Tag Archives: preservation

The Material Conservation of Concrete BPA Radio Substations

BPA-Radio-Substation-front-entry
Along with the advent of hydropower dam construction, in 1944 the Bonneville Power Administration constructed several single-story, concrete Substations to regulate and control the power grid. These substations were located near the hydroelectric source often in areas remote from major urban areas.

In the early 1950s Microwave Radio Stations were built to relay remote monitoring and control of the power source and distribution systems. These purpose-built structures were often built on high points for clear line of signal communication and at distances along the relay route that were clear of signal obstructions which tended to occur in remote areas.

Design of the structures optimized function and technical requirements. Substations housed banks of electrical control panels, communication panels, and banks of batteries. Space for personnel is limited to small, single, no gender specific locker rooms, and kitchens with no cooking equipment.
BPA-Radio-Substation-back-entry
CONSTRUCTION TYPE
Construction was typically reinforced concrete floors, walls, and roof with steel storefront systems and plate glass. Even though the space planning is very functional, the exterior design is executed in Art Deco motifs concentrated at the main entry and rear doorways. Art Deco motifs include design for custom doors and storefronts.

The choice of construction materials has weathered well with the notable exception of entry canopies and use of elastomeric coatings. When constructed, little was known about the protective cover concrete provides to reinforcing bars and often circa 1940 structures had insufficient cover resulting in bar corrosion. Repair of these areas includes removal of failed material, erection of form work mimicking the decorative design, and placing of formulated concrete mixes capable of overhead and vertical installation.

WHY MATERIAL PRESERVATION IS CRITICAL
Since the application of elastomeric coatings, much more is known about the lack of moisture migration thru the coating and trapping of bulk water behind the coating leading to problems with older concrete structures. Substations and Microwave Radio Stations are an integral part of hydroelectric power distribution and the preservation of these structures is critical for both operation and the history of power distribution in the Pacific Northwest.
BPA-Radio-Substation-landscape

Written by Peter Meijer, AIA, NCARB / Principal

A Practical Guide to Preservation Terminology

Lovejoy Pavillion 001

There are some instances when the English language enjoys sparking debate, confusion, and often apathy, look no further than the “10 items or less” vs. “10 items or fewer” conversation around the grocery check-out aisle. In the preservation field, we have our own niche conversation – the difference between the terms: preservation, rehabilitation, restoration, and reconstruction. Like with grocery store grammar, these four preservation terms hold undoubtedly different definitions and should be used correctly, but even when used incorrectly, we all still understand what you mean.

Let’s take a second a clarify what these four words do mean. As a preservationist, I turn to the source for these terms, the United States Department of the Interior.

Preservation is defined as the act or process of applying measures necessary to sustain the existing form, integrity, and materials of an historic property. Preservation, keeping a building at a particular moment in time.

Rehabilitation is defined as the act or process of making possible a compatible use for a property through repair, alterations, and additions while preserving those portions or features which convey its historical, cultural, or architectural values.

Restoration is defined as the act or process of accurately depicting the form, features, and character of a property as it appeared at a particular period of time by means of the removal of features from other periods in its history and reconstruction of missing features from the restoration period. Restoration, pin points a time in the building’s history and is accurate to only that time.

Reconstruction is defined as the act or process of depicting, by means of new construction, the form, features, and detailing of a non-surviving site, landscape, building, structure, or object for the purpose of replicating its appearance at a specific period of time and in its historic location. Reconstruction, recreates missing parts of a property through interpretation with plenty of research to back-up the choices.
Mercy Corps North Facade (Viewing Southeast)
PRACTICAL APPLICATION
I’ve found that the most common error is using preservation or restoration when the person almost always means rehabilitation. For me, much of my work focuses on rehabilitation, especially when a project seeks funding through local, state, or federal incentives like Historic Tax Credits. Aside from the definitions above, the most defining difference between preservation, restoration, and rehabilitation comes down to creative license.

When it comes to creativity and executing an artistic or architectural vision, rehabilitation is essentially synonymous with adaptive-reuse or repositioning. Rehabilitation, retains character but acknowledges a need for alterations in order to keep the property in use. When a building that was historically a school but is converted into a hotel or an office building becomes apartments, that’s rehabilitation. Even improving an existing use can be a rehabilitation project.

In the end, I like to associate each of these terms with what they will mean for their respective scope of work on a project. As mentioned, rehabilitation means a creative process that balances the historic character with modern needs. Preservation is essentially thoughtful maintenance so that the existing resource does not get wholly improved, but also is prevented from falling apart. Restoration and reconstruction are the most technically and scientifically involved requiring sufficient historic research and materials knowledge to justify the choices of retaining or rebuilding a resource. Unfortunately I don’t know of any mnemonic devise or other short cut to help clarify these four words, but hopefully a better understanding of their meaning will lead to fewer instances of their misuse.

Written by Tricia Forsi, Preservation Planner

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.

We are Hiring!

we-are-hiring At Peter Meijer Architect, PC (PMA), we integrate Design, Science, and Preservation. Founded in 2003, PMA provides our clients with professional architectural design, building envelope science, and preservation planning services throughout the Pacific Northwest with a core focus on existing and historic buildings.

WE’RE LOOKING FOR THE RIGHT FIT:
Our growing firm is seeking a creative, agile, authentic and collaborative architect designer to join our team. We are a firm of passionate, energetic and highly motivated individuals. We love our clients and their work! We’re a tight knit team and are looking for a candidate who shares our firm values: integrity, leadership, balance, and stewardship.

FIRM CULTURE:
Ours is an open and collaborative culture that values – and really does encourage – ideas from all corners of the office. If you desire leadership opportunities, we are open to hearing about it.

POSITION OVERVIEW:
We are searching for an aspiring Architect with a focus on technical nature of the work.

Ideally this person would be on the way to licensure and understand complex materials and detailing, contract documentation, sustainable building knowledge, and would develop strong liaisons with team members. The successful candidate will be proficient with Revit and AutoCAD software, and show strengths in developing their skills.

OTHER JOB DUTIES INCLUDE:
Ability to prioritize, manage and work on multiple projects and deadlines.

We rely on flexible, passionate and multi-talented personnel with a positive attitude and engaging personality. Candidates with great communication skills and a broad experience base are highly desired.

The ideal candidate must have a post-architectural degree, industry experience, highly motivated, have an interest in being involved in all areas of the architectural profession.

PERSONAL/PROFESSIONAL ATTRIBUTES:
Always seeking opportunities to preserve the world around them
Excellent judgment, initiates problem-solving with ease & optimism
Is highly self-motivated, completion oriented &resourceful

PROFESSIONAL EXPERIENCE:
Proficiency in Revit, Adobe, and MS Office
Experience with industry standards building rating systems

EMPLOYEE BENEFITS:
Competitive pay
Health insurance
Dental insurance
12 weeks paid paternal/maternal leave
401k plan
Paid personal time off (PTO)
Transportation incentive
Continuing education assistance
Professional development opportunities
Flexible work schedules to ensure a healthy work-life balance

TO APPLY:
Please submit a cover letter, resume, and relevant portfolio examples addressing what makes you the perfect candidate. No zip flies, and please limit items to 10MB.
Email materials to: info@pmapdx.com

We are an equal opportunity employer and welcome diversity in the workplace.

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.

Laurelhurst Neighborhood Historic District

Laurelhurst is a 442-acre residential neighborhood in Portland, Oregon, located thirty-two city blocks east of the Willamette River. Most of the neighborhood is in northeast Portland, with only the southernmost quarter, below E Burnside Street, in southeast Portland. César E Chávez Boulevard, originally called NE 39th Street, runs north to south, dividing the neighborhood into two halves. César E Chávez Boulevard intersects with NE Glisan Street at Coe Circle at the center of the neighborhood, forming a large roundabout. Main entrances to Laurelhurst, characterized by their historic sandstone gates, are located in four locations; two on Glisan east of 32nd, two on SE Cesar E Chavez Boulevard north of Stark, two on Burnside east of 32nd, and one at Peerless Place south of Sandy.

The historic district nomination for Laurelhurst is supportable under the “Historic Residential Suburbs in the United States, 1830-1960” Multiple Property Documentation (MPD) Form. PMA recommended that the criteria used to nominate the district include both A, for the district’s significance in the planning and development of Portland and possibly for its influence outside of Portland , and C, for the collection of architectural resources in the district. The district fits within the definition and context of a planned Streetcar Suburb, and illustrates the planning principles of the City Beautiful movement. The Laurelhurst Historic District was listed March 18, 2019, on the National Register of Historic Places.

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.
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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.

– 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.

– 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.

– 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.

– 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

Encuentro Conference Recap

Encuentro, meaning “encounter” or “gathering” in Spanish, has been a modern effort within Latin@ communities nationwide to encourage discussions on preservation in regards to Latin@ culture, heritage, and history. In April 2018, I attended the annual Encuentro Conference in Providence, Rhode Island on the Leonor Xochitl Pérez scholarship. This gathering was put on by a triad of organizations— Latin@s in Heritage Conservation (LHC), Rhode Island Latino Arts (RILA), and Rhode Island Historic Preservation & Heritage Commission (RIHPHC). As an aspiring Chicana architect, my mission in attending this conference was to better understand how I can apply emerging preservation strategies to my own field of study.
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Speakers at the conference told empowering stories of projects that they were working on in cities with the largest deeply-rooted Latino populations in the United States. A majority of these speakers came from various career backgrounds (archivists, lawyers, architects, preservationists, city planners, students, teachers, artists, and musicians) and hailed from communities in Rhode Island, New York, New Jersey, Florida, Arizona, Texas, New Mexico, and California. They spoke about the industry that brought the Latino community to their city, the challenges that Latinos faced in seeking employment while also retaining their culture, and the tremendous resurgence and transformation that Latino communities have undergone in recent years. The two presentations that stuck most with me were one given by Zulmilena Then, an architecture student from Brooklyn who established Preserving East New York to speak out against the demolition of sacred buildings in her neighborhood, and another given by Layqa Nuna Yawar, an Ecuadorian Latinx artist who represents Latino heritage in the murals that he has painted on historic buildings in multiple countries.

I was the only attendee from the Northwest, which prompted me to consider what might be different about my own community. Portland, Oregon, a relatively young city, experienced its first large period of development from the 1870’s to the turn of the 20th century during the Expansive Railroad Era. For comparison, older cities on the East Coast, and even on the West Coast in San Francisco, began an initial period of city development sometime in the early 19th century and have already undergone two turn-of-the-centuries transitions. Like many American cities, the majority of Portland’s architecture reflects the histories of European settlers and was often constructed at the expense of underrepresented African American and Asian neighborhoods. In part because Portland is so young, there wasn’t enough time for minority groups to establish a strong historical foothold before their homes were bulldozed. These events, while shameful for our city, are important and relevant when considering future preservation strategies.
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Portland is a younger city caught in the fast-paced nature of our modern-day technological and societal revolution. Modern construction technologies make it possible for Portland to keep up with the incoming wave of approximately 30,000 residents seeking new entrepreneurial opportunities each year. As we are all witnessing, Portland is undergoing another major period of development in present time. We see this daily in increased traffic and in the number of new housing projects that have popped up around town.

PRESERVATION FOR UNDERREPRESENTED GROUPS
Some preservation efforts involving underrepresented groups are occurring today in consideration of Portland’s past mistakes. The Bosco-Milligan Foundation/Architectural Heritage Center and City of Portland have joined forces to perform a survey of the remaining Portland buildings that reflect the preserve that the African American community held in our city’s history. Monuments have been established around the city to remember the Chinese and Japanese communities in Portland (i.e. the Japanese Gardens, Japanese American Historical Plaza, Oregon Nikkei Legacy Center, the Lan Su Chinese Garden, the new Chinatown/Japantown Historic District). Although city development has resulted in the gentrification of minority neighborhoods in the past, this is not a trend that has to continue, if we accommodate all groups in the construction that is occurring now.

After returning from Encuentro, I did some research on the history of the Latino community in Portland, wondering why I hadn’t seen any historic resources devoted specifically to commemorate the impact that the Latino community has had. I thought maybe, like other major cities on the West Coast, the Latino community had been pushed out. I am learning that the Latino community wasn’t necessarily oppressed in Portland’s development so much as it did not buy into Portland’s early industries as strongly as other minority groups.

According to city data, the Latino population is growing, appearing today in architecture through the appropriation of existing buildings. Some examples that I have seen of this around town are Latino restaurants (El Cubo de Cuba, Güero, ¿Por Qué No?, Pambiche, etc.) and the Milagro Theater on Stark that have repurposed previous apartment buildings, residences, and warehouses built in styles that are reminiscent of European culture (Queen Anne, Italianate, Colonial Revival, Beaux Artes, etc.). A few buildings that I’ve found have been constructed purely to further the Latino community and will hopefully serve as a record of history moving forward. One great example is the Portland Mercado, a food and grocery store cooperative that was constructed in 2015 in SE Portland to cultivate new Latino businesses. While other cities on the West Coast like San Francisco and Los Angeles are starting to devote museums (i.e. Chicano Park Museum and LA Plaza de Cultura y Artes) to communicate the historic influence of their Latino communities, Portland is just beginning to build edifices that support the incoming growth of the Latino community that is happening as a result of entrepreneurial opportunity now.

The most prominent question that I took away from Encuentro was this: How do we achieve the important task of remembering Portland’s story of initial development (including all groups that were present in Portland’s history) while still allowing for the creation of history within the city by emerging minority groups?
pmapdx-encuentro-conference
Although Portland has a strong historical foundation, it is still a relatively young city with a great deal of history left to make. When looking at other older cities, I recognize how much can happen in a difference of 100 years, or even in 50 years (or even 20) considering the rapid technological revolution that is transforming our society today. There is a great deal of opportunity to learn from past mistakes because our city is still young, because there is a greater awareness of the importance of diversity and inclusion today, and because we have the technology to build responsibly.

Written by Marion Rosas / Designer.