How To Name A New Subdivision

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There was a piece in the April 4th business section of the St. Louis Post-Dispatch about Musick Construction building a mixed-use development near the North Hanley MetroLink station. They were smart enough to start buying up small, sickness post-WW2 houses as they went up for sale (pretty cheap since it’s an inner-ring neighborhood), cheapest and have almost enough for a large parcel of land to build anew.

During the next 10-15 years, the people fed up with paying more for a tank of gas than for a week’s worth of groceries are going to slowly migrate back east, retracing the old White Flight trail. So be smart, buy up now, and try to preserve the small bungalows, because as natural gas and electricity prices spiral up, the financial logic of less square footage will kick in, as well.

The name of this proposed development caught my attention: Haverford Square. They opted for the British name, which is common.

Buying a house is, for many of us, the single largest investment we make, and developers know this, so the subdivision’s name is a crucial marketing element in making people feel good about their decision to invest in this particular tract. It’s an important decision on the developer’s part, which is why there are some rules for naming new developments.*

The name can eulogize the natural element plowed over (a field, a brook, a grove). It can highlight the new natural element that replaced the original one plowed over because it was inconveniently placed . Or it can be named after the upgrade from natural element to man-made element (leveling trees to make a shadeless lake). If this level of creativity is taxing, there is a random subdivision name generator that rolls the dice for you!

If destroyed nature is a spiritual bummer, going Anglophile is a good option. We Americans are eternally fascinated with anything U.K., and instinctively believe anything British is classier than anything American. In his book Class: A Guide Through the American Status System, Paul Fussell relates the following:

“The appeal of Anglophilia to America should never be underestimated. I say this on the evidence of a correspondence I once had with a friend of mine, a developer who built whole new towns at once. Having run out of names for his streets, he solicited my help. He asked me to supply him with an alphabetical list of classy – that is, British – street names that would attract the eminently middle-class buyers of his houses. I sent him a list which started like this:
Albemarle
Berkeley
Cavendish
Devonshire
Exeter
Fanshawe, etc.
His house-buyers would be spared the shame of living on McGillicutty Street or Bernstein Boulevard. New terrible jumped-up places like Houston are quick to surround themselves with tract suburbs bearing the most egregious British names, like these (which actually are parts of Houston):
Nottingham Oaks
Inverness Forest
Sherwood Forest
Braes Manor
Meredith Manor.”

Much like choosing a baby name, the right subdivision name is important. The writer of this piece on Haverford Square recognized how important a name is and ended the piece by asking how Musick’s VP Jason Dunaway came up with the name:

“One of our guys saw that on a sign out in the country somewhere. We thought it sounded pretty good.”

Excellent!

*My favorite old (a.k.a. 1960s) subdivision name is Seven Hills, which had hundreds of ranch houses climbing up and down 7 steep (as in had to walk the bicycle up some of them) hills. No pretense, just an honest description of the element they couldn’t afford to level.

St. Louis Ballpark Park

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Ballpark Village, Downtown St. Louis, MO
St. Louis Post-Dispatch columnist Bill McClellan was the cool-headed voice of logic and reason when he wrote within his March 28th, 2008 piece “Ballpark Village is baseball fantasy”:

“Truth is, people have known from Day One that Ballpark Village is a bad idea. That was obvious when the city made the owners of the Cardinals sign a guarantee that they would build the Village — or else there would be financial penalties. That was an ominous sign.

If a business idea is good, you don’t need to negotiate guarantees and penalties. Business people act on good ideas. They put their own money into them.

If you have an ocean, you don’t need to negotiate with businessmen to make sure they will build on oceanfront property. They just do it. For that matter, if we had a lake — Chouteau’s Pond, for instance — entrepreneurs would bid against each other for waterfront property. The city would not have to negotiate guarantees and penalties to make sure that something was built.”

To his accurate observation I would like to add Evidence A: “Oh yeah, we’ll save Keil Opera House if you give us a new hockey stadium.”

In the week’s worth of articles over the bust-up of the Centene deal, the worst idea I heard is the suggestion that because they have to do something with that unsightly hole by the time of the All-Star Game in 2009, just pave it up.

What?!
Pour concrete all over it? Oh, that’s bloody brilliant.

Please, throw down grass seed, plant some ornamental grasses, bushes and flowers and let it be a GREEN hole as it sits festering. Then when the day comes that some private enterprise completely unrelated to the Cardinals’ deal buys the property, they won’t have to pay to excavate concrete. Concrete, which adds to the heat in the city, adds to the infills.

Green causes no harm.
Oh, and green is cheaper than concrete, and since we city taxpayers are financing this hole, can we keep the price tag down, please?

Yes, I know that a green area in this part of town is not urban and a bad waste of space. But it’s ALREADY a bad waste of space, so can we just let it be attractive and quasi-useful while we wait and wait and wait for nothing to happen?

Up top, I borrowed a photo from Steve Patterson’s Urban Review, and doctored it to illustrate my idea. I left an open space for people milling outside the stadium to access. I love the thought of artfully placing some giant plywood partitions in the clearing and sponsoring a kids’ painting day. Mayor Slay can pick the theme. And all of this can be done THIS season; imagine how lush and inviting it will look by the time national camera crews arrive in summer 2009.

The institutions responsible for the Ballpark Village mess need to take this lemon and make lemonade, an ice-cold, frosty glass of lemonade we can sip in the lush splendor of Ballpark Park.

HOTEL MURANO: A Sleepover Art Museum

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Hotel Murano
Tacoma, Washington
If you spend any time in chain hotels you know how it feels: a ticky tacky soul sucking means to an end. A 25-year old Sheraton Hotel in downtown Tacoma was just such a place, a barren post-modern concrete tower filled with the cheapest bulk-quantity interiors on the market in 1984. It is hardly the kind of building one thinks to renovate, but the cost of demolishing it to build anew would be senseless. A group of hotel developers took a giant leap of imagination and requested that beauty happen in the least likely of spaces.

The Provenance Hotel Group returned to the design firm CorsoStaicoff , having worked previously with Denise Corso and James Staicoff on Hotel Max. CorsoStaicoff specializes in transforming eyesores into fully-realized thematic destinations that inspire the aesthetically inclined and caress the luxury addicted.

Starting with the identity of Tacoma as the hometown of glass artist Dale Chihuly, the design firm conceived of an art glass museum one can spend the night in. Curator Tessa Papas identified and cultivated glass artisans from around the globe for inclusion in the hotel renovation, and CorsoStaicoff worked with the selected artists to create the spaces surrounding the permanent gallery installations.

Still lying about in the Portland, Oregon offices of CorsoStaicoff are the prototypes of pieces (shown above) by Orfeo Quagliata. A sample of the wall panels – consisting of individual sheets of glass affixed atop one another – weighs over 30 pounds; entire walls of this would be off the scales. Door handle samples the size of large lipstick tubes don’t register as special until…

…they are seen in context, 9 feet tall and abutting the wall panels that become magic waterfalls frozen in motion.

The commissioned pieces are certainly the aesthetic point (as cataloged on the monitor seen above in the entry foyer), but my wonderment came from seeing handcrafted pieces we have to touch, like the door handles, or elevator wall linings.

James Staicoff designed the front desk (above) that houses Quagliata’s fused glass panels, and thousands of legs, purses and baggage will bump up against it. This was my flash of enlightenment: the natural strength of something inherently fragile creates luminous, enduring beauty. We are gently directed to interact with glass without worry of fingerprints (though it will surely be the bane of the cleaning staff), pressure points, scratches or cracks.

The taken-for-granted glass tabletop that holds my scotch on the rocks and the clear glass balcony banister I lean over to gaze at…

…the blown-glass mirrored “Chandelier” by Massimo Micheluzzi all now have significant meaning. The entire hotel is a Glass Caste System, with each class of glass crucial for supporting the environment, from structural to functional to artistic.

This realization adds a new-found awe to the vision, skill and craft dedication required to execute a life-sized glass horse lamp or filigreed glass oars above the glass-face fireplace adjacent to the lobby bar. Equally impressive are the precisely-conceived environments that surround both the art and the hotel visitors.

A fine example of design sophistication is the 4th floor restaurant Bite (above). It is both minimalist and sensuous, with open expanses peering down to the floors below or seemingly-private enclaves (like the sofa-lined “necking pit” behind the bar) to choose from. Bite is also the best moment to take in the juxtaposition of the Sheraton’s brutal concrete structure softened by the purr of the Murano.

There wasn’t much that could be done with the woefully boring exterior of the building, which is why the art glass experience waits to begin at the front door. Ingeniously, this also heightens the Alice Through the Looking Glass sensation of exterior vs. interior. As to the interior, James Staicoff explained that the most honest thing to do was strip away the old skin to expose the concrete structure and then let it recede into the background. But the monolithic masses of grey concrete add a necessary rough texture to offset the smooth waves of glass. Glass shatters when thrown against concrete, but Hotel Murano conjures hidden tension by up-ending that law of textile physics.

Moving up into the guest floors is where the formal art atmosphere begins (outlined above). Stepping out of the elevator is to step into an art museum, as your face against an etched glass wall that serves as that floor’s artist statement and biography. To the left of this installation is the art glass piece itself encased, naturally, behind glass. Pick your favorite art museum, and this type of exhibit would be impressive. That it’s permanently installed in a hotel corridor is astounding. But there is another aspect that makes this concept groundbreaking: the hall is also a gallery of framed prints showing the steps the artist took to produce the featured art work. Hanging in each guest room is a reproduction of the artist’s initial idea sketches. The photos and sketches create a personal investment in the final result; it creates the aura of overhearing intimate studio chat with the artist.

In the shop talk vein, I had the pleasure of touring the upper floors with two people responsible for these storyboard displays. Graphic artist Dardi Troen and her firm ditroen designed all the display panels (plus all the hotel’s collateral pieces such as door hangers, logos and room key cards), and her husband Lincoln Miller reproduced and printed all the framed photos lining the hall through Pushdot, his production studio and art gallery.

I adore listening to designer shop talk, so listening to Lincoln and Dardi review the final results of their work was a treat. Noting when something didn’t go as planned, adjusting spotlights to shine properly or taking great delight when something exceeded expectations gave invaluable insight into the million details that make up this wondrous hotel.

And it’s all in the details, like this phone nook next to the elevators on every floor. This is a Denise Corso touch, evoking both retro humor and feminine curves in otherwise angular hallways.

A strong peeve of mine is that in the press for Hotel Murano – and in most all destination buildings in general – the designers are seldom given their due, much less even mentioned. But it’s designers who conceive of concepts, create the items and attend to all the details. They are small and big picture thinkers. With the Murano, there were 25 floors, 319 guest rooms and over a dozen public and semi-private areas to program. It was a 2 year journey of creativity and coordination, so showing CorsoStaicoff a little love would be nice.

The designers got a lotta love on March 8th, the grand opening night capped by a special charity event starring Burt Bacharach (see this link for details on the concert and attendant life-altering experiences). The hotel was filled with $500-a-plate patrons who toured all the floors, and every last one of them reacted with glee and awe. When they personally knew the designers, hugs and congratulations gushed forth. When patrons learned they were near an artist or designer they made a point of sharing admiring words, proving that people do notice and appreciate the details and efforts that go into creating a wonderland.

The public spaces are fabulous, but the entire point of a hotel is an accommodating and comfortable place to stay when traveling. So, how are the guest rooms?
Awesome!

Staicoff explained that the three things guests care about are the bed, the shower and the TV. The beds are the Goldilocks “just right” combo of firm and soft (and if you have pillow preferences, there is a pillow menu to choose from). The thick expanse of white bed clothes shores up against a white vinyl headboard, and standing in relief against a deep grey wall gives the bed a cloud-like countenance.

The showers are spacious with just right water pressure, rapid draining (and if you’ve ever stood in a hotel shower with water up to your ankles, you get the beauty of that) and endless hot water. The bathrooms are an exercise in minimal luxury, lacking the typical trappings we associate with womb-like bathrooms yet keeping you in the space longer than anticipated because it’s perfectly scaled to human mobility and casual serenity.

Or some of the bathrooms have an invigorating vibe, with a warm red-orange that adds a healthy glow to your mirrored reflection (always a plus for anyone over age 40!).

The minimal serenity feel is carried through with brushed stainless and dark Wenge wood floating among the whites and greys. Then come sudden splashes of color on the lounger (above) or lavender hand blown glass lamps on the nightstands. Our room looked like a dwell magazine spread and felt and functioned even better. But not much time was spent in it because…

…there were parties to attend, accolades to be accepted and Burt Bacharach & Hal David! Above is James Staicoff preparing to face the public. Note the Quagliata ring on his finger, and know that an architectural designer is never off duty.

The public and private spaces were dramatic at night and serene in the morning light. A hotel as art glass museum is a uniquely glamorous thing, but my lingering impression is of an embracing softness. I miss Hotel Murano and long to return. May you find your way to it and feel you’ve found home.

RELATED
The Look of Love: Burt Bacharach & Hal David at the Hotel Murano

The JC Penney Building and Aldermanic Ego

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Martin Luther King Jr. Drive between Hamilton & Hodiamont
Wellston, MO
I have touched on this building inside a previous post. If you have ever run across it in your travels, bet it’s seared in your memory. It’s a singular building both in its neighborhood and in our city. Architects travel from out of town to see this Le Corbu-like gem. It’s unique and spacious with plenty of options for future use. That’s why the man who owns it bought it, and that’s why he’s been working to get it registered for both state and federal historic tax credits. The photos you see here are part of the series that I took for the owner’s applications. I did them for only the cost of the prints; wish I could have done it for free. Anything to help this building stand and thrive. And that is now becoming a problem.

The owner keeps me filled in on the struggle between him and his alderman. Let’s keep this story as tight as possible:

In 2006, Alderman Jeffrey Boyd fully supported the Landmarks Association writing the historic register nomination for this building. By winter 2007, it was ready to go before the Missouri Advisory Council, but Ald. Boyd had it pulled from the line-up. Why?

Ald. Boyd had a friend who wanted to buy the building and tear it down. The owner would not sell to someone who wants to tear it down when he’s working to bring it back to life. This pissed off Boyd, who then had it yanked from all board reviews and has since blocked any type of progress on the building. Despite the alderman’s anger, the owner began in earnest to get the building listed and eligible for tax credits to protect his investment.

Despite the feud, the owner has placed the building on the February 2008 agenda of the State Historic Preservation Office.

And Alderman Boyd is calling everyone he can to get this nomination yanked, once again. To his credit, he’s been very honest about why he wants it yanked: he wants it demolished.

Some of the local offices he has called flat out refused his request. But there’s a healthy list of local and state offices Boyd has contacted who have yet to weigh in.

They need to hear from people other than Boyd, and they need to understand the basic facts:
An alderman would rather demolish and leave another vacant lot in Wellston than let the building’s owner work to improve it.

Has Boyd explained the logic behind his plan?
Does he have a plan for something to go in its place?
Does he have any other valid reasons why he opposes this building and its owner?
Is this aboveboard business or is this a personal pissing match driven by ego and emotion?

This building’s nomination goes before the Preservation board today, January 28th. It goes before the Missouri Advisory board on February 9th.

Below are the people you can e-mail with your thoughts about the matter. If this situation bothers you, please speak up. Again, they need to understand more about this building beyond the Owner vs. Alderman struggle. At the very least, illogical injustice needs to be exposed.

Kathleen Shea, Director
Cultural Resources Office
1015 Locust Street #1200
St. Louis, MO 63101
SheaK@stlouiscity.com

Tiffany Patterson, National Register Coordinator
State Historic Preservation Office
P.O. Box 176
Jefferson City, MO 65102
tiffany.patterson@dnr.mo.gov

The Tackiest ATM Ever

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Hwy 157 near Center Grove Road, Edwardsville, IL
This drive-thru carnival literally screamed at me from the highway, prompting a U-turn in the middle of the street to go back and verify that I truly saw what I thought I saw.

The stone bases and the ionic columns are already as preposterous to a drive-up ATM as marbleized stationary is to letter writing. But with its plastic and veneer references to ancient Greek architecture, certainly the bank is trying to denote class and strength and firmness. They carry on the classical column theme on their website.

Any visual clues to strength and firmness are completely obliterated from this angle. It looks like that roof is going to crack off and crush the roof of the next car through. It doesn’t take a structural engineer or architect to instinctively recognize that this pretentious and foolish ATM quickly conveys the exact opposite of what was intended by the financial institution it serves.

But let’s keep context in mind. This is a part of town that rapidly built-up around the edge of the SIUE campus. The university is the gravity of the area, thus street names copy the entire list of Old English and Ivy League university names. Citizens prize a new village, but a sense of antiquity is quickly needed to bolster the social class anxiety always under the surface in shiny penny new communities. That is why so many of the commercial buildings on this immediate strip slap on all manner of pediments, columns and dentil molding to the flat fronts of their simple brick boxes. The ATM is obediently following through on a hastily devised plan of gravitas through ornamentation.

Paul Fussell well-described this phenomenon in his book Class: A Guide Through the American Status System. He might as well of been speaking of this ATM when he wrote, “facade labors to extort respect, and it is thus one of the most pathetic artifacts, bespeaking the universal human need to claim dignity and high consequence… The middle-class longing for dignity frequently expresses itself in columns or pilasters arguing the impressive weight of edifice… The principle that curves are classier than straight lines operates with columns as understood by the aspirant. Square columns are the lowest; round ones the next highest; round and fluted highest of all.”

As I circled this freak show with the camera, I couldn’t stop chuckling at the layers of absurdity. I wondered about all the people involved with the design and construction of this… did they continually chuckle at how preposterous this concept is? Is there even one customer of this ATM who knows enough about structural basics to feel bemused every time they withdraw from under its lopsided portico? For all these reasons and more, I remain morbidly respectful of The Tackiest ATM Ever!

Mid-Century Modern Time Travel

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Look at this room!
It’s from a piece called “Furniture For Three Rooms For $1,400” in House Beautiful magazine. The article copy (piece shown below) is eerily accurate in predicting “this furniture is of such straightforward design that it could be blended into the decoration of any future home.”

Note which two stores these pieces were available at (above). I felt a pleasant rush of civic pride. I also got a quick hit of historical reality.

It’s from an issue that dates from March 1946. The front cover (above) shows a room working the Dorothy Draper-inspired look still popular with Americans. The official end of World War 2 was only 6 months previous. The Red Cross “Give” emblem is still on the cover, reminding that money was still needed for “the men who are still overseas.” They were still re-acclimating women to guys being back in the household with articles like “Do Men Mean What They Say About Decorating?”

When I first saw the furniture grouping shown up top, I naturally assumed 1953 or ’54. Those kinds of curves and colors and simple frames are just so quintessential mid-century modern, right? But it was a solid reminder that Mid-Century is, basically, 1945 – 1965, and that St. Louis was just as – if not more so – forward thinking as the rest of the newly-optimistic nation.

Garavaglias’ of the South Side

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Intersection of Lafayette & Nebraska Avenues
South St. Louis City, MO
The building above, with its distinctive corner turret and vintage signage, is always a welcome sight. I mentally refer to it as the Garavaglia Quality Foods Building. Considering all the activity going on in the immediate area, maybe it’s just a matter of moments until this building comes back to life?

Near the intersection of Loughborough Avenue & Morganford Road
South St. Louis City, MO
I pass this tavern on most every work day. It’s such an essential part of the fabric of this part of town that it’s easy to overlook it. And only a few weeks ago did I finally SEE its signage: Garavaglia’s Hill Top Inn. As in the same Garavaglia’s Quality Foods Market? That’s not a real common last name, and how did I overlook this possible connection for so long?

The Quality Foods building was built in 1895. City directories list Pundt Brothers Grocery in the space from 1912 to 1946. From 1947 till the very early 1950s, it was the grocery store of Eugene Wessbecher. Around 1952, Charles J. Garavaglia came into the picture, with a name change to Quality Foods in 1963. Records show the corner market stayed in business until 1989, so is that when the building was shuttered?

The building is still owned by Garavaglia Quality Foods, LLC, and oddest of all, they are listed in numerous on-line St. Louis catering lists. Meaning, some unknowing South Side bride will find this place listed as a viable provider of mostacholi, call the number and get the “no longer in service” message. How does a place that closed in 1989 still have such deep internet saturation?

As for the Hill Top Inn, the building first appeared in 1924, and by 1933 it was billed as Gockel Groceries. The service station seen to the left in the above photo was also there, belonging to George Schwartz, who just so happened to live next door to Goeckel Grocery, at 6904 Morganford (it is now the vacant spot between the tavern and the other house seen in the 2nd photo, above).

In 1942, Joseph J. Garavaglia owned the building, and turned it into a liquor store. In 1947, Julia Garavaglia took it over, and by 1968 she changed the name to what we still call it to this day. At this time she also moved into the now-absent house next door (presumably after Mr. Schwartz moved out, but ya never know).

While doing all this research, I ran across a Garavaglia Market that operated in Dogtown from 1930 – 1950, but then realized that all of these joints never had any owner names in common. Wondering just how common a surname it is, the White Pages reveals a full half-column of Garavaglias, so it’s not a rare name, obviously. It’s merely that a heaping handful of people with this name have been/are connected with food and liquor concerns in South St. Louis, and they have given us some delightful signage and good times. I salute all the Garavaglias!

Lewis & Clark Memorial Tower

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Route 3 through Hartford, IL
Near the end of a Christmas visit in Brighton, Il, my father suggested that since the McKinley Bridge is now open, I should take Route 3 to the refurbished bridge, cutting my travel time to south St. Louis by 20 minutes. I took the route, but wound up adding that 20 minutes back on when I saw a strange sight in the distance.

Route 3 through East Alton and Hartford is a tad bedraggled and flat, but up on the right, I saw this shadowy sliver shooting up into the sky. Driving nearer, it kept changing shape, from a tower to an “H” to a twisted rod. What in the hell is this fabulous thing?!

An illegal U-turn at the next light took me back to signage welcoming the Lewis & Clark Memorial Tower. It is a 190-foot tall viewing tower overlooking the confluence of the Mississippi and Missouri Rivers. It was designed and overseen by Kennedy Associates, Inc in downtown St. Louis, who have an appropriately poetic explanation for its shape. But before learning all this afterwards, I was simply intrigued with its morphing simplicity.

I was so entranced that I jumped out into bitterly biting winter winds to take a few pictures. It reminds me of the Arch in the way that it is such a simple geometry, but with every inch you and the sun move, it shows a new face, each new face as compelling as the last one. And like the Arch, I want up in that thing, ASAP! Unlike the Arch, you’ll be able to walk out into the roaring winds…but only when it’s much warmer. I about got frostbite, so had to leave.

This memorial was supposed to commemorate the 2006 bicentennial of Lewis & Clark, but they obviously missed that anniversary. To the layman, it looks like they’re done with major construction on the towers, so maybe it can open by spring 2008? But even without being able to go up in it, it is worth a drive across the McKinley just to see it for yourself. You don’t need any further directions because you can’t miss it. Yet it’s not garish or embarrassing. This is a rather impressive new monument to add to our bi-state area.

Happy Birthday, Oscar

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It was a pleasant shock to learn that modernist architect Oscar Niemeyer just turned 100, because I naturally assumed he was dead! Much like reading Dr. Suess, Oscar’s buildings are the most spacey fantasies gracing a mortal earth, and I figured an artist as fluid and singular as that high-tailed it onto a higher plain long ago. But it is comforting to know that he’s still here and still working. And that he’s not alone, because one of his contemporaries is still with us, as well.

I keep close tabs on Julius Shulman, the photographer I consider godhead, and was pleased that he had a 97th birthday. Considering Oscar, I fully expect 3 more birthdays for Julius, who is still alert, organized and unwavering in his passion for modern design.

It’s inspiring to know that an eye and heart for progressive, modern architecture can contribute to a long and productive life.

The latest edition of the St. Louis Suburban Journals featured Trautwein’s Shoe Store in a photo quiz, but also gave some valuable information that bears repeating in the proper forum.

The building and its remaining inventory (as seen above) are now for sale, and being aware of the beauty of the original neon sign, the seller will work with anyone wanting to preserve it. The seller is Lily Ann Crocker (a relative of the Trautwein brothers), and she can be reached at 314.496.9292 about any of these matters.