The Charnley-Persky House in Chicago: America’s First Modern Home?

Louis Sullivan and Frank Lloyd Wright collaborated on this sleek, minimal home that defied the ostentatiousness of the Gilded Age. Step back in time and tour this innovative but little-known architectural gem.

Imagine what people thought of a home like this — sleek, modern, horizontal — at a time when Victorians were all the rage. Photo by Leslie Schwartz

When dealing with such legendary icons of the architectural world as Louis Sullivan and Frank Lloyd Wright, it’s not surprising that towering egos and intense rivalry come into play. But with the iconic Charnley-Persky House in Chicago’s Gold Coast neighborhood, who actually deserves the accolades?

“Wright wrote that he had designed the Charnley-Persky House entirely on his own.

The claim couldn’t be refuted, as Sullivan had passed away, and the firm’s records had burned in a fire. ”

Helen Charnley

The Charnleys Want a “Country” Home

Let’s start at the beginning to try to unravel this mystery. In 1891, Sullivan, 34, and his then-23-year-old apprentice, Wright, teamed up to design a residential masterpiece on Astor Street for their wealthy clients, James and Helen Charnley.

The couple were members of the one-percenters of the Gilded Age. James was a banker who made his fortune in lumber, and Helen’s father was president of the Illinois Central Railroad. 

At the time, Sullivan and his partner, Dankmar Adler, were basically the cool kids of the architecture world. They had designed the Auditorium Theater Building in 1889, which is still world-renowned for its acoustics. Business was good.

While many of Adler & Sullivan’s 180-some commissions were for commercial spaces, they also designed about 60 residences. Unfortunately, most of them are no longer standing. In fact, the Charnley-Persky House is the only residence designed by Sullivan that you can still tour today.

So how did the Charnleys manage to snag Sullivan as their architect? Well, it turns out that James’ brother, Albert, was an executive at the Illinois Central Railroad. As our guide, Jean, joked, “The rich like to hang out with other rich people.” 

Adler & Sullivan’s architectural drawing of the James Charnley home

But why did the Charnleys choose this location? They were ahead of the curve. While the Gold Coast is now an affluent neighborhood, at the time it wasn’t exactly a hot spot. In fact, even though it’s not that far north of downtown, it was considered the countryside.

Three-quarters of a mile in one direction, you would reach the Chicago River. Go three-quarters of a mile in the other direction, and you’d find yourself in a notorious slum charmingly known as Little Hell. It was gnamed for the smell of sulfur from the coal gas furnaces that permeated the air. It was so dangerous that even the police wouldn’t go there, Jean told us. (What did that neighborhood eventually become? The infamous Cabrini Green housing project.)

So how did this land become prime real estate? Well, Potter Palmer, Chicago’s richest resident at the time, had a lot to do with it. He built his own home on the corner of Lake Shore Drive, spending a whopping $1 million back in 1882. The house was called “the Castle” for its size and design. 

“Of course, it raised the value of all the land around it,” Jean said. “And so it started to get developed very quickly after that.”

You can see why the Palmer home was called the Castle. It helped make the Gold Coast a hot new housing market.

Sadly, no one could afford to keep up the Castle, and it was razed in 1950. 

Before that, this area was owned by the archdiocese, with parts of it acting as a Catholic cemetery, and the only other building in sight was the archbishop’s residence.

The Charnleys’ first home in the undeveloped Gold Coast neighborhood of Chicago was a site of heartbreak. Note the Palmer Castle under construction in the background.

The Charnleys Join the Neighborhood 

The Charnleys built their first home on Division and Lake Shore Drive, but lost their two young daughters (ages 4 and 6) to diphtheria shortly after moving in. The memories of that house weren’t happy, so they decided to have this one built instead. It was never intended to be a family home. They had larger homes in the suburbs of Lake Forest and Evanston, so this was simply their pied-à-terre in the city, Jean explained.

Even today, it stands out from its neighbors with its modern design, a product of Sullivan’s experimental phase.

After the Charnley’s departure, the house went through several owners, including the Waller family, who had a member living there until 1969. Skidmore, Owings & Merrill (SOM) bought the house next for the headquarters of the Chicago Institute for Architecture and Urbanism and restored it. 

“They didn’t stay here long. But fortunately, they had deep pockets,” Jean said. “So they were able to restore the structure to the way it was, which no private owner could do before them.”

Philanthropist Seymour Persky later bought the house and let the Society of Architectural Historians (SAH) move their headquarters there from Philadelphia. This allowed the house to continue to stand and be appreciated for its architectural significance. As a token of its gratitude, the society added Persky’s name to the home. 

Bustling State Street in the 1890s, when Chicago was one of the fastest-growing cities in the world

Gilded Age Chicago

To put the time period into context, Chicago underwent exponential growth and development during the late 19th and early 20th centuries. 

In 1880 the city’s population was 500,000; in 1890 it had doubled to 1 million; and in 1910 it had doubled yet again to 2.2 million. 

“At that time, the turn of that century, it was the fastest-growing city in the world,” Jean said. “Of course, that’s a thing of the past now. But it was a very new, vibrant, lively, energetic city with lots of money, lots of wealth, lots of disease, lots of extremes.”

Rudyard Kipling visited Chicago around this time and declared, “I urgently desire never to see it again. It is inhabited by savages.” Rude. 

In 1889, the Chicago Sanitary District was formed to reverse the flow of the Chicago River, which had been dumping waste into Lake Michigan and contaminating the city’s drinking water. A New York Times article from the time said that the water in the Chicago River “now resembles liquid.” (Sorry, St. Louis!)

As Jean pointed out, the tail end of the Gilded Age in Chicago was a time of juxtaposition, when typhoid epidemics and inaugural symphony concerts were happening simultaneously. 

Start your tour of the Charnley-Persky House Museum where the servants used to spend most of their time, in the basement. Photo by Leslie Schwartz

The Basement/Visitors center of the Charnley-Persky House 

Our tour of the Charnley-Persky House began in the basement, which is the visitors center. This floor was strictly for the servants’ use, so the family had no reason to come down here.

The basement contains a kitchen, boiler room, laundry room, bathroom, root cellar and butler’s pantry with a dumbwaiter.

The soapstone sink has a concrete basin. “I think the reason it’s still here is because it’s too heavy to move,” Jean speculated. “Some things are just too inconvenient to destroy.”

Overall, the house presented some design challenges, starting with its narrow footprint. It has 4,500 square feet spread across four floors — but it’s only 25 feet deep from one wall to the other. It’s essentially designed in the space of a row house, but with the entrance on the long side instead of the short side. 

What’s impressive is how Sullivan and Wright got creative with elements of the home’s design. Originally, another house was planned to be built against the back wall, so there were no windows on that side. The architects added interior windows to bring light into the space. How sweet of them to consider the welfare of the servants.

The Charnleys were lucky (err, rich) enough to have hot water in the home. When it came to heating, Sullivan and Wright went against the norm by hanging the hot water radiator below the floor — and saved a lot of room in the dining room upstairs.

This genius feature hides the radiator and saves all that space from making the dining room above more cramped. Photo by Leslie Schwartz

There’s a door off to the side of the main room that leads to the coal cellar. It’s actually built under the sidewalk, and a manhole out front offered access for delivery men to shovel coal in.

Higher-end Roman bricks were used on the front of the home, with cheaper Chicago common bricks at the back. Photo by Leslie Schwartz

The Façade of the Charnley-Persky House

Most of the homes in the Gold Coast neighborhood are grandiose 19th century Victorian row houses with sharp vertical lines and elaborate ornamentation on their windows, doors, porches — basically everywhere. Many are made of rusticated brownstone and sport an asymmetrical design.

So one thing that sets the Charnley-Persky House apart is its horizontal layout.

“There’s nothing like it anywhere around here — even now,” Jean pointed out. 

Chicago was a brick-making center in the 1890s, manufacturing about 600 million bricks a year. This house reflects that. On the back side, Chicago common brick was used. Uneven in color and crumbly, they were made from clay in the Chicago River. They were also much cheaper than other types of brick. However, the front and sides of the home feature more expensive Roman brick and natural limestone.

The front door of the house. You can see the importance of horizontal planes and symmetry in the home’s design. Photo by Leslie Schwartz

In the design, Sullivan exaggerated the horizontal planes. The natural limestone goes all the way across the front section and the side. There’s a balcony that spans the front. It has pillars, but they are short and squat. The Roman brick is narrow. And you can’t see the low-hipped roof at all.

The design is notable for its lack of ornamentation around the windows and doors. “Sullivan wanted the mass of the building itself to be present to us, and not to cover it up with all kinds of frills and doodads — that’s the architectural term,” Jean joked.

Also in stark contrast to its neighbors, the house is completely symmetrical, with the front door and balcony in the center and the same number of windows on each side. 

The house is devoid of decoration, aside from the metalwork on the balcony, which features some of Sullivan’s recurring motifs. Photo by Leslie Schwartz

Looking at the design of the Charnley-Persky House, there are a few key motifs worth noting. One of these is the incised pattern on the balcony, which can be seen throughout the building, including the front door. Sullivan loved to incorporate organic shapes and patterns into his work, and he often referred to the pointed oval motif as a seed pod. 

“He put them on every single thing he designed,” Jean said. “Everything, even down to the tombs in Graceland Cemetery.”

Sullivan was certainly ahead of his time with this house. He was so proud of it that he advertised it in architecture magazines in England, promoting it as the first American modern design. 

Louis Sullivan, on the left, most likely designed the Charnley-Persky House — but that didn’t stop Wright, on the right, from taking credit later in life.

The Sullivan and Wright Controversy 

Wright was working as a draftsman for Sullivan at the time the Charnley-Persky House was built. Evidence shows that Adler and Sullivan, well-established architects at the peak of their business, would design the entire plan of the house, including the decoration and wood choices. Then, Wright would fill in some of the details. 

“So, while there are some unique elements that may be Wright’s additions, the overall design was likely a collaboration between the three architects,” Jean informed us. 

But that’s not what Wright claimed. In his 1932 autobiography, Wright wrote that he had designed the house entirely on his own. And the claim couldn’t be refuted, as Sullivan had passed away in 1924, and the firm’s records had burned in a fire. 

“Sullivan and Wright were very close, until they weren’t,” Jean said. “They both had very big egos.”

Wright left Adler & Sullivan in 1893. He claimed he was fired for moonlighting, building other houses on his own.

“But evidence suggests Sullivan didn’t care,” Jean went on. “I think Sullivan said, ‘You’re fired.’ And Wright said, ‘You can’t fire me — I quit.’ It was one of those situations. I think Wright had reached a point where he had the skills and the confidence to leave and go on his own.”

Jean added that Sullivan was an alcoholic and very difficult to get along with, while Wright was brilliant and visionary. 

The narrow entrance hall at the home, where the fireplace takes center stage. Photo by Leslie Schwartz

Inside the Charnley-Persky House: The Foyer

Step inside, and the first thing you notice is the foyer fireplace, which boasts original mosaic designs that echo flickering flames. The flue is hidden underneath the stairs and goes up the back. The fireplace has no mantel, which allows for an unobstructed view and emphasizes those horizontal lines that are a hallmark of Sullivan’s style.

Sullivan incorporated elements of the Arts and Crafts movement, which highlighted craftsmanship and natural materials. The use of wood as the main decorative element and the incorporation of organic motifs, such as oak leaves and acorns, were typical of this style.

Wide, expensive white oak panels feature prominently. Remember, Charnley was in the lumber biz. 

Those skylights illuminating the stairwell and landings is something you’d typically find in commercial buildings — not a family home. Photo by Leslie Schwartz

The design of the Charnley-Persky House reflects Sullivan’s experience with commercial buildings, as well as his innovative approach to residential design. The atrium and skylight, which were more commonly found in commercial buildings, allowed for natural light and air to flow through the home. This was a departure from the typical dark, closed-off interiors of Victorian homes.

To either side of the door are cozy alcoves. The Charnleys didn’t leave any letters, diaries or photos, so we have no idea how the family used these spaces. However, there’s only one sitting room, so it’s possible that these alcoves served as small reception areas for guests before entering the dining room.

No one’s quite sure what the Charnleys used the alcoves to either side of the front door for. Photo by Leslie Schwartz

According to the 1900 census, the Charnley family had two live-in Swedish servant girls. “You know,” Jean said. “You’re a servant girl until you’re at least 80.” The “girls” did the cooking, cleaning and everything else that needed to be done around the house.

The dining room at the Charnley-Persky House was much less elaborate than most in the Gilded Age. Photo by David Schalliol

The Dining Room

Wide, beaded paneling was all the rage back then. You could buy strips of beaded wood and simply glue them onto a surface. Sullivan kept the room plain and modern, aside from the fireplace. The richly carved mahogany mantle with a stylized four-point seed pod motif, surrounded by a vegetal pattern, is set above African rose marble tiles imported from England.

“I don’t know why they’re not from Chicago. We made everything else,” Jean mused. “But anyway, that’s where they’re from.”

The rose marble tiles of the fireplace in the dining room came from Britain, while pretty much everything else was locally sourced.

The buffet isn’t original, but the woodwork suggests that there was probably a built-in piece of furniture there at some point. So the folks at SOM custom-designed one to fit in. Look closely: Its design mimics that of the house exterior.

Unusual for the more-is-more Gilded Age, there are no parquet floors or ledges to be filled with statues, crystal and the like.

The Charnleys were quiet folk who didn’t entertain much. In addition to the deaths of their daughters, James was diagnosed with Bright’s disease in the mid-1890s. This chronic kidney inflammation had no treatment or cure — it was a one-way ticket to the grave. He survived only 10 years after his diagnosis.

Unfortunately, the Charnleys couldn’t catch a break. James’ brother and sister-in-law ran off with $100,000 from the Fourth Presbyterian Church. Their two sons felt such shame at their parents’ actions that they both committed suicide.

“Money really cannot buy you everything,” Jean said.

But there’s a glimmer of happiness in this sad tale. Enter Seymour Persky, the philanthropist who swooped in and saved the mansion from demolition. He was a lawyer-turned-developer who made a fortune and then dedicated his life to collecting architectural artifacts, bless his heart.

The servants would do prep work in the butler’s pantry, where they could stay out of sight but still keep an eye on how dinner was progressing.

Off the dining room is the butler’s pantry. My favorite detail: the narrow window in the door, where the help could keep an eye on the diners’ progress. 

“During the Victorian era, they say children should be seen and not heard. I think servants were supposed to be neither seen nor heard,” Jean said. “They just sort of floated in when they needed to take a plate away.”

The Charnleys’ sitting room is now home to the Society of Architectural Historians library.

The Sitting Room

The highlight of the sitting room (now the SAH library) is the gorgeous tiger stripe white oak paneling. It’s called “tiger stripe” because it looks like, well, a tiger’s stripes. The wood didn’t come cheap. It’s cut from quarter-sawn wood, which is basically like slicing a citrus fruit into wedges. This is wasteful, but it brings out the beautiful and distinct grain pattern. Keep in mind, though: Charnley was a lumber baron, and wood was certainly an area where he could splurge.

At the time, the biggest commodities in Chicago were meat, wheat and lumber. While at least 200 lumber schooners entered the Chicago River every day, the industry had started to decline. The northern forests of white oak in Michigan and Wisconsin had been depleted. And on the day of the Chicago Fire, there was also a huge fire in Peshtigo, Wisconsin, a lumber mill town, which burned to the ground.

People switched to Southern yellow pine, and the industry dispersed instead of being centralized in Chicago.

The benches, cabinets and leaded glass in the sitting room are all original.

There’s another beautiful fireplace in here, this one with carved oak leaves. And again, African rose marble. 

Those scrolling leaves are pure Sullivan, but it’s believed that the geometric design in the middle of the sitting room fireplace woodwork was most likely a Wright touch.

One detail that experts believe came from Wright is the geometric ornamentation of the fireplace panels. It’s unlikely that Sullivan would have conceived the pointed arches and flat, almost Gothic stylized leaves, as this is an arrangement that one would expect from Wright.

The star of the show: The amazing screen that somewhat hides the staircase is one of the elements attributed to Wright in the home’s design.

Upstairs: The Staircase, Bedrooms and Balcony

In my opinion, the most striking part of the home is the staircase. The stairs are set back a bit behind a screen of slender oak spindles, so they appear to be floating. “It’s a beautiful way to illuminate the stairs without closing them off,” Jean said, adding that scholars believe this may have been a Wright touch as well.

Upstairs are two bedrooms, access to the balcony and beautiful (if a bit precarious) woodwork looking down to the first floor. Photo by Leslie Schwartz

The bedrooms are now offices for the architectural society. The rooms themselves aren’t overly impressive, with small unadorned fireplaces ordered from a catalog. There was no need to impress others, you see; it’s the idea of private vs. public space. But they do boast unheard-of amenities at the time: Each has an en-suite bathroom and walk-in closet. 

One interesting tidbit: Unlike most homes of the wealthy at the time, James and Helen shared a bedroom. But we knew they had modern sensibilities when they hired Sullivan to design the home.

Another staircase in the back corner of the landing leads all the way from the basement to the fourth floor, where the servants’ bedrooms were located. They were about half the size of the other bedrooms. While you might think the servants had it nice since the top floor has the best view, just remember that there wasn’t any air conditioning — and heat rises.

The only real outdoor space found at the Charnley-Persky House is the front balcony. Photo by Leslie Schwartz

The balcony was the only outdoor space. Because the house is close to the lake (and this is the Windy City, after all) there’s always a nice breeze. It looks west, to what was a shop across the street. “Not much was going on,” Jean said. “And then Little Hell. So you didn’t need to see too far.”

That pinkish-putty brown color (Jean’s not a fan) matches the original hue of the balcony.

The house was given to the SAH, but unfortunately, there’s no endowment to support its upkeep. Tours, donations and the efforts of the architectural society subsidize the preservation of this magnificent house so that it can continue to be enjoyed for generations to come. 

If you are a Chicagoan interested in architecture or history, or are visiting Chicago and looking for something to do after you’ve seen the Bean, book a tour to experience the birth of the modern home, designed by two of the world’s most famous architects.

The home is open for docent-led tours every Wednesday and Saturday at noon year round. There’s an additional Saturday tour at 10 a.m. from April to October. Tours are free on Wednesdays and cost $10 on Saturdays. Reservations are required and tours are limited to 10 people. –Wally

Look for this fence to enter the small sunken courtyard that leads to the visitors center to start your tour. Photo by Leslie Schwartz

Charnley-Persky House Museum

1365 North Astor Street
Chicago, Illinois 60610
USA

 

Pretty in Pink: Parroquia San Miguel Arcángel

Discover the strange history of this iconic church, the lively Jardín it overlooks and the riotous Festival of San Miguel. 

Parroquia San Miguel Arcángel, an icon of San Miguel de Allende, Mexico

“It’s just like the Disney Castle!” 

It’s a refrain you’ll hear often when you show pictures of the iconic church in San Miguel de Allende. Only, for my money, it’s cooler, cuz it’s pink — and I’d much rather be in Mexico than Disney World. 

“The church was designed by a self-taught indigenous stonemason named Zeferino Gutiérrez, who was inspired by a postcard of a Belgian church.

Apparently, Gutiérrez had never seen a cathedral in person, so he just winged it, scratching his design in the sand with a stick. ”

You’ll never tire of seeing the Parroquia San Miguel Arcángel (they really need to come up with a solid nickname). And the good news is, almost every time you head out to explore the charming colonial town, you’ll find yourself passing by the church and the main square, known locally as el Jardín. 

Behind the church is a quaint cobblestone street.

A Towering Legacy: Construction of San Miguel’s Most Famous Landmark

The exact date of construction is a matter of debate. There’s a convoluted history on the church’s website, stating that the first iteration was in 1564 — while others believe it wasn’t completed until the 1700s. The church has undergone so many renovations and additions over the years that it’s difficult to discern what the original structure looked like.

Perhaps all those renovations is why San Miguel Arcángel is a delightful mishmash of different architectural elements. The exterior features a Neo-Gothic façade that was added in the late 19th century, while the underlying structure is more Mexican Baroque. 

San Miguel de Allende is for lovers.

But let’s face it: The real stars of the show are the towering spires. They’re the stuff of legend, designed by a self-taught indigenous stonemason named Zeferino Gutiérrez, who was inspired by a postcard of a Belgian church. Apparently, Gutiérrez had never seen a cathedral in person, so he just winged it, scratching his design in the sand with a stick. 

Whatever the case, the end result is magical — he created those fantastical, otherworldly spires that look like they belong in a fairytale.

Part of its undeniable charm is the fact that it’s pink. The stones used in the Parroquia San Miguel Arcángel’s façade are cantera, a volcanic rock likely sourced from nearby quarries. Over time, the stones have taken on a more vibrant shade of pink, winning the hearts of visitors and locals alike.

Duke sits on the steps at the side of the church.

The church sort of leans to one side, which has led to various theories about how it came to be that way. Some say it was built askew on purpose to ward off evil spirits or to align with the position of the sun. Others attribute its slant to an earthquake or even the Devil himself. In reality, the tilt is likely due to the sandy soil San Miguel Arcángel was built on, which has shifted over time. This natural phenomenon is known as subsidence and is a common problem in many parts of the world.

In recent years, efforts have been made to stabilize the church and prevent further subsidence. However, the tilt remains a distinctive feature of the Parroquia San Miguel Arcángel and adds to its unique character and charm. Hey, it worked for that Tower of Pisa.

The Parroquia San Miguel Arcángel has seen some violence over the years.

The Cristero War and the Parroquia San Miguel Arcángel 

The San Miguel Arcángel parish has seen some real action over the years. For one thing, it was witness to the bloody Cristero War of the 1920s. This violent conflict pitted Catholic rebels against the anti-clerical government of Mexico, with both sides fighting tooth and nail for their beliefs. San Miguel Arcángel wasn’t spared from the brutality — bullets and bombs left the church’s walls scarred and pockmarked. In addition, some of the priests of San Miguel Arcángel were killed or exiled during the conflict. 

The church was later repaired, a testament to the resilience of the locals and a symbol of Mexican history and faith.

The interior of the Parroquia San Miguel Arcángel didn’t go entirely as planned.

A Work in Progress: The Interior of Parroquia San Miguel Arcángel 

While I’m utterly smitten with the whimsical exterior of the Parroquia San Miguel Arcángel, the interior ain’t too shabby, either. It also features a variety of architectural styles, including Gothic, Baroque and Neoclassical. The high ceilings and intricate details create a sense of grandeur and awe. The main altar is adorned with gold leaf and features a statue of San Miguel, aka Saint Michael the Archangel, the church’s namesake. 

Wally thinks this would be a great place to propose to someone.

Off to the side is a smaller chapel adorned with surprisingly modern murals that look Cubist. 

A chapel in the back corner of the church has a Cubist-esque mural showing indigenous Mexicans on one side and Catholic monks on the other.

As impressive as the interior is, though, it’s not quite finished — or what was first intended. In fact, the original plans for the interior were much more grandiose, but due to a lack of funding and resources, many of the ideas were never fully realized. 

On the side of the church is a statue of Fray Juan de San Miguel, who founded the city and was, in turn, named for Saint Michael the Archangel.

Saintly Swordsman: The Legend of San Miguel

So who exactly is the archangel the church is named for? 

Well, with a name like Miguel, which means “Who Is Like God,” it’s not surprising that he’s the commander of the heavenly host. He’s often depicted with a sword, ready to do battle against Satan and his minions. 

San Miguel is also the patron saint of police officers and soldiers. 

Plaza Allende, commonly known as the Jardín, is the bustling center of this charming colonial town.

The Heart of San Miguel: Exploring the Jardín, the City’s Vibrant Central Park

Parroquia San Miguel Arcángel overlooks the main town square, the Jardín, formally known as Plaza Allende. This lively square is the beating heart of San Miguel de Allende. If you’re looking to people-watch, hear a mariachi band, pose with the giant puppets called mojigangas or grab some street food (we had elotes one night that were delicious), this is the place to be. 

Dancing by the gazebo

A mariachi trumpeter

Mariachi bands entertain the crowds in the plaza in front of the church.

The Jardín is situated right in the center of town, which makes it a prime location for all sorts of festivities and events. It’s flanked by the church on one side, and rows of shops and restaurants on the others, so there’s always something to see and do.

Grab dinner at the elote stand.

Wally digs into his elote.

But the Jardín wasn’t always the lovely green space it is today. In fact, it used to be a marketplace where vendors sold everything from produce to livestock. It wasn’t until the early 20th century that the town decided to convert it into a park, complete with benches, a gazebo and trees that have been trimmed into circles.

If you can, time your trip to coincide with the Feast of San Miguel at the end of September.

Feast of San Miguel and the Crazy Castillos of the Town’s Biggest Fiesta

Duke and I happened to be in SMA during the Feast of San Miguel — but, as odd as it might sound, no one told us about it! Thank God we happened to be walking through the Jardín and noticed that they were erecting wooden scaffolds in front of the church. 

We looked at a flyer pasted to the wall that listed local events. Lo and behold, it was none other than the town’s biggest frickin’ festival! 

There was a café on the corner we’d been wanting to check out, so we popped in there and got some drinks while we waited for the festivities to begin. 

The week-long Festival of San Miguel, aka La Alborada, takes place around September 29, the saint’s feast day, usually culminating on the following weekend. 

The festival’s firework show was the most impressive we’ve ever seen — in part because of the gorgeous backdrop of the church spires.

And what a festival it was! A crowd gathered in front of Parroquia San Miguel Arcángel, and mariachis played their tunes. But the pièce de résistance were the castillos, those towers we had seen, rising up like giant matchstick sculptures in front of the church. 

Local craftsmen build these towering infernos, using skills and techniques that have been passed down through generations. It’s truly a sight to behold. 

The castillos are a wonder to behold.

When they’re lit, stand back — and let the sparks fly! The pyrotechnicians manning the castillos are like mad scientists, firing off bursts of firecrackers in all directions, painting the night sky above San Miguel Arcángel in a kaleidoscope of colors amid ear-splitting booms. The fireworks on the castillos emit high-pitched wails, spin like Catherine wheels, and form images and words. The whole spectacle was unlike anything we had seen before. 

Forget the drawn-out firework shows you see in the States; this was a machine-gun riot of color and explosions — the best we’ve ever seen. A huge grin was plastered on my face, and I’d turn to my neighbors, strangers united by sharing this marvel, and we’d shake our heads and laugh, unable to believe we were witnessing such magic. –Wally

Parroquia San Miguel Arcángel from el Mirador, overlooking the town of SMA

Parroquia San Miguel Arcángel

Principal s/n
Zona Centro
37700 San Miguel de Allende
Guanajuato
Mexico

 

Step Into the World of Gossip Girl: The Ultimate NYC Tour

Spotted: a glam guide to the most iconic Gossip Girl locations! Take a journey through the scandalous lives of Manhattan’s elite. Grand Central, the Empire State, the Met steps — here’s everything you need to feel like you’re living in the show.

Are you ready for a story of love, drama and betrayal? Well, then hop aboard for a tour of Gossip Girl shooting locations. 

I still remember the days when my classmates and I would huddle around the TV, transfixed by the scandals and love triangles of our favorite Upper East Siders. From the unforgettable (and toxic) pairing of Chuck and Blair to Serena’s iconic style — not to mention Lonely Boy’s emo angst — Gossip Girl had us hooked.

“It wasn’t just the characters that captured our hearts — it was the city that served as their playground.

New York City became a character in its own right, a backdrop for the drama and glamour that unfolded on screen. ”

But it wasn’t just the characters that captured our hearts — it was the city that served as their playground. New York City became a character in its own right, a backdrop for the drama and glamour that unfolded on screen. And as a die-hard fan, I knew I had to experience it for myself.

That’s how I found myself on a bus full of fellow Gossip Girl enthusiasts, ready to embark on a tour of the show’s most iconic filming locations. We chose BCS charter bus rental for our journey, knowing that we would be in for a comfortable ride with amenities like plush seats, a bathroom and even a fridge. And of course, the show’s killer soundtrack was a must-have for our journey.

Our adventure took us to some of the most famous spots from the show, from Grand Central to the steps of the Met. And we of course made a stop at the Empire State, where Chuck and Blair’s romance reached new heights (and lows).

As we traveled around the city, I couldn’t help but feel like I was living my best Gossip Girl fantasy. 

Stop 1: Grand Central Terminal

89 East 42nd Street

Let’s go back to where it all began: iconic Grand Central. This is where Gossip Girl’s leading lady, Serena, returned to NYC in the very first episode. I’ll never forget the moment Dan laid eyes on Serena here, which set off a chain reaction of drama.

After grabbing a coffee at Central Market, we headed inside to see the spot where it all began for ourselves, snapping some pics of the breathtaking architecture.

Stop 2: The Campbell

15 Vanderbilt Avenue

The Campbell isn’t your average bar — it’s a scene straight out of Gossip Girl. With three distinct areas, including a cozy fireplace, it’s no wonder Serena and Nate chose this spot for their steamy rendezvous. At the time, Nate was still dating Blair. Talk about scandalous!

This historic bar has been given a stylish makeover and is a must-visit destination for any fan of the show.

Stop 3: Museum of the City of New York

1220 Fifth Avenue

Get ready to step back in time and experience the history of New York at the Museum of the City. It boasts an impressive collection of photographs, interactive exhibits and in-depth analyses of the city’s architecture and infrastructure during various eras.

But what’s the connection to the show? The museum was a filming location for the Gossip Girl reboot. It’s where the new characters made their grand entrance at Constance Billard School, and we couldn’t help but feel like we were part of the show’s elite crew during our visit.

Stop 4: Empire Hotel

44 West 63rd Street

We couldn’t have a Gossip Girl tour without a visit to the Empire Hotel, the stomping grounds of Chuck Bass himself. This iconic hotel is not only a filming location but a hub for luxurious dining and posh accommodations.

We had a meal at PJ Clarke’s and reminisced about all the Chuck and Blair drama that unfolded within those walls. And don’t miss the chance to take in the stunning view from the rooftop bar — it’s the perfect spot to feel like a true Upper East Sider and get a view of the iconic neon sign. 

Stop 5: Empire State Building

20 West 34th Street

We couldn’t leave New York without a visit to the Empire State Building. It’s not only a world-renowned landmark, it’s also the site of one of Chuck and Blair’s most epic moments. This is where Blair was supposed to meet Chuck — but things didn’t go quite as planned.

Don’t worry — our visit was drama-free, and we were able to take in the stunning views of the city from the top.

Stop 6: Metropolitan Museum of Art

1000 Fifth Avenue

Last but certainly not least, we have the iconic Met. This museum may have many impressive exhibits, but let’s be real. We’re all here for one thing: the steps. These stairs are the backdrop of some of the most memorable scenes from the show, where Blair and her minions held court.

We couldn’t resist taking our own Blair-inspired photos on the steps, and felt like true Upper East Siders for a moment. It was the perfect ending to our Gossip Girl tour of New York.

Following in the Footsteps of Your Favorite Gossip Girl Characters

Are you following along, fellow GG addicts? If you’re anything like me and want to immerse yourself in the fabulous world of the Upper East Side elite, then this is the tour for you! Rent a charter bus, gather your squad of Gossip Girl enthusiasts and hit up all the iconic spots from the show. From Grand Central Station to the Met’s legendary steps, you’ll feel like you’re living in the show itself. Trust me: It’s a full day of fun and a must-do for any true fan. 

So what are you waiting for? Grab your Blair headbands and don your Chuck Bass suits and hop aboard! You know you love me. XOXO –Alexandra Karsonn

Centro Cultural San Pablo: A Hidden Wonder in Oaxaca

An art-filled secret alley, award-winning design and a mission to preserve the indigenous heritage of the region, thanks in part to the Biblioteca de Investigación Juan de Córdova. Oaxaca’s cultural center is where culture and community come together. 

The cool stonework in the passage leading to the cultural center

It opens up like a secret passage. At first we noticed the distinctive and charming herringbone pattern on the ground, chevrons of stone interspersed with grass. 

We were drawn toward it, mesmerized. Then we looked up and around — and discovered a wonderland squeezed between two massive edifices. We had happened upon the art-filled alleyway that leads to the Centro Cultural San Pablo in the Mexican art-filled and mezcal-soaked town of Oaxaca. 

The Alleyway Art Spaces at Centro Cultural San Pablo

Outside the Centro Cultural San Pablo, in the alleyway that leads to its entrance, there’s a gallery to the left if you enter off of Miguel Hidalgo, as well as a smaller exhibit space at the other end (which had a three-dimensional re-creation of Van Gogh’s painting Bedroom in Arles). 

It’s not hard to figure out what this portion is called the Plaza de los Paraguas (Umbrella Plaza).

A diorama at one end of the alley was a real-life re-creation of Van Gogh’s painting Bedroom in Arles.

But the alley itself is the coolest part. It’s like walking through an immersive art exhibit — and it’s free for all to enjoy. At its center is the Plaza de los Paraguas, or Umbrella Plaza, an art installation of colorful umbrellas that form a canopy overhead. 

Once you’ve had your fun exploring the alley, it’s time to head into the cultural center — which is no less impressive. 

The interior courtyard of the Centro Cultural San Pablo had seats set up for a musical performance.

Convent-Turned-Cultural-Gem: Centro Cultural San Pablo 

The Centro Cultural San Pablo is housed in a massive structure that was originally a convent for the Dominican order back in the 16th century — and shares the building with the boutique hotel we stayed at, Casa Antonieta, and the Oaxaca Textile Museum. A local philanthropic organization, the Alfred Harp Helú Foundation, spent 186 million pesos (about $10 million) to acquire and renovate the building.

And what a job they did! The cultural center opened in 2011. Once you step inside, you completely forget you’re in an ancient edifice. In an interview with ArchDaily, Gabriela Carrillo explained that when designing the cultural center, she and her partner, Mauricio Rocha, were inspired by the traditional architecture of Oaxaca. “We were looking for a language that would allow the building to be understood as part of the city,” she said. “We didn’t want it to be a foreign object that just landed there.” 

That may be the case, but in a colorful, charming and crumbling town, it certainly feels fresh and sleek. The duo has ingeniously blended a modern flair with traditional elements. 

Three sides of the main space feel as if they haven’t been updated much since the nuns made this their home. But one wall is a work of art — three stories entirely encased in glass with steel frames.  

“Our work is about finding a balance between the past and the future, between tradition and innovation,” Rocha told Wallpaper*. 

Mission accomplished. But the Centro Cultural San Pablo isn’t just a pretty face — it’s also a multifunctional space that serves the community. “The design is driven by the idea of being a cultural platform that can adapt to different types of events,” Carillo explained. 

The roof of the cultural center retracts to be open to the sky on nice days.

Rocha and Carrillo’s work on the Centro Cultural San Pablo has helped to cement their reputation as some of Mexico’s most talented architects. Their design scored them the prestigious World Architecture Festival’s Building of the Year Award in the Culture category in 2018. The project was also a finalist for the Mies Crown Hall Americas Prize and was selected for the ArchDaily Building of the Year Award in 2019.   

A wander through the first-floor gallery

A Creative Hub and Cultural Playground: Exploring the Vibrant Events Scene at Centro Cultural San Pablo

Since it opened in 2011, the Centro Cultural San Pablo has become a beloved institution in Oaxaca, known for its innovative programming and commitment to promoting the arts and culture of the region.

For locals and visitors alike, the cultural center is a hub of activity, with events and exhibitions that showcase the diversity and richness of Oaxacan culture. Film, concerts, conferences, presentations and classes, from traditional dance to pottery — there’s always something going on at the center. 

Sculptures of musicians lined one wall of the courtyard.

While we were exploring, we wandered through an art exhibit on the first floor, then watched the staff set up for a musical performance by a female harpist. 

A harpist preps for her concert.

We also passed a table near the entrance displaying a variety of native handicrafts. I assumed it was educational, but Duke somehow deduced the objects were actually for sale. We both gravitated towards a small tureen in the shape of an armadillo (because obviously). And for 510 pesos (about $26 at the time), the price was right. The wares were a selection of items from the nearby shop Andares del Arte Popular. 

A friendly young woman explained that we’d have to pay at the store across the street, but we should explore the center, and she’d walk us over when we were done. 

The Biblioteca de Investigación Juan de Córdova is open to the public. Its mission is to preserve the indigenous cultures of Oaxaca.

Preserving Mesoamerican Heritage at the Biblioteca de Investigación Juan de Córdova

The stunning glass wall is part of a small research library that’s open to the public. The Biblioteca de Investigación Juan de Córdova has a cool mission: It’s dedicated to preserving and sharing the rich cultural heritage of the state of Oaxaca. They conduct research on Mesoamerican cultures, organize events to share it with others, and work to preserve and digitize their collections.

A side passage is visually arresting — though we have no idea of its purpose.

Mi Casa de la Cultura Oaxaqueña Es Su Casa de la Cultura Oaxaqueña

All in all, Centro Cultural San Pablo has made a profound impact on the cultural landscape of Oaxaca and beyond. Through its innovative programming, commitment to social justice and celebration of the region’s rich traditions, it has become a beacon of creativity and hope, inspiring generations of artists, activists and cultural enthusiasts.

Glass pillars create an interesting vista in one of the upstairs windows.

It’s no wonder the Centro Cultural San Pablo is also known as Casa de la Cultura Oaxaqueña, or House of Oaxacan Culture. This nickname reflects the cultural center’s mission to promote and celebrate the rich traditions and diverse cultures of Oaxaca state. If there’s one thing that becomes abundantly clear when you visit this region, it’s that Oaxacans are fiercely proud of their heritage and take great pains to preserve it. It’s what makes this such an incredible place to visit. –Wally

The interesting alleyway drew us in immediately — only later did we discover the cultural center.

Centro Cultural San Pablo

Miguel Hidalgo 907
Centro
68000 Oaxaca de Juárez
Oaxaca
Mexico

Hours: 10 a.m. to 8 p.m. (Monday through Saturday)
10 a.m. to 6 p.m. (Sunday)

The Pabst Mansion in Milwaukee: Hopped Up on History

Take a tour of the historic home of the preeminent beer baron, Captain Frederick Pabst — an architectural gem from the Gilded Age that’s sure to quench your thirst for fun things to do in Milwaukee. 

“Could you tell whoever put up that cell tower to move it, please?” Wally asked our tour guide, Roxie. “It’s ruining my shot.”

My parents are always up for an adventure. Whenever they come to visit us, we find a fun day trip to take. Since they typically drive to see us and only spend a few days, the maximum distance for these excursions is about two hours away. When we visited my family in the fall, we toured Graycliff, the summer residence built for Darwin Martin’s wife Isabelle and designed by Frank Lloyd Wright. 

Next up: the Pabst Mansion in Milwaukee. Like Graycliff, it’s a historic property that had been acquired, adaptively reused and inadvertently saved by the occupation of a religious organization. Milwaukee is 92 miles, or about an hour and a half away, from Chicago, where we live, so the opportunity to tour the former home of a beer baron and his family made for an intoxicating destination. 

“The Pabst Mansion cost $254,000 in the early 1890s — a figure equivalent to about $8.4 million today. ”

A bust of the beer baron

A Brief History of the Pabst Mansion 

In 1890 Captain Johann Gottlieb Friedrich “Frederick” Pabst commissioned architects George Bowman Ferry and Alfred Charles Clas to create a 20,000-square-foot residence on what was then Grand Avenue (now Wisconsin Avenue). The home was one of the finest of the 19th century mansions built on Milwaukee’s premier residential street. 

The project was completed two years later at a cost of $254,000, which included the home, furnishings and artwork — a figure equivalent to about $8.4 million today. Pabst had 8,000 square feet of the house for himself, his wife, Maria, and the four children who survived to adulthood. The remainder was used as living quarters and service areas for the staff. The Pabsts employed up to 15 servants, who ran the day-to-day operations of the house.

The residence was modern for the time and one of the first to be wired for electricity, 10 years after this new-fangled energy source had arrived in Milwaukee. Additionally, the home boasted 10 full baths and a state-of-the-art central forced-air heating system. 

You’ll notice a theme that runs throughout the tour: elaborate decoration.

Face Value: The Exterior of the Pabst Mansion

Built in the Flemish Revival style, the mansion’s striking cream-colored brick façade features terracotta ornamentation and corbie gables, stepped triangular peaks, which reflect 17th century Northern European architectural forms. The gables have spires that were replicated and replaced as the originals had been destroyed by lightning sometime in the 20th century. 

Our gang taking a group shot in front of the landmark

Beneath the loggia and flanking the mansion’s double doors are a pair of ornate hand-forged ironwork window grilles emblazoned with the initials FP, for Frederick Pabst, of course. They feature delicate scrollwork and rosettes and were made by Austrian-born blacksmith Cyril Colnik. Captain Papst met Colnik at the 1893 Columbian Exposition in Chicago and encouraged him to come to Milwaukee. Colnik agreed, and set up a successful studio, where he worked until his retirement in 1955. Considered the “Mozart of Metal” for his skill at sculpting with iron, he achieved national fame as one of the foremost metal craftsmen of his time. 

The beautiful murals throughout the Pabst Mansion were painted over when the Catholic church took possession of the house. Thankfully, the restoration team was able to remove the offending coat of white and preserve the scenes beneath like this one.

Altar(ed) States: The Church’s Ownership — and the Battle to Save the Pabst Mansion

Following the death of their mother, Maria, in 1906, Gustave and Frederick Pabst Jr. put the palatial family home up for sale. After a couple of years had passed without any prospects, the boys sold the property to the Roman Catholic Archdiocese of Milwaukee for $97,000 as a residence for the archbishop and offices. The sale included the furniture of the ladies parlor, music room and formal dining room. 

By 1974 the archdiocese had outgrown the mansion, and the last archbishop to live there, William Edward Cousins, moved out. It’s difficult to comprehend, but the mansion’s future was at risk. The property was sold to a real estate developer whose sole interest was to demolish the historic home in favor of a parking lot for his neighboring business, the Coach House Motor Inn. 

Our tour of the home was led by the fabulous Roxie.

Thanks to the advocacy of a citizens’ preservation group, Wisconsin Heritages Inc. (WHI), now known as Pabst Mansion Inc., the historic home was saved. They secured a mortgage, and in 1979 the Pabst Mansion was recognized on the National Register of Historic Places and opened for public tours shortly thereafter. As for the Coach House Motor Inn, it has since been absorbed into Marquette University and serves as Mashuda Hall, a coed residence for freshmen and sophomores. 

We were bummed we couldn’t tour the Beaux Arts Pavilion off to the side of the mansion. It’s undergoing restoration.

From Pabst to Present: The Pavilion

To start our tour, we followed our colorful and delightful guide, Roxie, from the Welcome Center next door to the front of a small structure known as the Pavilion. The elaborate Beaux Arts confection designed by Otto Strack extends to the east of the mansion and connects to the home via a covered walkway. The pavilion was originally the Pabst’s display at the 1893 Chicago Columbian Exposition. 

After the fair ended, it was dismantled and transported to Milwaukee, where it was incorporated into the beer baron’s home. Made almost entirely of terracotta, its exterior is ornamented with motifs, including steins, cherubs riding swans and figures representing the god and goddess of wheat and barley. 

The Pavilion began as the Pabst’s display at the Columbian Expo in Chicago, then became a conservatory, chapel and visitors center.

Originally, it was used by the Pabst family as a conservatory for rare and tropical plants. Every summer during the family’s occupancy, their gardener would bring one of their palm trees outside in spring and plant it in the yard, providing a bit of exotic flair. 

Shortly after the occupancy of the archdiocese, the Pavilion was converted into a private chapel for the archbishop. Stained glass windows were added as well as the cross crowning the copper-domed pavilion. 

Unfortunately, at the time of our visit, we were unable to go inside as the structure was undergoing restoration. Buildings constructed for expositions aren’t meant to weather the elements year after year (read the fascinating The Devil in the White City), so the plan is to completely dismantle and reconstruct the Pavilion.  

Off to a good start! The reception hall at the Pabst Mansion has seating, warm-toned wood and a cool antler and iron chandelier.

Making an Entrance: The Reception Hall

Our group followed Roxie through the front doors and into the reception hall of the grand home. I’d describe it as more of a room than a foyer and can only imagine how visitors felt when they arrived. Influential guests at the residence included Teddy Roosevelt before he became president of the United States, while he toured Milwaukee in one of Captain Pabst’s carriages. 

Looking up, I admired the coffered wood ceiling and wrought iron and elk antler chandelier, the focal point of the hall. Sadly, the original, which was fabricated by Colnik, had been removed and purchased by Karl Lotharius for his German tavern Von Trier before WHI had acquired the property. The group enlisted master craftsman Dan Nauman of Bighorn Forge Iron Works to reproduce the fixture and restore the exterior window grilles. A smaller, less ornate chandelier hangs in the musician’s nook. 

Note the wall covering in the reception hall — it’s a costly embossed linen imported from London known as Tynecastle canvas. 

The original art collection by Captain Pabst and Maria featured some of the best artists of the time. Notable works in the room include Halt Before a Wallachian Station, painted by Christian Adolf Schreyer, above the fireplace, and the haunting marble bust of Captain Pabst by Gaetano Trentanove, an Italian sculptor who emigrated to America for the World’s Columbian Exposition of 1893. Like Colnik, Trentanove settled in Milwaukee and opened a studio, which led to a steady stream of portrait commissions from the city’s elite. 

A nook used by musicians to play for guests during parties is situated to the back of the reception hall. It holds an elaborate Black Forest clock and an intricately hand-tooled leather chair. 

Before we proceeded, Roxie provided us with a few basics about the Pabst Mansion: The ground floor was dedicated to entertaining guests and is divided into distinct public and private areas, including the reception hall, two parlors, a formal dining room, a smoking room and Pabst’s study. 

Wally’s favorite room was the ladies’ parlor. He’d have been sneaking in there all the time.

Fit for a Queen: Maria Pabst’s Ladies’ Parlor

The first room we entered off of the reception hall was the elegant ladies’ parlor, where Maria received her society friends. It’s decorated in the Rococo Revival style and showcases gilded curvilinear plasterwork that seems to swell and bloom as if blown by gentle gusts of wind. Fuchsia silk wall panels, curtains and tufted upholstery have been reproduced using samples taken from the original chairs. 

“This feels like a room Marie Antoinette would have had at Versailles,” I whispered to Wally. 

“Yes,” he said. “Only a lot smaller.”

The bright pink floral fabric, which covers chairs and wall panels, certainly makes a statement and helps brighten the cream-colored room.

Bust of Marie Pabst Goodrich by Gaetano Trentanove

Selecting the Fabric by Frederick Solacroix

Hand-painted lilac on the ceiling medallion

While we were admiring the details, Roxie told us about the horrific modifications made while the home was occupied by the church. Most of these were made during the tenure of Archbishop Cousins, who lived in the home from 1959 to 1974. 

For starters, the ladies parlor, along with the rest of the home’s interior walls, ceilings and woodwork, were painted white. This meant covering up some beautiful murals, evoking gasps of horror by our tour group. 

Cousins also had cream-colored wall-to-wall carpeting installed in the first and second floors. 

As Roxie was telling us this, my mind couldn’t process why the archdiocese would have done this to such a magnificent home — especially considering how opulent the interiors of cathedrals can be. 

Thankfully, restoration workers found that the paint used by the church came right off, and the original murals could be preserved.  

The music room was a favorite hangout space for the family and their guests. None of the Pabsts learned to play the piano, though, strangely enough.

Perfect Pitch: The Music Room 

The Pabsts used the less formal Renaissance Revival style parlor for family use and to entertain guests. The walls feature low mahogany wainscot panels and faux ebony twisted columns. Other noteworthy items include a baby grand piano with two stools for duets and a mechanical music box. Although none of the Pabsts apparently knew how to play the piano, the couple welcomed touring performers, undoubtedly appearing at their Pabst Theater, to play for a small audience of friends. 

Their youngest daughter, Emma, married Rudolph Nunnemacher in this room in 1897. The elaborate ceremony was held under a canopy of white and gold silk with pink electric lights on a raised dais.

Fun fact: the Pabst Mansion logo was inspired by their wedding invitations, which featured hand-painted watercolor scenes taken from photographs of Rudolph’s global travels, paired with the couple’s initials. 

Touring pianists would entertain the family.

Love it! A statue of Cupid

Portrait of Captain Pabst by Charles James Fox

Another fun fact: Apparently, Captain Pabst always wanted a brown Jersey cow. (I guess that answers the query, What do you get the man who has everything?) According to a local newspaper, on Pabst’s last Christmas, in 1904, his two sons, Frederick Jr. and Gustave, surprised him by wheeling a cow into the music room. Sadly, the Captain bought the farm, so to speak, six days later, on New Year’s Eve. 

The dining table was set up for 10 but could extend to seat 22!

A Seat at the Table: The Formal Dining Room 

Roxie told us that the dining table, chairs, built-in cabinets and mirrors were all custom-made by the Milwaukee-based Matthew Brothers Manufacturing Company, one of the most prominent furniture manufacturing houses in the United States during the 19th century. When fully extended, the dining table can seat 22 people. 

She continued by sharing an interesting story about the light fixture that hangs above the table. It was considered a marvel of modern engineering at the time, as it was equipped to use gas, kerosene and electricity. 

Landscape paintings above the doors were painted over by the archdiocese but were also able to be restored.  

The formal dining room is on the first floor of the mansion.

A small pale yellow tiled conservatory is attached to the dining room.

Fun fact: The darkly humorous actor Vincent Price filmed a commercial while seated at the Pabsts’ dining room table, ready to tuck into a submarine sandwich from Cousins Subs. 

On Captain Pabst’s desk is a letter he wrote to his children telling them that a good name is more important than riches, and imploring them to be generous and honest.

Hidden Assets: Captain Pabst’s Study

The Captain’s study is the most Germanic and elaborate of the rooms: tooled leather, trophies and an ornately carved armchair with lion-headed arms. I couldn’t help but admire the room’s highly detailed walnut and oak woodwork. Roxie explained that the interiors were inspired by the 17th century German Renaissance, and an antiquing technique was used to appear older than they really are. 

Fun fact: The study contains 14 hidden compartments that are accessed by catch levers. The Captain concealed books, important documents and cigars in his humidor. 

The oil painting over the fireplace, Plowing in Saxony by Richard Lorenz, is thought to have reminded Pabst of the village where he was born. 

The elaborately carved cabinets held secret compartments.

The window features “breath of life” marks left by the glass blower.

A small secondary desk in the study

The leaded glass windows are composed of uniform panes spun into circular shapes known as rondels. Because they’re mouth-blown and produced one at a time, each disk has a slightly irregular pontil mark left behind from the detachment of the blowpipe that’s referred to as the breath of life. 

On top of the desk is a copy of a letter written by Captain Pabst in 1899 to his children. It was included with his will, and I found the following passages to be particularly moving:

“Be generous and unselfish to each other in case of need, and above all, be honest and noble in all your dealings, not only with each other, but with the World. 

I want you to always have a good name. It is better than riches, and your greatest happiness will come from the knowledge of doing right.”

The ceiling panels of the study were painted by Louis Mayer, who ingeniously used different-colored stains to emulate the appearance of inlaid wood. Be sure to look up at the wood coffered ceiling with hand-painted panels inscribed with German proverbs.

The archway under the stairs held a telephone closet.

Step Up: The Grand Staircase Hall

Pabst embraced new technology: The home had its own telephone room, which is located in a small closet beneath the grand staircase. 

My mom, who Wally and I call Mima, remarked that she thought it was where Harry Potter lived, a reference to the cupboard under the stairs where the beloved boy wizard was forced to stay with his aunt and uncle, which made Roxie laugh. 

A cattle skull detail on the landing, looking down at the first floor.

The Pabst home was filled with statues and paintings.

The finials that adorn each of the grand staircase’s nine newel posts were cleverly designed to replicate hops buds. A stained glass skylight tops the stairwell and fills it with natural light. 

The landings at Pabst Mansion served as rooms themselves. And check out the stained glass doorway to granddaughter Elspeth’s room!

The Sum of Its Arts: Second Floor Foyer 

We ascended the staircase and stopped on the second floor. This is where several of the family’s bedrooms are located.  

Roxie had mentioned earlier that Captain Pabst was a humble man who never forgot where he came from. This is evident in the artwork he and Maria collected. The painting Farewell to the Homeland by Wilhelm Koller depicts immigrants on a ship about to set sail, most likely on their way to America. A few of the subjects are looking back in despair, not knowing where they were going, while others are sharing a drink and are expressing a sense of hope. 

Emma had quite the setup, with a desk and vanity in her bedroom.

Austen-tacious: Emma’s Pabsts Regal Bedroom 

The first bedroom we toured belonged to daughter Emma, who lived in the mansion until 1897, when she married. Her room is decorated in the Regency style, which is reflected in the ormolu swag and tassel design on the fireplace mantle. The motif is repeated in the wall coverings, which were replicated for the room. If you look closely, the design depicts what appears to be swans drinking from a fountain. 

Emma’s room is the only one in the home that has all of the original bathroom fixtures and the fanciest toilet tank I’ve ever seen — it has an embossed and gilt laurel wreath and garland motif. The tub, with its oak rim, had been removed and relocated to the basement by the archdiocese. 

The Pabsts weren’t scared of mixing patterns, we’ll give them that!

Our group paused in front of a portrait of eldest daughter, Elizabeth Pabst von Ernst. Roxie told us about her tragic passing: During construction of the home, Elizabeth became ill after the birth of her daughter, Emma Marie, and died six months later from appendicitis. She was only 26 years old. Rumor has it that the Pabsts blamed her death on her husband, the German painter Otto von Ernst. 

Roxie went on to tell us that the Pabsts approached their son-in-law to discuss Emma Marie, their granddaughter: “Look, we would like to adopt her,” they said. “We feel that we can provide her with a better life and would like to make sure that she receives the inheritance that her mother would have gotten.” Otto agreed. Captain Pabst gave him $10,000, told him to leave, and he did. After the proceedings had taken place, her name was changed from Emma Marie to Elsbeth in remembrance of her mother, Elizabeth. 

It seems a bit strange to have a large portrait of yourself as a focal point in your bedroom, but hey. That’s a painting of Elsbeth Pabst by Caesar Phillip in the young girl’s bedroom.

True Blue: Elsbeth’s Room

Elsbeth was the only small child to grow up in the Pabst Mansion, and she was spoiled accordingly — she was given the most elaborately decorated room in the home. It’s richly ornamented in Rococo style and includes carved pilasters, silk wall coverings and a Venetian glass chandelier. Her room was further enhanced with a fine hand-painted frieze of floral wreaths and ribbons.

Roxie tells our group about Elspeth, whose father was paid off so she could live in the Pabst Mansion.

Fun fact: During restoration of the bathroom, Dave Strickland, the owner of Affiliated Artists, removed 11 layers of paint and made the discovery that the walls had originally been painted a light blue. While that color is now paired with baby boys, it used to be the opposite: Blue was for girls, and, believe it or not, pink was for boys.  

That’s a portrait of Maria Pabst above the fireplace in her sitting room.

A Cozy Retreat: Maria’s Sitting Room 

Maria’s sitting room is more casual than the opulent bedrooms of Emma and Elsbeth. With its floral wallpaper, cherry woodwork and comfortable furniture, it provided a retreat where the lady of the house could read and attend to her correspondence. 

The raised platform was where Maria would try on dresses — and do needlepoint when she had insomnia.

Roxie informed us that Mrs. Pabst suffered from insomnia. Unlike Wally, who conks immediately after putting on an audiobook, Maria would often get up in the middle of the night and come into the sitting room to do needlepoint. 

The sitting room for Captain Pabst is, honestly, pretty unimpressive compared to the other family members’.

Separate Beds: The Master Bedroom 

Roxie pointed out that the master bedroom had two double beds on either side of the room. This prompted the following conversation:

Wally: So they slept in separate beds?

Roxie: But you know they got together sometime, right?

Wally: Well, they did have 10 kids!

A curious piece of art now hangs in the room that was taken from the brewery office of Captain Pabst. The painting features children as the main subjects and is titled The Art of Brewing by Hermann Michalowski. In it, alarmingly young kids are shown drinking beer. Roxie explained to us that the artist’s intent was to depict the purity of the product, and of course children are traditionally viewed as good and kind. 

Be sure to check out The Art of Brewing by Hermann Michalowski to see depictions of toddlers boozin’ it up.

Why was Erik Heyl, Lisette’s grandson, painted wearing a dress? Roxie told us that it made it easier for kids to go to the bathroom before they were potty trained. 

Fun fact: Marie’s steamer trunk was returned to the Pabst Mansion after it was picked up from a collector who found it sitting on the curb outside of the private men’s hangout, the Milwaukee Club. The institution had been decluttering and was unaware that the unassuming trunk belonged to the famous beer baron’s wife. It’s marked MP on the top and M. Pabst on the bottom. 

The third floor landing

Troubles of the Pabst

At this point, Roxie pointed out that every family has problems, and for Captain and Mrs. Pabst, one was their eldest son, Gustave. In the summer of 1892, he met the freshly divorced Shakespearian actress Margret Mather. The pair fell madly in love and eloped. It wasn’t long before Captain and Mrs. Pabst found out, and they were not pleased. 

Three years later, the couple was seen arguing. A piece circulated in the national news reporting that Margret chased after and struck Gustave with a horsewhip. Although both parties denied this publicly, their marriage ended shortly thereafter. At the time, it was the largest divorce settlement in Wisconsin: Margret received $30,000 from Captain Pabst to not contest the suit. She took the money, and in 1898 she staged her theatrical comeback in a production of Cybelline, collapsed onstage in the middle of a performance and died later that evening. 

The servants had a tiny table — but they had some pretty Delft tiles to admire.

Rewarding Hard Work: The Servants Dining Room

The final room on the tour was the servants dining room. A mutual respect existed between Captain Pabst and his staff, which is reflected in the servants quarters. Their dining room includes hand-painted delft tile featuring idyllic scenes. The stenciled frieze along the top of the wall mimics the motif of the three tulips in the tile work. 

The Captain was known for his work ethic — evident in the motivational saying in a stained glass window here: Guter Mut ist halbe Arbeit (A good attitude is half the work).

A vignette in the kitchen

Saving Grace: Reacquiring Furnishings 

Thanks to a number of donors, the museum has managed to reacquire many of the original furnishings, artwork, glassware and ephemera that were part of the Pabst family’s personal effects. 

Early on, the WHI negotiated with the Archdiocese of Milwaukee to purchase three rooms of furniture that originally filled the principal rooms on the first floor. Many of these pieces were slated to be auctioned off and were saved by supporters, who aided by purchasing one chair or table at a time. 

Over the years, many more original items have been returned, helping in the effort to restore the home to its original state. 

Adult tickets are $12, and docent-led tours are about 75 minutes long. I encourage anyone with an interest in a glimpse into a bygone era, architecture, art or learning more about the Pabst legacy to visit. Help preserve an impressive landmark building. –Duke

The Pabst Mansion

2000 West Wisconsin Avenue 
Milwaukee, Wisconsin
USA

 

Going for Baroque: The Templo de Santo Domingo de Guzmán Church in Oaxaca

From its fascinating history to its stunning Baroque architecture, the Templo de Santo Domingo de Guzmán Church is a must-see attraction in Oaxaca.

Like most churches in Mexico, the Templo de Santo Domingo de Guzmán in Oaxaca has got history, style, beauty, drama and a whole lot of swag. 

Holy History: The Evolution of Templo de Santo Domingo de Guzmán Church

Construction of the church began in 1572 and was completed over three decades later, in 1608. The building was designed by Fray Francisco de la Maza, a Spanish architect who was a member of the Dominican Order. 

“Inside the church, visitors are treated to a riot of color and decoration.

The walls and ceilings are covered in frescoes of the life of Christ and the history of the Dominican Order.”

Also par for the course: The church was built on the site of an existing temple that was destroyed during the Spanish conquest of the region. The original temple was dedicated to Cosijoeza, a Zapotec ruler from the late 15th century. He was a skilled warrior who fought against the Aztecs and other neighboring tribes to defend his people’s land and culture. He acted as shaman and healer as well, and was said to have possessed great spiritual power.

According to legend, Cosijoeza ascended to the heavens after his death, becoming a god who watches over the Zapotec people and protects them from harm.

During the colonial period, the Templo de Santo Domingo de Guzmán was built as a symbol of the power and wealth of the Catholic Church and the Spanish colonial authorities. The church was lavishly decorated with gold leaf, marble and other precious materials, and it served as a center of religious and cultural life in Oaxaca.

In the 19th century, the church played an important role in the Mexican War of Independence, serving as barracks for both royalist and insurgent forces at different times. After Mexico gained independence from Spain in 1821, the church continued to be the spiritual heart of Oaxaca, and it was eventually designated as a national monument in 1935.

Today, the Templo de Santo Domingo de Guzmán is one of the most visited tourist attractions in town, attracting thousands of visitors each year.

What’s in a Name? The Legacy of Santo Domingo de Guzmán

Saint Domingo de Guzmán was a Spanish priest who lived in the 12th and 13th centuries. He founded the Order of Preachers, also known as the Dominican Order, which was dedicated to preaching the gospel and combating heresy. Saint Domingo was known for his zeal and devotion to spreading the teachings of the Church.

There was no dramatic act of martyrdom for Santo Domingo, though: He died of a fever in Bologna, Italy in 1221, and was canonized by the Catholic Church in 1234.

Divine Design: The Intricate Baroque Style of Templo de Santo Domingo de Guzmán Church

Mexican churches tend not to be subtle. The Templo de Santo Domingo de Guzmán Church is a masterclass in Baroque architecture, a visual feast, with intricate details both inside and out. The exterior is adorned with elaborate carvings and statues, featuring saints, angels and other religious figures. The façade is made of Cantera verde, the local green volcanic stone, which glows a lovely yellow in the sunshine. Three domes top the templo — two blue and white checkered ones atop the entrance and a larger red tile one to the side.

When we saw this woman posing in front of the church, we had to get in on the action.

Inside the church, visitors are treated to a riot of color and decoration. The walls and ceilings are covered in frescoes and murals featuring scenes from the life of Christ and the history of the Dominican Order.

The altarpiece, which was carved from a single piece of cedar, is gilded with gold leaf and decorated with intricate carvings of saints, cherubs and other religious motifs.

To the right of the nave is the Capilla del Rosario, or Chapel of the Rosary, with its own stunning altarpiece.

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There’s a museum attached to the church. Hopefully it’s open when you visit!

Sacred Treasures: The Artifacts and Exhibits of the Templo de Santo Domingo de Guzmán Church Museum

There’s a museum in the massive edifice as well, to the left of the main church entrance. Unfortunately it was closed when we visited, but it holds an impressive (and surprisingly diverse) collection of religious art, including paintings, sculptures and tapestries, housed in the former monastery of the Dominican Order.

One of the highlights of the museum is the collection of pre-Hispanic artifacts, including pottery, sculptures, and other objects from the Zapotec and Mixtec cultures. You can also see a wide range of religious art from the colonial period. There’s even a collection of contemporary art, with rotating exhibits featuring the work of local and international artists, as well vintage photographs and cameras. 

As our friend Kevin, who lives in town, says, “There’s a parade or festival every day in Oaxaca.” This indigenous dance troupe performed in the plaza in front of Santo Domingo de Guzmán.

When you’re in Oaxaca de Juárez, you’ll inevitably find yourself passing by the massive Templo de Santo Domingo de Guzmán. Be sure to stop inside and admire the gilded glory — and plan a tour of the Oaxaca Botanical Garden (Jardín Etnobotánico de Oaxaca) on the grounds of the former Dominican monastery behind the church. –Wally

Templo de Santo Domingo de Guzmán

Calle Macedonio Alcalá s/n
Centro
68000 Oaxaca de Juárez
Oaxaca
Mexico

 

Graycliff: Frank Lloyd Wright’s Ode to Lake Erie

This impressive estate perched above the water was built for Isabelle Martin and shows the birth of Wright’s organic architecture.

Frank Lloyd Wright built Graycliff, a summer residence for the Martins, from 1926 to 1929 — just in time for the family to lose their great wealth.

Frank Lloyd Wright had to grow on me. Actually, more accurately, I had to experience his work firsthand to develop an appreciation for it. Because, to me at least, his exteriors can seem monolithic, the windows small, the horizontal planes somewhat uninteresting. 

But when you enter one of his homes, it’s like you’ve entered a magical realm — the unassuming wardrobe that opens into the fantastical realm of Narnia, if you will. Wright transports you to another world, a cozy space where nature is invited in, often in surprising ways. You develop a great respect for the thought and vision that went into each of his homes. The environment connects to the site with a palette inspired by, and often using, materials sourced from the immediate area. 

“When the Martins complained about the additions, Wright replied, “You don’t need them — but the house does.””

Our docent, Gail, was extremely knowledgeable about Graycliff and its colorful history.

The Martin Family and the History of Graycliff

Graycliff was the lakeside haven and summer home of Isabelle and Darwin Martin. Darwin was a wealthy executive at the Larkin Soap Company and first met Wright at his Oak Park studio in 1902 to discuss the commission of a Larkin Administration Building. He later commissioned Wright to design and build the home that would become Graycliff. The estate is perched atop a 50-foot bluff overlooking Lake Erie in the town of Derby, New York, about 20 miles south of Buffalo. In the distance, you can see the Point Abino Lighthouse and the Welland Canal in Canada. 

The Larkin Soap Company was a massive mail-order business, and Darwin one of the highest paid executives at the time (worth the equivalent of $40 million nowadays). This accounts for his ability to build not only Graycliff but the family home in Buffalo (known as the Martin House) with Wright — an architect notorious for not letting a budget get in the way of his vision. 

But all of that changed when the stock market crashed in 1929, ushering in the Great Depression. Darwin had heavily invested in a number of his son’s business ventures, including 800 West Ferry, a luxury apartment high-rise in Buffalo. Due to these underperforming investments, the Martins’ fortunes eroded. 

Darwin sustained a series of mild strokes and a more serious episode on December 17, 1935, resulting in his death. 

It was reported that upon hearing of Darwin’s death, Wright stated that he had lost his best friend and most influential patron. Over the years, Darwin loaned Wright approximately $70,000. None of it was ever repaid. 

Isabelle continued to spend summers at Graycliff until about 1941. When she could no longer afford to keep the main house open, she moved into the apartment above the garage in the Foster House, before passing away on February 22, 1945 at the age of 75. 

Wright probably never imagined a modern sculpture sitting on the lawn at Graycliff — but we like to think he’d approve.

Wright’s Vision for Graycliff

Construction of the estate began in 1926 and was a gift from Darwin to Isabelle, upon his retirement from the Larkin Soap Company. The Martins were able to spend their first summer there in 1929, though the grounds weren’t completed until 1931. 

The complex comprises the main house, a sunken boiler house (called the Heat Hut) and the Foster House, originally conceived as the chauffeur’s quarters, so named because it was used as the summer residence of Isabelle’s daughter, Dorothy Martin Foster, her son-in-law, James, and their two children. 

Graycliff is named for the natural feature that forms the overlook it’s perched upon, and despite sounding a bit dour, the house is actually bright and airy. Not only did Wright want to provide views of Lake Erie, he had another reason to fill the house with natural light: Isabelle suffered from scleritis, a condition that causes chronic eye pain and light sensitivity. According to correspondence sent from the Martins to Wright, Isabelle needed a place that was flooded with “light and sunshine” — the opposite of their city home, which was dark and difficult for her to navigate. 

The view of the lake through the home was destroyed for a while when the Piarist priests put their chapel here.

The Piarist Priests: The Other Owners of Graycliff

In the 1950s, the Martin descendants sold the property to the Piarist Fathers, a Roman Catholic teaching order from Hungary. The Piarist edict being education for every child, they formed Calasanctius High School in Buffalo and needed residences for 24 priests and a boarding home for 48 underprivileged students.

When the priests purchased the property, they also needed a chapel to accommodate the large Hungarian community in the area. So they tore out a wall to create a new entrance and replaced the windows of the cantilevered porch with colored glass — thereby cutting off the view of the lake through the house and destroying Wright’s main vision for Graycliff. 

The story goes that when Wright was 91, he visited Graycliff, unannounced, with some protégés. 

The architect pulled up, and the head priest, recognizing the fancy car, ran out to greet him. Taking one look at the alterations, the first thing Wright says is, “Who did this? This is not my work.”

“We needed a chapel,” the priest stammered.

“Well, I can design you one,” Wright said. 

Ignoring the priest, he turned to his colleagues and said, “Come on. I’ll show you the house.” And in they walked, uninvited. 

Wright never got to design that chapel, as he died a few months later. But he’d be happy to learn the property has been restored. 

Isabelle liked to create flower arrangements, so Wright planted a cutting garden for her in front of the home.

The Cutting Garden

Our tour began with a walk through Isabelle’s garden. She was noted for her flower arrangements, so Wright designed gardens to accommodate her hobby. 

Eventually, the Martins hired landscape architect Ellen Biddle Shipman, renowned for her naturalistic style, to revise Wright’s landscaping scheme. Shipman enhanced the garden for Isabelle, giving her flowers that would bloom in rotation from spring through fall. 

The site also includes pine trees, which reminded Isabelle of summers at the Lake Placid Club in the Adirondack Mountains. 

Beyond the cutting garden were the vegetable gardens, orchards for apple and pear trees and grapevines. 

The house was approached from a diagonal driveway, which faced the sunset and helped make the narrow home appear larger.

The First Glimpse of Graycliff

Our initial view of the house took place between two stone markers, the original location of the driveway that led to the house. 

The family owned eight and a half acres, but the plot where they wanted their summer home was two and a half acres. Further complicating matters, the spot atop the limestone bluff was just 250 feet wide. That’s very narrow for a 6,500-square-foot house. 

But there was nothing Wright liked so much as a challenge. And one of the cool, oh-so-Wright elements is that you approach Graycliff at an angle. The Martins bought the adjoining property from their next-door neighbors, the well-to-do Rumseys. The driveway branches off of the Rumseys’ and perfectly faces the setting sun, which would be a vision for visitors arriving for a summer soirée. 

The turnabout was made of yellow gravel — to complement the gold of the setting sun, of course. 

Approaching from an angle had an added bonus: It made the narrow façade seem more stately and grand. 

But the house itself wasn’t the main focus: Wright wanted the first glimpse to be of the lake; that was the true star of the show.

Horizontal lines almost always play a prominent role in Wright’s designs. For him, they draw a parallel to the ground, and in particular at Graycliff, the horizon and the surface of Lake Erie. The house becomes one with nature. 

The roof is made with cedar shake shingles, each hand-painted. Wright didn’t like gutters, so the house doesn’t have any. He never was one to let practicality get in the way of aesthetics. 

By creating a glass box of sorts, visitors could see through the home’s rectilinear form right out to the lake. At the time Graycliff was built, the area was undeveloped farmland, with nothing obstructing the view of the water. 

The driveway curves around an artificial pond, but that wasn’t part of Isabelle’s plan. Once again, she wanted something that would evoke her beloved Adirondacks, and she requested a small hill covered with bushes and low trees. But Wright cleverly played the money card, and insisted that the pond would be less expensive. The idea is that this water feature would be an extension of the lake. Wright almost always got his way.

A large part of Wright’s design aesthetic involves incorporating colors and materials from the surrounding area. At Graycliff, sand from the shores of Lake Erie was mixed into the stucco to add another layer of texture, and the home’s red roof is meant to evoke the ferrous oxide in the Tichenor limestone on the cliff behind the house that bleeds a rust color. 

Sand from the beach was added to the stucco façade and inspired its yellow hue. The cliff’s limestone, bleeding a rusty red that carries into the color of the roof, was also used to build the home.

Another design motif favored by Wright was cantilevers — and at Graycliff, he wanted to evoke the layers of limestone on the bluff. 

His plans called for various additions, but his clients weren’t sold. 

“The Martins were concerned about money, and they said to him, ‘We really don’t need this balcony; we don’t need the stone porch; we don’t need the porte cochère. Just a little awning would be great,’” our guide Gail tells us. “And then they go away on a trip — and when they come back, all that’s in process.”

When the Martins complained about these additions, Wright replied, “You don’t need them — but the house does.” Ever the egotist, Wright was always right, and he bristled whenever someone questioned his vision. 

Stay by Sarah Braman, 2022, on the grounds of Graycliff

Sarah Braman: Finding Room

When we visited Graycliff, monumental modern sculptures by Sarah Braman were scattered about the grounds. These large geometric shapes made of concrete and brightly colored glass added a vibrant element of visual interest to the landscape. We enjoyed them, and hope that Wright would have appreciated them as well.

Duke peeks out of Sit, a 2022 sculpture by Braman — the first of her works we saw during our visit to Graycliff

Wally takes the name of the sculpture, Sit, literally.

That being said, we could have done without a couple of the ones inside the house. We’d have preferred to see the living room set up as it would have been when the Martins lived here — not emptied of some pieces of furniture to make way for Braman’s smaller-scale sculptures of domestic items and found objects, which struck us as disjointed. 

The client actually wanted a hill here with trees — but Wright insisted on a small pond that would connect to the lake out back.

Entering Graycliff

Upon arrival, we passed through the porte cochère and entered the foyer. Immediately, you’ll notice one of Wright’s signature architectural techniques, known as compression and release. In the entry, the ceiling is low, and the smaller scale of the room creates a tension that propels you to move beyond it, into the larger living room, an open space with higher ceilings. To create the expansive double-height space, Wright used beams from nearby Bethlehem Steel. 

Unlike Wright’s Prairie-style homes, which were concentric, with one large room off of which the others flowed, Graycliff is rectilinear. One room follows another, and Wright used compression to define transitions between these spaces without walls. By this time, he was moving into a style he referred to as organic architecture.

The stucco-covered walls used on Graycliff’s exterior continue into the interior, and provide a visual connection between the outdoors and indoors. 

When the Graycliff Conservancy purchased the property in 1999, very few of the original furnishings remained. Many are reproductions, including the willow and reed pieces throughout the home. This type of furniture was very popular during the late ’20s and is thought to be similar to what Darwin and Isabelle saw when they vacationed in the Adirondacks. –Wally 

Wright felt fireplaces were the heart of a home, and this one was built in the Adirondack style.

A Room-by-Room Tour of Graycliff

The Living Room

The living room is center stage. Floor-to-ceiling windows and doors open onto the front terrace and the backyard and span the length of the house. These walls of glass provide gorgeous views of Lake Erie and fill the interior with plenty of natural light. The focal point of the room is the monumental Adirondack-style stone fireplace with a mantle that nearly covers the north wall. Wright believed that the fireplace was the heart of the home. An unusual feature to this type of hearth is that logs were stacked on end, vertically. As a fire burned, it created a dramatic plume of flames. 

One of the few materials used in the home that was not sourced locally was the cypress heartwood flooring from Florida — most likely chosen for its durability and beauty.

Curl up with a good book in the Fern Room, a cozy nook off of the living room.

The Fern Room

Adjacent to the living room is a cozy nook that served as a library and is known as the Fern Room — a great spot to curl up with a good book and admire the incredible views of the lake. The ceiling is lower here to establish a more intimate space. The floor is covered in flagstone that came from the city of Buffalo, which was, at the time, replacing its stone walkways with concrete. 

Wright proposed that the window glass meet at the corners so as not to obstruct the view, but the Martins didn’t see the need for that additional expense. (He would later get his way at Fallingwater, a home built for Edgar and Liliane Kaufmann between 1936-1937 in Mill Run, Pennsylvania.)

The Sunporch

Beyond this, the floorplan flows into the sunroom, with rubber floor tiles. Originally a screened-in porch, cypress-framed windows were added to shield occupants from the intense winds coming off the lake. 

The room functioned primarily as a music room. Isabelle had a paid companion who lived at Graycliff by the name of Cora Herrick, though the children called her Aunt Polly. She played the piano — one of the few original pieces of furniture remaining in the home. According to Gail, Darwin wrote in his diary how much he loved hearing music being played while he was working at his desk above. 

Diners had great views at Graycliff — and got to avoid errant sparks flying out of the fireplace.

The dining room at Graycliff is around the corner from the living room.

The Dining Room

On the other side of the living room is an area that served as the dining room. 

The table is positioned parallel to the wall so that guests could easily turn to enjoy the view of the lake — and also to avoid the errant sparks and embers that occasionally popped out of the fireplace. 

All six bedrooms are found upstairs.

The Staircase

A cascading waterfall staircase made of maple leads to the home’s bedrooms on the second floor. This type of passage consists of two parallel flights of stairs joined by a landing that creates a 90-degree turn. 

A dramatic window with a diamond shape at the top of the stairs

The architect’s signature use of rhythmic repetition can be seen in the home’s details. Wright noticed that the local limestone breaks off in geometric forms, so he gave a nod to these in subtle ways: octagonal door knobs and a diamond-shaped window at the apex of the staircase as well as light fixtures. This brings order and visual harmony to Graycliff. 

Poor Darwin got stuck with the worst bedroom of the bunch.

Darwin, a workaholic, converted his porch into an office.

Darwin Martin’s Bedroom

Upon climbing the stairs, Darwin’s bedroom can be found to the right. Not only did Darwin not share a room with his wife, he was also assigned the worst of the bunch, to our minds. It’s smaller than most of the other bedrooms, though it does contain a small bathroom and sleeping porch.

Darwin converted the porch into an office, as he was a notorious workaholic.

The bedrooms feature one of the innovations at the time: olive knuckle hinges patented by Stanley Company that allow a recessed door to open all the way flat to the wall. 

This sparse hallway led to the bedrooms and the back staircase.

We really liked Braman’s Her House (2019), which sat in Isabelle’s room, as it evoked the larger pieces on the lawn.

A guest room next to Isabelle’s room offered twin beds — and gorgeous views of Lake Erie.

Isabelle’s room had its own bathroom, a door out to a balcony and a walk-in closet — unheard-of in a Wright home!

Isabelle Martin’s Bedroom 

At the top of the stairs and looking to the left is a monastic gallery, which has a similar set of windows as the living room below, and leads to a private wing with bedrooms. The first is a nice guest room, with Isabelle’s bedroom next door.

Wright despised closets. However, Isabelle was the client of record for the house and insisted he provide her with one. Her bedroom includes a walk-in closet where the bathroom was originally planned. But Isabelle wanted her bathroom to have a window, so it had to go on the lake side and required Wright to cut a hole into the chimney to accommodate her request. 

A private terrace is accessible from Isabelle’s room, and she probably spent evenings there as direct sunlight would have been too much for her eyes to bear. 

She might have been the hired help, but Aunt Polly sure had nice digs at Graycliff.

Aunt Polly’s Room 

While she did get a nice bedroom, Aunt Polly was technically the help. Her room is a transitional space from that of the immediate family to the staff. 

Cora remained in service from 1911 until Isabelle’s death in 1945. In 1929, when the Martins could no longer afford to pay her, Cora stayed on for room and board. After their mother’s death, the children took care of their dear Aunt Polly. 

Even the servants had cute rooms at Graycliff.

The servants had their meals in a sunroom at the back of the house.

This cool sink came from Europe and was used exclusively by Isabelle for her flower arrangements.

The Pantry and Kitchen 

Farther down the corridor are two bedrooms for the staff, as well as the back staircase that leads down to the staff sunporch and kitchen area.

The hammered metal sink in the pantry was imported from Europe and was used solely by Isabelle to arrange flowers from her cutting garden. The cook had to use the one in the adjacent kitchen, which faced the front yard instead of the lake. 

On display within the built-in cabinets, another Wright trademark, behind Isabelle’s sink, are Larkin Soap products, including Buffalo china. Elbert Hubbard was Darwin’s brother-in-law and started the Arts and Crafts Roycroft movement in East Aurora, New York. He suggested to Larkin that consumers would be incentivized to purchase their product if they received a piece of china along with it. He was right, and the pottery ended up being quite successful. 

In the cabinets, there’s also the Martins’ red and white wedding china and Indian Tree pattern china, which were gifted to the conservancy by the couple’s grandchildren. 

Here’s the sink the cook used in the kitchen off of the pantry.

The stovetop and oven were all part of one piece of furniture.

The small yet functional kitchen contains another original piece, a hulking fridge from the Jewett Refrigeration Company, along with a freestanding prep station, sink and porcelain-glazed stove. 

The Heat Hut held a boiler to heat both Graycliff and the Foster House. Then the priests used it to store wine and honey.

The Heat Hut

Sitting between the main home and the Foster House is the sunken red-roofed Heat Hut. The structure once held an oil boiler that provided steam heat to both houses. According to Gail, the Piarist priests used it to store wine and honey from the bees they kept on the property. 

The Foster House, part of the garage at the Graycliff estate, was originally used by the chauffeur and his family.

The Foster House

The apartment above the garage was built for the chauffeur and his family. The original design was flipped so that the cantilever balcony would afford its inhabitants unobstructed views of the lake. 

Shortly after the stock market crashed, the Martins couldn’t afford to keep the chauffeur out at Graycliff, so they sent him back to Buffalo, and their daughter Dorothy, and her husband, James Foster, moved in, spending summers there with their two children until 1941. 

Wally and Duke on a balcony of the Foster House

There are quite a few bedrooms in the Foster House — but not much else, aside from a small sitting room and kitchen.

After Darwin’s death and the family’s financial troubles, Isabelle moved into the Foster House, staying in what was the gardener’s room, which had its own bathroom. The ever-particular woman liked to sit on the balcony — but she didn’t appreciate seeing the cars pull into and out of the garage. She contacted Wright, who acquiesced and moved the garage doors to the side and extended the wall.

Wright extended a wall to block out the view of cars coming and going from the garage for Isabelle.

“And she says, ‘While you’re at it, can you make me another bedroom up there?’” Gail tells us. So the apartment now has four bedrooms and a couple more balconies. Isabelle seems to have been the one person who could charm Wright into altering his original plans.

The seating out back helped hide the servants carrying picnic items down to the beach and back.

The Esplanade 

Wright’s idea for the esplanade was to build a reflecting pool, cascading terraces and steps that led all the way down to the beach. But when the architect left the premises, Darwin contacted his friends at Bethlehem Steel to request a metal tower with steps like those his neighbors had. Not as pretty as Wright’s vision but certainly practical. It deteriorated, so there’s no longer any way down the beach.

Duke, Poppa and Wally enjoy the gorgeous day at Graycliff.

The access to the stair tower was visible, though, and again Isabelle complained about the view. When she was out on her terrace, she could see the servants coming and going. She felt this was unseemingly — that’s why they had a rear staircase, after all — so Wright constructed the overlook seating in such a way that the help could go about their business while remaining out of sight. 

Saving Graycliff 

When the Martin family decided to sell the property, the person who wanted to buy it was a developer who built the condominiums that are now next door. He planned to demolish Graycliff — who needs a historic home when you can get top dollar for lakefront condos? 

Thankfully, a group in Buffalo came to the rescue, forming the Graycliff Conservancy. In 1999 they received a grant, and the conservancy was able to purchase the property. 

The renovations began, wrapping up in 2019 and costing about $10 million. 

There are plans to build a new eco-friendly visitors center to replace the current one, which was built by the priests as a gymnasium for the children.

Restored back to its 1926 splendor, Graycliff exemplifies Wright’s philosophy of living in harmony with nature. If you’re in the Buffalo area, stop by for a visit. As with all of Wright’s homes, they have to be seen to be fully appreciated. –Duke

Frank Lloyd Wright’s Graycliff

Graycliff

6472 Old Lake Shore Road
Derby, New York 14047
USA

 

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Read more: 

The Fayban Villa and Its Connection to Frank Lloyd Wright

A Travel Guide to Qatar Ahead of the World Cup

Is it safe for gay tourists to travel to this Muslim country? What is there to do in Qatar aside from the big event? How expensive is it? Here’s what you need to know before you go to Qatar. 

Al Wakrah Stadium is one of eight that the government of Qatar built to host the FIFA World Cup 2022.

The gulf state of Qatar is set for an influx of tourists this winter as the World Cup lands on its shore. There’s been a debate about how to pronounce the country’s name, but I’ve found you’re safe going with “Ka-tar.” 

It’s an unusual, even controversial, location for the World Cup; what’s considered the most popular sporting competition in the world is played during the summer months and has been ever since 1930 — but the heat in Qatar means it has been shifted to November. Also, the host country usually has a record of qualifications for the event, but Qatar has never been in the finals until now. 

“Sheikh Tamim bin Hamad al-Thani, the emir, or ruler, of Qatar, said LGBTQ+ visitors would be welcomed to the World Cup, but they must “respect our culture.””

Architect Zaha Hadid thought that claims that her Al Janoub Stadium resembles a vagina are “ridiculous.” You decide.

Still, with around 2.1 million tourists visiting annually and 1.8 million tickets sold for the competition, it promises to make 2022 a record-breaking year. The event is proving to be so popular the South China Morning Post reports that people are being offered to stay in tents in the desert, as the 30,000 hotel rooms have been booked up already.

The World Cup happens every four years and features 32 of the world's best soccer (or football to most of the world) teams. The United States will be there, joining England, Wales and Iran, and are expected to progress to the knockout stages. They're down in the overall ranking in the current Ladbrokes odds, but fans will still head out in large numbers, full of expectation. 

The Qatar University Stadium has been expanded to accommodate more fans in preparation for the World Cup.

If you’re heading to Qatar, you might not know what to expect from your team, but here’s how to prepare for whatever greets you off the field. The country is hoping that its new air-conditioned stadiums, hotels and museums will boost local and international tourism long after the games have ended. In fact, it has spent billions on infrastructure — including eight stadiums — in the 11 years since winning the bid to host.

Qatar is a Muslim country where most men wear headdresses and long white garments called thobes, like this trio in front of Souq Waqif, a traditional marketplace in Doha.

Religion

It’s important to understand that Qatar is an Islamic country, and there are certain aspects of its culture with which you must be familiar. For instance, drinking in public is banned, but there is a level of tolerance within the country. Alcohol is permitted in some places. 

Sheikh Tamim bin Hamad al-Thani, the emir of Qatar, says gays are welcome — just don’t be too gay.

And in a country where homosexuality is illegal many gay tourists are wondering if they’d be safe attending the World Cup. Sheikh Tamim bin Hamad al-Thani, the emir, or ruler, of Qatar, said LGBTQ+ visitors would be welcomed to the World Cup, but they must “respect our culture.”

The Qanat Quartier in Doha has been compared to Venice.

Transport in Qatar

Getting around Qatar is easy, with Karwa taxis being widely available and reasonably priced. Apps such as Careem and Uber also operate in Qatar, so you should never be stuck without a ride. In addition, there's a metro network with three lines; the red line connects Hamad International Airport with the city center and is useful for new arrivals.

Qatar is a country where you can get by quite cheaply — or you can travel in luxury.

Value

Qatar has two sides: One is very expensive and the other not. If you wish to take in top restaurants and luxurious hotels, the prices are sky-high. However, you can visit Qatar on a budget with ease. The World Cup might raise prices, but usually, the winter season sees hotel rooms available for around $60 per night. Eating out can also be done cheaply; food courts and street vendors can provide great food for as little as $20 per day.

The nighttime skyline of Doha as seen through the arches of the Museum of Islamic Art

Qatar Attractions

Visitors who venture outside the World Cup might be surprised to find a thriving art scene in Doha, the capital city. The Museum of Islamic Art is a must-see. It's a fantastic example of local architecture with a vast collection of glasswork, paintings and ancient manuscripts. Mathaf: Arab Museum of Modern Art is also worth a visit. 

The Museum of Islamic Art in Doha was designed by I.M. Pei, the same dude responsible for the pyramid in front of the Louvre.

There are also three new museums being built, including the Lusail Museum, which will boast the world’s most extensive collection of Eastern paintings, drawings, photography and sculptures.

Khor Al-Adaid, with its sweeping dunes, is also known as the Inland Sea.

There are plenty of natural attractions, too. The Al Thakira mangroves in the north and the salt flats along the coast are both natural beauties, while Khor Al-Adaid, the Inland Sea, is another highlight visitors shouldn’t miss. And the “Singing Sand Dunes” on the southwest edge of Doha are a great day trip for those wanting a desert safari. A favorite activity there is dune bashing: off-road driving in an SUV with wide tires that slide across the sand as if on ice.

The World Cup is undeniably changing the country of Doha, adding infrastructure and attractions — making it more of a travel destination.

Beyond the World Cup

Those traveling to Qatar solely for soccer won’t see the best of the country: hotels will be booked solid, transport networks stretched and crowds intense. However, if you come early or remain after the tournament, you'll find a beautiful country that’s more tolerant than the media has suggested, waiting to welcome you with open arms. –Max Hopper

Casa Antonieta: A Tranquil Oasis in Oaxaca Centro

This boutique hotel in Oaxaca has all the comforts of home — plus a spectacular rooftop terrace.

The open-air lobby of the hotel. The second floor is currently being built out.

Over time, as I do research on upcoming trips, I’ve come to learn what Wally and I appreciate the most when staying abroad. Or should I say what I like — and Wally ends up being pleasantly surprised by? In the end, a lot depends on location, budget, how you travel, what kind of comfort you’re looking for and, of course, style. I’ve got one main rule: Find a place within walking distance of sites and shops that delivers a well-rounded travel experience versus a mere hotel stay. In Oaxaca, that was Casa Antonieta. 

Duke on the terrazo — our favorite spot at Casa Antonieta

Wally enjoying a glass of wine at the end of another fun day

Casa Antonieta: To Grandmother’s House We Go

When Wally and I arrived at check-in, we were warmly greeted by concierge Ana Jiménez. Our luggage was whisked away and taken to our room, and we were served refreshing glasses of rosemary- and lemon-infused water and freshly baked cookies.

As I took in the tranquil interior courtyard with its gracefully arched and symmetrical arcades, it reminded me of the ones we had seen in traditional Moroccan riads. Clearly the Spanish conquistadors brought this design to Mexico, influenced by the Moors, as the design is well-suited to hot weather, promoting natural ventilation and shade from harsh sunlight.

“ A large part of Casa Antonieta’s appeal is that it’s close to the action but far enough away from the bars to get a good night’s sleep.”

Casa Antonieta is located on a quiet stretch of Calle de Miguel Hidalgo, a short distance from the Zócalo, the historic center and public square of Oaxaca city. Tucked between the Fundación Alfredo Harp Helú and the Oaxaca Textile Museum, Casa Antonieta started life as a convent but became a mansion in the 1890s. Its name comes from Edificio María Antonieta, after the hotel’s founder Helwig George’s grandmother. A large part of its appeal to me was that it’s close enough to the action but far enough away from the bars and club scene to get a good night’s sleep.

The hotel is built around a central courtyard, much like a Moroccan riad.

In fact, Casa Antonieta is the perfect accommodation for exploring Oaxaca city’s historic quarter, restaurants, bars and shops. As you wander the cobblestone streets of Oaxaca Centro, you will undoubtedly find a variety of brightly colored Mexican Baroque, Neoclassical, Art Nouveau and more than a few neglected French and Spanish Colonial relics — one of which had a prominent banner announcing, “No Se Vende,” meaning the building is not for sale, in case you were wondering.

Our bedroom at Casa Antonieta — the woven rattan headboard evoked shelter and seclusion.

A Solid Foundation as a Convent

The boutique hotel was conceived by George, who worked with Mexico City architect Mariana Ruiz of At-te to refurbish and reimagine the property. Embracing its historic roots, the hotel has stayed true to the character of the original building, with the added bonus of modern amenities. George came up with the idea for Casa Antonieta in 2017, and the hotel opened its doors to welcome guests in April 2018. It stands on the site of the former 17th century Franciscan Convent of San Pablo. In 1911 it became a private single-story residence, and a short time after, a second floor was added.

George’s grandfather purchased the building in the ’70s, adding two additional floors and giving the building its name. 

“When he passed away, my mother, aunt and uncle each inherited a floor,” George told us. 

The hotel currently offers nine rooms, with plans to add seven more on the second floor. Ruiz collaborated with Mexican artisans, using local and natural materials where possible, such as the light-colored macuil wood and rattan. Walls are covered in an earthy hand-applied ecru-colored clay plaster, exuding a warm, rustic feel. 

Room 15 was our home away from home.

The quaint kitchenette with its macuil wood

We stayed in room 15, which was located on the third floor. Our elegant room featured terrazzo floors, custom-built furniture and doors made with tropical hardwood indigenous to Southern Mexico. Lighting was designed by Taller Lu’um, a studio that collaborates with Mexican artisans. I also admired a wool rug made by Zapotec weavers in the nearby village of Teotitlán del Valle and conceived by Oaxaca-based studio Rrres.

The galley-style kitchen had open shelving with a potted succulent in a green glazed pot from Santa María Atzompa, and a few utilitarian barro rojo (red clay pottery) vessels from San Marcos Tlapazola. Both villages are close by and would make a good day trip. 

The spa-like bathroom featured a floating countertop and shelf of macuil wood and a rain shower edged by river rock drainage. 

Start your day on the terrace and end it there, as well, when the space becomes the bar Amá.

Golden hour on the rooftop is a good spot to take a new Tinder profile pic.

In the lobby, you can get lost in your thoughts, peruse the hotel’s collection of art and photography books, or simply enjoy sipping a latte from Muss.

Elsewhere, greenery further enhances the property’s tranquil atmosphere and creates a visually striking space. 

Order breakfast at Muss…

…and enjoy it on the terrace.

Before heading out for the day, we enjoyed breakfast on the sunny rooftop terrace with views of the city and surrounding mountains. At night the rooftop transforms into Amá, which serves up expertly crafted cocktails and light bites. Wally and I recommend the roasted cauliflower steak with smoked pasilla chile rub. Plus, there’s a shop within the bar where you can purchase a selection of artisanal objects from the surrounding villages without having to leave the city.

Get a cold brew to go.

The popular coffeeshop that’s part of the hotel

the Buzz-worthy Muss Café

The hotel also contains a cool little café named Muss, which can be accessed from the lobby. The name of this “younger sibling” of Casa Antonieta comes from an adjective that means something like “tousled” or “organized mess” — which is exactly how we feel until we have our morning caffeine fix. Popular with locals and guests of the hotel alike, Muss offers great coffee and food. Their cold brew was one of the best that I had in the city. When I mentioned this to the charming concierge Javier Guzmán, he smiled and conspiratorially told me that they grind the beans with cacao nibs.  

Casa Antonieta was a welcome refuge for us to return to after a full day of adventures within and outside of the city. The concierge team was always happy to share recommendations and arrange transportation for us when needed. If you’re searching for a great home base and unforgettable stay in Oaxaca Centro, look no further. –Duke

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The unassuming façade of Casa Antonieta belies the lush interior.

Casa Antonieta

Miguel Hidalgo 911
Centro
68000 Oaxaca de Juárez
Oaxaca
Mexico

 

A Perfect Morning in La Condesa, Mexico City

One of CDMX’s hippest hoods has its own distinct vibe with the racetrack-turned-oval-park Avenida Amsterdam and an array of eye-catching Art Deco architecture, green spaces and cafés. 

If you’re in Mexico City, you’ve got to take a walk around the colorful colonia of La Condesa — especially the pedestrian-friendly, lush Avenida Amsterdam.

At the beginning of the 20th century, Mexico City began to experience the influence of a new international artistic movement, which had great importance in graphic and industrial design, the decorative arts and architecture. What was this revolutionary style? Art Deco, of course. 

Art and design are still a driving force in the hip, pedestrian-friendly neighborhood of La Condesa. Here’s how to spend a pleasant morning in the colonia (neighborhood).

“Art and design are a driving force in the hip, pedestrian-friendly neighborhood of La Condesa.”

This periwinkle house and sign became a familiar guidepost for us.

1. Go round Avenida Amsterdam and the surrounding streets.

Start your day by heading to Avenida Amsterdam in Hipódromo, the heart of La Condesa. The avenue gets its shape from a former horse racing track. 

Following the old horse racing track, Avenida Amsterdam is now a median green space in the heart of La Condesa.

Stroll along the central pedestrian median of Avenida Amsterdam and stop to gaze at La Fuente de la Glorieta Popocatépetl. The 1927 Art Deco fountain by José Gómez Echeverría is popularly known as the Bomba. The fountain consists of a dome supported by four white columns decorated with tiles. An aperture at the top allows sunlight to illuminate it, if only for a fleeting moment. 

There are lots of Art Deco delights to discover while wandering around La Condesa, including Edificio San Martín.

As you wander this neighborhood, admire the Art Deco and Streamline Moderne doorways and façades of mansions and apartments that line the streets. The San Martin building, designed by Ernesto Ignacio Buenrosto, with its symmetrical entrance and canopy on Avenida México, perfectly characterizes the Art Deco style.

Wally’s all set for brunch at the cozy back patio at Frëims in La Condesa. He and Duke of course loved the mural.

2. Grab breakfast on Frëims’ charming back patio.

Fuel up for the day at one of our favorite spots in La Condesa, Frëims (Avenida Amsterdam 62B). The space occupies the renovated first floor of a former 1920s home reimagined as a bookstore, record shop and restaurant serving food and a variety of coffee drinks. 

We were seated at a table on the sun-dappled patio. While we were there, the gallery and garden wall mural featured a collaborative installation by Colombian artist Sofía Echeverri and Oaxacan illustrator Vero Anaya called The Origins of Knowledge. The artists describe their imaginative pieces as embodying the concept of “soróbora”: the juxtaposition of sorority, a society of women, and ouroboros, the snake that nurtures itself and symbolizes infinity by eating its own tail. 

Lemon ricotta pancakes

Eggs Benedict

I tried the lemon ricotta pancakes and Wally got his usual huevos benedictinos, paired with a coffee for me and a latte for Wally. We also ordered two Vecinos, a fresh-squeezed juice blend of pear, lime, cucumber and cardamom. 

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ANOTHER BREAKFAST OPTION: Ojo de Agua in La Condesa

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A large section of Parque México is devoted to a dog park.

3. Take a walk in the park…Parque México, that is. 

Officially Parque San Martín, La Condesa’s large urban park was built on the former site of the elite Jockey Club de México — and everyone refers to it as Parque México now.  Built in 1927 the park is a favorite among families, dog walkers and skateboarders. 

This plaza, named for Charles Lindbergh, offers a space for dog walkers, children and rollerbladers to congregate.

Bougainvillea covers the pergola that surrounds the open-air theater.

At the front of the park, there’s a communal space consisting of five pillars topped with a canopy and bordered by a pergola. The exterior walls are covered with graffiti and when we walked by, we watched a group of kids learning to rollerblade.

Nice jugs! El Fuente de los Cántaros (Fountain of the Pitchers) was modeled after Luz Jiménez, once the go-to model for indigenous Mexicans.

Standing serenely in front of the open-air Teatro al Aire Libre Coronel Lindbergh, named in honor of the American aviator, is a concrete figure of a nude woman holding a pair of jugs (literally). Known as Fuente de los Cántaros (Fountain of the Pitchers), it depicts Luz Jiménez, who modeled for its creator, José María Fernández Urbina, as well as Diego Rivera and Tina Modotti. She was considered the it girl archetype of the Mexican indigenous woman.

This clock tower with Art Deco ironwork, designed by Leonardo Noriega, has bells that chime to mark the hour.

Every visitor to Mexico City should spend some time in this colonia — if not use it as a base, as we did, staying in the delightful and chic Octavia Casa. –Duke