STICKLEY then now
Furniture in the new Ohio house is a mix of antiques, commissioned work, and Stickley upholstered pieces. Did you know that today’s Stickley is a descendant of the original companies? Five brothers were involved in furniture making, as partners or competitors in an array of companies, from New York to Michigan. Eldest brother Gustav Stickley, with a factory in Syracuse, is credited with creating so-called Mission furniture, which he named Craftsman. As publisher of The Craftsman magazine, he became the most influential, despite bankruptcy in 1915. Albert, of Stickley Brothers in Grand Rapids, made “Quaint” furniture through the late 1920s. Charles remained in Binghamton, New York, eventually with the Stickley & Brandt Chair Company. Having founded L. & J.G. Stickley, in Fayetteville, by 1907, Leopold and John George, direct competitors of Gustav’s Craftsman Workshops, built a business that endured. That company had absorbed Craftsman Workshops in 1916.
In 1974, Alfred and Aminy Audi purchased the factory from Leopold’s widow. Alfred’s father, E.J. Audi, had been the leading distributor of Stickley furniture, and the Audis were unwilling to watch it close. They reintroduced designs by Gustav and L. & J.G. Stickley in 1989. The company has grown from 25 employees to 1400. Collections include several Arts & Crafts lines as well as traditional and Modern, along with original adaptations. Today, Stickley is under the leadership of Mrs. Audi and son Edward Audi, the company’s president.
The company also operates a museum, in the original L. and J.G. factory, of Stickley brothers’ work. In-depth articles about the history of Stickley furniture may be found on the company website.
ditional Japanese homes of the Edo period (17th to mid-19th centuries).
Following Wright’s dictum that a house should be “of the hill and not on it,” they selected a secluded hillside overlooking a stream. Working with architect Clyde Gosnell, they designed a house to fit the site, with wings radiating at an angle from a central entry.
To minimize the environmental impact of the house, energy demands were kept to a minimum. Most of the power is provided by 62 solar panels; summer cooling demands are minimized by high windows and a whole-house fan along with a breezeway that funnels air through the center of the house. Radiant floor heating is supplied by a closed-loop geothermal water furnace. Walls include a reflective barrier to reduce heat loss.
A bridged walkway invites visitors to cross a small pond as they enter the house. Stocked with native fish, frogs, and aquatic plants, the pond echoes the natural stream behind the house. Jim designed a handsome wall fountain, featuring Motawi tiles and representing sun, sky, earth, and water, setting a tone.
Universal Design concepts are evident on the main floor; this will be their home into retirement. Door openings are wide enough for wheelchairs, lever hardware is used on the faucets and doors. Even the stairs are ergonomic, with 13-inch treads and easy five-and-a-halfinch risers. Light tubes in the kitchen, hallways, and closets bring in additional natural light. The lower level includes a guest suite and exercise/game area separated by a ledgestone and limestone fireplace. Double glass doors open to a tiled patio across the back of the house.
ENGAGING AND PERSONAL, THE AESTHETIC IS A MIX OF PRAIRIE STYLE, AMERICAN ARTS & CRAFTS, AND SOPHISTICAED ART DECO.