Reed Newton and Chris and Laurie Anderson of Garden Iron Collective: James Phelps House

Chris and Laurie Anderson of Garden Iron Collaboration and craftsmanship go hand in hand, making a successful project for all parties involved.

A prime illustration of this principle is the work of New Haven-based architect Robert Orr, his landscape partner and wife, Carol Orr, millworker Reed Newton, and Chris and Laurie Anderson of Garden Iron, perfected in the ongoing renovation of the James Phelps House, an 1843 Greek Revival residence in Essex Village, Connecticut.

Robert Orr, who nominated the Andersons and Newton for the Palladio, designed an obelisk and ornate gate for the gardens Carol Orr designed, and the Andersons, whose company is based in Westbrook, Connecticut, brought it to life.

According to Chris Anderson, the obelisk was a rather straightforward project, while the rose garden gate, inspired by the Garden of Eden, involved an evolving design.

“We made a lot of tweaks in Robert’s design along the way,” he says. “There was a lot of back and forth in realizing his vision.”

Orr added that “we each came up with ideas to inspire the other. Frequent visits to the workshop and constructive discussions / explorations led to interpretations, discoveries, and fresh ideas to make the finished objects completely original in their weaving of vision and execution.”

The ornate rose garden gate is the perfect marriage of form and function. Its twining roses design reflects the white and pink blooms of the David Austins that lie behind it, and the quiver of arrows that defines its lower portion is precisely positioned to keep out uninvited New England cottontails who have the munchies.

Those guests who are allowed to enter the garden do so in style.

“The iron bars that are articulated with just the right grip present themselves innocently at the natural location to open the gate,” Orr says.

The handle—a sinuous serpent with a forked tongue—draws attention to the fact that this Garden of Eden guard “is catching you red-handed,” Orr says.

Although Orr designed the gate, he says the artistry of the Andersons made it come alive.

“The iron scrollwork by the Andersons evokes a lightness, born of the original design, but carried out to deft craft,” Orr says. “The iron rose flowers, canes, and leaves Laurie crafted have a lightness to them that feels like their delicate petals are about to fall to the ground just like the real rose flowers.”

The artisan/architect collaboration continued with the millwork Orr designed for the house that was executed with Newton’s direction.

As nothing remained of the original house, the objective was to return its 19th-century character, a task akin to flying blind.

With Newton’s input on fabrication and suggestions on materials, the trompe l’oeil screen, Orr says, really does fool the eye. “The structure is a flat wall, but Reed’s skill with woodwork makes it look like a 3D promenade retreating into the distance,” he says.

One of Newton’s favorite parts of the project was fabricating the cupola on the guest house/garage. Working with “Orr’s great design,” he crafted the piece in two sections—the base and roof columns, a task that he called a “major engineering challenge.”

The pieces “were married on site and lifted into place by a 90-foot crane,” he says. “It took about 30 minutes to lower them onto the building.”

Teamwork and “superb craftsmanship,” Orr says, “contribute to the character and feeling of authenticity for the entire compound.” TB