This is part one of a three part series on the art of the near-lost art of hand drawing in the practice of architecture.

As an architectural firm, we’re a bit of a dinosaur. That is, we still vitally practice the art of hand drawing.  We apply this archaic craft throughout our design process – from initial sketches to the construction drawings. And, we aren’t planning on changing that anytime soon.

Most modern architectural firms utilize the computer as their main means of composing drawings that will eventually translate into a building. If you visit any given architectural school nowadays, you’d be hard-pressed to find a parallel bar or a triangle, once the base tools of our trade. Drawing, in the practice of architecture, is quickly becoming a lost art. In all the technological progresses happening in our profession, I’m afraid what’s subsequently slipping away is the actual art of architecture.

I certainly don’t want to come across like some old “back-in-my-day-we-walked-to-school-in-three-feet-of-snow” practitioner. I actually love technology and certain advancements it brings. And we are far from being old dogs wary of new tricks. I think that’s evident in this blog, our website, Facebook page, Twitter feed, Pinterest page or Instagram account. But when it comes to proudly producing the work that feeds all those hungry digital mouths, it was cooked up by a bunch of human hands and pencils. You see, I’m absolutely convinced something profound happens between the creative brain and the end of a moving pencil and that this can’t be duplicated by a mind and a mouse or trackpad. Magic is created and the identifying soul of art is produced.  I hope our buildings reflect that. I’ve often been told there is a certain beauty in our work that people can’t quite put their finger on but they spot immediately. I think that’s the human element that they are subconsciously identifying; this thing of wood, steel, brick, stone and glass that sits in front of them was somehow impassioned by the artist. Life was breathed into the inanimate.

This first post in my series focuses on our initial sketches – the veritable graphite seeds of our work. The ones illustrated here (all produced by the agile hands of Bobby McAlpine) are the initial sparks of creation. They are predicated by talking (and mostly listening) to what our client says. Once we identify the heart of who is sitting in front of us and comprehend why the thing is, we can begin what the thing is. Produced first, these loose, tiny drawings convey the spirt and essence of what will eventually become the actualized dream. Our job is then to carry on the energies of these initial drafts into the end product. But we always return to the beginnings, that is where the idea is and, therefore, where the art is at its purest.

Today, there is much talk of things like farm-to-table slow food, bespoke clothing, organic goods and one of a kind crafts.  The handmade is once again being elevated and glorified. Why can’t architecture be that way, too? It’s historically been considered among one of humanity’s fine arts.  We personally try to maintain reasons for it to be on that list.

Next week’s post will focus on the the development of these sketches and the fully realized design that occurs.

Faithfully,
Greg Tankersley, for McAlpine Tankersley

All Content on this Site is the Property of McAlpine Tankersley Architecture. Copyright © 2013 McAlpine Tankersley Architecture, All Rights Reserved Worldwide

This is part two of a three part series on the art of the near-lost art of hand drawing in the practice of architecture.

Last week I began this series of posts discussing the importance of hand drawing in our process of design. I showed you the first step in the process, initial sketches which are the first steps of the journey. Next, we take those sketches and develop them into design drawings which will eventually be presented to our clients.

First, our floor plans are further fostered and are chronicled complete with furnishings laid out in each room. We’ve found that, while some people may not understand the scale and size of a space, they comprehend the size of a chair. All the exterior views are rendered and illustrated with the envisioned materials. So that the client can further peek into our mind, we also draft views of all the main rooms of the structure, again illustrated with furniture. In this way, every aspect of the design is presented to our client so they understand our complete vision for their dream.

Certainly, elaborate computer programs exist nowadays to illustrate and animate architects’ designs. I’ve found, however, these always leave me cold. They waffle in feel somewhere between a bad computer animated cartoon and a role-playing video game. I always half-expect a talking donkey or marauding zombie to pop out at any moment while touring these techno-rooms. Indeed, these computer generated renderings always lack human hand, warmth and emotion; they seemingly cannot escape their mechanistic origin. I remain convinced that the artistry of our creative minds and the expression of our hearts are transferred through our pencils.  These examples are not the productions of a digital library – every stone, window and chair is given deliberate and distinct passionate thought.  Therein lies the artistry of the designer, literally thinking with our hands.

Next week’s post will document how we turn these design development drawings into construction documents for actualizing the building.

Faithfully,
Greg Tankersley, for McAlpine Tankersley

All Content on this Site is the Property of McAlpine Tankersley Architecture. Copyright © 2013 McAlpine Tankersley Architecture, All Rights Reserved Worldwide

This is the final of a three part series on the art of the near-lost art of hand drawing in the practice of architecture.

In my last two posts (or soapboxes, I suppose), I discussed the art of hand drawing in architectural sketches and development drawings. This series concludes with the topic of construction drawings. Construction drawings are the technical drawings in the practice of architecture. They’re the documents that convey to the builder and the various trades how to physically build what we’ve designed.

Although they’re considered the most mechanical aspect of architectural renderings, I hold fast to the belief that there’s a distinct and pertinent art to these drawings. As a draftsman, I’ve found when you’re relying on your thoughts and hand to detail and relay graphic information, you’re in fact building the structure in your mind. Once the drawings are completed, you know that building inside and out. Every dimension, component and condition has passed through your conscious thought and has been made real. It’s now simply a matter of conveying that information to the minds and hands of the talented builders we’re honored to work alongside. I’ve been told by contractors that when their subcontractors review our drawings, they recognize the art that goes into them (as they rarely see hand drawn construction drawings) and their resulting work increases in quality. Our art genuinely boosts theirs.

CAD (computer aided design) has its place in the architectural practice where commissions demands duplication, repetition and cross referencing. Our efforts, however, are very different. I liken our endeavors to having a bespoke suit made. Everything is custom designed for our particular clients; we don’t keep a library of standard details on hand from which to pick and choose. Every piece is individually orchestrated to develop the symphony of the whole.

I rejoice seeing blueprints hanging in museums in exhibits on the old masters of architecture. In our daily efforts, I hope we’re carrying that torch (or pencil as it were) into the next era.

Faithfully,
Greg Tankersley, for McAlpine Tankersley

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Hot off the presses and currently in our hot little hands, is the new book from our dear friend, Lisa Newsom. Veranda: The Art of Outdoor Living is the second book from the delightful founder and editor emeritus of Veranda Magazine. Using her masterful editing skills, Lisa has combed her issues and distilled the best and most beautiful of outdoor living into the leaves of this lush tome.

We’re very honored and proud to be gracing the cover of this new book. The image is from a house we designed in Nashville, Tennessee which was published by Veranda in 2007 (a reprint of the article is posted below).  The house’s outdoor dining space, a classical towering pavilion, was prominently spotlighted on the cover of that issue. We’ve been told by the powers-that-be that this was the top selling issue of Veranda in the history of the magazine.  We sincerely hope it brings the same good fortune to Lisa’s new book.

You can get your copy of Veranda: The Art of Outdoor Living here.  We discussed Lisa’s last book, The Houses of Veranda in a previous blog post, which can be found here.

All the stylish coffee tables should be wearing these books.

Faithfully,
Greg Tankersley for McAlpine Tankersley

All Content on this Site is the Property of McAlpine Tankersley Architecture. Copyright © 2013 McAlpine Tankersley Architecture, All Rights Reserved Worldwide

Cape Dutch architecture is a fanciful style found in the Western Cape Of South Africa. This style was prominent in the early days of the Cape Colony and derives its name from the fact that the initial settlers of the Cape were primarily Dutch. The style’s family tree can be traced back to medieval Holland, Germany, France and Indonesia. In America, though, it’s a design seldom found in the stylistic melting pot of most neighborhoods. With more of our clients exotically traversing the globe, that seems to be changing. We’re seeing a greater number of customers with a desire to go Dutch.

The house pictured above was a design we did in Charlotte, North Carolina about twenty years ago. These particular clients had no distinct look in mind for their new home. Meanwhile, we had become increasingly interested in introducing the provincial Cape Dutch dialect into our architectural speech. We showed these clients some examples of Cape Dutch houses and they were immediately drawn to it. This was not surprising. I’ve always found it a friendly, approachable style. The whimsical baroque gables, bathed in white icing, and miniature dark windows with animated shutters, all result in a romantically convivial facade. Bobby jokes that Cape Dutch homes look to him like sweet, newborn chicks with oversize heads and wee dark eyes.

Most of our more recent attempts at speaking this language have been in Southern coastal areas. Since its birthplace is South Africa, it’s a seemingly natural fit for sun-drenched settings. So, if you’re altogether unfamiliar with this bucolic style, give it a look. It’s a veritable Dutch treat.

Faithfully,
Greg Tankersley for McAlpine Tankersley

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This is another entry in a series of posts titled “open house” in which we offer photographic tours of selected projects.

Nestled in a wooded lot on the shoreline of North Carolina’s Lake Norman lies a grand shingled house we completed almost 15 years ago. A sleepy beast of a house, it almost seems to rise up from a lazy nap to spy who might be trotting up the pier, ready to offer a drink or some shade. The shaggy, sun bleached shingles are freshened by the linen white windows and trim – an classic American combination.

The wooden tinderbox interiors (sheetrock was not invited to weekend here) were casually outfitted by McAlpine Booth and Ferrier.  A humble alchemy of burlap,fruitwood, leather, worn tapestry and stone, the house lures the weary week-worn laborer with promise of leisurely restoration.

Faithfully,
Greg Tankersley for McAlpine Tankersley

All Content on this Site is the Property of McAlpine Tankersley Architecture. Copyright © 2013 McAlpine Tankersley Architecture, All Rights Reserved Worldwide

Last week Ray Booth, Susan Ferrier and I spent a few days in Manhattan attending the annual Design Leadership Network Summit. The DLN is an invited members-only group which brings together top leaders in the construction design world. As its website aptly states:

CARE: Connectivity, Advocacy, Research, and Education is the foundation of the Design Leadership Network, a community of interior designers, architects, landscape designers, construction managers, members of the media, and product company executives, who are among the highest-producing professionals in their industries. Membership provides access to this exclusive network through a proprietary member-only website, special events throughout the year, including the Design Leadership Summit, and research developed specifically for leaders of the design world.

It was the proverbial shot in the arm to be among professionals of such note.  We assembled in some of New York City’s toniest locations: The New York Public Library, Frank Gehry’s IAC building, The Hearst Tower and Avery Fisher Hall.  Discussion was lively with topics ranging from rapid changes in technology (and how to apply them), to predictions of social mores of the newest generation, to the vital importance of sleep in our lives (I particularly liked this pet soapbox elegantly presented by Arianna Huffington).  I learned from my peers that we have much in common:  While we’re fortunate to be extremely busy (if we’re any type of economic indicator, it’s doing well) we all yearn to find balance and create opportunities for happiness in our daily journey.  A deep passion for design and commitment to making our client’s lives graceful and beautiful was a consistent thread in the air.  Needless to say, being amongst like-minded souls buoyed my spirit and truly sparked my imagination.

A few snapshots from the Summit:

Faithfully,
Greg Tankersley for McAlpine Tankersley

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This week’s post is by McAlpine Booth & Ferrier’s Susan Ferrier

Just over a week ago Greg Tankersley, Ray Booth and I returned from the Design Leadership Network Summit.  Many great minds shared with us the latest and greatest in augmented reality, social media, as well as new ways to think about our businesses and how we live our lives in our chosen fields.  All the possibilities were laid before us and I was sated with all the new information.  Inspired to do more and be better at everything, as is always the case when I return from this highly social event, I felt “improved”.

Once home, however, instead of further research into all of the new ideas and directions that I now had on my “to do” list, I could not shake the overwhelming compulsion to dwell on what made the world look and feel better.  With all of the new information that was shared with me I could not veer off my course to affect the world in a positive way visually.

Architects and Interior Designers are in the business of affecting the physical plane of our world by producing a scape that can be seen and touched – lived in and on. Integral to its success is the layering of texture, tones, and the reflection and refraction of shades of light and dark; depth and scale of shape in measured doses to elicit a calculated response.  I would like to touch on the value and importance of beauty.

Neuro-associative conditioning applied to our discipline would claim that to gaze on beauty can improve our health and well being by directly addressing our own internal natures.  Our sensual experiences have a physiological response by stilling our minds, calming our hearts and relieving stresses.

Great beauty has the power to relax and center our energy and emotions.  Lowering our internal pressures free us to see more clearly and calmly.  It is always a goal to create a meditative space that is restorative in nature, a space that you feel better in and are compelled to linger through.

All the images included are of second homes that McAlpine, Booth & Ferrier and McAlpine Tankersley have worked on.  These are houses that purposefully were designed and appointed with the idea that a place thoughtfully addressed adds to the quality of the lives being lived there.  Beauty can be a retreat for healing.  Luxury is a tonic for the soul and we strive to create this elixir in all of our work.  It is my heartfelt wish and goal to touch on our sensual natures.  I am devoted wholly to its pursuit.

I hope you all see this as I do, 

Susan Ferrier

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We have a very exciting announcement!

We’re honored to be included in Architectural Digest’s prestigious 2014 AD100, a compilation of “…esteemed firms which represent a fellowship of trailblazers and standard-bearers whose work is imaginative, intelligent, and inspiring”. This is the second time we’ve been included in this biannual list. The first time was in 2012 when editor Margaret Russell was placed at the helm of the grand old ship.

Bobby McAlpine, Ray Booth, Susan Ferrier, Chris Tippet, John Sease and I attended the glamorous soiree last night at the tony Four Seasons Pool Room in Manhattan where the list was officially announced. Following are some snapshots from the design world’s biggest event.

A huge thank you to the entire staff at Architectural Digest for such high honor and for such gracious hospitality!

Faithfully,
Greg Tankersley for McAlpine Tankersley

All Content on this Site is the Property of McAlpine Tankersley Architecture. Copyright © 2013 McAlpine Tankersley Architecture, All Rights Reserved Worldwide

This is another entry in a series of posts titled “open house” in which we offer photographic tours of selected projects.

This English country style inspired home was our first commission located in Hinsdale, a bucolic neighborhood and Chicago bedroom community. The house is situated on a long, narrow corner lot.  Given the difficult nature of the property, the design of the house realized itself as a one-room deep house. This type of design is very advantageous as the resulting multiple exposures of rooms create a bright, sunny interior. Also, given Chicago’s often-gray climate, this distinct English Country model seemed perfectly in keeping. The house’s exterior became a rambling composition of sagging slate roofs, hand moulded brick and characterful chimneys.

The interiors, designed by McAlpine Booth & Ferrier, became another opportunity to reinforce the English dissertation. Spanning from front to back, the classic stone-paved and wood ceilinged entrance hall allows not only welcome, but a luminous dining bay. A pair of antique crystal chandeliers (sourced from an old house in Montgomery) gives a hint of feminine presence in the manly hall.

Every quintessential grand English country house always features at least one colorful room; these seem designed to compensate for the gloomy clime. Bobby McAlpine, who once had a deep disdain for the color yellow, decided to design an entire yellow-hued living room. He was convinced that, if you inundated a room with various hues of one particular color, it would create a neutral palate. The resulting design created a statuesque salon which always appears bathed in buttery sunlight. Through this exercise, Bobby’s contempt of the color yellow faded in the light.

A furniture tidbit in the salon: Bobby had a series of antique Chippendale dining chairs (of a so-so provence) which he actually cut up, reassembled and created custom benches in this room – a modern take on a traditional style.

We designed this house almost 18 years ago. I recently spoke to the Owners and they relayed a story concerning guests who visited the house a few weeks ago . Their company, who had never been to the house before, thought it was just decorated as it seemed so fresh and new. Sure proof that classic never goes out of style.

Faithfully,
Greg Tankersley for McAlpine Tankersley

All Content on this Site is the Property of McAlpine Tankersley Architecture. Copyright © 2013 McAlpine Tankersley Architecture, All Rights Reserved Worldwide

This week, I had a chat with a young fellow who contacted our office for potential employment. As he was living in the remote un-Southern lands of Connecticut, I asked him how he’d discovered enough about us to warrant his interest.  He simply replied “Facebook”.  Of course, that was only the springboard of his research.  He told me he learned enough about our work and the feel of our firm by our website and social media to peak his interest in working with us.

I’m certainly not part of the X,Y or Millennium generation.  At 52, I’m at the tail end of the baby boomers. I have, however, grown to embrace the new generations’ communication tools of the trade: social media.  When our firm was first developing, we depended solely upon the monthly shelter magazines to get our work and philosophies about design out into the public eye.  Being a bit remote in our Deep South location, we definitely required these publications to establish our place on a national stage. With the Internet, however, other exciting venues are at our fingertips.  Staying relevant in these media platforms is vitally important, especially as our real and potential clients get younger.

I get a lot of questions on how I use social media outlets in our business.  The following are the electronic avenues I tread and how I see their importance in our communication and promotion:

Our Website

Today, websites are as common as business cards: every business has one.  They tend to have a lot of information (as does ours) but are static elements. In studying the analytics of how long the average visitor spends on a visit, it’s not long – 4.27 minutes to be exact (as of last month).  Think of them as pretty billboards.  Folks drive by so you have to catch the eye quickly and get to the point.

Our Blog

Our blog creates an active part missing from our passive website;  it’s fresh and updates frequently.  It’s also not a huge time commitment – perfect for the ADD client or fan.  I write a new post weekly so this allows us to keep our communications open and consistent.  Our followers are a mix of clients (old and new) and fans.  I find it interesting to note our blog gets about twice as much traffic on the whole as our website.  We can also converse about a range of topics – news, philosophies, eye candy pictures and sometimes even practical topics such as this.

Facebook

Any business that’s the least bit social media literate has, at a minimum, a Facebook page.  We’ve had one since 2009 and use it mainly to announce blog posts.  It also comes in handy to announce speaking engagements, book signing parties and other events.  I also promote other blogs who feature our work in their posts.  Some pictures of our projects are posted on our page but I primarily save those for our blog posts.  Facebook remains the social media juggernaut but, as my 16 year old daughter says, “Only old people use Facebook”.  The younger and hipper set go to:

Twitter

Twitter is by far the most spontaneous of all the social media outlets and, therefore, the most fun.  I use it to announce blog posts and news but to also give behind-the-scenes snapshots of our work and travels or to just complain (such as @Delta your in-flight wifi is as slow as Christmas #holidaytweet).  In addition, I’ve been interviewed on a few organized question-and-answer Twitter chat events.  You really have to be on your toes when 100+ folks are rolling questions at you.  Another great use for Twitter is for initiating relationships.  Whenever I attend a design related conference, I begin a conversation with fellow attendees on Twitter.  That way, when we finally meet, they sort of know who I am.

Pinterest

Pinterest is the site our OCD organized clients haunt.  It has replaced the old tear-it-out-of-the-magazine file.  I initially set up our account after finding many pictures of our work uncredited all over the place.  I’ve also used it to set up private boards between clients and me which allow us to share photographs of ideas relative to their project.  Of all the sites I’ve mentioned, I’ve noticed our followings on this site have grown at an incredibly fast rate.  Everyone loves a pretty picture!

Instagram

I’m fairly new at Instagram but have enjoyed it.  Its main function in our promotional basket is to document what catches our eye daily.  Many folks like to see, not only what we’re doing in the design world, but what we find beautiful, interesting or just plain comical.

I’ve found that most designers (of my old-school generation) are apprehensive with social media and often, don’t quite understand its place or purpose.  Through trial and error, I’ve found all the tools I’ve listed to be of great use in promotion and communication.  As I was told by a media expert at a recent design conference, “Your current clients and peers may not be using these venues but your future ones will be.”  While keeping a firm grasp in the traditional past of my profession, I like to keep an eye on where it’s heading and how to successfully be there when it arrives.

Faithfully,

Greg Tankersley for McAlpine Tankersley

All Content on this Site is the Property of McAlpine Tankersley Architecture. Copyright © 2013 McAlpine Tankersley Architecture, All Rights Reserved Worldwide

I once heard Bobby tell a potential client “Never hire an architect or designer until you see how they live”. In other words, do they actually practice what they preach? On this blog, we show a lot of the work we do for others but today, I’d like to open the doors to some of our staff’s homes – in particular, the kitchen. Here’s what a few of our staff have at home on the stove.

During Bobby’s residency in Nashville (he now calls Atlanta home), he renovated and lived in three houses. The picture above is from the most contemporary of the trio; the following is from the most traditional. Both kitchens had a culinary laboratory-like feel and were featured in Veranda and House and Garden, respectively.

My wife, Mary Robin Jurkiewicz, and I have also renovated three houses here in Montgomery. Two of the projects featured a bold programmatic move -the relocation of the kitchen function into existing dining room spaces. In most older houses, the kitchen is usually relegated to a servant’s position in the rear of the house. Meanwhile the beautiful formal dining room usually languishes unused. Room reassignment suddenly allowed a vibrantly active social space to be placed in the least used real estate in the heart of these lovely old houses. Once situated, these “exposed” kitchens called for a new aesthetic – one of furnishing the room as opposed to lining it with cabinetry, A large island replaces the dining table and free standing appliances serve as buffets and armoires. I call these experiments in design the anti-suburban kitchens.

In the renovation of their Craftsman style cottage, partner Chris Tippett and his wife Anne decided to make their renovated kitchen look like an old Southern sleeping porch. Wood plank walls, barn door pantries and wrought iron touches compliment the humble nature of their simple, elegant kitchen.

In the renovation of a turn of the century neighborhood fire station, staff architect David Braly and his partner Mark Montoya turned their talented hands to the creation of their eclectic kitchen. This casual cook’s hearth, located at the end of their sunny living room, comes across quaintly European in nature. It’s evident in this design that David’s extensive travel experiences have marinated and were brought home to simmer. As a matter of fact, this kitchen was recently featured on another blog and can be found here.

Nicely composed and appointed spaces aren’t just delegated to our designers.  Our business manager Richard Norris and his partner, Mark Leslie, turned their small sunlit garden facing breakfast room into a brilliant example of restraint and elegance in kitchen design. A less-is-more exploration, their happy kitchen utilizes a few bold elements: an elliptical marble-topped island, a pier mirror backsplash, a ridiculously gangly gothic chandelier, all combined to create a harmonious chamber orchestra piece. This kitchen was also featured in House Beautiful’s book Kitchens.

I’ll wrap up with the smallest kitchen of the bunch – the kitchen in my Manhattan apartment. Due to the efficiency of New York real estate size, It became an editing exercise in juggling necessity and beauty. Basically a glorified contemporary buffet juxtaposed with a rustic rolling island table, it showed me what little you actually need to get cooking.

Faithfully,

Greg Tankersley for McAlpine Tankersley

All Content on this Site is the Property of McAlpine Tankersley Architecture. Copyright © 2013 McAlpine Tankersley Architecture, All Rights Reserved Worldwide

Walking timidly, toward Christmas
not trusting what I know to want or confess.

I am humbled by design,
by all I’ve gotten and squandered.

The desitnations I’ve mispronounced.
The answer hovers in the air
around me
too familiar too see.
It is “something to pray for”
that is haunting me.

When I was small
it all seemed simple.
I’d put my coins in piggy banks,
but as time rolled on
they had holes and all became gone.

For I’d stored my wishes
and trusted in currency given
not found,
not by me.

So now thoughts roll toward
what I’ve mined myself,
and is mine.

And strangely,
there is no hole.

“I’ve found my wealth.”
I cannot lose.
The treasure is mine.

I surrender
that what’s inside
is all that is mine.

The rest I’ve plumbed
to trot outside.

I’ve found my prayer.
I’ll pray today
to stay that way.

Bobby McAlpine
Catechisms

Photo by Tria Giovan

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Today, we celebrate our 100th blog post!

In keeping with the centennial theme, I’d like to share the profile of our firms that is featured in the January issue of Architectural Digest’s AD100 issue. I’m also including a few paparazzi pics from the AD100 announcement event that took place at the Four Seasons Pool Room in Manhattan last month. This is an esteemed group of 100, of which we are honored to be called a member.

I eagerly anticipate our next 100 posts. Thank you for reading my weekly ramblings for the past two years and I wish you hundreds of blessings in 2014! May it be a grand year.

Faithfully,
Greg Tankersley for McAlpine Tankersley

Photography courtesy of Patrick McMullen

All Content on this Site is the Property of McAlpine Tankersley Architecture. Copyright © 2013 McAlpine Tankersley Architecture, All Rights Reserved Worldwide

We’re excited and proud to announce a new partner here at McAlpine Tankersley. No, it’s not Barbara Bush (though we wish her well in her recovery) but the fellow to her right, David Baker. David joins Bobby McAlpine, Greg Tankersley, Chris Tippett and John Sease as a leader here in our “factory of original thinking” (Bobby’s fond phrase for our office).

David, a native Canadian, began working as a summer student intern and joined the firm right after he completed his Bachelor of Architecture degree in 1998. Soon afterward, he married his wife, Carol, and began to raise a family. Three children, Isabella, Davis, and Lily, call him Dad.  He craves the outdoors and any extra time not devoted to his job, family or church, is spent either on the field, court or green. David’s endless energy and creativity over the years have been made evident in the projects he’s helmed, some of which are pictured below.

Construction picture of a South African Cape Dutch inspired estate, located in Baton Rouge, Louisiana. This house was recently photographed by Architectural Digest and will be featured in an upcoming 2014 issue.

The salon of a recently completed house in Houston, Texas.

Construction of a classical pool cabana, a part of a major renovation project in Charleston, South Carolina.

Construction of a new restaurant, LaV, in Austin, Texas.  Progress on the restaurant was recently featured on the popular national dining blog, Eater.

Construction of a shingled lake house at Lake Martin, Alabama.

Thanks, David for being our long time comrade and we’re happy you’ve joined our professional fold.  We look forword to the lovely wonders you’ll no doubt continue to create.

Faithfully,
Greg Tankersley for McAlpine Tankersley

All Content on this Site is the Property of McAlpine Tankersley Architecture. Copyright © 2014 McAlpine Tankersley Architecture, All Rights Reserved Worldwide

As an architectural element, nothing is more inviting than a bay window. It’s literally like basking in your own personal terrarium, a guest of the concentrated, surrounding sunlight of the day. Traditionally, bay windows are quaint elements furnished with only a long, cushioned seat fit for the single lazy reader or the family cat. We feel, however, these luminous habitats are suitable for much more: their warm, encompassing ambiance should be amplified and celebrated.

By enlarging these fanciful devices, we create spaces that can house entire seating groups, casual dining areas or bathing rooms. Suddenly there is room for all in the coveted window seat. These ports in the storm can now harbor more boats.

On the exterior of the house, these architectural accessories become glowing lanterns at night, light spilling out into the evening. Like moths to a flame, we are unconsciously drawn to these beacons.

The napping cat suddenly has company.

Faithfully,
Greg Tankersley for McAlpine Tankersley

All Content on this Site is the Property of McAlpine Tankersley Architecture. Copyright © 2014 McAlpine Tankersley Architecture, All Rights Reserved Worldwide

There are those who think money is essential in creating something architecturally beautiful. Elaborate finishes, rich materials and custom elements do ratchet up building costs but one need only look around to see that pricey elements are also attributes to a lot of ugly.

I posit that what sets the graceful and beautiful apart from the awkward and homely does not have a price tag attached to it at all. Any thing of great loveliness possesses three magnificent qualities: composition, balance and proportion, none of which cost a dime. To the common eye, this essential triptych of good design goes beautifully unseen. You just instinctively know when something is pretty or looks perfect. These are the mystical tools of any good artist, sculptor and architect whose adept eyes and hands can take basic elements and alchemize them into something extraordinary. This creative orchestration – not monetary expenditure – is what actually separates the sheep from the goats.

Stepping off my soapbox for a moment, I’d like to show some examples to explain how one can see these essential design elements in a piece of work.

The street elevation of this house is an excellent case of how a simple orchestration of elements can create bold imagery. Here, the main gable is squarely anchored by a grand second floor bay window. This bay is made even more lofty by the squatty humble door assembly below – a playful game of proportions. This strongly centered balance is at once thrown off by the lilting roof to the left. Finally, the two small windows (one on the first floor and the other on the second) act as perfectly placed pieces in the composition, tilting the scale to bring the entire formation into balanced harmony.

The prior example was a simple composition exercise; this one is a bit more complex. It is interesting to note, though, that the same basic elements are used – beautiful music is still desirable whether your stage contains a quartet or a full orchestra. In examining this house, the front contains three strong elements – a powerful central gable, flanked on the right by a thin, soaring chimney and a an assembly of stacked windows to the left. This whole composition is a play of proportions – take for example the tiny windows hugging either side of the chimney, almost like children hugging close to their parent. Balanced in the middle of the gable, the enormous stair window sits atop a tiny slit window. Throughout the design of this house, whenever a grand gesture was made, an apology immediately followed. Here, asymmetry, with a nod to symmetry, leads the conversation of civility and balance.

I’ve been speaking of using these elements in the design of a house but, since they are artistically universal, they can also be used in interior design. Take for instance, the above vignette. The strong presence of this Italian desk is paired with a tall, wiry floor lamp – a play of proportions – think Mr. and Mrs. Jack Sprat. The robust symmetry of the desk is then asymmetrically balanced by the grouping of gilt candlesticks on top and a pair of vases on the writing surface. A small painting and book act to further visual equity. Finally, an upholstered stool weights the top-heavy composition to the floor. All is now right.

Look around your life. I’ll bet whenever you come across anything pleasing to your eye, whether it’s a building, a room, a painting, a sculpture, a furnishing – anything of design- it will undoubtedly be a masterful assembly of composition, balance and proportion. You can’t put a price on this. These unquantifiable components are indeed priceless.

Faithfully,
Greg Tankersley for McAlpine Tankersley

All Content on this Site is the Property of McAlpine Tankersley Architecture. Copyright © 2014 McAlpine Tankersley Architecture, All Rights Reserved Worldwide

Bobby McAlpine and Susan Ferrier are like an old married couple, often finishing each other’s thoughts and sentences. It’s no wonder their built collaborations are often so seamless, resulting in a body of work celebrated by some of the top shelter publications in the world. On Thursday, January 30th, the public will get the rare opportunity to crawl into the minds of this creative pair. Bobby and Susan will be sharing the experiences of their combined efforts at the esteemed Cathedral Antique Show in Atlanta, Georgia. Tickets are available here.  It’s bound to be an exciting experience to see and hear how architecture and interior design can work, hand in hand.

Available soon is the duo’s first collaborative tome, Art of the House: Reflections on Design from Rizzoli Books, available for pre-order on Amazon.

We always like to celebrate the anniversary of our blog “Finding Home” with a giveaway – a chance for our readers to grab one of our brass rings (well, usually they’re paper but we hope they have value to our fans). So, to honor our second anniversary, we’re offering the chance to possess a rare McAlpine Tankersley item. We published this little book Finding Home (coincidentally that’s where this blog obtained its moniker) about 10 years ago to celebrate our then 20th anniversary. It was a self-published tiny tome – its pages comprised of sepia photographs of our work and Bobby’s poetry. Originally it was given out to our clients as a humble thank you for their years of patronage. I can’t tell you how many requests I get from folks who want to buy one of these. We only have two or three left and I was able to sneak one out of our business manager’s clutches. Barbara Sallick, the founder of Waterworks, tells me she keeps it on her bedside table and even honored it on her blog.

Leave a comment below and this minute treasure could be gracing your bedside table.

Faithfully,
Greg Tankersley for McAlpine Tankersley

All Content on this Site is the Property of McAlpine Tankersley Architecture. Copyright © 2014 McAlpine Tankersley Architecture, All Rights Reserved Worldwide

Each house we design and draw is a work of art, handcrafted in its detail. We often refer to the houses we design as bespoke, like a custom tailored outfit: a dress or a suit. Just as every house needs a bedroom, bathroom and a kitchen, every suit has sleeves, buttons and collar. Each bespoke suit is made to fit the wearer and every house we do is crafted for each of our clients.

We often find ourselves taking the analogy further. Each house can be discussed in anthropomorphic terms – relating it to the human body or figure and even how we dress our bodies.

When you are out on a porch, enjoying the view, the porch roof should sit down low, like the brim of a baseball cap over your eyes. Perfect for a sunset and a cool drink.

An animated thatch roof sits on top of a landscape folly like a hat, one perched playfully and dramatically on top of a graceful head.

Chimneys or parapetted gabled ends of a Cape Dutch house have shoulders. Nobody wants to see slouching shoulders on a person, so these house “shoulders” should appear relaxed but strong, graceful but confident.

The rafter tails along the edge of a roof should always sit down on top of the doors or windows under the eave. If not, it will reveal too much “forehead” above the doors. That would be like wearing a top hat tilted back at a 45 degree angle on your head.

Houses will sometimes have projected bases or watertables that act as a “belt” around the façade. The human body can look disproportionate if a person wears their belt too high, or too low, or cinched too tightly. A house is the same – its belt will allow the base below to be grounded, while the body (or torso, if you will) above is elevated and accentuated.

Landscape walls and stone bases are meant to be like flared pant legs, or pants with a cuff, providing a connection to the ground that is stable and organic.

Some houses, like their owners, are meant to be tall, slender and elegant. Other houses are low and humble, rooted to the landscape, salt-of-the-earth and kind, just like their owners.

Every client has their distinct personality and style; so too their house. Art and life are entwined in each drawing and design.

“Ars imitator vitae. Ars vitae.”*

Faithfully,

John Sease for McAlpine Tankersley

*translation: “Life imitates art. Art imitates life.”

Congratulations to commenter Jan Hoenk, the lucky recipient of last week’s giveaway!  A copy of our little book, Finding Home, is on its way to you.

All Content on this Site is the Property of McAlpine Tankersley Architecture. Copyright © 2014 McAlpine Tankersley Architecture, All Rights Reserved Worldwide