagull wondering, wandering…

https://www.instagram.com/reel/ClB-1F8AFiK/

I think for now, I’ll leave the question of home as place gently gyring in the updraft to be picked up again soon in another post.

Is Home a Relationship?

In the digital sketch / watercolor at the top of this post, the almost abstract blue green wash hopefully feels a little bit like a dream. Maybe a memory. Something fuzzy and abstract in my memory. It’s a barn, actually a barn quite near Rosslyn in the hamlet of Boquet. But it’s not necessarily that barn I’m depicting. It’s many barns including the barns at Rosslyn (carriage barn and icehouse) the barns at The Farm where I spent a few formative early years, and the barn(s) that I hope to one day, same day build or rebuild. In short, for reasons I’m still unraveling, homeness for me includes a feeling of an old, perhaps even an abandoned farm, with barns. More at that anon.

Is Home a Place, a Feeling, or a Relationship? ⁣(Source: Geo Davis)

Is Home a Feeling?

Sticking with digital sketches / watercolors for a moment, that black and white image above was actually made a few years ago to represent Griffin, our Labrador Retriever before Carley. But like the barn, my rudimentary skills at representation allow it to merge into all of our dogs including Tasha, who we had before Griffin, and even Griffin-the-1st, a long ago predecessor and the namesake for our more recent Griffin. That’s a bit jumbled, but it’ll do for now.

Why dogness as a way to explore homeness? Well, frankly, for me, part of the feeling of home is that it’s where my dog is. And when we’re migratory between the Adirondacks and the Southwest seasonally, our dog is with us, maintaining a sense of home even though we’re temporarily nomadic. More on that now soon.

Is Home a Point of Overlap Place, Relationship, and Feeling?

I’ll leave you with this follow-on because I find that it’s surprisingly challenging to tease apart the elements of homeness. Intrinsic to all three, is my beautiful bride, Susan. She is my home in a way that embodies place, relationship, and feeling. What about you?

December 6, 2022
Backcountry Barns

Backcountry Barns (Source: Geo Davis)

My mind’s been wandering to watercolor painting during recent bicycle rides. Wondering about watercoloring as a way of seeing and becoming acquainted and interpreting. Watercolor as a way of knowing. A way of storytelling.

I’m hoping to make time this fall for a fresh foray into watercolor painting. It’s been a while. A long while!

Just about everything I cast eyes upon is begging to be added to the list of images to paint. The orchard’s colorful fruit and lush summer foliage, for example. The Amish man, horse, and buggy trundling past Rosslyn early this morning, silhouetted against a magnificent sunrise…

And Señorita Serendipity seems to approve of my plans. While brainstorming a punchlist of September/October watercolors, recent August skies appear to have been watercolored by the universe. Another portentous twist of fate: my enfatuation with bygone barns was concurrently satisfied during two recent bike rides, orchestrating the watercolor sky plus barn snapshots I was able to share earlier today with a “Backcountry Barns Haiku”.

Time torn, weatherworn
byways by backcountry barns.
Watercolor skies.

After yesterday’s runaway rumination on wavy window glass (with a nod at watercolors), this quick post was practically born of necessity.

https://www.instagram.com/p/CS9iHSCrE6a/

I’m sure I’ve touched on this elsewhere over the years, but it’s worth acknowledging that barn architecture, especially minimalist barns, patinated with weather and time, speaks to something practically primordial in me. My earliest hope when looking for a North Country properties was to convert an old barn into a home. I looked at lots of backcountry barns, but I never made a match. Some day I still hope to explore the barn vernacular, perhaps in a modern and somewhat interpretive way.

Until then I’m going to keep massaging this watercolor metaphor a little longer.

Maybe once I dip my brush into paint this fall more meaningful observations will materialize. Perhaps I’ll be able to better articulate why watercoloring (and wavy glass, for that matter) are helping me decipher and describe my process, my pleasure, and my goals.

For now, and for this post, I’ve returned to the Waterlogue app by Tinrocket to create this (and other recent) digital watercolors. I’ve always used the iOS version beacuase it’s a well tuned flaneur’s tool, always at hand, always handy for a quick “field sketch”. After snapping a photograph I usually import it into the Snapseed app by Google for some pre-watercolor tuneups to creatively manipulate the results in a way that will render a digital watercolor that suits my vision. Then into Waterlogue for some empirical playtime… And voila!

August 24, 2021
Icehouse Rehab 9: Gable End Window in West Elevation

Rendering for Icehouse Rehabilitation, West Elevation with Gable End Window (Source: Tiho Dimitrov)

Bar none, the west elevation of Rosslyn’s icehouse is undergoing the most consequential transformation of all four facades. From clapboard, clapboard, clapboard (except for the second story access door) and minimalist-but-classic barn vernacular architecture, to a veritable wall of glass at ground level and a picturesque gable end window above, the metamorphosis is a sweeping reimagination of an environment often disregarded (perhaps simply overlooked) en route to the vegetable gardens, orchard, back meadows, etc.

To be 100% unequivocal, this understated facade was incredibly pleasing to the eye long before the icehouse rehab was launched.

Icehouse, West Elevation (Photo: Geo Davis)

Even in the dead of winter, when Rosslyn’s lawns and gardens swaddled in snow, this facade is captivating.

Icehouse, West Elevation (Photo: Geo Davis)

And when viewed as a 2-part barn duo with the carriage barn — after all, the impression from most vantage points on Rosslyn’s front property is of both barns’ collective architectural massing — the relationship of scale and perfect classical proportions makes is mesmerizing.

Icehouse and Carriage Barn, from Northwest (Photo: Geo Davis)

I don’t pretend that we’re making a silk purse out of a sow’s ear, but I’m at once optimistic and increasingly confident that our vision, nurtured into a plan by Tiho Dimitrov (architect) with structural oversight of Thomas Weber (engineer), will by late springtime have added a worthy new dimension to this timeless sanctuary.

Framing West Gable End Window

This afternoon’s icehouse rehab update needs few words to convey the impact of Hroth’s progress, framing in the gable end window that will open up breathtaking sunset views from within and will reflect those same spellbinding riots of color onto the large expanses of glass.

Icehouse Gable End Window, West Elevation, Exterior View (Photo: Hroth Ottosen)

By strategically introducing apertures and maximizing transparency in this small structure we’re endeavoring to dilate the living experience beyond the finite building envelope, to challenge the confines of walls and roof, and when possible and esthetically judicious, to improve porosity with abundant new fenestration, dynamic interior-exterior interplay, subtle but impactful landscaping changes (including a new deck) that will work in concert to amplify the breathability of the interior and temptingly invite insiders outside.

Icehouse Gable End Window, West Elevation, Interior View (Photo: Hroth Ottosen)

If you missed the previous west elevation progress report which captured the lower section when it was opened (closed with weatherproofing in the photo above), then it may be a little difficult to imagine the impact of this interior view when BOTH the 1st story glass AND the gable end window are installed. For now you can allow your mind to synthesize the photographs, but within months we’ll be able to show you the new views from the icehouse out to the orchard and beyond.

December 9, 2022