The Kingshire: A Mid-Century Sleeper on Harrison

Every time I walk by the Kingshire, at the intersection of 14th Avenue  East and  East Harrison, I flatter myself and wonder if I am the only one who appreciates its dignified and restrained design. After all, it is only a white box with a relatively flat facade and an entry that hardly gives one pause. Despite these attributes (or because of them), the Kingshire is a little beauty with a subtle complexity to it and is a great example of many of the finer points of modernism. Among these is the nifty way the building touches down on its site, with its brick façade wall held up by diminutive pipe columns supporting a steel lintel. Both the scale of the columns and the void they create are certainly a reference to the design prerogatives of modern masters such as the Swiss architect Le Corbusier, whose pilotis (columns that allow for the raising of a building in order to let the landscape pass underneath) became a modernist icon.

The Villa Savoye (1929)

On the Kingshire, the height afforded by the columns is of a decidedly smaller scale than that of the Villa Savoye, and most likely is a recognition of this building’s urban setting and its need to create a strong street edge. The roof too makes a nod toward Le Corbusier, with its lushly planted roof garden and well-tended foliage gracefully hanging over the parapet. Between the pilotis and roof garden (and setting up the base, middle, and top architects do so love) is the middle facade where the shifting of widow openings and mullion patterns from floor-to-floor, as well as a pair of subtractive windows (perhaps another reference to the Villa Savoye?), reveal the Kingshire to have a host of latent surprises.  Such variety in articulation is a fine example of how even a slight alteration in an otherwise regularized design vocabulary is effective at achieving variety and nuance. Note how the third floor corner windows have either more tightly spaced mullions, a flipped orientation compared to their lower floor brethren, or are even subtractive.  Best of all, these design distinctions a grounded within the building’s simple vocabulary.

Painted white to achieve a certain level of modernist abstraction, the building convincingly uses brick as its skin.  Modernism generally eschewed brick as being too traditional, instead preferring white stucco. None-the-less, the brick here provides a reliably crisp edge around the openings; perhaps the most effective single detail one can lend a building to give it a sense of scale. Built in 1957, the Kingshire is one of the Hill’s most handsome modernist buildings. Sadly for us, there are not many examples of its type, which is a shame as its design has an economy and suitability that would make new derivations of its design precedence most welcome even 55 years later.

Conserving Authenticity in Capitol Hill's Buildings and Streetscapes

The ongoing debate on the Hill as to the value of conserving our so-called ‘character structures’ (buildings over 75 years-old) is heating up. It is fueled in part by recent development proposals that choose to incorporate (or not) such buildings into their project. Much of this debate — and the value placed by developers on preserving any particular character structure — centers on the merits of a building’s architecture and whether or not the building in question is great, or even good. All too often, however, such a focused valuation of building-as-object ignores the real value embodied in everyday buildings, and dismisses the contributions these buildings make to the urban fabric. Those who focus on building-as-object overlook how neighborhood character is defined as much by the ordinary buildings one encounters as by the extraordinary ones, especially when those of ordinary qualities comprise an assembly that weaves a complete, cohesive, and convivial urban fabric. While there are many impressive vintage structures on the Hill that deserve preservation outright — regardless of the surrounding urban fabric, such as the one at Pine and 11th pictured below, there are certainly many more buildings that actually contribute more to the character of Capitol Hill’s enviable streetscape, even if paling in comparison to our most beloved buildings as singular architectural objects,  While a building’s particular architectural pedigree may be important, it is arguably more important to value the contribution a good collection of ordinary buildings makes in achieving neighborhood character.

11^th and Pine, Capitol Hill

Pictured below are some traditional streetscapes that are an absolutely first rate, despite of (or perhaps because of) their being defined by average buildings. In these European examples, the adjacent streets inevitably lead to piazzas surrounded by architecturally magnificent secular and religious buildings that are the standard fare in that part of the world. Yet, it is a neighborhood full of streets just like those pictured below, defined by their average and ordinary buildings, that fosters the qualities which make these cities great. And it is ultimately  this kind of street fabric that creates the quality spaces residents and visitors cherish just as much, and perhaps to a greater extent than, the grand buildings so often featured on the postcards we send back home.

Mantua, Italy

Bruges, Belgium

Back on Capitol Hill, let us suppose we have the same relative ratio of average buildings to grand buildings leading to a similar high quality built environment. With an understanding that the average does as much as the grand in creating our neighborhood character, there is no better representative assembly of such buildings on the Hill than those along 11th Avenue between Pike and Pine, pictured below. No individual building is particularly grand or distinguished, but taken together they form one of our great streetscapes. By paying attention to the cumulative effect created by such a collection of buildings, one is able see their value in establishing the kind of desirable character that many of us on the Hill cherish. Criticalto our current debate, this character is fully compatible with new development. Conserving our character structures while simultaneously building new structures is the kind of balanced development approach that will continue to inject fresh ideas into our built realm, while paying due deference to the urban qualities that attracted us here in the first place. To foster the positive outcome of a balanced development approach it is incumbent on members of the Capitol Hill community to effectively communicate to developers that they must take time to understand the value we place on a successful blending of both the old and the new structures.

11^th Avenue, Capitol Hill

One relatively close by neighborhood that has achieved a very successful old-new balance on a neighborhood scale is Portland’s Pearl District. It took me some time to realize it, but it is the Pearl’s southern portion (where the character structures are, the northern portion was undeveloped rail yards) that is the most successful. The inclusion of both old and new is especially successful when the two are juxtaposed, as seen below. In this case, neither old nor new structures are exemplary as individual buildings, but taken together the streetscape they form achieves a balanced scale and creates a rich variety of experiences.

NW Glisan Street, Portland, OR

NW 11^th Avenue, Portland, OR

Pursuing such a balanced development approach on the Hill presents one with several options. First, and as promised by the developer of the Bauhaus building site, there is a preservation strategy that includes the character structure’s original exterior design and the retention of its interior environment. New development would occur above and be visually distinct in appearance from the retained character structure. In the particular case of the Bauhaus development the approach is certainly laudable, supportable, and easy to imagine as both the exterior and interior of the Bauhaus and adjacent Pineview Apartments are clearly something special. In the case of the Bauhaus/Pineview, we have a building that is fairly distressed requiring considerable resources and a financial commitment from the developer. Beyond leveraging the ambiance (and good will) of our neighborhood, one major incentive in favor of preservation of the Bauhaus is, of course, the extra floor the developer is awarded as an incentive for its preservation. This incentive is the means that the developer needs to offset the added costs of preserving the buildings instead of tearing them down, and was conceived and shepherded by members of the community, and adopted by the City in 2009.

The Bauhaus Building, Pine and Melrose

Bauhaus Building Interior

In addition to the straight forward preservation approach of the Bauhaus, one could pursue to adaptively re-use a building by restoring it to take on new uses its original developers may never have considered. This option can be attractive if the building in question is, say, a diamond in the rough and not such an obvious preservation candidate as is the Bauhaus. One thing making this approach attractive on Capitol Hill is that we have many of the old Auto Row buildings, buildings originally designed to support automotive uses. Automobiles, being rather large and heavy, required extra-stout structures and open floor plans. The upside to this is that a robust structure and open plan provide the most flexible floor plan of all, one that is well suited to provide for the diverse demands for tenant space on Capitol Hill that include retail, office, and restaurant. In our debate on the value of maintaining the granular streetscapes through preservation of the average and every day, goals for preservation certainly should include such Auto Row buildings as the Davis-Hoffman, pictured below. Davis-Hoffman is is a perfect candidate for conservation efforts, the extent of which are being discussed by members of the Capitol Hill community and the property's  developer, and whose latest design fully integrates the Davis Hoffman and the adjacent Madison Park Greetings buildings into the project.

Davis Hoffman, Original Condition (Puget Sound Archives)

Davis Hoffman, Current Condition

Removing the layers of previous renovations would reveal that in its former life the Davis Hoffman was a much more handsome building than it is today, and, more importantly, has those average qualities that contribute to extraordinary streetscapes. Even today it has porosity — courtesy of a substantial collection of large windows — that distinguishes it from contemporary developments. Paired with the two adjacent Madison Park Greetings buildings around the corner (and part of the same proposed development), the Davis Hoffman creates the type of continuous street fabric that has made neighborhoods such as the Pearl District a great success, and holds great promise for ours. Fortunately, on Capitol Hill one needs not imagine the potential outcome of such conservation efforts, for we have many fine examples of adaptive re-use projects. Thanks to such forward thinking developers as Hunter’s Capital, Dunn and Hobbs, and Madrona Real Estate Services — to name but a few — we have not only the architectural proof of the viability of such a strategy (while often times starting with buildings in much greater distress than is Davis Hoffman), but of its financial merits as well. And this group of local developers is willing to share their experiences with others seeking to achieve similar results by in their own development projects.

Elliott Bay Book Company, Prior to Renovation (Image Michael Oaksmith)

Elliott Bay Book Company, Post Renovation

When Elliott Bay Book Company relocated from Pioneer Square, it was a significant victory for Capitol Hill. It was no easy achievement as its previous location in the Pioneer Square Historic District defined the character of the bookstore as much as the thoughtfully chosen volumes that graced its shelves. Such character was important to the book store owner, and was a prime driver during his search for a new space. Thanks to the adaptive restoration of the flexible Auto Row typology from automotive service to bookstore, we have a fine retail space whose character and authenticity is preserved. In addition to the code-required seismic upgrade, restoration strategies included restoring the wood trusses and skylights, which had been roofed over. On the facade, a historically accurate new window system was installed. This was done in addition to the more typical new bathrooms, modern telecommunications, lighting, and heating/cooling system upgrades. A fairly involved process, but with results that have created one of the best retail environments in all of Seattle. Yet the developer, Hunters Capital, could have easily demolished the building, and started afresh with a 6 story edifice. Besides a passion for old buildings, Hunter’s has found that such spaces create desirable and profitable retail spaces, which have a unique ability to attract discerning local retailers such as Elliott Bay Books.

Elliott Bay Book Company, Interior Prior to Renovation (Image Michael Oaksmith)

Elliott Bay Book Company, Post Renovation

In addition to the above success story, there is another project that perhaps required even greater vision and fortitude: taking the building pictured below and realizing what has become a model for small, local retail, and adaptive re-use projects — the nationally acclaimed Melrose Market. Quite frankly, it is hard to imagine anyone seeing the value in its pre-restoration condition. But someone did, and thanks to developers Dunn and Hobbes and Eagle Rock Ventures, we have a project that has literally re-defined the western edge of Pike Pine. What was formerly a forgettable street has been transformed into what many  see as becoming one of Capitol Hill’s fines.  It provides the foundation for a great streetscape being embraced by current and future development projects such as the above mentioned Bauhaus project whose conservation efforts were inspired by those of Melrose Market.

Melrose Market, Prior to Renovation (Image Liz Dunn)

Melrose Market, Post Renovation

Melrose Market Interior, Post Renovation

Melrose Market is another good reminder (similar to Elliott Bay) that the conservation of the interior environment elicits as much consideration as the outside.  Another former Auto Row building, Melrose Market has long spanning trusses that prove to be well adapted to re-purposing. At Elliot Bay, which has a similar structure, the space provided is for one large retailer whereas at Melrose Market space provided is for almost a dozen, revealing the beauty and utility of the auto-row typology. In both cases the success of the project involved more than removing layers of paint, repairing rot, and bringing the building up to current standards of health and safety. Thoughtful tenanting of the spaces was essential, and to my mind, the successful results were almost a forgone conclusion. Larger national chains, with their standards of vending and for spaces they feel optimize the separation of shoppers from their money may not look twice at Melrose as it doesn’t fit within their conceptions of a successful retail environment. Yet, Elliott Bay Book Company and Melrose Market are of a culture that appreciates the unique qualities possessed by character structures, making the conservation of such spaces as appealing in attracting the types of businesses we desire on the Hill as are the spaces themselves. In a broader context, conserving our heritage buildings is one of the best a means we have in providing the type of spaces that locally-bases businesses crave, and many of us want to support.

Agnes Loft, Terrace Between Old and New Structures

Both old and new buildings are needed to create a cohesive urban fabric, and it is starting to emerge on small patches of Capitol Hill. New, modern buildings, with their clean lines and transparency are to be expected — and are most welcome — as they fill in parking lots, gas stations, and vacant lots.  However, we must not neglect those portions of our neighborhood where frontages of character buildings exist and ask developers to thoughtfully incorporate them into new developments while there still is an opportunity to do so. There should be little debate that such a conservation strategy is critical not only to maintaining the neighborhood identity many of us cherish, but to providing the kind of spaces others of like mind are looking for when searching for a new place to call home.

Jasper Park Lodge's Rustic Modernism

Much of so-called hospitality architecture leans too heavily on nostalgic imagery for my tastes. Especially so are those buildings that are in or adjacent to national parks, which try to harken back to pioneer days. True, there are many great, truly rustic lodges in the West -- Timberline, Crater Lake, Yosemite, Glacier National Park -- to name but a few. But those lodges, if not built during the time period we typically associate with pioneering days  (the 19th Century), were at least pioneering in the location within which they were built, which was more often than not far removed from established roads, towns, and other support infrastructure.

This lack of support meant that -- much as the true homesteading pioneers -- lodge builders relied on hand tools and manual labor, local craft traditions, and other limitations not posed today. Lodges built in the later half of the 20th Century and to this day were (and are) not faced by such hardships, yet many (most?) continue to evoke forms that have nothing to do with the time or traditions within which they were built. This is not the case at Jasper Park Lodge,  where the architect (whose name I could not ascertain during my stay there) artfully blended an historic 'lodginess' with mid-century modern flair.

Most likely built in the 1950's, this incredibly well conceived building combines the seemingly disparate goals of handcraft and the then jet-age aesthetic into a wholly original design. I can only image the struggles the architect endured balancing the expectations of rough-hewn and hand-crafted, with where his or her heart really was -- firmly modern. Fortunately for us, they were able to not only represent both, but do so in a highly original and satisfying way. And is a most spectacular setting.

Newly completed - Hillcrest Community Building

  Schemata Workshop is pleased to announce the completion of Hillcrest Terrace Community Building. Hillcrest Terrace is a senior housing community operated by Renton Housing Authority located in Renton, WA. The new Hillcrest building provides amenities for the surrounding apartment community that include a laundry room, kitchen, and dining space for up to 50 people. Residents of Hillcrest Terrace now have the ability to cook communal meals and host community events in the building.

The narrow site and its close proximity to the adjacent apartment buildings posed many design challenges that defined the building design, form, and fenestration locations. The design utilized a simplistic shed roof with overhangs and fenestration on the south exposure to capture light in the winter and provide adequate shading in summer.

The site encompasses a rose planter abutting the sidewalk for the senior residents to tend and enjoy. Previously the site housed a rose garden and two maple trees – one of which stayed in place and the other was relocated to the outdoor space east of the community building. The entrance sequence begins with a covered entry and seat wall facing west offering a place for the residents to enjoy the evening sun. Beyond the entrance is a narrow corridor illuminated by a series of skylights that lead to the dining room complete with a fire place and ample space for meals, card games, or simply visiting. The dining room also has a series of skylights and large windows that contribute to a light filled space. The Schemata team utilized the Integrated Design Lab for daylight studies and carefully located skylights and overhangs to decrease glare while maximizing natural light.

At the recent grand opening ceremony we were able to visit with the resident seniors and witness them using the community building and celebrating its completion.

The Subversive Origins of the Craftsman Bungalow

Charming, desired by many, and ubiquitous in the Pacific Northwest, the Craftsman bungalow is the quintessential Seattle home typology, yet its origins have a decidedly more contrarian nature than one would think given its pleasant demeanor. Granted, one’s attraction to any given building is typically founded on whether one finds its appearance pleasing, its utility supportive for its prescribed tasks, and it‘s construction and craft sufficiently robust – qualities that the Craftsman succeeds at with verve.  The bungalow is also noteworthy in that it is also one of our regions’ best representations of the ever-present, larger cultural forces shaping our built environment. These forces bear themselves out once one looks beyond the Craftsman’s ‘Northwest regional’ charms and compares it to the buildings it resolutely, if politely, stands in contrast to. As usual, our very own Capitol Hill provides among the best venues in Seattle to ponder the inherent contradictions of charming versus agitating exemplified by this building type.

The Red House, London, England (Wikipedia Image)

Tracing it roots to the English Arts and Crafts movement of the 19^th century and to such seminal works as the Red House by Morris and Webb (just outside of London), Arts and Crafts design and its progeny in the United States marked a massive shift in design theory that ultimately gave birth to modernism, albeit along a rather circuitous path few would have predicted. The designers of the Red House and other notable British architects of the time chose to reject the prevalent pedagogical reverence for classical antiquity with its emphasis on “universal” tenets of beauty, symmetry, balance, and proportion.  Instead they chose to organize spaces based upon use as well as on local cultural and construction traditions. This focus on the local, instead of the universal, led to buildings that looked less as if their origins were in ancient Greece and Rome, and more as though they were the stuff of local traditions and craft. While such vernacular building has existed for time immemorial, up until the Arts and Crafts movement, it had rarely (if ever) been embraced by either European or the nascent American architectural profession, whose pedagogy was founded upon classical traditions. By embracing the vernacular, many architects took a rather bold leap by acknowledging that non-professional/non-academic precedents actually had valid contributions to make.

The architects of the Arts and Crafts Movement shifted so-called good taste – and the taste of their clientele – towards the design of structures based upon the everyday, the serendipitous, and the utilitarian. To design based upon function was also, ironically, to become an underpinning of modernist design. The irony of the shared heritage is, of course, that modernism eventually fell into the trap of classical architecture – a desire to transcend national or cultural boundaries and create a universal architecture. End results aside, the premises of both the Arts and Crafts were provocative, even if the end results were at odds stylistically.

The Gamble House, Pasadena, California (Wikipedia Image)

In the United States, the influence of the Arts and Crafts Movement trended to greater influence the farther one headed west. This makes a great deal of sense, as farther west the ties to European cultural traditions wane, and those of a more uniquely “American “ form take prominence. It’s a combination of geography over time. There is perhaps no better expression of the Arts and Crafts in the West than in the hyper-craftsman, American masterpiece by Greene and Greene -- the Gamble House, in Pasadena, California. Built in 1908-09 and a National Historic Landmark, the Gamble House exhibits many of the key features of the craftsman bungalow, the West Coast version of Arts and Crafts buildings., the In designing a home that emphasized the fine hand carpentry of Japanese ornamentation and building forms rather than the work of the mason, the Greene brothers created one of the truly great American buildings of the 20^th Century.  It was a far cry from East Coast, Euro-centric establishment architecture. This emphasis on a fine carpentry and an exotic (Japanese-influenced) design approach had far reaching effects in the western states, especially in the Pacific Northwest where the traditional use and great availability of softwood lumber made the execution of Gamble House-inspired designs a natural progression of the Art and Crafts approach. Additionally, the long overhangs of the Gamble House proved to be welled suited as a precedent for providing sound weather protection in our soggy, maritime climate.

Private Residence, North Capitol Hill

Private Residence, Volunteer Park

A bit closer to home ,in the environs of Volunteer Park, sits a splendid array of these opposing design ideologies – providing an interesting laboratory of East (Coast) verses West (Coast), as it were. Pictured above, are a pair of photos of classically/traditionally inspired homes. Corinthian columns, dentils, the reddest of brick, all the details abound, but I would argue they are bit out of place in the Pacific Northwest. In Boston, Richmond, or Charleston homes such as this are the norm, and speak to that coast’s cultural heritage and proximate influences. More indicative of our region are the two homes pictured below. The top one is a fairly representative bungalow, and lacks the symmetry, clear massing, and classical details of the two former homes. In their place are rafter tails, large overhangs, and details based in the tradition of carpentry, not masonry. The lower example, while not as strictly “craftsman” as the other and hardly humble, was most certainly designed by an architect and follows the new professional traditions then blazed by the Greenes.

Private Residence, North Capitol Hill

Private Residence, Volunteer Park

The Arts and Crafts tradition influenced more than the Craftsman type. Its progeny includes Tudor-influenced structures such as the Red House, some of which are also be found on Capitol Hill. Those structures, however, are not based upon the local materials and traditions, and for that reason are not grounded in our region as is the beloved craftsman -- as subversive in its disposition as the city that has made it a favorite.