The South Grand Driving Test

I usually avoid driving through Grand Boulevard between Arsenal and Chippewa because it’s sluggish and congested.  News of the Great Streets Initiative taking it down to 2 lanes with a center turn lane from Arsenal to Utah caused instinctive cringe and a double-down on “must to avoid.”

Steve Patterson’s thoughts on the Grand Test made sense; why do it for only 6 blocks?  I only use South Grand south of Chippewa, which is 2 lanes all the way with no center turn lane. Then again, it’s an even mix of residential and commercial, so not the same kind of traffic nightmares as in Grand Loop, proper.

But what’s the point of conjecture when I could just test drive the test lanes?  And so I did on Thursday afternoon, at 4:30-ish.  I exited Hwy 44 at Grand, headed south towards home, and began filming at 4-lane Magnolia Avenue, ending just past Chippewa Street, where it remains 2-lanes until it ends at Carondelet Park:

I like it! It took only 3:58 minutes (or 1.5 Beatles tunes) to get from Magnolia to Chippewa during the start of rush hour traffic.  The center turn lane in the heart of the South Grand Loop eliminated the obstacles that stop traffic or have us swinging fast, erratic lane changes to avoid stopping.  Other than the one red light I ran, it was my smoothest and most care-free tool down this stretch that I have ever experienced.

It was actually rather distracting when it resumed 4-lanes past Utah, especially since I knew the wonky change back to 2 lanes at Chippewa was imminent.  If they’re serious about enacting real change, I want them to commit to 2-lanes all the way from Arsenal to where Grand ends at Carondelet Park.

I took their survey, which has interesting questions, but sometimes seems manipulative to a forgone conclusion.  And they do not allow for comments like, “commit to 2-lanes all the way from Arsenal to where Grand ends at Carondelet Park.”  But I applaud their effort, look forward to the results, and urge you to experiment with it while it lasts.

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Mid-Century Fetish: The Best Of Everything

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The Best of Everything is a rich chocolate sundae of Hollywood melodrama and mid-century modern design, with Miss Joan Crawford as the cherry on top.

Filmed and released in 1959, the movie is based on the 1958 novel of the same name by Rona Jaffe.  The book is a really great read because it’s far more than a soap tale of 3 girls coming to New York City to find love and good fortune; it is a realistic snapshot of how post-WW2 cultural and corporate standards demanded the creation of Women’s Liberation.

The dramatic and/or tragic stories of the girls’ journeys through sex and career were obvious bait for Hollywood, who added spoonfuls of glamor sugar to make the medicine go down, and this lesson was clearly understood and aped by both Cosmopolitan magazine and, later, Mad Men. I’d make a bet that Matthew Weiner has seen this movie even more times than I have, if only for set design research purposes.

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Along with Hope Lange, Barbara Lamont and Suzy Parker (above center), the Lever House should have been billed as a co-star, because it actually appears on screen as often as Joan Crawford.  It appears so much because it’s caddy corner on Park Avenue to the building where our heroines work…

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… the Seagram Building.  So within the first 15 minutes of the film, you know you’re in for a rich and gooey mid-century modern treat.

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The main character, Caroline Bender, comes to her first day of work as a typist and secretary at Fabian Publishing Company.   She arrives early to absorb the place, and the camera pans over this Mondrian-like office set.  The film’s art direction is primarily by Lyle R. Wheeler, who had already worked similar magic on films like The Long Hot Summer, Peyton Place, Will Success Spoil Rock Hunter? and Bus Stop.  For the Fabian Publishing set, he used door colors to signify which level each inhabitant occupied on the corporate totem pole and adhered to tight grids in the typing pool to symbolize the rigid class distinctions between executives and the female typing pool.  If – without seeing the move – this set looks familiar to you, it may indicate that you…

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…watch Mad Men. During the first few episodes of the first season, I was vaguely disappoint in how refined the sets were, until I realized that I was instinctively comparing their sets to The Best of EverythingThe people responsible for the Mad Men sets have essentially created the accurate, real-world version of of Hollywood’s glossy interpretation of late 50s/early 60s corporate world.

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Caroline Bender  (above) has ambitions to become an editor but first assigned secretary duties to editor Miss Amanda Farrow (Miss Crawford, below right).

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The Mad Men character Peggy Olson is a perfect compilation of these two characters.  Peggy “before” is Caroline, all freshly scrubbed from a small town looking to make it in the Big City, and her quick learning curve and natural talent moves her quickly up the ladder.  If you’d like a sneak peak at Peggy “after,” see this movie and keep an eye on the Amanda character.  And look at those chairs!

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This is the office of Fabian editor-in-chief Fred Shalimar, and dig the wall of built-in book shelves holding the paperbacks he’s overseen.  As in Mad Men, actual work takes a backseat to drinking, smoking and carousing, so the office needs to be comfy and stylish.

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Hollywood depicted the bustling employee cafeteria inside the Seagram building as a mod fantasy of vivid aqua, yellow and purple, which stood in stark contrast to the marble and glass lobby that couldn’t be glossed into submission.

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When the action leaves the office, we get a wide sample of the different aspects of mid-century modern residential design.  Above is the work-a-day kitchen in Amanda Farrow’s apartment, and below is the penthouse of rich playboy Dexter Key (played by Robert Evans) who will do terrible things to one of our heroines.

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Eventually, Caroline becomes second-in-command at Fabian and gets this spacious new office.  It  does a better job of expressing the character’s reactions to her rapid rise than the actress does, which pretty much sums up the movie.  As often happens, Hollywood sucks the soul out of a book for the sake of selling tickets.  In the case of The Best of Everything, the sets and the costumes are the reason I watch this movie so often, and the reason I get an extra kick out of Mad Men.

Read more Joan Crawford Mid-Century Fetish: Torch Song

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Tiny Medical Buildings

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As a kid, I was always fascinated by this building because it was just my size.  It was like a little doll house plopped onto the black top parking lots of the buildings surrounding it on West Florissant in Country Club Hills.   When I went back to visit it in 2002 to take the photo above, I was struck by how antiquated the notion of a single doctor working out of a cracker box seems today.  For at least the last 30 years, our doctors are bunched together in large office buildings built for just that purpose, and the care within can be just as impersonal and confusing as those buildings.

This 1,152 s.f. building from 1956 was the office of Dr. Hubert S. Pruett (who once played with the St. Louis Browns!). In 1963,  the space was labeled The Sheldon Medical Building, as if it were to house more doctors, but it remained the private practice of Dr. Pruett until Dr. Samuel G. Ramirez took over in 1975.

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With the Sheldon back in my consciousness, I started noticing the plethora of tiny medical buildings dotting St. Louis.  Like the one above, at 9717 Manchester, in Rock Hill.  In 1953 it was the office of  dentist Albert Thomas.  By 1963, chiropractor Elizabeth J. Lochner took over, and took care of patients well into the early 1990s.

There are many intriguing things about these tiny medical buildings. For instance,  they tend to be at the far limits of St. Louis City and the inner-ring suburbs, so were built in the mid-century with cars in mind.  Private practice doctors followed the population out to St. Louis County, and while their patients were buying bigger homes, the doctors were content with less than 2,000 s.f.

Most interesting of all is that even in the midst of our square foot gluttony, most of these match boxes are still used today, and quite often the use stays in the health care realm.

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This office at 9846 Manchester in Rock Hill fits the Tiny Medical Building M.O., but actually opened in 1952 as Woodard Rug Cleaners.  But by 1963, the true nature of this building was realized when Alfred W. Moller opened his veterinarian practice.  Hey, human or animal, it’s still medical care, right?  It became West Side Animal Clinic in 1972, and as you can see, they are still there to this very day.

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An early example of what would become the standard of group physicians is shown above, at 2730 Watson in the Clifton Heights neighborhood of South St. Louis City.  From 1958 – 1980 it housed multiple physicians and optometrists (for humans), then it became a veterinary clinical laboratory until the mid-1990s.  Today, the office facing onto Southwest Avenue belongs to a chiropractor, so it went full circle back to the humans.

These medical offices also highlight the rapidly changing nature of 20th century American medical practice, which is really more the story of health insurance.  Up to the 1930s, doctors made house-calls, but with the advent of Blue Cross & Blue Shield insurance from 1930-1940, companies could buy into tax-free policies for their employees, and the need for more doctors increased.  With this growth of supply and demand, commercial insurance companies were finally ready to join in, increasing the number of insured from 20,662,000 in 1940 to nearly 142,334,000 in 1950.

These tiny medical offices were built for general practitioners who finally had a chance to make real money and care for their patients with total autonomy.  But by 1964, the numbers of doctors going into general practice were dwindling, with the focus moving over to medical specialists.  A solution for both general and specialized medicine to financially prosper was enacted in 1973 as the Health Maintenance Organization, and became the large HMO buildings so many of us visit today.

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This huge shift in the medical industry to group health care made these tiny medical buildings obsolete for private practice.  It’s a deep irony that some of these buildings now house medical specialists, like the office (above)  at 3185 Hampton in South St. Louis City.  But here’s a spin on this type of building: it was built in 1962 for American National Insurance, who used the building until 1990, when it became the City Spinal Center.  So even when the contents start off differently, these mid-century modern cubes just broadcast a medical nature.  Or actually, it would be merely a snapshot, as this medical period only lasted roughly 15 years.

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I am continually impressed with the adaptive re-use of these tiny buildings; most don’t stay vacant for too long.  Then again, depending on where they are, they are also highly vulnerable to demolition.  This little gem of concrete, cubist mid-century modernism (above) at 7810 Natural Bridge Road was being prepped for demo when I took this photo in 2005.  It started life as a doctor’s office, and by the end of its run, it held a carpenter’s shop and a travel agency.  So, the building was still useful, but it was in the area surrounding the University of Missouri-St. Louis, and was taken down for some vague reason still unresolved.

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But the majority of tiny medical buildings remain to this day.  Shown above is the place built for dentist Conrad J. Zoeller in 1954, at 9300 Gravois Road in Afton, MO.  He worked from this 748 s.f. office until the mid-1990s, and it was recently a hearing center until it  – or rather its parking lot – found a whole new use as a produce stand!

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Today, because of the health insurance industry, the medical profession is in worse shape than its former buildings.  Doctors can’t practice as responsibly and freely as they did when in these little stand-alone buildings, while their buildings keep finding a way to help humans and their pets.

Even the little building on West Florissant that first opened my eyes to this short chapter of medical architecture still has a healthy, beating heart.  It is now a hair care center, ingeniously divided up as a barber shop through one entrance and a beauty salon through the other.  Here’s hoping that in the next couple of years, our health care system can transition into adaptive re-use as flexibly as its former buildings do.

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Cuts Like A Knife

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South Big Bend & Dale Ave.
Richmond Heights, MO

As you tool past it, this building gives the best optical illusions.

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In the small sliver of space it occupies, it is both translucent and opaque, reflective and absorptive, grounded yet floating.   It has always struck me as passively menacing, which pretty much sums up how I feel about finance, so it’s appropriate architecture for a bank.

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This building went up in 1978 for United Postal Savings, and remains a bank to this day.  As you can see from this aerial view,  the architect had to work with the odd angle of Dale Avenue and a small lot.  The building itself is only 3,228 square feet, which is small for a modern commercial building.  But it packs a lot of style and attitude into a tight spot.

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The brown brick creating soft curves for the lobby entrance is the only relief from the severity of the right triangle, and it feels as if they had to design a less-threatening entrance just so people could work up the nerve to enter the building.

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As with so many of the mirror-glass wall buildings of the post-modern architecture style, the inhabitants tend to feel uncomfortable with being exposed and ruin the aesthetic intent with yards of metal blinds.  In this case, the vertical blinds add a consistent texture that slightly reduces the ominousness, but also hampers the effect of reflective transparency.  Then again, people have to use buildings, so the function should be given as much weight as the visual impact.

But blinds cannot take away from the architectural editorial on the fine point of this building.  Depending on the angle, it looks like a cut-throat straight razor  or a plunging stiletto.  No matter the era, finance cuts like a knife.

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Put On A Happy Face

paint-jobN. Rock Hill Road
Webster Groves, MO

Painters going in for the second coat of a saturated, perriwinkle purple on a home beside the train tracks.  Yeah, the roof needs some attention – structure- and shingle-wise – and replacement windows are overdue. But that type of maintenance costs.

Paint is the cheapest form of instant gratification, and in this case, mood enhancement.  The owners are thinking “put on a happy face;” the neighbors may be thinking “send in the clowns.”  I think there ought to be clowns.

One thing I love about New Orleans’ neighborhoods is their warm and abundant embrace of vibrant house colors.  This purple addition to the yellow neighbor is a mini-recreation of that Big Easy feeling in the Webster Groves hills.
Thank you for doing this.

Come to the Anti-Wrecking Ball, August 27th

See photos of the event!

full flyer.aiThe San Luis is toast, but what about the next building?

Our quest to clarify St. Louis City preservation laws – and assure that those laws apply to everyone – continues.   As we move this legal argument to the Missouri Court of Appeals, our tenacious lawyers need to get paid.   So we’re putting on a show to raise money.

Why We Continue

And here are the wonderful folks joining us on this fundraising journey:

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Off Broadway (thanks to Kit Kellison for supporting the effort and donating the club for the night) opens its doors at 7:30, and it all begins at 8 PM with Elle Adorabelle and Greta Garter performing before and after each band set.

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Leadville kicks off the music, followed by The Red-Headed Strangers and Rough Shop.  While the stage is popping, enter a raffle to win from a fine selection of  StL – Style merchandise.

It’s $10 at the door, and every cent collected that night goes to the Friends of the San Luis, LLC legal fund.

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We would much rather you come and party in person, but if you can’t and still support the effort, we gratefully accept donations through Pay Pal.

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Architecture Rock, St. Louis Style

Finn’s Motel and The Blind Eyes are two St. Louis rock bands that have something in common that makes this building geek deeply happy: a propulsive, uplifting song specifically about architecture.

finns-motelJoe Thebeau was responsible for one of the very best albums of 2006, Escape Velocity.  It is an engrossing and far-reaching concept album about being a 40-year old family man and corporate drone who can’t escape the feeling that there’s something else waiting for him just beyond the horizon; how do you get to that place and what happens once you do?

Among the 17 songs that tell the tale is a piece that addresses the Gateway Arch as a metaphor for high and/or dashed expectations, “Eero Saarinen”:

Eero
Arching
Westward over my city
Stainless and brilliant
Eero
Arching
Skyward into the universe
Expanding
Expansive possibilities
The kind of vision I can look up to
Arching over
Into a future we couldn’t hope to
Live up to
Eero

Listen to the song “Eero Saarinen” by Finn’s Motel.

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For the sake of full disclosure, Joe Thebeau asked me to sing with him on the song, but trust that it has nothing to do with why I love it.  It’s definitely a case of him inviting me because I loved the simple and emotional geometry of his sentiment.  It made me look at the Arch – something most of us in this city tend to take for granted – in a whole new and personal way, which was also reflected in the CD cover shot and other photos of the Arch he sent me out to capture.

Atop that, the song just frickin’ rocks! It’s 1:32 minutes of rapid heart beat and laser point precision.  Architecture has been described as frozen music, and I’d always “heard” the Arch as a wistful symphonic piece.  Thanks to Thebeau’s artistic vision, I will forever “hear” the Arch as the Red Bull energy required to be the eternal Gateway to the West.

Finn’s Motel is playing at Off Broadway on Saturday, August 22, 2009. Do go check them out, and ask them to play this song.

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I have been listening to The Blind Eyes debut record for 7 days straight, and the brilliance of it multiplies with repetition.  During the first couple of listens – wherein I don’t pay attetion to lyrics, just overall sonics – I assumed from the chorus of “Brasil, 1957”  (“We could only make it on the plane, on a plane”) that the song was about The Mile High Club.

On the third listen I finally heard:

Moving westward up the river
Steel and concrete to deliver
Out of nothing springs a city
Monument to modernity

Holy crap, these guys are singing about the building of Brasilia, and by association, architect Oscar Niemeyer!  And – duh! – the T-shirt design (above) featuring Niemeyer’s National Congress building has way more significance than using it simply because Niemeyer is the coolest (and oldest) living architect.  Oh, and double duh, this also references/inspired the title of the record.

Listen to the song “Brasil, 1957” by The Blind Eyes.

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I’m not normally this slow on the uptake, and in defense it should be pointed out: how often do we hear a song that concisely and poetically sums up the construction of a mid-century modern capitol?  Previous to this, never!

The chorus of this ingenious song now takes on an extra layer of clever:  is it “plain” or “plane”?  Because both of them work.  The city of Brasilia was purposely built far inland on an empty plain.  Aerial views confirm that the city was purposely laid out in the shape of a plane.

What inspired them to tackle this as a song topic?  Is one of them a fellow architecture geek?  Until answers appear, I’m just impressed and thankful that it – and the entire record – exists. And I’m so proud that two St. Louis bands decided that songs about architecture should rock mightily.

Question

Aside from these two towering St. Louis musical achievements, what other rock or pop songs are specifically about an architect or a building?  The only other song that comes to mind is “Alec Eiffel” by The Pixies.

If you think of others, do let me know, and if enough of them exist, it could turn into the rare case of a second B.E.L.T. entry about architecture rock.

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South City Modern In-Fill House

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Miami Street
South St. Louis, MO

“One of these things is not like the others/Tell me can you guess which one?”

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In 1996, a house was demolished in this South Side neighborhood west of Kingshighway.  A tad over 10 years later, someone bought the vacant lot and erected this striking, thoroughly-modern replacement.

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In-fill housing in St. Louis City doesn’t happen as often as it should, and then when it does it is too often inappropriate for the area.  Technically, this house is stylistically inappropriate for the neighborhood.  Then again, this part of town has residential styles easily spanning a 60-year period, and this stretch of the street is the perfect example of that.  So, in essence, this new home is following the tradition of this North Hampton neighborhood.

The newest member of this block respects the scale and set-back of its neighbors and is designed in the 21st century casual manner I call “Dwell Magazine Modern.”  It is certainly different, but it’s not startling, and I think it’s a very handsome addition to the streetscape.

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I love how they carried the materials and aesthetic to the alley; this garage is amazing! And it brings up a dozen questions, including: how do the neighbors feel about it? how hard was it to get a loan for such a different design in this neighborhood? who is the architect? how cool is the interior?

If anyone knows the story of this new house, please do share! And thank you to architect Geoff Crowley who discovered the house while driving around and let me know about it.

Recycling MCM: St. Louis City vs. County

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We covered this building in an earlier post. It’s a mid-century modern building in Florissant that – according to the comments – unnerved just about everyone who had to use it.

At the time of the post, the building was for sale and the cornice was ratty and rotting from water damage, like in the photo above.  But come August 2009, the For Sale signs are gone and the entire cornice is being properly repaired and painted, as evidenced below.

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A property owner in deep North County sees the merit of recycling a late mid-century modern building that strikes some as unattractive.  At the exact same moment in St. Louis City, the San Luis is coming down for a parking lot.  My world view goes wonky when Florissant is smarter than the Central West End.

The Athletic Mothership Has Landed

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West Ripa & Conn Avenues
South County St. Louis, MO

It was an idle cruise on a summer day, heading up West Ripa Avenue between Telegraph and South Broadway, when the sight above hovered into view.  In and of itself, an arresting sight, but in the context of dense rows of tiny, 1920s bungalows, it was outright alien.  What is it?

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It is the gymnasium for the Hancock School complex, also known as the Tiger Dome.   It floats like an extraterrestrial among a sea of much newer, post-modern buildings, and because the campus was so shiny penny clean and new, I wondered if the gymnasium was also new, but built to look like The Jetsons.

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Venturing in under a canopy that thrusts its tentacles to the concrete walk ringing the circular gym, it was clear it was an older building.   No one would spend the time or money to construct something like this today, especially an old, established school district tucked into a confined space within an established neighborhood.

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The E.T. gymnasium was built in 1964, and the rest of the campus was revamped in 1996, which was a major undertaking that required voter approval for increased taxes to fund such a major project.  What amazes me is that the gym survived !  It sits almost dead center in the campus, and you know it required all kinds of special planning to make the new buildings rotate around it, or butt right up against it.  In most cases, this building would have been sacrificed to the gods of progress, demolished without a second thought.  Yet it – and its smokestack – still stands.

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The roof’s wooden frame would require regular patch and paint maintenance, as would the roof itself, which is brighter than freshly laundered tennis whites.  The deep eaves are ultra inviting to birds, so pigeon poop is a major issue.  You know the custodians know these things, and deal with it constantly, yet they opted to keep the alien gymnasium!  It fills a heart with gladness, it really does.  Go Tigers!

If any of you know the story about why this alien, mid-century modern gym was spared during a major remodel, please do share the story with us.