How to Successfully Run a Company in Spain as a Foreigner

If you want to do business in Spain, you need to know about various processes: registration, appointing a fiscal representative, opening a bank account, tax and VAT numbers, and regulations. These tips will help you get started on the right foot.

With its rich culture and passionate people, Spain is an exhilarating place to do business. But it can also be a challenge for those starting a foreign company, who may not be familiar with the country’s customs and way of doing things.

Here are some tips for successfully launching and managing an enterprise in Spain, from navigating the business landscape to building solid relationships with local partners.

Registering a company in Spain

First, contact the local chamber of commerce and industry to register your brand in Spain as a foreigner. They will provide you with the necessary information and help with the registration process. 

Second, you will need to draft your company’s statutes and have them approved by a notary. Once you complete that, you can register your firm with the commercial registry. That’s the government body responsible for recording and maintaining information on all companies registered in Spain. To register your corporation, you’ll need to provide them with various documents, including those statutes, a copy of your passport and proof of address. 

Once your brand is registered, you’ll be issued a registration certificate.

Appointing a fiscal representative

Foreign companies in Spain must appoint someone authorized to represent the business in all tax matters. They will ensure that the corporation complies with Spanish tax law and files the necessary tax returns.

The fiscal representative must be a resident of Spain and have a valid tax number. They will also be the company’s and Spanish tax authorities’ point of contact. Notably, the representative must keep accurate records of the brand’s financial transactions and file the appropriate tax returns.

Opening a company bank account

The process of opening an enterprise bank account in Spain is relatively simple. You will need to go to any branch of a Spanish bank with your company’s registration documents and ID for the brand’s legal representative. Once you have all the required documents, the bank should be able to open up an account for your business relatively quickly. However, checking with the specific bank beforehand is always advisable to see their requirements.

Getting a Spanish tax number

All companies registered in Spain must have a Spanish Tax Identification Number (NIF). You must go to the local office of the Agencia Tributaria (Spanish Tax Agency) with the enterprise’s registration documents to obtain a NIF.

Upon obtaining a NIF, the agency will issue a Spanish tax number to the business. You must use this number on all tax filings and communications with the agency.

Getting a VAT number 

When you have registered, you will be issued a VAT (value-added tax) number which must be quoted on all invoices issued by your brand. The standard VAT rate in Spain is 21%, although there are reduced rates of 10% and 4% for specific items such as books, food and children’s clothing.

If your business is based outside of Spain, you can still register for Spanish VAT if you supply goods or services to customers in Spain. It’s known as “reverse charge VAT” and means that your customer, rather than your corporation, will account for the VAT due on the transaction.

Following health and safety regulations

In Spain, all companies must follow health and safety regulations. These include providing a safe working environment for employees, implementing safety procedures, and ensuring that all products and services are safe for consumers.

For example, companies must provide employees with safety equipment and training, implement safe work procedures, and regularly inspect work areas for hazards. They must also ensure that products and services are safe for consumers by conducting safety testing and providing clear instructions for use.

Adhering to consumer rights

All companies operating in Spain must comply with consumer rights regulations. These include providing accurate information about products and services, honoring warranties and guarantees, and resolving complaints promptly.

For example, when selling a product, businesses must provide accurate and up-to-date information about that product. It includes the price, features, and any potential risks or hazards associated with using it. If a product comes with a warranty or guarantee, the enterprise must honor that agreement. And if a customer has a complaint about a product or service, the company must address that complaint promptly and professionally.

The Bottom Line

If you’re a foreigner looking to successfully start a company in Spain, keep the following in mind: Be adaptable, passionate and willing to put in the hard work. With these qualities — and these helpful pointers — you should be able to overcome any challenge and make your business thrive in Spain.

Now that you know what it takes to successfully run a biz in Spain, what are you waiting for? Start putting these tips into practice and start making some dinero in this beautiful country. –Vivian Gross

Frank Lloyd Wright and Edgar J. Kaufmann: The Collaboration That Became Fallingwater

Dive into the fascinating story behind Fallingwater, from its geological origins to its current status as a UNESCO World Heritage Site.

The Kaufmanns on one of the balconies at Fallingwater: E.J., Junior and Liliane

Unlike our visit to Graycliff, another Frank Lloyd Wright-designed home, where the weather forecast called for rain but miraculously cleared up by the time we arrived, the conditions at Fallingwater were not so kind. But the steady mist-like drizzle coming down on the rooftop covering the Visitors Center boardwalk didn’t dampen our anticipation for the afternoon In-Depth Guided Tour of Fallingwater. The nonprofit Western Pennsylvania Conservancy (WPC) offers various tours, which include a one-hour guided house tour, two-hour in-depth tour, brunch tour and sunset tour.

Pro tip: Book your tickets at least two weeks prior to guarantee admission to this popular attraction. Weekends fill up quickly. We booked ours about a month in advance.

Our group gathered in the Visitors Center around our docent, who welcomed us to the UNESCO World Heritage Site and introduced himself as Rod. He asked where everyone was from and if anyone had been to any Wright-designed homes or buildings before. As we shared our stories, it became clear that we were among other individuals who held a reverence for the architect’s prolific and unmistakable style. 

Kaufmann’s was once a legendary (and massive) department store in Pittsburgh. It’s now a Target.

Brought to You by Pittsburgh’s Big Department Store

Edgar J. Kaufmann and his wife, Liliane, the couple who commissioned Fallingwater, were also the owners of a popular Pittsburgh department store located at the corner of 5th Avenue and Smithfield Street. Like Marshall Field’s in Chicago, Kaufmann’s was a regional destination for shoppers to discover the latest in fashion, art and design.

In 2005, Federated acquired the store and continued to operate as Macy’s until 2015, when it closed its doors for good. The first floor has since been transformed into a Target, which opened in the summer of 2022. 

The Kaufmanns were wealthy, but they were also beloved in southwestern Pennsylvania. Their department store brought good taste and good design to the area at prices that people could actually afford. They were popular for their business model: They’d rather sell a hundred items at a penny profit each than sell one item for a dollar profit.

The dramatic cantilevers at Fallingwater are Wright’s way of mirroring the sandstone outcroppings in the area.

From Sea to Timeworn Sandstone: A Brief Geological History of the Site 

Rod offered us green umbrellas to take with us on our journey. “From experience,” he added, “make sure it works. Our umbrellas lead a pretty tough life here.” The color of the umbrellas complemented the natural surroundings, a detail that Wright himself would have undoubtedly appreciated. As we followed Rod down the gravel path leading to Fallingwater, he spoke about the geologic history of the site.

He stopped and gestured to the lush, hilly landscape before us. “As we walk down towards the house, I’d like to provide a brief timeline for you,” he began. “We’re standing at 1,400 feet above sea level due to a cataclysmic event that occurred over 400 million years ago.” He continued, “The tremendous pressure of the continental plates colliding caused the Earth’s surface to fold and buckle, creating the long, winding ridges of the Appalachian Mountains.

“However, 600 million years ago, this region was at the bottom of a sandy, shallow inland sea. Over millions of years, the inland sea drained, and the mountains were worn down by wind, weather and water,” Rod said. “The sedimentary deposit that was left behind was compacted and compressed to form Pottsville sandstone.”

Wright first visited the site of Fallingwater with Edgar Kaufmann Sr. to examine the natural landscape. He saw the weathered, horizontal lines of the sandstone outcroppings and referred to this as the “earth line” — and it became the inspiration for the layered stone walls and cantilevered terraces that mirror the natural environment.

Cantilever, you ask? It’s something that projects horizontally beyond its support, like a diving board, firmly anchored at one end and floating free at the other. You’ll see they feature prominently in the home’s design. 

One of the original wood cabins at what became Camp Kaufmann

Setting Up Camp at Bear Run

The Kaufmanns would flee Pittsburgh’s sweltering summers and infamously smoky air for the rolling hills and clear streams of Fayette County, Pennsylvania. In 1916, E.J. Kaufmann, as Edgar Sr. was known, began leasing a parcel of land at Bear Run from the Pittsburgh Freemasons. The grounds included the former Syria Country Club lodge, which E.J. renamed Camp Kaufmann.

Every summer, a third of Kaufmann’s department store employees would visit and stay in one of the many cabins that dotted the property. The camp was a place for employees to relax and enjoy the outdoors. They would hike, swim, fish and play games.

Not a bad perk: Employees of Kaufmann’s department store could go to the camp in the woods and swim under the waterfall.

Used with permission from the Western Pennsylvania Conservancy

In 1926, Kaufmann’s department store purchased the land and cabins from the Freemasons. However, the Great Depression forced it to quickly get out of the camp business. So, in 1933, E.J. assumed ownership of the land with the intent of building a modern weekend home. That same year, he showered his mistress Josephine Bennett Waxman with a quarter-million dollars’ worth of diamond and platinum jewels. The affair fizzled, but made headlines when E.J. attempted to return the jewelry to rival department store Horne’s, which sued him for non-payment.

Edgar jr. (left) worked for Wright (center) at Taliesin in Wisconsin. He introduced the architect to his father — and a beautiful partnership was begun.

As fate would have it, his artistically inclined son, Edgar jr., was studying with Wright at the Taliesin Fellowship in Spring Green, Wisconsin. During that time, Junior introduced his parents to the architect, and E.J. and Liliane decided to hire Wright to design their new home.

When Wright was hired to design Fallingwater, E.J. also commissioned him to create his executive office on the top floor of the flagship department store in Pittsburgh. It’s now on display at the Victoria and Albert Museum in London. 

Used with permission from the Western Pennsylvania Conservancy

A Patronage of Epic Scale 

The Kaufmanns and Wright were kindred spirits. They shared Wright’s conviction that good design could transform the lives of those it touched and believed that architecture should be in harmony with the natural world. Wright was a passionate advocate for organic architecture. He believed that buildings should be designed to complement their natural surroundings, and he often used local materials and natural forms in his designs. He once said, “I believe in God, only I spell it Nature.”

By the time E.J. met the architect, Wright was 67 years old and had not completed a major project in a decade. He was widely considered a has-been by architectural critics — but Fallingwater would mark a turning point in his career.

Talk about a comeback: Wright and Fallingwater on the cover of Time

The woodland retreat in rural southwestern Pennsylvania had already gained international prominence before it was even completed. In January 1938, photographs taken by John McAndrew were exhibited at the Museum of Modern Art (MoMA) in New York City and subsequently published in Architectural Forum magazine. Additionally, Wright was featured on the cover of Time with his drawing of Fallingwater behind him, proclaiming it to be his most beautiful work.

After the success of Fallingwater, Wright’s career took off again. He went on to design over 400 projects, including the Guggenheim Museum in New York. Of these, approximately 200 were built, and about 79 have since been demolished or destroyed by fire. Wright died in 1959 at the age of 91.

Wright and E.J. maintained a lifelong friendship and collaborated on many projects, although only three of them were ever realized: Fallingwater, the guest house and Edgar’s executive office.

Not without my dachshund! Liliane liked to bring her six dogs on weekends at Fallingwater.

The Kaufmanns’ main home, La Tourelle, was an Anglo-Norman style country estate in Fox Chapel, an affluent suburb of Pittsburgh. The family had two options to reach their weekend home. They could take a train from Pittsburgh to the depot at the bottom of Bear Run, where the creek flows into the Youghiogheny River. (The last time the B&O line stopped here was in 1975). Or they could be chauffeured by car. Liliane preferred the latter because she liked to travel with her six long-haired show dachshunds.

Before his death, Edgar jr. entrusted Fallingwater to the Western Pennsylvania Conservancy so it would always remain open to the public for all time.

Fallingwater: A Landmark Legacy

The house that has become an architectural legend was home to tragedy, though. On September 7, 1952, Liliane died of a sleeping pill overdose at Fallingwater at the age of 64. Three years later, E.J. died of bone cancer at 69. Their son, Edgar jr., inherited Fallingwater. 

The Kaufmanns didn’t have the best marriage. Edgar’s infidelities may have led Liliane to take her own life by overdoing on pills at Fallingwater.

Junior worked at MoMA from 1941 to 1955 and was an adjunct professor of architecture and art history at Columbia University in New York. 

In 1963, he entrusted the house and surrounding 5,100 acres of property, along with a $500,000 endowment, to the WPC to protect, conserve and, most importantly, assure that the home remains open to the public in perpetuity. 

Junior was gay and had a long-term relationship with Paul Mayén, a Spanish architect and industrial designer. Mayén's influence can be seen throughout the sunburst-shaped visitors pavilion, which was built under his supervision in 1980 by the Pittsburgh-based architectural firm Curry, Martin & Highberger. The complex complements its natural surroundings and makes great use of materials such as cedar, glass and concrete. I think Wright would have approved.

Paul Mayén, Edgar jr. and friend on the west terrace at Fallingwater. The men had a relationship for over 30 years.

Used with permission from the Western Pennsylvania Conservancy. 

Edgar jr. loved Fallingwater and when he visited Pittsburgh, he would often come and secretly lead tours. At the end of each, Rod told us, Junior would shock the group by asking, “Well, what do you think of my house?” –Duke

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RELATED: Frida, Diego and Fallingwater

Frida Kahlo visited Fallingwater (and seduced a fellow guest there!).

Learn more about her and Diego Rivera’s connection to the Kaufmanns and their iconic home.

Meet the Mojigangas: The Larger-Than-Life Puppets on the Streets of SMA

What’s a mojiganga? From their origins in the 16th century to current wedding celebrations, here’s everything you need to know about this big and bold Mexican folk tradition. 

Spend some time in San Miguel de Allende, Mexico, and you’re sure to come across the giant puppets known as mojigangas. OMG, is that Frida on the right?!

On our first day wandering through the hilly cobblestone streets of San Miguel de Allende (aka SMA), Mexico, we stumbled upon a sign that read, “Mojigangas.” Being the curious adventurers that we are, we couldn’t resist the urge to investigate. We stepped off the street and saw that the metal door to the workshop of the Sanmiguelense artist Hermes Arroyo wasn’t fully closed, and decided to take a peek inside. We caught a glimpse of a few of his colorful, larger-than-life creations. 

We couldn’t help ourselves. Seeing that Hermes was talking to an assistant, we passed by his studio and walked into what we learned was the courtyard of his family home. We admired the cast of characters lined up against the walls. Catrinas — tall, female skeletons wearing fancy hats — stood shoulder to shoulder with a bride, groom and grinning devil wearing a striped shawl. 

Moments later, we were greeted by the master puppet maker himself. He was more than happy to show us around. 

“Mojigangas are very important to Mexican culture.

They are a representation of our customs and traditions, and they allow us to pass down our heritage to future generations.”

— Hermes Arroyo

When we asked to take a photo with them, he called over one of his assistants so Duke and I could both be in it with him.

Hermes regaled us with stories of his life and how he began making mojigangas (pronounced mo-hee-gon-gahz), a traditional Mexican folk art form of papier-mâché puppets with oversized noggins. He learned the art of making mojigangas from a master craftsman named Genaro Almanza, who was a coworker of his father. While apprenticing with Almanza, he became adept at working with a variety of materials, including resin, plaster, wood, fabric and paint.

Mojigangas come from a longstanding tradition of entertaining the public — and best of all, they don’t even mind being groped!

The Origin of Mojigangas  

Mojigangas are an essential component of the local culture. These towering figures are a familiar sight, bringing the streets to life with their vibrant colors and playful antics.

These puppets, also known as gigantes, or giants, have been around since the Spanish brought them to Mexico in the 16th century. In Catalan, capgrossos, or giant heads, were worn for street theater performances that provided comic relief. 

A mojiganga of Anado, the artist behind the ultra-quirky Chapel of Jimmy Ray, outside of SMA

Nowadays, the puppets reflect the country’s diverse cultural influences, with many sporting traditional indigenous dresses. The Mexican love of poking fun at death and sin is evident in the high number of skeletons and devils. And some pop culture icons have popped up as well, including Maleficent and Frida Kahlo. 

The top part of a mojiganga

The Art of Making Mojigangas

How are these quirky, supersized puppets made? First, an armature, or skeletal wire frame, is constructed in the shape of the figure. Then, using cartonería (from the Spanish word for cardboard), layers of paper and paste are affixed to the frame to create a base. After the base is dry, several more layers of paper are added, each getting progressively thinner and smoother. Once the paper layers are complete, the mojiganga is painted with vibrant colors and decorated with accessories like teeth, cloth arms and hands, clothing and other details.

Mojigangas grace the entrance to many shops in SMA.

Today, thanks to modern materials like foam and fiberglass, some mojiganga makers create even more impressive and intricate figures — some even have blinking eyes, mouths that open and pipes that smoke!

SMA has become a major wedding destination, and no celebration would be complete without a parade that includes mojigangas depicting the happy couple.

Here Come the Mojigangas: A New Wedding Tradition

Mojigangas have become a popular addition to wedding celebrations in San Miguel de Allende. Couples often customize their mojigangas to resemble themselves, complete with traditional wedding attire. The puppets then lead the wedding party through town in a parade called a callejoneada, where everyone dances and sings in celebration of the newlyweds.

If you’re thinking about incorporating mojigangas into your wedding, a customized pair of mojigangas typically costs between $500 and $1,000. It’s a memorable way to celebrate your big day. 

Hermes Arroyo graciously posed for a picture with Duke and Wally in his studio in San Miguel de Allende, and gave them a quick tour.

Hermes Arroyo: Master Mojiganga Maker

Our new friend Hermes has been making mojigangas for over 30 years. His work has been featured in exhibitions and festivals all over Mexico and the world. 

“Mojigangas are very important to Mexican culture,” he told Culture Trip. “They are a representation of our customs and traditions, and they allow us to pass down our heritage to future generations. It’s important to preserve these traditions, so that they can continue to be a part of our culture for years to come.”

Hermes’ dedication to preserving the traditions of mojiganga making has earned him a reputation as a master craftsman and a cultural ambassador for Mexico. His work has been featured in museums and galleries around the world, such as the Museum of Latin American Art in Long Beach, California and the Museo de Arte Popular in Mexico City. 

He has also inspired others to take up the art of mojiganga making by teaching workshops and sharing his knowledge and skills. 

The Day of the Dead parade that kicks off the Bond flick Spectre, complete with skeletal mojigangas, was so popular, it has become an annual tradition in CDMX!

His puppets were featured in the opening scene of the 2015 James Bond movie Spectre, for which he created dozens of mojigangas for the iconic Day of the Dead parade. He’s also appeared in the History Channel documentary series The Strongest Man in History in 2019, where he challenged four buff dudes to carry his mojigangas through the streets of San Miguel de Allende. His puppets stand between 16 to 20 feet tall and weigh over 40 pounds, or 18 kilograms. 

Some of the fun folk art for sale at Hermes’ shop, la Casa de las Mojigangas

We popped into his shop and came home with a much more manageable, smaller luchador sporting a blue mask and trunks. 

Meeting a master craftsman like Hermes is just one of the many delightful surprises that SMA has to offer. If you want to experience part of what makes San Miguel de Allende so special, head to his shop and studio and discover the magic of mojigangas. –Wally

La Casa de las Mojigangas

San Francisco 62
Zona Centro 37700
San Miguel de Allende
Guanajuato 
México

 

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Budget-Friendly Everest Base Camp Trek Secrets

A thrilling Himalayan adventure can be within your reach. Here’s how to save money by staying and eating at teahouses, renting equipment, joining a group tour and other little-known tips from a local expert. 

A trek to the Everest Base Camp doesn’t have to break the bank! A local tour operator offers his money-saving tips.

Undertaking the legendary Everest base camp trek is a dream shared by many adventure enthusiasts around the world. The appeal of standing at the base of the world’s highest mountain, surrounded by awe-inspiring Himalayan landscapes and experiencing Sherpa culture, is a truly once-in-a-lifetime trip. 

Take the time to meet some Sherpas and learn some of their customs.

While it may seem like an expensive undertaking, as a co-founder of a local tour operator, I’m here to reveal budget-friendly tips and insights that will make your Everest base camp trek an affordable reality. Get ready to immerse yourself in the breathtaking beauty of the Himalayas…without worrying much about breaking the bank.

The backside of Ama Dablam with its gorgeous turquoise lake

Planning and Preparation for an Affordable Everest Base Camp Trek

Here are some key points to consider:

Go in the low seasons. 

Planning for the trek during the off-peak seasons (December to February and June to August) can significantly reduce the overall cost. Not only will you avoid the peak tourist flow on the trail, but you may also find discounted lodges and domestic and international flights.

Share the cost of a tour by joining a group.

Take a group tour. 

While independent trekking can be convenient and offer personal support from a guide and porter, joining a group is more cost-effective — you’ll be sharing the charges to hire a guide and porters. 

There are opportunities to rent or borrow gear if you don’t want to make the investment.

Rent or borrow trekking gear. 

Make a detailed list of essential items, such as sleeping bags, trekking poles, hiking boots and waterproof jackets. Look for gear rental shops in Thamel or consider borrowing equipment from fellow trekkers. You also might be able to borrow items like a sleeping bag or down jacket from some of the major Kathmandu-based tour operators.

The sprawl of Kathmandu. You can bus to Salleri, the jumping-off point for the trek, which is cheaper than flying.

Take the bus. 

A public bus or shared jeep from Kathmandu to Salleri may be a longer journey, but it’s a cheaper alternative to flying to and from Lukla.

Budget-Friendly Accommodations Along the Everest Base Camp Route

Getting affordable accommodation is entirely possible with following tips:

The teahouse lodges are much more affordable than their luxury counterparts.

Stay in teahouse lodges. 

Along the trail, there are numerous teahouse lodges that offer basic accommodation and meals. These no-frills lodges are more budget-friendly compared to luxury lodges like Yeti Mountain Home. Embrace the simplicity and warmth of teahouse stays, which also provide an opportunity to connect with other like-minded trekkers.

Share a room. 

To further minimize trip costs, consider sharing rooms with other trekkers. Many teahouses offer twin and triple sharing rooms, allowing you to split the bill. 

Colorful Namache Bazaar is built into the side of a hill and is home to most of the Sherpas in the travel biz.

 Shoot for lower-altitude villages. 

As you go higher, the cost of teahouse stays tend to increase. Choosing to stay more in lower-altitude villages, such as Namche Bazaar and Tengboche, can help save money and, at the same time, help you acclimatize to the altitude.

Everest Trek Food on a Budget

These handy tips on food options will help cut down costs of an Everest trek:

Teahouses serve dhal bhat, a traditional Nepalese dish — and it’s often all-you-can-eat.

Eat at teahouses. 

Go for local cuisine and enjoy the traditional dhal bhat (rice and lentil soup) offered in all teahouses. The meal provides a hearty — and affordable — source of energy. And you can get refills at no additional cost.

When you’re in Kathmandu, make sure to get a bunch of snacks to take with you.

Pack snacks. 

Stock up on energy bars, nuts and dried fruit in Kathmandu to avoid higher-cost options along the trail. These snacks are really helpful to quickly and cost-effectively boost your energy on the trail.

The sunset over Kala Patthar is a highlight of the excursion.

Permits for an Everest Base Camp Trek

Navigating the permit process and organizing trip logistics can be overwhelming. But the good news is they’re not too expensive. Here’s what you need to know:

TIMS Card

Cost: 2000 Nepalese rupees (about $15)

The Trekkers’ Information Management System card (commonly known as a TIMS card) is a necessary permit for Everest base camp trek. Get the card in Kathmandu by visiting the Nepal Tourism Board or the office of the Trekking Agencies Association of Nepal.

Sagarmatha National Park Permit

Cost: NPR 3000 (about $23)

You must get a pass for Sagarmatha National Park to complete an Everest base camp trek. Obtain an SNP permit in Kathmandu, or you can get one on the trail.

Khumbu Gau Palika Card

Cost: NPR 2000 (about $15)

Another essential permit you need to enter the trail is the Khumbu Gau Palika Card. You can also obtain one on the trail. However, fill out the form in advance and keep the submission number for quick processing. Follow this link to register for the permit.

A trek to the Everest Base Camp may be a priceless spiritual experience — but it doesn’t have to cost a fortune.

Everest Base Camp on a Budget

Planning for a budget-friendly Everest base camp trek allows you to experience the beauty of the Himalayas without worrying too much about your budget. By carefully planning your trek, choosing teahouses, eating local cuisine, and managing permits and logistics competently, you can make your dream of a Mount Everest base camp trek a reality. Get ready for breathtaking landscapes, meet Sherpas, experience their culture and experience unforgettable memories on a Himalayan adventure.

An Everest base camp trek is an exciting journey of self discovery, and with the right approach, it can be both affordable and life-changing. So, tie up your hiking boots, pack your backpack, and prepare for an impressive Himalayan adventure without the hefty cost. –Madhav Prasad 

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Madhav is the tour coordinator and co-founder of Mosaic Adventure in Kathmandu. 

Frida Kahlo and Diego Rivera’s Fascinating Connections to Fallingwater

A seduction at the iconic Frank Lloyd Wright home. The influence of Frida’s home, the Casa Azul. Juan O’Gorman’s insulting mural project. And the Kaufmanns’ role in the Mexican artists’ success. We explore the artistic ties that bind these fascinating personalities.  

Frida standing with The Two Fridas

Imagine visiting Fallingwater, Frank Lloyd Wright’s iconic masterpiece. You’re surrounded by stunning natural beauty, and the architecture is simply breathtaking. 

But what if I told you that two of the most famous Latin American artists, Diego Rivera and Frida Kahlo, were also friends with the Kaufmann family, who commissioned and lived in the home? It’s a story that’s as fascinating as the house itself.

“When [Levy] returned to his bedroom, there was Frida — waiting for him!”

— Hayden Herrera in "Frida: A Biography of Frida Kahlo"

E.J., Edgar jr. and Liliane Kaufmann at Fallingwater, their now-legendary weekend home designed by Frank Lloyd Wright

The Kaufmanns: A Family of Taste and Distinction

Edgar Jonas Kaufmann, or E.J. to his friends, was the head of a well-known Pittsburgh department store family. He was a highly respected businessman, aesthete and philanthropist who, along with his wife, Liliane, turned the family retail empire into a center of culture and fashion. 

Fun fact: The surname Kaufmann fittingly means “merchant” in German. 

As lifelong patrons of the arts, E.J. and Liliane enjoyed spending time with architects, artists and other creatives. Their only child, Edgar Kaufmann jr. (the lowercase “jr.” was his preferred abbreviation), inherited his parents’ love of art. He was particularly interested in modernist design, and he believed that functional objects could also be works of art.

Diego Rivera standing with a study of his mural-that-was-never-to-be, Man at the Crossroads. Rockefeller, who commissioned it, found it to be a bit too Communist for his tastes.

The family’s weekend home, Fallingwater, was filled with a formidable collection of artworks and objects. If the Kaufmanns weren’t already familiar with the socialist works of Mexican artist Diego Rivera, they most certainly became aware of him when his unfinished mural, Man at the Crossroads, caused a major controversy in 1933. The mural, which featured a portrait of Vladimir Lenin, was commissioned by the Rockefeller family, but they were so outraged by the inclusion of the Marxist leader that they had the mural destroyed. (Rivera’s re-creation, Man, Controller of the Universe, is on display at the Palacio de Bellas Artes in Mexico City.)

Frida Kahlo and Diego Rivera had a lot to thank the Kaufmann family for in helping them gain fame.

When the Kaufmanns Met Frida and Diego

It’s possible that the Kaufmanns were introduced to Rivera by John McAndrew, the newly minted curator of the Department of Architecture and Industrial Art at New York’s Museum of Modern Art, aka MoMA. McAndrew visited Fallingwater in 1937 to document the house for the upcoming exhibit, A New House by Frank Lloyd Wright on Bear Run.

Fallingwater has a surprising connection to Frida Kahlo and Diego Rivera.

It’s not hard to imagine that McAndrew would have talked about Rivera to the Kaufmanns during his visit to Fallingwater. McAndrew had previously traveled and studied architecture in Mexico, where he was inspired by the country’s rich cultural heritage. 

E.J. and Liliane were drawn to the rustic charm of Casa Azul, Kahlo’s childhood home in the Coyoacán neighborhood of Mexico City. The Kaufmanns saw it as an antidote to city life and wanted to create a similar sense of peace and tranquility at their weekend home, Fallingwater.

Frida Kahlo at her home, Casa Azul, which provided inspo for Liliane Kaufmann.

They appreciated the objects that Kahlo had filled her home with, including sculptures by the self-taught Mexican artist Mardonio Magaña. Four of these sculptures are on display at Fallingwater, and a reproduction of one is available for purchase at the Fallingwater museum store. (Completing the loop, a photograph of Fallingwater hangs in the permanent collection at Casa Azul.)

One of the works by Mexican artist Mardonio Magaña found at Fallingwater

In the 1930s, E.J. and Liliane became patrons of Rivera, and later of Kahlo, his wife. For nearly two years, E.J. provided Rivera with a monthly stipend of $250, totaling $5,000. That’s equivalent to about $86,000 in today’s dollars. Although Rivera never ended up being commissioned to paint anything by the Kaufmanns, he and the couple were friends, and two of his works are on display at Fallingwater.

Look for Diego Rivera’s Profile of a Man Wearing a Hat hanging in the guest bedroom at Fallingwater.

Torrid Siesta (El Sueño) by Diego Rivera, in the passageway that leads out to the guesthouse at Fallingwater

Profile of a Man Wearing a Hat originally hung in E.J.’s private Wright-designed office at Kaufmann’s sprawling Pittsburgh department store. And Torrid Siesta (El Sueño) was first placed in E.J.’s study on the third floor of the house but was later relocated to its current location on the enclosed bridge that leads out to the guesthouse.

Liliane Kaufmann found Frida Kahlo to be “most interesting.”

A Love of Latin America 

The Kaufmanns’ interest in Latin American culture grew, and in May 1938, Edgar jr. and Liliane took their first trip to Mexico City. The newly reestablished government of Mexico was eager to forge a national identity that promoted its pre-Hispanic heritage to American tourists. 

While there, Junior and Liliane visited Diego and Kahlo at their home and studio in the neighborhood of San Ángel, a modernist structure designed and built by their mutual friend, Juan O’Gorman. It was a place of creativity and conflict. While the couple were both artists, they had very different approaches to their work. Rivera was a well-known and successful muralist, while Kahlo was a more private painter who focused on self-portraits. 

Liliane wrote:

Yesterday we visited Diego Rivera at his home in San Ángel. It is a very interesting house inside and he is a very simple charming man. He showed us a lot of things and took us over to meet his wife who was most interesting. She paints also, very delightfully, and we had a swell time.

At the home and studio, Kahlo played the role of dutiful wife. She also served as Rivera’s secretary, entertaining and courting patrons for him. While Rivera enjoyed socializing with high society, Kahlo resented it. 

Don’t be sad, Frida! You’re about to catch a big break!

Frida Kahlo’s Big Break 

It was during this period that Kahlo retreated to Casa Azul, where she developed her commanding signature style. She had a difficult life. She contracted polio when she was 6, which left one leg thinner than the other. And when she was 18, she was in a bus accident that left her severely injured. She hid this by wearing long ruffled skirts, boxy shirts to conceal her surgical corsets and adorned herself with jewelry. Inspired by traditional Mexican indigenous clothing, her style came to represent a patriotic identity and a defiance of traditional gender roles.

Kahlo’s first big break occurred a short time after Liliane and Junior’s visit. In the summer of 1938, Hollywood actor and art collector Edward G. Robinson, famous for playing gangster types in film noirs, purchased four of Kahlo’s paintings for $200 each while vacationing in Mexico City. 

Edgar G. Robinson might have played tough types in the movies, but he was blacklisted in Hollywood as a Communist and helped launch Kahlo’s art career.

At the time, Kahlo was virtually unknown in the United States and she was always a bit shocked when anyone liked her work. She had often given it away for free, and she later wrote of the Robinson sale:

For me it was such a surprise that I marveled and said, this way I am going to be able to be free; I’ll be able to travel and do what I want without asking Diego for money.

When the French writer and founder of the Surrealist movement, André Breton, included Kahlo among its canon, she refused the label. She said, “I never painted dreams; I painted my own reality.” 

But she did understand the power of marketing. Breton introduced her to Julien Levy, a New York gallery owner who specialized in being the first to present avant-garde artists to American viewers. When Kahlo met him, she knew that he could help her reach a wider audience.

We wish we could see your reaction to Frida Kahlo’s My Birth.

In November 1938, Kahlo’s first solo show at Julien Levy Gallery in New York marked a shift in her artistic career. E.J. and Liliane were in attendance and purchased two of her paintings: My Birth (1932) and Remembrance of an Open Wound (1938). The latter was lost in a fire at the country home of Edgar jr. and his companion, Paul Mayén, sometime in the 1980s. The exhibition was a great success, and Time noted that it was “the flutter of the week in Manhattan.”

The Kaufmanns invited Kahlo and Levy to visit Fallingwater. Biographer Hayden Herrera recounts that Kahlo’s visit was one for the books:

The gallery owner Julien Levy, who seems to have gotten lucky with Frida Kahlo at Fallingwater

Once Levy took Frida to Pennsylvania to visit his client and friend Edgar Kaufmann Sr., who, Levy said, wanted to be Frida’s patron. The train ride was everything train rides are supposed to be — a slow but inexorable buildup of erotic anticipation. When they arrived, however, Frida flirted not just with Levy, but with their elderly host and son as well. She was very cavalier with her men, Levy recalled. She liked to play one off against the other, and she would pretend to one suitor that she thought the other was a nuisance or a bore. At bedtime, Levy and the senior Kaufmann tried to wait each other out so as to spend the last moments of the evening in romantic solitude with Frida. When she retired, Fallingwater’s complicated double stairway [the exterior steps up to the guest room] served as the stage for the evening’s drama. After biding his time until he thought everyone was peacefully asleep, Levy emerged from his room and started up one side of the staircase. Much to his astonishment, he found his host climbing the stairs on the other side. Both retreated. The same confrontation took place several times. In the end, Levy gave up. But when he returned to his bedroom, there was Frida — waiting for him!

Liliane and Junior’s continued travels to Mexico laid the groundwork for the fittingly titled Below the Rio Grande, a shoppable exhibit at Kaufmann’s flagship store, which introduced consumers to Mexican antiques and folk art. Some of these items were later incorporated into Fallingwater’s décor. 

Nearly a dozen small pre-Columbian objects can be found in the guesthouse. These were likely gifted to the Kaufmanns by Rivera, who was a passionate collector of pre-Columbian art. During his lifetime Rivera amassed over 50,000 pieces, many of which are housed at the must-visit Anahuacalli Museum in CDMX. 

Landscape: Jalapa, Mexico by José María Velasco hangs in the bedroom of the guesthouse at Fallingwater.

One of the guesthouse bedrooms features a large oil painting by José María Velasco, a mentor to Diego. The work, entitled Landscape: Jalapa, Mexico, hangs over the bed. Velasco’s artistic endeavors are so esteemed that the Mexican government considers them national monuments. This painting was acquired by the Kaufmann family around 1937 for $500. In 1954, it was hanging in E.J.’s suite at the William Penn Hotel in Pittsburgh, and was moved to its current location by Edgar jr. in 1960.

Juan O’Gorman, whose mural commissioned by Edgar Kaufmann Sr. featuring prominent Pittsburgh tycoons below a toilet, was deemed too controversial for the Young Men’s and Women’s Hebrew Association

Kaufmann’s Rockefeller Dreams and Botched Mural

Pittsburgh society was dominated by wealthy families like the Carnegies and Mellons. This made it difficult for the Kaufmanns, who were Jewish, to achieve positions of power and influence. Despite lobbying for many public works projects throughout his life, E.J. saw few of them come to fruition. 

In 1940 he invited the socialist architect, painter and muralist O’Gorman to Pittsburgh to submit a proposal for murals for the interior walls of the Young Men’s and Women's Hebrew Association, of which he was president. 

As a guest of the Kaufmann family, O’Gorman spent a weekend at Fallingwater, which he later described as “one of the most beautiful buildings in the world.” 

When it came to the mural, though, O’Gorman clearly missed the brief: His preparatory sketches for the project portrayed Pittsburgh tycoons Andrew Carnegie, Henry Clay Frick and George Westinghouse as the kings of a polluted plutocracy that arose from consumer capitalism. As if that wasn’t enough, O’Gorman further emphasized his sentiments by prominently featuring an open toilet and a roll of toilet paper above the tableau. 

O’Gorman’s proposed mural was clearly at odds with the organization’s mission to celebrate the moral development of youth. As a result, the project was rejected and O’Gorman returned to Mexico City. As compensation for the failed project, E.J. sent the artist a check to subsidize a mural at the Biblioteca Gertrudis Bocanegra in the town of Pátzcuaro, Mexico. 

Even though he kiboshed Juan O’Gorman’s Pittsburgh mural, Edgar Kaufmann footed the bill for this astounding mural in Mexico.

Divided into four sections, the mural vividly depicts the history of the Purépecha people. The first shows the indigenous people before the Spanish conquest; the second, the arrival of the Spanish and the beginning of the conquest; the third shows life after the conquest, when the Purépecha were forced to adopt Spanish customs and religion; and the fourth shows Gertrudis Bocanegra, the martyred heroine of the 1820 War of Independence, her white dress smeared with blood from her execution by firing squad. 

Frida Kahlo’s What the Water Gave Me

Edgar Jr.’s Artful Encounters, From MoMA to Madonna

Edgar jr. traveled with McAndrew to Mexico in 1939, looking for works of art to include in the MoMA exhibit Twenty Centuries of Mexican Art. The pair recognized Kahlo’s talent, and the show, which opened on May 15, 1940, featured no fewer than three of her paintings: The Two Fridas (1939), What the Water Gave Me (1938) and The Wounded Table (1940). 

The Wounded Table by Frida Kahlo

In 1943 Junior purchased and donated Self Portrait With Cropped Hair to the MoMA. The painting is part of the museum’s permanent collection and was conceived shortly after Kahlo’s divorce from Rivera. It’s thought to be a reflection of her feelings of anger, sadness and independence after the separation. Kahlo’s oversized charcoal gray suit (surely Rivera’s) and short haircut are symbols of her rejection of traditional femininity, while the scissors she holds suggest her decision to take control of her own life.

Self Portrait With Cropped Hair by Frida Kahlo shows the artist after her divorce from Diego Rivera, wearing one of his suits and having chopped off her locks to resemble his hairstyle.

After his parents died, Junior brought Kahlo’s My Birth to his apartment in New York City. The painting is a deeply personal and imaginative work of art, depicting Kahlo’s birth from a dead mother.

According to Fallingwater director Justin Gunther, Edgar jr. had a dry, ironic sense of humor. Case in point: He kept the painting hidden in a closet in his New York apartment, and would only reveal it to his guests at the most unexpected moments. He loved to see the look of surprise on their faces when they saw it for the first time.

Madonna purchased My Birth from Edgar jr. She says you can’t be friends with her if you don’t like it.

In 1987 Edgar jr. sold the painting through his dealer to the pop star Madonna. Although worldly, he didn’t know who she was when he met her, and had planned on selling My Birth to her for just a little more than what his parents had originally paid for it. But his dealer told him, "We can do better than that,” and quoted a much higher figure.

Madonna was later quoted in Vanity Fair saying, “If somebody doesn’t like this painting, then I know they can’t be my friend.” –Duke

Off the Beaten Path: Discovering Cambodia’s Lesser-Known Destinations

Escape the crowds at Angkor Wat and Phnom Penh and discover Cambodia’s hidden treasures in Battambang, Mondulkiri, Koh Rong Samloem, Kratie and Kep. Pristine beaches, colonial charms, wildlife, waterfalls, crab dishes — and the bamboo train — await adventurous travelers. 

Angkor Wat is an astounding experience — but if you want to escape the crowds, there are many other amazing adventures to be had in Cambodia.

Cambodia is an enchanting country to visit, where ancient temples, lush landscapes and warm hospitality await. 

While popular destinations like Phnom Penh and Angkor Wat draw crowds of tourists each year, there are various lesser-known areas that offer an authentic Cambodian experience. Discover some of Cambodia’s hidden gems — where you can escape the tourist crowds and immerse yourself in the true essence of this captivating country.

But first things first. Unless you live in one of eight neighboring nations in Southeast Asia, Cambodia requires a visa to enter. Apply for your visa today and start planning your trip.

With its colonial-era charm, Battambang has a wealth of attractions both within the city limits and beyond.

Battambang: A Charming City With a Rich Colonial History

Nestled in the northwest region of Cambodia is the charming city of Battambang. It’s known for its well-preserved colonial architecture, like Sala Khaet, the former governor’s residence, which stands on the west bank of the Sangkae River. It was commissioned by the last Thai governor of Battambang in 1905 and used by the French until 1953, when Cambodia became independent.

Another notable heritage building is the bright yellow National Bank of Cambodia, a fully restored villa that previously housed a pawn shop and radio station.

If you’re a history buff, you’ll definitely want to check out the Battambang Provincial Museum. This well-curated museum contains a collection of artifacts from the surrounding Ankorian-era temples, including lintels and statuary. 

Hire a tuk-tuk, a motorized rickshaw, and head six miles north of the city center to the ruins of Wat Ek Phnom, an 11th century Hindu temple with sandstone carvings built during the reign of King Suryavarman I. The relief on the temple’s central tower depicts the mythic Churning of the Ocean of Milk — an epic tug-of-war between the gods, demons and a serpent in a battle to obtain the elixir of immortality.

Plus, there’s a towering seated Buddha statue and an active Buddhist temple on the grounds. Its interior features serialized paintings that cover the walls and ceiling, telling the Buddha’s life story. 

The super-cool ruins of Wat Ek Phnom, an ancient Hindu temple

A newer temple stands on the grounds of Wat Ek Phnom.

Looking for a thrill? Take a ride on the famous norry, or bamboo train, an unusual mode of transportation. People, rice and livestock are shuttled back and forth on squat wooden platforms placed on top of a wheeled metal carriage and powered by a small engine. The train cruises along an old track at about 35 mph, offering breathtaking views of the countryside. You’ll pay $5 per person to the villagers operating the train once you reach your destination. It’s a small price to pay for a unique and thrilling experience!

If you’re in Battambang, you’ve gotta take a ride on the bamboo train!

If you’re hungry after a day of exploring the city and its surroundings, try the regional specialty mee kola. It’s a delicious dish of stir-fried rice noodles and soy sauce, served with papaya, cucumber, pickles, bean sprouts, other vegetables, fragrant herbs and crushed peanuts.

The serene riverside setting and relaxed atmosphere make Battambang an ideal place to unwind and experience the authentic side of Cambodia. 

How to get there: Battambang is a three-hour drive west of Siem Reap, or a 90-minute boat ride across Tonlé Sap, the largest lake in Southeast Asia.

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Bou Sra Waterfall

Mondulkiri: An Off-the-Beaten-Path Outdoor Adventure

The remote province of Mondulkiri in eastern Cambodia is home to breathtaking waterfalls, lush jungles and rolling hills. Trek through the picturesque landscape and encounter the wildlife, including gibbons and elephants. 

For a truly authentic experience, take a tour of a Bunong hill tribe village with a local guide. Learn about their agricultural fields, spirit forests and burial grounds, all of which are living places of social, spiritual and historical importance.

Take a tour of a Bunong hill tribe village and learn about their customs.

Looking for a relaxing day in the great outdoors? Hire a tuk-tuk for the day and head to Bou Sra Waterfall, 31 miles (50 kilometers) outside of Sen Monorom. Pack a lunch to go and enjoy a picnic in the shade of the trees. After lunch, cool off in the pools beneath the upper waterfall. Even if you don’t take the plunge, the spray from the waterfall is a great way to cool down on a hot day. 

If you’re feeling more adventurous, try the Mayura Zipline. This seven-zipline course takes you as high as 500 feet (150 meters) above the waterfall — that’s the equivalent of a 45-story building! — making it one of the highest ziplines in Asia. Soar through the jungle canopy and get a bird’s-eye view of the waterfall.

Brave souls can zipline 500 feet above the waterfall!

The Elephant Valley Project (EVP) is a nonprofit organization that rescues and rehabilitates retired Asian elephants. They work to protect these pachyderms by allowing them to roam freely within a 1,200-hectare habitat, while providing medical care. Day trips to the sanctuary usually involve two walks through the forest, learning about these amazing creatures and enjoying a buffet lunch overlooking the forest canopy.

Two of the well-cared-for members of the Elephant Valley Project sanctuary family

EVP is a great place to learn about elephants and their conservation. You’ll get to see them up close and personal, and learn about their natural behaviors — as well as have the opportunity to support their care and rehabilitation.

How to get there: Mondulkiri is a five-and-a-half-hour drive northeast of Phnom Penh. You can hire a taxi or take an express bus or minivan.

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RELATED: Why Elephant Tourism Is Evil

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Literally escape from it all at the untouched island of Koh Rong Samloem.

Koh Rong Samloem: An Unspoiled Tropical Paradise 

Have you ever dreamed of escaping to a secluded island? With a bit of planning, you can! Koh Rong Samloem, a small island 14 miles (23 kilometers) off the southwest coast of Cambodia, is the perfect getaway. Unlike its more developed neighbor, Koh Rong, this island remains largely unspoiled and untouched.

Here, you can lounge on pristine white sand beaches and enjoy a cocktail or two. Go snorkeling in the crystal-clear waters and explore vibrant coral reefs. And at night, head back to the beach to witness amazing bioluminescent plankton. 

Just look at the crystal-clear water and those colorful fish!

Head back to the beach at night to see breathtaking blue bioluminescent plankton washing ashore.

How to get there: Heads up: The only way to get to Koh Rong Samloem is via a one-and-a-half-hour ferry ride from Sihanoukville. If you’re staying in Siem Reap, you can take a 50-minute direct flight to Sihanouk International Airport. From there, you can hail a tuk-tuk or taxi to take you to the ferry terminal. Alternatively, you can take a six-or-so-hour bus ride or private taxi from Phnom Penh.

While in Kratie, you have to look out for the endangered Irrawaddy dolphins.

Kratie: A Gem on the Mekong River

Situated along the banks of the Mekong, Kratie is a small town known for its incredible wildlife — most notably, the endangered Irrawaddy dolphins. Take a boat tour to observe these gentle creatures in their natural habitat for a truly magical experience.

You can also rent a bike and explore the peaceful countryside to admire the sleepy villages, traditional stilt houses, rice fields and lotus farms. Be sure to visit Wat Sorsor Muoy Roy, the 100-Column Pagoda. Then, grab a beer and watch one of the epic Mekong sunsets. 

Kratie offers a glimpse into rural Cambodian life and a chance to witness the wonders of nature up close. 

How to get there: Kratie is 149 miles (240 kilometers) north of Phnom Penh, and is roughly a four-hour drive from there. 

Relax on the beach in the seaside town of Kep.

Kep: A Coastal Delight

For a blend of coastal beauty and culinary delights, head to Kep, a charming seaside town located in southern Cambodia. Known for its fresh seafood, Kep is a paradise for any foodie. Expect an abundance of fresh shrimp and mouth-watering crab (try it with Kampot pepper), while enjoying unforgettable views of the Gulf of Thailand. 

Try the most popular local dish, Kampot pepper crab.

Explore the lush jungle trails of Kep National Park, hike to the gorgeous Kep Beach or visit the iconic abandoned villas that showcase the rich history of the old colonial beach resort.

Before or after heading into the park, be sure to stop in Led Zep Café, a short distance from the park entrance. They offer maps and snacks for hikers, as well as delicious crepes and sandwiches for anyone looking for a quiet lunch spot with a nice view.

Return to Kep and visit Sothy’s Pepper Farm to learn how the rare Kampot peppercorn is produced — considered by many to be the finest pepper in the world. It’s named after its region of production, just like Vidalia onions, Bourbon whiskey and Roquefort cheese.

How to get there: Kampot is 14 miles (22 kilometers) from Kep, or a 30-minute tuk-tuk ride.

The Hidden Gems of Cambodia 

Cambodia is a treasure trove of amazing sites just waiting to be discovered. Whether you’re seeking natural beauty, relaxation, cultural immersion or just to get away from the crowds, the lesser-known areas of Cambodia offer a truly authentic experience. –Sally Giles

Gio Swaby’s Fresh Take on Textile Portraits

The Bahamian artist is redefining portraiture — and Black women representation at museums like the Art Institute of Chicago — one stitch at a time. 

Gio Swaby’s textile portraits feature confident Black women, mixed fabrics and loose strings to juxtapose strength with so-called imperfections.

When you think of portraits, a few formats probably spring to mind: painting, photography, life drawing. But textiles?

That’s the medium Gio Swaby is rocking. The Bahamian artist uses textiles to create stunning portraits of powerful Black women. 

“Textiles are a great way to connect with people because they’re so familiar.

Everyone has some sort of relationship with textiles, whether it’s through clothing or bedding or whatever. It’s something that we can all relate to on some level.”

— Gio Swaby

New Growth Second Chapter 11 from 2021

New Growth Second Chapter 9

Textiles were in part chosen for their familiarity, their approachability. Museum-goers can feel intimidated by fine art paintings, Swaby explains. The average person often thinks that they haven’t learned how to “properly” view a work of art. 

But textiles don’t have that baggage. They’re comfortable; they’re part of our everyday lives. 

“I think that textiles are a great way to connect with people because they’re so familiar,” Swaby says. “Everyone has some sort of relationship with textiles, whether it’s through clothing or bedding or whatever. It’s something that we can all relate to on some level.”

The Gylavantin’ series created in 2021

A Love Letter to Black Womanhood 

Born in 1991 in Nassau, Bahamas, Swaby grew up with a seamstress mother who taught her how to sew and inspired her artistic vision. She studied art at the University of the Bahamas, Emily Carr University of Art and Design and OCAD University, and now lives and works in Toronto, Ontario in Canada. 

Swaby has described her work as a love letter to Blackness and womanhood, a celebration of personal style and identity, and a challenge to the stereotypes and expectations that often limit the representation of Black women in art. Her exhibition Fresh Up, which we saw recently at the Art Institute of Chicago, is her first solo museum show. 

With each stitch and thread, Swaby masterfully brings to life the beauty and complexity of Black women in a way that’s both breathtaking and empowering. 

Another Side to Me Second Chapter 3 from 2021

Flipping Embroidery on Its Head 

How does Swaby create her portraits? It all starts with a photo session. Swaby meets with her subjects, who are mostly Black women she knows personally or admired from afar, and engages them in a conversation about their lives, their dreams, their struggles and their joys. She then captures them on camera in a moment of self-awareness and empowerment, using natural light and simple backgrounds to highlight their features and expressions. She also impresses upon the subjects that the hairstyle, clothing and jewelry are essential elements of their personal style and identity.

“An important aspect for me is to ask the sitter to choose their own outfit,” Swaby tells us. “I think it’s so important to make that person feel comfortable. I want them to choose what they feel the most beautiful in and what makes them feel the most powerful.”

Going Out Clothes 3 from 2020

Once an image is chosen, Swaby transfers the images to fabric using a sewing machine. Yes, she actually does it all on a sewing machine! She uses a freehand technique that allows her to improvise and experiment with different colors and textures of thread. 

“If I am feeling energized, I’ll start with the face or the hands,” Swaby says. “And if I’m not feeling the vibes, I will start with something that’s a little bit easier. Like if there’s a lot of stripes on the outfit. That’s pretty straightforward.”

Detail from the Gylavantin’ series

She also uses different types of fabric, such as cotton, denim, silk and velvet, to create contrast and depth. 

Swaby says that she works intuitively and quickly. “I don’t like to overthink things. I like to just go with what feels right in the moment. What I want to capture is their true essence.”

Another Side to Me 2 from 2020

The final step is to flip the fabric over and present the reverse side of her work. This is where Swaby’s process becomes radical. Instead of hiding the stitching process, she exposes it and celebrates it. 

“I wanted to have some moments of surprise, a new appreciation for the irregularities, the loose threads, the places where I lifted up the canvas before moving on to another area,” Swaby says. “I think there is beauty in imperfection. Why not celebrate it?” 

Pretty Pretty 7 from 2021

She explains that this is a way of honoring the labor and care that goes into each portrait, as well as embracing the vulnerability and humanity of her subjects. It’s a way of challenging the expectations and stereotypes that often limit the representation of Blacks in art. She wants to show them as they are: beautiful but not idealized, complex but not exoticized, powerful but not threatening.

Pretty Pretty 5

The first time she displayed the underside of a stitched rendering was with her Another Side to Me series. “As textile-based makers, this is the part of our work that we tend to conceal,” she says. “I’ve always found a kind of beauty in these ‘flaws.’” 

The New Growth series on display at the Fresh Up exhibit in Chicago

A Fresh Take on Collaboration for Fresh Up

Swaby’s exhibition Fresh Up is not just a collection of her works, but also a reflection of her vision and involvement. Swaby collaborated with the curators of the Art Institute of Chicago to create a show that showcases her range and diversity as an artist. The exhibition brings together seven of Swaby’s recent series, such as Love Letters and Pretty Pretty, along with approximately 15 new works, including her largest work to date, a commission for the U.S. embassy in Nassau.

An illustrated catalogue includes an interview between Swaby and Pulitzer Prize-winning journalist Nikole Hannah-Jones, as well as essays by the curators and contributions from Swaby herself. 

Swaby joined the Art Institute team to stage the show and write the descriptions of the art. At the talk Duke and I attended with our friend, Ivan, the museum’s staff kept gushing about how awesome it was to work with a living artist, to have the opportunity to install an exhibit with the artist’s input. 

The feeling was mutual: “Being able to work with the conservation team was one of the most exciting parts about having this exhibition here and being able to be here in person to see how it all works,” Swaby says. 

Love Letter 8 from 2021

The title of the exhibit, Fresh Up, is a Bahamian phrase used as a way to compliment someone’s style or confidence — elements Swaby wants to highlight in her subjects. It’s a phrase that exudes positivity, joy and self-love. 

“Life has so many variations — why not have this moment of representing and being able to celebrate many different kinds of people and also highlight the fact that Black women are not monolithic?” Swaby says. “We are all different, unique individuals.” 

Sew true! –Wally

Travel Planning Made Easy With Chatbots

If you want a stress-free travel experience, let chatbots help you find deals, book flights and hotels and create custom itineraries. Plus: Learn why you should have a VPN, too. 

Travel planning has gotten a whole lot easier thanks to chatbots.

In the past, planning a trip was a time-consuming and often frustrating experience. Even today, many travelers have to spend hours researching flights, hotels and activities that fit within their interests, budgets and dates. 

But now there’s a new way to plan travel: chatbots. Generative AI chatbots are programs that simulate human conversation, using natural language processing and machine learning, allowing users to complete a variety of travel-related tasks with a digital device — almost as if they were communicating with a person.

“Today’s chatbots are not like HAL, the sentient AI in Stanley Kubrick’s ‘2001: A Space Odyssey.’

They’re simply tools that can help you make your travel planning easier.”

Even if you’re a seasoned pro, chatbots can still help you plan your next trip. New tech tools are making travel planning easier than ever. According to research by Humley, a UK-based tech company that creates AI-assisted chatbots, 87% of people surveyed said they would use a travel chatbot if it could save them time and money.

Today’s chatbots are not like HAL, the sentient AI in Stanley Kubrick’s 2001: A Space Odyssey. They’re simply tools that can help you make your travel planning easier.

A travel chatbot can act as a personal assistant, offer budget-friendly travel options, book transportation and offer suggestions based on user behavior. If you have an issue, it can seem as if airlines make you wait on hold for longer than the flights you’re trying to book. Why wait on hold for an hour when you can speak with a smart computer immediately? Hop aboard this growing trend.

Where to next? Chatbots can help you decide — and get the best deals.

Benefits of Travel Chatbots

As chatbots become more nuanced and sophisticated, they offer a wider range of benefits for both travelers and travel businesses. Plus they’re able to learn and adapt to your personal needs. Here are the most common ways bots are revolutionizing the travel industry:

Up-to-date information: One of the biggest benefits of travel chatbots is that they can provide travelers with up-to-date information on prices, destinations and packages. This information is constantly being updated, so travelers can be sure they’re getting the best possible deal.

Multilingual support: Chatbots can be programmed to speak multiple languages, which makes them accessible to a global audience.

Personalized recommendations: Travel chatbots can also provide personalized recommendations to travelers. This is done by taking into account the traveler’s interests, budget and travel history. This can help travelers to find the perfect experience for them.

Real-time response: Forget limited office hours and automated voice prompts. Chatbots are available 24/7, so you can get help with your travel plans no matter what time of day it is. They’re also versatile enough that they can pass the baton to a human agent if things get tricky. With almost half of all customers expecting round-the-clock availability, real-time answers are the name of the game. 

Increased efficiency: Chatbots can help travel businesses increase their efficiency by handling a large number of customer inquiries without the need for human intervention. This can free up staff members to focus on other tasks, such as providing more personalized service to customers.

Kick back and relax, and let AI do the heavy lifting.

How Chatbots and Other Tools Can Make Travel Planning Easier

They make initial inquiries a breeze.

Navigating travel plans can be as chaotic as a tourist rush at the Louvre. Ever-changing rules and questions about travel insurance, restrictions and fees, can leave your head spinning. But fear not: These trusty sidekicks can answer your questions quickly and reliably, without the long wait for a live agent. 

They track lost luggage.

When your luggage goes missing in a labyrinth of unfamiliar airports, fear not, weary traveler, for the chatbot is here to lend a helping hand (or virtual voice). Armed with real-time data from airports and other points of departure, they can offer immediate assistance to track it down. And should misfortune strike and your baggage goes entirely AWOL, a chatbot can guide you through the bureaucracy of filing a claim. 

If you’re planning a trip to Vietnam, a chatbot might suggest an excursion on Ha Long Bay — and score you a good deal.

They make suggestions you might actually find useful. 

Chatbots can collect data about customer preferences and behavior, which can be used to improve the travel experience for future customers. And armed with some of your personal preferences, these digital dynamos can get quite adept at weaving their magic to create your ultimate travel package, seamlessly bundling flights, hotel stays, car rentals, and even sweet discounts on tours and activities. 

Think of chatbots as concierges with insider knowledge, coming up with hidden gems you might have otherwise missed. 

They can find the most favorable conditions for booking. 

Chatbots like Expedia’s on Facebook Messenger, can be the ultimate deal-finder. Just type in your desired destination and travel dates, and even throw in specific requests like non-smoking rooms or all-inclusive resorts — and the chatbot will swiftly sift through a variety of options, presenting you with a curated selection of relevant options. 

They can also simplify arranging wheelchair services, changing check-in dates and selecting the best seats. With a few taps and clicks, you can effortlessly finalize your reservations, make payments and voilà! Your detailed itinerary will be whisked to your phone’s text app or email inbox.

They help reduce the frustration of the cancellation process. 

Nobody likes dealing with cancellations, but with chatbots, the process has never been easier. They’re equipped to easily access customer info, retrieve reservation codes and navigate refund policies. 

Bonus tip! Set up a VPN for deals, privacy and access to foreign streaming platforms. 

A VPN (virtual private network) can act as a cloak of invisibility, a gateway to unbeatable deals and a VIP pass to entertainment options. It encrypts your data, masks your location and routes your online usage securely. 

What does that mean for travelers? First, access those sweet local deals! Connect to a server in your desired region and unveil a treasure trove of unbeatable prices. Second, you can indulge in global entertainment — log onto Netflix UK, for example, no matter where you are. 

Here’s how to set up a VPN:

1. Find a reputable VPN provider with the right features.

2. Download and install their app.

3. Sign up, configure and select your desired server location.

4. Connect with a single click, and you’re off to the races.

5. Confirm your new virtual location by checking your IP address on a dedicated website.

From getting the best prices to tracking lost luggage, chatbots can make the process more seamless. Best of all, they’re available at all hours — and won’t put you on hold for half an hour.

Travel Help — No Humans Needed

Need to arrange wheelchair services? Find the best deals? Score a sweet excursion package? With chatbots and AI, you’ll save time and effort — and, chances are, have a more pleasant experience than you would being on hold for interminable amounts of time and getting shuffled around from one department to another. And they’re getting better at an exponential rate.

Don’t be afraid to embrace the power of chatbots, because the tech travel journey has just begun! –Tony Olsen

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

 

Twisted Tours at Trundle Manor in Pittsburgh

This roadside oddity is a neighborhood haunt worthy of a detour. A fun combination of the weird and the macabre, the home includes a secret passage, a tumor that serenades visitors and plenty of other strange delights. 

The approach to Trundle Manor has a Bates family home feel to it — and then there’s the scary alien monster and the barrel of nuclear waste.

While Wally and I were looking for things to do in Pittsburgh, he stumbled upon Trundle Manor, a house of oddities and a museum of the bizarre. The quirky roadside attraction has been a fixture of the quiet residential neighborhood of Swissvale since 2009.

Intrigued, Wally sent an email to the proprietors and received a reply from the mysteriously named Mr. ARM, who asked when we’d like to stop by for a tour. “With a name like that we have to go,” Wally said, and decided then and there to schedule our visit.

One of the cute friends you’ll meet in the front yard

My parents, who we were traveling with, are up for anything. So we decided to throw caution to the wind and tell them we had a surprise for them. I asked my dad to set the GPS to 7724 Juniata Street. As we pulled up to the curb, we saw a colorful hand-painted sign at street level that read, “Trundle Manor,” beckoning visitors in (or warning them off). 

Not far from the sign was a yellow barrel stenciled with a hazardous waste symbol oozing green goo. When we looked up, we saw a two-story Victorian manor sitting atop a steep hill. The brick house looked a bit ominous, not unlike the Bates family house in Alfred Hitchcock’s movie Psycho.

Mima has a hair-raising and electrifying experience on the front porch.

The manor got its name from one of the couple’s epic Halloween parties. They invented the fictitious Trundle Graves Funeral Home and Taxidermy Service as part of the party’s theme, and the name stuck.

Wally takes a ride on the Loch Ness Monster.

My mom and dad exchanged looks, but they didn’t say anything. They’re used to our strange sensibilities. We got out of the car and walked up the steps leading to the front door. I rang the doorbell, and a moment later, the door was opened by our hostess, Velda von Minx. From the moment we saw her, Wally and I knew she was a kindred spirit. 

Our charming hostess, Velda von Minx, spun a nonstop tapestry of twisted tales.

Velda had blunt bangs, long wavy blonde hair, smoky eyes and an infectious laugh. She explained to us that her name is a sort of mashup of Zelda Fitzgerald, wife of author F. Scott Fitzgerald, and B-list actresses. It works. 

Her husband’s moniker, Mr. ARM, is an acronym using his initials. Sadly, he was indisposed. He had stayed up late the previous night and was sleeping during our visit. (Outside the manor, the couple are otherwise known as Rachel Rose Rech and Anton Raphael Miriello.)

This is what you can expect at Trundle Manor — strange and creepy items everywhere you look.

Here Comes Trundle

We were ushered into Trundle Manor and followed Velda into the dining room, which was decorated in a Victorian style, while muddled old-timey music crackled in the background.

Mima: We thought the taxidermied bird outside was telling us to go home. 

“Oh no!” Velda exclaimed. “But I’m glad you’re here. Welcome to Trundle Manor, our personal collection of weird and dead stuff.”

We looked around. The room was packed with oddities. 

Most of the taxidermied creatures at Trundle Manor have some sort of whimsical elements, like this bear, with his cymbals and marching band hat.

“About 15 years ago, we decided to open our house to the public and show off our collection,” Velda continued. “Anton grew up as a weird little kid, always bringing home dead things. His parents are both artists, and they encouraged him and would take him to flea markets, where they collected antiques and Art Deco pieces. He would always find something else to add to his collection.”

“Are you still collecting?” Mima asked. 

“Always! It’s hard to stop!” Velda chuckled. “People bring us things all the time, which is nice. It’s like our own personal museum drop-off. If they know you as someone who collects unusual things, they’ll often bring you items that they’ve inherited or that make them uncomfortable. I guess it’s a way for them to get rid of something that they don’t want, but also know that it’ll be appreciated by someone who loves weird stuff. We say it’s great to know people in different professions. Especially if you have friends in the funeral home industry, medical industry, veterinary technicians, people who clean out houses or even theater people — you’ll likely find that they have all sorts of cool things that they’re willing to part with.”

A small glass jar with something ashen inside and the name “H.H. Holmes” written on it, caught my eye. I asked Velda if they were the ashes of H.H. Holmes, the notorious serial killer at the center of Erik Larson’s brilliant book The Devil in the White City.

“It’s grave dirt,” she said with a smile. “From our favorite serial killer — if one needs a favorite serial killer. He was hanged at Moyamensing Prison in South Philadelphia in 1896 and buried in Holy Cross Cemetery in Yeadon, Pennsylvania, but his grave is unmarked. A local historian friend of ours got us some of the dirt from his grave.

“We also have grave dirt from some other famous people,” Velda added. “Like Rod Serling, Patsy Cline and Edgar Allan Poe. On the wall behind you is a jar of Bela Lugosi’s grave dirt. If it’s Dracula-related, we must have some of the earth he was buried in.”

I asked if the three bronze faces on the wall were of Lugosi. 

“They’re actually of Boris Karloff, Bela Lugosi and Vincent Price.” Velda replied. “We have Vincent Price’s autograph. My grandmother met him in Dayton, Ohio in 1972 during a summer production of Oliver! We also got to meet John Astin, the actor who played the original Gomez Addams, on The Addams Family,” she added.

Astin is an idol of Miriello’s, and the couple met him about 10 or 11 years ago when they drove out to Baltimore and pretended to be acting students at Johns Hopkins University, where  Astin was a director of the theater arts until his retirement in 2021.

Papa, Mima, Duke and Wally are only pretending to be scared. They loved their visit to this kooky home.

Velda eyed Wally’s iPhone with the chubby cat on the back. “I love your case,” she said. “Who’s the cat?”

“That’s our cat, Bowzer,” I replied. “He’s a bit of a chubster, but he’s a sweetheart.”

“Our cat was 25 pounds,” Velda said. “He was the ring bearer at our wedding. We had to weld together a little circus cage to carry him, because you can’t train a cat to walk down the aisle. We gently escorted him down the aisle, and he did a great job.

Wally laughed. “That sounds like a memorable wedding,” he said. “So, are you Mrs. ARM now?”

Velda smiled. “I guess so,” she said. “I always go by Velda von Minx, but of course I’ll take Mrs. ARM! We had a very unique wedding. We got married at the Braddock Carnegie Library, which was the first Carnegie Library in America. There’s a big Victorian-era music hall attached. We wanted a party wedding, so we had 12 bands, five belly dancers, a gourmet waffle buffet and an all-day open bar with an absinthe fountain. It was like a 14-hour event. That’s my wedding gown in the tall case.”

“Did you say an absinthe fountain? With real wormwood?" Papa asked.

“Not enough to make you hallucinate — but enough to make you good and drunk!” Velda chuckled. 

The couple’s wedding was an epic event, featuring multiple bands, a belly dancer and an absinthe fountain.

“And here we have our collection of medical oddities," she continued, gesturing to a nearby table. “Embalming equipment, vintage syringes, anal speculums, trepanation tools and a whole platter of gynecological tools that came in a box with a handwritten note that said, ‘Sorry, ladies.’ We had to have that.

Sorry, ladies! This tray holds a frightening mix of old-school medical devices once used for gynecological checkups, anal probes and trepanation.

“When we visit antique shops, we make it our mission to find the most upsetting things to buy. Like this embalming machine, used to pump fluid into a cadaver by a mortician. It would take a lot of cleaning, but I could totally see it as a margarita machine.

“Or this dental X-ray machine from the 1920s. It was used in a dentist’s office in Beaver Falls, Pennsylvania, up until the 1990s. There’s a sticker inside that says, ‘CAUTION: Radiation When…’ but the rest of the text has fallen off. Needless to say, we’re not going to plug it in.

“All of our taxidermy is real. We don’t  hunt or kill anything ourselves. We prefer the very old, kind of hungover-looking ones.”

“I love that one!” I said, pointing to a taxidermied fox sitting atop a cabinet wearing a tiny tiara and a pink ribbon.

“The Princess Fox?” Velda asked. “That’s our oldest, from the 1890s. And this is one of our creations: a werewolf-mermaid, or mer-wolf. The top half is our friend’s Rottweiler that died of natural causes and was donated to us. The bottom half is a carp. There are mahi-mahi fins and glass eyes from a blind human.”

Princess Fox, to the right in a tiara, is the couple’s oldest specimen, dating to the 1890s.

Velda directed our attention to a pair of hybrid creatures.

"This is also one of ours,” she said. “These fighting catfish are part cat and part fish, and they’re always fighting. We’re not expert taxidermists. We just have a glass of absinthe and see what happens. We’re influenced by gaffs, which are fake creatures pieced together from real animals. Think P.T. Barnum’s traveling sideshow stuff and the FeeJee Mermaid.”

She regaled us with a great story about one of her and Miriello’s adventures:

“One time, we saw what we thought was a cat that had been hit by a car on the main road. We felt really bad, so we pulled over to see if we could help. It turned out that it was actually a skunk. We had a kill kit in the back of our car, a briefcase with a cleaver and a bunch of Ziploc bags. I was wearing an evening gown, as I often do, squatting and holding open a bag, while Anton chopped off its head with the cleaver. We looked across the street and saw a little 10-year-old boy watching us. We were like, ‘Oh, sorry.’”

Wally asked, “What did you do with that skunk head?”

Velda replied with one eyebrow arched, “It’s sitting on a shelf somewhere in that cabinet.”

Wally asked Velda if she could share any stories of paranormal activity or spooky experiences involving their house.

“Technically, our house should be haunted,” Velda said. “The previous owner, Charlie, committed suicide in 2006, and we’re the first people to live here since. We learned from our neighbors that he didn’t have many people in his life, was a member of Mensa, and a bit of a hoarder. So, we like to think that he’s living vicariously through us.”

Velda continued. “Everyone who comes here is good-natured, whether they’re a friend, family member or guest at one of our parties. There’s always positive energy, and we get to see people’s best days. We like to think that we’re providing him with entertainment, if nothing else. When we go out of town, we ask Charlie to look after the house.”

Wally asked what the rest of the house was like beyond the museum. Velda replied, “There’s a total of four rooms that are open to the public. The upstairs is where we live, and it's more retro rockabilly. There’s a pinball machine, our Lego collection and a ’50s diner booth.”

She continued, “I should also mention that our most priceless item in this room is a tiger pelt from Indonesia. It was donated to us by a man who was cleaning out his mother’s home after she passed away. He told us that the pelt came from a small village in Indonesia where his father was born. Sometime in the 1950s, a young Sumatran tiger was spotted lurking near a densely populated residential area. Concerned that the tiger might attack or kill their children, the father shot it and had its pelt made into a rug.”

A Sumatran tiger that was killed in the 1950s and made into a rug was donated to Trundle Manor, and became their most priceless part of the collection.

So how did Trundle Manor come to be?

“What started out as a party space for friends and family, photo shoots, art shows, movie screenings and burlesque shows has turned into a roadside attraction. We now do about a dozen tours a week.”

Behold! Olivia’s Singing Tumor! One of the stars of the collection, this tumor came from their belly dancing friend, who still pops by to visit her erstwhile body part.

The Singing Tumor and Counterfeit Cash

Velda guided us out of the dining room and into the vestibule. 

“In our entryway, we have a human reliquary altar.” Typically, a reliquary is a container for religious relics that include the remains of saints, such as bones or pieces of clothing. “Ours contain parts of people that they’re no longer using anymore,” our charming tour guide continued. “We have my husband’s first mustache, in case his face melts off and I need to bandage him up and glue it back on. We also have a jar with a red lid that contains most of what’s left of a human brain. It was a wedding gift from our tattoo artist friend who received it as payment from a medical waste employee instead of cash. The original jar got thrown at him and shattered against a wall and is the reason why it’s incomplete. We also have a jar with a couple of months’ worth of skin flakes from our friend with psoriasis.”

A collection of prosthetic legs, lost to injury or illness, came from a friend who works at a retirement home. One from the 1940s has toes carved into the wooden foot.

Mima picked up some bills. “What’s this?” she asked. 

“We make our own money,” Velda explained, “because we loved the idea of having drawers full of cash like the Addams Family. We’re not rich, but we do have our own currency. I’m on the $3 bill, Mr. ARM is on the $13 bill, and our beloved cat, Little Devil, is on the $666 bill.”

Velda removed the covering from an object with a flourish to reveal the crown jewel of their collection. Floating within a custom-made steampunk brass and glass vessel (built by Mr. ARM) was a fist-sized mass. It wouldn’t look out of place among the contraptions of Captain Nemo’s submarine the Nautilus. This curiosity is Olivia’s Singing Tumor, bequeathed to them by their belly dancing friend, who still performs around Pittsburgh.

“This was a benign tumor on her uterus about 15 years ago,” Velda told us. “Hospitals typically don’t allow patients to keep surgical specimens, but Olivia was persistent, and they were able to freeze the tumor and give it to her in a Tupperware container.”

The assemblage sits upon an oak phonograph pedestal, complete with a pair of metal horns to amplify its “singing” — a song whose chorus Velda informed us is, appropriately, “I want my mommy.” Olivia occasionally comes to visit her tumor, Velda added. 

Also occupying the space is a bug-eyed, mustachioed 4-foot-tall animatronic Santa Claus wearing wire-rimmed glasses. It’s been remade into a likeness of Mr. ARM. It stands silently in the entryway. “We tinkered with it and re-recorded its voice to announce the collection,” Velda said. “But it malfunctioned after it got rained on and started singing ‘Jingle Bells’ in a rather demonic voice.”

The parlor at Trundle Manor has a bit more room — but don’t worry: It’s still stuffed to the gills with weird shit.

The Freeze-Dried Cat and a Gremlin Named Nigel in the Parlor

The four of us exited the entryway and followed Velda into the parlor, the largest of the rooms at Trundle Manor. 

“We can accommodate 12 to 15 people when we screen movies, which we do about once a month,” she told us. There’s a pull-down screen and a projector mounted to the ceiling. A couple of Velda’s favorites flicks include pre-code Hollywood horror movies such as Frankenstein (1931) and Mystery of the Wax Museum (1933). 

A portrait of Velda von Minx and Mr. ARM in the style of holy icons holds a pride of place on one of the walls. When I asked Velda about it, she told us that Anton’s parents are both artists who specialize in saint iconography painting.

“They’re not religious people,” Velda said. “But they’ve been painting saint icons since the 1970s. His dad paints the bodies and backgrounds, while his mom does the faces and hands.”

Velda added that the portrait was a wedding gift from her in-laws.

The painting of the couple was religious icons was done by Mr. ARM’s parents as a wedding gift.

I don’t think any of us were prepared for what Velda told us next about their dearly departed black cat, Little Devil. “We had him freeze-dried and preserved, and  placed him in a special glass box with a lid that unlocks so we can still reach in and pet him. We bought him a tiny top hat at the oldest hat shop in the world in London, where the royal family has had custom hats made for over 300 years. I’m surprised they let us through the front door!”

This handsome fellow is Little Devil, the couple’s cat, which has been freeze-dried. Gulp.

The fantastical throne in the parlor is a collaboration between Mr. ARM and his friend The Admiral. It’s their interpretation of the Eldritch Seat of R’lyeh and is an homage to H.P. Lovecraft’s octopus-èsque monster Cthulhu. The back piece was first sculpted in clay and then cast in plastic and treated to look like wood.

“We also built a birdcage with a miniature replica of the parlor inside,” Velda continues. Amazingly, she hadn’t run out of stories yet. “For a time, we thought we might have a gremlin, as we kept losing things in the house, only to find them again in places that neither of us had left them.

“So Mr. ARM and I decided to give our gremlin a place to hang out that we knew he would appreciate. We filled the decoy with real tiny dead specimens, a reading lamp, miniature Poe and Lovecraft books, custom leather furniture, a coffin to sleep in and my personal favorite: a fully stocked bar with bottles of absinthe, moonshine and an 18-year-old scotch. We named him Nigel, and if he is real, he’s living it up!”

One of the birdcages has a miniature setup of the room to keep the home’s gremlin, Nigel, so contented he won’t get up to mischief.

Wally noticed a birdcage themed like the Black Lodge from Twin Peaks and asked about it.  

“We adore Twin Peaks,” Velda said, scoring even more points with Wally. “That’s how we spent most of the pandemic, in the parlor watching David Lynch on repeat. There’s even a little cherry pie and miniature cup of coffee. Although I still need to finish making the curtains!”

Pointing to the wall, Velda said, “The moose is our biggest friend. We purchased him at an antique shop in central Pennsylvania. When we brought him home, we didn’t realize that he wouldn’t fit through the front door. We had to saw off his left antler in order to get him inside and reattached it upside down, because that’s how Pierre, the stuffed moose head in The Addams Family, had his antlers.

“Over in the corner,” Velda gestures, “and sitting atop a table near Little Devil is a fawn with a blonde wig that we call the Nudie Cutie. I don’t know why a taxidermist would have wanted a baby deer to look like a sexy pinup girl, but they did. I made her a bikini, and added false eyelashes and a wig.

“The big guy in the corner with the wooden leg and the ribs was something that my husband made when he was 15. His parents told him that he couldn’t have a dog, so he built one. It’s got the head of an alligator, deer bones and chicken wire. He would take it outside and drag it down the road on a leash.”

This creepy creature was Anton’s first creation, when he started playing Doctor Frankenstein at the age of 15.

In the barrister bookcase are two mummified cats. “Our neighbor found one under his porch and thought it would be a great gift for his wife, but when he gave it to her, she was horrified. The other one came from our friend who makes movie props. She found it when she was cleaning out her warehouse. She also gave us a dental chair from the 1930s and a perm machine from the 1920s. We call the perm machine our ‘feminine electric chair.’ The metal clips would attach to wet hair, and electricity would flow through its wires to cook it into being curly. The machine says: 115 volts/15 amps. One amp could electrocute a person.

Velda saw Mr. ARM tooling around town in his hot rods, stalked him on social and got herself invited over. It was love at first taxidermy lesson.

“My other favorite thing in the parlor is the two squirrels getting married,” Velda said with a smile. “They’re part of our love story.” 

For years Anton was part of the Drifters Car Club of Pittsburgh, a vintage motorsport club. “I would see him around town with his hot rods and sort of started stalking him on social media. And that’s how we met because I got myself invited over. That first night he said, ‘I’ve got a freezer full of dead squirrels. Do you want to learn taxidermy in my basement?’ To which I replied, ‘Of course!’”

Talk about a meet-cute! 

Nothing is as it seems in the Trundle Manor kitchen. Every cabinet opens to reveal a surprising mad scientist take on kitchen appliances.

That’s the Kitchen?!

Our final stop was the laboratory/gift shop/kitchen. The entrance is hidden behind a moveable display case in the dining room. It has all the typical appliances — they’re just concealed by panels, doors, buttons, switches, wheels and blinking lights that transform the room into a mad scientist’s laboratory. There’s even a device with an electric current that Mr. ARM uses to light cigars. 

Wish you were here?

Home, Strange Home

To some, Trundle Manor may seem a little disquieting and strange. But to its owners, Mr. ARM and Velda von Minx, it’s a labor of love. Their strange and wonderful collection fills every nook and cranny of the downstairs of their circa-1910 home.

Velda was kind, playful and genuine. Tours take about 45 minutes and are by appointment only. Velda von Minx and Mr. ARM accept donations of cash, booze or oddities in exchange for guided tours. 

If you’re planning a trip to Pittsburgh and are fans of oddities, as we are, it’s well worth making a reservation for a jaunt to this fascinating home. You’ll come away with numerous stories that begin, “You won’t believe this…” Obviously, Wally and I loved it, and my parents did, too. –Duke

Trundle Manor’s tagline is: The most unusual tourist trap in the world meets the most bizarre private collection on public display!

And we gotta say, that about sums it up.

Trundle Manor 

7724 Juniata Street 
Pittsburgh, Pennsylvania 15218
USA