#Richard K. Shull

[ulkaralakbarova]

From Wichita to Dodge City, to the O.K. Corral in Tombstone, Wyatt Earp is taught that nothing matters more than family and the law. Joined by his brothers and Doc Holliday, Earp wages war on the dreaded Clanton and McLaury gangs.  Credits: TheMovieDb. Film Cast: Wyatt Earp: Kevin Costner Doc Holliday: Dennis Quaid Nicholas Earp: Gene Hackman James Earp: David Andrews Morgan Earp: Linden Ashby Ike Clanton: Jeff Fahey Josie Marcus: Joanna Going Sheriff Johnny Behan: Mark Harmon Virgil Earp: Michael Madsen Allie Earp: Catherine O’Hara Ed Masterson: Bill Pullman Big Nose Kate: Isabella Rossellini Bat Masterson: Tom Sizemore Bessie Earp: JoBeth Williams Mattie Blaylock: Mare Winningham Mr. Sutherland: James Gammon Frank McLaury: Rex Linn John Clum: Randle Mell Tom McLaury: Adam Baldwin Urilla Sutherland: Annabeth Gish Curly Bill Brocius: Lewis Smith Young Wyatt: Ian Bohen Virginia Earp: Betty Buckley Lou Earp: Alison Elliott Sherm McMasters: Todd Allen Francis O’Rourke: Mackenzie Astin Warren Earp: Jim Caviezel Mrs. Sutherland: Karen Grassle Frank Stillwell: John Dennis Johnston Sally: Téa Leoni Ed Ross: Martin Kove Bob Hatch: Jack Kehler Pete Spence: Kirk Fox Johnny Ringo: Norman Howell Marshal Fred White: Boots Southerland Indian Charlie: James ‘Scotty’ Augare Billy Clanton: Gabriel Folse Billy Claiborne: Kris Kamm Judge Spicer: John Lawlor John Shanssey: Michael McGrady Dr. Seger: Ben Zeller Stable Hand: Rockne Tarkington Mayor Wilson: David Doty Gyp Clements: Matt O’Toole Saddle Tramp: Brett Cullen Danny: Owen Roizman Gambler: Lawrence Kasdan McGee: Matt Beck Film Crew: Costume Design: Colleen Atwood Original Music Composer: James Newton Howard Producer: Kevin Costner Set Decoration: Cheryl Carasik Production Design: Ida Random Producer: Lawrence Kasdan Executive Producer: Charles Okun Director of Photography: Owen Roizman Producer: Jim Wilson Casting: Jennifer Shull Editor: Carol Littleton Art Direction: Gary Wissner Set Designer: Charlie Daboub Key Costumer: Barry Francis Delaney Set Designer: Barry Chusid Music Editor: Jim Weidman Supervising Sound Editor: Stu Bernstein Camera Operator: Ian Fox Executive Producer: Michael Grillo Hair Supervisor: Marlene D. Williams Assistant Art Director: Gershon Ginsburg Executive Producer: Dan Gordon Camera Operator: Bill Roe Foley: John Murray Script Supervisor: Anne Rapp Second Unit Director of Photography: Richard Bowen Set Designer: Tom Reta Dialogue Editor: Lewis Goldstein Executive Producer: Jon Slan Makeup Artist: Francisco X. Pérez Stunts: Gary McLarty Visual Effects Producer: Robert Stadd Chief Lighting Technician: Ian Kincaid Still Photographer: Ben Glass Dialogue Editor: James Matheny Costume Supervisor: Cha Blevins Foley: Dan O’Connell Property Master: William A. Petrotta Supervising Sound Editor: Robert Grieve Sound Re-Recording Mixer: Rick Kline Sound Re-Recording Mixer: Kevin O’Connell Construction Coordinator: Greg John Callas Boom Operator: Joel Shryack ADR Supervisor: Jessica Gallavan Hairstylist: Elle Elliott Dialogue Editor: Alison Fisher Key Makeup Artist: Gerald Quist Makeup Supervisor: Michael Mills ADR Editor: Joe Dorn Supervising Dialogue Editor: Bobby Mackston Key Costumer: Ruby K. Manis Key Grip: Tim Ryan Location Manager: Paul Hargrave Key Hair Stylist: Dorothy D. Fox Steadicam Operator: Rusty Geller ADR Editor: Stephen Janisz Rigging Gaffer: Kim Kono Dolly Grip: David L. Merrill Costume Supervisor: Le Dawson Key Costumer: James M. George Casting Associate: Phil Poulos Casting Associate: Elizabeth Shull Movie Reviews: GenerationofSwine: Tombstone was a different beast, and that sort of overshadows this, given that one tries to be more accurate and the other goes for entertainment. Take Wyatt Earp as a biopic and it is a superb and fair film. Compare it to Tombstone which was more of a Western and it’s lacking the flair. However, it ends abruptly, and it is miscast. Cosner (and i am a fan) doesn’t really make a good Earp. Dennis Quaid who I am also a fan of, doesn’t make a good Doc. This was 1994, in the 80s I might have a dif...

[papermoonloveslucy]

PRE-, EARLY-, AND LATE-LUCY

July 2, 1967

When the one great broadcaster in the sky someday chronicles the history of television, it will be divided in three parts pre-Lucy, early-Lucy and late-Lucy. 

There will never be a period known as post-Lucy because Lucy is without end. 

Wars have come and gone. Generations have been born, reared and procreated, but Lucy continues. Lucy's march through video history reached a landmark recently when CBS decided to relinquish its grip on the "I Love Lucy" series after sixteen years. 

This doesn't mean "I Love Lucy" will disappear from your living room. Rather, it's a rebirth of the ancient series, since it now will be sold station-by-station across the country. 

Of course, CBS has Lucille Ball headed for a sixth season in her sequel show, "The Lucy Show," which also appears destined to run practically forever. 

More than one third of all Americans living today weren't yet born when "I Love Lucy" made its debut in the fall of 1951 as the star of the CBS line-up. 

The show, filmed in a Hollywood studio, turned the TV industry inside out. Until Lucy, television operated with electronic cameras transmitting live programs to a few select cities, with kinescope duplicates for the hinterlands. 

After Lucy showed the way, the TV industry moved to Hollywood and film. Today, you can count the non-film TV programs on your fingers. In the beginning, "I Love Lucy" had four stars. Lucille Ball, of course, was the pivotal character. Alongside her was her husband, Desi Arnaz. 

And down the hall in their mythical apartment were the Mertzes the late William Frawley and Vivian Vance, who retired from Lucy's new show two years ago to go home to Connecticut. 

Desi became a Hollywood tycoon off the "I Love Lucy" show, founded the Desilu Studio complex, then sold out and left Hollywood. Now, he's back and starting a second time around. 

Desi Arnaz, Jr., now of the Dino, Desi and Billy rock trio, was virtually born before millions of Lucy fans as Miss Ball played one season enceinte. (And in those days, pregnancy on the screen was unheard of.) 

"I Love Lucy" also made history in the advertising business. Although it was the highest rated show on the air in its prime, it didn't do a thing for the sponsor's cigarettes. 

When "I Love Lucy" ceased to have new episodes, it never left the air. CBS continued with reruns. The Ricardos and the Mertzes were in a sort of time-lock, never aging, never changing. 

Lucy and Desi divorced and both remarried, but on CBS in the morning, they remained in love for another decade. 

The 179 episodes kept replaying until the audience lost track of how many shows it had committed to rote. When CBS hit the bottom of the stack, it started over, and over, over again. 

This routine might have gone on forever except for an incident in February, 1966, which alerted everyone to the Lucy situation. The network chose to broadcast a fifth rerun of an "I Love Lucy" episode in preference to live testimony from the Senate Foreign Relations Committee's Vietnam hearing. The network's news chief stomped out in a huff. 

Last September, CBS retired "I Love Lucy" from daily duty and put it on reserve status.

Then in late March, the decision was made to release "I Love Lucy" from the network and the old episodes were released for sale in syndication to individual stations. 

But even before the ink was dry on the contract, the American Federation of Television and Radio Artists called a strike. The network was caught without its live soap operas. 

To fill the emergency, naturally, CBS reached up on the shelf and pulled down some battered reels of "I Love You-know-what." 

#   #   #

This article was part of TV Week, a supplement to the Sunday Baltimore (MD) Sun, on July 2, 1967.  

That same day (July 2, 1967) Baltimore’s Channel 13 showed The Affairs of Annabel (1938), Lucille Ball’s 39th movie. 

On Thursday, July 6, 1967, Baltimore area viewers saw Miss Grant Takes Richmond  (1949) on Channel 9.  It was Ball’s 72nd film. 

Later that same night, “Milton Berle Hides Out at the Ricardo’s” (LDCH S3;E1), originally aired in September 1959, was on their CBS affiliate.  Curiously, there is a small (c) next to the title, which indicates color.  This show was not filmed in color.  

Interestingly, as the article states, there are no re-runs of “I Love Lucy” on the schedule!  But the Ricardos and Mertzes are still visible via “The Lucy-Desi Comedy Hour.”  

The headlines that day talked about Canada’s centennial, tensions in the Suez, President Johnson’s relationship with Democratic governors, and America’s precarious financial relationship with Germany. 

When Shull’s column was printed in other papers, it was often retitled. Headlines were written by the newspapers, not the columnists. Here (The Indianapolis News) they decided on “Maybe It Should Be Renamed ‘Forever Lucy’”.  He also got his headshot with this byline.  

[pwlanier]

Avril Joy Christie Shulz and the Thornhurst Addition (National Historic Registry).

Avriel Shull 1931-1976 was an American architectural designer/builder and interior decorator from Carmel, Hamilton County, Indiana, whose career spanned from the 1950s until her death in 1976. An energetic and imaginative woman, she is best known for her mid-century modern architectural designs, which are especially unusual given the predominantly traditional tastes of mid-century Indiana. Most of Shull’s projects were single-family homes around Hamilton and Marion counties in central Indiana, most notably the homes in Christie’s Thornhurst Addition in Carmel, Indiana. Shull also designed a number of custom homes in Indianapolis’s toniest suburbs, in other Indiana towns, and in other states. In the 1970s Shull began selling house plans in do-it-yourself home building periodicals, which were sold in the United States and Canada. Shull also designed apartment buildings and commercial/industrial properties. Her first major project outside of Indiana was a public library in Elkins, West Virginia. She also did designs for restaurants, including one in California and one in Carmel, Indiana. Born Avriel Joy Christie in Hamilton County, Indiana, she graduated from Carmel High School and attended Butler University and the John Herron School of Art in Indianapolis, Indiana. She left school in 1948 to launch her own commercial art business. In 1951 she married Richard K. Shull, a well-known Indianapolis journalist who became a syndicated columnist and television critic. The couple had two daughters.

Shull, a self-taught artist without a degree in architecture (in fact with no college degree of any sort), devoted her artistic skills to building projects. A female builder/designer was unique for the time, but even more so was Shull’s lack of formal architectural training. By 1954 Shull had designed and supervised the construction of her first project, the “Golden Unicorn”, a modern-style home in Carmel, Indiana, named after the unicorn installed on an exterior wall. In 1955, Shull began her first large-scale construction project, a new suburban development on a large parcel of land just west of what is now downtown Carmel. Named Christie’s Thornhurst Addition, the subdivision is unusual for its large concentration of Shull’s strikingly-designed homes. In addition to the design work, Shull supervised construction, laying stone on many of the homes’ exteriors herself; coordinated interior design; and assisted in furniture selection. Between 1956 and 1971 Shull designed and built twenty-one houses in Thornhurst. Wiki.

[georgiapioneers]

Ashe Co. NC Genealogies and Histories #northcarolinapioneers

Ashe County Genealogy Resources: Wills and Estates 1801 to 1903

Ashe County was created 18 November 1799 from Wilkes County. The area that became Ashe County was part of Anson County, Rowan County, Surry County, and Wilkes County. Both Alleghany and Watauga Counties were formed out of Ashe County. The county seat is Jefferson, North Carolina. The Ashe County Courthouse in Jefferson was destroyed by fire in 1865, however, the surviving records are contained here. The Will Books reflect inconsistent years, suggesting that there are gaps due to the loss of records in the fire. Indexes to Probate Records

Book A, 1801 to 1857

Book B, 1828 to 1838

Book C, 1837 to 1941

Book D, 1853 to 1871

Book E, 1873 to 1903

Images of Wills and Estates, Volume A, 1801 to 1857Testators: Adams, John | Alexander, J. W. | Baker, John | Bass, Edward Beal, James | Blackburn, Elizabeth | Blevins, Wells | Brown, James | Brown, William | Burket, Christian | Chambers, Henry | Clampett, George | Clawson, Asa | Cook, Adam | Cook, Michael | Cauncill, Jordan | Debord, Benjamin | Edward, Jane | Eggers, Landrine | Estef, Shadrach | Evans, Barnabas | Farthings, William | Fredway, Robert | Galloway, Elijah | Gambell, Martin | Goodman, Peter | Green, John | Isaacs, James | Jackson, James | Johnson, Jesse | Kenly, Jesse | Landrick, William | Lyall, James | Maxwell, James | Mikel, Daniel | Milanes, William | Mullins, William | Osborn, Mary | Phillips, Mary | Phipps, Samuel | Plummer, Joseph | Powers, M. | Pugh, Julius | Reeces, John | Reeves, Jesse | Ross, Reuben | Sheavers, Robert | Shull, Mary | Shull, Simon | Songs, Samuel | Sturgitt, Francis | Taylor, William | Wagg, John |Walbrooks, Larkin |Whitaker, Peter |Whittington, John |Williams, John |Williams, Lewis | Willis, Leonard |Wyatt, Zebodee Images of Wills and Estates, Volume B, 1828 to 1838Testators: Atkins, John |Brown, John |Brown, Joseph |Brown, Polly | Brown, Thomas | Bryan, Morgan | Callaway, Thomas | Davis, Stanley | Edwards, David | Greer, Aquilla | Hardin, Henry | Hardin, William |Hill, William |Landrith, Nathaniel Latham, Alexander | Mast, David |Moseley, Samuel |Parks, Ambrose | Perry, Robert | Phipps, George | Phillips, Nathan | Ray, James | Stamper, Jonathan | Watters, William | Woodruff, John Images of Wills and Estates, Volume C, 1837 to 1941Testators: Austin, G. B. | Barker, Ambrose | Bean, Jacob | Blevins, Roby | Burgess, Wiley | Calhoun, W. R. | Callaway, J. | Campbell, Mary | Colsand, J. W. | Dalinger, M. | Davis, J. M. | Dolinger, T. L. | Duwall, James | Ellen, W. |Francis, Henry |Gentry, Levi | Grayson, William |Gurley, Thomas |Hall, J. C. |Hardin, R. W. | Hausk, W. H. |Hinley, Lee |Hodgeon, Henry |Houck, Lowery | Jones, B. W. |Jones, Wade |McGuire, H. |McNeil, L. |McMillan, John |Miller, Elizabeth | Miller, H. M. | Miller, J. B. | Monty, John | Osborne, Harris | Parsons, J. | Perkins, G. H. | Phillips, C. W.| Phillips, Nathan | Plummer, J. B. | Pope, J. W. | Prince, R. | Ray, John | Roberts, W. | Roland, J. | Sheets, S. W. Wellborne, William | Weaver, J. R. | Werth, W. H. | Wieseberger, R. | Williams, H. | Williams, Susannah Williamson, Walter Images of Wills and Estates, Volume D, 1853 to 1871Testators: Anderson, Richard | Baker, William | Baldwin, Jacob | Bower, Absalom | Brooks, Thomas | Burket, Christian | Debords, Benjamin | Dickson, Daniel | Dickson, Moses | Doughten, Clarke | Faws, John | Fender, John | Halaway, Daniel | Hardin, Henry | Hill, David | Jenning, William | Johnson, Samuel | Johnson, William Jones, Daniel | Jones, John | Kounce, George | Krawse, John | Landricks, Stephen | Lewis, A. J. | May, John | May, Nancy | Maxwell, Sidney | McMillan, John | Miller, Jonathan | Mullis, James | Oliver, Mary | Perkins, Allen | Perkins, Luther | Perkins, William | Phipps, Samuel | Poe, Jain | Poe, Jaine | Richardson, Elisha | Saunders, Richard | Smith, B. | Smith, Hugh | Smith, James | Turner, Andrew | Wills, David Images of Wills and Estates, Volume E, 1873 to 1903Testators: Allen, John | Ashley, Martha | Ashley, William | Austin, Anderson | Baives, George | Baldwin, William M. | Ballou, N. B. | Ballou, Sarah | Ballou, Susan | Bare, Henry | Barl, Elias Blackburn, Hamilton B. | Blackshear, Hamilton B. | Blevins, Daniel | Blevins, Jackson | Blevins, Jacob | Blevins, John | Blevins, Wells | Bower, George | Boyden, Nathaniel | Brooks, Polly | Brooks, Sentleger | Brown, William | Burgess, Hugh L. | Burgess, Sanders | Burkett, Catherine | Calaway, Thomas | Caloway, Thomas S. | Carson, John | Castle, Nancy | Childers, Hiram | Church, John | Church, Wiley | Conson, John M. | Cook, Charles W. | Cox, Cora | Cox, William | Davis, America | Davis, American | Davis, Daniel | Davis, John | DeBoard, Benjamin | Dewey, Sarah | Dickson, David | Duvall, Thomas | Ellen, Jacob | Elliott, Wilburn | Foster, N. A. | Francis, Mahala | Gambill, James | Garvey, James | Gentry, John | Grimes, Wesley | Goodman, Isaac | Goodman, Jacob | Goodman, Joab | Goodman, William H. | Govert, Frederick | Graham, Jiles | Graybeal, Calvin | Graybeal, Doriel | Graybeal, Eli | Graybeal, Jacob | Graybeal, John | Graybeal, Joseph | Green, John F. | Griffith, John | Griffith, S. | Hagarman, John | Hall, M. Etta | Hamilton, George H. | Hardin, Mark | Hardin, Mary Ann | Hardin, R. T. | Harkins, Johnston | Harvell, Daniel | Hash, James | Hawthorn, Andrew | Howell, George Sr. | Hurley, Harvey C. | Hudler, Joseph | Hurley, James F. | Jacks, Richard | Johnson, Aaron | Johnson, Campbell | Johnson, J. C. | Jones, John | Ketchum, G. W. |King, Joseph | Kitchinson, A. | Koons, Jacob | Lang, Andrew M. | Latham, Silas | Lewallers, Catherine | Lewis, Nancy C. | Little, Isaac | Long, Isaiah | Martin, John W. | Martin, William M. | Mash, James | Mash, William | McClure, Elizar | McGuire, Robert | McMillan, Andrew | McMillan, Iridell Miller, Daniel | Miller, Eli | Miller, James | Miller, Nancy | Miller, William | Moore, W. G. | Neal, John | Neal, Joseph | Neal, Quincy | Oliver, James | Osborne, Alfred | Osborne, Clemons | Osborne, Enoch | Osborne, J. A. | Osborne, Stephen | Parsons, Catharine | Patrick, Jerrymire | Penington, Stephen | Perkins, W. E. | Phillips, Nancy | Phillips, William | Phipp, Greenbury | Phipps, William C. | Pierce, R. K. | Plummer, Nancy | Plummer, Samuel | Poe, John | Poe, Martha | Pope, Elijah | Pope, Elijah (1881) | Price, William | Ray, Jesse | Reedy, Rebecca | Reeves, George W. | Reeves, Rebecca | Reves, John | Reynolds, Terrissa | Richardson, John | Roan, Jonathan | Roark, Joshua | Roland, David | Rominger, Isabella | Rotan, Larkin | Scott, James | Senters, N. M. | Shepherd, J. W. | Shepard, Levi | Shepherd, Melvin | Smith, James | Smith, Tobias | Stamper, John | Stephens, Gardner | Stuart, Newel | Stump, Christopher C. | Tatum, Joseph | Taylor, Charles | Taylor, Hellen | Taylor, Mary | Taylor, William | Tegue, Moses | Testerman, Peter | Thomas, W. T. | Thompson, Alexander | Thompson, Wesley | Turner, Standiford | Turner, William | Vany, John H. | Wagoner, Henry | Warren, Peter M. | Wayman, Thomas | Waters, William | Waugh, James P. | Waugh, James P. (1891) | Weaver, B. M. | Weaver, Gideon | Welch, James | Weymer, Henry | Williams, Nancy | Worth, David | Wyatt, John | Wyatt, William | Yates, E. C. | Yates, Squire Allen  Find your Ancestors Records on North Carolina Pioneers SUBSCRIBE HERE

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[pwlanier]

Avril Joy Christie Shulz and the Thornhurst Addition (National Historic Registry).

Avriel Shull 1931-1976 was an American architectural designer/builder and interior decorator from Carmel, Hamilton County, Indiana, whose career spanned from the 1950s until her death in 1976. An energetic and imaginative woman, she is best known for her mid-century modern architectural designs, which are especially unusual given the predominantly traditional tastes of mid-century Indiana. Most of Shull’s projects were single-family homes around Hamilton and Marion counties in central Indiana, most notably the homes in Christie’s Thornhurst Addition in Carmel, Indiana. Shull also designed a number of custom homes in Indianapolis’s toniest suburbs, in other Indiana towns, and in other states. In the 1970s Shull began selling house plans in do-it-yourself home building periodicals, which were sold in the United States and Canada. Shull also designed apartment buildings and commercial/industrial properties. Her first major project outside of Indiana was a public library in Elkins, West Virginia. She also did designs for restaurants, including one in California and one in Carmel, Indiana. Born Avriel Joy Christie in Hamilton County, Indiana, she graduated from Carmel High School and attended Butler University and the John Herron School of Art in Indianapolis, Indiana. She left school in 1948 to launch her own commercial art business. In 1951 she married Richard K. Shull, a well-known Indianapolis journalist who became a syndicated columnist and television critic. The couple had two daughters.

Shull, a self-taught artist without a degree in architecture (in fact with no college degree of any sort), devoted her artistic skills to building projects. A female builder/designer was unique for the time, but even more so was Shull’s lack of formal architectural training. By 1954 Shull had designed and supervised the construction of her first project, the “Golden Unicorn”, a modern-style home in Carmel, Indiana, named after the unicorn installed on an exterior wall. In 1955, Shull began her first large-scale construction project, a new suburban development on a large parcel of land just west of what is now downtown Carmel. Named Christie’s Thornhurst Addition, the subdivision is unusual for its large concentration of Shull’s strikingly-designed homes. In addition to the design work, Shull supervised construction, laying stone on many of the homes’ exteriors herself; coordinated interior design; and assisted in furniture selection. Between 1956 and 1971 Shull designed and built twenty-one houses in Thornhurst. Wiki.

[pwlanier]

Avril Joy Christie Shulz and the Thornhurst Addition (National Historic Registry).

Avriel Shull 1931-1976 was an American architectural designer/builder and interior decorator from Carmel, Hamilton County, Indiana, whose career spanned from the 1950s until her death in 1976. An energetic and imaginative woman, she is best known for her mid-century modern architectural designs, which are especially unusual given the predominantly traditional tastes of mid-century Indiana. Most of Shull’s projects were single-family homes around Hamilton and Marion counties in central Indiana, most notably the homes in Christie’s Thornhurst Addition in Carmel, Indiana. Shull also designed a number of custom homes in Indianapolis’s toniest suburbs, in other Indiana towns, and in other states. In the 1970s Shull began selling house plans in do-it-yourself home building periodicals, which were sold in the United States and Canada. Shull also designed apartment buildings and commercial/industrial properties. Her first major project outside of Indiana was a public library in Elkins, West Virginia. She also did designs for restaurants, including one in California and one in Carmel, Indiana. Born Avriel Joy Christie in Hamilton County, Indiana, she graduated from Carmel High School and attended Butler University and the John Herron School of Art in Indianapolis, Indiana. She left school in 1948 to launch her own commercial art business. In 1951 she married Richard K. Shull, a well-known Indianapolis journalist who became a syndicated columnist and television critic. The couple had two daughters.

Shull, a self-taught artist without a degree in architecture (in fact with no college degree of any sort), devoted her artistic skills to building projects. A female builder/designer was unique for the time, but even more so was Shull’s lack of formal architectural training. By 1954 Shull had designed and supervised the construction of her first project, the “Golden Unicorn”, a modern-style home in Carmel, Indiana, named after the unicorn installed on an exterior wall. In 1955, Shull began her first large-scale construction project, a new suburban development on a large parcel of land just west of what is now downtown Carmel. Named Christie’s Thornhurst Addition, the subdivision is unusual for its large concentration of Shull’s strikingly-designed homes. In addition to the design work, Shull supervised construction, laying stone on many of the homes’ exteriors herself; coordinated interior design; and assisted in furniture selection. Between 1956 and 1971 Shull designed and built twenty-one houses in Thornhurst. Wiki.

[pwlanier]

Avril Joy Christie Shulz and the Thornhurst Addition (National Historic Registry).

Avriel Shull 1931-1976 was an American architectural designer/builder and interior decorator from Carmel, Hamilton County, Indiana, whose career spanned from the 1950s until her death in 1976. An energetic and imaginative woman, she is best known for her mid-century modern architectural designs, which are especially unusual given the predominantly traditional tastes of mid-century Indiana. Most of Shull’s projects were single-family homes around Hamilton and Marion counties in central Indiana, most notably the homes in Christie’s Thornhurst Addition in Carmel, Indiana. Shull also designed a number of custom homes in Indianapolis’s toniest suburbs, in other Indiana towns, and in other states. In the 1970s Shull began selling house plans in do-it-yourself home building periodicals, which were sold in the United States and Canada. Shull also designed apartment buildings and commercial/industrial properties. Her first major project outside of Indiana was a public library in Elkins, West Virginia. She also did designs for restaurants, including one in California and one in Carmel, Indiana. Born Avriel Joy Christie in Hamilton County, Indiana, she graduated from Carmel High School and attended Butler University and the John Herron School of Art in Indianapolis, Indiana. She left school in 1948 to launch her own commercial art business. In 1951 she married Richard K. Shull, a well-known Indianapolis journalist who became a syndicated columnist and television critic. The couple had two daughters.

Shull, a self-taught artist without a degree in architecture (in fact with no college degree of any sort), devoted her artistic skills to building projects. A female builder/designer was unique for the time, but even more so was Shull’s lack of formal architectural training. By 1954 Shull had designed and supervised the construction of her first project, the “Golden Unicorn”, a modern-style home in Carmel, Indiana, named after the unicorn installed on an exterior wall. In 1955, Shull began her first large-scale construction project, a new suburban development on a large parcel of land just west of what is now downtown Carmel. Named Christie’s Thornhurst Addition, the subdivision is unusual for its large concentration of Shull’s strikingly-designed homes. In addition to the design work, Shull supervised construction, laying stone on many of the homes’ exteriors herself; coordinated interior design; and assisted in furniture selection. Between 1956 and 1971 Shull designed and built twenty-one houses in Thornhurst. Wiki.

[pwlanier]

Avril Joy Christie Shulz and the Thornhurst Addition (National Historic Registry).

Avriel Shull 1931-1976 was an American architectural designer/builder and interior decorator from Carmel, Hamilton County, Indiana, whose career spanned from the 1950s until her death in 1976. An energetic and imaginative woman, she is best known for her mid-century modern architectural designs, which are especially unusual given the predominantly traditional tastes of mid-century Indiana. Most of Shull’s projects were single-family homes around Hamilton and Marion counties in central Indiana, most notably the homes in Christie’s Thornhurst Addition in Carmel, Indiana. Shull also designed a number of custom homes in Indianapolis’s toniest suburbs, in other Indiana towns, and in other states. In the 1970s Shull began selling house plans in do-it-yourself home building periodicals, which were sold in the United States and Canada. Shull also designed apartment buildings and commercial/industrial properties. Her first major project outside of Indiana was a public library in Elkins, West Virginia. She also did designs for restaurants, including one in California and one in Carmel, Indiana. Born Avriel Joy Christie in Hamilton County, Indiana, she graduated from Carmel High School and attended Butler University and the John Herron School of Art in Indianapolis, Indiana. She left school in 1948 to launch her own commercial art business. In 1951 she married Richard K. Shull, a well-known Indianapolis journalist who became a syndicated columnist and television critic. The couple had two daughters.

Shull, a self-taught artist without a degree in architecture (in fact with no college degree of any sort), devoted her artistic skills to building projects. A female builder/designer was unique for the time, but even more so was Shull’s lack of formal architectural training. By 1954 Shull had designed and supervised the construction of her first project, the “Golden Unicorn”, a modern-style home in Carmel, Indiana, named after the unicorn installed on an exterior wall. In 1955, Shull began her first large-scale construction project, a new suburban development on a large parcel of land just west of what is now downtown Carmel. Named Christie’s Thornhurst Addition, the subdivision is unusual for its large concentration of Shull’s strikingly-designed homes. In addition to the design work, Shull supervised construction, laying stone on many of the homes’ exteriors herself; coordinated interior design; and assisted in furniture selection. Between 1956 and 1971 Shull designed and built twenty-one houses in Thornhurst. Wiki.