Blog interview with William Brockschmidt

The New York Times published an article on October 27 that caught our attention and made us published a post the following day. The post put us in contact with William Brockschmidt, one of the architects behind the reconstructing of a beautiful  house cave-like looking in Sicily. We would like to thank William for his gracious collaboration. I love the ending quote of this interview (I would love a direct flight to Catania too!) and how William describes the workers who intensified their work on the house the days before they were arriving.

1. Can you please tell us a little about yourself?

Richard and I are both trained as architects.  He is from Texas and I grew up in Virginia, but we met in Chicago where we were both working for architecture firms in the early 90s. I have always been interested in historic and classical architecture.  In fact, I studied Latin in school as soon as it was offered because the Latin class had a field trip to Rome – and I’m still in contact with my Latin teacher after all these years.  Richard and I moved from Chicago to New York after I participated in a six-week intensive study of classical architecture at what is now called the Institute of Classical Architecture & Classical America, where I am now a Fellow and chair the travel committee.  We both began working for architectural firms designing in the classical and traditional vernacular architectural languages.  In 2001 I started Brockschmidt & Coleman, LLC, Decoration and Design with Courtney Coleman.  Richard has been a senior project designer at the renowned classical firm of Fairfax & Sammons Architects.

2. Why did you choose Sicily?

We first visited and fell in love with Sicily in 2000.  Richard and I had been working very hard during our first five years in New York.  It was a great opportunity to work on interesting and substantial traditional projects, but we realized that we spent all of our time on the job with little time for travel and exposure to the classical architecture and urbanism that inspired us.  We decided to leave our firms for three months to take a sabbatical in Italy.  We had been to Rome and Venice in the past, and wanted to spend a month “living” in each of those architecturally rich cities.  In preparation for the trip I had read Goethe’s Italian Journey and became fascinated with his descriptions of Sicily and his notion that “To have seen Italy without having seen Sicily is not to have seen Italy at all, for Sicily is the clue to everything.”  Once we began to consider spending our first month in Sicily, friends and acquaintances who had been there encouraged us based on their own experiences, including architects trained at Notre Dame’s school of architecture who had spent 10 days in Sicily as a mandatory part of their architectural education.  We started to research and planned a trip starting in Palermo and visiting Segesta, Erice, Trapani, Selinunte, Agrigento, Enna, Caltigirone, Piazza Armerina, Ragusa, Modica, Scicli, Noto, Siracusa, Catania, and Taormina.  Our favorite area was the area of which we knew the least, the Val di Noto with its distinctive baroque cities.  We were amazed by the cultural variety in Sicily, and the way the things that had become familiar from previous trips to Italy were interpreted so exotically in Sicily. In an odd coincidence, just before leaving New York, we were introduced to some sympathetic people near Ragusa who in turn provided us with introductions that allowed us to visit several private palaces and homes.  Therefore, we were lucky to have experienced Sicilian hospitality during our first visit.  During this visit, we saw absolutely as much of the Island as possible, rarely resting, since we did not know if we’d ever return. However, once we were back in New York, we wanted to share our experiences with friends and returned for a week the very next year, seven of us renting a villa near Palazzolo Acreide.  The trip occurred less than a month after the devastation of September 11^th, and though we debated whether it was appropriate even to travel, our group had a magical and memorable experience.  After that trip, I organized a Sicilian drawing tour for architects through the Institute of Classical Architecture & Classical America.  And after that tour, it had become apparent that we’d like to retire one day to Sicily and our thoughts turned to finding and buying a house.

We had just finished renovating and decorating our loft in Manhattan, and had not even been thinking of a second home.  As architects, we certainly fantasized about designing a retreat, and had even made sketches for country dream houses, imaginatively setting them perhaps in Sag Harbor or the Hudson River or Delaware River Valley.  We had not set about to own a house in Europe and so we didn’t actually choose Sicily as a place to build or restore a holiday house.  Rather, we realized that Sicily had bewitched us and one way or another we wanted to spend at least part of our lives there, and so we convinced ourselves that a house made sense, and since we were likely to find a house in need of renovation, perhaps we could buy one now and inhabit it gradually over time.

3. Do you think it is a growing trend?

One of the reasons we decided to purchase sooner rather than later is that we thought Sicily was being discovered and prices were likely to rise.  In the four years of visiting Sicily between our first and third visits, Ortigia in Siracusa seemed to have changed from a slow and forgotten urban treasure to a bustling city full of stylish people from Sicily and Milan all restoring palace after palace.  Since 2000 boutique hotels, shops and bars have appeared.  It wasn’t, however, until we had purchased our house and began meeting Sicilians in Sicily and New York that we had met any Americans purchasing houses in Sicily.  Since the “Casa Grotta” article appeared in the New York Times in October, we’ve had calls and e-mails from several Americans who were either in the midst of house-hunting, had fantasized about house-hunting or even had inherited property in Sicily.  Many of the people we’ve met who are buying or searching for properties in Sicily have some Sicilian background or family.  But neither Richard nor I have any Sicilian or even Italian descendents.  Despite this, we were captivated by the island and the Sicilians.

4. And why did you pick Modica?

We knew that we wanted to be in the Val di Noto.  While we love Palermo and Catania, we already live in a big city, but our lifestyle is too social to live isolated in the countryside.  The baroque cities of southeastern Sicily are near mountains and sea, have a varied agricultural tradition and a delicious regional cuisine, and are stunning small cities with majestic urban set-pieces in a gorgeous soft honey-color stone.  On our shortlist of small cities were Ortigia, Ragusa Ibla, Modica, and Scicli. Ortigia, however, had already become quite expensive, especially for houses or apartments with views of the sea.  It also seemed like it was becoming a chic resort.  Ibla and Scicli are dramatic and beautiful, but perhaps a little quiet.  Some friends suggested that the inhabitants of Modica are friendly and open-minded.  And we had noticed that due to its natural setting, the center of town was particularly bustling and active. The center of town was once the convergence of two rivers with dense and steeply sloping neighborhoods on each side, and so the main street, Corso Umberto, is gritty with traffic, commerce and activity, but lined with elegant buildings.  At night during the passegiata there are exuberant youths and elegant couples, and all of the stores seem to sparkle. Everyone that we’ve met in Modica has been extremely friendly and proud of their city.  This seems fitting: in a 1905 London guidebook Sicily, the New Winter Resort the author wrote of Modica that “its inhabitants are the nicest people in Sicily.”

5. How did you coordinate all the labor to build the house from New York?

Once we chose Modica as the place where we would buy a house, our Ragusan friend generously offered to help us, advising us on contractors, architects, and so many related aspects of restoring and reconstructing a house.  Since he had undertaken several restoration and building projects of his own, he recommended craftsmen whom he trusted and whose work he knew well.  We were incredibly fortunate in this regard.  Once we received the title to the house and the gigantic old-fashioned keys, we set about measuring so that we could prepare drawings showing the existing conditions.  There had been three houses in Modica that we were considering.  We decided on the “Casa Grotta” when we realized that by adding a central interior staircase, we could really transform the house, gaining additional light into the cave and creating a sense of movement between the floors.  Of course, we came up with this design concept after we were back in New York with only a few photos of the house.  We couldn’t know if the design would work and that we’d made the right decision until we could measure.  We started drafting the floor plans on the airplane ride back to New York, and our plan seemed to work.  Because there are no right angles in the house and the cave was not orthogonal and had an unstable dirt floor, we weren’t positive, but we were hopeful.  We prepared a set of drawings that included floor plans and elevations, and prepared a written scope of work in English and our cobbled-together Italian.  We sent the drawings to the contractor and planned to meet on our next trip.  In January, we met with contractors and subcontractors to go over the scope of work and drawings and found examples of details in the neighborhood so that we could get a price estimate in order to move forward.  We also met with the local architect who would correspond with the contractor, artisans and with us, and would prepare the submittals required for approval required by the city and regional government.  In addition to complying with requirements to match the original stucco color, to leave exposed the fragments of a former wall, and to simplify the stone surround of a new doorway overlooking the courtyard, we were also required to replace the roof and install a rigid reinforced concrete collar at the upper perimeter of all walls.

Once we had adjusted the design to fit within our budget, we would prepare either CAD drawings or free-hand sketches that we would e-mail to the local architect.  She would meet with the contractor and artisans as required and would e-mail photos and occasionally her own sketches when decisions were required.  We were limited to about three trips to Sicily each year and between the closing in October 2006 and the time we inhabited the house for the first time in September 2009 we had been to the site nine times.  Each time we were in Modica, we’d spend as much time on site as possible, meeting from morning to evening with the local architect, general contractor, stone mason, carpenter, millworker, iron worker, plumber, electrician, painter, etc.  We would also photograph as much as possible during each trip so that we had references for corresponding with the architect during the time we were back in New York.  In addition, our friend who had introduced us to the architect, contractors and artisans would make visits to the site and would review the progress with a discerning eye.  He and his partner were so generous with their time and expertise.  The project would likely have been completed more quickly if we had been able to go to the site more often.  (A neighbor told us once upon our arrival on the street that she knew we were coming because work picked up in full-force again.)  However, the relatively slow pace allowed us to participate more extensively in the process, which we truly enjoyed, and while the house is now habitable in warm weather, we still need to install radiators, to install interior doors, to install the entire kitchen, a few bathroom vanities, some interior and exterior cabinetry, and to paint all of the natural wood and ironwork!

6. Can you share with us something that has been and is still a surprise to you while in Sicily?

We are still amazed and delighted by the hospitality and by our ability to make friends.  For Richard’s 50^th birthday party, there were probably 60 people who came to our cave house.  Some of them were people we had not yet met, neighbors and friends of friends whom our friends thought we would like to meet.  But many others were friends that we’ve been seeing on our trips to Sicily who came from nearby villas, but also all the way from Siracusa and Catania just for the evening.  We’ve been invited to the most wonderful lunches and dinners and to visit villas and palaces.  The group of friends we’ve made are all interested in Sicilian culture, history and architecture and many group outings are planned to see landmarks of interest.  In fact, after the party fourteen of us went to Palermo for a weekend of sightseeing.  We’ve been pleased that our Sicilian friends have also been visiting us in New York, and delight in hosting parties and dinners or arranging similar visits for them while they’re in the US.  Another initial surprise is how much our Sicilian friends love Sicily (of course it’s contagious) and the way that when one is in Sicily, it truly feels like the center of the world while also feeling like an exotic far-away island.  Our friends are quite cosmopolitan and while they understand certain limitations and provincial aspects of island, they have such a deep appreciation for their native land, and would not want to live anywhere else.

7. Do you think stereotypes about Sicily are pure fiction or partly true?  Can you give examples?

When we first went to Sicily, we really did not know much about it at all.  We were both a bit worried about the crime that is such a storied part of Sicily’s reputation.  We had read stories about the overwhelming and chaotic nature of Palermo with its mixture of architectural treasures and extreme natural beauty juxtaposed with decay and illegally-built apartment blocks ruining the landscape.  During our first trip, we were probably more on the lookout for stereotypes.  In Bagheria, we were certain that the dark and mysterious place we had chosen for lunch was filled with Mafiosi staring at us for invading their hangout.  When we took a wrong turn and found ourselves heading into the heartland between Palermo and Agrigento, we were nervous about being lost and ending up somewhere we shouldn’t be.  Even in Ragusa Ibla, a young noblewoman described how she returned home to her villa one evening to find that all of the furniture had been stolen.  However, these dark fantasies were likely unjustified, and since spending time in Sicily, we have experienced no crime or mysterious circumstances.  In fact, we understand that the Ragusa province is one of the safest in all of Italy.  Certainly there is a crime element in Sicily and Italy in general, but it’s not been anything that we’ve experienced, nor are we paranoid.  We don’t feel the need to exercise any more caution than we do in quite-safe New York City.  Another possible stereotype is that the Sicilians are loud, emphatic, and boisterous.  While it’s true that among Sicilians a discussion over where to have the next coffee can erupt into passionate debate, it is a quality that I appreciate, especially coming from stiff-upper-lip northern European descendants. My Italian is improving, but I’m far from fluent, and after while I just surrender and enjoy the operatic arguments until the decision is resolved.  Even during site-meetings for our house, the subcontractors would argue emphatically, often losing us in Sicilian dialect, but then they would somehow resolve the seemingly insurmountable problem with a smile and a chorus of “va bene, va bene”.  As to the stereotype that Sicilians are lazy and untrustworthy, the Sicilians that we’ve met are industrious, active, generous and honest.  Those who work, work hard, and those who are fortunate enough not to need to work, are busy with projects and activities.  However, they also balance work time with an incredible zest for living, enjoying food, wine, desserts, art and architecture, nature, relaxation and friendship. Of course, this also means that things happen in Sicilian time – but why not?  I’m hoping to assimilate.

8. As a foreigner, did your stay in Sicily help to change your perception of the island?

It’s difficult now to recall our initial perception of the island.  Before our first month-long trip, we really didn’t know what to expect.  Sicily was a bit of a mystery and the more we discovered, the more we were entranced.  I’m sure, however, that we changed others’ perceptions of the island with our stories.  Richard’s father, for example, thought that we would be unwelcome in a place that was so damaged by the Americans during WWII and was amazed by the way we were received.  Others are inspired by the way we’ve so easily made friends.  We’ve certainly inspired friends to go to Sicily, either with us or on their own – and they typically love their experience.

9. Obviously you believe in Sicily’s potential for tourism.  What could the island do better to become a real player in this sector?

We hope that Sicily never forgets that it is Sicily and does not try to be something else in the name of creating tourism.  It is so critical that tourism development is sympathetic and does not destroy the unique character of the cities and landscapes.  I think that there is an understanding of this to some degree with local “slow” food, restoration of landmarks, nature preserves, etc. in some areas, but there must be a commitment to quality.  Cities must work to be both landmarks and real places for everyday local citizens so that there is a vibrancy as well as beauty and history – a delicate but crucial balance.  Travel development must be sophisticated as well.  For example, it’s wonderful that the Val di Noto is recognized for its baroque achievements, but “baroque” cannot become a meaningless catch-word to sell a product that has nothing to do with the baroque and then diminishes the meaning.  The food culture could also be further exploited in a way that is similar to Napa Valley in which local and fresh foods are produced and developed in such a way to attract tourists.  Cultural destinations can be improved – in Modica, for example the Palazzo Polara was converted into a museum of art and included a few period rooms, but it’s never been opened since we’ve been coming to Modica.  And within the municipal jail there is an important restored cloister that survived the earthquake of 1693, but because it is in the prison, it is not open to the public. As is true throughout the world, sprawl must be controlled and landscapes preserved.  And selfishly, we’d love a direct flight from New York to Catania!

For more information about architects William Brockschmidt and Richard Dragisic please visit www.brockschmidtandcoleman.com and www.fairfaxandsammons.com

Slideshow of the house (how it was before and during the reconstructing)

Slideshow of the house now