Posts tagged with "Historic Preservation":

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The Nonument database is saving forgotten 20th-century buildings

Nonument is committed to not only recording but celebrating the 20th century’s most important non-monuments. Founded in 2011, the multidisciplinary artist and research collective has amassed a record of built spaces that stand, if barely; forgotten by time through decay, technological or political changes, Nonument is preserving them even as they fall out of favor in a changing 21st-century society.  Rather than present “a glorified collection of obscurities” or focus purely on architectural styles, founders Neja Tomšič and Martin Bricelj Baraga seek to develop a deeper understanding of public space and art, and how politics shape these spaces in our world today. In partnership with Mapping & Archiving Public Spaces (MAPS) project, the collective has a goal of cataloging more than 120 forgotten sites around the globe and bring them back into the public eye.  Created by the Museum of Transitory Art, MAPS shares many of the goals of Nonument: its mission “aims to identify, map and archive public spaces, architecture, and monuments which are part of our cultural heritage, but are not yet identified as such.” And that’s where Nonument began. NONUMENT01 was a response to the demolition of a Brutalist icon, the McKeldin Fountain in Baltimore. A decision made with limited public engagement or input, the fountain had been an important gathering point for protestors and creatives, and the visual centerpiece of McKeldin Square. Upon its removal in 2016, Lisa Moren, a professor of visual arts, enacted the first art installation of Nonument, debuting an augmented reality app that allowed users to recreate the fountain on their screens, and interact with memories like protest signs and koi fish to discover their stories. The app and its launch event at the site continued the legacy of the lost monument and its role within the city, setting a precedent for Nonuments of the future. The database is just one component of Nonument. Case studies on architectural theory and live art, and performance events like Moren’s, are also an integral part of the collective’s mission, making it more than just an encyclopedia of degrading buildings. While the act of listing the monuments breathes back a certain degree of life, critical discourse and real-life opportunities for interaction with the listed structures completes a circle of study and renegotiation with the space they occupy—aligning with the overarching goals of the group.  From nuclear power plants in Austria to stone sculptures in Serbia, the database is set to become a comprehensive collection and research resource for the 20th century, and continue to unearth the stories that matter, and rewrite the rules for sustainable management of our cultural heritage. 
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Paul Rudolph’s Milam Residence splashes onto the market

Paul Rudolph’s Milam Residence, located in Ponte Vedra Beach outside of Jacksonville, Florida, has hit the market for $4,445,000, according to the Paul Rudolph Heritage Foundation. Built from 1959 to 1961 and situated on just over two acres of land, the property boasts 6,800 square feet of living space, a swimming pool, and a guest house separated by a central courtyard. Between the two residences, there are five bedrooms, five bathrooms, and two half-bathrooms. Other amenities include central air-conditioning and an in-ground sprinkler system.

Perhaps the Milam Residence’s most distinctive feature is its eastern frontage, which faces the Atlantic Ocean. A series of rectangular concrete block extrusions extend outward from the houses’s windows, adding a 3D depth effect to the facade and distinguishing the building from its neighbors. The hard edges of the structure contrast markedly with the softness of the surrounding beach, helping the house stand out as a local landmark.

As Rudolph’s only building in northeastern Florida, the home has remained in the hands of the Milam family since attorney Arthur Milam originally commissioned the project in the late 1950s. At the time, Rudolph was still in the incipient stages of a career that would be defined by some of the most renowned concrete and modernist designs in the country, including the Yale School of Architecture’s Paul Rudolph Hall in 1963. In a move that reflects both the architect’s renown and growing interest in the preservation of modernist buildings as unique cultural artifacts, the Milam Residence was placed on the National Register of Historic Places in 2016. With an eye toward the future of the property, the Milam family is searching for a buyer who understands the home’s architectural significance and recognizes this as an opportunity not just to live by the sea, but to own a piece of history that needs to be properly cared for.

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National Trust for Historic Preservation names 2019's most endangered places

The National Trust for Historic Preservation (NTHP) released its annual list of the U.S.'s most endangered places on May 30, highlighting an often surprising group of places and spaces threatened by forces like climate change and aggressive developer schemes across the country. While a listing signals a building’s realistic peril, a listing can also aid in reviving a building, as the NTHP brings national attention to the spaces, which can help spark awareness and action. The list has been published for 32 years, and has highlighted over 300 places. In that same time period, only five percent of the listings were actually lost. Katherine Malone-France, the interim chief preservation officer of the National Trust for Historic Preservation said in a statement, “We know that this year’s list will inspire people to speak out for the cherished places in their own communities that define our nation’s past.” The tides of taste often bring buildings in styles like postmodernism and brutalism to the list. The youngest building selected this year is the Thompson Center in Chicago, a spaceship-shaped building of glass and steel known for its soaring 13-floor atrium. In 1985, the design was meant to allude to a new, more transparent government. However, like many of the listed buildings, the Thompson Center is in danger due to neglect and financial troubles. Often developers see these historic buildings as opportunities for more profitable high rises or denser floor plans, and swoop in on economically imperiled lots. Nashville's Music Row, a historic district listed this year, is threatened by a tantalizing proximity to the city's downtown core and its relatively low density. Developers are itching to knock down the 19th-century homes and set plans in motion for high rises and corporate office spaces, much more profitable footprints that would erase much of the music-making history of the city. Aside from development, climate change and social justice histories also play a large role in the 2019 selections; the iconic National Mall Tidal Basin is under threat from rising sea levels and unstable sea walls. Small establishments, like the Excelsior Club in Charlotte, North Carolina, an African-American social club dating from 1944, that trace the history of race relations in America, have far less attention and protection.  The eleven design landmarks that make up the 2019 list are not only aesthetically appealing, but they are also vital chapters of the American cultural, historical, and artistic stories, and the National Trust for Historic Preservation is committed to help inspire their rescue. The eleven places listed in 2019 are: Tenth Street Historic District Dallas, Texas Nashville's Music Row Nashville, Tennessee Hacienda Los Torres Lares, Puerto Rico Ancestral Places of Southeast Utah Southeast Utah James R. Thompson Center Chicago, Illinois Bismarck-Mandan Rail Bridge Bismarck, North Dakota Industrial Trust Company Building Providence, Rhode Island The Excelsior Club Charlotte, North Carolina National Mall Tidal Basin Washington, D.C. Willert Park Courts Buffalo, New York Mount Vernon Arsenal and Searcy Hospital Mount Vernon, Alabama
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Congress Square splits past and present with fiberglass-reinforced plastic

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Architectural preservation is often cast as a zero-sum game; historic structures are either painstakingly maintained or demolished in favor of contemporary development. Arrowstreet's Congress Square, a 530,000-square-foot project in Boston's Financial District, provides an alternative solution for this quandary with the restoration and consolidation of an entire block of historic structures that integrates a contemporary glass addition with a fiberglass reinforced plastic (FRP) soffit. The historic core of the project is composed of three separate Beaux-Arts banks built in the early 20th century. Over the course of their lifetime, and a number of financial mergers, the banks were haphazardly joined into a single entity. A lightwell was located between these three structures but it was filled with a web of mechanical systems over the years.
  • Facade Manufacturer Midwest Curtainwalls Kreysler Associates Island Exterior Fabricators
  • Architect Arrrowstreet
  • Facade Installer The Cheviot Corporation Consigli (General Contractor) Related Beal (Executive Construction Manager)
  • Facade Consultant Vidaris
  • Location Boston
  • Date of Completion November 2018
  • System Custom-designed unitized curtain wall
  • Products Custom glass and FRP modules
For the design team, one of the greatest challenges of the project was how to structurally support the seven-story glass addition, and its 24-foot cantilever, without visually disrupting historic elements. "A 1,700-square-foot mat foundation was constructed in the basement supported by more than 60 mini-piles that were all driven inside the existing building," said Arrowstreet President Amy Korté. "Fourteen super columns were then threaded through the perimeter of the existing buildings to support the vertical addition." Additionally, a new concrete core was inserted within the lightwell to both support the new glass canopy as well as house contemporary mechanical equipment. The new concrete core also facilitated the open-floor plan of the glass-clad office space. The structure's sharply-angled cantilever and soffit are located on the prominent southwestern corner of the project, adjacent to Post Office Square. Arrowstreet collaborated closely with the FRP and the curtainwall manufacturers, Kreysler and Associates and Midwest Curtainwalls, to develop the soffit design. The design and fabrication teams reviewed three color options in both glossy and matte finishes, constructing full-scale mockups to effectively gauge the product most complementary with the historic ornamental metalwork found throughout the buildings. Ultimately, the team settled on an iridescent gold-like finish that reflects light to the street below. "Our team refined the design of the soffit using Rhino 3D software and 3D printing to visualize the final installation," continued Korté. "Sharing these models, we could interface directly with Kreysler and Associates' sophisticated fabrication equipment, including six-axis CNC robotic routers to realize complex geometries." While the bulk of the project focused on the insertion of the seven-story glass pavilion atop three historic banks, the northern rump of the mixed-use project involved the restoration of two additional historic structures and the construction of an entirely new 12-story addition. The facade of the addition was manufactured by Island Exterior Fabricators and was fully installed in under two weeks. Amy Korté, Arrowstreet President, will be presenting a deeper dive into this project as part of the panel, "Lightness & Weight | Creating Continuity in Cityscape with Hybrid Facades" at the upcoming Facades+ conference in Boston on June 25. For more details, along with registration info, visit Facades+ Boston.
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Cracks found on L.A. Times building ahead of controversial development

In January, several cracks appeared on the exterior of the historic Los Angeles Times building in downtown L.A. While some have suggested the fissures may be due to ongoing transit construction next door, preservationists also say they could signal a larger problem—one that could threaten a controversial, mixed-use development on the site. The Times Mirror Square project comprises the restoration of the L.A. Times’s flagship building, a 1935 structure by Gordon Kaufmann, as well as a 1948 addition by Rowland Crawford—both recently landmarked buildingsas well as the build-out of two apartments towers in place of what’s now a William L. Pereiradesigned office structure from 1973. Vancouver-based developer Onni Group bought the five-building complex in 2016 and has since been through a fraught preservation battle to move the project forward. But now, the sight of cracks have people wondering what it will mean for the mega-project’s future. “Who is responsible for this?” said preservationist Richard Schave, co-founder of historic L.A. tour company Esotouric, in reference to the cracks. “It’s the $64 million question. That number refers to the cost of phase one construction on the Regional Connector project, L.A.’s massive rail line expansion. A new station is under construction next door to Times Mirror Square and the agency building it, the Metropolitan Transportation Authority (Metro), may be responsible. Metro is already monitoring the cracks of the L.A. Times buildings using geotechnical sensors. Details on the severity haven’t been released yet, but some think Metro may be forced to provide data for the final environmental impact report (EIR) of the Time Mirror Square project, which is due out in a few months. Don Spivack, a former administrator at the L.A. Community Redevelopment Agency, said if the cracks on the structure are one to two millimeters, there’s nothing to worry about. “They may be cosmetic, not structural cracks,” he said. “But this complex has a tangled history due to its layered construction. Each building was individually engineered and connected to the others in ways that permitted passage between them. If some of those connections were not properly engineered at the time or modified later, the question stands whether or not this poses a risk to their preservation.” This isn’t the only issue. There’s a history of subsidence on buildings in the area when subways are built, and seismic activity has also likely caused them to move over the years, according to Spivak. The L.A. Times reported that, so far, cracks have been noticed in the cafeteria, newsroom, and the Pereira-designed garage of the complex. Visible cracks on the facade can be seen on the first floor of the Crawford Building (a.k.a Mirror Tower), and on its northwest facade at the corner of 2nd and Spring Streets, across from Regional Connector construction. While the idea that the building is sinking has sparked fear, Spivack and John Lorick, a former vice president at the L.A. Times, said it would be nearly impossible for that to be true. They also remarked on the overall neglect that Times Mirror Square had suffered under its last owner, Tribune Media. But, they said, any demolition and construction on or near the site could inevitably alter the historic structures—and Onni Group doesn't have a great track record with that.  “I was not completely surprised when I first read about the damage to the [Kaufmann and Crawford] buildings," said Lorick. "Although the reported damage was attributed to subway construction, I had always eventually expected to read about some accidental but irreparable damage to the Crawford and Kaufmann buildings during demolition or construction on the site because of the complex interconnection of the buildings and their foundations.” When asked for comment, the developer didn’t respond by the time of publication. The L.A. Department of Building & Safety told AN that once the project goes through the entitlement process at City Planning, inspectors will investigate any structural issues brought to light.
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Reports claim fire has left Notre Dame structurally unsound, needs reinforcing

More woes have surfaced for Notre Dame. Architect and former UNESCO official Francesco Bandarin reported in The Art Newspaper that the cathedral is structurally unsound following the fire that destroyed its roof and spire this April. The architecture's complex structural system, comprising an array of flying buttresses, columns, and counterweights, was designed to function as a cohesive whole, but after this spring’s tragic blaze, which led to a partial collapse of the vaults, the building is “not stable and urgently needs reinforcing." Bandarin wrote that a model, developed by engineer Paolo Vannucci at the University of Versailles, showed that Notre Dame’s walls could collapse if confronted with wind speeds over 55 mph. For reference, the cathedral could previously handle winds exceeding 130 mph. While much focus has been given to the lost Viollet-le-Duc–designed spire (itself a 19th century reconstruction), Bandarin said Notre Dame's most urgent need is reinforcing both the walls and rib vaults in order to support the new roof, which the French Senate just ordered to be rebuilt as close to the original as possible.
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Museum of Food and Drink acquires Ebony's psychedelic test kitchen

The Museum of Food and Drink (MOFAD) in New York has been selected as the new owner of a salvaged psychedelic interior from the landmarked Johnson Publishing Building in Chicago. Designed by local African-American architect John Warren Moutoussamy, the 11-story office building on Michigan Avenue was the longtime home of Ebony magazine, founded by John H. Johnson in 1945 as one of the first publications oriented towards African-American audiences. The magazine focused on black culture, celebrities, and leaders, but also explored politics and race issues throughout the 20th century. An especially popular feature was the cooking column by editor Charlotte L. Lyons, whose recipes were tested and photographed in the building’s custom-designed test kitchen, now headed to MOFAD. After the magazine was purchased by Clear View Group in 2016, the headquarters was sold to Columbia College, who planned to use it as a new student center. However, as the plan lost momentum, the building was sold again, this time for redevelopment by 3L Real Estate in 2017. The developer is turning the old offices into residential apartments and the landmark protections do not extend to the interiors. The kitchen was slated for removal. In advance of this planned residential conversion, however, a group of preservationists and volunteers from the not-for-profit organization Landmarks Illinois meticulously studied, documented, and preserved the space, placing its deconstructed components in storage. The group then published an RFP in February seeking a qualified institution that would be sensitive to the space’s history in order to best tell the public about the story of Johnson Publishing and the legacy of Ebony magazine from its inaugural 1945 issue to today. Designed in 1971 by interior designers William Raiser and Arthur Elrodwood, the kitchen is composed of an oblong central island, wooden cabinets, and walls all covered with orange and purple marbled wallpaper. The yellow countertops are curved around the island, and custom appliances are often playfully integrated—a toaster can be pulled out from a nearly invisible nook in the wallpaper when needed, rather than sitting on the surface. The original 1970s appliances remained intact, complete with their orange and brown paneled surfaces to match. As the winning institution, MOFAD plans to use the 70s-style marbled interior as the centerpiece for their upcoming exhibition, African/American: Making the Nation’s Table. Dr. Jessica B. Harris, the curator of the exhibition, said in a statement: “We seek to create the country’s first major exhibition to recognize how African Americans have laid the foundation for American food culture.” Harris believes that the salvaged interior is “a perfect embodiment of this exhibition’s story.” Freda DeKnight’s cookbook and Lyon's popular column were both celebrations of African-American culinary tradition that were shared with the world starting in Ebony’s kitchen.  The exhibition has been in concept planning since December of 2017, but the recent acquisition has become the centerpiece. Peter J. Kim, the museum’s director, included the image and news of the interior’s purchase in a May 22nd announcement calling for donations for the development of the exhibit. The bold yellow countertops are visible in countless vintage images from both the column and cookbook, but the swirly space and quirky appliances that will live on at the MOFAD welcome interaction with history and help tell the story of African American culture in America.
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Tower project pits Gehry against the father of the L.A. Conservancy

It’s not often that Los Angeles moves to demolish one of its 1,158 Historic-Cultural Monuments (HCM), a list of relics that includes Simon Rodia’s Watts Towers, Frank Lloyd Wright’s Hollyhock House, and three of the city’s majestic Moreton Bay Fig trees. But if developers Townscape Partners had their way, their Gehry Partners–designed 8150 Sunset project could do just that.

The controversial three-tower 8150 Sunset development aims to bring 229 apartments—including 38 low-income homes—and 60,000 square feet of commercial programming to the site of the Lytton Savings bank, a commercial structure with a folded concrete roof designed by local architect Kurt Meyer in 1960, an advocate for architectural preservation in L.A.

Designated HCM no. 1137 on the HCM list, Lytton Savings was recognized in 2016 after Gehry’s project was initially proposed. If demolished, it could be the first time a city monument is intentionally destroyed in 27 years, following the demolition of the A. H. Judson Estate—HCM no. 437—in 1992. The site of the Judson Estate, a mansion designed by George H. Wyman, the architect of L.A.’s Bradbury Building, remains empty to this day. In 1985, the deliciously gaudy Philharmonic Auditorium—HCM #61—in Downtown Los Angeles was also reduced to rubble and remained vacant until 2017.

This troubling legacy haunts Steven Luftman and Keith Nakata, two preservationists fighting to save Lytton Savings. They have been trying to work out a way to relocate the structure, though a new site and funds to relocate the 180-foot-long building have yet to materialize.

“It's a long shot, but it's important to make a try,” Luftman explained while highlighting the lengthy and complicated effort, adding, “The biggest obstacle to moving it is the building’s sheer size.” A recent 180-day grace period to create a plan to move the building expired on April 30, clearing the way for the developers to seek a demolition permit.

Like many buildings in Los Angeles, Lytton Savings has a hotly contested history that goes back to its prior incarnations. The structure was built atop the site of the former Gardens of Allah, a collection of bucolic hotel villas frequented by famous personalities, including F. Scott Fitzgerald, Greta Garbo, and Ronald Reagan.

Frank Gehry, however, has no nostalgia for Meyer’s bank. “I came to L.A. when the Gardens of Allah were still there and was witness to [Bart Lytton] tearing them down,” Gehry said. “The way it was done was ruthless.”

Gehry explained that he was bothered by “the history of [how Lytton Savings] got there” and that he “didn't feel compelled to fight to keep it,” adding, “I offered to live with it, but the client did not want to.”

“Four of my buildings have been torn down without anyone asking,” Gehry added. “It’s kind of a better way to have it happen.”

California Preservation Conference

The California Preservation Conference brings more than 600 participants from across the state to learn, network, and share successes. The conference includes over 40 sessions, special events, networking activities, and site tours in and around Palm Springs. From its stunning architecture to its breathtaking landscapes, Palm Springs retains much of its character because of the dedicated work of preservationists who have fought to create and maintain this iconic desert oasis. The 2019 California Preservation Conference will explore the innovative methods and strategies that architects, designers, planners, local advocates, and others use in the ongoing and perpetual fight to preserve cultural and architectural resources. See iconic historic places in tours, mobile workshops, and engaging conference sessions. Join the California Preservation Foundation and lead sponsor Palm Springs Preservation Foundation at the Hilton Palm Springs to celebrate the eternal work of preservationists in a dynamic and diverse region and state.
Early bird conference registration and the special reduced rate at the Hilton Palm Springs expire April 5th. Make sure to book your stay early!
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Raymond Jungles reshapes the garden at the Ford Foundation overhaul

Ever since it was finished in 1967, the most notable feature of Kevin Roche and John Dinkeloo’s Ford Foundation Building has been what is not there. At the center of the building is a 12-story, 160-foot-high void occupied by a multitiered interior garden, dense with trees, flowering bushes, and lacy ferns. The original design of the garden—by the late master landscape architect Dan Kiley—frankly never flourished, but it is now in full bloom. “For Dan, his garden was a big experiment,” said Raymond Jungles, the Coconut Grove, Florida–based landscape architect responsible for re-creating Kiley’s vision while also planting his own professional roots in the redesign. When the building reopened in March after a major two-year interior restructuring and updating, Jungles’s garden was ready for the building’s occupants—as well as the public—to wander. “I’m a designer, I have an ego, but this project wasn’t about what Raymond Jungles was doing for the space, but, rather, my desire to find Dan Kiley’s original spirit for this space,” added Jungles. “I want people to enjoy the amazing garden Dan had designed for everybody—those who work in the building, and those who pass by and come inside.” According to Guy Champin, Jungles’s project manager for the new garden, “The architecture of the building is all about its two transparent facades,” referring to the walls of windows on both the 42nd and 43rd Street sides. To preserve and indeed enhance that visual effect, Champin and Jungles have established a tree canopy using some 35 Shady Lady black olives, Jacarandas, Ficus Amstel King, and other varieties that allow visitors to see through the space, while remaining aware of a beckoning urban forest unlike any other vista in Manhattan. Rectilinear brick pathways course across the space, half of which are wheelchair-accessible. While the hardscape remains largely untouched, given the landmark status of the building, Jungles’s firm has made conspicuous visual and aural changes. In keeping with the Ford Foundation’s new branding as a decidedly all-embracing forum for “social justice,” the firm was commissioned to establish a touch and smell garden where hearing and visually impaired visitors can experience the plantings. Elsewhere, Kiley’s extant rectangular pool has now been subtly fitted with a sound element. “Water, to me, is the heart and soul of any garden,” said Jungles, “and we’ve created the sound of moving water with pumps.” And in an effort to increase the reflective qualities of the shallow body, Jungles and Champin added black dye to the water. “Normally, dye is put in to reduce the growth of algae,” Jungles pointed out, “but here it was done to create a reflective mirror. The garden space is not just about that space, but also about the buildings across the street. One of the principals of landscape architecture is to see what you can borrow and introduce from the surrounding neighborhood.” Although the 10,000 square feet of space devoted to greenery is now abloom with plant life, the process of making the landscape introduced other, subtler elements as well. All of the trees that are now taking root in soil and in planters were grown in Florida and shipped to New York. But according to Dinu Iovan, senior project manager for Henegan Construction, the contractors for the garden installation, those trees came with other forms of life, namely, anoles, small green lizards typical of subtropical regions. “They’re everywhere in here now,” said Iovan, “which is a fun, accidental, extra element. There’s even a bat somewhere in one of these trees.” By day or night, the garden beckons passersby. Grow lights illuminate the courtyard when it is dark outside and, month by month, new colorful blossoms are set to visually animate the space. Acknowledging the difficulties of sustaining a garden in a dry interior space with limited natural sunlight, Champin likened the newly grown—and still growing—space to a beacon. “It calls to you like it’s a lighthouse in the middle of the city,” he said, “glowing with life.” Architect: Gensler General Contractor: Henegan Construction MEP: JB&B Structural: Thornton Tomasetti Lighting: FMS (Fisher Marantz Stone) Irrigation: Northern Designs Soils: James Urban Landscape: Siteworks AV/IT/Security: Cerami & Associates Preservation Consultant: Higgins Quasebarth & Partners LLC Landscape Contractor: Alpine Construction & Landscaping Corp. Plant Supplier: Signature Tree & Palms
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The entire town of Story, Indiana, is up for sale

According to Fox, the entire town of Story, Indiana, is up for sale—although, the "town" isn't much more than a small collection of historic buildings that the current owner has fixed up for modern use. The focus of the town, founded in 1851, is the old general store, which Rick Hofstetter has turned into the Story Inn, a bed and breakfast. Hofstetter bought the town in 1999 but wants to sell it to someone younger who will maintain it in for the future. Last year, the California town of Cerro Gordo was sold for $1.4 million. Situated in the Brown County State Park, the town is probably most fit for tourism, or perhaps a Westworld-style amusement park. Interested buyers can contact Hofstetter for terms of sale.
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Pittsburgh's City Council votes against saving historic Venturi Scott Brown–designed home

In a preliminary vote held on March 12, Pittsburgh’s City Council voted against designating the Venturi Scott Brown–designed Abrams House as a historic landmark according to the Pittsburgh Post-Gazette. While the official vote on the house’s fate will be held this coming Tuesday, the six-to-one mock vote (two members abstained) doesn’t bode well for the house’s future. As AN first reported in August of last year, the home, commissioned by Irving and Betty Abrams and finished in 1979, had been purchased by neighbors William and Patricia Snyder. It was at first thought that the Snyders, owners of the adjacent Giovannitti House designed by Richard Meier, might act to preserve the Venturi Scott Brown-designed home, but instead began preparing the building for demolition in secret. The demolition of the Abrams house was part and parcel with the exterior renovation of the Giovannitti House, as the owners want to turn the lot into a landscape complementing Meier’s building. The two-bed, two-and-a-half bath had already been partially gutted before the nonprofit Pittsburgh History and Landmarks Foundation mounted a campaign to recognize the building as a protected landmark. As the Post-Gazette notes, the City Council’s vote is in contrast to the recommendations of both the Pittsburgh Historic Review Commission and the city’s Planning Commission. The council cited the house’s state of disrepair, the hurdles in accessing the building, and the wishes of the owners as reasons they voted against the request. “There is black mold in the walls,” said Erika Strassburger, the councilwoman who represents the district where the Abrams House is located. “There is a risk for persistent water damage. No one has actually come forward to put up the money to restore the house. It is a house that needs an infusion of significant financial resources to restore it to a livable condition.” Other than the deteriorating physical conditions, the house is located on Woodland Road, a private street, and visitors would need to cross the Snyders’ driveway, meaning the Abrams House is only (legally) visible from the street. Without the possibility of another buyer stepping in—the Snyders picked up the house for $1.1 million when it went to market last year—it seems likely that the City Council will vote against landmark designation next week. If no action is taken, it looks like this rare example of Postmodernism in Pittsburgh could soon be razed.