One of Georgia's more architecturally-intriguing houses is Villa Albicini, the Philip Shutze-designed Italianate house located in the city of Macon. Built in 1927, the house was not originally named Villa Albicini. That moniker came about much later when Macon native Betty Hay Curtis purchased the house in the mid-1960s. Hoping to restore the then-faded house to its former glory, Curtis enlisted the help of her decorator friend, Charles Townsend, who found an exquisite pair of embroidered panels for the home's dining room. (I believe these panels date to the late-seventeenth or early-eighteenth century.) The panels had been stitched by French female embroiderers who, at the invitation of Maria Theresa, Marchesa Albicini, traveled to Italy to practice their craft at the Albicini Palace in Forli, Italy. It was the panels' lineage that inspired Curtis to refer to her new house as "Villa Albicini." What strikes me about this house is that it is not particularly large. (Don't we wish that some homeowners and their architects would follow in Shutze's footsteps by building houses in smaller yet architecturally-meaningful ways.) Upon entering the house's entrance gallery, you'll find a dining room to the left and a drawing room to the right. Walk straight ahead through a small rotunda and down a few steps, you'll discover a light-filled morning room, which looks out onto the gardens. Off of the rotunda are a kitchen, breakfast room, and (I believe) two bedrooms and baths, while an additional bedroom and bath, which was a later addition, is located upstairs, above the morning room. A few things to note while looking at these circa-1979 photos: Above both doors leading to the dining and drawing rooms are trompe l'oeil-painted overdoor moldings. The dining room's Venetian chandelier was made for the house, while hand-painted Chinese wallpaper graces the morning room's walls. And it should be mentioned that decorator David Byers also worked on the home's interiors. I assume that one of his contributions was the set of red-lacquered dining chairs with seats upholstered in a Chinese-medallion silk fabric. Byers sold my parents another set of these chairs covered in the same fabric, although in a robin's egg blue colorway. We still dine in these chairs today. A few years ago, I had the opportunity to visit Villa Albicini, whose current homeowner is breathing new life into the home. While much about the house remains the same (with the exception of the Albicini panels, which live elsewhere these days,) a sense of renewal permeates the house. With a sensitive homeowner at the helm, Villa Albicini is poised once again to delight future generations. The Drawing Room. The hand-screened, damask-print wallpaper was one of the first decorations selected for the house. The door leading from the Entrance Gallery into the Dining Room. The trompe l'oeil molding can be seen above the door. You can also see the pair of Albicini panels, which flank the painting beyond. The Dining Room The rotunda leading to the Morning Room The Morning Room The Morning Room The Upstairs Bedroom Photos from Southern Accents, Spring 1979, Sutlive/Warren photographer

The Villa Apartments - now condos - have been on my errand, short cut, and pleasure routes forever. It's a terrace level plus+2, U-shaped ...

One of Georgia's more architecturally-intriguing houses is Villa Albicini, the Philip Shutze-designed Italianate house located in the city of Macon. Built in 1927, the house was not originally named Villa Albicini. That moniker came about much later when Macon native Betty Hay Curtis purchased the house in the mid-1960s. Hoping to restore the then-faded house to its former glory, Curtis enlisted the help of her decorator friend, Charles Townsend, who found an exquisite pair of embroidered panels for the home's dining room. (I believe these panels date to the late-seventeenth or early-eighteenth century.) The panels had been stitched by French female embroiderers who, at the invitation of Maria Theresa, Marchesa Albicini, traveled to Italy to practice their craft at the Albicini Palace in Forli, Italy. It was the panels' lineage that inspired Curtis to refer to her new house as "Villa Albicini." What strikes me about this house is that it is not particularly large. (Don't we wish that some homeowners and their architects would follow in Shutze's footsteps by building houses in smaller yet architecturally-meaningful ways.) Upon entering the house's entrance gallery, you'll find a dining room to the left and a drawing room to the right. Walk straight ahead through a small rotunda and down a few steps, you'll discover a light-filled morning room, which looks out onto the gardens. Off of the rotunda are a kitchen, breakfast room, and (I believe) two bedrooms and baths, while an additional bedroom and bath, which was a later addition, is located upstairs, above the morning room. A few things to note while looking at these circa-1979 photos: Above both doors leading to the dining and drawing rooms are trompe l'oeil-painted overdoor moldings. The dining room's Venetian chandelier was made for the house, while hand-painted Chinese wallpaper graces the morning room's walls. And it should be mentioned that decorator David Byers also worked on the home's interiors. I assume that one of his contributions was the set of red-lacquered dining chairs with seats upholstered in a Chinese-medallion silk fabric. Byers sold my parents another set of these chairs covered in the same fabric, although in a robin's egg blue colorway. We still dine in these chairs today. A few years ago, I had the opportunity to visit Villa Albicini, whose current homeowner is breathing new life into the home. While much about the house remains the same (with the exception of the Albicini panels, which live elsewhere these days,) a sense of renewal permeates the house. With a sensitive homeowner at the helm, Villa Albicini is poised once again to delight future generations. The Drawing Room. The hand-screened, damask-print wallpaper was one of the first decorations selected for the house. The door leading from the Entrance Gallery into the Dining Room. The trompe l'oeil molding can be seen above the door. You can also see the pair of Albicini panels, which flank the painting beyond. The Dining Room The rotunda leading to the Morning Room The Morning Room The Morning Room The Upstairs Bedroom Photos from Southern Accents, Spring 1979, Sutlive/Warren photographer

One of Georgia's more architecturally-intriguing houses is Villa Albicini, the Philip Shutze-designed Italianate house located in the city of Macon. Built in 1927, the house was not originally named Villa Albicini. That moniker came about much later when Macon native Betty Hay Curtis purchased the house in the mid-1960s. Hoping to restore the then-faded house to its former glory, Curtis enlisted the help of her decorator friend, Charles Townsend, who found an exquisite pair of embroidered panels for the home's dining room. (I believe these panels date to the late-seventeenth or early-eighteenth century.) The panels had been stitched by French female embroiderers who, at the invitation of Maria Theresa, Marchesa Albicini, traveled to Italy to practice their craft at the Albicini Palace in Forli, Italy. It was the panels' lineage that inspired Curtis to refer to her new house as "Villa Albicini." What strikes me about this house is that it is not particularly large. (Don't we wish that some homeowners and their architects would follow in Shutze's footsteps by building houses in smaller yet architecturally-meaningful ways.) Upon entering the house's entrance gallery, you'll find a dining room to the left and a drawing room to the right. Walk straight ahead through a small rotunda and down a few steps, you'll discover a light-filled morning room, which looks out onto the gardens. Off of the rotunda are a kitchen, breakfast room, and (I believe) two bedrooms and baths, while an additional bedroom and bath, which was a later addition, is located upstairs, above the morning room. A few things to note while looking at these circa-1979 photos: Above both doors leading to the dining and drawing rooms are trompe l'oeil-painted overdoor moldings. The dining room's Venetian chandelier was made for the house, while hand-painted Chinese wallpaper graces the morning room's walls. And it should be mentioned that decorator David Byers also worked on the home's interiors. I assume that one of his contributions was the set of red-lacquered dining chairs with seats upholstered in a Chinese-medallion silk fabric. Byers sold my parents another set of these chairs covered in the same fabric, although in a robin's egg blue colorway. We still dine in these chairs today. A few years ago, I had the opportunity to visit Villa Albicini, whose current homeowner is breathing new life into the home. While much about the house remains the same (with the exception of the Albicini panels, which live elsewhere these days,) a sense of renewal permeates the house. With a sensitive homeowner at the helm, Villa Albicini is poised once again to delight future generations. The Drawing Room. The hand-screened, damask-print wallpaper was one of the first decorations selected for the house. The door leading from the Entrance Gallery into the Dining Room. The trompe l'oeil molding can be seen above the door. You can also see the pair of Albicini panels, which flank the painting beyond. The Dining Room The rotunda leading to the Morning Room The Morning Room The Morning Room The Upstairs Bedroom Photos from Southern Accents, Spring 1979, Sutlive/Warren photographer

ДЕТИ И ИХ ЛЮБИМЦЫ / Кошечки Paul Hermann Wagner Auguste Ludwig Wilhelm Schutze William Oliver - Full Of Mischie James Hayllar Edmond Louyot Charles Burton Barber Sophie Gengembre Anderson Jeanna Maria Charlotte Bauck Edmund Adler Kugler, Georg Henry Bacon Emile Munier Emile Munier Emile Munier…

One of Georgia's more architecturally-intriguing houses is Villa Albicini, the Philip Shutze-designed Italianate house located in the city of Macon. Built in 1927, the house was not originally named Villa Albicini. That moniker came about much later when Macon native Betty Hay Curtis purchased the house in the mid-1960s. Hoping to restore the then-faded house to its former glory, Curtis enlisted the help of her decorator friend, Charles Townsend, who found an exquisite pair of embroidered panels for the home's dining room. (I believe these panels date to the late-seventeenth or early-eighteenth century.) The panels had been stitched by French female embroiderers who, at the invitation of Maria Theresa, Marchesa Albicini, traveled to Italy to practice their craft at the Albicini Palace in Forli, Italy. It was the panels' lineage that inspired Curtis to refer to her new house as "Villa Albicini." What strikes me about this house is that it is not particularly large. (Don't we wish that some homeowners and their architects would follow in Shutze's footsteps by building houses in smaller yet architecturally-meaningful ways.) Upon entering the house's entrance gallery, you'll find a dining room to the left and a drawing room to the right. Walk straight ahead through a small rotunda and down a few steps, you'll discover a light-filled morning room, which looks out onto the gardens. Off of the rotunda are a kitchen, breakfast room, and (I believe) two bedrooms and baths, while an additional bedroom and bath, which was a later addition, is located upstairs, above the morning room. A few things to note while looking at these circa-1979 photos: Above both doors leading to the dining and drawing rooms are trompe l'oeil-painted overdoor moldings. The dining room's Venetian chandelier was made for the house, while hand-painted Chinese wallpaper graces the morning room's walls. And it should be mentioned that decorator David Byers also worked on the home's interiors. I assume that one of his contributions was the set of red-lacquered dining chairs with seats upholstered in a Chinese-medallion silk fabric. Byers sold my parents another set of these chairs covered in the same fabric, although in a robin's egg blue colorway. We still dine in these chairs today. A few years ago, I had the opportunity to visit Villa Albicini, whose current homeowner is breathing new life into the home. While much about the house remains the same (with the exception of the Albicini panels, which live elsewhere these days,) a sense of renewal permeates the house. With a sensitive homeowner at the helm, Villa Albicini is poised once again to delight future generations. The Drawing Room. The hand-screened, damask-print wallpaper was one of the first decorations selected for the house. The door leading from the Entrance Gallery into the Dining Room. The trompe l'oeil molding can be seen above the door. You can also see the pair of Albicini panels, which flank the painting beyond. The Dining Room The rotunda leading to the Morning Room The Morning Room The Morning Room The Upstairs Bedroom Photos from Southern Accents, Spring 1979, Sutlive/Warren photographer

In March, the Institute of Classical Architecture & Art revealed its PHILIP T. SHUTZE AWARDS in the areas of architecture, artisanship, landscape architecture, restoration and interior design. AH&L presents the 2019 winners.

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One of Georgia's more architecturally-intriguing houses is Villa Albicini, the Philip Shutze-designed Italianate house located in the city of Macon. Built in 1927, the house was not originally named Villa Albicini. That moniker came about much later when Macon native Betty Hay Curtis purchased the house in the mid-1960s. Hoping to restore the then-faded house to its former glory, Curtis enlisted the help of her decorator friend, Charles Townsend, who found an exquisite pair of embroidered panels for the home's dining room. (I believe these panels date to the late-seventeenth or early-eighteenth century.) The panels had been stitched by French female embroiderers who, at the invitation of Maria Theresa, Marchesa Albicini, traveled to Italy to practice their craft at the Albicini Palace in Forli, Italy. It was the panels' lineage that inspired Curtis to refer to her new house as "Villa Albicini." What strikes me about this house is that it is not particularly large. (Don't we wish that some homeowners and their architects would follow in Shutze's footsteps by building houses in smaller yet architecturally-meaningful ways.) Upon entering the house's entrance gallery, you'll find a dining room to the left and a drawing room to the right. Walk straight ahead through a small rotunda and down a few steps, you'll discover a light-filled morning room, which looks out onto the gardens. Off of the rotunda are a kitchen, breakfast room, and (I believe) two bedrooms and baths, while an additional bedroom and bath, which was a later addition, is located upstairs, above the morning room. A few things to note while looking at these circa-1979 photos: Above both doors leading to the dining and drawing rooms are trompe l'oeil-painted overdoor moldings. The dining room's Venetian chandelier was made for the house, while hand-painted Chinese wallpaper graces the morning room's walls. And it should be mentioned that decorator David Byers also worked on the home's interiors. I assume that one of his contributions was the set of red-lacquered dining chairs with seats upholstered in a Chinese-medallion silk fabric. Byers sold my parents another set of these chairs covered in the same fabric, although in a robin's egg blue colorway. We still dine in these chairs today. A few years ago, I had the opportunity to visit Villa Albicini, whose current homeowner is breathing new life into the home. While much about the house remains the same (with the exception of the Albicini panels, which live elsewhere these days,) a sense of renewal permeates the house. With a sensitive homeowner at the helm, Villa Albicini is poised once again to delight future generations. The Drawing Room. The hand-screened, damask-print wallpaper was one of the first decorations selected for the house. The door leading from the Entrance Gallery into the Dining Room. The trompe l'oeil molding can be seen above the door. You can also see the pair of Albicini panels, which flank the painting beyond. The Dining Room The rotunda leading to the Morning Room The Morning Room The Morning Room The Upstairs Bedroom Photos from Southern Accents, Spring 1979, Sutlive/Warren photographer

The 15th-annual Philip Trammell Shutze Awards presented by the Institute of Classical Architecture & Art recognize design excellence in the Southeast

The Villa Apartments - now condos - have been on my errand, short cut, and pleasure routes forever. It's a terrace level plus+2, U-shaped ...

The Villa Apartments - now condos - have been on my errand, short cut, and pleasure routes forever. It's a terrace level plus+2, U-shaped ...

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Things That Inspire: Shutze Award House

There’s a great sense of responsibility that comes with owning a Philip Trammell Shutze-designed house. One of America’s finest classicists, he designed residences from the Swan House at the Atlanta…

It’s not surprising that this Georgian beauty by famed Atlanta architect Neel Reid would be a favorite for designer Patricia McLean, a Shutze Award winner (which recognizes the region’s best in classic design). But this Buckhead home also has sentimental appeal for her.

I'm going the the Shutze Awards Saturday, Feb 12. You should too. At Emory Hospital this would be good enough. But it's more important that that. The Academy of Medicine has 5 five doors, here are 4. Terrace: The parking lot door. This is quite a composition. What is inside? The side door. The front door: The door at Emory's Harris Hall is grand and comfortable. GRAND. The fruity goodness of the Phelan Apartments. One of the "other" doors to The Villa with my favorite asymmetrical curvy stairs. Speaking of curves, this mansion's door curves too. They weren't all so grand and they aren't all still here. The Dwoskin Shops, R.I.P.. Even the least ones were handsome in decay.

Inside Veranda contributing editor Danielle Rollins' Atlanta house designer by Miles Redd.

Creating Exemplary Gardens

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I went the 2011 Shutze Awards last night, at the Piedmont Driving Club, me and about 400 of my best friends. More on that later. In the meantime congratulations to the winners and to architecture tourists everywhere: Folks want to build beautiful places and the talent is here to do it. People left HAPPY. Oh, Phoenix Flies is coming. Click the link up there. The very best thing about the Shutze weekend is meeting fellow enthusiasts when they are in the mood. I found Wright Marshall and I asked if he knew anything about this house. Without hesitating Wright said, "It's a Shutze House and it's in the book." The neighborhood is a house museum. Yet this house, barely showing some ankle, seduces in a glance. It was love at first sight for me, more than 30 years ago. Thing is, you really can't see it, only Zen views, even in the winter. Tall bushes line the curving gravel driveway. Something is there, the rough-hewn flattop obelisks give it away. So you slow down, creep past the driveway. There is something up there. So I went to the book: It's the "Monie Ferst House" 1929 by Philip Shutze. "It may be his only design in the style." American Classicist: The Architecture of Philip Trammell Shutze by Elizabeth Meredith Dowling pp 138 - 139 has the plan and elevation. Drive a bit past the driveway to catch another glimpse though the trees. There is a tower with a curvy roof. Hat tip to blog serendipity. Fellow Architecture Tourist and architect Tom Matthews from Denver wrote Holly at Things that Inspire. (Tom's an architect, not me.) Tom's friend Dewitt Petty must be an AT after my own heart, a long distance house stalker. He'd found a picture of the Ferst house and wanted to know more. Holly referred Tom to me. Here we go: Dewitt > Tom > Holly > Terry (me) > Wright > me > Facebook > Tom, Holly, James, et al > Dewit > Architecture Tourist. Philip Trammell Shutze moves us 80 year later. A 1929 French Normandy bends web-space and time. Your sentimental host is grateful. Bye

The Villa Apartments - now condos - have been on my errand, short cut, and pleasure routes forever. It's a terrace level plus+2, U-shaped little building on a sharp corner amid big pines. Even in winter it doesn't poke out of the trees, so I don't really see it until I'm smack in front - a zen view. I imagine it's a 400 year old Roman building teleported to Atlanta just before I drive by. The wings are straightforward and elegant. This is the sunny side with bleached patina. The side doors and stairs are wonderful but don't shout. Different curves on either side funnel us in and out. The main entrance? I don't know what to say... ...except that it's clearly a job for professionals. If my Shutze posts have taught me anything, it's an appreciation for his entrances. They elevate. This door is important because the people who use it are important. You can see through to the courtyard. And what do you know: iron. The reflections make it look busier than it really is. I must learn some photography. I feel fortunate every time I drive by. No pro photography or pro architecture was committed in this post. Please see all my Shutze Posts if you like. Map: View Larger Map P.S. Here is the Villa Condominium website. P.P.S. Here are a few more pictures. They look great in full screen.

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One of Georgia's more architecturally-intriguing houses is Villa Albicini, the Philip Shutze-designed Italianate house located in the city of Macon. Built in 1927, the house was not originally named Villa Albicini. That moniker came about much later when Macon native Betty Hay Curtis purchased the house in the mid-1960s. Hoping to restore the then-faded house to its former glory, Curtis enlisted the help of her decorator friend, Charles Townsend, who found an exquisite pair of embroidered panels for the home's dining room. (I believe these panels date to the late-seventeenth or early-eighteenth century.) The panels had been stitched by French female embroiderers who, at the invitation of Maria Theresa, Marchesa Albicini, traveled to Italy to practice their craft at the Albicini Palace in Forli, Italy. It was the panels' lineage that inspired Curtis to refer to her new house as "Villa Albicini." What strikes me about this house is that it is not particularly large. (Don't we wish that some homeowners and their architects would follow in Shutze's footsteps by building houses in smaller yet architecturally-meaningful ways.) Upon entering the house's entrance gallery, you'll find a dining room to the left and a drawing room to the right. Walk straight ahead through a small rotunda and down a few steps, you'll discover a light-filled morning room, which looks out onto the gardens. Off of the rotunda are a kitchen, breakfast room, and (I believe) two bedrooms and baths, while an additional bedroom and bath, which was a later addition, is located upstairs, above the morning room. A few things to note while looking at these circa-1979 photos: Above both doors leading to the dining and drawing rooms are trompe l'oeil-painted overdoor moldings. The dining room's Venetian chandelier was made for the house, while hand-painted Chinese wallpaper graces the morning room's walls. And it should be mentioned that decorator David Byers also worked on the home's interiors. I assume that one of his contributions was the set of red-lacquered dining chairs with seats upholstered in a Chinese-medallion silk fabric. Byers sold my parents another set of these chairs covered in the same fabric, although in a robin's egg blue colorway. We still dine in these chairs today. A few years ago, I had the opportunity to visit Villa Albicini, whose current homeowner is breathing new life into the home. While much about the house remains the same (with the exception of the Albicini panels, which live elsewhere these days,) a sense of renewal permeates the house. With a sensitive homeowner at the helm, Villa Albicini is poised once again to delight future generations. The Drawing Room. The hand-screened, damask-print wallpaper was one of the first decorations selected for the house. The door leading from the Entrance Gallery into the Dining Room. The trompe l'oeil molding can be seen above the door. You can also see the pair of Albicini panels, which flank the painting beyond. The Dining Room The rotunda leading to the Morning Room The Morning Room The Morning Room The Upstairs Bedroom Photos from Southern Accents, Spring 1979, Sutlive/Warren photographer

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The Villa Apartments - now condos - have been on my errand, short cut, and pleasure routes forever. It's a terrace level plus+2, U-shaped little building on a sharp corner amid big pines. Even in winter it doesn't poke out of the trees, so I don't really see it until I'm smack in front - a zen view. I imagine it's a 400 year old Roman building teleported to Atlanta just before I drive by. The wings are straightforward and elegant. This is the sunny side with bleached patina. The side doors and stairs are wonderful but don't shout. Different curves on either side funnel us in and out. The main entrance? I don't know what to say... ...except that it's clearly a job for professionals. If my Shutze posts have taught me anything, it's an appreciation for his entrances. They elevate. This door is important because the people who use it are important. You can see through to the courtyard. And what do you know: iron. The reflections make it look busier than it really is. I must learn some photography. I feel fortunate every time I drive by. No pro photography or pro architecture was committed in this post. Please see all my Shutze Posts if you like. Map: View Larger Map P.S. Here is the Villa Condominium website. P.P.S. Here are a few more pictures. They look great in full screen.