Tag Archives: modernism

Mid-Century School Design and Its Role in the Pursuit of Education

Schools come in all shapes and sizes. They are one-story and two-story. Schools serve young children, teenagers, and adults alike, and they are designed in all manner of style. In most instances, schools appear to be historic because of these architectural features. However, there is another yard stick with which to measure school building’s role in architectural history. As with all things, time changes our understanding and perspective, and educational theory is no different. Each school building reflects modern thought and beliefs of the era.

When imagining a school that is two-stories, designed in a classical, Spanish, or other revival style with a central corridor flanked by classrooms, it is likely to be a school from the Progressive era of education. The Progressive Era spans from the end of the nineteenth century to World War II. During this period, there was a shift from informal education to an organized system structed by putting age groups into grade levels and creating a curriculum based on intellectual rigor and mental discipline.
progressive-era-school-design-oregon-pmapdx
EARLY TWENTIETH CENTURY SCHOOL DESIGN
By the early twentieth century, school buildings were becoming more specialized and standardized as educators pushed for more control of school design. Plan books and design guides for educational buildings were introduced. There was a movement to make schools a healthier environment, improving ventilation and illumination. H-plan schools were introduced to bring more light and air into classrooms. Early twentieth-century school buildings typically featured traditional architectural styles, monumental designs, symmetrical facades, oversized entrances, and rectangular plans. Designed as civic monuments, the architectural focus was on building a school that would be a source of community pride. [1]

However, despite various applied stylistic details on the exteriors, the interiors were generally the same. The classroom was the basic building block for the school building, stacked vertically and horizontally to form a school. Classrooms were identical and all featured fixed desks facing the teacher at the front of the room with windows along one wall providing a single-direction light source. The emphasis was on order and authority. [2]
mid-century-school-design-oregon-pmapdx
In 1918, the federal Office of Education published Cardinal Principles of Secondary Education. It established a list of seven key elements that education should encompass: command of basic skills, health, family values, vocation, civic education, worthy use of leisure time, and ethical character. Clearly influenced by Progressive ideals, the publication emphasized personal development rather than academic criteria. [3] It developed seven tenets of Progressive education: freedom to develop naturally; interest in the motive of all work; the teacher as a guide, rather than task-master; scientific study of pupil development; greater attention to conditions that affect a child’s physical development; co-operation between school and home to meet the needs of child-life; and the Progressive as a leader in educational movements. Progressive educational ideals were being widely implemented in schools by the 1930s. [4]

There was a considerable lack of new schools constructed between 1930 and 1945, due to a lack of funding during the Great Depression and lack of available building materials during World War II. Educators at the 1947 National Conference for the Improvement of Teaching recommended a ten-billion-dollar building program over the next decade to meet the classroom demand, estimating that “between 50 and 75 percent of all school buildings were obsolete and should be replaced immediately.” [5] At the time, general consensus among educators was that the lifespan of a school was 25 to 50 years after which new teaching methods and technology made it obsolete. Moreover, the population of the United States was increasing at a faster rate than schools could keep up with and soon overcrowded schools became commonplace. New schools were desperately needed, and like the previous Progressive era schools reflected education theory of the day, so too did mid-century schools.
mid-century-school-design-oregon-pmapdx
MID-CENTURY SCHOOL DESIGN AND PLANNING
After World War II, schools stopped serving just the physical and educational needs of students but took interest in nurturing students’ emotional development. Schools of this era were typically long and low, one-story buildings designed in the International style with enormous windows, light-filled courtyards, and a decentralized floorplan.

According to mid-century educators, successful school planning required balancing three primary concerns: environment, education, and economy. The district needed to provide the best possible environment for students and teachers in order to facilitate learning while working within the limitations of the budget. [6] New schools had to meet both physical needs – sanitary, safe, quiet, well-lit – and emotional needs – pleasant, secure, inspiring, friendly, restful. In the Northwest, most schools reflected regional style by incorporating an interior courtyard. [7] During this period, the progressive theory of education was common. This theory was based on the concept that education should include the general welfare of students, not just their intellectual development, and that students should aspire to individuality not conformity. Teachers were encouraged to have a democratic classroom where they worked collaboratively with students rather than lecturing, and assignments were active and engaging rather than reading and watching. Additional topics were added to the curriculum that would better prepare students for the next phases in their lives, these topics included woodshop, home economics, and physical education. The general welfare of students was better minded and encompassed hot lunches, health services, and changes to disciplinary actions. [8]

The other hurdle for school districts was the rising cost of construction in the post-War era. For example, in 1930, $100,000 would buy a ten-room school, in 1940, it would buy an eight-room school and in 1950, it would buy a four-room school. [9] Fortunately for school district budgets, many communities wanted modern design schools rather than the neo-classical or art deco designs from previous decades, and these modern designs were less expensive to build. Mid-century schools and houses utilized new technologies, materials, and mass production methods to meet the demand for affordable and fast construction. [10] Classrooms also featured extensive built-ins that included sinks, slots for bulky roles of paper, and coat storage.
mid-century-school-design-oregon-pmapdx
TYPICAL MID-CENTURY DESIGN ELEMENTS
Mid-century schools and suburban housing shared many design elements, including: floorplans laid out to maximize space and flexibility; floorplans, fenestration, and landscaping designed to create connections between indoor and outdoor spaces; facades featuring large windows and ribbon windows; buildings designed to accommodate easy expansion later; decorative elements replaced with contrasting wall materials on the exterior; floorplans encouraged socializing; single-story designs with flay or low pitch roofs and deep eave overhangs; and buildings integrated into the landscape. Mid-century schools featured larger sites and a greater emphasis on landscaping and outdoor recreation. This resulted in more sprawling school designs. Instead of compactly containing all school facilities within a single rectangular block, facilities were clustered by function, such as separating quiet classrooms from noisy cafeterias. Plans were often irregular.

Schools are designed from the inside out and what is on the inside reflects education theory and beliefs of the day. The next time you admire a school’s architecture, be sure to notice more than its visual aesthetic, but its role in the pursuit of education.

Written by Tricia Forsi, Preservation Planner.




Sources
[1] Donovan, John J. School Architecture: Principles and Practices. New York: MacMillan Company, p. 24
[2] Weisser, Amy S. “’Little Red School House, What Now?’ Two Centuries of American Public School Architecture.” Journal of Planning History. Vol. 5, No. 3. August 2006, p. 200
[3] Graham, Patricia Albjerg. Schooling America: How the Public Schools Meet the Nation’s Changing Needs. New York: Oxford University Press, 2005, p. 76-77
[4] Weisser 2006, 203
[5] Benjamin Fine, “Broader Vocational System Is Advocated to Help Meet Modern Industrial Needs,” New York Times, April 11, 1948.
[6] William W. Caudill, Toward Better School Design, New York: F. W. Dodge Corporation, 1954,
[7] Entrix, Inc., Portland Public Schools Historic Building Assessment, October 2009, p. 3-18
[8] “Modern Design Transforms Schools.” New York Times. August 24, 1952; “Modern Schools Are Built to Fit Child Emotionally and Physically,” New York Times, December 23, 1956; New Schools of Thought: Modern Trend in Education Is Reflected in Buildings Themselves,” New York Times, December 16, 1952; Abigail Christman, National Register of Historic Places Nomination: Colorado’s Mid-Century Schools, 1945-1970,” May 1, 2017
[9] “New Schools, U.S. Is Building Some Fine Ones But Is Facing A Serious Shortage.” Time. October 16, 1950, p. 80
[10] Otaga, “Building for Learning in Postwar American Elementary Schools.” p. 563.

Part II: Tropical Modernism in a Multicultural Context at the Docomomo US National Symposium

In PART I we discussed the University of Hawaii at Manoa campus (especially the stunning Jefferson Hall), presentations on traditional architecture to mid-century modernism and Asian influences on the built environment in Hawaii, and the Residences of Wimberly and Cook. For Part II we are hopping back into the Aloha Spirit by discussing the regal Hawaii State Capitol Building, presentations on historic preservation and how Hawaii was influential and integral to international tropical resort design.
hawaii-state-capitol-bldg
HAWAII STATE CAPITOL BUILDING
I have only been to about ten state capitols across the U.S., but the Hawaii State Capitol building is unlike any I have experience. It is a truly welcoming structure, which is something unique among monumental civic structures (looking at you Boston City Hall). The Hawaii State Capitol was designed by Belt, Lemmon & Lo in association with John Carl Warnecke. While design of the building began in 1961, construction didn’t break ground until 1965, and the building was formerly dedicated on March 15, 1969. The Hawaii State Capitol celebrated its 50th anniversary in 2019.

An excerpt from Democracy by Design. The Planning and Development of the Hawaii State Capitol, with text by Don J. Hibbard states it best:

“Monumentally presiding over an eight acre site mostly carpeted by lawn, the Capitol is surrounded by a pool of water, evoking Hawaii’s island situation. The truncated cones of the legislative chambers, clad in cast stone made of crushed lava rock, rise from the reflecting pool, reminiscent of the volcanic origins of the islands. Also rising from the water are forty columns, bereft of capitals, instead flaring out of their crown like coconut palms. Standing almost sixty feet in height, the columns form a peristyle and support the extra-large fourth story, which cantilevers out beyond the columns. Serving as a cornice, the fourth story is distinguished by its open work frieze of pre-cast fins set in groups of eight, recalling the eight major islands of Hawaii. Placed free of the windows, the fins serve as decorative elements as well as sun screens. The recessed second and third floors are suspended from the fourth story, which also serves as the roof of the capital, with the governor and lieutenant governor’s offices in penthouses on top of the roof. Rising above the penthouses, the blue crown of the central rotunda echoes a volcanic crater, a graceful interpretation of the traditional statehouse dome.” (1)

hawaii-state-capitol-building-details
PARADISE PARADIGMS
DeSoto Brown
Kiersten Faulkner

These two presentations were an interesting pair. DeSoto Brown presented in a style reminiscent of informational videos produced in the 1950’s and 1960’s that were designed to encourage travel to the islands of Hawaii by showing the Aloha Spirit and all Hawaii has to offer. All the photos presented were from the archives. It wasn’t until after his presentation that he mentioned a majority of the structures pictured have since been demolished or severely altered. Remember, Hawaii was aggressively built up only since post-World War II!
downtown-honolulu
This made for a great transition into Kiersten Faulkner’s presentation on the threats and challenges of preservation and tropical modernist design – how to preserve architecture from so recent in the past. Turns out the issues (for the most part) mainland preservationist have are the same Hawaii preservationists experience. Similar to Oregon and elsewhere, that 50 year historic threshold causes a lot of havoc at times. What happens when a resource is 46 years of age in integral to our built heritage, but threatened with demolition because, sorry it’s not 5-0 historic! Kiersten also described how there is anger and hurt around some mid-century resources (mainly spiritual structures) because they replaced older structures on the same site. Interestingly enough, Hawaii doesn’t have a leg-up on mainland solutions for the intersection of preservation, sustainability, and climate change. I was a bit surprised when I asked a colleague that worked in the preservation community in Hawaii if they did anything specific to mitigating resources going directly to the landfill from demolition since they were on an island. The full answer was “No.”

DESIGNING PARADISE
Don J. Hibbard
Ron Lindgren

Designing Paradise focused on resort design in post-war Hawaii, specifically how it influenced tropical resort design throughout the world. The design and development of the Mauna Kea Resort and Ed Killingsworth Hawaii resort designs: Halekulani, Kapalua Bay Hotel, Mauna Lani Resort, Ihilani Hotel, and renovation of the Kahala Hilton Hotel were discussed. Don and Ron explained how the distinctive and elegant approaches to resort design seen at Mauna Kea Resort and the others would ultimately set the standards for tropical resort design throughout Hawaii and the world.

The Ed Killingsworth designs discussed were divine. The attention to detail Killingsworth incorporated into his creations was phenomenal to see and learn about. Those concrete spider legs that became a staple of his residential, commercial and resort designs are stunning architectural geometries for the eyes. Killingsworth was a planner for the City and County of Honolulu pre and post-World War II. While his resorts were interesting to learn about, Ron Lindgren discussed at length his residential designs in California.
waikiki-beach-diamond-head
Killingsworth personal residence was breathtaking. If only every house was designed with the level of attention, detail, and space planning that brings the indoors out and vice versa that Killingsworth executed. What caught my attention was how Killingsworth designed the kitchen at his personal residence in California. He had floating wood lower cabinets, which looked more like beautiful pieces of furniture than storage for kitchen-wares. Also, he did not use a backsplash – genius! Behind the floating cabinets with the kitchen sink, a full ceiling-to-floor window was used, including underneath the floating cabinets. This played a trick on the eye, with the abundance of natural light flooding from above and below the cabinets the space looked larger and lighter. Also, why are we SO obsessed with back-splashes and kitchen islands? His designs make the case for neither. His interpretations of lanai living was on full display in his California residence.

The Mauna Kea Resort. Laurance Rockefeller was the developer that brought the world to Kauna’oa beach, and ushered in a new era of tourism to Hawaii. The Mauna Kea Resort opened in the summer of 1965, and was designed by SOM in the most sophisticated mid-century style. Concrete has never looked as elegant as it disappears into the surrounding natural landscapes. It was the first resort along the coastline of Hawaii’s Big Island. Mauna Kea Resort also features a prominent art and artifacts collection. The contributions to the Big Island that Rockefeller enabled in the mid-century are still thriving today.
IBM-building-honolulu
Tropical Modernism in a Multicultural Context at the Docomomo US National Symposium was a delight to experience. The closing reception was at the Ossipoff designed IBM building (1962). Talk about an iconic Honolulu mid-century building. The exterior façade grille is retro yet timeless architectural elegance. And, it was fitting to have the opening and closing receptions at two distinct mid-century buildings in Honolulu designed by one of the most prolific architect’s in Hawaii.

I wouldn’t be able to end this two part blog without mentioning the hotel that hosted several social events, part of the symposium programming: the Surfjack. From the beautiful lanai, delicious restaurant with fantastic mai tai’s, to the quaint yet stylish rooms, the POOL, and welcoming staff. The Surfjack felt like a home away from home in the heart of downtown Waikiki.

For designers, architects, planners, preservationists, and those generally interested in mid-century design, Docomomo US National Symposium is a MUST on your list of mid-century focused events.
surf-jack-hotel

Written by Kate Kearney, Associate.

1. The Hawaii State Foundation on Culture and the Arts in accordance with the recommendation of The Task Force to Plan and Coordinate the Celebration of the Fiftieth Anniversary of the Hawaii State Capitol. Democracy by Design. The Planning and Development of the Hawaii State Capitol, by Don. J. Hibbard. Honolulu, 2019.

PART I: Tropical Modernism in a Multicultural Context at the Docomomo US National Symposium

Tropical Modernism was showcased, explored, and celebrated at the sixth annual Docomomo US National Symposium in late September 2019. Docomomo US/Hawaii chapter hosted, and as the current Docomomo US/Oregon chapter president I had the opportunity to experience all things tropical and modern in Oahu, Hawaii.

Honolulu (2)-pmapdx

For those unfamiliar with the mouthful that is Docomomo (documentation for the conservation of the modern movement), it’s a national (technically international) non-profit dedicated to the preservation of modern architecture, landscape and design. At the Oregon chapter we take this mission a bit further by including art from the core era of modernism and one of the most controversial architectural movements: post modernism. But let’s get back to the oasis that is Oahu. First, if you have the opportunity to visit this island – DO IT. It is a multicultural, dense cosmopolitan city yet rural surf-town, absolute food heaven, post-war architectural wonderland where tropical resort design began, all rolled into one island that has weather far superior than what we ever get in the state of Oregon. Why do we all live in the cold and rain?!

The symposium kicked-off with a welcome reception at the Outrigger Canoe Club. The building is situated right along the Waikiki coast and was designed by Vladimir Ossipoff in 1941. Ossipoff had a prolific Honolulu-based firm, Ossipoff Snyder Architects. A common theme I was unware would take a central role throughout the symposium was about tropical outdoor/indoor living, or better known as lanai.

honolulu-beach

UNIVERSITY OF HAWAII AT MANOA
University of Hawaii at Manoa hosted the first day of symposium presentations at Jefferson Hall. While there are several mid-century buildings across the campus, Jefferson Hall is an architectural gem among them. Completed in 1963 and designed by Chinese-American architect I.M. Pei with Young & Henderson. Jefferson Hall was the last building constructed of the East-West Center (EWC) campus. The EWC helped put Hawaii on an international stage, connecting Asia and the West. Jefferson Hall in particular “combines the austere symmetry of the New Formalism with hints of Chinese traditional architecture to convey the links between Asia and the West envisioned by the center’s multiple champions and founders.” (1.)

HAWAII OVERVIEW – from traditional architecture to mid-century modernism
Glenn Mason
Graham Hart

Bit perplexed that native Hawaiian architecture was breezed over and barely mentioned. The presentation began with thatched houses, then quickly jumped to the first Western-style frame houses being shipped to Hawaii in the 1820s. These were the type of structures the Missionaries were accustomed to. From there we learned that basalt quarries were developed in the 1880s, and the California Gold Rush really opened up west coast trade to Hawaii. For the first time Douglas Fir was shipped from the mainland to Hawaii. Mason then explained that while Hawaii had designers, they did not have architects, but architects from Australia or the mainland came to Hawaii and contributed to the beaux-arts and neo-classical styled structures. It wasn’t until the early 1900’s that a regional style began to express itself in Hawaii, and across the mainland. Hawaii regional style elements include: double pitched roof, lanai, local materials, and an overhang roof.

Towards the end of the 1930s change thinking happens and international style references begins to be expressed in architecture. Hawaii sees an influx of younger architects from Europe that were schooled in modernist design. The late 1930s had a stream of construction on military bases (several designed by Albert Kahns office), but by the time of WWII, 99% of architects on the island went to work for the military. From the 1930s through the 1960s there is a shift in the architecture vocabulary in Hawaii. It begins with regional style with a hint of modern, then modern used to reinterpret regionalism. Modern architects of note in Hawaii from that era:

Vladimir Ossipoff
Peter Wimberly
Lemmon, Freeth, Haines, and Jones
Edwim Bauer
Alfred Preis
Johnson & Perkins

The shift in the architecture vocabulary in Hawaii continues from the 1940s through the 1970s. Now we begin to see the environmental influences on modernism, even though rural landscapes are being transformed into cosmopolitan centers with smaller, steep, tight sites or housing. Materials used for modern design now includes concrete, cast concrete, lava rock, coral, local woods, and aggregates. Modern architecture in Hawaii also embraces the natural environment. This is most reflective in architect’s obsessions with lanai. This obsession found its way from residential homes to large developments. The East-West Center (1962-1963) at the University of Hawaii Manoa, designed by I.M. Pei, is a phenomenal example of a monumental, institutional piece of architecture that embraced the lanai.

Jefferson-Hall-001

ASIAN INFLUENCES
Alison Chiu and Alissa Carson
Lorraine Minatoishi
Luca Guido

This group of presentations focused on different facets of Asian influences and how the contributions were interwoven in post-war architectural design throughout Hawaii. Lorraine Minatoishi focused on Japanese temple architecture influence of modern design post-war. There were distinct temple styles developed throughout their history in Hawaii:

Japanese Traditional Style (late 1800s – early 1900s)
Plantation Style (late 1800s – early 1900s)
Hawaii Eclectic Style (early 1900s – 1950s)
East-West Style (1918 – 1950s)
Post-War Modernism (led by second-generation Japanese architect Niser)
Post-War Traditional

Luca’s presentation took it a step further by discussing an obscure architect from the mid-century modern era, Bruce Goff, and how he also influenced local architects to Hawaii. I had not heard of Bruce Goff like most, but Luca Guido explained why this figure in the realm of modernism was obscured until now.

RESIDENCES OF WIMBERLY AND COOK
Following presentations at the University of Hawaii and a self-guided walking tour of other mid-century campus resources, I chose to attend the Residences of Wimberly & Cook Tour. Pete Wimberly of Wimberly & Cook designed two residences situated above the Manoa Valley. Wimberly designed some of the most iconic mid-century modern buildings in Hawaii. Wimberly came to Hawaii in 1940, and post-war his career flourished. His designs embodied tropical modernism, spaces that blurred indoor and outdoor living. The residential designs we toured both featured indoor/outdoor living, natural cross-ventilation, elegant interior details and finishes, and a smart use of natural light. However, they were completely different in essence, aesthetic, style, and state.
Cook-Residence-PMAPDX
The Japanese style pavilion house was like walking into a meticulously cared-for time capsule. There wasn’t even dust on the book shelves that displayed artifacts collected and arranged by the original homeowner! However, there were a few signs of wear-and-tear on the interior Japanese style floor mats, kitchen cabinets along their frames, and slight dry-rot peppered across the original wood deck. Otherwise the home was pristinely maintained. Wimberly’s private residence across the street was a different story.

Wimberly’s private residence was constructed in 1945. This is an insane date for residential construction due to World-War II ending the same year, and the majority of architects/contractors in Oahu were working on military projects. With the Japanese style pavilion home, you enter by walking down slightly winding stone steps. With Wimberly’s private residence, you enter by climbing up stone steps that deliver visitors to a small landing, and then up more exterior stairs. The second set of stairs (wood planks suspended by cables) makes for a swoon-worthy entry sequence that looks like something Dwell or Architectural Digest would gobble up for a feature article.
Wimberly-Residence-PMAPDX
From the now faded red door, redish-pink painted wood paneled ceilings, decorative animal sculptures situated within the header above the door that leads from the dining area into the kitchen, to ornate light fixtures and various metal finishes throughout the space, Wimberly’s private residence utilized design elements that reflected the multicultural diversity of Hawaii. The residence is also quintessential mid-century design: natural cross-ventilation, sliding wall panels to completely open up or section off the main-floor living, dining and lounge areas, and a technological savvy (for its time) kitchen. From the perspective of how we design kitchens today, it is real sad and small, save for the to-die-for view of the lush tropical garden from the kitchen window over the sink.

Wimberley’s private residence also showed signs of being well lived-in, yet not maintained with any desired vigor. The wood framed windows on either side of the structure are rotting like the planks along the entry façade deck, and there are several cracked panes of window glass. Structural settling has made itself known, and the kitchen is retro in a manner no one would want for daily use. Most of the interior painted walls or ceilings have faded into softer hues of their original bold colors. And, when we visited, it looked as though someone was living there, yet possibly setting up an estate sale for interior items. There were some true mid-century interior design gems scattered in the clutter piled up from the floor I wish I could have packed in my suitcase for the return trip.

Hope you enjoyed PART I: Tropical Modernism in a Multicultural Context at the Docomomo US National Symposium! In Part II we will discuss the Hawaii State Capitol, and presentations on Historic Preservation in Hawaii and Tropical Resort Design.

Written by Kate Kearney, Associate.

1. Shen, Haigo and Irene. Tropical Modernism At University of Hawaii At Manoa. Docomomo US National Symposium, Oahu, Hawaii, September 2019.

PM DOCO OR Award Announcement

2019 Modernism in America Awards

DOCOUS-Modernism-In-America-2019-Award

“Not all preservation advocacy efforts result in a positive outcome, but these efforts would never happen in the first place without one person carrying the banner, holding the megaphone, taking the lead, and Peter has exhibited that strongly in this case, and throughout his career.”
– Gunny Harboe, Docomomo US Director

Via DOCOMOMO US
An Advocacy Award of Excellence is given to Peter Meijer, AIA, NCARB, for his leadership and advocacy work related to the Portland Public Service Building (the Portland Building). As the founding President of DOCOMOMO US/Oregon, Peter and his architectural practice Peter Meijer Architect, PC (PMA) played a pivotal role in speaking up and advocating for the sensitive preservation of the Postmodern icon, designed by Michael Graves and completed in 1982.

In 2011, PMA wrote the nomination to add the building to the National Register of Historic Places, a serious undertaking, without being contracted to do so. Shortly thereafter the city began to consider making improvements after years of deferred maintenance and chose to move forward with a reconstruction plan that disregarded the Secretary of the Interior’s Standards.

Despite opposition from PMA, local and national advocates, and a letter from the National Park Service stating the building would be “de-listed” from the National Register, the Portland Landmarks Commission nevertheless voted to approve the reconstruction plan. Faced with significant alteration of arguably Portland’s most important architectural icon, Peter pushed forward individually and appealed the decision. Portland City Council denied the appeal, essentially ending the effort. Peter remained dedicated to the cause throughout the entire process, despite substantial local professional risk.

Although the fight is now over, DOCOMOMO US/Oregon has not let the story go out of the headlines, continuing to document the ongoing dismantling of the Portland Building’s façade.

For the full list of 2019 MODERNISM IN AMERICA award winners, please visit DOCOMOMO US.

The History of PPS McDaniel (formerly Madison) High School

At the end of January, PMA was invited to give a presentation to students at Portland Public Schools McDaniel (formerly Madison) High School. “The History of Madison High School” turned out to be engaging for many of the students in two back-to-back social studies classes taught by Mr. Jason Miller, and fun for the presenter from PMA (Kristen Minor) as well. PMA is part of the multi-disciplinary team for the PPS McDaniel High School Modernization project.

Below are highlights from the presentation illustrating changes over time in the vicinity of the school, an area that is quite familiar to the students. Old photographs of a place remind us how radically our environment changes, even though it feels (especially to a high school student) that change is s-l-o-w. The presentation also covered basic facts about the school, including its design in the International Style, a subset of Modernism, and what that means in comparison to pre-war “traditional” architectural styles. Madison was constructed in 1957 and designed by the firm of Stanton Bowles Maguire & Church, who also designed Marshall High School in SE Portland a few years later in 1960.
PPS-Madison-HS-PMAPDX-Lecture
PRE-SETTLEMENT HISTORY
Much of East Portland, especially the northerly portions along the Columbia, was Chinook tribal territory. These peoples were decimated by diseases from contacts with European and American exploration, colonialization and fur trappers in the period between the 1780s and the 1850s. Oregon Trail pioneers began to come to the area to settle by the early 1840s. The Donation Land claim act of 1850 divided the western territories into quarter mile grid sections and deeded the land to individuals (up to 320 acres) and couples (up to 640 acres), as long as you would live on and farm the land. That’s why the distribution of land by the federal government is clearly visible in the grid pattern of streets of our western cities, with anomalies like Sandy Boulevard and Foster usually being remnants of older tribal pathways.

TRANSPORTATION
This image shows 82nd Avenue where it crosses Halsey in 1916, when the train tracks crossed the roadway at grade. This location is a little more than half a mile south of the school. In 1916, people were getting around by horse and carriage, streetcar, train, walking, bicycling, and for a lucky few, driving (Model T’s went on the market in 1908). By the mid-1920s most families were able to purchase a car, but people didn’t take them everywhere like they do today.

PPS-Madison-HS-PMAPDX-Lecture

– Transportation –


LAND USE
These three photos, all looking north on 82nd Ave, are from the early 1930s. The lower right photo illustrates the 1934 construction of a viaduct for the train line, so 82nd could finally extend over the train lines. The upper photo shows early development along a segment of 82nd in the Montavilla area, with mostly houses visible along the roadway in 1932. By 1937, Portland re-zoned the entire 82nd corridor to be commercial or industrial, so all of these houses were later demolished or heavily altered. Finally, the lower left photo shows 82nd being widened in 1934, with the Madison school site at the left at the very top of the hill on the horizon. Large areas of land were still completely rural, either undeveloped or producing crops. By the 1920s and 1930s, most of the farms that had once been in this area (many originally owned by Japanese immigrant farmers around Montavilla) had given way to increased development.
PPS-Madison-HS-PMAPDX-Lecture

– Land Use –


HOUSING BOOM
The same Halsey Street intersection in 1947 is shown at the center of the photo, with 82nd Avenue stretching almost up to the Madison school site (just off the upper right of the image). None of the major freeways had been constructed yet, so the gully still only carried long-distance train tracks. After the war, housing development really took off, which resulted in an immediate need for schools in the area.
PPS-Madison-HS-PMAPDX-Lecture

– Housing Boom –


SCHOOL DESIGN AND EFFICIENCY
From 1945 to 1970, Portland Public Schools constructed 51 new schools! The district had to be efficient and smart about costs under all the pressure to create schools in such a short period of time. Modernism as a style, with its emphasis on functionality, repetition, and horizontality, worked well for the district to ensure that they could construct the most building area for the least cost. Schools were designed in standardized materials and in expandable forms, allowing maximum flexibility.
PPS-Madison-HS-PMAPDX-Lecture

– School Design and Efficiency –


As McDaniel High School moves closer to its construction start date for the PPS Modernization project, it is worth remembering that the school is a highly intact example of the mid-century International Style design aesthetic, but that the new iteration of the school will preserve portions of this design. Students in the updated school will hopefully have an appreciation for both the changes and the past design, with a glimpse into the history of change at the school and in the area surrounding the school.



Written by Kristen Minor, Associate / Preservation Planner

At A Glance: Preservation of Modern Built Heritage

Associate, Halla Hoffer, AIA, Assoc. DBIA, recently participated in a three-day course on the preservation of modern built heritage from the Getty Conservation Institute: Conserving Modern Architecture Initiative, in partnership with the National Center for Preservation Training and Technology (NCPTT), and with support from the National Trust for Historic Preservation. The course included lectures regarding the technical challenges of preserving modern heritage within the framework of historic preservation practice and philosophy, laboratory sessions, and visiting one of LA’s most iconic modern houses.

Mid-century modern era structures are approaching historic status, if not already there. This status necessitates finding the best option(s) for renovation and rehabilitation – from integrating current energy conservation standards, to updating components to meet current code and seismic regulations – because aesthetic impacts to a historic resource must be kept to a minimum.

OVERVIEW OF COURSE LEARNING OBJECTIVES
– Understanding the importance of following preservation methodologies when working with modern heritage.
– Using case studies as examples, understand how to apply these to actual modern buildings and sites
– Understand how developing successful preservation solutions depend on thorough and detailed analysis of the site.
– Learn how to assess the cultural significance of modern building.
– Understand the historical development of reinforced concrete.
– Learn about the material characteristics of reinforced concrete.
– Understand the most common decay mechanisms of reinforced concrete.
– Understand the principles for conserving historic reinforced concrete.
– Understand the historical development and building typologies of the modern era.
– Explore the challenges to preserving buildings from the modern era.
– Learn how existing preservation standards and charters are applied to modern buildings.
– Learn about the listing and protection of modern buildings.
– Learn about the development of glass used for 20th century windows.
– Learn about glass making techniques and how to determine the fabrication techniques.
– Learn about glazing types such as IG units, and film applications.
– Learn how various metals in windows weather and how to treat them.
– Learn in a lab session how to identify corrosion as it is expressed in different metals.
– Understand how saving a work of modern heritage is different from saving the heritage of other
eras.
– Learn how to decide, prioritize, and build support for protecting and preserving modern places.
– Explore the issues involved in determining how modern resources can be saved.
– Explore how to evaluate significance relative to the vast number of modern buildings that exist
today.
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COURSES AT A GLANCE
The three day course began with an overview of the history, designation, and conservation methodology of our built heritage of the modern era. A highlight included a case study presented by Sara Lardinois – Utilizing the Conservation Methodology, Salk Institute for Biological Studies. The Salk case study focused on the restoration of the teak window wall assemblies, from significance to performing an integrity evaluation of the window wall assemblies. The Salk Institute is an international masterpiece of architecture from the modern era. The treatment recommendations had to stop fungal biofilm from further damaging the window wall assemblies, improve performance, abate hazardous materials, all the while preserving the integrity original teak structural members.

Day two was focused on windows and curtain walls – something especially interesting to PMA. Stephen Kelley led lectures and a lecture/lab on the history of modern windows and curtain walls, European and American precedents, fabrications, types, common problems, field testing, fabrication practices, history of sealants, and engineered sealant joints. Day three closed-out the course with a special day at the Eames house. Participants learned about the conservation planning and building materials case study created for the house.
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COURSE HANDOUTS
15 Preservation Briefs – Preservation of Historic Concrete
Salk Institute Report
Eames House Case Study

Written by Halla Hoffer, AIA, Assoc. DBIA / Architect

The Historic Documentation of Umpqua Hall

Southwestern Oregon Community College hired Peter Meijer Architect in September 2017 to assist in the historic documentation of Umpqua Hall. This significant resource will be reconstructed as part of the college’s new Health and Science Technology Building, a project that will provide additional classroom space to support the college’s nursing and EMT programs. Umpqua Hall played a significant role as one of the first two buildings constructed on campus to serve as the primary location for the college’s vocational courses. Below is an excerpt from the documentation that PMA provided for the State Historic Preservation Office that assesses the historic significance of Umpqua Hall.

1972 ca._Umpqua Hall
HISTORY AND CONTEXT
Southwestern Oregon Community College was the first post-secondary education available to students on the Oregon Coast in the early 1960’s. It held its first classes in 1961 at the North Bend airport, and was relocated to its new home three years later. Prior to its establishment, students in this coastal area travelled long distances to be able to attend college, and many could not afford to go at all.

Southwestern Oregon Community College began as a vocational school with the mission of preparing the general population of Coos Bay to enter a workforce created mainly by the timber and fishing industries in the area. As the original “Shops Building”, Umpqua Hall was at the heart of this development. It was the primary building on campus to house many of the school’s vocational-technical programs. The automotive, welding, and carpentry shop classes that were a part of the Mechanics and Industrial program all took place in Umpqua Hall.

In the 1970’s, the college faced the dilemma of a changing market in Coos Bay. As housing development increased in the city and brought the opportunity for new businesses with it, minimum wage service-oriented jobs began to replace the higher paying manufacturing jobs that the college’s courses were tailored toward. Graduates of the programs offered at SWOCC were in less demand, and student enrollment began to decrease. As a result, SWOCC recognized a need to provide displaced workers—as well as veterans that were returning home from the Vietnam War and students seeking to later transfer to a university at an affordable cost—with the appropriate type of education required to compete in the changing economy.

The campus has since evolved to accommodate these economic changes. Umpqua Hall was retired from its academic function when the Automotive Technology program was eventually eliminated in 1994. The oldest buildings that still exist at SWOCC, namely Umpqua and Randolph Halls, represent a significant period of economic growth in the history of Coos Bay that played an indispensable role in the initial development of the city and in its educational options.

1964_Aerial view SWOCC with Randolph and Umpqua Halls only
UMPQUA HALL CONSTRUCTION TIMELINE
1963 to 1964—Umpqua and Randolph Halls, as well as parking lot #1 on the south side of campus, were constructed as part of Phase I of the 1963 six-phase Master Plan. Randolph Hall was known as the “Laboratory Building” that served as the main academic building. Umpqua Hall was known as the “Shops Building”, and originally functioned for vocational schooling that included automotive, carpentry, woodworking, and industrial technology classes.

1964 to Mid-1960’s—The campus underwent Phase II of the Master Plan that included Dellwood Hall (the administration building and temporary home of the library at the time), Coaledo Hall, Sitkum Hall, and parking lot #2.

1981—A storage outbuilding was built to the west of Umpqua Hall by this time, probably in the late 1970’s.

Circa 1985—The college planned to relocate the “Industrial Building” to a location northeast of Prosper Hall, but to keep the metal welding and auto diesel programs located in Umpqua Hall. The plan was to eventually phase out the use of Umpqua Hall.

1994—The Automotive Technology program in Umpqua Hall was eliminated, and the building was retired from academic purposes.

1994 to 1999—By this time, new buildings had been constructed northeast of Prosper Hall to accommodate for the retirement of Umpqua Hall. Fairview Hall held the new welding and manufacturing classrooms, and the new Lampa Hall housed what became known as the B-2 Technology Annex.

2005—Umpqua Hall had since been used for an assortment of different functions. At this point, the building served as the college’s computer networking and hardware instructional labs. As early as 2005, a Master Facility Plan mentioned that a design for a Health, Science, and Technology building was being considered, which would have resulted in the conversion of Umpqua Hall to additional campus storage and maintenance space for the Plant Operations department.

2008—As part of a potential $2,600,000 project to reintegrate Umpqua Hall, another Master Plan of the SWOCC campus proposed to rehabilitate the building to serve as the electronic lab and to hold AutoCAD and computer classes for students. This plan also proposed to add a Student Center Addition to the western side of Umpqua Hall. This proposal was not actualized.

2017—Currently, Umpqua Hall is used for campus security operations and storage, and its western outbuilding serves as an auxiliary maintenance warehouse for Plant Operations. A new project to incorporate Umpqua Hall into the new Health, Science, and Technology building is underway.
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AT A GLANCE – PROPOSED PROJECT FOR UMPQUA HALL
The most substantial work proposed at the SWOCC campus is the reconstruction of and addition to Umpqua Hall, one of the college’s two oldest buildings, to develop the new Health & Science Technology Building (View 10). The outbuilding that sits west of Umpqua Hall will be demolished to make way for the construction of the new “west wing” addition. Both the interior and exterior of Umpqua Hall will be heavily altered to provide space for the program’s health and science classrooms and offices. A new “west wing” addition will also be built southwest of the Umpqua Building, and will more than quadruple the overall square footage of the new facility. The eastern end of the addition will intersect with the southern end of the existing building at a 90-degree angle. A large lecture hall will protrude from the northern façade of the addition.

Written by Kristen Minor / Associate, Preservation Planner with Marion Rosas / Designer

Practices for Preserving Post Modernism

Post Modernism, a style of architecture beginning in 1965 with the publication of Robert Venturi’s Complexity and Contradiction in Architecture and extending to 1989, has always elicited great public debate on the architectural merits of its built works perhaps best exemplified in the controversy over one of the most iconic Post Modern buildings, Michael Graves’ Public Service Building (aka the Portland Building).
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Whether or not Post Modern architecture is considered merely flamboyant superficial decoration or serious building design and genuine work is greatly debated. The debate, beginning a mere thirty years after the apex of the style, has arrived sooner than expected and focuses on the distinction between design and architecture. Whether or not the materials and assemblies used to construct the buildings are impermanent remain to be assessed, understood, and judged over a longer duration of time. Therefore, are material conservators and preservation technologists ready (and willing) to contribute a scientific approach and unbiased assessment to a controversial debate over a design style?

Post Modern design was broadly practiced in both the United States and internationally. Large and small firms were attracted to the stylistic incorporation of classical western design vocabulary in stark juxtaposition against the plain, unadorned, square box that many argued architecture had become. Design magazines published examples of Post Modern buildings ranging from the academic and scholar approach by architects like the Italian Aldo Rossi to the flamboyant American style creator Philip Johnson, as well as, buildings by architects only known on local and regional levels.
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Architects, engineers, and material suppliers were pushing new materials and innovative construction technologies as a way to create Post Modern design elements. Continuous innovation in building skins reintroduced porcelain enamel panels, a product brought by Lustron to the building industry during the housing boom following World War II. New skins made from Glass Fibre Resin (GFR) capable of being molded in classical curves and ornamental shapes favored by Post Modern design were created. Innovations in brick technology including large scale brick panels made from a single wythe of masonry to panels whose outer face was only one half inch of masonry, or thin bricks. Improvements in resins created new wood or simulated wood products and adhesives for mounting faux finishes to structural systems. Perhaps one of the more ubiquitous new materials used in the creation of Post Modern architecture was the faux stucco product Dryvit, and Exterior Finish Insulation System (EIFS). Like porcelain enamel panels, EIFS were introduced as insulated wall assemblies as a means to improve energy performance during the world’s energy crisis of the 1970s.
141013 APT Assemblies 2

As Post Modern buildings reach thirty and fifty years, systems and products are aging and, like all older buildings, significant investments or improvements to infrastructure systems are often needed. Compared to more recent material innovations, Post Modern building performance levels are low and some of the innovative materials resulted in long-term material failures. As it is with any building skin, often the deficiencies of one material are in combination with more robust materials or the failing components are critical to the character defining features of the Post Modern design. And when material failure is coupled to design aesthetics and those aesthetics do not offer universal appeal, questions arise as to the merits of retaining the component. But should subjective opinions about design, a very personal matter compared to one’s appreciation of art, drive decisions to preserve or demolish a building? And when the building carries international recognition as a work of architecture, or as a work that defines the Post Modernism, should more resources be given to its preservation? Does the inherent impermanence of the original materials justify an approach of non-preservation as preservation? Many Post Modern buildings incorporate systems or components that are neither produced nor currently assembled in similar manners due to improvements in technology and building envelope science. Therefore, the process and method of building envelope repair could dramatically impact the exterior character of Post Modern structures.
Ext Ceramic tile
Is the proper approach to retain the essence of criticism towards Post Modernism by preserving the appearance of insubstantial material installed incorrectly? Proposals to improve envelope performance of both the individual components and building systems are challenged in finding products that will both improve performance and retain the aesthetics of a Post Modern building. Like previous building styles and periods, the preservation of character defining elements that were originally inadequately or incorrectly produced or assembled has always been a source of preservation controversy. In preservation and the undersized windows of the Portland Building are defining elements of the Post Modern design. The preservation community should be prepared to participate in discussing the merits of Post Modernism. The conversation has begun.

Written by Peter Meijer AIA, NCARB, Principal.

Veterans Memorial Coliseum: Portland’s Architectural Jewel

Historic Aerial of Memorial ColiseumPresently, the City of Portland awarded a contract for Spectator Facilities Construction Project Management Services for a yet unnamed Veterans Memorial Coliseum project. The city is preparing for potential renovation scenarios. The uncertain future of the Coliseum feels like déjà vu.

Portland’s Veterans Memorial Coliseum, designed by Skidmore, Owings & Merrill (SOM) and built between 1960 and 1961, is a premier jewel of International Style modernism in the city. The structure consists of glass and aluminum, a non-load-bearing curtain wall cube with a central ovular concrete seating area. It is a true engineering and architectural masterpiece that offers uninterrupted panoramic views of Portland from the seating area. The Veterans Memorial Coliseum is also a war memorial, featuring exterior sunken black granite walls inscribed with the names of veterans in gold paint.

At its completion it was the largest multipurpose facility in the Pacific Northwest. And a significant structure within the larger urban planning Rose Quarter Development project. In 2009 the city of Portland proposed to demolish the Coliseum to make way for a new sports facility. The greater community of Portland, including architectural preservationists and historians, successfully applied for National Register of Historic Places status for the building. In 2011 it was placed in the National Register.

Portland’s Veterans Memorial Coliseum is a phenomenal renovation opportunity from both historic and economic perspectives.
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Despite being listed in the National Register, built during an era of urban and planning reform that advocated for the latest in building technologies, and designed by one of our countries leading modernist firms, many challenge its architectural value. The Coliseum shows the remarkable and collaborative approach towards design and construction by SOM. It is also the only arena world-wide with a 360-degree panoramic view from the seating area. Consider the inability to experience this modern architectural marvel and war memorial firsthand. Simply put, the demolition of the Veterans Memorial Coliseum would be a loss to the city.

Concerns regarding its deferred maintenance and historic materials are often attached to the illogical demolition conclusion because the building does not meet specific 2014 building codes. It is possible to integrate new building technologies while retaining the building’s exterior and interior character defining features. Unfortunately, significant modernist architecture designed by influential architects in the 1950s-1970s have not been regarded with proper facility maintenance. Deferred maintenance has its price. Regardless of building age, if a structure is not properly maintained it will fall into disrepair. Thankfully, Portland has a robust AEC industry dedicated to solving design challenges.

As a city, Portland boast’s its commitment to living green and investing in sustainable practices throughout the greater community. The renovation of the Veterans Memorial Coliseum is exactly the type of project that would highlight our city’s commitment to sustainability. There is no greener option than renovating and reusing existing architectural resources. This renovation would also economically benefit the city by boosting investment around the Rose Quarter area. Potentially extending and overlapping with the renewed development interest in the Lloyd District. Portland could have two premier sports facilities, doubling the city’s ability to provide world-class sports and entertainment events. It is a renovation project with long term urban renewal benefits.
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Veterans Memorial Coliseum is an internationally recognized architectural masterpiece. Its architectural legacy is deeply intertwined within Portland’s socio-economic and cultural heritages. Portland must learn from the recent demolitions of modernist architectural marvels like Prentice Women’s Hospital, several Paul Rudolph buildings, and the forthcoming Astrodome. Threats to our modern architecture is a threat to our architectural heritage. It is time to celebrate the last fifty years of Portland’s international jewel with a thoughtful renovation that looks ahead to the city’s next fifty years of architectural history.

Written by Kate Kearney, Marketing Coordinator

The Evolution of Open Space

Photo by Charles Birnbaum courtesy The Cultural Landscape Foundation.

Photo by Charles Birnbaum courtesy The Cultural Landscape Foundation.

Public open spaces, especially urban open spaces, are coming into their own recognition as historic resources. They are receiving more attention because well-designed outdoor landscapes reflect our values as individuals and as a society. Though the way we use these spaces may shift over time, the designs still reveal our collective aspirations for our relationships with nature, the built environment, and with each other.

Two parkscapes in Portland are particularly good at showing us the values and aspirations of their era, and it is worth remembering the design concepts, and remembering how our interaction with the parkscapes has changed over time. These landscapes are the Washington Park Reservoirs, completed in 1894; and the SW Portland sequence of places anchored by Keller** and Lovejoy Fountains, completed in 1966-70.

historic-WPR-pmapdxWashington Park Reservoirs is a historic district listed on the National Register of Historic Places. It was developed to store and distribute clean drinking water, but it had another important function which drove its design: it was a recreational destination for a growing urban population. At the end of the 19th Century, the City Beautiful movement across American cities inspired planners and politicians to create parks as refuges from urban life. Parks were seen as restorative, where citizens could breathe fresh air, stroll along paths or promenades, and view natural plants, lakes, and garden vistas. Many of our most famous American parks were developed during the City Beautiful era, including Central Park in New York City.

Washington Park and the Reservoirs were directly served by public transportation (the Portland cable car) and offered panoramic views east over the City towards the Cascade Mountains. The Reservoirs served as reflective focal points in a landscape designed to look completely natural, yet evoke romantic memories of western European aqueducts and fortresses.

By the 1930s, civic open spaces and the development of public parks had become unaffordable for most municipalities, and also had become less valued by Americans who were increasingly moving out of the cities and into suburban developments. Existing parks were generally not well maintained, and crime and vandalism created more abandonment by well-off city dwellers. By Mid-century, though, a new type of open space was being developed in many American cities. Under urban renewal programs, cities razed perceived decrepit, crowded, and crime-ridden neighborhoods and replaced them with open, clear, utopian style developments.

Portland Open Space courtesy TCLF

Portland Open Space courtesy TCLF

One of the largest and most successful Modern-era urban renewal projects in Oregon includes a series of public parks, walkways, fountains, and plazas designed by landscape architect Lawrence Halprin, known as the Halprin Open Space Sequence. The project, at the south end of downtown Portland, was listed on the National Register of Historic Places in 2013. The Halprin nomination quotes from J. William Thompson, editor of Landscape Architecture magazine, comparing Frederick Law Olmsted Sr. (the progenitor of the City Beautiful movement) to Lawrence Halprin: “For Olmsted, the vision was one of pastoral relief from smoke and crowding; for Halprin, one of celebration of the city’s rambunctious vitality. Both viewed city parks and open spaces as a meeting ground for people of all classes.”

How much has our use of these two open spaces changed over time? We still get out of the house to walk in a park, possibly more than we did 50 years ago or 120 years ago. We have more leisure time, many of us own pets that need exercise, and people stay active longer than they used to. There have been societal changes that work against the popularity of local parks, including the ease of automobile transportation (pulling people further afield), the proliferation of other ways we can spend our leisure time, and the rise in obesity; but in general we use and care for our shared local parks and open spaces. However, there are changes in our relationships with these two specific open spaces that illuminate deeper trends in our society. One of the most complex relationship is the trend towards an increased mistrust of government.

WA Park Reservoirs 130329 011The Washington Park Reservoir area shows the most profound shift in use over time. The need to cover and further protect drinking water in underground storage contains in lieu of open Reservoirs reflects a growing national divide between government and the public made visible by current limited access to a once prominent bucolic public destination. Perhaps a certain level of distrust is to be expected from decisions affecting public safety, but the potential loss of the Reservoirs as a contemplative, experiential destination is in stark contrast to the one of original design intent. Part of the current limited access results from the explosion in liability, where government agencies can and will be found at fault for any harm that might befall a park user or a water consumer. Federal regulations requiring municipal drinking water to be covered also feed our collective sense that there are malicious people among us.

The City of Portland is boldly attempting to both comply with the federal ruling to cover our drinking water reservoirs and restore the original city beautiful interaction with the park. In so doing, the City will eliminate the biggest concern with the liability and safety of our drinking water and the restorative design will re-imagine the Reservoirs, not as a highly urban, interactive series of features like the Halprin Sequence, but as a tranquil, even romantic, natural setting for the public to once again walk through and enjoy a natural beautiful city.

Lovejoy-Pavillion-preservation-pmapdxAmazingly, the Halprin Open Space Sequence continues to survive the “age of liability” with its wonderful interactive fountains, plazas, and pools intact. Nothing this fun- and potentially hazardous- will likely be constructed again as a public project. The design reminds us that we must be responsible for protecting this level of freedom, and that this very public- and yes, democratic- open space, is uniquely valuable as a symbol of public trust.

Written by Kristen Minor, Preservation Planner