The ICA&CA – Classicism in Tropical Hawaii

*Courtesy of the ICA&CA’s Web Site

Classicism in Tropical Hawaii

February 26-March 4, 2011

Arranged by Classical Excursions

Join us on the Institute’s premiere tour of the Hawaiian Islands, where you will be introduced to the diverse and very unique Hawaiian style, from the very first and simple Hawaiian thatched huts called Hale, which were built on the islands some 1500 years ago, to the Missionary Period of the 19th century, when the first prefabricated house arrived from New England, and to the Golden Age of Hawaiian Architecture of the Roaring 1920s, known as the Territorial Period. It was the time when such prominent architects as David Adler, Warren & Wetmore, Julia Morgan, Hart Wood, C.W. Dickey, and Bertram Goodhue were designing houses and public buildings on Oahu. The architecture of Hawaii is as diverse and multicultural as the people who populate the islands. This unique tour includes visits to private houses, public buildings of note, museums, as well as our nation’s only Royal Palace.

Hawaii’s population explosion, as well as increased wealth and tourism, which occurred just after the turn of the 20th century, brought forth the Golden Age of Hawaiian Architecture. Not unlike the mainland, architects and commissioners alike initially looked to Europe for inspiration, creating a flux of buildings in the Beaux Arts, Gothic, and Mediterranean styles.

Through the collective efforts of such prolific architects as Dickey, Hart Wood, and Goodhue, a design approach that was appropriate for both the tropical climate and the distinctively Hawaiian environment was developed. Such features as the “Hickey,” a double pitched hipped roof, lanias or porches, deep roof overhangs, and large open spaces take advantage of the trade winds and remove the barriers that exist elsewhere between indoor and outdoor spaces, creating a vernacular style suitable for the islands. This unique six day-exploration of Classical Hawaii will take the traveler to two of the islands, Oahu and the Big Island of Hawaii. DeSoto Brown, Collections Manager of the Bishop Museum, will lead the tour. Mr. Brown’s family has lived in Hawaii for generations.

Tour Highlights

A six-night stay at the luxurious and historic Royal Hawaiian Hotel, located on the oceanfront at Waikiki Beach. The hotel, designed by Warren & Wetmore and built in the 1920s, still retains much of its original salmon-pink appearance and elegant features, though updated with all the modern amenities.

A private tour of Doris Duke’s famed and exotic Shangri La. Built on five acres overlooking the Pacific Ocean, this was Duke’s most private retreat and was designed and decorated in the Islamic style.

A day on the “Big Island” with an exclusive visit of Keawaiki, a private estate comprising of ten acres of black sand beaches and an artesian spring fed swimming pool carved out of the natural rock. The houses and outbuildings on the compound are constructed of lava rock and date from the 1920s.

A tour of the Iolani Palace, America’s only Royal Palace, built in 1882. It is built in the late Victorian vernacular style with such neo-classical details as cast iron Corinthian columns. Also included is a visit to Queen Emma’s Summer Palace.

Visits to three privately owned houses designed by Bertram Goodhue. One of these houses has the original Hart Wood pool house intact and an authentic imported Chinese pagoda.

A reception at the home (designed by Hart Wood) of one of Hawaii’s top interior designers.

A private tour and dinner at the Liljestrand House designed by Vladimir Ossipoff in 1952 and remaining unchanged since then. The house is considered one of the purest examples of Ossipoff’s work with the original furniture designed by the architect still in place.

The Kawaiahao Church, from 1837, is considered Hawaii’s most significant architectural contribution from the Missionary Period. Built of 14,000 coral blocks cut from reefs located some 10-20 feet below surface, the church took five years to build. It is known as Hawaii’s Westminster Abbey.

Honolulu Hale (City Hall), from 1929 and designed by C. W. Dickey and Hart Wood, is in the California Mission Style.

A private visit to La Pietra, designed in 1922 by David Adler as the residence of Walter Dillingham. The house was modeled after La Pietra in Italy where the Dillinghams were married. Presidents and royalty were entertained at La Pietra, which is now the Hawaii School for Girls.

A tour of the Honolulu Academy of Art designed in 1927 by Bertram Goodhue and Hardie Philips. Such features as the massive tiled Hawaiian roof, entrance arcade, open interior courtyards and use of such local materials as lava rock make this distinctively Hawaiian.

A visit to Julia Morgan’s wonderful Beaux Arts style YWCA from 1927. This is one of the finest examples of European design adapted for local use in the Islands.

A curatorial tour of the Bishop Museum. The Bishop Museum was founded in 1889 by Charles Reed Bishop in honor of his late wife, Princess Bernice Pauahi Bishop, the last descendant of the royal Kamehameha family. The Museum was established to house the extensive collection of Hawaiian artifacts and royal family heirlooms of the Princess, and has expanded to include millions of artifacts, documents and photographs about Hawai‘i and other Pacific island cultures.

An evening Luau on the beach, with Hawaiian food, dance, and music.

Tour price: Land cost is $4,050.00 based on double occupancy. Please contact Classical Excursions to reserve your space. Call (413) 528-3359 or A tax-deductible $500 donation to ICA&CA is included in the tour price.

Members at the Contributor or Individual ~ Professional level or higher are welcome to attend our tours. Members at the Donor level and higher receive Priority Registration E-alerts before the general public. Join online today or call (212) 730-9646, extension 104 to upgrade your membership.

In addition, participants are required to make a contribution to the Institute’s Annual Fund—which help to further our mission of advancing the practice and appreciation of the classical tradition in architecture and the allied arts. This contribution is fully tax-deductible.

Last Call For 2011 Arthur Ross Award Submissions

*Courtesty of the ICA&CA

Deadline for Entries for the 2010 Arthur Ross Awards

Wednesday, December 15, 2010

Each year, the Arthur Ross Jury selects five recipients for awards from among the following categories:
• Architecture
• Artisanship/Craftsmanship
• Community Design/Civic Design/City Planning
• Education
• History/Journalism/Criticism/Writing/Editing/Publishing
• Landscape Design/Gardening
• Patronage (for the support of a new project, collection, or body of work)
• Fine Arts: Painting/Rendering/Sculpture/Mural Design
• Stewardship: Good Manners, a.k.a. Historic Preservation for the upkeep and maintenance of an existing entity
• Graphics/Photography/Illustration

Applications must be received in the ICA&CA office no later than Wednesday, December 15, 2010, 5:00 PM EST.



Instructions for Submissions

The nominee can be an individual, firm, or organization from the United States or abroad.

The nominee may submit him or herself.

Others can suggest the nominee, but must deliver a complete submission. Email suggestions for nominees will not be considered without materials. Instructions follow below.

Note: The ICA&CA has a policy of keeping past submissions on file for future consideration. Submissions are welcome from both first-time applicants as well as those who have submitted in previous years. Should a past applicant wish to send updated materials or have a previous submission removed from consideration, please contact ICA&CA Senior Vice President, Henrika Taylor at

Format for Submissions

We request a single binder or folder (of standard size) of no more than 25 excellent images, drawings, or photographs that illustrate the range and depth of the nominee’s work. It is not necessary to submit elaborate or time-consuming and expensive-to-produce presentations. In the interest of space constraints, large format portfolios are discouraged. The binder or folder should also include captions that identify and briefly explain the work.

Slides, electronic files, or CD’s should NOT be sent and cannot be considered.

Current CV or biography

Cover letter to the jury explaining why the applicant is deserving of the Arthur Ross Award.

Registration Fee

Current ICA&CA Members and Professional Members Re-submitting their application: FREE.
Current ICA&CA Members and Professional Members submitting their application for the first time: $25.
All Non-Members: $40.
Click here to register your Arthur Ross Submission

Submission Date & Instructions

Applications must be received in the ICA&CA office no later than Wednesday, December 15, 2010, 5:00 PM EST, and should be sent to:
The Arthur Ross Awards
c/o ICA&CA
20 West 44 Street, Suite 310
New York, NY 10036-6603

Please email questions concerning the Awards to ICA&CA Senior Vice President Henrika Taylor at

The ICA&CA’s Holiday Party and Raffle Information

*Coutesy of the ICA&CA’s e-newsletter.

Holiday Cocktail Party & Travel Program Raffle
Saturday, December 4, 2010 ~ 6:00–8:00 pm

Sponsored by Stern Projects


• $125 per person
to attend the party and to be
entered into the Country Houses of
Sir Edwin Lutyens Travel Program

($60 is tax-deductible)
Travel Programs >>

• $100 per person
to attend the Holiday Party and
Silent Auction
($35 is tax-deductible)

Racquet & Tennis Club
370 Park Avenue ~ New York, NY 10022
Jacket and tie required for men; equivalent for ladies

Space is Limited ~ Reserve Now
(212) 730-9646, ext. 109


One winner will be drawn at random on December 4. Proceeds benefit the Institute’s educational programs in New York and through its network of chapters nationwide.

Additionally, up for silent auction will be our classical architecture 2011 study abroad program, Rome Drawing & Painting (for one) and a one-week stay (for two) at The Brazilian Court & Beach Club, the historic Palm Beach landmark hotel.


Institute of Classical Architecture & Classical America

20 West 44th Street, Suite 310 | New York, NY 10036-6603 | (212) 730-9646
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Discover Classical New York: The Montauk Club and its Architect with Francis Morrone

*Information gathered from the ICA&CA’s web site.


Friday, November 19; Reception at 6PM; Lecture at 7PM

Francis Hatch Kimball (1845-1919) is one of New York’s most fascinating architects. His career spanned the High Victorian period and the later Classical world of the early 20th century and brought forth a deliriously varied body of works, including the Montauk Club, the Trinity and United States Realty Buildings, the Corbin Building, the Gertrude Rhinelander Waldo mansion, Brooklyn’s Emmanuel Baptist Church, the Catholic Apostolic Church on 57th Street, and, in Philadelphia, the Reading Terminal. A pioneering skyscraper architect, Kimball’s works brilliantly exemplify the riotously eclectic tendencies of his times. Join author and architectural historian Francis Morrone for an illustrated talk on Kimball at the Montauk Club—one of architect’s masterpieces.

Participants will meet at the Montauk Club, 25 8th Avenue in Park Slop, Brooklyn. Business attire required. Reception includes an open bar (beer and wine) and passed hors d’oeuvres. Space is limited and paid reservations required (212) 730-9646, ext. 109.

Attendees seeking AIA/CES LEARING UNITS will be charged a one-time $20 ($40 for non-members) processing fee per semester. To pre-register for learning units please contact

All ticket sales are final. No refunds or exchanges.

Cost/Learning Unit: $65 for ICA&CA members and employees of professional member firms; $95 for the general public. 1.5 AIA/CES LUs (Theory) are available.

This program is supported, in part, by public funds from the New York Council for the Humanities and the New York City Department of Cultural Affairs, in partnership with the City Council.

ICA&CA Interview With Jeffrey Davis

CREDITS:  From the ICA&CA’s Fall Newsletter – Interview By Clem Labine

In 1992, when the ICA held its first summer program at the New York Academy of Art, a young column manufacturer was one of the students. Several years later, Jeffrey Davis, founder and president of Chadsworth’s 1-800-Columns, became a member of the Insti­tute’s first board of directors along with Clem Labine, who was profiled in the 2009 Spring/Summer issue of The Forum. They served together on the ICA&CA board as the organization was in its grassroots beginnings so we knew they would have a unique perspective on both the building industry and the ICA&CA today.

CL: A lot of us think of you as “Mr. Columns.” How did you get into the column business in the first place?

JD: Initially, I dreamed of being in politics. I had a solid liberal arts education with a focus on political science. But I found the game of politics disillusioning. So I moved on to the corporate world with the goal to create and build a successful company in the column market.

CL: Where does the name “Chadsworth” come from?

JD: I was impressed by the beautiful English estate, Chatsworth. The name evoked the sense of quality I wanted, but I replaced the “t” with a “d” to stand for my last name.

CL: As I recall, you were a student at one of the early ICA summer programs. What was it like?

JD: I was a student in the very first (1992) ICA six week-long summer program. The instructors included Richard Cameron, Richard Sammons, and Don Rattner. I had been running Chads­worth’s for several years by then. The program taught me so much about the language of classical architecture, but I also learned that classical design isn’t just one simple, set formula. I remember, too, all the fun times we had in the blistering heat of a New York summer: Our classroom wasn’t air conditioned!

CL: Did that ICA program have much impact on your business?

JD: The impact was substantial. I’d learned at the ICA that what was on the market at the time was not classical at all. In order to save money, manufacturers commonly reduced the height and projection of the plinth and base, so when we developed the first mass-produced FRP columns I didn’t just replicate the typical wood stock column. I explained to my production people that with FRP it should cost no more to make a classically correct column. I made a pattern of a classical Tuscan column and this was the beginning of our PolyStone® columns for which, in 2000, Chadsworth’s won an industry award for best new product.

CL: So you were really the pioneer of architecturally correct FRP columns?

JD: Yes! And in addition to the base moldings, we worked on getting the astragal correctly proportioned, well defined, and with the apo­phyge curving from the shaft to the fillet. Some companies produced columns with astragals so ill-proportioned that they projected like flying saucers; others made astragals with no clear defi­nition of the molding shapes. I take a lot of pride in having pushed the stock column industry into better design.

CL: Over the past 10 years have you seen any change in your average customer’s level of sophistication about classical detailing?

JD: When it comes to the average consumer, no. I still spend much of my time educating first-time buyers on proportion, design, and proper use. But I enjoy that part of my job the most. Design professionals, however, are more knowl­edgeable than they used to be due to the growth of the classical movement.

CL: What is the most challenging aspect of the column business today?

JD: My biggest frustration is when architects specify our columns, but the local lumberyard supplies a cheaper product without anyone realizing it until it is too late and the architect ends up disappointed. So we’ve been developing ways to make it easier for architects to get what they specify. For example, in addition to manufacturing and distributing our own col­umns, we’ve added other major column suppliers such as Hartman Sanders, Crown, Dixie Pacific, and HB&G.

CL: Has the internet helped you?

JD: We’ve been adding detailed specification and educational information online, which we hope makes the design and spec process easier. In developing our online store, we’ve also added complementary products such as Focal Point moldings, Life-Time Millwork, and Atlantic Shutters. Of course, price is a challenge. I’ve wanted to develop a low-price guarantee, but lumberyards will almost always find out our price and then undercut it.

CL: I’m curious: What are the biggest columns Chadsworth’s has ever supplied?

JD: Believe it or not, for a project in Kuwait, we furnished wood columns that were 30 feet high and 48 inches in diameter.

CL: Are there things about classical columns that you’re still learning today?

JD: I continue to be astonished by the variety within classical architecture. On a recent trip to Rome I spent time sketching and measuring different column bases and capitals, amazed as ever by the inventiveness of classical architects through the ages. I’m always working to improve stock columns, such as the way the shaft and base join.

CL: Some years ago, you relocated your business and residence from Atlanta to North Carolina. What inspired the move?

JD: When we were in Atlanta, I also had an accounting office in Goldsboro, North Carolina. My parents were running that office, but I spent a lot of time traveling between the two cities. Moreover, my staff was at a point where they wanted to raise families — and I wanted to be closer to my parents. So I asked everyone in the company to look at different cities and list their top three. In the end, we chose Wilmington, North Carolina, for its quality of life. My staff has enjoyed it, and I’ve been able to care for my parents and raise my two nephews through their teenage years.

CL: I understand you recently built a home on Figure Eight Island off the North Carolina coast.

JD: My original thought was just a simple poured-concrete box. But, of course, things soon got more complicated. Building on a barrier island isn’t easy! With a local engineer, I drew up a rough design for a 40-foot cubic house with four columns on the ocean side. I chose to put archi­tectural emphasis on the water side because I had a vision of boats on the Intracoastal Waterway gazing at this villa rising from the sand.

CL: Wasn’t fellow board member Christine Franck involved with the project?

JD: When I realized I wanted a classical villa, I knew the details would be critical and that I’d need a skilled classical designer like Christine. Christine and I looked at a lot of Federal and Greek Revival homes for inspiration. But in the end, what made the most sense was a type of palladian villa with a Roman temple front and high base. The high base was dictated by the local building code, which specifies that water-front homes must have a raised first floor with breakaway construction below.

CL: Is this a year-round residence?

JD: I did not expect it to be — I enjoy traveling and I also have homes in Atlanta on Lake Lanier and in the mountains, as well as a small maison de poupée in France — but Chadworth Cottage turned out to be home-base year-round.

CL: What do you like best about living in Chadsworth Cottage?

JD: I have complete privacy, yet the house never feels overwhelming. The room layout allows me to feel connected to the entire house even when home alone. My favorite features of the house are probably the Tower of the Winds mantel Christine designed for me and the various secret doors and hidden storage. Quite honestly, the house succeeds beyond my expectations! From the time I wake up to the time I go to bed, it is a beautiful, peaceful place to be. Christine visits often, as do family and friends. The house is usually full of folks, as well as my three dogs!

CL: Living on a barrier island as you do, have you had any scares from hurricanes?

JD: Hurricanes and nor’easters are part of living on the Carolina coast. I rode out Ophelia in the cottage and it was remarkable. We deliberately over-engineered the structure of the house so even with gale winds blowing, from inside the house you couldn’t tell there was a hurricane. Aside from that major precaution, before every storm we just close the shutters and move furniture inside.

CL: You’ve been involved with the Institute since the beginning. What changes have you seen?

JD: We’ve grown from an all-volunteer operation to having a dedicated board and a loyal and hard- working staff. Programs have expanded from that one six-week program to the broad range of national programs we have today. Even with all of those changes, though, one thing that hasn’t changed is the valuable friendships that I and others continue to make through the Institute.

CL: As one of its earliest board members, has the Institute lived up to your expectations?

JD: The Institute has exceeded anything I dreamed it would be. I certainly hope it continues to ex- pand its role in promoting the ideals of classicism and teaching the principles of classical design. I hope its mission continues to improve the quality of architecture throughout the industry — from design, to manufacturing, to construction.

CL: You are active in many non-profit and charitable organizations besides the ICA&CA. Is there one that’s particularly close to your heart?

JD: Closest to my heart is Meals on Wheels. I’ve been involved since I lived in Atlanta. I’ve also been on the board of the International Network of Traditional Building, Architecture, and Urbanism (INTBAU), the brainchild of archi-tect Bob Adam. Through INTBAU, I have been gratified to see ICA&CA’s work in the United States expand worldwide.

— Clem Labine