city signs

height sign

In Colorado and much of the Rocky Mountain West, the welcoming signs at the arrival of every town proudly or perhaps matter-of-factly, announce the most important attribute of the settlement:  its height above sea level.

In the midwest and, at least in my recollection, most towns across the nation,  the introductory boundary sign of a place contains the city's name along with the size of the population.

population sign

So why the difference?  Most cities are proud to announce their size and status as reflected in a hopefully growing population.  I guess in the thin air of the Rocky Mountains, that kind of boastful achievement declaration is reserved not for size but altitude.  Our cities and towns may be small, but we're up there pretty high.

Price Tower

Price Tower exterior 01

In northeast Oklahoma, just west of the Osage Indian Reservation, lies Bartlesville, home of Phillips Petroleum and Frank Lloyd Wright's only completed "skyscraper" building, the Price Tower.

The history of the Price Tower is long and complex and Frank Lloyd Wright's recycling of an earlier unbuilt tower design is well documented.  It is all worth reading and a little study, but it really does not prepare you for a confrontation with the building itself.  And even though by today's standard the building is not so tall and the motifs a bit dated, the building itself has a magnificent sculptural presence.

Designed for multi-purpose usage, the tower houses offices and residential space on each of its central floors.  From the outside of the building, the horizontal slats and fenestration define the office spaces while the vertical louvers identify the residential portions.  Instead of subdividing the building vertically and stacking one use exclusively upon the other, Wright and his client choose to intermingle the two, with only the base and top-most floors housing a single function.

Price Tower plan

It is often easy to forget how ornate Wright's work was when fully executed.  The prairie houses he created had such a streamlined, simple and bold expression, that only actually visiting a work reveals the little carved panels and decorative embellishments.  At the Price Tower, those embellishments take center stage as patterned, aged copper panels dominate the entire building and find smaller, more refined expressions on the interior.

Like so many of Wright's best works, the Price Tower is simultaneously bold and sculptural, refined and almost precious.  It tetters on the edge of gilding the lily with its decorative motifs splashed across so much of the lower levels.  But it is worth remembering the unlike so many of his modernist European contemporaries like Gropius and Mies, Wright believed in a very earthy kind of romantic sensibility and trancendent Beauty.  In that sense, the Price Tower, like Wright himself, is a last echo of the nineteenth century passing through the end of the millenium.  The Price Tower feels like a beautiful mash-up of Craftsman materiality and the Jetsons sci-fi retro-futurism.

Price Tower section

It's not exactly on the beaten path, but a visit to the building is worthy of a prolonged side trip.  You can have a drink in the roof top bar or even stay in the boutique hotel created within, the Price Company's offices having long since removed themselves.  And in Bartlesville you can get quite excellent chicken-fried steak, so go to it.

(Much of the historical info and imagery here is from The Price Tower, published by Rizzoli, Anthony Alofsin, Editor)

abandoned buildings

abandoned 01

What is the fascination with abandoned buildings?  There is certainly some attraction to the mystery and faint danger of these places, but I think there are darker forces at work as well.

In abandoned industrial sites, much of mystery of the place has to do with the fearful contrast of the quiet stillness of the place once so vibrant with noise and activity.  Of course this is also a confrontation with the humility of realizing that the promise and productivity of an industry or a hospital can be so swiftly displaced with the simple closing of the doors.  These places do seem so full of ghosts because so often the signs of human activity, the equipment and architectural elements that were designed to be engaged with the body, are still there, echoing the uses that have long since disappeared.  The door knobs and levers, the switches and furniture are all scaled for us, made for us, and are waiting for us to return.  I think this has much more to do with why these places attract us than the recognition of them as B-movie horror sets and gory extravaganzas.

abandoned 03

Of course there is a whole community of folks out there that explore and photograph these places, known as Urban Explorers or Urbex.  Their photos are all over the interwebz and they document more the desolation of these places than their lost grandeur.   These folks and their photos are more akin to dystopian novelists than the pioneering work of the early preservationists who documented the abandonment and destruction of these places as a last desperate attempt to pull the handbrake of so-called progress.

For my part, what is so intriguing about especially abandoned houses are the fading signs of seemingly tranquil domesticity decaying with time.

abandoned 02

These abandoned houses make you feel small, in the way that walking around an unfamiliar city for the first time does.  There is clearly a continuum that you are a part of, that you recognize, but that clearly posits you as just a tiny, maybe unconsequential part of the whole. That is something devastating to the ego and thrillingly liberating, especially for this architect.  It is a kind of existentialism laid bare and maybe even exposed in its own self-importance.

Preservation worth preserving

MTG328

I recently attending some sessions of the Colorado Preservation Inc.'s Saving Places 2012 Conference.  As usual with these things there are plenty of educational sessions that you can geek-out on various preservation topics, from process-heavy advice for preservation commissions to very technical analysis of window retrofitting techniques.

For me the most interesting event was the Saving Places luncheon.  (Mind you not the food.)  The keynote speaker was James Loewen, sociologist and author.  He gave an impassioned plea for inclusion and precision in the presentation of historic places, especially the painful omissions and/or outright misrepresentations of Native Americans and women in historical markers and interpretations.  A read through his Lies Across America: What Our Historic Sites Get Wrong will be an interesting read.

The other event of the luncheon was the video presentation of the yearly "most endangered places" designated projects across Colorado.  These brief presentations  highlight more the stories of the people attempting to save the featured building or structure than concentrating on only the physical aspects of the resource itself.

What I was left with was how interesting and frankly touching are the stories of the people for whom an effort of preservation has become a meaningful aspect of their lives.  As an architect I think it is very easy for me to concentrate on the physical building and its character and details rather than the human aspects of the history of the place.  What is surprising here however is that I am not as interested in the story of the historical persons who might have lived in the building but rather the stories of the people for whom the effort of saving the building has become an important part of their lives.  The inclusion that James Loewen makes such an elegant plea for should include the second story of the place or building - the effort of the people to save or at least somehow mark the place.

Como roundhouse

Preservation, at least at these kind of gatherings and conferences, has become such an institutionalized and professional pursuit that it is easy to forget that its genesis was, and often continues to be, a grassroots, activist-lead endeavor.  I have written about Richard Nickel's pioneering efforts in Chicago and at the conference I heard touching stories of some folks down in Pueblo who have embraced the preservation of their down-at-the-heels neighborhood for whom  this effort has become the catalyst of self-discovery and community pride.

Richard Nickel -01

As a board member of my local preservation commission in a wealthy community, the projects I see are largely opulent proposed additions to fabulous, and fabulously expensive, large and expansive Victorian houses.  Our role is more often that of the preservation police, guarding and protecting historic districts from misguided contractors and careless homeowners.  Preservation as an aspect of positive community activism seems like a distant planet.

For some, preservation is rooted in identity and feels like a life and death struggle, a small cry against the erasure of self and place.  That is a kind of preservation worth preserving.

Haertling's Menkick House for sale

Menkick House 02

An astute client pointed out that the magnificent house on Green Rock Drive, the Menkick House, by Charles Haertling, is up for sale.

Completed in 1970, the Menkick House is among Haertling's finest works and ranks alongside his Volsky House, Benton House and Willard House as one of the finest examples of late Modernist Organic architecture in the United States.  Placed against a large, vertical rock outcrop, the Menkick House dramatically highlights this with its expressive horizontal emphasis.  Heartling wisely located much of the plan of the house on a lower level so that the overall size of the house does not overpower the presence of the rock and from the street a great balance is achieved.

Menkick interior 01

Menkick plan

The plan and building form are reminiscent of Frank Lloyd Wright's Usonian work in the middle period of his career and the house's use of the large rock outcrop is a vague allusion to Wright's similar use in Fallingwater.  However, Haertling's house sits rather comfortably within a relatively dense suburban neighborhood on the edge of the foothills.  It is difficult to imagine Fallingwater with any adjacent structures and in fact the later guest house designed by Wright does seem to crowd the expansive plan of the original house.

Menkick House 01

Menkick aerial

One can only hope that the new owners will treat the house with the respect it is due.  As the building sits in Boulder County, just outside of city limits, it does not come under the potential protection of the city's Landmarks Board.  The County's record of preserving Haertling's work is a bit blemished with the allowed demolition of the albeit much compromised house in Eldorado Springs designed by Haertling and Tician Papachristou.

From the street, the house looks to be in excellent condition and I know some work has been done on the interior over the years.  Someone will get to own a really great piece of not only Boulder history, but one of the finest houses of its era in the United States.

Some photos 'borrowed' from the great website on Haertling, Atomix, and ModMidMod.