HomeMy WebLinkAboutresolution.hpc.008-2010A RECOMMENDATION OF THE ASPEN HISTORIC PRESERVATION
COMMISSION (HPC) REGARDING ORDINANCE #48, SERIES OF 2007
NEGOTIATIONS FOR PRESERVATION OF THE PROPERTY KNOWN AS THE
GIVEN INSTITUTE, LOCATED AT 100 E. FRANCIS STREET, CITY AND TOWNSITE
OF ASPEN, COLORADO
RESOLUTION NO. 8, SERIES OF 2010
PARCEL ID: 2735- 124 -19 -851
WHEREAS, The Regents of the University of Colorado have communicated their intention to
demolish the buildings located at 100 E. Francis Street, The Given Institute, which property is
legally described as:
A PARCEL OF LAND BEING ALL OF BLOCK 63, PART OF FRANCIS STREET, PART OF
CENTER STREET, AS DEPICTED AND DESCRIBED ON THE ORIGINAL TOWNSITE
MAP OF THE CITY OF ASPEN, PITKIN COUNTY, COLORADO AND PART OF THE NW
' /40F THE SW/40F SECTION 7, TOWNSHIP 10 SOUTH, RANGE 84 WEST, AND PART
OF THE NE' /4 OF THE SE' /4 OF SECTION 12, TOWNSHIP 10 SOUTH, RANGE 85 WEST
OF THE 6 PRINCIPAL MERIDIAN, SAID PARCEL IS MORE PARTICULARLY
DESCRIBED AS FOLLOWS:
BEGINNING AT A POINT ON THE NORTH LINE OF FRANCIS STREET
AND 24.00 FEET EASTERLY OF THE WEST LINE OF CENTER (AKA GARMISCH)
STREET;
THENCE N. 14 DEGREES 50'49" EAST 121.59 FEET;
THENCE N. 33 DEGREES 03' 19" EAST 42.21 FEET;
THENCE N. 7 DEGREES 19' 05" EAST 112.35 FEET;
THENCE S. 70 DEGREES 18' 15" EAST 286.57 FEET;
THENCE S. 6 DEGREES 18'51" WEST 103.11 FEET;
THENCE S. 18 DEGREES 12' 00" WEST 108.73 FEET;
THENCE S. 9 DEGREES 25'21" EAST 52.10 FEET;
THENCE S. 23 DEGREES 21'00" EAST 83.49 FEET TO THE SOUTHERLY LINE OF
FRANCIS STREET EXTENDED EASTERLY;
THENCE N. 75 DEGREES 09' 11" WEST 288.99 FEET TO THE NORTHWEST CORNER
OF BLOCK 64;
THENCE N. 31 DEGREES 00' 50" WEST 107.29 FEET TO THE POINT OF BEGINNING,
CONTAINING 2.2556 ACRES, MORE OR LESS, INCLUDING THAT PORTION OF NORTH
ASPEN STREET LYING NORTH OF HALLAM STREET VACATED BY CITY OF ASPEN
ORDINANCE NUMBER 3, SERIES 1953, BY PITKIN COUNTH BOARD OF COUNTY
COMMISSIONERS RESOLUTION RECORDED JUNE 24, 1955 IN BOOK 80 AT PAGE 356,
AND AS DESCRIBED IN THE DEED RECORDED IN BOOK 256 AT PAGE 877, AND
THAT PORTION OF PUPPY SMITH STREET (FORMERLY SMUGGLER STREET)
VACATED BY ORDINANCE NUMBER 13, SERIES OF 1997, DESCRIBED AS FOLLOWS:
BEGINNING AT THE NORTHWEST CORNER OF LOT 1, BLOCK 2, LAKEVIEW
ADDITION (TO THE CITY OF ASPEN), ACCORDING TO THE PLAT THEREOF
100 E. Francis Street, The Given Institute
Ordinance #48, Series of 2007 Negotiation
Page 1 of 12
RECORDED IN PLAT BOOK 2 AT PAGE 13, WHENCE THE QUARTER CORNER
COMMON TO SECTIONS 7 AND 12, TOWNSHIP 10 SOUTH, RANGES 84 AND 85,
RESPECTIVELY, WEST OF THE SIXTH PRICIPAL MERIDIAN, PITKIN COUNTY,
COLORADO, BEARS NORTH 14 DEGREES 39' 51" WEST 772.54 FEET; THENCE NORTH
70 DEGREES 18' 15" WEST 46.63 FEET; THENCE NORTH 2 DEGREES 00' 00" WEST
18.555 FEET; THENCE SOUTH 72 DEGREES 18'08" EAST 44.16 FEET; THENCE SOUTH
79 DEGREES 11' 00" EAST 7.90 FEET; THENCE SOUTH 15 DEGREES 15' 22" WEST
20.06 FEET TO THE POINT OF BEGINNING, CONTAINING 903 SQUARE FEET, MORE
OR LESS, COUNTY OF PITKIN, STATE OF COLORADO; and
WHEREAS, The University of Colorado asserts that as a state entity, it is not legally bound by
City of Aspen ordinances; and
WHEREAS, The University of Colorado has indicated that it is voluntarily participating in a
ninety day negotiation process established by Ordinance #48, Series of 2007, relative to potential
historic resources identified in the City of Aspen; and
WHEREAS, Section 26.415.025 (e) of the Municipal Code, which codifies Ordinance #48,
states that "the Community Development Director shall confer with the Historic Preservation
Commission, during a public meeting, regarding the proposed building permit and the nature of
the Potential Historic Resource. The property owner shall be provided notice of this meeting
with the Historic Preservation Commission;" and
WHEREAS, the property owner was notified of the Historic Preservation Commission meeting
and representatives of The University of Colorado attended the meeting; and
WHEREAS, Amy Guthrie in her staff report dated July 14, 2010, performed an analysis of the
property at 100 E. Francis Street, The Given Institute, found that the City's criteria for historic
designation to be met, and recommended preservation; and
WHEREAS, at their regular meeting on July 14, 2010, the Historic Preservation Commission
approved a motion to recommend Council pursue negotiations to preserve the Given Institute by
a vote of 5 to 0.
NOW, THEREFORE, BE IT RESOLVED:
HPC finds that The Given Institute buildings and property meet all designation criteria, have
considerable historic significance to The City of Aspen and are worthy of historic preservation.
HPC recommends Council pursue negotiation.
HPC's specific findings regarding the designation criteria are as follows:
Criterion 2.a
Aspen has a long standing tradition as a location for thinkers, leaders, artists, and musicians from
all over the world to join together in a setting that feeds the "Mind, Body, and Spirit."
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Organizations like the Aspen Music Festival (1949), Aspen Institute (1950), Aspen Center for
Physics (1962) and The Given Institute (1972) are strongly tied to the town's identity.
The founding of the Institute grew out of a conference on Advances in Molecular Biology that
was sponsored by CU and held in the Aspen Middle School gymnasium starting in 1964. Dr.
Donald West King, then Chairman of the Department of Pathology at the University of Colorado
Medical School, spearheaded the program, envisioning the need for a central meeting place
where leading scientists could exchange information, at times a significant logistical challenge in
the pre- internet age. The purpose of the creation of a conference center was to enable residents,
fellows and faculty to remain current with the revolution in biology, genetics, and medicine
taking place in American research. The National Institute of Health, National Research Council,
and National Academy of Scientists all sponsored programs.
Aspen provided a location more central in the country than similar conferences held at the time
on the East and West coasts. In addition, the opportunity to combine research with the natural
and cultural amenities available in Aspen was appealing, and the community already had a well
established tradition as a summer retreat and intellectually stimulating environment for
academics.
The conference grew to four sessions per summer. Articles in the Aspen Times reported that
registration was denied to several thousand would -be participants due to limited meeting space.
In 1967 negotiations began with the Aspen Institute to develop a more suitable permanent
conference facility and laboratory. Ultimately Elizabeth Paepcke, who with her late husband
Walter had worked to create many foundations of Aspen's post World War I1 renaissance, sold
the University of Colorado two acres of land at approximately half its market value for
construction of the facility. Dr. King, since appointed Chairman of Columbia University's
College of Physicians and surgeons, negotiated with the Irene Heinz Given (daughter of food
giant H.J. Heinz) and John LaPorte Given Foundation of New York, to secure a $500,000
donation for the building's construction, which was then named in their honor. The Given
Foundation was also the source of tens of millions of dollars of donations to Harvard University
and other schools.
Initially, the cost of maintaining the facility and providing the programs was provided by the
National Institutes of Health and donations, at no cost to CU. In the late 1980s, the financial
support from NIH ended and The Given Institute became concerned with their isolation from the
Aspen community in terms of offering public access to its programs. An Aspen Times profile
noted that: "while most Aspenites remain oblivious to the brilliance in their midst, some of the
most renowned names in medical research, including Nobel laureates, come together at a spot
overlooking Hallam Lake to share their discoveries and advancements in highly specialized
fields."
Significant investment was made by CU to upgrade the property from a summer building to a
year-round facility, and in 1991 a local advisory board spearheaded the establishment of a public
lecture series, or "Mini College" that continues today. The Given Institute now hosts some ten
free public lectures a year, bringing cutting edge experts on everything from bio- terrorism to
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sports medicine. In addition there have been youth summits on substance abuse, brown bag
lunches on health topics for local senior citizens, and free dental and optical screenings for the
community.
Criterion 2.a is met through the property's strong connection to the legacy of "The Aspen Idea."
Criterion 2.b.
The Given Institute is directly connected to the Paepcke family, credited as the founders of
Modern Aspen.
As noted above, in 1970, Elizabeth Paepcke, town matriarch, provided the property (a portion of
her garden at the time) for the construction of the Institute. The year before, she had donated 22
adjacent acres behind her home for the development of an environmental center and preserve
known as ACES (Aspen Center for Environmental Studies.) Elizabeth Paepcke, forming her own
legacy in the years following her husband's death in 1960, must have seen value in the nurturing
of additional educational organizations within the community.
Walter and Elizabeth Paepcke were patrons of twentieth century Modem art and architecture. As
a stipulation in the gift- purchase of the land for The Given Institute, Elizabeth Paepcke retained
the right to select the architect. She chose Harry Weese of Chicago, an internationally known
Modern architect and part-time resident of Aspen.
Criterion 2.b. is met through the property's direct connection to Elizabeth Paepcke and the
institutions and tradition of high modernism that her family introduced to Aspen.
Criterion 2.c.
Harry Weese practiced primarily in Chicago and the Midwest, but also lived part-time in Aspen.
His commission to design the Given was in no way happenstance and tits in to a broader context
of a "who's who" of modern architecture that began here in 1945, when Walter Paepcke brought
Walter Gropius to attend an Aspen Planning and Zoning Commission meeting. Work by Herbert
Bayer, Eero Saarinen, Marcel Breuer, and Buckminster Fuller followed. Numerous Taliesen
fellows practiced in Aspen. Into the 1970's and beyond Harry Weese designed in the Aspen area,
as did Elliot Noyes, John Lautner, Charles Moore, Robert A.M. Stern, and more.
Aspen's modernist buildings can be generally organized into two periods, 1945 -1960, when
Aspen entered the ski and tourist industries, and 1960 -1975, when its growth and development
accelerated. The Given Institute, was constructed in 1972 and embodies the tenets of the
International Style. International Style architecture systematically rejected the past—its
technologies, architecture, ornament, societal structures to embrace modernity, industrialization,
urbanization, and the machine made. The premise was that modern design could transform
society by applying industrial methods to housing and creating a "total art," including buildings,
furnishings, interiors, clothing, and signage. Differentiated by the radical absence of references
to past historic styles, the International Style is defined by industrial materials such as steel,
reinforced concrete, and glass to give a sleek, mechanical, look to the buildings. Modernism was
appropriate to the optimism and progressive thinking of midcentury America. The forms and
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materials worked well in a time when booming national growth required the construction of
many new buildings.
Harry Weese, (June 30, 1915 - October 29, 1998), attended both MIT (studying under Alvar
Aalto, and creating a friendship with fellow students Eero Saarinen and I.M.Pei) and Yale,
graduating from MIT in 1938. After graduation, he studied with famed architect and father of
Eero, Eliel Saarinen at Cranbrook Academy in Michigan. The New York Times proclaimed that
"the effect of Cranbrook and its graduates and faculty on the physical environment of this country
has been profound ( ... ) Cranbrook, surely more than any other institution, has a right to think of
itself as synonymous with contemporary American design." Eero Saarinen would become one of
the most recognized architects of the twentieth century, designing the St. Louis Arch (1947),
Aspen's first music tent (1949), and the TWA terminal in New York (1962). As his career took
off, he regularly referred work to Weese. Charles Eames, an architect and furniture designer
responsible for many iconic designs of the twentieth century was also an associate when Weese
attended Cranbrook.
Before and after serving in World War II, Harry Weese worked for the one of the largest and well
known architectural firms in the world, Skidmore Owings and Merrill, who are credited with
having invented the "glass box" skyscraper and who designed many landmarks, including the
Lever House in New York City (1951), constructed shortly after Weese's tenure with the firm.
Weese, said to be a sceptic of the "Less is More" edict of Mies van der Rohe that was heavily
influential at SOM and in Chicago in general opened his own firm, Harry Weese and Associates,
in 1947. While he was classically trained in the ideals of modernism, Weese was more strongly
affiliated with the Finnish architects Aalto and Saarinen than the Bauhaus masters. His work
reflects their humanistic approach by incorporating natural materials, particularly wood,
reflecting his own experience as a sailor, and undulating lines.
Early in his career Weese was invited, at the encouragement of Eliel Saarinen, to design a
building in the town of Columbus, Indiana. There, a manufacturing company, recognizing the
business value of creating livable communities, began to offer to pay architectural fees for local
properties owners who would engage firms identified on a specific list, which included the most
significant modernists of the time. Much of downtown Columbus, Indiana is now listed on the
National Register of Historic Places, in recognition of its incredible collection of over sixty
modern buildings designed by Eliel and Eero Saarinen, I.M. Pei, Robert Venturi, Richard Meier,
and others. While most architects were invited to design just one building, Harry Weese
designed at least eighteen, including the National Historic Landmark First Baptist Church (1965)
considered one of the most iconic buildings in the town. The building achieved National Historic
Landmark Status in 2000, when it was thirty five years old.
Weese was a prolific architect, particularly revered in the Midwest. Harry Weese also designed
the U.S. Embasy in Accra, Ghana in 1958 and became one of an elite group of architects selected
to work for the U.S. State Department. He was inducted, at a relatively young age, into the
College of Fellows of the American Institute of Architects in 1961. Weese's most recognized
project is the system -wide network of station designs for the 100- mile long Metro subway in
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Washington, D.C., heralded by the New York Times as: "among the greatest public works of this
century."
Shortly after the famed D.C. Metro project, Harry Weese created the design for The Given
Institute, built in 1972. A longtime visitor to Aspen, having first visited town with his wife in
1947, Weese's family purchased a Victorian home at 118 N. First Street in 1969, and it is still
owned by them today. Weese was likely well known to the Paepcke's, as both families resided in
Aspen and Chicago. Herbert Bayer reportedly insisted Weese be selected as the architect, and
supervising local architect William Lipsey recalls the presentation of Weese's design to Bayer in
Aspen.
The Given Institute sits on an approximately 2.25 acre site characterized by a flat bench area and
a slope that drops quickly to the north, towards the Hallam Lake Nature Preserve. The lot is
abutted by private property on the west, a bike trail and the Red Brick Arts Center to the south,
and nature preserve on the east and north.
The Given Institute is a 12,000 sq. ft. building comprised of a series of geometric volumes
constructed out of concrete masonry units with raked joints, painted white, with a flat roof and no
ornamentation. The neutral color scheme allows the form of the building to predominate, and it
fits within a perfect square, 90' x 90,' with circles, squares and triangles that are deliberately
interweaved, cut out of and pushed beyond the boundary of the square. Harry Weese carefully
located rectangular (horizontally oriented) and circular windows that frame the outdoors as
viewed from the interior.
The interior is three levels: a basement/garden level, ground level and second level. The
geometric volumes that Weese overlaps and weaves are clearly evident and repeated with subtle
details, for example a curved railing on the second floor runs parallel to the cylindrical seminar
room to reiterate the shape. The geometry of the design appears to have been of equal importance
to the overall program. Some of the interior rooms are triangular, for instance, an intentional
result of the plan form. The centerpiece of the building is the United Nations- style amphitheater,
which seats 175 people.
The University requested a simple design that would harmonize with other buildings on the
grounds and relate well to the site, a bluff overlooking Hallam Lake. Program components
included a laboratory, a library, and several smaller conference areas, along with office facilities,
a printing/reproduction area, storage space, restrooms, and a kitchen. Other specifications were a
seminar space configured to promote free interchange between speakers and audience and
interior spaces that were warm, relaxed, and comfortable and conducive to informal, spontaneous
discussion. Weese had extensive experience in the design of theaters. The seminar space is
organized as a "theater in the round," and could be used for demonstrations and experiments core
to the sharing of knowledge at this research facility.
Weese's work in the late 1960s was characterized by geometric motifs. As noted by one
architectural historian, "Triangles often pop up in Weese's buildings that allude to the sails of
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boats Weese knew so well." The Given Institute has been described as: "one of Aspen's finest
modernist works [which] gives a playful rigor to a simple circle with angular extensions."
The landscape on The Given Institute property also has cultural and natural resource value.
Weese located the building to take advantage of views and preserve natural site features. Mature
trees are abundant, and they provide significant contributions to the community forest. Some of
the trees are estimated to be as old as 80 years or more and many are believed to have been
planted by Elizabeth Paepcke, who is reported to have continually tended the trees during
construction of The Given Institute. The trees are a mix of Colorado blue spruce, aspens,
cottonwoods, a single white fir (which is believed may be the largest in the Roaring Fork Valley),
and numerous shrubs and shade trees. The Blue Spruce trees have a direct connection to the
Hallam Lake property below. They provide a seamless flow between the wetland plantings
below, transitioning to the gardens and common upland plantings on The Given Institute
grounds.
According to supervising architect Bill Lipsey, the trees surrounding the building were "not to be
touched." No landscape architect was engaged in the project. On the north side of the building,
Weese included a limited sheltered patio area, leading out to open lawn area for functions and
receptions. Two observation decks overlooking Hallam Lake may have been constructed by the
Paepcke's, who had built similar overlook areas nearby, adjacent to their residence.
The only noteworthy alteration to the landscape that has occurred since construction is a
memorial garden dedicated after Elizabeth Paepcke's death in 1994.
Harry Weese's work continues to inspire study, with recent coverage in Chicago publications
such as ChicagoMagazine, Reconstructing Harry Weese, (Robert Sharoof) July 2010, and a new
book entitled The Architecture of Harry Weese (Robert Bruegmann and Kathleen Murphy
Skolnik) being released in September 2010.
Harry Weese received many honors throughout his half - century career. In 1966, Architectural
Forum named him one of the country's 14 leading architects. Throughout his work, Weese
actively promoted historic preservation and received a Presidential Award for his efforts to
restore landmarks such as Louis Sullivan's Auditorium Building in Chicago, where Weese
donated his time on the project as a gift to the city. He helped to shape the Chicago Skyline of
the 20` Century. Other influential buildings of his include the Time -Life Building, Chicago;
Mercantile Bank, Kansas City; 17` Church of Christ Scientists, Chicago; and the US Courthouse
Complex (Metropolitan Correctional Center), Chicago. His preservation work includes: Fulton
House; Field Museum; Orchestra Hall, all Chicago; and Union Station, Washington D.C.
Notably, the design for The Given Institute retained and adaptively re -used two small nineteenth
century buildings, which appears to have been moved to the site before The Given Institute
project began. Weese stated to Time Magazine, "Fine old buildings give our cities character and
continuity. They give us a sense of stability. Coexistence is key, the old with the new." And he
noted in 1973- "maybe someone will save one of our buildings some day."
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Criterion 2.c. is met as The Given Institute is an outstanding and relatively unaltered example of
the work of Harry Weese.
Integrity:
Based on Weese's original floor plans of the building, original model, and building permit files,
the exterior of the primary building on the property and the site itself are largely unaltered from
their original design, with the exception of the deck located in the northern portion of the
property overlooking Hallam Lake that was rebuilt in 2002, and minor landscaping. The form,
plan, scale and proportions of the building are entirely intact and it remains in its original
location. The materials and workmanship are true to the Modernists tenets: monochromatic
white color scheme, concrete masonry units and glazing, detailing is reduced to composition of
elements instead of decorative effects, the materials are manufactured and standardized and the
"hand" is removed from the visual outcome of construction. Some glazing was replaced in 1996
to increase "u" value; however the original window composition remains. Most of the interior is
original. The original built in desks and microphones in the seminar room are intact. There have
been minimal alterations that include updating the interior bathrooms, and entrance into the
seminar room (by adding a ramp) to meet accessibility standards in 1993 and converting a
laboratory into a conference room in 1993. Some paint finishes and light fixtures have been
altered as well. Overall, the integrity of the building is very high. An "Integrity Assessment
Form," concluding that the building warrants 96 points out of 100, is attached as "Exhibit A," to
this resolution.
APPROVED BY THE COMMISSION at its regular meeting on the 14th day of July, 2010.
Sara"Brough on Vice Chair
Approved as to Form:
im True, Special Counsel
ATTEST:
L:
/ 1
Kathy St •ickland, Chief Deputy Clerk
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EXHIBIT A
INTEGRITY ASSESSMENT- MODERNIST
Integrity is the ability of a property to convey its significance.
• LOCATION Location is the place where the historic property was constructed or the
place where the historic event occurred.
5 - The structure is in its original location.
3 - The structure has been moved within the original site but still maintains the
original alignment and proximity to the street.
0 - The structure has been moved to a location that is dissimilar to its original
site.
TOTAL POINTS (maximum of 5) — 5 points. The structure is in its original location.
• DESIGN Design is the combination of elements that create the form, plan, space,
structure, and style of a property.
BUILDING FORM
10 -The original plan form, based on authenticating documentation, is still intact.
6 - The plan form has been altered, but the addition would meet the design
guidelines.
0 - Alterations and/or additions to the building are such that the original form
of the structure is obscured.
Response: 10 — The original plan form is unchanged based on original Weese sketches and floor
plans.
ROOFFORM
10 -The original roof form is unaltered.
6 - Additions have been made that alter roof form that would meet the
current design guidelines.
0 - Alterations to the roof have been made that obscure its original form.
Response: 10 — The original flat roof is unaltered.
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SCALE
5 - The original scale and proportions of the building are intact.
3 - The building has been expanded but the scale of the original portion is
intact and the addition would meet the design guidelines.
0 - The scale of the building has been negatively affected by additions or
alterations.
Response: 5 — The original scale and proportions are intact.
SOLIDNOID PATTERN
10 - The original pattern of glazing and exterior materials is intact.
6 - The original pattern of glazing and exterior materials has been altered
but in a manner that would meet the design guidelines.
0- The original pattern of glazing and exterior materials is altered.
Response: 10 — the original pattern of glazing and materials is intact.
CHARACTER- DEFINING FEATURES
10 — The horizontal or geometric form, minimalist detailing and features that
relate the building to its environment are intact.
6 - There are minor alterations to the horizontal or geometric form,
minimalist detailing and features that relate the building to its
environment.
0 - There have been major alterations to the horizontal or geometric form,
minimalist detailing and features that relate the building to its
environment.
Response: 10 — the character - defining features, including cottonwood trees that dictated the
location of building and influenced Weese's design remain.
TOTAL POINTS (maximum of 45) = 45 points.
• SETTING Setting is the physical environment of a historic property.
5- The physical surroundings are similar to that found when the structure was
originally constructed.
3 -There are minor modifications to the physical surroundings but the changes
conform to the design guidelines.
0- The physical surroundings detract from the historic character of the building.
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TOTAL POINTS (maximum of 5) = 5 points. The physical environment is largely
unchanged from the date of construction.
MATERIALS Materials are the physical elements that were combined or deposited
during a particular period of time and in a particular pattern or configuration to form a
historic property.
EXTERIOR SURFACES
15- The original combination of exterior wall materials and glazing are intact.
10 -There have been minor alterations to the original exterior wall materials and
glazing made in a manner that conform to the design guidelines.
5- There have been major changes to the original combination of exterior wall
materials and glazing.
0- All exterior wall materials and glazing has been replaced.
Response: 15 points — the original combination of concrete masonry units and glazing is intact.
DOORS AND WINDOWS
10- All or most of the original door and window units are intact.
5 - Some of the original door and window units have been replaced but the new units
would meet the design guidelines.
0 - Most of the original door and window units have been replaced with units that
would not meet design guidelines.
Response: 8 — Some of the glazing was replaced in 1993, but the window composites remain.
TOTAL POINTS (maximum of 25) = 23 points.
WORKMANSHIP Workmanship is the physical evidence of the crafts of a particular
culture or people during any given period in history or prehistory.
COMPOSITION
15 -The structural composition that distinguishes the stylistic category of
Modernism is intact. Detailing is reduced to composition of elements instead of
decorative effects. No decorative elements are used. Design is focused on
rationality, reduction, and composition. It is meant to separate itself from style
and sentimentality. Materials are generally manufactured and standardized. The
"hand" is removed from the visual outcome of construction. Surfaces are smooth
with minimal or no detail at window jambs, grade, and at the roof edge.
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10 -There have been some alterations to the structural composition that
would meet the design guidelines
0 - There have been some alterations to the structural composition that
would not meet the design guidelines
Response: The building is void of decoration and is clearly follows Modernist tenets. All exterior
surfaces are CMU blocks or glazing.
FINISHES & COLOR SCHEME
5 - The neutral or monochromatic color scheme and finishes that define the
stylistic category of Modernism is intact.
3 - There have been minor alterations to the neutral or monochromatic color
scheme and finishes that define the stylistic category of Modernism.
0- There have been significant alterations to the neutral or monochromatic color
scheme and finishes that define the stylistic category of Modernism.
Response: 3 — The color scheme has been altered: instead of pure white the building is painted
off -white and the window trim is green instead of the original black
TOTAL POINTS (maximum of 20) = 20 points.
GRAND TOTAL= 96 POINTS
MAXIMUM NUMBER OF POINTS= 100
MINIMUM THRESHOLD FOR DESIGNATION= 75 POINTS
Note: Each area of the integrity analysis includes a description of the circumstances that might
be found and a point assignment. However the reviewer may choose another number within the
point range to more accurately reflect the specific property.
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