Sticks and Stones May Break My Bones, But Destroying Art Will Always Hurt Me

In reference to his site specific work Tilted Arc in New York City, Minimalist artist Richard Serra stated in an interview with The New York Times that “to remove the work is to destroy the work.[1]” In the early eighties, Tilted Arc was at the center of a controversy that eventually led the government to dismantle and tank it.

Tilted Arc, Richard Serra, 1981, sculpture, steel, New York City (destroyed). Photo © 1985 David Aschkenas.

This past summer, I caught Richard Serra Drawing: A Retrospective at the Metropolitan Museum of Art and was struck by one drawing in particular titled “The United States Government Destroys Art (1989).” The drawing, part of the Eli and Edythe L. Broad Collection, is made using paintstick on two sheets of paper arranged to form a slit at the center.

RICHARD SERRA. The United States Government Destroys Art, 1989. Paintstick on two sheets of paper; 113 x 215 ¼ inches. Los Angeles County Museum of Art.

Like much of Serra’s drawings, when the drawing above is experienced in person and up-close, it looms over the viewer, it makes us aware of ourselves and of the space we’re in.  Because these drawings are different shades of black with varying degrees of textures, they provoke an intense palpable feeling that lingers on forever.

From left, works from 1989: “The United States Courts Are Partial to the Government,” “No Mandatory Patriotism” (center) and “The United States Government Destroys Art.” Ozier Muhammad/The New York Times. Installation view at the Metropolitan Museum of Art, New York.

Just like with Serra’s Tilted Arc, a similar battle has been unfolding in Downtown Hartford, Connecticut since the late seventies. Steps away from the Wadsworth Athenaeum, is Carl Andre’s Field Stone Sculpture (1977), another site-specific “earthwork” threatened with insensitive changes like the removal and the rearranging of some of its components.

Aerial photo of Carl Andre's Stone Field Sculpture (1977) in Hartford, CT

The sculpture comprises of 36 boulders arranged on a triangular parcel of land bordered by Main Street, Gold Street and the Ancient Burying Grounds. The stones are all local and are positioned on the ground without looking like much intervention happened. This is the point of many of the works born out of the Environmental and Site-Specific Art movement that emerged in the 1960’s. The works of this movement were made accessible to everyone and often encouraged public interaction. Field Stone Sculpture is accessible by everyone and encourages user interaction.

Carl Andre's Stone Field Sculpture (1977) in Hartford, CT. Photo Credit: Anulfo Baez

Field Stone Sculpture has not survived without polemics. Very much under appreciated by the people of Hartford, the work is seen by many as a testament to the power of time, and by others as a field of “rocks.” Do the people of Hartford not know that this is Carl Andre’s largest work and only public commission?

On a recent fall trip to Hartford, I spent time exploring the adjacent historic burying ground and contemplating the stillness that surrounds Field Stone Sculpture.

Carl Andre's Stone Field Sculpture (1977) in Hartford, CT. Photo Credit: Anulfo Baez

In spite of the hustle and bustle of Downtown Hartford, the siting of the work, the scale and arrangement of the boulders on the land allowed my mind to wander around freely. Field Stone Sculpture could not fit in more perfectly in this location. The handsome Colonial Revival buildings that surround it and the nearby parks designed by the firm of Frederick Law Olmsted create a wonderful “natural” and man-made contrast in this section of Hartford.

On October 30, 1963 an editorial in The New York Times lamented the terrible loss of New York’s Pennsylvania Station, a grand Beaux Arts building designed by the prestigious firm of McKim, Mead and White. “…we will probably be judge not by the monuments we build, but by those we have destroyed” were the words that have now shaped the current preservation movement. Should Field Stone Sculpture in the near future suffer the same fate of Tilted Arc, Penn Station and countless other long lost monuments, Harftord will not be judge by the monuments it will builds, but by those it has destroyed.

It would be a terrible shame to alter Field Stone Sculpture because by simply altering it, would be to destroy it.

[1] Grace Glueck, “What Part Should the Public Play in Choosing Public Art?” New York Times, February 3, 1985, 27.

The Cheney Building Stands Like a Tree in Downtown Hartford

Here’s a wonderful building in Hartford, CT by Henry Hobson Richardson, the genius behind masterpieces like Trinity Church on Copley Square and the Woburn Public Library among others. The Cheney Building (1875-76) stands like a tree in downtown Hartford, setting itself apart from its neighbors through the polychromatic stonework, rustication, and the floral motifs carved throughout its exterior. Richardson’s influence is felt throughout the United States, Canada and Northern European countries where local and nationally known architects admired his works, often incorporating many of Richardson’s signature elements into their architecture. If you visit Hartford, don’t miss the Cheney Building on Main Street, it’s a gem worth staring at for hour and hours.

All photos credit of The Evolving Critic.

The Bucket List: Boston Edition

Boston’s Channel 5 recently asked their “fans” on Facebook to come up with a bucket list of things and places every Bostonian must do and see before they die. Most of the things on the list are boring, overplayed and are for the most part, tourists traps. Looking at the slide show on the WCBV website, I was extremely disappointed that people in Boston do not consider Trinity Church to be one of those places they MUST see before they die. I will not rant here, I’ve already done that on Twitter and I’ve already blogged or mentioned Trinity Church here, here, here, here, here, and I’m sure there are least two or three more mentions through out The Evolving Critic.

Here’s a list of things and places EVERY Bostonian should do and see before they die. Venture out into the city and stop following the Freedom Trail (assuming every Bostonian has already done it, right?).

Trinity Church – the interior will blow you away. Please. Do. Go. See. This. American. Architectural. Masterpiece.

Boston Harbor Islands - There are 34, many open to the public. One of the best summer experiences you’ll have.

I cannot find ANY of my images I shot at the Islands a few years back. This is one is taken from

Lantern Festival-Forest Hills CemeteryTruly magical. Whether you’ve lost a loved one or not, it’s a powerful experience. I’m uncertain whether the Education Trust will host the event this year, but everyone must attend this event before they die.
Highland Park Stand Pipe – Roxbury. Roxbury is beautiful in the spring and summer. The Stand Pipe is a must see.

The Cochituate Standpipe, built in 1869. Im proud of taking this picture!

Rembrandt’s Self Portrait at the Gardner Museum. It’s in Boston, why not see it? Rembrandt painted it at age 23! AMAZING!
Walk the entire Emerald Necklace. I have NOT done this all in one day, but I have visited all of the parks individually, will complete this summer though. I have completed the entire Emerald Necklace in one day (someday I’ll write about it, for now head over to Boston Urban Safari and check out Cristy’s perspective).
Chapel at MIT. Eero Saarinen. Sculpture by Harry Bertoia. Just beautiful, oh so beautiful. So so so so beautiful. I like sacred places. I really do.

Saarinens Chapel, Massachusetts Institute of Technology

Drink – Have a cocktail at Drink. Have “The Last Word” for me. Or anything with Chartreuse. ONLY 21+.

Drink. Photo: This guy is always the one that makes my drinks. Hes excellent. They all are. I havent been in a while though.

Kayak/Canoe the Charles River. Do it.

Im the one on the back. I stole this from my friends FB page; the one in the front. Ill keep looking for my OWN photos.

What else would you recommend to Bostonians to add to their Bucket List. TRINITY CHURCH is a MUST!

End of Summer Architectural Day Trip: The Architecture of the Piscataqua

The Architectural Heritage of the Piscataqua: Houses and Gardens of the Portsmouth District of Maine and New Hampshire by John Mead Howells is considered a classic book on the colonial architecture of the seacoast region of New Hampshire and southern Maine. No longer in print, the architectural monograph is replete with black and white exterior and interior photographs and floor plans of some of the most influential houses in American architecture. Two years ago, while browsing through the art and architecture section at the Brattle Bookshop in Boston, I came across a gorgeous used copy of The Architectural Heritage of the Piscataqua. I knew I would study the images in the book for years to come and had no other option but to buy it. During my New Hampshire vacation two weeks ago, my friend and I headed to Portsmouth (a familiar territory) on a day trip to explore the architectural heritage of the Piscataqua region. 

Located a stone throws away from the campus of the University of New Hampshire (UNH), Portsmouth offers an all-inclusive education in American colonial architecture. In fact, while a student at UNH, Portsmouth was my personal “on the field” classroom while I took a 17th and 18th century American Architecture course (we did not go on any fieldtrips considering Portsmouth is only about a ten minute drive from the UNH campus). This course not only introduced me to the colonial architecture of the East, South and Midwestern parts of the country, but also to the driving influences of pattern books and architectural treatises including Leon Battista Alberti’s De re aedificatoria (1452, Ten Books on Architecture) Sebastiano Serlio’s Il Settimo Libro Archittetura del Serglio (1575), Andrea Palladio’s  I Quattro Libri dell’Architettura (The Four Books of Architecture)  to Inigo Jones, the English architect who fell in love with Palladio and gave us the first English translation of The Four Books of Architecture.  

The following are just some of the houses you’ll encounter in Portsmouth.

The Jones House, part of the Strawbery Banke Museum was built around 1790. The Strawbery Banke museum is Portsmouth most popular destination, an outdoor history museum containing more than 40 restored buildings spanding the 17th through the 19th century. For more information, visit

Goodwin mansion. Built around 1811, the Goodwin Mansion served as the home of civil war governor Ichabod Goodwin from 1832-1896. The house has a beautiful recreated Victorian garden. For more information, visit

The Governor John Langdon House was built around 1784 by the Governor himself. This house is considered to be one of the best examples of the Georgian style fully developed in the colonies and according to Howells “both interior and exterior show the mastery which our builders, joiners and carvers had achieved over their materials.” The house is owned by Historic New England and is open to the public for viewing. For more information visit

The MacPheadris-Warner House is considered to be one of the earliest extant brick urban mansions in the country. It was built in 1716-1718 for Archibald MacPheadris, a Scottish Captain. According to Howells’ The Architectural Heritage of the Piscataqua, the gambrel roof of the house is not original, instead there was a double peaked roofs running the entire length of the house with deep valleys between them. This beautiful example of an early Georgian house in New Hampshire is 2 ½ stories tall with symmetrically placed equal number of rooms on each side. The exterior door with its segmental pediment acknowledges one’s arrival both physically and symbolically, it builds up the anticipation for its lavish interior. As you can see from this picture, the segmental arch above the door is missing, the house has been under restoration for a number of years, proof that preservation is not only costly, but also a lengthy process as well. For more information visit,

The Moffatt-Ladd House built around 1763 is a full three story house signifying the progression of wealth in the colonies. It is a refined Georgian house with a free standing Greek portico and a grand asymmetric plan. The house is owned and maintained by The National Society of The Colonial Dames of America in the State of New Hampshire (NSCDA-NH) and has been open to the public since 1912. For more information visit Although I have photographed this house myself in the past, I cannot locate such images therefore I am borrowing this image from Birdgal5 on Flickr.

One of my favorite houses in Portsmouth is the Larkin-Rice House. Built in 1815 by Samuel Larkin, this gorgeous, understated and highly refined Federal style house has been attributed to both Benjamin Latrobe for its similarities to the Burd House in Philadelphia (sadly demolished) and to Charles Bulfinch, architect of the Massachusetts State Capitol. This image was taken by “Dan,” for more images of other historical places in New England, click on the image. I will update the image when I visit Portsmouth again in the future.

If you are ready to indulge in 17th and 18th century architecture in New England, Portsmouth is one of two distinct coastal destinations (the other being Salem, MA) to spend a weekend day trip exploring the fascinating architecture and gardens  of Colonial America. Grab your copy of The Architectural Heritage of the Piscataqua (it’s a big book!) or any other 17th and 18th century American architecture guidebook and head to Portsmouth. This seacoast town in New Hampshire has many historic house museums, great restaurants and shops all within walking distance from one another! It is the perfect day trip for all those architectural history geeks like myself or those interested in naval American history or historic gardens.  The houses discussed in this post are only a handful of the historic treasures waiting to be re-discovered by you.   

Have you gone to Portsmouth, if so, do you have a favorite house?

Back to the Past: The Hamilton House

During my New Hampshire vacation, my friend (who hosted me for the week) and I took a drive to South Berwick, ME to visit yet another historic house!

This time, we traveled back to the 18th century to visit the Hamilton House, a National Historic Landmark built around 1785 by shipping merchant Jonathan Hamilton. One of the most striking features of this stunning Georgian house is the breathtaking views of the Salmon Falls River as well as its colorful period garden. 

To learn more about the Hamilton House which is owned by Historic New England and is open to the public for viewing click here.

H.H. Richardson and the Arts and Crafts Connection in New Hampshire

Ever since taking my first architectural history survey at the University of New Hampshire, I became fascinated with the Arts and Crafts Movement and the architecture of Henry Hobson Richardson.  I wrote my first paper ever, in any architectural history class on the libraries of H.H. Richardson and I am a docent at Trinity Church, one of Richardson’s masterpieces.  What’s the connection between the Arts and Crafts Movement, H.H. Richardson and New Hampshire, you might be wondering?

See, every summer I’ve made it a goal of mine to explore a historic house in the New England region and learn as much as I can from my visit. The past few summers, I’ve gone to Salem, MA, Newport, RI and most recently, New Canaan, CT to visit the Philip Johnson Glass House. This summer, I traveled to New Hampshire and visited Lucknow or “Castle in the Clouds,” a 16 room Arts and Crafts Mansion situated atop one of New Hampshire’s mountains overlooking Lake Winnipesaukee.

Located a short driving distance from Wolfeboro, one of America’s oldest resort towns, to experience the architecture of “Castle in the Clouds” visitors must take a trolley from the Carriage House to the peak of the mountain.  At the sight of the Carriage House, I immediately started recalling certain characteristics of Richardson’s architecture and began drawing connections between the architecture of the Carriage House and Richardson’s buildings, most notably the estate for Robert Treat Paine in Waltham, MA.

Lucknow, completed in 1913-14 was the home of Thomas Plant (1859-1941), a businessman with very strong connections to Boston.  There is no doubt in my mind that Plant was exposed to the architecture of Richardson, not only those buildings in Boston, but in the suburbs as well. Thomas Plant made his fortune in the shoe manufacturing industry in Massachusetts and retired a millionaire at age fifty-one. Mr. Plant was allegedly the architect of Lucknow (one of the tour guides mentioned that his brother was the architect and that Thomas Plant himself had control over the drawings, but Thomas took the title of architect. Oh the gossip!) and the Richardsonian influences could not have any less visible. From the bold massing and the harmonious integration of  the building with its surrounding landscape to the “eyelid or eyebrow” windows made famous by Richardson and later architects, Mr. Thomas Plant was without a doubt influenced by Richardson as well as the ideas behind the American Arts and Crafts Movement.

The Arts and Crafts Movement (1830-1870) springs out of the Gothic Revival in England by emphasizing a strict design morality(1) and rebelling against the often uninspiring machine made objects by placing emphasis on hand crafted ornamentation and details. Spearheaded by artists and theorists like William Morris and John Ruskin, who collectively with their art and writings became the driving force that integrated social and moral ideologies into the art and architecture that was produced in America beginning in Richardson’s  time. To decorate his mansion, Mr. Thomas Plant commissioned the best artists and craftsmen working in the Arts and Crafts Movement in America. The glasswork found in the mansion was commissioned to Louis Comfort Tiffany, lighting by the Edward F. Caldwell Company of New York and custom woodwork and furnishings by A.H Davenport/Irving and Casson of Boston, Richardson’s furniture maker.

The prestigious furniture makers and carvers at A.H. Davenport and Company(2) who later in 1916 merged with Irving and Casson executed most of Richardson’s furniture commissions including the Court of Appeals in Albany, New York, the Crane Library in Quincy, Massachusetts, the Billings Library in Burlington, Vermont and the Converse Library in Malden (3).  A.H Davenport became one of the largest and most prosperous furniture makers of the time after purchasing The Boston Furniture Company in 1880. Albert Henry Davenport himself had been the bookkeeper at Boston Furniture Company until 1866 (4). Known for their exquisite craftsmanship and attention to the most inconspicuous details, Davenport and Company went on to make furniture for the mansions of the wealthy residents of the Back Bay, the White House under President Roosevelt and Saint Patrick’s Cathedral in New York City (5). The woodwork and furnishings at Lucknow are impressive and harmonize beautifully with the exposed joints  of the architecture.

Richardson died prematurely at the age of 48 (died in 1886) and did not live to see the tremendous influence his architecture had in America, Canada and Northern European countries.  The breathtaking mansion of Lucknow or “Castle in the Clouds” is a testament to the power of Richardson’s architecture and the exquisite craftmanship of A.H. Davenport/Irving and Casson masters of the Arts and Crafts Movement in America.

H.H. Richardson's Stonehurst; The Robert Treat Paine Estate in Waltham, MA

I’ve conducted an extensive research on Richardson’s furniture which culminated in a talk at one of his most ornate buildings. Perhaps, I can write a small post on the furniture of H.H. Richardson for all of you to enjoy. As long as you all want me of course!

1 Elizabeth Cumming and Wendy Kaplan, The Arts and Crafts Movement (New York: Thames and Hudson, 1991) 14
2 Marian Page, Furniture Designed by Architects (New York: Whitney Library of Design, 1984) 68
3  Anne Farnam, “A.H. Davenport and Company, Boston Furniture Makers” Antiques 1055
4 Anne Farnam.  Antiques
5 Anne Farnam, “A.H. Davenport and Company, Boston Furniture Makers” Antiques 1048

Roxbury: A Streetcar Suburb in Full Bloom

The Cochituate Standpipe, built in 1869

The more I explore Roxbury, the more I fall in love with it. Its colorful history is reflected in its rich architectural heritage, from the Georgian Shirley-Eustis House to the Heroic Modernism of Madison Park High School to the recently constructed Islamic Society of Boston Cultural Center, the landscape of Roxbury could be read as a survey in New England architecture and planning. Roxbury, like Jamaica Plain and surrounding neighborhoods was once a streetcar suburb of Boston.

Cooper Community Garden with Tour Attendees

Sam Bass Warner, Jr. in Streetcar Suburbs: The Process of Growth in Boston, 1870-1900 traces the development patterns of the two-mile radius city that was once Boston, to the suburban metropolis that we experience today. The development patterns, the arrangements of streets and buildings throughout Boston’s streetcar suburbs are a reflection of the nineteenth arrival of the street railway and people’s aspirations of home and land ownership (Sam Bass Warner, Jr. Streetcar Suburbs: The Process of Growth in Boston, 1870-1900 (Cambridge: Harvard University Press and the M.I.T Press), 1962) 15).

In the nineteenth century, the idea of living surrounded by nature and open space drove the middle class to escape the crowded city and purchase land in places like Roxbury, Jamaica Plain and in other surrounding cities and towns like Brookline and Cambridge (14). On Saturday June 25th, I attended a tour co-sponsored by Discover Roxbury and Common Boston of the gardens of Highland Park, Roxbury. This opportunity allowed me to experience the urban gardens created by neighborhood residents and also pay close attention to development patterns within Highland Park (a theme I had explored in depth in a Boston Architecture course at Boston University).

Cooper Community Garden with Attendees

Highland Park is an incredibly culturally diverse neighborhood in Roxbury and its gardens embody the resilience, passion and collaborative nature of its residents. As one resident of Highland Park noted in her welcoming statement to the group, the gardens act as a forum in which real contact can be made and dialogues rich in multicultural, ethnic and racial points of view are nurtured and fostered.

Fostering and nurturing enriching dialogues is at the core of preserving the character and history of Highland Park. The gardens were all stunningly beautiful and the gardeners were highly enthusiastic and welcoming. Their passion and determination is not only reflected in their gardens, but in the fabric of the neighborhood as well. These gardens not only act as a forum in which dialogues rich in multiculturalism are exchanged, but are also avenues for educating community members and residents of Boston on pursuing a sustainable way of life.

If you would like to explore more of the gardens of Roxbury, Discover Roxbury will be leading a trolley tour of the Historic Moreland Street District and Mission Hill on July 10th from 10:00am-12:30pm. For ticket information click here.

Garden in Highland Park


Contemplating Modernism

The Glass House, Philip Johnson. Completed in 1949.

Recently, the Guggenheim Museum in New York City organized an exhibition titled “Contemplating the Void: Interventions in the Guggenheim Museum” which exhibited the works of nearly two hundred invited artists, architects, and designers to celebrate the 50th anniversary of Frank Lloyd Wright’s Modernist masterpiece. Most importantly, these artists were celebrating the void which has influenced countless of site specific art installations at the Guggenheim.

Like the artists, architects and designers who contemplated the void at the Guggenheim, a year ago I boarded a bus from Boston to Stamford, CT where I would catch a train to New Canaan, CT to contemplate  one of the most important icons of Modern architecture: the Philip Johnson Glass House.  After the long and exhausting bus ride (which was late to Stamford by the way), I missed my train to New Canaan and with less than 40 minutes until the beginning of my two hour tour of the House, I hopped on a 30 minute taxi ride to New Canaan (the next train to New Canaan did not leave until 2:45PM and my tour was scheduled for 2:00PM). I made it to the visitor center in downtown New Canaan with just ten minutes to spare! Phew! What a relief!

The Painting Gallery, completed in 1965.

Visiting the Philip Johnson Glass House proved to be an exhilarating experience in my exploration of Modern architecture. The tour was well organized and the guide was very knowledgeable on modernism, in particular on Modern Art as she was an artist herself.  At a cost of $45 for a two hour tour with photography allowed, I not only got to see the Glass House, but Johnson’s other architectural experiments in the 47 acre property surrounding the house. One of my favorites was the Painting Gallery which recalls the Treasury of Atreus (Mycenae) in its entrance, but nothing quite like it in the interior (judging from what the interior of the Treasury of Atreus looks like today as it may have been completely different around 1250BCE when it was constructed). Its soft and “sexy” interior and floor plan are visually stunning in contrast to the fortress like exterior of the Gallery.

Inside the Painting Gallery. Works by Frank Stella.

The connection between this blog on Boston, the Glass House in New Canaan and Philip Johnson is that Johnson had attended Harvard University graduating with a Bachelor’s in Architecture in 1943. While a student at Harvard he designed his own house now located in Cambridge, MA and his presence as an architect in the city of Boston is seen in the addition to the Boston Public Library and at 500 Boylston Street (the Post-Modern Palladian inspired skyscraper) which was featured on the television drama series Boston Legal.

As a student of life, art and architecture, a preservationist and a lover of Modern architecture, visiting the Glass House was one of the most rewarding experiences of my life. Being in New Canaan was all I needed to take my breath away last summer let alone visiting the Philip Johnson Glass House.

(If someone knows or has a connection to the current owners of the Johnson house in Cambridge, please let me know! I’d love to see it up close instead of climbing up the stairs of the building across from it to get a peek).

The Lake Pavillion completed in 1962.

Change, Change, Change

Change is all over. The weather is changing. The cherry trees are blooming and people are out of hibernation. I love change especially if it involves shedding one’s skin and channeling positive inner thoughts. Everyone needs change and moments of self-reflection and this is exactly what I have done for the past two months. It has been a while since I last looked at this blog, but it will not be long before I start posting again. Exciting things are happening all over Boston and I am ready to immerse myself in the city.

The Portland Building by Michael Graves!

Exciting, best describes the things that have been blossoming in my life for the past two months. For Spring Break, I went on a weeklong trip to Portland, Oregon to visit great friends I had met while studying abroad five years ago in Valparaiso, Chile.  We reminisced of happy and crazy times traveling through the beautiful and inspiring country of Chile, meeting its people and learning of its culture. We ate delicious, organic food (very typical of Portland); drank some Chilean wine (Concha y Toro and Gato Negro) and made Jote, a Chilean concoction made with Coca Cola and wine. I was introduced to the Portland microbreweries and savored some delicious lavender ice cream and sinful chocolate desserts at Pix. Oh wait, before I forget, I had the best Venezuelan breakfast EVER, courtesy of my friend’s dad who is an excellent cook! Portland rocked my world!

Me inside one of Portland's amazing fountains. This one is the Ira Keller Fountain.

I went to my first ever Zumba class with an amazing instructor and let me tell you, I rocked it out! Well, not really, more like shaking my hips like Shakira! My friend says that Zumba teaches you to dance with your soul and it surely taught me to dance with mine! If anything, what I learned from this Zumba class is how tightly knit Portland as a community is!  I also attended my first hot yoga class. What an amazing experience. I loved it so much I signed up for a hot yoga class in Cambridge last week! I think I am addicted to hot yoga!

I was mesmerized with Portland the moment I stepped out of the airport and inhaled its fresh cool air!

One of Portland's many fountains, this one by Lawrence Halprin

I fell in love with the city just as Romeo fell in love with Juliet. Portland’s street style, attitude and way of life re-energized my senses and brought new perspectives into my life! I saw some excellent architecture, urban parks designed by internationally renowned landscape architects and also great contemporary art at the Portland Museum of Art. I also indulged in some great vintage shopping (I was in heaven) and brought home two pairs of sneakers (one can never have enough kicks), two awesome t-shirts at Ray’s Ragtime, a black and white knitted tie from the 1960’s at Magpie and an awesome leather jacket at the House of Vintage! I’m telling you, it was AWESOME!

Coming back to Boston felt strange, some things fell apart and others emerged in their place. I am in the process of moving to a beautiful neighborhood in Dorchester! It’s a perfect location, the perfect apartment and the perfect size closet! I know, what you are thinking, every boy NEEDS the perfect size closet!  

Finally, I will start a new blog which will focus on the people of Boston! Yes, I will keep this one, but the other blog will be a photo-documentary style blog. Want to know more? Well, you will have to stay tuned!

Auf Wiedersehe!

Oh yeah, I’m all caught up with Project Runway Season 7! Go Seth Aaron!!!!!

umm, Yeah!