The architectural ornamentation of the building is animalistic. The terracotta ridge roof tiles are like
vertebra. The terracotta fish scale siding is a taut skin. The stepped windows in the side stair hall take
pleasure in the muscular mechanical movement of legs and feet climbing stairs. The pediment on the porch roof does not align with the front door so the path from sidewalk to front door has a zigzag dance that celebrates biped ambulatory movement. The stucco panels of this pediment and the pediments at the gable ends of the main roof hold a key to the spirit of this building: oyster shells were pressed into the stucco during construction. The shells were tightly spaced, with the mother of pearl facing out. Most of the shells are gone, only a pattern of holes and some shell fragments protected by overhanging eaves remain. In classical architecture, pediments were filled with sculptures of heroic human exploits; think of the Parthenon “Elgin” marble figures.
However, here in Annapolis in 1878, the monumental space of the pediment is given over to celebrate the existence of nature, the beauty of Chesapeake Bay life, and the simple joy of eating.
The Alexander Randall duplex is “modern” architecture because it makes an emotional artistic statement: the wonderment of organic earthly life. The architectural spirit in this house links directly to the natural architecture of Frank Lloyd Wright in the 20th century and the biomorphic forms of architect Frank Gehry today.
The nature-celebrating architecture of 86-88 State Circle is diametrically opposed to the social status architecture of the five-part plan mansions. It is also in direct contrast to the architecture of balance and harmony at the U.S. Post Office on Church Circle (see Annapolis Home Magazine Vol. 2, No.1). It is marvelous to have in Annapolis the immediate comparison of such distinctly different architectural thoughts.
This is an excerpt from a column called On the Corner, part of series by Chip Bohl published in Annapolis Home Vol. 2, No. 4. Photography by Geoffrey Hodgdson.
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