1500 Mission Street

 Posted by on March 23, 2021
Mar 232021
 

February 2021
This is what is left of several buildings that once sat on this site.

Built in 1925, 1500 Mission was a one-story reinforced concrete industrial building originally designed in the Classical Revival style for the White Motor Company. The White Motor Company was created out of the White Sewing Machine Company. Founded by Thomas H White in 1876, his son, Rollin Henry White,  invented the auto flash boiler in 1899. With his two brothers, Windsor and Walter, the sons diversified the sewing machine company’s products by introducing trucks and the White Steamer automobile in 1900.

Around 1940, the building was purchased by the Coca Cola company for a bottling plant.

The building when Coca Cola first purchased it

In 1941 Coca Cola enlarged and altered the building in the Streamline Moderne style. In 2010, architectural historian William Kostura ranked the building among the eleven best Moderne-style buildings in San Francisco: ‘The building as it was added to and remodeled in 1941 remains essentially unchanged since that date”.

The streamline moderne update was done by the architects Pringle and Smith, an architecture firm that worked with Coca Cola across the U.S. The Pringle and Smith Partnership was formed in 1922 by Francis Palmer Smith (1886-1971) and Walter Smith Pringle.

The building was purchased by the Goodwill Company in 1993 – you can see the clock tower on the far right in the background.  Several buildings in the area, minus the original building used by White Motor Company and the Coca Cola bottling plant, were demolished in 2017.
The project that now occupies the site is a 1.2-million-square-foot development, located on 2.5-acres on the corner of Mission Street and South Van Ness Avenue. One building is 39 stories of mixed-use and a 550 unit  luxury apartment tower.  A separate 460,000-square-foot office building will house San Francisco Planning and Public Works Departments.

Detroit’s Renaissance

 Posted by on August 1, 2017
Aug 012017
 

Book Building/Tower Detroit

The Book Building at 1249 Washington Blvd, Downtown Detroit

So much has been written about Detroit’s decline, and yet so little has been written about its renaissance.  Yes, the outlying areas have a long way to go, but the new construction and renovations happening in the downtown area are staggering.  This post by no means covers the enormous amount of renovation occurring, these are just a few of this author’s favorite buildings.

Book Building Detroit

The Book Building, designed by Louis Kamper for the Book brothers, was built in 1917, the tower was added in 1926. There was considerable criticism about the building looking more like a wedding cake than an office building when it was erected, this author, however, has a fondness for caryatids and found the building charming. The building is undergoing a projected $400 million renovation by Bedrock Real Estate Services.

The book building Detroit

The Grand Army of the Republic Hall at 1942 Grand River Avenue in the West Necklace neighborhood

The GAR building

The Grand Army of the Republic Building was designed by architect Julius Hess and constructed in 1887 as a structure for meetings and other GAR related activities. The cost was split between the Grand Army of the Republic ( $6000 of the cost) and the city of Detroit (the remainder of the $44,000 total cost).

McKim Meade and White

State Savings Bank at 151 West Fort Street and Shelby.

State Savings Bank of Detroit

This is the only building in Detroit designed by McKim, Mead, and White, it was built in 1900.

Photo from Wikipedia

Photo from Wikipedia

Slated for demolition in 2014, the building was purchased by a private investor. The owner did not disclose the purchase price or possible plans, however, one rumored use could be an auto museum.

The Fisher Building at 3011 West Grand Avenue.

Fischer Building Detroit

The interior of the Fisher Building is a wonder to behold and a stroll through the enormous lobby is not to be missed.  Named the “Building of the Century” by Detroit AIA this 1927 building, commissioned by the Fisher Brothers, was designed by eminent Detroit architect Albert Kahn. The Fisher family financed the building with proceeds from the sale of Fisher Body to General Motors

Fisher Building Detroit

The attention to detail on the exterior of the building is also worth noting.

Fisher Building Detroit

*Fisher Building

The three-story vaulted arcade is finished with forty different varieties of marble and ornamentation extolling the virtues of commerce, industry, and arts.
Fisher Building

It is almost impossible to explain the interior ceiling murals.

Fisher Building

The eagles with their wings slightly open, ready to take flight, symbolize an America ready to advance to greater things. Other eagles in and on the Fisher have their wings outstretched, symbolizing the power of the United States. Those with their wings tucked in, in a sheltering manner, show the nation’s strength and that it is sound.

The frescos, mosaics, and sculpture were designed by Geza R. Maroti, an artist from Budapest, Hungary. The artwork represents two major ideas: the wealth and power of the U.S. expressed through commerce and transportation, and American culture and civilization through music and drama.

Fisher Building Detroit

Artists from Detroit’s Cranbrook School and an army of European artists worked on the interiors.

Fisher Building Detroit

Set into the floor, is a large bronze shield in low relief. It featured a semi-nude figure of Mercury — the god of transportation and bearer of messages. Sadly, the details have been mostly eroded by decades of Detroiters walking over it. It has been roped off to prevent further damage.

Fisher Building Detroit

Along the walls of the arcade are 26 lunettes with symbolical designs and subjects such as Agriculture, Art, Justice, Knowledge, Music, Navigation, Peace, and Thrift.

Fisher Building Detroit

The elaborate frescoes were also designed by Maroti but carried out by artists Antonio and Tomas de Lorenzo of New York City.

Fisher Building Detroit

The corridors on every floor are marble-faced with cove ceilings. The window sills are marble.

The Buhl Building at 535 Griswold

Buhl Building Detroit

The exterior ornamentation of the Buhl Building is what drew me in. Designed by Smith, Hinchman, and Grylls in 1925 it showcases the sculpture of Corrado Parducci and tiles of Mary Chase Perry Stratton, of Pewabic Pottery.

Buhl Building Detroit

The entryway vaulted ceilings are designed to be the night sky, and the tiles were produced by Pewabic Pottery.

Buhl Building

Mies van der Rohe in Lafayette Park

The Mies van der Rohe Residential District is both an outstanding example of Modernist architecture and one of America’s most successful post-World War II urban redevelopment projects. Three distinct sections cover the 46-acre project: 21 multiple-unit townhomes (pictured below) and a high-rise apartment building, 13 acre Lafayette Park consisting of recreation facilities, and a school and finally twin apartment towers and a shopping center. In 1956 developer Herbert Greenwald brought together architect Mies van der Rohe, city planner Ludwig Hilberseimer, and landscape architect Alfred Caldwell to create an “integrated community” that would “attract people back to the heart of the city.”

Mies Van der Rohe in Detroit

 Michigan Central Train Station in Corktown near the Ambassador Bridge

Michigan Central Train Station

This Beaux-Arts Classical style train station was designed by the Warren & Wetmore and Reed & Stem, the same firms who designed New York City’s Grand Central Terminal.

When the 18 stories tall train station opened in 1913, it was the tallest train station in the world and one of the tallest buildings in the city of Detroit. The high-rise part of the building was originally built to house offices; the depot itself is three stories tall. Part of what makes the building so visually striking is the fact that no other tall structures are immediately nearby.

Primarily due to the success of Detroit’s own auto industry the last train to ever leave Michigan Central Station pulled away in January of 1988 and the building has sat unoccupied ever since.

The building is owned by the Moroun family, who also owns the Ambassador Bridge. Neglect has brought this Nationally Registered landmark close to demolition on more than one occasion. It had all 1050 windows replaced in 2015 and hopes are that more will be done to preserve this gem.

Ford Motor Company has purchased the building as of June 2018.  Here is a great article with photos of the interior in the New York Times.

The last of the buildings in this strange wanderings is the Dymaxion House at the Henry Ford Museum in Dearborn.

Dymaxion House

This aluminum house, designed by Buckminster Fuller in 1929, was meant to handle the masses of servicemen returning from the war.  It was to be mass-produced, easily reused, and completely recyclable.

Built on a central core holding much of the utilities, the house radiated out from there

Built on a central core holding much of the utilities, the house radiated out from there

Market expectations, continual design changes, and other setbacks kept the house from being a reality, but the fact that its hybrid sits in the Ford Museum makes for fun viewing.

There are truly so many fabulous buildings, and history, in Detroit.  If you are going, I suggest adding a considerable amount of extra time to explore the many, many office buildings, churches and government buildings that make up this amazingly architectural rich city.

Woodward Garden

 Posted by on February 4, 2017
Feb 042017
 

Woodward Gardens
Duboce and Woodward Street
Mission/South of Market
Woodward Gardens

On January 19, 1873, 12,000 people showed up at Woodward’s Garden in the Mission District to watch Frenchman Gus Buislay and a small boy soar aloft in a hot air balloon. The man who made it happen was Robert B. Woodward.

Woodward had made his fortune in the grocery store business. In 1849, he opened a store right off the waterfront to serve the ever-increasing number of people flooding into the Port of San Francisco for the Gold Rush.

With the acumen of a savvy businessman, he realized the ’49er economy was moving from supplies to service, and so in 1852 Woodward opened What Cheer House, a hotel and club for men known for its good food, safe accommodations and no alcohol policy.

Two women stand ready to enter the reptile house at Woodward Gardens in 1880. (Photo credit: San Francisco Public Library)

Two women stand ready to enter the reptile house at Woodward Gardens in 1880. (Photo credit: San Francisco Public Library)

Woodward’s family left Providence, Rhode Island, in 1857 to join him in California. Woodward purchased four acres of land and a house that had belonged to General John C. Fremont. The property was located on the west side of Mission Street between 14th and 15th Streets. He and his family lived in Fremont’s house while he worked to construct a mansion on one of the many hillocks in the area.

A year-long shopping trip to Europe would necessitate the construction of a gallery and conservatory on his property. Here he could show off the copies of famous sculptures he had had made, as well as paintings and other curiosities he had collected. But the true show piece of Woodward’s estate was its fantastic gardens.

Woodward began these gardens during the original construction of the house. Supplied in 1861 with plants, animals and artifacts from Europe, soon the gardens came to be referred to as the Central Park of the West. In 1864, he opened the estate to friends and acquaintances.

As the garden’s fame spread, members of the public began to stand outside for hours on Sundays, hoping to get a peek of the grounds. In 1866, with a little nudging from his daughter the grounds were open to the public. Woodward moved his family to the Napa Valley and dedicated his time to expanding his San Francisco Woodward Gardens for the enjoyment of its visitors.

Woodward Gardens Art Gallery 1836 (Photo credit: San Francisco Public Library)

Woodward Gardens Art Gallery 1836 (Photo credit: San Francisco Public Library)

Recognizing the need for a constantly changing array of attractions, Woodward once again headed to Europe, bringing back crates of items ranging from the fashionable to the odd. Sailors he had befriended over the years also brought him curiosities from around the world.

It was said that Woodward Gardens held the finest zoo on the west coast, with camels, zebras, buffalo, deer and even kangaroos. There was also a bear pit that held both grizzlies and black bears.

In 1873 Woodward opened an aquarium with sixteen tanks that held from 300 to 1000 gallons of fresh or salt water. The lighting of the tanks allowed visitors to see marine creatures in their natural environment. Visitors were entertained by the crabs, lobsters, shark, cod, flounders, rays, and the occasional ink-spitting octopus.

An amphitheater-that held 5000 people-presented shows featuring Delhi Fire-Eaters, Japanese Acrobats, Roman chariot races and Major Burke and his Rifle Review.

Camel Rides at Woodward Gardens 1880

Camel Rides at Woodward Gardens 1880

Woodward’s home became the Museum of Miscellanies-a pair of 10,000-year-old mastodon tusks graced the front door. The house contained a mineral display as well as fossils and zoological specimens. At one point park goers could view the “largest gold nugget ever found”  from the Sierra Butte mine, a privilege they purchased with an additional .25 cents.

There were several restaurants on the grounds, and, just like What Cheer House, they did not serve alcohol.

General Ulysses S. Grant visited the Garden in 1879. That same year Robert B. Woodward passed away. Although his sons took over the running of Woodward Gardens, they lacked their father’s showmanship and could never match his enthusiasm for the place.

When the park closed in 1894, all the artifacts were sold at auction. Developers stepped in, graded the land, divided it into 39 separate lots and sold them-to become homes for the working class of San Francisco.

Plaque on the outside of Woodward Gardens Restaurant, now missing. (Photo credit: San Francisco Public Library)

Plaque on the outside of the now closed Woodward Gardens Restaurant, plaque is now missing. (Photo credit: San Francisco Public Library)

While many people have never heard of Woodward Gardens, or could not conceive of a four-acre park filled with such wonders and curiosities in the Mission District, some signs hint to its existence. Today, Woodward Gardens Restaurant sits at the corner of Mission and 13th. Alas, the restaurant has no wandering ostriches or playful seals.

Looking Northeast from Robert Woodward’s house, 1865. (Photo credit: San Francisco Public Library)

Looking Northeast from Robert Woodward’s house, 1865. (Photo credit: San Francisco Public Library)

The Mission Street Entrance to Woodward Gardens, 1862. (Photo credit: San Francisco Public Library)

The Mission Street Entrance to Woodward Gardens, 1862. (Photo credit: San Francisco Public Library)

Woodward Gardens, 1874. (Photo credit: San Francisco Public Library)

Woodward Gardens, 1874. (Photo credit: San Francisco Public Library)

Gus Buisley’s balloon often bumped the windmill when ascending. (Photo credit: San Francisco Public Library)

Gus Buisley’s balloon often bumped the windmill when ascending. (Photo credit: San Francisco Public Library)

The Park Emergency Hospital

 Posted by on August 29, 2016
Aug 292016
 

811 Stanyan
Golden Gate Park

San Francisco Emergency Hospital The Park Emergency Hospital is part of a system of Emergency Hospitals that existed in San Francisco during the early 1900s.  There were four of them.  Park, Central (in Civic Center and still functioning), Alemany and Harbor (since torn down).

This particular hospital has been designated City Landmark #201. Built in 1902, at a cost of $8488, it functioned as a hospital until 1978.  It remained an ambulance station until 1991, and it now serves as offices for the Rec and Park District.

San Francisco architecture Emergency HospitalsThe architect was Newton J. Tharp.  The San Francisco ran his obituary on May 13, 1910:

THARP, NEWTON J. An architect, died in New York City, May 12, 1909. He was born in Mount Pleasant, Iowa, July 28, 1867, and with his parents moved to California in 1874. He spent four years at the San Francisco School of Design and in 1896 went to Europe to study. At the time of his death, he was City Architect of San Francisco. Among the public buildings designed by him in this capacity are the Hall of Justice, the Infirmary, and a group of hospital buildings.

Sudden Death of City’s Architect, Newton J. Tharp
Succumbs After Brief Illness While in New York City

Stricken with pneumonia while in the full vigor of manhood, Newton J. Tharp, city architect of San Francisco, succumbed to the disease yesterday at the Knickerbocker hotel in New York city, and gloom now pervades his home in this city, the municipal offices, where he was respected as an honorable and able official, and the Bohemian club, where he had been styled a “prince of good fellows.” Engaged in the study of modern eastern municipal structures, the knowledge from which he was to use for the benefit of San Francisco, the deceased thought little of his own personal comfort or health, and as a result he leaves a widow prostrated with grief, and a host of friends stunned by the news of his death.

It seems like the irony of fate that when he was attacked by the disease which caused his death Newton Tharp was engaged in the work of studying the modern hospitals of New York and gathering data for use in drawing plans for a hospital where San Francisco’s poor could be restored to health.

Studying Hospitals

Having completed the plans for all of the other municipal buildings contemplated, Tharp was sent east by the board of supervisors April 25 to gather data on the construction of hospitals. He was accompanied by his son, Laurence, 13 years of age. Prior to his departure he talked enthusiastically of his plans with friends at the Bohemian club, of which he was a member.

The architect wrote daily to his wife, who remained at their home, 1600 Lyon street until a week ago, when the letters ceased. The next heard from him was a telegram to Mrs. Tharp, received Saturday night, which read:

“Have been slightly ill, but will be all right tomorrow. Do not mind Laurence’s letter.”

The letter referred to was written by his son, and stated that Tharp was very ill. The first warning of real danger came Tuesday evening in a telegram from Ernest Peixotto of this city, but now in New York, to his brother, Edgar Peixotto, well known local attorney and lifelong friend of Tharp.

Widow Is Overcome

Mrs. Tharp was told that her husband was seriously ill and was preparing to go to him yesterday, when messages announcing his death were received simultaneously at the office of the board of supervisors and by Edgar Peixotto. The shock proved too much for the widow’s strength, and she collapsed. She is attended constantly by her sister Mrs. E. M. Polnemus of Los Angeles, who is here on a visit.

Flags were lowered to half mast on all municipal buildings as soon as the news reached here, as well as at the Bohemian club. Grief and astonishment were expressed on all sides.

Edgar Peixotto, at the request of Mrs. Tharp, took charge yesterday of the disposition of the remains. It was decided last night to have the body cremated in New York, and have the ashes brought home.

Newton J. Tharp was born in Petaluma [Iowa] 42 years ago, and was one of eight children. He spent his early years in that town [Petaluma], and was a playmate of Luther Burbank, the renowned scientist. During his youth he went to Chicago, where he took up the study of architecture and painting. Later he went to Paris, where he attended the institute of Beaux Arts. Having traveled in Europe for two years he returned to the United States and practiced his profession as an architect in New York and Chicago, but decided to settle in San Francisco in 1889.

Tharp was married to Miss Laura Hanna in Los Angeles in June, 1892, and is survived by her and their young son.

Well Known as Architect

The deceased architect was first employed by the late Edward R. Swain in this city; and on the death of the latter perfected the plans for the present ferry building. He became the senior member of the firm of Tharp & Holmes and designed the Dewey monument in Union square, as well as the Grant building, the Sloane building, the Whittier residence, the beautiful Martin home in Ross valley and other well known structures. He became city architect in October, 1907, and planned all of the new municipal structures now under course of erection.

Tharp was one of the most beloved members of the Bohemian club, of which he was a prominent member. He acted as sire of the midsummer jinks of 1904, when the “Quest of (unreadable)” was the theme. He was also a member of the American Institute of architects and a director of the San Francisco art institute.

Funeral Services for Newton Tharp: Throngs of Friends of the Late City Architect Crowd Grace Episcopal Church: Ashes Laid to Rest in Columbarium Odd Fellows’ Cemetery

In the presence of a large gathering, which included Mayor Taylor and the city officials, funeral services were read over the remains of Newton J. Tharp, the late city architect in Grace Episcopal church, yesterday afternoon.

Besides the officials there were present many of his old friends from the Bohemian club and from among the ranks of his profession, who completely filled the church and, by their numbers gave evident indication of the esteem in which Tharp had been held.

The funeral oration, delivered by Rev. David Evans the rector of the church, was extremely brief. “He shall be remembered as a man by his virtues and his characteristics,” said the speaker, “and as a laborer and workman by the material monuments of his profession.”

The services opened with the playing of Mendelssohn’s “Funeral March” by H.J. Stewart, the church organist. The Bohemian club quartet sang, “Lead Kindly Light” and “Abide With Me.” The urn containing the ashes was surrounded by a wealth of flowers, among them being wreathes from Mayor Taylor, Tharp’s office and from the classmates of Laurence Tharp. At the conclusion of the services the ashes were removed to their final resting place in the columbarium at Odd Fellows’ Cemetery.

An Ambulance in front of the hospital when it first opened.

An Ambulance in front of the hospital when it first opened.

The hospital after the 1906 earthquake

The hospital after the 1906 earthquake

The Metropolitan Laundry Company

 Posted by on August 15, 2016
Aug 152016
 

7 Heron
South of Market, San Francisco

The Metropolitan Laundry Company Architecture of San Francisco

The lovely trumpet vine on this building is hiding a lot of the detail of the brick work, but the buildings history is the real charm.

Built around 1907, this was once part of the Metropolitan Laundry Company and Power Plant.

According to the January 8, 1910 Journal of Electricity, this was a modern, cutting edge plant. It was touted as the largest and most up-to-date in the U.S.

The whole laundry facility was housed in two buildings and covered an acre of land. The second building, at the corner of Berwick and Harrison, is now slated for demolition and can be found here. 

There was a tunnel between the two buildings that carried water obtained from five wells, dug 200 feet below the plant.

At the time that SOMA was settled most of it was a marshy swamp, with much completely under water.

Photo from the

Photo from the Journal of Electricity

Apparently the water was very hard, not great for laundry facilities, so the use of soda ash and lime were used to soften the water. This type of system, with a capacity of 30,000 gallons an hour was called a Kennicott type, and was the largest on the Pacific coast, the details of which can be read in its entirety in the article.

The electricity also supplied 50 electric hand irons, as well as, the “washers, extractors, mangles and ventilating fans”.

The building before the trumpet vine took over. Photo from City of San Francisco (2009)

The building before the trumpet vine took over. Photo from City of San Francisco (2009)

The laundry, delivered by wagons, was marked by hand for identification and then segregated into type. This would have been blankets, flannels, toweling and starched pieces that required different treatments. There were 110 washing machines, 40 wringers, 8 manglers, 5 conveyer dryers as well as three lines of shirt machines.

In keeping with the times there was even a collar area with tables, ironers and dampers all operated by machines that were supplied by the power plant.

The November 25, 1905 (page 13) San Francisco Chronicle explained that the building was about to begin construction and that it was to be designed by Meyer and O’Brien at a cost of $50,000 exclusive of the machinery. The building was to house offices, an employee dining room, storerooms and a soap factory on the top floor.

The building now houses Heron Arts

The building now houses Heron Arts

A 1951 law suit between the US Government and The Metropolitan Laundry Company revealed that the Metropolitan Laundry Company was organized in 1903*.  At the time they utilized shares of stock to obtain the routes of 11 laundries, 10 in San Francisco and one in Oakland, the value of which was $155,100.  They later purchased two more routes for $1500.

With the exception of a period following the 1906 earthquake and fire the company operated continuously from 1903 until 1943.

In February of 1943, during WWII,  the United States took possession of the plant for military use, forcing the company to abandon its San Francisco laundry routes. In March 1946  the military gave the laundry back to the company and they resumed operating mainly under a contract with the army.  Despite this business, the inability to regain its regular business forced the closure of the plant in December of 1949.

*According to the 1906 City Directory the Laundry was on Albion Way, by the 1907 City Directory they were shown at this spot, listed as 1148 Harrison. Street.

This is from the 1913-1915 Sanborn Map. Volume 2 Page 180

This is from the 1913-1915 Sanborn Map. Volume 2 Page 180

1140 Harrison Street

 Posted by on August 4, 2016
Aug 042016
 

1140 Harrison Street, San Francisco

This nondescript industrial building is about to be torn down for a giant condominium project.  I thought it time to get it documented before it disappeared.

Part of the SOMA Light Industrial and Residential Historic District, the building has been marked historical due to its age, but that does not prevent it from being torn down, it is simply a designation.

Built in 1907, the building is a 75,625 square-feet, 1-story, brick masonry industrial building in a modified Renaissance Revival style. The rectangular-plan building, clad in smooth stucco on the primary façade and brick on the secondary facade, is capped by a series of 6 multiple-gable roofs.

The building was originally built for the Metropolitan Laundry Company an interesting company with an interesting history.  The building wass first listed in the San Francisco City directory in 1907, just one year after the 1906 earthquake and fire.

Today, the most significant thing about it is the wall on Berwick that has been the home to significant tagging and interesting murals, including one that has been recognized around the world and is included in most circulated shots of great graffiti around the world, a man holding an umbrella with a rainbow of rain.

Rainbow Rain Umbrella Man

The building was built in 1907 and designed by Frederick H. Meyer.

Frederick Herman Meyer (1876-1961) was born in San Francisco. Although he had no official architectural education he began his career working as a draftsman with Cambell and Pettus. He eventually joined the architectural firm of Samuel Newsom, making partner.

The portion of the building on Berwick closest to Harrison Street.

The portion of the building on Berwick closest to Harrison Street.

With Newsom, Meyer designed homes in the Pacific Heights area.

Meyer eventually joined forces with Smith O’Brian in a partnership that lasted 6 years. During this time they designed the Rialto Building , as well as a few residences, again in Pacific Heights.

On his own Meyer designed the Humboldt Bank Building on Market Street, where he eventually moved his offices.

In 1911, after the devastating 1906 earthquake and fire, Meyer was appointed to the team that laid out the plan for the new Civic Center

Over the years Meyer joined with many others in partnerships to design homes, schools and office buildings such as the one at 1140 Harrison.

The portion of Berwick Place at Heron

On Berwick Place at Heron. The side of 1140 Harrison Street

This has always been a large single parcel.  Before it was the Metropolitan Laundry it was a storage area.

This is from the 1905 Sanborn map, showing the building as storage.

This is from the 1905 Sanborn map, showing the building that sat there pre-fire and earthquake as storage.  Mariposa Terrace eventually was renamed Berwick Place.  Harrison Av was renamed Hallam, and Bruce Pl. was renamed Brush.

The building that stood before the ’06 quake and fire was most likely brick as well.  Often brick from previous projects was scavenged for the newer construction, this can be seen with the use of the black bricks and the lack of a unifying pattern in the brick laying.

This is the wall on the backside of the building. Notice the lack of a regular pattern and the black bricks throughout.

This is the wall on the backside of the building. Notice the lack of a regular pattern and the black bricks throughout.

Lily Pond

 Posted by on July 21, 2016
Jul 212016
 

125 W. Fullerton Parkway
Lincoln Park
Chicago, Illinois

Alfred Caldwell's Lily Pond

Chicago’s official motto is “Urbs in Horto,” which translates to “City in a Garden”, much of the garden aspects of this town can be attributed to Alfred Caldwell and his mentor Jens Jensen.

Lily Pond is the work of Alfred Caldwell. During the depression, Caldwell worked on and off for the Chicago Park District. It was a tumultuous relationship, but it was also steady work. In 1936, under the guise of the Park District and with WPA money Caldwell designed the Lily Pool.

Caldwell suggested that “besides being a nature garden,” the Lily Pool is “a geological statement.”

He explains: “The landscape of all Chicago was once a lake formed by the melting ice of the Late Wisconsin Glacier. These dammed-up waters finally broke through the moraine ridge at the southwest extremity of the area. This surging torrent carved out the underlying strata of Niagara limestone. The present Des Plaines River, in part follows that channel; and the stone bluffs are a veritable statement of the natural forces that created the terrain of Chicago.”

The front gate

The front gate

You enter this small oasis through a stunning wood and stone gate. Originally there was to be a Prairie style lantern at the entrance to the park, placed within the stone entryway, this was eliminated from the original project.

Prairie River Alfred CaldwellThe center of the park is a large body of water, it was called the prairie river by Caldwell. The intent was to emulate the melted glacial waters that had cut through the Niagara limestone. The curved shape gives the illusion of a larger space with views and scenery continuously changing.

On the northwest side, to the right as you enter, Caldwell created a small waterfall out of slabs of limestone. Caldwell suggested that, “A body of water presumes a source. Hence the waterfall.”

Lily Pool Alfred Caldwell

The waterfall

On the southeast side of the river is a circular round bench made of stone called a council ring. Although Caldwell included council rings in many of his park plans, this is the only one in Chicago that followed his exact specifications.

Circle at Lily Pond

The Council Ring

The most prominent feature is the wood pavilion. This Prairie style edifice is often wrongly attributed to Frank Lloyd Wright.

Lily Pool by Alfred Caldwell

Two stone and wood shelters are joined together by a large horizontal wood beam, to Caldwell “The spreading horizontal structure is like a tree, rooted in a rock ledge.”

The Lily Pool in Lincoln Park is the most fully realized surviving example of the work of landscape architect Alfred Caldwell. The disciple of renowned Prairie style landscape designer and conservationist, Jens Jensen, Caldwell “…imbibed deeply of Jensen’s philosophy. A total respect for the processes of nature was the basis. The landscape architect was an artist, or more correctly a poet, who would interpret and reveal nature, by using its materials.” …    Richard Guy Wilson – Commonwealth Professor in Architectural History at the University of Virginia

There are two interesting stories regarding this project by Caldwell. The first is regarding the plantings.

The park service had decided to cut the budget for the wildflower plantings that Caldwell has proposed.

Caldwell later told the story: “So not to be beat, I talked it over with my wife. I had recently taken out an insurance policy for $5,000 dollars. I cashed in my insurance policy. I got $250 dollars. I went up to Wisconsin. I hired a truck. I had three or four people and they worked like mad for a whole day and a half. I loaded all these thousand and thousands of plants. I loaded them and brought them in all the way from Sauk County, Wisconsin. When I got back to the Lincoln Park Lily Pond, it was 6:00 pm on a Saturday night. We spread all the stuff out on the side of the slopes where they were to go. In the morning we planted them all. We finished the whole thing by 1:00 or 2:00 p.m. The lily pond was finished. The Juneberry trees were in blossom. It was like paradise.

Lily Pool by Alfred CaldwellA second story, that comes down through Paul Finfer, a student of Caldwell’s, is of three men that would not only have a impact on Chicago and the world of architecture, but on Caldwell’s career itself.

Caldwell explains that while working on the pool three mysterious men in black overcoats stood and watched. “They spoke in German. The tall one could speak a little English.”

As the men studied the pavilion at the Lily Pool, Caldwell approached. They pointed to the pavilion and asked, “Frank Lloyd Wright?” He thumped himself on the chest and replied, “No, Alfred Caldwell.” Caldwell remembered that one of the men was also intrigued with the way plants were growing between the crevices of the rocks. The three men left, and Caldwell “often wondered mightily about them.” It wasn’t until a couple of years later that Caldwell learned that they were Ludwig Mies van der Rohe, Ludwig Hilberseimer and Walter Peterhans, the famous architects and planners who fled Nazi Germany to settle in Chicago to teach at the Armour Institute (now Illinois Institute of Chicago).

***

Sadly, by 1946 the Park district had allowed the nearby zoo to encroach upon the pool. Exotic birds left droppings in the pool and destroyed much of the vegetation. This allowed invasive plants to take over cutting down on the sunlight, causing erosion and destroying the design created by Caldwell.

In 1997 a non-profit group was formed to raise funds and work with the park department to restore the Lily Pool.

During this period the original entry gate was replaced. White oak barn wood was used to match the original and photographs were carefully studied to ensure accuracy of the elements. Also, during the restoration, the light fixture was recreated and placed as Caldwell had envisioned.

Caldwell's light fixture was added during the restoration. Photo courtesy of the Park Service

Caldwell’s entrance light fixture was recreated and added during the restoration.                                   Photo courtesy of Wolff Landscape Architecture – Chicago.

Alfred Caldwell was born in St. Louis in 1903, he moved to Chicago when he was a young boy. He enrolled in University of Illinois in Champaign- Urbana, but quickly became disillusioned. After a few missteps and thanks to some well-intentioned connections, he found himself apprenticed to renowned landscape architect Jens Jensen. He worked as a superintendent for Jensen for 5 ½ years. During this time he met Frank Lloyd Wright and was asked to join Wright at Taliesen. Caldwell’s wife had misgivings and he turned down the offer, although he did spend a few weeks there.

By now the depression was beginning to rear its ugly head and Jensen could no longer keep Caldwell on. At this point he was hired for a large project in Dubuque, Iowa, this project was to be Eagle Point Park.

Fired in January of 1936, most likely because he just did not fit in, he returned to Chicago.

He decided to sit for the Illinois architects exam and began attending classes. His instructors were the three Germans dressed in black overcoats that watched over him while planting Lily Pond. Caldwell passed the exam without difficulty.

Caldwell designed scores of landscapes, he also taught for more than 35 years at the Illinois Institute of Technology and the University of Southern California and was a visiting professor at Virginia Polythechnic Institute. Despite all of this he remained relatively unknown. In a 1977 article, architectural historian Richard Guy Wilson changed all of that with his article “Alfred Caldwell Illuminates Nature’s Ways,” in Landscape Architecture Magazine.

“…as historians begin to inspect the [1930s] period it becomes increasingly obvious that certain strains of indigenous American creativity have been overlooked. Alfred Caldwell’s work encompasses the broadest definitions of landscape architecture, an activity not simply of plant types and topography, but a vision and philosophy of man and nature that is at the core of the American dream.”

Alfred Caldwell's Lily Pond

 

Casa de Velazquez

 Posted by on July 7, 2016
Jul 072016
 

Parque Cespedes
Santiago de Cuba

Casa de Velazquez

Diego Valazquez was the first governor of Cuba.  He was a cruel despot by all accounts, but his home, built in 1515 still stands as the oldest colonial-era house on the island.

The home is of the Mudéjar style (or Hispanic-Moorish).  This style is characterized by its balconies, carved ceilings and the intricate geometric patterns found in the tile, metalwork and even the furniture.

Celosos

These patterned wooden screens are called celosos.

The one outstanding characteristic of the Velazquez house are its celosos.  They greet you at the front door, covering the second floor balcony, and then are found throughout the house screening the walkways from the hot Cuban sun.

Ceilings of Casa Velazquez

The boat shape of the ceilings throughout the original house suggest that ship builders may have been involved in the building of this home.  The very intricate patterns of the ceiling timbers are derived from Arab architecture.  This joining of wood in intricate patterns hides the joining of short timbers.  This was only possible during the colonial period when wood was still abundant.

Casa Velazquez house cuba

These intricately carved ceilings are called alfarje. Alfarje (meaning paneled ceiling) is a type of horizontal wooden ceiling primarily found in Islamic and Spanish Moorish architecture. The ceiling structure is made through a series of beams called girders, sometimes intricately carved and stylized.

 

Alfarjes of Cuba

It is said that the lower floor contained the Crown’s Forge and Contract Office, while Diego Velazquez used the upper floor as his residence. Experts argue that in its backyard, which in the past led directly to the sea, there was a small fortress.

The second floor of what is said to be the house's gold forge.

On the second floor, looking down into  what is said to be the house’s gold forge.

Two letters by Don Diego to his Majesty Philip II as early as August 1519 mention that gold was being forged there.

 

Standing on the second floor of the original home

Standing on the second floor addition that connected the old home (on your right) with the original.

The home went under a complete restoration between 1965 and 1970. The restoration was overseen by professor Francisco Prat Piug. The house then opened as the Museum of Cuban Historic Ambience.

One of the many chandeliers throughout the 19th century addition

One of the many chandeliers throughout the 19th century addition

The complex includes a 19th century residence, said to be the home of a chandelier maker. A patio was added between the two homes at some time, but is not original to the 1700 structure.

The tile floor of the original home.

The tile floor of the original home.

A close up of the second floor door that can be seen from Park Cespedes.

A close up of the second floor door that can be seen from Park Cespedes.

The much later patio that sits between the two structures

The much later patio that sits between the two structures

Some of the pottery on display in the museum

Some of the pottery on display in the newer portion of the museum

Parque del Ajedrez or Chess Park

 Posted by on July 6, 2016
Jul 062016
 

Santo Tomás and Enramada Streets
Santiago de Cuba

Chess Park Santiago de Cuba

Betancourt follows many of the strictures of one of his mentors “A building should appear to grow easily from its site and be shaped to harmonize with its surroundings if Nature is manifest there.” – Frank Lloyd Wright

This small corner park was designed by American architect Walter Betancourt.

Betancourt was born in 1932 in New York, son of Cuban parents that had escaped to Florida during the Cuban War for Independence.

Parque del Ajedrez, Santiago de Cuba

The park works itself into the contours of the streets starting with an easy entrance at the street level.

As a child of Cubans, Betancourt vacationed often in Cuba. After graduating with a degree in Architecture in 1956 from the University of Virginia, Betancourt entered the US Navy where he served, coincidentally enough, at Guantanamo.  Significantly, Betancourt was in Cuba during the July 26th coup attempt on the Moncada Barracks by Fidel Castro.

Cuban Park

The focal point is a angular fountain that has been turned off.

After leaving the military Betancourt moved to Los Angeles to work with Richard Neutra.  This was an unpaid job and only lasted six months as it is said that the job did not meet Betancourt’s expectations, or live up to his ideals.

During this period of time the revolution in Cuba was growing, so in 1959 after being interviewed by Frank Lloyd Wright and being offered a position at Taliesen, Betancourt, instead headed to Cuba to dedicate his skills to the revolution.

Chess Park in Cuba

One works their way up the park to a nice little cafe that sits under the canopy. This mimics the hills of Santiago de Cuba.

Betancourt arrived in Havana in 1961 but quickly moved to Holquin and eventually settled in Santiago de Cuba. By this time most architects had fled Cuba so the work to launch a new building program by Castro was left to the younger generation.

This building efforts goal was to reapportion wealth after the Bautista regime.  The hopes were high, and architects experimented with new forms and materials to help define the Cuban definition of Modernism.

Park in Cuba

Betancourt is credited with fifteen built buildings, and another 30 unbuilt buildings before his early death at 46 in 1978.  His was the last era of private practice architects in Cuba.  In 1963 the Castro regime abolished the practice of architecture and shut down the College of Architects.

Chess Park, Santiago de Cuba

Interestingly, modern architecture tended to thumb its nose at tradition and tended to stay away from symmetry. The symmetry in this park is striking in its use.

St. Josephs of San Francisco

 Posted by on May 9, 2016
May 092016
 

1401 Howard at 10th
SOMA

St Josephs Church SOMASt Joseph’s Church was founded, at 10th and Howard, in 1861, by Archbishop Joseph Alemany. The church, home to over 300 mostly Irish families, was destroyed in the 1906 Earthquake and Fire.

The church we see today was constructed in 1913. By that time, the Irish of the neighborhood had moved away and the church welcomed families from Latin America, the Philippines and the Pacific Islands. By 1980 St. Joseph’s was the largest Filipino parish in the US.

The two cupolas rise above the SOMA area, making St. Joseph's one of the most prominent buildings in the area

The two cupolas rise above the SOMA area, making St. Joseph’s one of the most prominent buildings in the area

The church building was designed by San Francisco architect John J. Foley in the Romanesque Revival style.

It is cruciform in shape, with an exterior constructed of brick, covered in stucco. The main entrance is through doors set inside three large Roman arches just below a large rose window.

Rose WindowSaint Joseph’s Church is a San Francisco Landmark and on the National Register of Historic Places. The goal is to fully rehabilitate the church structure into offices, for what is estimated to be $15million. The church, closed after the 1989 Loma Prieta Earthquake and has been vacant and neglected since then.

Interior of the church in 2008. Photo courtesy of SF Gate.

Interior of the church in 2008. Photo courtesy of SF Gate.

There is little known about John J. Foley. He studied at the Armour Institue in Chicago and worked as a draftsman for Peter J. Weber in Chicago in 1905 before coming to San Francisco. He designed many churches throughout California as well as public buildings and residences. He died April 20, 1946.

2019 Update:

The church was purchased by Ken Full and is not the Saint Joseph’s Art Society.  Here are some photos of the newly remodeled interior.

* * * * *

 

The Acme Brewing Company in San Francisco

 Posted by on April 25, 2016
Apr 252016
 

762 Fulton
Western Addition

Acme Brewing San Francisco

On March 12, 1917, the San Francisco Call-Bulletin reported:

“Six San Francisco breweries, facing financial loss, or insolvency, through proposed legislation regulating manufacture of maltuous drinks, have pooled their interests into one association for the manufacture and distribution of beers and malts. The body is to be known as the Acme-National Brewing Company. J.P. Rettenmayer, president of the Acme Brewing Company and head of the State Brewers’ Association, is president of the consolidated companies.

The breweries included in the merger are: National Brewing Company, Henry Weinhard Brewery, Claus Wreden Brewing Company, Union Brewing and Malting Company, Acme Brewing Company and Broadway Brewing Company.”

Only two of the breweries continued as plants of the (renamed) California Brewing Association: the Acme Brewery, and the National Brewery. All of the other breweries ceased production and closed, but their parent companies continued to operate until they were all were forced out of the beer business by Prohibition, January 16, 1920.

In 1935 the California Brewing Association built this art deco gem for their general office and sales department. The building also housed a hospitality tasting room. The architect is unknown.

The building was used by the Redevelopment Agency’s Western Addition Field Office during the scourge of the Western Addition.

The building now houses the African American Art and Culture Complex.

California Brewing Association

Moya del Pina was commissioned to paint three murals in the boardroom.  You can read about them here.

 

John Muir Elementary School

 Posted by on April 20, 2016
Apr 202016
 

John Muir Elementary School
380 Webster
Hayes Valley

John Muir Elementary SF

In the ten years between 1920 and 1930 San Francisco erected 49 new school buildings, with a 50th approved in 1931.

This was all accomplished just 80 years after the birth of the San Francisco School System.

These 50 school buildings represented an investment, at that time, of $17,418,814.

The 1931 Report of the Superintendent showed that the forty-seven schools had an enrollment of 42,976 students, and an additional 4000 to be enrolled when the remaining three, still under construction at the time of the report, were to open.

At that time the school system of San Francisco had an enrollment of 82,438 children. Today that number is only 57,000.

This staggering growth rate most likely explains why there is so little information about John Muir Elementary School. It was the 32nd on the list, likely just another, of so many, schools on the drawing table of City Architect John Reid.

Tiles adorn the interior doors of the auditorium

Tiles adorn the interior doors of the auditorium

John Muir Elementary was begun in 1926 and completed in 1927. Its stucco covered, reinforced concrete construction is minimal.

While there is lovely tile details in the entry and auditorium, the building is fairly unadorned.

Small little alcoves for teachers are by each classroom door.

Small little alcoves for teachers are by each classroom door.

There are delightful little details, such as kid high blackboards, and small little boxes to the side of each classroom where teachers can post notes, but few other adornments. Small wood peg closets and built in benches on the top floor hallway, are a sign of more personalized design and construction considerations, but the school is still minimal. This is all made up for in its warmth and stunning views from the East side windows.

Iron grates and decorative tiles, show an attention to craftsmanship.

Iron grates and decorative tiles, show an attention to craftsmanship.

Born in San Francisco in 1883, John Reid Jr. was born in San Francisco and attended Lowell High School. He then studied architecture at Berkeley under John Galen Howard, a significant mentor and important early Bay Area architect.

With Howard’s encouragement, Reid applied to the Ecole de Beaux Arts in Paris (the most important design school of the time). His studies in Paris placed him among a very elite class of California architects.

Reid returned to a post 1906 Earthquake and Fire San Francisco. Due to his connections he worked briefly for renowned architects Daniel Burnham and Willis Polk, then established his own practice around 1912.

That same year, Reid’s brother-in-law, Sunny Jim Rolph, was sworn in as mayor, and appointed Reid as a supervising architect to execute the design for San Francisco’s new City Hall, designed by John Bakewell and Arthur Brown Jr.

He became San Francisco City Architect in 1917 and remained in that position until 1927, with school design and construction a high priority, as the earthquake had totally destroyed or damaged most of the city’s schools.

There are three WPA murals in the school, done by David Park in 1934.  You can read about those here.

 

 

Apr 182016
 

1187 Franklin

 

Ceiling of Unitarian Church SF

The modern portion the First Unitarian Universalist Church of San Francisco was built in the 1960s and designed by Charles Warren Callister of the architectural firm of Callister, Payne, and Rosse.

The church is a grand display of architectural beauty in its simplest form. The highlight of the Church is the elegant and historic Sanctuary, which features large, stained glass windows, dramatic chandeliers, and a stunning oak ceiling. A rear balcony with light cascading from another large stained glass window holds a rare, three-thousand pipe organ, designed by Robert Noehren, a renowned University of Michigan organist.

Sculpture Universalist Church SF

Outside in the courtyard is Interface by Demetrios Aristides. Aristides was born (1932) and raised in Massachusetts. His father, George Demetrios, was a classical sculptor, trained by Bourdelle, a student of Rodin. His mother, Virginia Lee Burton was the renowned author and illustrator of children’s books, including Mike Mulligan and His Steam Shovel, and The Little House, for which she won the prestigious Caldecott prize. After graduating from Harvard College in 1953, Mr. Demetrios spent three years as an officer in the Navy and then studied at the George Demetrios School from 1956 to 1959. He studied at the University of California School of Architecture, in 1959.

Small Chapel by Charles Warren Canister

The Thomas Starr King room, one of several stark but stunning spaces within the Universalist Center grounds.

Charles Warren Callister ( 1917– 2008) was an American architect based in Tiburon. He is known for the hand-crafted aesthetic and high-level design of his single-family homes and large community developments.

Chinatown Public Library

 Posted by on December 21, 2015
Dec 212015
 

1135 Powell Street
Chinatown

Chinatown Public Library

The Chinatown Branch of the San Francisco Public Library started its life as the North Beach Branch.  It was changed in 1958.

Andrew Carnegie left the City of San Francisco, then under Mayor James Phelan, $750,000 for a main library and branches. One half was for the main library and the rest to be distributed amongst seven branch libraries.  The city paid the difference of $1,152,000.

Most of these seven branches have been enlarged very slightly, all have been retrofitted to modern earthquake standards and all are included in San Francisco’s “List of Architecturally Significant Buildings.” All of the branches still serve as libraries.

The old North Beach Carnegie branch was the sixth of the branches built with the Carnegie donation and occupies almost all of the  70’x137′ lot it sits on.

The site was formerly occupied by a school and cost $68, 186.

The building was designed by G. Albert Lansburgh in the Italian Renaissance style.

Gustave Albert Lansburgh (1876 1969) was largely known for his work on luxury cinemas and theatres. He was the principal architect of theaters on the West Coast from 1900 – 1930.

Lansburgh was born in Panama and raised largely in San Francisco. After graduating from Boys High School, he enrolled in UC, Berkeley. While a student there, he worked part-time in the offices of architect Bernard Maybeck. Upon graduation from Berkeley, he enrolled in the  École des Beaux-Arts, and graduated in 1906.

Lansburgh returned to the Bay Area in May, 1906, just in time for the building boom that would take place after the earthquake and fire.

First in partnership with Bernard Julius Joseph for two years, then in his own practice, Lansburgh designed numerous buildings in the recovering city. Among these was his first theater, for the San Francisco-based Orpheum Theater company.

Fillmore Car Barn and Powerhouse

 Posted by on August 24, 2015
Aug 242015
 

Corner of Turk and Fillmore

Filmore Car BArn

This was one of the first and one of the largest substations built at the turn of the century when street cars were first converted to electric power.  The construction date has been documented as both 1902 and 1907.

United Railroads owner, the owner of the line when the building was built, was Patrick Calhoun.  Calhoun was a boxing fan and often hired professional fighters as motormen and conductors.  There was a gym to the right of the building, explaining why there are no windows on that side of the building.  That lot is now the Fillmore-Turk mini park.

Turk-Filmore Mini Park

The Fillmore-Turk Mini Park

United Railroads was the third iteration of the company. The first franchise, what would become the Market Street Railway, and the first street-railway on the Pacific coast, was granted in 1857 to Thomas Hayes. The line was the first horsecar line to open in San Francisco and it opened on July 4, 1860. A few years later, the line was converted to steam power utilizing a steam engine that was part locomotive and part passenger car.

After the 1906 Quake

After the 1906 Quake

By the 1906 earthquake it was the United Railroads of San Francisco.  After the quake the Fillmore Street line was the first to go back into service.

Inside the substation, photo courtesy of SFMTA

Inside the substation, photo courtesy of SFMTA

In 1944 all the street lines were absorbed into the Municipal Railway.  The Fillmore substation fed power to streetcars in the western half of the city until 1978, when a new substation was built at Sutter and Fillmore and the old one was declared surplus, it was then declared a landmark.

Turk and Filmore car barn

August 4, 1921 Photo courtesy of SF Public Library

The building has been sitting vacant and in bad shape – the ventilation tower collapsed and for a while the back wall was held up with posts.  The Redevelopment Agency bought it with plans to convert it into a community center. The plan never got off the drawing table, so the building was sold back to the city. At this point, it continues to sit empty with no foreseeable future.

Hellenism in San Francisco

 Posted by on July 7, 2015
Jul 072015
 

Hellenistic Plaque at Moscone Center

This plaque sits, somewhat neglected in an ivy bed at the corner of 3rd and Folsom Streets at the Moscone Center.  I, like so many people, have seen it, read it, and continued on my way.  I began wondering what was behind it.

The Greek immigrant community was one of the largest and most conspicuous communities South of Market prior to the 1960s. Greeks had begun coming to San Francisco even before the 1906 Earthquake,  the community grew rapidly prior to the First World War as Greeks escaped their own war-torn and poverty stricken homeland. Many made their way across the country as railroad workers. According to the San Francisco Chronicle (December 9, 1923) by 1923, 11,500 Greeks lived in San Francisco.   In that year, San Francisco contained 26 Greek-owned coffee houses, 380 Greek grocery stores, and 120 Greek shoe shine stands. Many other Greeks worked in auto repair shops, banks, or upholsterers’ shops. Some with transit experience got jobs with the San Francisco Municipal Railway. San Francisco’s Greek community, although dispersed across the city, was centered on the intersection of 3rd and Folsom streets.  For a while, the presence of so many Greek businesses gave the area the name Greek Town.

The First Holy Trinity Church

The First Holy Trinity Church

What is left of this vast Greek population in the South of Market area is Holy Trinity.  This edifice, the first Greek Orthodox Church west of Chicago, was founded in 1904 at 345 7th Street. The church was destroyed in the 1906 Earthquake and Fire. It was rebuilt, at an original cost of $20,000 in 1907 with additions throughout the years immediately following.  In 1964 the church was sold to St. Michael’s Ukrainian Orthodox Church.

Old Newspaper article about 1st Greek Church in San Francisco

First Greek Church in SF

 

The architect for the second church was an S. Andrio and the contractors were R.R. Thompson of San Francisco.  In 1922, the church was radically remodeled and the architect for that job was John Bowers of San Francisco.

According to volume 7 of the Architect and Engineer   “the building will be of frame construction, ornately decorated, the dome and roof being supported by eight pillars.

The San Francisco Call on October 15, 1906 reported “New Church Plans Approved by Representative Greeks Edifice Will Be Built on Seventh Street. A new Greek church on Byzantine Greek lines of architecture is destined to rise in San Francisco, according to the plans accepted by the Greek Society. A meeting of representative Greeks was held yesterday afternoon at 1735 Market street, at which the plans were displayed and discussed. The edifice, which will be called Holy Trinity, will be located at 317 Seventh street, and will cost more than $20,000.

In addition to the church a school will be attached, in which the children of the Greek population of over 3000 in this city will be educated. The church itself is to be ornately decorated, the dome and roof being supported by eight pillars. The building will measure fifty feet by seventyflve. The architect Is S. Andrio. –

 

The historical photos are from the great website for Hellenistic history in San Francisco San Francisco Greeks.

 

Compton’s Cafeteria

 Posted by on June 27, 2015
Jun 272015
 

Corner of Turk and Taylor
Tenderloin

Compton's Cafeteria Riot

Funny how a plaque can stop you and educate you about something you may have known nothing about, and at the exact same time leave out so very very much of the story.

If you were to hear about this event during those times you would have been told that in Gene Compton’s Cafeteria at the corner of Taylor and Turk Streets, in August 1966*, a person, described as a “queen” threw a cup of coffee in a police officers face.  The police began arresting “queens” and a riot broke out.  The riot included around 50 to 60 patrons, and an unnumbered amount of police.

*The exact date of the riot is unknown because 1960 police records no longer exist and the riot was not covered by newspapers.

Photo Courtesy of Shaping San Francisco and FoundSF

Photo Courtesy of Shaping San Francisco and FoundSF

While hard to believe in our more progressive times that it was unlawful to crossdress or impersonate a female in San Francisco in 1966. The harassment of “effeminate” gay males was prolific and since discrimination was so prevalent, often the only type of employment open to the transexual, drag performing and “gay” population was prostitution.   The one thing that has not changed was that the tenderloin was a place to ply your trade.

Another thing that has not changed is Glide Memorial’s open heart and helping hand to the situation.  Glide began a program titled Vanguard to help trans and gay youth improve their living situations. Vanguard had been holding their meetings at Gene Compton’s Cafeteria.

To continue the story in the words of Susan Stryker, author of Screaming Queen:

“Late one August night in San Francisco in 1966, Compton’s Cafeteria was hopping with its usual assortment of transgender people, young street hustlers, and other down-and-out regulars who found refuge there from the mean streets of the seedy Tenderloin neighborhood. The restaurant’s management, annoyed by a noisy crowd at one table that seemed be spending a lot of time without spending a lot of money, called the police—as they had been doing with increasing frequency throughout the summer. A surly cop, accustomed to manhandling Compton’s clientele, grabbed the arm of one of the queens.

She responded unexpectedly and threw her coffee in his face. Mayhem erupted: plates, trays, cups, and silverware flew threw the air at the police, who ran outside and called for backup. Tables were turned over, windows were smashed, and Compton’s queer customers poured out of the restaurant and into the night. The paddy wagons pulled up, and street fighting broke out in Compton’s vicinity, all around the corner of Turk and Taylor. Drag queens beat the police with their heavy purses, and kicked them with their high-heeled shoes. A police car was vandalized, a newspaper stand was burned to the ground, and—in the words of the best available source on what happened that night—“general havoc was raised in the Tenderloin.”

According to Strykers’s Screaming Queens the next night, more transgender people, hustlers, Tenderloin street people, and other members of the LGBT community joined in a picket of the cafeteria, which would not allow transgender people back in. The demonstration ended with the newly installed plate-glass windows being smashed again.

All of this was three years before Stonewall.

If you would like to explore further, Susan Stryker’s documentary is titled Screaming Queens .  The fascinating story, by the author and filmmaker, about how the movie came about, can be read here. 

The building today 2015

The building today 2015

The building itself has a wonderful history as well.  It was designed by architect Abraham M. Edelman and built in 1907.  At that time it was the 115 room with 50 baths Hotel Hyland.  It became the Hotel Young in 1908, The Hotel Empire in 1911 the Chapin Hotel in 1920, the Hotel Raford in 1923 the Tyland Hotel and then the Warfield Hotel in 1982 it is now the Taylor Street Apartments.

Abraham (or Abram) M. Edleman (August 19, 1863) was the son of a Polish-born American rabbi living in Los Angeles.  While most prolific in Los Angeles, with many buildings on the National Historic Register, he often worked in partnership with firms in San Francisco.

Edelman began his own practice in Los Angeles in the 1880s; he became a member of the Southern California Chapter of the American Institute of Architects in 1902 and remained a member until 1941.

Edelman’s education came from having worked as an apprentice for various architects in San Francisco, which most likely is how his name became attached to this particular building.

 

 

 

83 McAllister

 Posted by on May 27, 2015
May 272015
 

83 McAllister San Francisco

This is the Methodist Book Concern.  The book concern, established in 1789 in Philadelphia, was the oldest publishing house in the United States and used Abington press as their trade imprint. It is now the United Methodist Publishing House and it is the largest general agency of The United Methodist Church.

The Methodist Book Concern furnished reading material to church members and helped support ministers, who received liberal commissions for selling the publications. ”The preachers still feel the need of the press as their most potent ally in their work,” said The Methodist Review in 1889

Notice the MBC along the roof-line

Notice the MBC along the roof-line

The building was designed by Lewis Parsons Hobart (January 14, 1873 — October 19, 1954) an American architect whose designs also included San Francisco’s Grace Cathedral.

Hobart received bachelor’s and master’s degrees from the University of California, Berkeley, and studied at the American Academy in Rome and the École nationale supérieure des Beaux-Arts in Paris.

Hobart played a role in the rebuilding efforts of the San Francisco Bay Area following the 1906 San Francisco earthquake, designing several buildings, including the Methodist Book Concern that was completed in 1909.

Hobart became the first President of the San Francisco Arts Commission in 1932 and was also appointed to the Board of Architects for the 1939 Golden Gate International Exposition.

Methodist Book Concern San Francisco

The Methodist Book Concern was built on the site of the Yerba Buena Cemetery.

“Sixteen More Graves Discovered on Site of Yerba Buena Cemetery. Nine more bodies were uncovered by workmen excavating for the Methodist Book Concern’s new building on City Hall avenue and McAllister street yesterday, on the site of the old Yerba Buena Cemetery, one of the oldest burial grounds in the city of San Francisco, now in the heart of the great down town district. This makes a total of twenty-five graves that have been discovered on this site since excavation was begun last week. The first grave was discovered on Friday afternoon, with a well preserved headstone erected in 1851.
When it became known that the workmen were excavating on the site of the famous Yerba Buena Cemetery, a great crowd collected to watch the uncovering of the graves. Many rotted coffins were discovered, but in every case, the bodies had completely decomposed, owing to the damp and sandy nature of the soil, and only a pile of bones remained to tell that a human being had once been interred there.

By Tuesday night the workmen had uncovered the remains of sixteen bodies and these were placed in a little box and left for the Coroner. No one was sent form the Coroner’s office on Tuesday night, however, and when the workmen went to work yesterday morning all the skulls in the collection had been stolen. It is presumed that they were taken by medical students, or ghouls. What remained of the sixteen bodies was taken away by the Coroner’s deputy yesterday afternoon, and the bones will be reburied to remain until, perhaps, the advance of civilization once more unearths them in the midst of a populated district.”

The Yerba Buena Cemetery was abolished by the city hall act, passed by the State Legislature of 1869-70, providing for the removal of the cemetery and the erection of a City Hall on the property. The validity of this act was fought long and hard in the courts, on the ground that the tract was sacredly dedicated as a cemetery, and the fight was carried to the Supreme Court of the State in the case of San Francisco vs. P. II. Cannavan, who was at that time a member of the Board of Supervisors. The act was upheld, however, and the cemetery was removed in 1871.

That portion where the bodies are being found was one of the lowest spots in the cemetery, and it is probable that the graves which are being unearthed may have been covered by sand before the cemetery was removed. The graves are from twelve to twenty-five feet below the surface.”

Source: San Francisco Chronicle, 9 April 1908.

San Francisco's First City Hall

The building does not sit flush with the street because its original address was City Hall Avenue.  These streets were all changed when the new city hall was moved off of Market Street after the 1906 Earthquake.

Yerba Buena Cemetery Map

The original address of the Methodist Book Concern was 5 City Hall Avenue

The original address of the Methodist Book Concern was 5 City Hall Avenue.            Sanborn 1905 map

The Methodist Book Concern location today

The Methodist Book Concern location today

Methodist Book Concern

 

After having served as the Church of Scientology building for many years, the building has undergone a substantial seismic renovation and is now condominiums.

 

 

Native Sons of the Golden West

 Posted by on September 2, 2014
Sep 022014
 

414 Mason Street
Union Square

Native Sons of the Golden West Building in San Francisco

The Native Sons of the Golden West Building on Mason street is an eight story, steel frame structure, with a highly ornamented façade of granite, terra cotta and brick.

Men of California History

Around the two main entrances to the building are placed medallions of men associated with the discovery and settlement of California. They are (starting at the bottom and moving up and to the right): Cabrillo, General John A. Sutter, Admiral John Drake Sloat, Peter Burnett, General A. M. Winn,  James W. Marshall,  John C. Fremont and Father Junipero Serra. These were sculpted by Jo Mora, who has been in this site many times before.

 

Men in California History

In the front of the building at the second floor are  six terra cotta panels, the work of Domingo Mora and his son, Jo. The scenes are:  “The Discovery of California”; “Civilization”; “The Raising of the Bear Flag”; “The Raising of the American Flag”; “The Pioneers”; “The Discovery of Gold.”

Civilization on the NSGW Building

*Jo Mora on the Native Sons of the Golden West Building

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Jo Mora sculptures

 

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Epochs in Pioneer History

 

Sadly, due to the awning on the building it is impossible to see all 6 of the panels.  I was unable to find photos of the other two anywhere, to share with you. This is the best I could do, by blowing up a photo I took from across the street.

The third Floor is marked by a line of the symbol of the State of California, the Golden Bear.

Golden Bears by Jo Mora on the NSGW Building in San Francisco
The California Bear and the Phoenix, the symbol of San Francisco, also grace the front of the building.

Pheonix the Symbol of San Francisco*

California Golden Bear on the NSGW Building in San Francisco
The Association purchased the lot from the Congregation Ohabai Shalome, for $42,500. The original Native Sons of the Golden West building built in 1895, burned down in the 1906 Fire and Earthquake.

The cost of the new building ws approximately $210,000.00

The architects of the new building were August Goonie Headman, Persio Righetti  and E. H. Hildebrand, of Righetti and Headman, a firm that operated for 5 years during the post Earthquake and Fire of 1906.

The Contractor was  P.J. Walker and Associates and the foreman on the job was Mr. J.S. Fifield.
Cornerstone of the NSGW Building in San FranciscoThe corner stone of the new building was laid February 22, 1911. It is the old corner stone saved from the fire with a new stone covering it.

Vivande

 Posted by on August 19, 2014
Aug 192014
 

670 Golden Gate
San Francisco

Vivande Restaurant Face

In 1993 Vivande Restaurant opened a second, larger and moral formal restaurant at 670 Golden Gate Avenue.  They wanted to recreate the front door of the famous house designed by Federico Zuccaro in 1591 just of the Spanish Steps in Rome.

Federico Zuccaro home on the Spanish Steps in Rome

Michael H. Casey, of course, put his own spin on the entryway, especially in the use of his own wild eyebrows.

Michael H. Casey Sculptor of Vivande DoorThe statement in the back behind Michael says “Quanto Basta” which means “enough”.  Michael was studying Italian at the time and was proud of his command of the language.

He is shown here in front of the finished sculpture the night of its unveiling.  Michael H. Casey Designs always held a large party when a sculpture was completed, but before it was cast, as they always looked their very best in clay.

Carlo Middione Press Release for opening of the Restaurant

The owner of Vivande, Carlo Middione sadly closed Vivande after sustaining injuries to his sense of taste and smell in an auto accident in Spring of 2007.

Michael's drawing for the planned entryway

Michael’s drawing for the planned entryway

 The building is now an insurance company.  When the property managers realized that the restaurant was closing they called Michael to ask how hard it would be to remove the face.  Michael said that it was simply made of plaster and would not be difficult, and that he would like to help to ensure that it was not damaged, as possibly it could go someplace else.  The manager, said, no we LOVE the face, however, it might be inappropriate for some businesses, fortunately the insurance company loves it too.

Vivande Restaurant FaceI have left the post it note that Michael put on this article when he laid it on my desk.  It truly shows his unique sense of humor.  I do not know why the photo of the director was taken in front of the mouth, I must assume the interview took place at the restaurant because the article does not say.

Selling the Sizzle not the Steak

 Posted by on August 19, 2014
Aug 192014
 

Palace Court Subdivision
Las Vegas Nevada

Robert Symmons and Queensridge

Around 1996 Robert Symons hired Michael H. Casey Designs to manufacture 2 guard houses for Queensridge.  This was a potential housing development in the Las Vegas Desert.  Michael always said they were to sell the sizzle, not the steak, as there was nothing there at the time.

Guard Houses at Queensridge Las Vegas

The guard houses were made in pieces out of GFRC so that they could be trucked to Las Vegas and put together at the job sites.

Queensridge, Las Vegas

Chimney Rock Winery

 Posted by on August 17, 2014
Aug 172014
 

Chimney Rock Winery
5350 Silverado Trail
Napa Valley, California

Chimney Rock Tympanum Sculpture

1989

This was our first big job as Michael H. Casey Designs.  The winery, at the time was owned by Mr. and Mrs. Hack Wilson.  The Wilson’s had been the Coca-Cola distributors in South Africa and they wanted to bring the Dutch-Cape style architecture of Mrs. Wilson’s homeland to the Napa Valley.

Michael H. Casey and Chimney Rock Winery

The design was given to Michael H. Casey. The Wilson’s wanted to replicate the oldest winery in Cape Town, Groot Constantia.  The tympanum sculpture was originally done on the Cloete Wine Cellar by Anton Anreth.  It is titled the Rape of Ganymede. It depicts the myth of Zeus, in the form of an eagle/swan, abducting the youthful and gorgeous Ganymede to become his cup-bearer.  There are putti arranged throughout the front row of wine vats and bunches of grapes tying the entire thing together.

The Rape of Ganymede By Michael H. Casey

As any good artist does, Michael did not copy exactly.  He assured people that you will find several of his friends faces amongst the putti and his wife’s backside in one as well.

Ganymede being abducted by Zeus forms the center of the sculpture.

Ganymede being abducted by Zeus forms the center of the sculpture.

As you can see, Ganymede is fairly well endowed.  When asked how much is enough, Michael always said that he was a benevolent God, but not so much that Ganymede looked silly.

An observant person will also notice that from the clay to the GFRC cast the sculpture is now reversed.  This happens in the molding/casting process.

Installation of the Rape of Ganymede at Chimney Rock Winery

The sculpture was done in three parts out of GFRC, and then set into the existing tympanum.

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The sculpture was used for years on the winery’s public relations media.Chimney Rock Postcard

 

The Napa Register, November 17, 1989

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Chimney Rock Winery

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Chimney Rock Winery Sculpture

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Chimney Rock Winery Sculpture

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Chimney Rock Winery Sculpture

 

South Hall

 Posted by on August 16, 2014
Aug 162014
 

South Hall
University of California, Berkeley

South Hall UC Berkeley

 South Hall is the oldest extant building on the University of California campus.  The entryway, originally in wood, was completely restored in GFRC (Glass Fiber Reinforced Concrete) in 1996.  The architect on the project was Irving Gonzales and the General Contractor was BBI.

South Hall Original Wood StructureMichael H. Casey Designs was hired to completely rebuild the entryway portico in GFRC.  This required making molds and casting all elements.  This also required sculpture where elements were missing.

South Hall Portico Original Wood StructureTrue to form, as in the El Granada Building, Michael Casey sculpted a small Cal Bear, if you look very closely you will find it resting somewhere in the structure.

South Hall is listed on the National Register of Historic Places and is included in the Berkeley campus designation as a California Registered Historical Landmark and is listed on the State Historic Resources Inventory, and is a City of Berkeley Landmark.

Its entire history can be found on pages 41-44 of The Campus Guide University of California by Harvey Helfand

 

1940 Packard Building Comes Back to Life

 Posted by on August 16, 2014
Aug 162014
 

865 The Alameda
San Jose, California

865 The Alameda in San Jose

This photo shows the Packard Buidling in 1940.  Notice the wonderful sculptural detailing over the windows and the doors.  As often happened during the 1960’s and 1970’s many buildings were stripped of their ornamentation to reflect the modernism trend that was sweeping the country.

Packard Building Prior to Rehabilitation (before)

In 2009 the engineering firm Biggs Cardosa, who bought the building in 2007,  hired Michael H. Casey Designs to re-create all of the cast stone ornamentation that was originally over the doors and window.

Michael H Casey Designs Cast Stone at 865 The Alameda in San Jose

The projected was done in panels, originally sculpted by Michael H. Casey, to make the installation easy. Once the sculpture was done the final product was molded and cast in GFRC by Michael H. Casey Designs.

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The cohesive group that consisted of the owners, the contractor, Garden City Construction and the architect Garcia-Teague made this one of the funnest projects that Michael H. Casey Designs had the pleasure of working on.

GNA05-02-11_Cast Stone Ornamentation (after)

Michael H. Casey sketches for ProjectAs Michael often did, he worked from old photographs of the building to as closely recreate the original as possible.

Michael H. Casey Sketches for Project

Michael H. Casey Sculptures

Michael H. Casey Sculpture

Michael H. Casey Sculpture

Michael H. Casey Sculpture

Michael H. Casey Sculpture

Michael H. Casey Sculpture

The Rialto Building

 Posted by on July 2, 2014
Jul 022014
 

116 New Montgomery
South of Market

San Francisco's Rialto Building

I became intrigued with this building when a friend showed me this Black and White photo in the lobby of the Rialto.

SF Earthquake Rialto Building

(Note: the round building on the left is the Crossley building)

The Rialto is an eight-story H-shaped plan with center light courts.  It has a steel frame clad in brick and terra cotta. The eighth story is highly ornamented. The façade accommodated the lack of interior partition walls by providing a large space between the window mullions. This allowed partitions to be erected between the windows once floors were leased.  Since the interior lacked dividing partition walls, tenants could rent large floor areas that could be configured according to their needs.

The Rialto Building SF Originally constructed in 1902, it was reconstructed in 1910 after the 1906 Earthquake and Fire. The original 1902 building façade was maintained. The 1910 reconstruction consisted primarily of structural improvements.

Rialto Building SF Interior

In 1902, during the 20th century building boom, Herbert Law financed construction of the Rialto Building, as well as the Crossley Building.  The Rialto was named after a commercial center in Venice, Italy, a rialto is an exchange or mart.

Law hired the architectural firm of Meyer & O’Brien. Meyer & O’Brien, who despite only operating between 1902 and 1908, were prolific in the Financial District, designing some of San Francisco’s most prominent buildings, including the Monadnock Building, 637-687 Market Street (1906); the Humboldt Bank Building, 793- 785 Market Street (1906); the Hastings Building, 180 Post Street (1908); the Foxcroft Building, 68-82 Post Street (1908); and the Cadillac Hotel, 380 Eddy Street (1909).

Photo from Meyer & O'Brien lobby. Exact date not determined.

Photo from Meyer & O’Brien lobby. Exact date not determined.

Front of the Rialto Building in San FraciscoTerra Cotta work by Steiger Terra Cotta and Pottery Works

After the 1906 Fire and Earthquake Bliss & Faville was hired to supervise the reconstruction of the Rialto Building, as Meyer & O’Brien were no longer architectural partners and Bliss & Faville had gained prominence. Bliss & Faville was among the most established architectural firms in San Francisco during the reconstruction period after the Earthquake and Fire.

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In June 1910, the San Francisco Call newspaper ran this article:

“The reconstruction of the old Rialto building at the corner of Mission and New Montgomery streets has begun. Dr. Hartland Law, the owner, is preparing to spend about $500,000 in rebuilding it on a handsomer plan than the original structure. The old building was erected in 1901 at a cost of $650,000.

The great fire left it a complete wreck. The walls have stood, but the steel frame was so bent and twisted most of it has had to be taken out. New steel columns have been put in from basement to roof. All the steel is being fireproofed with cement this time, instead of with terra cotta, as previously. The fireproof flooring is already in on the two upper stories. All the reconstruction work will be of class A quality throughout. The outer brick work will be cleaned and treated in some way to brighten it up and make it look like an entirely new building. The corridors will be wainscoted with marble and will have a flooring of mosaic tiling. They will be wider and brighter than in the old building. The woodwork of the building will be of oak. Metal doors probably will be put in. Special attention is being paid to the plumbing equipment. There will be a vacuum cleaning system and compressed air supplied to all the offices. There will be four high speed elevators, the contract for putting them in having already been let. The light, heat and power for the building will be supplied from a plant being constructed on a lot adjoining the main building. A special feature will be equipment for sterilizing water for drinking purposes. After the heating process it will be cooled and distributed to every suite in the building by faucets. In this and other ways Doctor Low [sic] has studiously endeavored to make the new building thoroughly modern and up to date in every particular. McDonald & Kahn have general engineering charge of the whole reconstruction work and are letting all the contracts. Bliss & Faville are the architects.”

September 1906

September 1906

When the work on the Rialto Building was complete, the project was lauded as the building that restored faith in the City. The Rialto Building had been the feature of numerous newspaper articles during the reconstruction period because of its location and because the building shell had remained intact and highly visible.

San Francisco Flower Market

 Posted by on June 9, 2014
Jun 092014
 

San Francisco Flower Market
6th and Brannan
SOMA

 

With the face of San Francisco changing so very rapidly right now, I thought I would take a look at a block of buildings that has been a stalwart in the South of Market area serving an single industry, the San Francisco Flower Market.  There are only 5 grower owned Flower Markets in the United States, and San Francisco is privileged to have one of those.

San Francisco FLower Mart

A coalition of three ethnic groups founded the organizations that began the early San Francisco Flower Mart. Italian growers started the San Francisco Flower Growers Association; Japanese growers founded the California Flower Market, Inc.; and Chinese growers ran the Peninsula Flower Association. Each group brought its flower growing expertise and individual personalities to the mix. When they joined collectively in 1926, the flower industry in San Francisco changed forever. Today, two of the original stockholders operate the Mart. These stockholders are members of the California Flower Market and the San Francisco Flower Growers Association.

San Francisco Flower Mart

Darold Fredricks of the Daily Journal wrote an excellent history of the Flower Market some of which I have excerpted it here:

Before 1900, a unofficial flower market sprung up on Market Street around Lotta’s Fountain. There was a transportation system in place with the trolley cars on Market Street and others that converged in this area. Twice a week, the growers and retailers met between Lotta’s Fountain and Podesta and Baldocchi flower shop at 7 a.m. and inspection of the blooms were made, deals from buyers consummated and demand gauged for the shops.

Flower Vendors Downtown San Francisco

All went well until the 1906 earthquake. Because of the increasing number of growers that sprung up down the Peninsula and the problem of keeping the area clear of large crowds, the flower market was banned from the Lotta’s Fountain area and they had to find another site at which to gather. They found a place between Montgomery and Kearny streets. This site was indoors.

Kearny Street Flower Vendors

Due to the destruction of many buildings and the rapidly developing market for flowers, the three main ethnic groups of growers — Italians, Japanese and Chinese — developed their own market locations. The Italians grew field variety of flowers and ferns; the Chinese raised outdoor pompons and asters; and the Japanese specialized in greenhouse-grown flowers, chrysanthemums, roses and carnations. These groups felt they could find adequate space for their wholesale market they split up. The Italians started the San Francisco Flower Growers Association, the Japanese growers founded The California Flower Market, Inc., and the Chinese ran the Peninsula Flower Growers Association. They nevertheless remained close to the Kearny/Market Street vicinity.

Old Time Shots of Flower Selling in Downtown San Francisco

The growers met with increasing resistance by developers in the city as land became too valuable for only plots of flowers. With a surplus of land available down the Peninsula, groups began planting swaths of land around Millbrae and San Mateo. The San Francisco Water Department rented land in Millbrae and the Cozzolinos and Betrocchis, the Ludemanns , DelDons and a few others purchased growing land to meet the challenge of the increasing market. The Mock family settled in San Bruno and the Leong family in San Mateo.

In 1924, however the three groups relocated to large central complex at Fifth and Howard streets.

In 1956, the organization of growers moved to a new building at the corner of Sixth and Brannan streets. Here there was room for 100 vendors in the 135,000 square feet of space.   

This is a fun video, made in the 1970’s, of the flower market.

In 2007 there was a lot of scuttlebutt about the closing of the flower mart,  Amy Stewart, author of Flower Confidential commented, “This isn’t the ’50s or ’60s. No one wears corsages or orders a centerpiece for a dinner party from the florist down the street,” Stewart said. “People buy their flowers at Costco, Whole Foods and Trader Joe’s”, only time will tell.

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This story was an adjunct of a friend asking me about a little fellow on the exterior of the building.  Ron Chiappari at the Flower Mart and Kim Hernandez of McClellan Botanicals (where my grandmother bought her orchids, as do I) have both been very helpful in my quest to determine who he is and why he is in the sidewalk on Brannan street, alas, no one knows why.  If you have any information, please contact me.. the mystery continues.

Armadillo on Brannan Street

 

Jan 242014
 

EL Granada At Sather Gate
2510 Bancroft
Berkeley, California

The Granada was built by Patrick O’Brien in 1904, and had been passed down in the family ever since.

He built it so that everybody in the family would always have a roof over their heads, and so the building would always support the family.

El Granada newer0001

Like so many projects that go through time, the ornamentation was removed in the 1960’s or 1970’s to create a more streamlined effect.  In 1995 The Munger Brothers hired Michael H. Casey to recreate the two highly ornamented decorations above the windows.  Working from old photographs from the early 1920’s, Michael H. Casey sculpted one of the cornucopia.  The cornucopias were then molded by an expert mold maker and cast by staff of Michael H. Casey Designs.

Brothers Maynard and Edward Munger, who were grandchildren of O’Brien, had made arrangements for the building to be sold upon their death. Edward Munger died most recently in February 2008.  The building was sold in March of 2011.

 

The architect for the project was Robert Walker.

Michael H. Casey Cornucopia Granada Building Berkeley

If you look very closely you will see a Cal Bear in amongst the fruit.

 

Cosmo Cocktails

 Posted by on January 21, 2014
Jan 212014
 

20 Cosmo Place
Lower Nob Hill/Tenderloin

 20 Cosmo Place, San Francisco

This unassuming building has been providing fine drinks, food and happiness to San Francisco’s since 1951.

Trader Vic’s opened in Cosmo Alley in 1951.  The restaurant was built from an old corrugated parking garage.  Passing along the narrow walk way through a tropical garden, customers entered the rustic shed.

Trader vic's under construction

This photograph, from the archives of the San Francisco Chronicle (with no caption or story) must show the very beginnings of the place, if not the construction for its opening.

While I spent fond nights there eating Pu pu Platters and downing Trader Vic’s famous Mai Tai’s I never took photographs, so we will have to rely on old photographs for pictures of the interior.

Postcard of Trader Vic's

 

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Trader Vic's on Cosmo Place

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Trader Vic's on Cosmo PlaceWhile famous for so many things Trader Vic’s was the first restaurant to serve Queen Elizabeth II.  Until her visit with the Reagan’s in 1983 she had never eaten in a restaurant.  Sadly Trader Vic’s closed in 1994.

Doors to Trader vics

Victor Bergeron, Trader Vic, was also a sculptor and has two sculptures in Golden Gate Park that you can read about here.

 

Trader Vic’s was replaced with Le Colonial.  A fabulous French Vietnamese Restaurant.

Le Colonial San Francisco

Le Colonial Veranda

San Francisco has so very many hidden treasures, Cosmo Place is no different, who knew you would find so much San Francisco history down an alley such as this.

Cosmo Alley in San Francisco

Cosmo Place San Francisco

 

Eng-Skell

 Posted by on January 8, 2014
Jan 082014
 

1043 Howard Street
SOMA

Eng Skell Building on Howard Street SF

It is hard to believe that in a world of corporate mergers and gentrification of neighborhoods, that the original company that built this wonderful deco building still occupies it.

In 1900 W.A. England and H.D. Skellinger founded the Eng-Skell Company.  The company made flavoring extracts for the bakery and bottling trades and specialties such as orange bitters for the bar trade.

Eng-Skell on Howard

In 1930 the company built this three-story Art Deco building in SOMA.  The building was designed by architect A.C. Griewank.  It is 100,000 square feet and originally housed a laboratory, manufacturing plant, warehouse and office space.  There was a Research Department with a staff of trained chemists. Somewhere along the line they became ESCO but their website still proudly displays this Howard Street Building.

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224 Townsend Street (1935) was also designed by A.C. Griewank. Both buildings feature fluted pilasters that divide the bays and a three-dimensional, stepped triangular parapet over the primary entrance. Although we know he was an engineer/architect there is no information about A.C. Griewank to be found at the City of San Francisco, the San Francisco Public Library, or San Francisco Heritage.

We do know he was a writer for the Architect and Engineer. In November of 1917 they published an article titled “California Cotton Mills’ New Building,”  by Mr. A.C. Griewank, the architect of the California Cotton Mills Factory in Oakland, which is on the National Register of Historic Places.

(update)  The San Francisco Public Library has informed me that Mr. Arthur Carl Griewank was born on the 6th of September 1886 in Laporte, Indiana and died in San Francisco on October 9, 1942,

I found an A.C. Griewank listed in the 1911 alumni record of the University of Illinois stating Mr. A.C. Griewank was a 1910 graduate of the University and was then working with the Sacramento Valley Irrigation Company.

He was also listed as a San Francisco Port Engineer in 1930.

From the November 1930 American Chemical Society Publication:
The Eng-Skell Co. , 208 Mission St., San Francisco, Calif., manufacturer of flavoring extracts, chemical specialties, etc., has approved plans for a new three-story plant at Russ and Howard Sts., and will proceed with work on the superstructure at once. It is reported that it will cost over $54,000 including equipment. A. C. Griewank, address noted, is company engineer.

Despite not knowing much about Mr. Griewank personally, I am sure he would be please to know that some of his structures he designed still stand today.  They include: (in San Francisco) 1130 Howard, 1035 Howard, 1126 Howard, 224 Townsend and Piers 1-35 where he acted as engineer on the substrates and transit sheds, as well as, the California Cotton Mills Building in Oakland

Ford Elementary School Lunette

 Posted by on December 23, 2013
Dec 232013
 

Ford Elementary School
2711 Maricopa Avenue
Richmond, California

sculpture on Ford Elementary SchoolSally Swanson Architects of San Francisco designed a new $19 million energy-efficient school to replace the outdated original Ford Elementary School in Richmond, California.

The new school’s design is a modern interpretation of the Mission Style. The school’s framework, a repeating 30-foot grid, creates the flexibility for the educational programming in the interior, and easily accommodates a variety of alternative teaching methodologies. The light-filled corridors, with articulated beams, double as a collaborative in-between area where learning can also take place.  On the second floor, the corridor is transformed into a street for the innovative learning required in the ‘MicroSociety’ educational program.

Ford Elementary SchoolThe Lunette that sits above the entry door was sculpted by Michael H. Casey.  After his sculpture was finished it was molded by skilled mold makers and then cast in GFRC (Glass Fiber Reinforced Concrete) by the staff of Michael H. Casey Designs.

Sally Swanson Architects, Inc. Ford Elementary School, Richmond » Sally Swanson Architects, Inc - Windows Internet Explorer 11252013 31255 PM Construction, by Alten Construction Company, began in 2010 and was completed in December 2011.

The Lunette was designed by the architect – this is a photo of an original sketch by Michael H. Casey for the interior quatrefoil.

Ford Elementary Lunette0001

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