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Home My WebLink Aboutagenda.hpc.20111207 ASPEN HISTORIC PRESERVATION COMMISSION SPECIAL MEETING DECEMBER 7, 2011— 5:00 P.M. SISTER CITIES MEETING ROOM 130 S. GALENA ASPEN, COLORADO SITE VISIT- NONE I. Roll call II. Approval of minutes — Nov. 9 minutes and Nov. 16 minutes. III. Public Comments IV. Commission member comments V. Disclosure of conflict of interest (actual and apparent) VI. Project Monitoring: VH. Staff comments — (15 min.) VIII. Certificate of No Negative Effect issued (Next resolution will be #15 ) IX. Submit public notice for agenda items I. NEW BUSINESS A. 517 & 521 E. Hyman Ave. and the Parking lot at the corner of Hunter and Hyman Avenue ( Block 95, Lots g, H and I) II. WORK SESSIONS HI. Adjourn Provide proof of legal notice (affidavit of notice for PH) Staff presentation Applicant presentation Board questions and clarifications Public comments (close public co Chairperson identified to b ed portion of hearing) the issues to be discussed Applicant rebuttal (comments) Motion * Make sure the motion includes what criteria are met or not met. No meeting of the HpC shall be called to order without a quorum consisting of at least four (4) members bein quorum shall be present shall ei nductsent. No meeting at which less than a the agenda items to a date certain, any business other than to continue the agenda a it items t o a d All actions shall re uire of the ot, but in no event less than three (3) concurring members of the conunission then present (� Concurring votes p and voting. PROJECT MONITORING- Projects in bold are currently under construction. Ann Mullins Boomerang 604 W. Main Lift One 316 E. Hopkins Brian McNellis 332 W. Main Fox Crossing Jamie Brewster McLeod 630 E. Hyman • 518 W. Main Jay Maytin 920 W. Hallam 518 W. Main 28 Smuggler Grove • Red Butte Cemetery Lift One Nora Berko 28 Smuggler Grove Willis Pember 508 E. Cooper • M: \city \planning\hpc project monitoring\PROJECT MONITORING.doc 12/2/2011 P1 MEMORANDUM TO: Aspen Historic Preservation Commission FROM: Sara Adams, Senior Planner Amy Guthrie, Historic Preservation Officer THRU: Chris Bendon, Community Development Director RE: 517 and 521 East Hyman Avenue and the Parking lot at the corner of Hunter and Hyman Avenue (Block 95, Lots G, H, and 1) — AspenModern negotiation for Landmark Designation, Major Development (Conceptual) and Conceptual Commercial Design Standard Review, Public Hearing DATE: December 7, 2011 BACKGROUND: The project comprises three separate lots, 517 and 521 E. Hyman Avenue and the parking lot on the corner of Hunter and Hyman Avenue. Two buildings are located on the subject properties: the building that houses Little Annie's Eatery at 517 E. Hyman and located at 521 E. Hyman Avenue is Tom Benton's original design studio. Neither of these building are designated historic landmarks but they are both located within the boundaries of the Commercial Core Historic District. The three properties are proposed to be merged through Subdivision review. The newly created lot is proposed to be 15,000 square feet in size: 3,000 (517 E. Hyman) + 3,000 (521 E. Hyman) + 9,000 (parking lot). This project was first heard by HPC in September. The original proposal was to demolish the Benton Building and the building that houses Little Annie's Eatery and to construct a mixed use building on the 15,000 square feet site. On September 21 the Historic Preservation Commission (HPC) passed Resolution #9, Series of 2011 and Resolution #10, Series of 2011, which granted approval to demolish the structure that houses Little Annie's Eatery, and denied the request to demolish the Benton Building. On September 26, 2011, City Council voted 4 -1 to "call -up" HPC's determination to allow demolition of the Little Annie's building. The Applicant filed an appeal of HPC Resolutions #9 and #10, Series of 2011 pursuant to Land Use Code Section 26.316.030, Appeals Procedures. The appeal was filed on the basis that HPC had no jurisdiction to pass both resolutions and that HPC acted improperly in denying the demolition application for 521 E. Hyman Avenue. The Appellant requested that Council nullify and invalidate both HPC resolutions. On November 2, 2011, Council held a special meeting to hear the appeal and to review the Council "call up." The hearing was continued to November 28, 2011. However, on November 14, 2011, the Applicant submitted a letter requesting voluntary designation of HPC Review 12.7.2011 Aspen Core Page 1 of 15 P2 the Benton Building and the building that houses little Annie's in exchange for benefits through the AspenModern negotiation process. At this time, the appeal and Council's call up that were scheduled for November 28, 2011 have been tabled while the applicant proceeds with the AspenModem negotiation. SUMMARY: The applicant proposes to preserve the Benton Building and the building that houses Little Annie's Eatery. A three story building is proposed for the 9,000 square foot comer lot. Extensive restoration is proposed for the Benton Building to return the front facade to its original appearance based on photographic evidence. And removal of the rear of the Benton Building is proposed to allow the construction of a 2 -car garage. No changes are proposed for the Little Annie's building. HPC is asked to first make a recommendation to City Council regarding the AspenModem negotiation for landmark designation for both buildings. Subsequently, HPC is asked to conduct Conceptual Commercial Design Standard Review and Major Development Conceptual Review. The applicant requests approval fora height increase from 38 feet to 41 feet, which is reviewed through Conceptual Commercial Design Standard Review. ASPENMODERN NEGOTIATION §26.415.025.C.1.b. The Community Development Director shall confer with the Historic Preservation Commission, at a public meeting, regarding the proposed land use application or building permit and the nature of the property. The property owner shall be provided notice of this meeting. The Historic Preservation Commission, using context papers and integrity scoring sheets for the property under consideration, shall provide Council with an assessment of the property's conformance with the designation criteria of Section 26.415.030.C.1. When any benefits that are not included in Section 26415.110 are requested by the property owner, HPC shall also evaluate how the designation, and any development that is concurrently proposed, meets the policy objectives for the historic preservation program, as stated at Section 26.415.010, Purpose and Intent. As an additional measure of the appropriateness of designation and benefits, HPC shall determine whether the subject property is a "good, better, or best" example of Aspen's 20 century historic resources, referencing the scoring sheets and matrix adopted by City Council. Staff Response: In exchange for designation and a $2 million restoration of the Benton Building and designation of the building that houses Little Annie's Eatery, the applicant requests the following for the new construction: 1. Affordable Housing: A waiver of affordable housing mitigation for the new building. Historic landmarks are automatically eligible for growth management exemptions and benefits - for example, 1 free market residential unit may be HPC Review 12.7.2011 Aspen Core Page 2 of 15 P3 created on a landmark parcel and it does not require mitigation; and a percentage of commercial net leasable space is exempt. The request is to waive all affordable housing requirements which equates to around 29 Full Time Equivalents. 2. Parking: A waiver of the commercial parking requirement generated by the new commercial net leasable space. The existing buildings have no onsite parking. About 15 spaces are required and 3 spaces are provided which equals about $369,000. 3. Free Market Residential unit: Approval to exceed the 2,000 square feet net livable unit size cap in the Commercial Core zone district. The proposal is not to exceed the allowable FAR for free market residential, rather it is to increase the allowed unit size to no more than 7,500 square feet maximum. Currently a unit may increase to 2 square feet net livable by landing a TDR. 4. Public Amenity: Waiver of public amenity requirement of 1,500 square feet of open space cash in lieu payment of about $112,500. 5. Impact Fees: Waiver of Parks Development and TDM/Air Quality impact fees, which equals about $70,235 for Parks and about $11,613 for TDM/Air Quality. As mentioned above, HPC is asked to use the designation criteria, adopted context papers, and scoring sheets to forward a recommendation to City Council regarding the importance of the buildings. The applicant requests benefits beyond those allotted to landmarks. As such, HPC is asked to use the Purpose and Intent of the Historic Preservation Chapter of the Land Use Code to evaluate the designation and the proposed new development and to forward a recommendation to City Council. The specific amount of affordable housing, impact fees, and size of the free market residential unit are policy decisions to be decided by Council. Staff requests that HPC focus on providing clear direction to City Council about the importance of preserving the buildings and how far the Board recommends Council go for preservation. • HPC Review 12.7.2011 Aspen Core Page 3 of 15 P4 n "' " ' 1 , •-. - iiktriti 7 ; ' '.," .. ...44* .; . t a ti f ., _ , .. a, • ' ;^. o p., _ T - - -.. ' r ' `k T • � ,y. ` — . . s . ` r .. 1' �' GJj' #..�. 1 t _ __ _ 6 r � We f i' ',i j I 1 ��. i , ., .- .. � ■ t Photograph 1: Benton Studio with second floor addition, 1967. Image courtesy of the Aspen Historical Society Ann Hodges Collection. HISTORIC DESIGNATION §26.415. 030. C AspenModern 1. Criteria. To be eligible for designation on the Aspen Inventory of Historic Landmark Sites and Structures as an example of AspenModern, an individual building, site, structure or object or a collection of buildings, sites, structures or objects must have a demonstrated quality of significance. The quality of significance of properties shall be . evaluated according to criteria described below. When designating a historic district, the . majority of the contributing resources in the district must meet at least two of the criteria a -d, and criterion e described below: a. The property is related to an event, pattern, or trend that has made a contribution to local, state, regional or national history that is deemed important, and the specific event, pattern or trend is identified and documented in an adopted context paper; b. The property is related to people who have made a contribution to local, state, regional or national history that is deemed important, and the specific people are identified and documented in an adopted context paper; c. The property represents a physical design that embodies the distinctive characteristics of a type, period or method of construction, or represents the technical or aesthetic achievements of a recognized designer, craftsman, or HPC Review 12.7.2011 ' Aspen Core Page 4 of 15 . P design philosophy that is deemed important and the specific physical design, designer, or philosophy is documented in an adopted context paper; d. The property possesses such singular significance to the City, as documented by the opinions of persons educated or experienced in the fields of history, architecture, landscape architecture, archaeology or a related field, that the property's potential demolition or major alteration would substantially diminish the character and sense of place in the city as perceived by members of the community, and e. The property or district possesses an appropriate degree of integrity of location, setting, design, materials, workmanship and association, given its age. The City Council shall adopt and make available to the public score sheets and other devices which shall be used by the Council and Historic Preservation Commission to apply this criterion. STAFF FINDINGS: BENTON BUILDING (521 E. HYMAN): Tom Benton was indicative of a true Aspen local: a non- conformist, local activist and a self - defined f r e e spirit. While he o ES 1 N P R I M A R I was a trained architect from University of Southern r 4 California, Benton chose to work f � for himself and develop his art through silkscreens, monotypes a and oil paintings. A retrospective book of his life and work titled I► "thomas w. benton: artistlactivist" was written by Daniel Joseph Watkins and published by the Photograph 2: Original first floor of the Benton Building People's Press in 2011. Attached as Exhibit A is a short biography of Benton that was included in the book. In addition, Benton's work is included in Aspen's Modern Architecture Context Paper. 521 E. Hyman was the first building Benton built in Aspen. The building was built one story at a time. He built the gallery and studio space on the first floor and a residence on the second floor. The third floor was added in 1973. It served as a gallery, residence, and studio for his art work. In addition, according the Watkins' book, "Benton became involved in politics and his gallery soon became the central meeting place for local intellectuals, artists and activists." He sold the building in 1975. HPC Review 12.7.2011 Aspen Core Page 5 of 15 P6 • Benton was best known for his activist posters and artwork. He collaborated with Hunter Thompson and others to create "images that helped to define Aspen's tempestuous political and social upheavals" in the late 1960s. His ,. work also included national anti-war and political posters. Benton's artistic style had an Asian influence with the use of circles and the '' � ' - , :r„, '; ;,, „Ay,b l balance of his compositions. He included _- _ -- w - _ geometric shapes such as triangles and `` tikallONOMMEMINNEMIOMM elt, '.a .04 rectangles which convey depth, dimension and :_ —_ _ _ _ __ ._ _ VS volume. These characteristics are clearly - T_ —_ - = _ evident in the architecture of the Benton -- -- _ -- Building. The cinder block walls on either side _ — - = - _ of the property protrude beyond the facade of _ — -• -_ the building to create a rectangular volume _ '_ inside of which he constructed his studio. The r- __ -- building plays with solids and voids through the use of geometric shapes. Benton used t "4- Z* 1' ll ..: natural materials, and according to Watkins he 4 +:, f, _ : ` � ; used local materials "such as cinder blocks ,;,I from nearby Dotsero and the aluminum ,7_._,‘ printing plates discarded weekly at The Aspen W. - vonfithf Garr Times." His architectural style was in line with " other local architects such as Charles Paterson and Robin Molny. More interested in graphic art than in ,�„ - ` r_ architecture, he still designed the occasional building, including a m `� , _, residence for actress Jill St. John. His funky, organic, California esthetic was i - in sync with Aspen's Wrightian �W tradition. His designs, such as the - - . Patio Building aka Crandall Building _ (1969), a flat - roofed commercial m - , .I building at 630 E. Hyman, exhibit a Photograph 3 & 4: Photographs 2 & 3: Benton's original similar interest in natural materials, design above and the current condition below. simple geometric shapes, deep overhangs, horizontal emphasis, and orienting the building to frame 'views toward the mountains. Starting around 1979, the first floor was converted to a restaurant/bar use. Gradually the exterior of the building was changed to the present condition. Stucco, copper details, and new windows erased Benton's aesthetic and use of natural materials and textures on the HPC Review 12.7.2011 Aspen Core - Page 6 of 15 P7 lower front facade. The original form of the east, west and north facades of the building are intact. The applicant proposes to use photographs, to be presented during the public hearing, to restore the front facade to its original condition with the exception of bumping out the first floor windows to create a better street presence. Staff is not supportive of this alteration and recommends that the first floor be restored in accordance with the historic photographs. The applicant proposes to remove the rear portion of the building to provide a 2 car parking garage for the site. Originally, a subgrade garage was proposed under the entire 15,000 square feet site, but with the preservation of both buildings the garage is no longer feasible. Staff is supportive of the removal of the rear portion of the building considering the proposed full restoration of the front facade. The property scored a 13, which is defined as "better ", on the integrity score sheet based on its current condition, attached as Exhibit B. The proposed restoration would increase the integrity score to at least 16 points, which is defined as a best example of the Wrightian/Organic style in Aspen. CONCLUSION: Staff finds that designation criteria A — E are met. Benton significantly contributed to Aspen's built environment and sense of place as an architect, an artist, and an activist. His architecture and his artwork are reminders of the 1960s and 1970s when Aspen was developing into a ski resort with conflicting local opinions and lively debates in local politics. Benton's studio was the birthplace of many influential works of art and local gatherings that contributed to local history. Staff strongly feels that the preservation of this building is important to Aspen's postwar legacy. 517 E. HYMAN: AKA LITTLE ANNIE'S EATERY: (written by Amy Guthrie) The building at 517 E. Hyman - .. Avenue was built in 1960. Originally occupied by a retail shop, the front facade was brick with a Chalet inspired roof • overhang attached to the front. int Little Annie's restaurant opened in — = -~ -` 1972 with a new facade, seen above, to represent the pioneering m history of the community. Little Annie mine, on the backside fi of Aspen Mountain, was one of the first successful silver producers in Photograph 5: Current condition of 517 E. Hyman — Little Annie's the Aspen area. Part owner "Three Fingered Jack" Atkinson is said to have built the Sardy house from one week's earnings from the mine. HPC Review 12.7.2011 Aspen Core Page 7of15 P8 In the 1960s, the Little Annie's basin was proposed for ski area expansion, which never came to be. A collection of remaining mining era cabins and other rustic buildings on mining claims dotted the area, occupied by residents willing to live a somewhat eccentric and primitive lifestyle so representative of Aspen s , i t at the time that it inspired restaurateurs to P wi _ namesake what would become a beloved local watering hole. In 2002, the City Community Development - , W, Department authored a research paper on the '' "'' • popularity of Rustic style architecture in Photograph 6: A cabin in the Little Annie's Aspen, particularly from the 1930s to early area 1970s. Rustic style buildings of this period, typically hand -built cabins, exemplified the spirit of adventure, romance, and ruggedness of the Rocky Mountain west at a time when leisure travel grew exponentially. Little Annie's restaurant represents this motif, though beyond the front facade the building is dissimilar from other local examples. For this reason, staff has not previously given the property recognition as a potential historic resource. However, it is clear that the community recognizes this connection. CONCLUSION: Staff fords that designation criterion A is met and the property is related to an event, pattern, or trend that has made a contribution to Aspen history that is deemed important. The second component of designation is scoring the physical integrity of the building. Staff's score sheet is attached. The design of the front facade which appears to be unaltered since 1972 allows the property to earn 16 out of 20 points, placing it in the category of "best" examples of Rustic style architecture. The property has sufficient physical integrity to meet designation criterion E. BENEFITS Because the property owner requested designation benefits that are not included in the list established in Section 26.415.110, Benefits, HPC must evaluate how the designation, and any development that is concurrently proposed, meets the policy objectives for the historic preservation program, as stated at Section 26.415.010, Purpose and Intent. HPC must also comment on whether the subject properties are "good, better, or best" examples of Aspen's postwar history, so as to inform any decisions on the granting of special benefits. §26.415.010. Purpose and intent. The purpose of this Chapter is to promote the public health, safety and welfare through the protection, enhancement and preservation of those properties, areas and sites, which represent the distinctive elements of Aspen's cultural, educational, social, economic, political and architectural history. Under the authority provided by the HPC Review 12.7.2011 Aspen Core Page 8 of 15 P9 Home Rule Charter of the City and Section 29- 20- 104(c), C.R.S., to regulate land use and preserve areas of historical, architectural, archaeological, engineering and cultural importance, this Chapter sets forth the procedures to: A. Recognize, protect and promote the retention and continued utility of the historic buildings and districts in the City; B. Promote awareness and appreciation of Aspen's unique heritage; C. Ensure the preservation of Aspen's character as an historic mining town, early ski resort and cultural center; D. Retain the historic, architectural and cultural resource attractions that support tourism and the economic welfare of the community; and E. Encourage sustainable reuse of historic structures. F. Encourage voluntary efforts to increase public information, interaction or access to historic building interiors. The City does not intend by the historic preservation program to preserve every old building, but instead to draw a reasonable balance between private property rights and the public interest in preserving the City's cultural, historic, and architectural heritage. This should be accomplished by ensuring that demolition of buildings and structures important to that heritage are carefully weighed with other alternatives. Alterations to historically significant buildings and new construction in historic areas shall respect the character of each such setting, not by imitating surrounding structures, but by being compatible with them as defined in historic preservation guidelines. STAN RESPONSE: Staff finds that this proposal meets statements A -E. The property is in the downtown historic district: Aspen's first district and one of the earliest in the State of Colorado. The historic district is the image of the town to many residents and visitors and provides a unique identity to the resort. About 50% of the structures in Aspen's downtown core are Victorian era. Buildings like the subject properties are among the relatively few remaining places that clearly represent the town's character in the 1960s and 70s, when explosive development pressure caused many citizens to actively defend and attempt to preserve Aspen's small town character and individualism. As one of Aspen's longest operating businesses, Little Annie's is in a sense living history. Toni Benton's studio, while currently vacant, was once one of the most important gathering places in Aspen. Interest in the history and personalities represented by this building has • increased significantly in recent years on a local level and far beyond. Ensuring that places like these are not erased from the community is vital to the intent of the community's decades old historic preservation efforts. The City has developed a scoring system to consider whether properties are "good, better, or best" examples of Aspen's 20 century historic resources. The Little Annie's building, because its appearance is unaltered from 1972, scores as a "best" example of the Rustic style of architecture. The Benton Building, currently suffering from ground floor HPC Review 12.7.2011 Aspen Core Page 9 of 15 P10 remodels that are not compatible with Benton's original design, scores as a "better" example of Aspen's Modernist architecture. This status will be improved to a "best" example through careful and accurate restoration. Staff respects the applicant's efforts to identify the minimum preservation benefits that will support this specific preservation and development effort. The conversation preceding the voluntary designation application made it clear that these properties matter to the community. The negotiation process creates the opportunity for the City to incentivize a level of high quality restoration and preservation that might not otherwise be possible. RECOMMENDED MOTIONS: "HPC hereby finds that 521 E. Hyman Avenue, aka the Benton Building, meets criteria a — e listed in §26.415.030.C.1 and Land Use Code Section 26.415.010 Purpose and Intent and recommends Aspen City Council negotiate for landmark designation. The Benton Building is a "better" example of Modernist Style architecture in Aspen and has the potential to be a "best" example after the proposed restoration of the facade." "HPC hereby finds that 517 E. Hyman Avenue, the building the houses Little Annie's Eatery , meets the designation criterion (a) and (e) of Land Use Code Section 26.415.030.C.1 and Land Use Code Section 26.415.010 Purpose and Intent and recommends Aspen City Council negotiate for Landmark designation. HPC fmds that 517 E. Hyman Avenue is a "best" example of the Rustic Style." CO \CEPTL 11, CONI>IERC I. u. DI'. SIC \ SI. \ND: \RD RLVIEW/ `i. \.IOR Ul:\ EI.OPIIENT CON( EPTS. \L Sec. 26.412.050. Review criteria. An application for commercial design review may be approved, approved with conditions or denied based on conformance with the following criteria: A. The proposed development meets the requirements of Section 26.412.060, Commercial design standards, or any deviation from the standards provides a more appealing pattern of development considering the context in which the development is proposed and the purpose of the particular standard. Unique site constraints can justify a deviation from the standards. Compliance with Section 26.412.070, Suggested design elements, is not required but may be used to justify a deviation from the standards. B. For proposed development converting an existing structure, to commercial use, the proposed development meets the requirements of Section 26.412.060, Commercial design standards, to the greatest extent practical. Changes to the facade of the building may be required to comply with this Section. C. The application shall comply with the guidelines within the Commercial, Lodging and Historic District Design Objectives and Guidelines as determined by HPC Review 12.7.2011 Aspen Core Page 10 of 15 P11 the appropriate Commission. The guidelines set forth design review criteria, standards and guidelines that are to be used in making determinations of appropriateness. The City shall determine when a proposal is in compliance with the criteria, standards and guidelines. Although these criteria, standards and guidelines are relatively comprehensive, there may be circumstances where alternative ways of meeting the intent of the policy objectives might be identified. In such a case, the City must determine that the intent of the guideline is still met, albeit through alternative means. The Commercial Core Historic District Design Objectives and Guidelines policy is the following: "improvements in the Commercial Core Historic District should maintain the integrity of historic resources in the area. At the same time, compatible and creative design solutions should be encouraged. " Important defining characteristics of the historic district are the street grid; a hard street edge that is defined by buildings built to lot lines; variations in height between 1, 2 and sometimes 3 stories; and lot widths of 30 feet, 60 feet and sometimes 90 feet with a depth of 100 feet. Prominent storefronts on the ground level with a tall plate height and subordinate upper stories are traditional buildings in Aspen's downtown. STAFF RESPONSE: Overall, Staff is supportive of conceptual approval of the project. The proposed three story building defines the street corner and the applicant has broken up the facade on both the Hyman and Hunter Avenues into traditional modules through either setbacks on the third floor and/or material changes on the second floor. The third floor of the new construction is setback 10' closest to the Benton Building to allow some visual relief and to break up the mass as described in Guideline 6.28 and 6.29 below. However, the proposal is in conflict with Guideline 6.28, bullet points 3 and 4 below: the third module, closest to the Benton Building, has a third story that is setback only 10' rather than the required 40'. Staff recommends that the applicant increase the setback to 40' for approval during Final Review. Overall, Staff finds that the proposed modules are sensitive to the historic district and are generally consistent with the intent of the Guidelines. 6.28 On sites comprising more than two traditional lot widths, the facade height shall be varied to reflect traditional lot width. • The faced height shall be varied to reflect traditional lot width. • Height should be varied every 60 ft. minimum and preferable every 30 ft of linear frontage in keeping with traditional lot widths and development patterns. • No more than two consecutive 30 ft. facade modules may be three stories tall, within an individual building. • A rear portion of a third module may rise to three stories, if the front is setback a minimum of 40 ft. from the street facade. (e.g. at a minimum, the front 40 feet may be no more than two stories in height.) HPC Review 12.7.2011 Aspen Core Page 11 of 15 P1 2 6.29 On sites comprising two or more traditional lots, a building shall be designed to reflect the individual parcels. These methods shall be used: • Variation in height of building modules across the site. • Variation in massing achieved through upper floor setbacks, the roofscape form and variation in upper floor heights. • Variation in building facade heights or cornice line. The proposed flat roofs and rectangular building modules, and the proposed building orientation meet the Design Objectives and Guidelines for development in the Commercial Core, specifically 6.20, 6.21, 6.22, 6.23, and 6.24. See Exhibit F for a complete List of the Guidelines. A 14' plate height for the first floor is proposed which meets the requirements for a prominent first floor. Upper floors in the district are typically between 10' — 12.' The proposed second floor plate height is similar to the first floor and 10.5' is proposed for the third floor. Staff recommends that HPC discuss whether it is important to reduce the plate height of the second floor to be less than the plate height of the first floor for more traditional dimensions. The applicant requests a height increase from the allowable 38' to 41' through Commercial Design Review. The maximum permitted increase through Commercial Design Review is 42'. The Commercial Design Standards and Objectives for a granting a height variation are listed below. Staff is supportive of a 3 story element at the comer of the property to anchor the intersection and preserve the street wall. The apex of the Benton Building is 38'5 "; therefore, allowing the building height to increase to 41' meets the guideline that permits a height increase to provide a two foot height variation with an adjacent building. Increasing the setback of the third floor module closest to the Benton Building, as described above, achieves an appropriate balance with the requested increase in height to 41'. In addition to the rooftop height Staff is concerned about the chimney located adjacent to the Benton Building, which is a final Review issue. It appears that the chimney is out of compliance with height requirements. Staff recommends that the chimney height be reduced to meet Code requirements or the element is eliminated for Final Review. HPC Review 12.7.2011 Aspen Core Page 12 of 15 P13 6.27 A new building or addition should reflect the range and variation in building height of the Commercial Core. • A minimum 9 ft. floor to ceiling height is to be maintained on second stories and higher. • Additional height, as permitted in the zone district, may be added for one or more of the following reasons: o In order to achieve at least a two foot variation in height with an adjacent building. o The primary function of the .building is civic. (i.e. the building is a Museum, Civic Building, Performance Hall, Fire Station, etc.) o Some portion of the property is affected by a height restriction due to its proximity to a historic resource, or location within a View Plane, therefore relief in another area may be appropriate. o To benefit the livability of Affordable Housing units. o To make a demonstrable (to be verified by the Building Department) contribution to the building's overall energy efficiency, for instance by providing improved day lighting. 6.30 Height variation should be achieved using one or more of the following: • Vary the building height for the full depth of the site in accordance with traditional lot width. • Set back the upper floor to vary the building facade profile(s) and the roof forms across the width and the depth of the building. • Vary the facade (or parapet) heights at the front. • Step down the rear of the building towards the alley, in conjunction with other design standards and guidelines. COMMERCIAL DESIGN STANDARDS Sec. 26.412.060. Commercial design standards. The following design standards, in addition to the commercial, lodging and historic district design objectives and guidelines, shall apply to commercial, lodging and mixed -use development: A. Public amenity space. Creative, well - designed public places and settings contribute to an attractive, exciting and vital downtown retail district and a pleasant pedestrian shopping and entertainment atmosphere. Public amenity can take the form of physical or operational improvements to public rights -of -way or private property within commercial areas. On parcels required to provide public amenity, pursuant to Section 26.575.030, Public amenity, the following standards shall apply to the provision of such amenity. Acceptance of the method or combination of methods of providing the public amenity shall be at the option of the Planning and Zoning Commission or the Historic Preservation Commission, as applicable, according to the procedures herein and HPC Review 12.7.2011 Aspen Core Page 13 of 15 P14 according to the following standards: 1. The dimensions of any proposed on -site public amenity sufficiently allow for a variety of uses and activities to occur, considering any expected tenant and future potential tenants and uses. 2. The public amenity contributes to an active street vitality. To accomplish this characteristic, public seating, outdoor restaurant seating or similar active uses, shade trees, solar access, view orientation and simple at -grade relationships with adjacent rights -of -way are encouraged. 3. The public amenity and the design and operating characteristics of adjacent structures, rights -of -way and uses contribute to an inviting pedestrian environment. 4. The proposed amenity does not duplicate existing pedestrian space created by malls, sidewalks or adjacent property, or such duplication does not detract from the pedestrian environment. 5. Any variation to the design and operational standards for public amenity, Subsection 26.575.030.F., promotes the purpose of the public amenity requirements. STAFF RESPONSE: The applicant requests a waiver of the Public Amenity requirement as part of the AspenModern negotiation for designation of the Benton Building and 517 E. Hyman- Little Annie's Eatery. The previous proposal was to create open space in the Benton Building's location. Preservation of the Benton Building is preferred. B. Utility, delivery and trash service provision. When the necessary logistical elements of a commercial building are well designed, the building can better contribute to the overall success of the district. Poor logistics of one (1) building can detract from the quality of surrounding properties. Efficient delivery and trash areas are important to the function of alleyways. The following standards shall apply: 1. A utility, trash and recycle service area shall be accommodated along the alley meeting the minimum standards established by Section 26.575.060, Utility/trash/recycle service areas, unless otherwise established according to said Section. 2. All utility service pedestals shall be located on private property and along the alley. Easements shall allow for service provider access. Encroachments into the alleyway shall be minimized to the extent practical and should only be necessary when existing site conditions, such as an historic resource, dictate such encroachment. All encroachments shall be properly licensed. 3. Delivery service areas shall be incorporated along the alley. Any truck loading facility shall be an integral component of the building. Shared facilities are hi•hly encouraged. 4. Mechanical exhaust, including parking garage ventilation, shall be vented through the roof. The exhaust equipment shall be located as far away from the street as practical. HPC Review 12.7.2011 Aspen Core Page 14 of 15 P15 5. Mechanical ventilation equipment and ducting shall be accommodated internally within the building and/or located on the roof, minimized to the extent practical and recessed behind a parapet wall or other screening device such that it shall not be visible from a public right -of -way at a pedestrian level. New buildings shall STAFF RESPONSE: Staff is unclear as to the location of the trash area for the commercial tenants. The residential trash area is located on the first floor and accessed off of the alley. Staff recommends that the applicant provide more information during the public hearing as to how the minimum standards of 20 feet x 10 feet x 10 feet for trash/utility /recycle is met onsite. STAFF RECOMMENDATION: Staff recommends that HPC grant Conceptual HPC Major Development approval and Conceptual Commercial Design Standard approval with the following conditions: 1. The first floor storefront windows of the Benton Building shall be restored to the original flat configuration. 2. The removal of the rear portion of the Benton Building for a 2 car garage is approved as represented in the application. 3. A height variation of 41' is granted for the new construction as proposed with the condition that the third floor of the module closest to the Benton Building is setback 40' from the Hyman Avenue facade. 4. The applicant shall provide a trash/utility /service area that meets the minimum requirements of 20 feet x 10 feet x 10 onsite and accessed off of the alley for review during Final Commercial Design Standard Review. 5. Reduce the height or remove the chimney adjacent to the Benton Building for approval during Final Review. 6. A development application for a Final Development Plan shall be submitted within one (1) year of the date of approval of a Conceptual Development Plan. Failure to file such an application within this time period shall render null and void the approval of the Conceptual Development Plan. The Historic Preservation Commission may, at its sole discretion and for good cause shown, grant a one- time extension of the expiration date for a Conceptual Development Plan approval for up to six (6) months provided a written request for extension is received no less than thirty (30) days prior to the expiration date. EXHIBITS: Exhibit A: Biography of Tom Benton from thomas w. benton: artistlactivist. by Daniel Joseph Watkins, published by People's Press, 2011. Exhibit B: Integrity Score Sheet for Benton Building. Exhibit C: Modernism Context Paper Exhibit D: Integrity Score Sheet for 517 E. Hyman- Little Annie's Eatery Exhibit E: Rustic Context Paper Exhibit F: Commercial, Lodging and Historic District Design Objectives and Guidelines Exhibit G: Application HPC Review 12.7.2011 Aspen Core Page 15 of 15 P16 A RESOLUTION OF THE ASPEN HISTORIC PRESERVATION COMMISSION RECOMMENDING THE ASPEN CITY COUNCIL PURSUE HISTORIC LANDMARK DESIGNATION THROUGH THE ASPENMODERN PROGRAM OF THE PROPERTY LOCATED AT 517 E. HYMAN AVENUE, LEGALLY DESCRIBED AS LOT E, BLOCK 95, CITY AND TOWNSITE OF ASPEN, COLORADO RESOLUTION # _ , SERIES OF 2011 PARCEL ID: 2737 - 182 -24 -002 WHEREAS, the applicant, Aspen Core Ventures, LLC, represented by Stan Clauson Associates, Inc., submitted an application to voluntarily landmark designation the properties located at 517 East Hyman Avenue (Lot E, Block 95), 521 East Hyman Avenue (Units 1 and 2 of the Benton Building Condominium, aka Lot F, Block 95); and WHEREAS, 517 East Hyman Avenue is located within the designated boundaries of the Commercial Core Historic District as described in City Council Ordinance number 49, Series of 1974; and WHEREAS, the applicant submitted a letter dated November 29, 2011 requesting that the property be added to the AspenModern map and requesting voluntary designation in exchange for specific benefits through the AspenModern negotiation; and WHEREAS, the 90 day AspenModern negotiation commenced on November 29, 2011; and WHEREAS, Community Development evaluated the property pursuant to Land Use Code Section 26.415.030.C.1(b) and determined that the property meets the criteria for designation and the integrity score qualifies as the "best" category; and WHEREAS, at their regular meeting on December 7, 2011 the Historic Preservation Commission considered the application during a duly noticed public hearing, the staff memo and recommendation, and public comments, and found the proposal consistent with the review standards and approved demolition by a vote of to . NOW, THEREFORE, BE IT RESOLVED: That HPC hereby finds that the property located at 517 East Hyman Avenue, Lot E, Block 95, City and Townsite of Aspen, Colorado meets the designation criterion (a) and (e) of Land Use Code Section 26.415.030.C.1 and Land Use Code Section 26.415.010 Purpose and Intent and recommends Aspen City Council negotiate for landmark designation. HPC finds that 517 E. Hyman Avenue is a "best" example of the Rustic Style. APPROVED BY THE COMMISSION at its regular meeting on the 7 day of December, 2011. 517 E. Hyman Avenue — AspenModern recommendation HPC Resolution # , Series of 2011 P17 Ann Mullins, Vice -Chair Approved as to Form: Jim True, Special Counsel ATTEST: • Kathy Strickland, Chief Deputy Clerk 517 E. Hyman Avenue — AspenModem recommendation HPC Resolution # , Series of 2011 P18 A RESOLUTION OF THE ASPEN HISTORIC PRESERVATION COMMISSION RECOMMENDING THE ASPEN CITY COUNCIL PURSUE HISTORIC LANDMARK DESIGNATION THROUGH THE ASPENMODERN PROGRAM OF THE PROPERTY LOCATED AT 521 EAST HYMAN AVENUE, LEGALLY DESCRIBED AS UNITS 1, 2 AND THE COMMON AREA OF THE BENTON BUILDING CONDOMINIUMS (AKA LOT F, BLOCK 95), CITY AND TOWNSITE OF ASPEN, COLORADO RESOLUTION # _ , SERIES OF 2011 PARCEL ID: 2737 - 182 -54 -001 2737 - 182 -54 -002 2737 - 182 -54 -800 WHEREAS, the applicant, Aspen Core Ventures, LLC, represented by Stan Clauson Associates, Inc., submitted an application to voluntarily landmark designation the properties located at 517 East Hyman Avenue (Lot E, Block 95), 521 East Hyman Avenue (Units 1 and 2 of the Benton Building Condominium, aka Lot F, Block 95); and WHEREAS, 521 East Hyman Avenue is located within the designated boundaries of the Commercial Core Historic District as described in City Council Ordinance number 49, Series of 1974; and WHEREAS, the applicant submitted a letter dated November 29, 2011 requesting that the property be added to the AspenModern map and requesting voluntary designation in exchange for specific benefits through the AspenModern negotiation; and WHEREAS, the 90 day AspenModern negotiation commenced on November 29, 2011; and WHEREAS, Community Development evaluated the property pursuant to Land Use Code Section 26.415.030.C.1(b) and determined that the property meets the criteria for designation and the integrity score qualifies as the "better" category; and WHEREAS, at their regular meeting on December 7, 2011 the Historic Preservation Commission considered the application during a duly noticed public hearing, the staff memo and recommendation, and public comments, and found the proposal consistent with the review standards and approved demolition by a vote of to . NOW, THEREFORE, BE IT RESOLVED: That HPC hereby finds that the property located at 521 East Hyman Avenue, , Block 95, City and Townsite of Aspen, Colorado meets criteria a — e listed in §26.415.030.C.1 and Land Use Code Section 26.415.010 Purpose and Intent and recommends Aspen City Council negotiate for landmark designation. The Benton Building is a "better" example of Modernist Style architecture in Aspen and has the potential to be a "best" example after the proposed restoration of the facade." 521 E. Hyman Avenue- AspenModern Recommendation HPC Resolution # , Series of 2011 P19 APPROVED BY THE COMMISSION at its regular meeting on the 7 day of December, 2011. Ann Mullins, Vice -Chair Approved as to Form: Jim True, Special Counsel ATTEST: Kathy Strickland, Chief Deputy Clerk 521 E. Hyman Avenue- AspenModern Recommendation HPC Resolution # , Series of 2011 P20 s "' I PC" printmaking, creating his first anti -war peace poster in 1965, and then drifted from architecture to focus on his art. Benton was especially drawn to the impact of symbols and text working in tandem to convey his political message. During the late 1960s Benton met gonzo journalist Hunter S. C L Thompson. His friendship and collaboration with Thompson spanned more than four decades and created or inspired some of Benton's most recognized works, including the 1970 "Hunter 5. Thompson for Sheriff" poster and a series i of political posters that combined art and writing — the Aspen Wallposters. He went on to create campaign posters for more than fifty candidates including George McGovern, Gary Hart and Willie Brown. Benton also created numerous U cause posters for local benefits, non - profits and charitable O causes that suited his beliefs. Benton's art continued to evolve throughout his lifetime from political posters to abstract silkscreen prints, monotypes and oil paintings. Those iconic works, composed of complex A^ layered images of bold colors, text and symbols, mesmerized i 1 his viewers. His artwork always remained original and grew in size as he matured. Eventually he was creating s }, ?; prints measuring more than three feet by three feet and oil " ' THOMAS WHELAN BENTON WAS BORN ON paintings that were five feet by five feet and larger. �r November 16, 1930 in Oakland, California. He attended But, as he said more than once, he was in need of a regular " 3 Glendale High School and Glendale Junior College before paycheck. In 1989 Sheriff Braudis hired him as a jail deputy, 1 %.....- .. enlisting in the United States Navy during the Korean War. where he worked full time, off and on, until his retirement --17. ,? ?' After his discharge in 1953, Benton attended the University in 2003. .. of Southern California and studied architecture under the "No one else but Bob Braudis would have hired me," ,r a w'. G.F. Bill. He practiced architecture in Los Angeles where he Benton said in a 1995 Aspen Times interview. But it was so t ,'r designed a number of residential and commercial buildings. easy. They tell you when to show up, when to work. ° £ During a trip to Colorado in 1962, Benton bought an empty Who to abuse. "' 4 a.: "Fot in downtown Aspen, at 521 East Hyman Avenue. The During his time as a jailor he would often silkscreen =4 next year he and his wife Betty and children Brian and Christmas T- shirts for the inmates, with quotes such as, "The Mrohelle moved to Aspen where he designed and built his degree of civilization in a society can be judged by entering me, studio, and gallery on that lot. He was adept with its prisons," by Dostoyevsky. aacs-hands and quick to use local materials, such as cinder °1Focks from nearby Dotsero and the aluminum printing Throughout his career, Benton had ongoing financial and f tes discarded weekly at The As en Times. Benton was the drug addiction problems that impacted his artistic output. . bfguy who would create everything he needed — not He abandoned art altogether in the 1980s and '90s before r hd me but worktables, storage cupboards, hanging taking up painting later in life. . i rs ; benches, chairs, everything. It was all original, y 9� on ina 9 Benton was diagnosed with advanced lymphoma in early yc ^simple and beautiful — works of art that he 2007, and died April 27, 2007. He was seventy -six years old. :,�.1 of, mere necessities, whipped up at a moments He is survived by his children, Brian Benton and Michelle " - disposed of without ceremony when he was Benton Bremer, and two grandchildren, Natalie and Emily x Vie+ rtkem. ,, Bremer. me involved in local politics and his gallery soon ra t • central_ meeting place for local intellectuals, C .ct■ists. He taught himself the art of silkscreen ap ,) ilir ' Cc . : , ' - rs't` K+ v b,.. • biography 1 r . .x ' 7 © © © ■ L 4E' O >, 0 L (a _ (6 ( a) (0 O7 N CO U O - Q = 0 O 1 o) 2 N o O U) O p fa 0 0- C° c ca }. c . 0) -o a) o) 0 a) D E N u) L c (I) E - 0 E ° XC o o m o c c c a C 'al -C a) 0.> o c y _ > u) c Q c) a) - v N `� Q O Q) O d) co '4- O O U a) 0 N N 0 0 j to O OL (D 4) Q m a) _C CO (4 crs L >, o L a) O �- �' M a) a) ca ° ca a) N +-• c O (,", 0 O N N E o >, o C (a n o . O u) y „ fi t W }, v t C X C z a rn E a U c o 0 ca U o -c cn O U E 0 76 3! 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N p -o Y (o C O Ul a) Q- O ( • _ O N w N_ 1 O (a O Q 1 O o E 1.4— -c QL u) E x -c— a) a)8ci 00E C°) ° 0� - J o N U (a O U Q Q � ' r: A, Q C L (a 4 -' U C6 Z t o ,- ° CV C O C CO C CO C Y C • (a o L -1 • CO io ,_ E . L a) a f C i12. ° c a) o 8 ° L I 1! I U Z , E. a) • CO N Q U 0 N (a O N (B C kk } N (0 a) : ; N - 4 +:.. � � f x (Q U (1).-:-. - E-0 c U T U ( yr . .. U Q O (a O C N O CO A +L C U °� �,,� W a) U a) , 0 a) 4_ 4 . U U +J E Q -O O N " I r 13 0. _ A • Cn C ,_ Q) x N _ 0 . M ca (� _o a) 0 (n co . 4. 1 R(lAiJit P22 INTEGRITY SCORING If a statement is true, circle the number of points associated with that true statement. LOCATION OF BUILDING ON THE LOT: The building is in its original location. 2 points 1 point The building has been shifted on the original parcel, but maintains its original alignment and /or proximity to the street. SETTING: The property is located within the geographical area surrounded by Castle 1 point .� Creek, the Roaring Fork River and Aspen Mountain. The property is outside of the geographical area surround by Castle Creek, the Raoring Fork River and Aspen Mountain. 1/2 point DESIGN: The form of the building (footprint, roof and wall planes) are unaltered from the original design. 3 points a.) The form of the building has been altered but less than 25% of the original walls have been removed, OR b.) The alterations to the form all occur at the rear of the subject building, OR 2 points c.) The form of the building has been altered but the addition is less than 50% of the size of the original building, OR d.) There is a roof top addition that is less than 50% of the footprint of the roof. MATERIALS Exterior materials The original exterior materials of the building are still in place, with the 2 points exception of normal maintenance and repairs. 50% of the exterior materials have been replaced, but the replacements 1 point match the original condition. Windows and doors The original windows and doors of the building are still in place, with the 2 points exception of normal maintenance and repairs. 50% of the original windows and doors have been replaced, but the 1 point replacements match the original condition. Best: 15 up to 20 points Integrity Score (this page) maximum of 10 points: Better: 12 up to 15 points Character Defining Features Score (first page) maxi - g Good: 10 up to 12 points mum of 10 points: Not Eligible:0 up to 10 points HISTORIC ASSESSMENT SCORE: 171 /- 21-i C. P 23 Y MME c: .4 �� 3 y .. : e 4 i ( t J1975 y Y ... ^ mo t er n , . v Page 1 of 48 P24 TABLE OF CONTENTS INTRODUCTION 7 CHAPTER 1: THE MODERNIST MOVEMENT: WRIGHTIAN /ORGANIC AND BAUHAUS /INTERNATIONAL STYLE 8 CHAPTER 2: MODERNISM IN ASPEN 1945 -1975 - THE ARCHITECTS 11 FREDERIC "FRITZ" BENEDICT AND HERBERT BAYER 12 HERBERT BAYER 14 FREDERIC "FRITZ" BENEDICT 14 GORDON CHADWICK 16 CHARLES GORDON LEE 16 SAMUEL JEFFERSON CAUDILL, JR. 16 ROBERT OLIVER "ROB" ROY 17 CHARLES PATERSON 18 • ELEANOR "ELLIE" BRICKHAM 19 ROBIN MOLNY 19 CURTIS WRAY BESINGER 20 ELLEN HARLAND 20 JOHN MORRIS "JACK" WALLS 20 ROBERT "BOB" STERLING 21 GEORGE EDWARD HENEGHAN, JR. 21 THEODORE L. "TED" MULARZ 21 THOMAS WHELAN "TOM" BENTON 22 RICHARD TSENG -YU LAI 22 ARTHUR "ART" YUENGER 22 FRANCIS REW STANTON 23 HARRY WEESE 23 VICTOR LUNDY 24 CHAPTER 3: MODERNISM IN ASPEN 1945-1975 - THE BUILDINGS 25 1945 -1960 ASPEN ENTERS THE SKI AND CULTURAL TOURISM INDUSTRIES 25 SKI INDUSTRY 26 LODGING27 COMMERCIAL 27 PUBLIC 27 RESIDENTIAL 28 ASPEN INSTITUTE 28 1960 -1975 GROWTH AND DEVELOPMENT 29 LODGING31 COMMERCIAL 31 PUBLIC 33 ASPEN INSTITUTE & GIVEN INSTITUTE 34 Page 3 of 48 P25 RESIDENTIAL 34 SINGLE FAMILY MODERNISM 34 MODERN CHALET 35 MODERN CHALET MULTIPLIED — MULTIFAMILY 37 CONDOMINIUMS 38 CHAPTER 4: CONCLUSION 40 BIBLIOGRAPHY 41 INTERVIEWS 44 EMAIL COMMUNICATION 44 APPENDIX I: ELIGIBILITY CONSIDERATIONS 45 WRIGHTIAN/ ORGANIC DESIGN PRINCIPLES 45 BAUHAUS OR INTERNATIONAL STYLE DESIGN PRINCIPLES 45 ASPEN MODERN CHALET DESIGN PRINCPLES 46 APPENDIX II: THE ARCHITECTS 47 APPENDIX III: ARCHITECTS LISTED IN ASPEN PHONE DIRECTORIES 48 Page 4 of 48 P26 ILLUSTRATIONS Figure 1: Looking toward Red Mountain. Courtesy Aspen Historical Society (AHS). Figure 2: Looking toward Aspen Mountain from the Wheeler Opera House. Courtesy AHS. Figure 3: Elizabeth and Walter Paepcke. Courtesy AHS. Figure 4: Creating the scraffito wall at the Aspen Institute, from left - Ellie Brickham, Masato Nakagawa, Herbert Bayer, and Fritz Benedict, Coutesty Ferenc Berko Photography. Figure 5: Aspen looking toward smuggler mountain. Courtesy AHS. Figure 6: Herbert Bayer poster. Unkknown source. Figure 7: Fritz Benedict, top center, with fellow 10th mountain division soldiers. Courtesy AHS. Figure 8: Herbert Bayer. Source unknown. Figure 9: The Copper Kettle Restaurant. Courtesy AHS. Figure 10: Pioneer Park with Herbert Bayer paint scheme. City of Aspen files. Figure 11: Wheeler opera house interior designed by bayer. Courtesy AHS. Figure 12: Aspen Highlands Base Lodge. Courtesy AHS. Figure 13: Sundeck atop Aspen Mountain. Courtesy AHS. Figure 14: Edmundson House designed by Benedict. City of Aspen files. Figure 15: Bank of Aspen, now Wells Fargo Bank, designed by Benedict. Courtesy AHS. Figure 16: National Bank of Aspen, now US Bank, designed by Caudill. City of Aspen files. Figure 17: Stern Residence, designed by Rob Roy. Courtesy AHS. Figure 18: Boomerang Lodge, designed by Paterson. Courtesy of Sheila Babbie. Figure 19: Strandberg Residence, designed by Brickham. City of Aspen files. Figure 20: Hearthstone House, designed by Molny. Courtesy Irma Prodinger. Figure 21: Pedestrian Malls, designed by Molny. Courtesy AHS. Figure 22: Villager Townhouses, designed by Sterling and Dagg. City of Aspen files. Figure 23: Prince of Peace Chapel. Courtesy AHS. Figure 24: Berko Studio, designed by Mularz. City of Aspen files. Figure 25: Patio Building, designed by Benton. Courtesy AHS. Figure 26: 54 Shady Lane residence., designed by Yuenger. City of Aspen files. Figure 27: Christ Episcopal Church, designed by Stanton. Courtesy Denver Public Library archives. Figure 28: Given Institute, designed by Weese. City of Aspen files. Figure 29: 301 Lake Avenue, designed by Lundy. Courtesy Victor Lundy. Figure 30: Lift 1. Courtesy AHS. Figure 31: Sundeck atop Aspen Mountain, designed by Bayer and Benedict. Courtesy AHS. Figure 32: Buttermilk Base Lodge. Courtesy AHS. Figure 33: The Smuggler Lodge. Courtesy AHS. Figure 34: Red Brick School. Courtesy AHS. Figure 35: "Bonnet" house, designed by Stanton. Courtesy AHS. • Figure 36: Koch Seminar Building, designed by Bayer. City of Aspen files. Figure 37: Center for Physics, designed by Bayer. City of Aspen files. Figure 38: Anderson Park, designed by Bayer. Courtesy National Trust for Historic Places. Figure 39: Base lodge at Buttermilk Mountain. Courtesy AHS. Figure 40: Aspen Square, designed by Benedict. Courtesy AHS. Figure 41: Aspen Sports, designed by Caudill. City of Aspen files. Figure 42: 300 South Spring Street, designed by Heneghan and Gale. City of Aspen files. Figure 43: Hyman Avenue Mall, designed by Molny. Courtesy AHS. Figure 44: 120 East Main Street, originally the Pitkin County Library, designed by Bayer and Benedict. City of Aspen files. Figure 45: Paepcke Auditorium, designed by Bayer. Courtesy Farewell, Mills, Gatsch Architects, Inc. Figure 46: Given Institute, designed by Weese. City of Aspen files. Figure 47: 311 West North Street, designed by Bayer. City of Aspen files. Figure 48: 625 Gillespie Avenue, designed by Benedict. City of Aspen files. Figure 49: 114 East Bleeker Street. Courtesy AHS. Figure 50: 219 South Third Street, designed by Friis. City of Aspen files. Figure 51: 1102 Waters Avenue, designed by Benedict. City of Aspen files. Figure 52: 608 West Hopkins Street, designed by Roy. City of Aspen files. Figure 53: Aspen Alps in the background, designed by Benedict. Courtesy AHS. Figure 54: 809 South Aspen Street, Shadow Mountain Condominiums, designed by Kirk. City of Aspen files. Page 5 of 48 P27 "Restore the best of the old, but if you build, build modern." Bauhaus founder Walter Gropius, Aspen town meeting, August 29, 1945 INTRODUCTION As in much of the United States, modern architecture made its first appearance in Aspen after World War 11. While Aspen's image, to .4 41' . the public and perhaps to itself, largely identifies with its heyday as one of the most prosperous Victorian mining towns in Colorado, its - postwar modern architecture is significant: it represents a mother lode of the two competing camps of modernism, and it reflects modern architecture's dominance in 1950s and 1960s America. j • ' Modernism's iconic monuments—Frank Lloyd Wright's Guggenheim Museum, Mies van der Rohe's Farnsworth House in Illinois, Eero General Motors Headquarters, and New York's Seagram - Building and Lever House —went up in the 1940s and1950s. By the _ - mid- 1960s, there were rumblings of a backlash. Robert Venturi's Complexity and Contradiction in Architecture (1966) signaled that p Y ( � g Figure 1: Looking toward Re• Mountain. modernism's authority was being challenged by a new generation, Courtesy Aspen Historical Society (AHS). although most architects and clients continued to value modernist R - ca buildings through the 1970s. Thus, for modernist buildings in ,4 Aspen, the period of historic significance, a term that encompasses - architectural, historical, or geographical importance, is between 1945 and approximately 1975. The paper first examines the origins of the modernist movement in - America and Europe. It then looks at modernist architects working "- • in Aspen between 1945 -1975 whose contributions to its built .-•-• .. environment continue to influence its character. Thirdly, it describes / - -- te Aspen's modernist buildings, organized by two eras: 1945 -1960, i ,„ " v r when Aspen entered the ski and tourist industries, and 1960 -1975, when growth and development accelerated. Fourth, it delineates the characteristics that make a structure eligible for designation as a modernist building that contributes to Aspen's history. Figure 2: Looking toward Aspen Mountain from the Wheeler Opera House. Courtesy AHS. 1 Gropius quoted in James Sloan Allen, The Romance of Commerce and Culture: Capitalism, Modernism, and the Chicago -Aspen Crusade for Culture Reform (Chicago: University of Chicago Press, 1983), 135 -37; Thomas J. Noel, Buildings of Colorado in series, Buildings of the United States, Society of Architectural Historians (New York and Oxford: Oxford University Press, 1997), 488. Page 7 of 48 P28 CHAPTER 1: THE MODERNIST MOVEMENT: WRIGHTIAN /ORGANIC AND BAUHAUS /INTERNATIONAL STYLE Modern architecture rejected the historic styles of the past. It began in the early 20th century, but followed two different paths: American modernism was rooted in the organic design of Louis Sullivan and Frank Lloyd Wright; and European modernism was based on the utopian socialist ideals of the French architect Le Corbusier, among others, and the teachings of the German Bauhaus (1919- 1933), founded by Walter Gropius in Weimar. American modernism, also known as "organic" architecture, started around 1900 in Chicago and the Midwest, where Louis Sullivan coined the phrase "form follows function" to express his rejection of historic styles. Frank Lloyd Wright emulated Sullivan's radical rethinking of architectural form and went on to develop highly individualistic designs such as the 1902 Ward Willets House in Highland Park and the 1909 Frederick Robie House in Chicago. Wright's "Prairie" houses reflected Arts & Crafts ideas. The architect designed "in the nature of materials," which, for Wright, could be stone or brick or steel and glass. He reconfigured the traditional "box" of a house into a series of interlocking geometric units or "modules " -90 degrees (square /rectangles), 30 -60 degrees (triangles /hexagon), and circles or segments thereof —that governed both plan and elevation. Wright transformed traditional floor plans to create simplified flowing spaces and integrated the house interior with the exterior setting to redefine the suburban house. As Alan Hess, the major scholar of Organic Architecture, writes, Wright and others embraced both "contemporary machinery and ageless natural landscape.. "' Buildings reflecting an organic philosophy don't necessarily look alike, but they share a notion of design as growing from a germ of an idea and particular to a specific setting. According to the Wright approach, "First, pick a good site ... a site no one wants —but pick one that has features making for character: trees, individuality, a fault of some kind in the realtor's conventional mind." Organic modernism has a complexity of line, form, structure, textures, and materials such as natural stone and woods or machine -made glass, concrete, and, later, plastic. Wright achieved such acclaim that his Robie House and other "Prairie" designs were published in an avant -garde portfolio for European audiences in 1914. Yet interest in the Midwestern architect and organic architecture declined in the 1920s. His career and design theories languished, while attention to European modernist architects, such as Gropius and Le Corbusier, increased. In the late 193Os, Wright's claim as the original modernist regained momentum with two major projects— Fallingwater in Bear Run, Pennsylvania, which combined a European modernist use of geometric concrete forms with an organic use of natural stone quarried on the site, and the Johnson Wax Company Headquarters in Racine, Wisconsin. His postwar practice and reputation soared with the visibility of the Guggenheim Museum and other public projects; and his small -scale Usonian houses created a new standard for domestic architecture across the county. Wright had kept the American organic architecture movement going, just barely, by creating the Taliesin Fellowship in 1932. Although he was opposed to official academic institutions, the reality of Depression -era economics and his lagging practice led him to formalize his ongoing apprentices into a fellowship. He envisioned Taliesin as an ideal community where aspiring architects would pay a modest tuition and could live and work with a "master" architect. Wright proclaimed that he was not a teacher, though the fellows could learn from him. Young apprentices, such Aspen's Fritz Benedict and others, were required to engage in physical labor —in the garden and household and on construction projects —for six months before getting into the drafting room. Taliesin was to be self- sustaining, and Wright believed that "growing things" was important to an understanding of "organic architecture." The fellows also participated in the related arts of music, painting, and sculpture and ongoing maintenance of the complex. Wright and his wife Oglivanna lived a rather abundant and culturally rich life with small means supported by a large group of apprentices —some 45 in 1939, increasing after the war to 50 -60, including foreign -born fellows. 2 Alan Hess, text, Alan Weintraub, photographs, Organic Architecture: The Other Modernism (Salt Lake City: Gibbs Smith, Publisher, 2006), 6. Page 8 of 48 P29 Wright's extended "family" worked and lived in two enclaves. They spent the summers in his hereditary homeplace in Spring Green, Wisconsin, and, after 1939, passed the winters in the desert camp near Phoenix, Arizona. Moving the entire operation from Wisconsin to Arizona in November and then back to Wisconsin in the spring was Wright's way of "breaking up" the routine.' In the desert, the fellows were expected to design and build their own dwellings. As his practice revived during the 1930s and 1940s, the fellows were essential to his productivity. They worked in the drafting rooms, supervised construction projects, and aided the venerable architect in promoting organic architecture through publications and exhibitions. European modernism, or the International Style, also rejected the past —its technologies, its architecture, its ornament, its societal structures —and embraced modernity, industrialization, urbanization, and the machine. European architects and designers believed that, by embracing the new industrial technologies, they could improve the physical and psychological environments for the mass of people and create a new society. Its 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. Characterized by the absence of references to past historic styles, the European modernists used industrial materials such as steel, reinforced concrete, and glass to give the buildings a sleek, mechanistic look. Not only did the International Style avoid decoration or historic styles, it revolutionized interior space by reducing the building to metal frame and glass walls. As architectural historian Spiro Kostof wrote: "Architecture was seen primarily as volume and not mass. 5o the stress was on the continuous, unmodulated wall surface —long ribbon windows without frames, cut right into the wall pane, horizontally or vertically disposed; flush joints, flat roofs. Corners were not made prominent. Technically, the argument went, materials like steel and reinforced concrete had rendered conventional construction —and with it cornices, pitched roofs, and emphatic corners — obsolete. There would be no applied ornament anywhere, inside or out." Le Corbusier proclaimed in his 1923 manifesto, Towards a New Architecture: "A house is a machine made for living. " A few European modernists arrived in the United States in the 1920s, but the major influx occurred in the late 1930s as Hitler rose to power. In 1937, Ludwig Mies van der Rohe, who had succeeded Gropius at the Bauhaus, arrived in Chicago to head the School of Architecture at the Illinois Institute of Technology; that same year, Laszlo Moholy Nagy led a reincarnation of the Bauhaus at Chicago's School of Design. In 1939, Walter Gropius took charge of the Harvard University Graduate School of Design. In 1938, Herbert Bayer, head of the typography workshop and one of three young masters under Gropius at the Weimar Bauhaus (the others were Joseph Albers and Marcel Breuer) moved to New York City, where he created three exhibitions ( "Bauhaus 1919 - 1928," "Road to Victory," and "Airways to Peace ") for the Museum of Modern Art and worked as an art director designing books, exhibitions, and posters for major corporate clients and advertising agencies. American's postwar embrace of European modern architecture reflected important changes: there was no longer a cheap source of labor; modern building codes replaced the old rule -of- thumb; and new construction materials— concrete block, glass, steel, and aluminum —were increasingly available.' Furthermore, the public's concept of architecture now included an "international" component. Americans were first introduced to the international avant -garde in 1932 by the influential Museum of Modern Art exhibition, Modern Architecture of Europe. By the 1940s and 1950s, European modernists, such as Mies, Gropius, Joseph Albers, and Eliel Saarinen, dominated architectural and design schools and professional architectural publications. Through the 1950s and 1960s, young American architects were trained in the Bauhaus curriculum and enthusiastically disseminated 3 Curtis Besinger, Working with Mr. Wright. What It Was Like (Cambridge: Cambridge University Press, 1995). 4 Spiro Kostof, A History of Architecture: Settings and Rituals (New York: Oxford University Press, 1985), 701. 5 Albers and his wife Annie found refuge in 1933 at Black Mountain College near Asheville, North Carolina, thanks to MOMA curator Philip Johnson, who was also instrumental in bringing Mies to America. Breuer joined Gropius at Harvard and The Architects Collaborative (TAC), and Bayer came to Aspen. 6 Robert Frankeberger and James Garrison, "From Rustic Romanticism to Modernism and Beyond: Architecture Resources in the National Park," Forum Journal, Journal of the National Trust for Historic Preservation (Summer 2002): 8. Page 9 of 48 P3O it in flat - roofed, austere glass and metal- framed buildings across the American landscape. Modernism gained widespread acceptance as the most appropriate architecture for the new era, especially in major metropolitan areas. The International Style appeared in office buildings, airports, corporate campuses, churches, shopping centers, restaurants, and lodging. In 1955, when the National Park Service launched its Mission 66 campaign to update its rustic image, it adopted modernist designs for its new housing, schools, type of park structure, the visitor center In its emphasis on individuality, Wright's organic architecture lacked the broad institutional base of the International Style. Wright famously advised Oklahoman Bruce Goff, who was clearly talented in expressionistic and organic design, not to study architecture and lose his unique gift. Frank Lloyd Wright had been America's most famous modern architect for decades, and many more Americans knew his name than those of Le Corbusier or Walter i Gropius. Popular shelter magazines of the time modernism the 1940s and 1950s, as represented by especially House Beautiful, promoted "American" n 153 Wright mounted a major exhibition of his work in New York City as t hf, and the eim Museum eu wsai characterized by one of his a tY as the Guggenheim Museum wa going 1953, 953, hd ac e rued by one o his apprentices an ic e "a gpa's of the present war in Architectural circles between the 'organic' grows according to its function and is specific to its site, along with his use of natural materials, fit the postwar mentality of the individualistic architects attracted way of to the hnasc ntski of organic, as something that of Aspen. 7 Besinger, Working with Mr. Wright, 251. Page 10 of 48 P31 CHAPTER 2: MODERNISM IN ASPEN 1945 -1975 - THE ARCHITECTS .Aspen is unique inthatthewidespread acceptance of modernism in America coincided with its postwar reinvention as an international resort. Two significant practitioners of the competing modern approaches, Taliesin alumnus Frederic "Fritz" Benedict and Bauhaus master Herbert Bayer, arrived immediately after the war to establish their imprint on the mountain community. Rather quickly, other young modernist architects educated at Cornell, Colorado, Illinois, M.I.T., and Taliesin moved there. Aspen had little new construction in its "Quiet Years" between the 1893 Silver Crash and the end of World War, hence no need for architects. This status changed ',. when Fried! Pfeifer saw the potential in developing a major ski resort akin to his native St. Anton and Chicago industrialist '` Walter Paepcke envisioned the mountain town as an ideal setting for a community of intellectual engagement and cultural institutions. Figure 3: Elizabeth and Walter Paepcke. Courtesy AHS. , The modernist Aspen architectural community began with a few pioneers and several prominent designers and grew rapidly, with some architects designing a single building or two, and many establishing their entire careers there. Fritz Benedict arrived in 1945, and Herbert Bayer in 1946. Gordon Chadwick and Charles Gordon Lee stopped in briefly in the winter of 1946 -1947. Samuel Caudill first visited in 1947 and settled permanently in 1952. Charlie Paterson came in 1949, Ellie Brickman in 1951, and Rob Roy by 1953. Robin Molny was in town by 1955, and Jack Walls by 1957. Ellen Harland appeared in 1958, and Ted Mularz in 1959, along with George Heneghan, and Dan Gale. Richard Lai stayed from 1960 to 1965. Bob Sterling was part of the scene from 1956 -1960, got his architectural degree, and returned in 1963. Tom Benton arrived in 1963. By 1969, Art Yuenger, among others, lived and worked in Aspen. Bauhaus founder Walter Gropius advised on town planning in 1945, thanks to benefactor Walter Paepcke who also had ambitious plans for a modernist architectural village, cut short by his death in 1960. Through the auspices of the Goethe Bicentennial and the Aspen Institute, Paepcke and his wife Elizabeth commissioned signature buildings by several "name" modernists, such as Eero Saarinen (Music Tent, 1949), Buckminster Fuller (Geodesic dome, 1952), and Harry Weese (Given Institute for Physics, 1973). Second home owner and Chicago architect Francis Stanton designed a residence and church (1954, 1963), and Texas (also Florida and New York) architect Victor Lundy designed and built his own elegantly modern vacation home in the West End in 1972. : ~ Most of the pioneer architects arrived in the first decade of Aspen's rebirth, 1945 -1956, C ' 4 .;.• but did the majority of their work after the _. - ,- '� , mid- 1950s, when growth and development ; z accelerated. Educatedatthetoparchitectural -. ` programs of the time, they articulate either a e...�a Bauhaus /International or Wrightian /organic esthetic— frequently, a creative blending of _- the two. Their architecture communicates � -_> Figure 4: Creating the scra 'to wa at t Aspen Institute, ram le Ellie both a distinct sense of place — the extreme Brickham, Masato Nakagawa, Herbert Bayer, and Fritz Benedict, Courtesy high country environment — and a high level Ferenc Berko Photography. of design. As a group, they were attracted to Page 11 of 48 P32 the adventure and promise of Aspen. Most loved to ski, knew one another socially, worked in one another's offices, collaborated on projects, and immersed themselves in the community, often serving on the city planning and zoning commission and other local and regional boards involved with environmental concerns and urban issues of growth, traffic, and affordable housing. It's important to remember that Aspen, though dilapidated, was a viable town when the newcomers started arriving in 1945. Before President Grover Cleveland 4 1E4 -4 = "' " t4= 4, Y. returned the United States to the gold standard in 1893, $ ' . °t "- °� silver in th e - c , ' devaluing process, Aspen had boasted � � , 12,000 residents, six newspapers, four schools, three t � w banks, a hospital, three theaters, an opera house, r sixteen hotels, a courthouse, stores and office blocks, a .--1,� -, -- race course, a literary society, a glee club, two railroads rt public electricity and water, and a brothel district. Its civic _.. co. a _ 4 - - -t- - leaders had erected impressive public and commercial -?..41- ° _` buildings of red sandstone and brick and laid out broad ? "_ %4 a ' Y ." ;;�--s- tree - shaded streets in a regular grid pattern. Prosperous • merchants and mining elite had built Second Empire Courtesy Aspen looking toward Smuggler Mountain. p CourtesyAHS. and Queen Anne houses with mansard roofs, multiple gables, wrap- around porches, and fancy ironwork; ordinary miners lived in small clapboard cottages, the better ones often decorated with bargeboard trim on the gables. Once the silver market collapsed, the town fell into decline so quickly that much of its urban fabric remained intact. Thus the new architects and developers worked within a Victorian townscape with a residential district in the West End and a commercial core at the foot 4 of the mountain. Generally, postwar construction follows a geographic r .1 • pattern, with Bauhaus modernism in the West End and nearby Aspen '' ,- . o R Institute campus; commercial, lodging, condos, and public buildings inserted it�P ;1 near Shadow Mountain and into the downtown core; and the large Wrightian condo complexes and residential growth to the east of town. ' . -- >r"#. FREDERIC "FRITZ" BENEDICT AND HERBERT BAYER _ '..,tts Frank Lloyd Wright disciple Frederic "Fritz" Benedict (FAIA, 1914 -1995) and Bauhaus- trained Herbert Bayer (1900 -1985) represent the first generation ' of postwar. architects in Aspen. They arrived at about the same time, though m� they came under circumstances that underscore their different architecturalU uer.ert sayer poster. traditions —one, American, anti- establishment, individualistic, organic, n known source. and nature - oriented; the other, European, establishment, collaborative, corporate, and machine - oriented. Just as the town of Aspen was to reconcile the dynamic tension between r : >,� 4 ski resort and cultural center, both men, dramatically different in their training, worked well together and helped shape the town's rebirth in their designs for the ski, cultural, tourist, and hospitality industries and the scores of people who relocated to be part of c the new Aspen scene. - so A Figure 7: Fritz Benedict, bottom center, with fellow Benedict, thirty years old when he mustered out of the 10' 10th mountain division soldiers. Courtesy AHS. Mountain Division, was the first trained designer t0 arrive in Aspen after the war. Born in Medford, Wisconsin, he had earned a Page 12 of 48 P33 Bachelor's Degree and a Master's Degree in Landscape Architecture at the University of Wisconsin in Madison before joining Wright's Taliesin in Spring Green in 1938 as head gardener. He appreciated Wright's philosophy of integrating architecture and landscape, and, along with the other apprentices, he migrated between the two Taliesins for the next three years. On one of those Arizona -to- Wisconsin drives, in 1941, he first saw Aspen. An avid skier, he stopped for the National Skiing Championships and decided that the mountain town would be a good place to settle. That first impression was later confirmed when he was stationed with the US Army's 10" Mountain Division, an elite group of skiers, at nearby Camp Hale, north of Leadville, and visited Aspen on the weekends. .- I In 1945, Benedict purchased a 600 -acre ranch on Red Mountain for $12,000, which he scraped together from his army pay, a loan from his mother, and - selling his car. A self- described "hippie," Benedict planned to live in a small ' cabin and operate a subsistence ranch, then a dude ranch, saying that the � ,f ' mystique of ranching appealed to him as much as skiing. Eventually he added 4 - odd- carpentry and designed one house a year, rustic houses that evoked the ° 1°` ' � ' ' ; organic architecture of his mentor. In 1946, Austrian native Bayer was forty -six years old and an internationally - 4 famous designer who had been avidly recruited by Walter Paepcke and his , Figure 8: Herbert Bayer. Source wife Elizabeth to help implement their vision of Aspen as a special community unknown. organized around art and culture, a Kulturstaat. An innovator in typography and graphic design, photography and exhibition design in Weimar and Berlin, Bayer designed the universal type font (1925), which was credited with "liberating typography and design in advertising and creating the very look of advertising we take for granted today."' He moved to New York City in 1938, where he was a sought -after art director and designer. By 1946, all of his work was for Paepcke, head of the Container Corporation of America (CCA) and Robert 0. Anderson, president of the Atlantic Richfield Corporation. A lover of nature and skiing, Bayer had considered returning to his native Austria after the war to open a "little ski hotel." Instead, Paepcke enticed him with the challenge of remaking the "ghost town" of Aspen, arranged for his purchase of a Victorian cottage in the West End, guaranteed annual consulting fees from both the CCA and Aspen Skiing Corporation, and provided a steady stream of design work on his numerous Aspen properties. A 1955 Rocky Mountain News article stated, "Even in competition with millionaire tycoons, best - selling novelists, and top- ranking musicians, Herbert Bayer is Aspen's most famous resident "' Although Bayer and Benedict frequently collaborated, ,w mow.. 71 ; x each made his own mark on Aspen. Bayer's was Bauhaus modern and sleek like a machine; Benedict's ,, exuded Wrightian principles, naturalistic and organic, even funky. In addition to designing numerous . buildings, both men served on the Aspen Zoning and ° Planning Commission and other local boards, their lives �? and careers irrevocably bound with Aspen's rebirth as a resort town. t . Benedict married Fabienne, the sister of Bayer's wife Joella, in 1949, and she convinced him to quit ranching ;. and pursue architecture. He was awarded a license in , 6 1956 under a grandfather clause that allowed licensure -. fax .``', based on experience, rather than testing. On April 1, Figure 9: The Copper Kettle Restaurant. Courtesy AHS. 8 Joanne Ditmer, "Schlosser Gallery Host to Major Bayer Show /Sale," Denver Post, October 1, 1997. 9 Robert L. Perkin, "Herbert Bayer Changing the Town's Face," Rocky Mountain News, September 27, 1955. Page 13 of 48 P34 1960, Bayer, who had no formal training in architecture, also received a license to practice in Colorado, without examination. HERBERT BAYER L�� I Bayer's architectural work spans approximately two decades, from > ti 1946 -1965. His clients were primarily the Aspen Skiing Corporation, the Aspen Company (Paepcke's real estate firm), and the Aspen Institute for Humanistic Studies, where he, with Frederic Benedict as the associated b, architect through the 1950s, designed the Seminar Hall and its sgraffito mural (1953, the first building on the campus), Aspen Meadows Guest Chalets (1954, since demolished and reconstructed), Central Building which housed the Copper Kettle restaurant (1954), the Health Center Figure10: Pioneer Park wit Her•ert Bayer (1955), Grass Mound ( 1955, which predates the "earthwork" movement paint scheme. City of Aspen files. by ten years and was one of the first environmental sculptures in the \ § 1 - country), Marble Sculpture Garden (1955), Walter Paepcke Memorial Building (1962), Institute for Theoretical Physics Building (1962, since demolished), Concert Tent (1964, removed in 2000), and Anderson Park (1970). ] f .. -,.. Bayer also spearheaded Paepcke's restoration of Victorian buildings s� is ' 4'j �, IA in town, including the Wheeler Opera House and Hotel Jerome, and w 9 r,. selected the paint colors for certain Victorians that Paepcke's Aspen Company decided should be restored in the 1940s. A strong blue, known locally as "Bayer Blue ", has persevered for some fifty years, Figure 11: Wheeler Opera House interior but is disappearing. His choice of a bright pink for the Paepcke's designed by Bayer. Courtesy AHS. West End residence, Pioneer Park (442 W. Bleeker Street) and a bold paint scheme for the Hotel Jerome are local legends. In his twenty -eight years in Aspen, Bayer lived at 234 W. Francis Street, a Victorian house in the West End, and an apartment in a downtown commercial building (501 E. Cooper Avenue). He then moved to Red Mountain where he built his studio and home (1950 [Gordon Chadwick, architect] and 1959, demolished). He designed other modernist residences (1957, 240 Lake Avenue; 1963, 311 North Street) in the West End, located adjacent to the Aspen Institute campus. After his productive career in Aspen, Bayer moved to Santa Barbara, California, where he died in 1985. Influenced by Bauhaus and International Style principles, Bayer's architectural designs have simple rectilinear shapes, generally flat roofs, expanses of glass, cantilevered balconies, basic geometric shapes, industrial materials such as steel frames and cinder blocks, and use primary colors, whites, and grays. Bayer believed in the Bauhaus concept of designing the total human environment, that art should be incorporated into all areas of life, and he designed logos and posters as well as landscapes and buildings that brought high modernism to Aspen. 21 " r 7• FREDERIC "FRITZ' BENEDICT ,; * !1 Benedict's architecture extends from the 1940s into the Y ' 4 1980s. His earliest projects were residences, such as a ` 4/ '441 — ! cabin at 835 W. Main (1947); a private dwelling for novelist , • ` "L ` 3 t. i ts John Marquand (1950, demolished) on Lake Avenue in ' � a the West End overlooking Hallam Lake; modern chalets fp ; ` tit • r"" ,� at 625 and 615 Gillespie (1957, demolished); and the 1 Edmundson House (1960, demolished), also known as y. the Waterfall House, after Wright's famous Fallingwater. Figure 12: Aspen Highlands Base Lodge. Courtesy AHS. In 1967, Benedict created Ski magazine's first "ski home of Page 14 of 48 P35 the month," in what was intended to be a regular feature on affordable well- designed vacation homes. One of his modest "Hillside Home" designs, built at 1102 Waters Avenue by Bill Geary, still remains in the Geary family. As Aspen's economy revived, Benedict also designed numerous commercial and public buildings. In addition to _s Ai r s , - early Aspen Institute buildings through the 1950s, he and Bayer collaborated on the Sundeck warming hut (1946, ° demolished). Benedict also designed the Bank of Aspen ° - (1956, 119 S. Mill Street), Bidwell Building (1965, E. Cooper), the original Pitkin County Library (1966, 120 E. Main Street), Figure 13: Sundeck atop Aspen Mountain, designed by Benedict Building ( 1976,1280 Ute Ave), and the Pitkin County Benedict. Courtesy AHS. Bank (1978, 534 E. Hyman Avenue). He designed the base lodge at Aspen Highlands (1958, demolished) and planned the entire ski area at nearby Snowmass (1967) as well consulting at Vail (1962) and Breckenridge (1971). In the 1960s, he greatly influenced Aspen's condominium development and residential shift from downtown to the east, designing the Aspen Alps (1963); Aspen's first large -scale urban condo, Aspen Square on Durant and Cooper Avenues (1967); Aspen's largest condo complex, the Gant (1972); and the Crystal Lake condos (1976), at Aspen Club. In total, Benedict designed and renovated more than 200 buildings in Aspen and Snowmass. "^- The prolific architect was known for setting buildings into the landscape in a harmonious way, which reflects his landscape - '4 and Wright's influence. At Taliesin East, he had been in Figure 14: Edmunsson House designed by charge of the gardens, while, at the Arizona camp, he worked Benedict. City of Aspen files. with the natural desert landscape, even moving cactuses. He pioneered in passive solar and earth shelter design, exemplified in the Marquand house (1950) and his own solar and sod - roofed residence at Stillwater Ranch (1958). His masterwork, the Edmundson Waterfall House, an homage to Wright's Fallingwater, shared many of the characteristics of Wrightian design— dramatic cantilevered structure, massive chimney as the anchor, strong horizontal emphasis, low- pitched roof with deep overhangs, mitred windows in the corners, and, above all, an intimate and specific relation to its site. Benedict's office played a critical role in Aspen's emerging architectural scene, launching Ellie Brickham, Jack Walls, Robin Molny, Ellen Harland, Theodore Mularz, George Heneghan, Dan Gale, John Rosolack, RobertSterling, Janver Derrington, Dick Fallin, Diener Zenker, Tom Duesterberg, Bruce Sutherland, Arthur Yuenger, and Harry Teague, among others. Molny set up his own office in the late 1950s and later hired Yuenger. Mularz opened • his practice in 1963 (employing Aspen's third woman architect, Jean Wolaver- Green), leaving on such good terms that his wedding reception (to Bayer's secretary, Ruth) was in the Benedict greenhouse. Walls and Sterling became partners in 1968. Heneghan and Gale were partners from 1966 -1969. In the 1960s, when Benedict took on large -scale ski resort planning and design, his firm increased to thirty- five. Benedict also embraced the traditions of the Taliesin Fellowship; both his home and workplace welcomed young architects. In 1946 -1947, Taliesin fellows George Gordon Lee and Gordon Chadwick lived and worked with him on his Red Mountain ranch, and Chadwick, a licensed architect, designed several Aspen residences and Bayer's Red Mountain studio (1950) with him in the late 1940s. Curtis Besinger returned to sojourn with the Benedicts 10 Mary Eshbaugh Hayes, Dedication plaque on "The Benedict Suite" Little Nell Hotel, Aspen, Colorado. 11 Brian Clark, "Ski Country Style," Ski Area Management 25 (March 1986): 55 -57, 78 -81. Page 15 of 48 P36 regularly each summer, starting in 1956. After his years at Taliesin (1949- c. 1954), Robin Molny started his Aspen career in Benedict's office, then set up his own practice. Benedict -rat i4s,rt r 141 encouraged Boomerang Lodge- owner Charles Paterson to spend three summers in Spring Green (1958- 1960). Des Plaines, �'` " ias Illinois, architects Donald Erickson and Arthur Stevens, who I ' a - , designed the North of Nell (1968), were both Taliesin alumni of • ' - ;' z 9 3 the early 1950s. :1 Aside from his architectural contributions, Benedict influenced the Aspen environment in other ways. He served as the Figure 15: Bank of Aspen, now Wells Fargo Bank, first chairman of Aspen's Planning and Zoning Commission, designed by Benedict. Courtesy AHS. developing height and density controls, open space and preservation policies, a City parks system, a sign code, and ban on billboards. He played a significant role in the founding of the Aspen Institute and the International Design Conference and served on the board of the Music Associates of Aspen for 35 years. He was the father of the 10t Mountain Hut System, established in 1980, and he and his wife donated more than 250 acres of land within Pitkin County for open space. Benedict and Bayer received innumerable honors for their contributions to Aspen. In 1995, Bob Maynard, former head of both the Aspen Ski Company and the Aspen Institute, stated: "Aspen was fortunate fifty years ago to be wakened from her sleep by visionaries. The trio of Benedict, Bayer, and Paepcke combined dreams and hope and reality uniquely to restore a community ravaged by mining, trapped in poverty —yet willing to follow the dreamers: 12 GORDON CHADWICK Princeton graduate (1938) and Taliesin fellow (1938- 1942), New Jersey -born Chadwick (1916 -1980) spent part of the winter of 1946 -1947 in Aspen with Benedict where he designed several houses, most notably, Bayer's studio on Red Mountain (1950). Before the war, Chadwick supervised the construction of the Fellowship's Loren Pope house (1939 -1940) in Falls Church, Virginia, and, after the war, the residences of Arnold Friedman, Pecos, New Mexico (1946) and David Wright, Phoenix, Arizona (1951 -52). During World War II, Chadwick served in the US Army monuments, architecture, and fine arts section. Afterwards, he designed at Colonial Williamsburg and was the partner of famed industrial designer George Nelson. CHARLES GORDON LEE Penn grad (1940) and Taliesin fellow (1940 -1941 [Taliesin East]; 1947 -1948 [Taliesin West]), Kansas -born Lee (1918 -1966) spent part of the 1946 -1947 winter in Aspen with Chadwick and Benedict, although it is unclear exactly what he may have designed. He served in the US Air Force as a Captain from June 1942 to January 1946, returned to service from May 1951 to September 1952. At Taliesin, he worked on drawings for a Pittsfield, Massachusetts, housing project and a Pittsburgh civic project. Briefly in partnership with former apprentice Kelly Oliver in Denver, he later was the Taliesin representative for the Rocky Mountain National Park Administration Office, a role Oliver assumed when Lee died in 1966. His papers are in the Western History Collection, The Denver Public Library. SAMUEL JEFFERSON CAUDILL, JR. Oklahoma -born, Kentucky -bred, Cornell- educated, Sam Caudill (FAIA,1922-2007)wasworkingfor Denver a rchitect Tom Moore in January 1947 when he skied the newly opened Aspen (Ajax) Mountain. Five years later, in 1952, attracted by Aspen's potential and his future wife, Joy Maxwell, Caudill moved there permanently, married, and started his own architectural firm. He had interrupted college to serve in the Army's Office of Strategic Services, graduating in 1946 from Cornell, the only Ivy- League school to offer a bachelor's degree in architecture. Caudill 12 Robert A. Maynard, Remarks Given at Fritz Benedict's Memorial Service. Page 16 of 48 P37 has the distinction of being Aspen's first licensed architect to establish a practice (Benedict and Bayer were licensed by grandfathering, and Gordon Chadwick moved on). Although he started as a single practitioner, Rob Roy worked with him in the early years. Richard Lai joined Caudill's firm from 1960 -1965, when he left Aspen to teach architecture and planning at the University of Texas. An avid outdoorsman and environmentalist, Caudill said that his designs were "usually inspired by the outdoors" and � f - °,-` reflected the "same elements as the mountains which frame 17"- "" the valley," as in the curving brick walls of his Aspen High --- School." His first job in Aspen was adding a gymnasium and ° three classrooms to the Red Brick School in 1949 -1951 when Figure 16: National Bank o Aspen, now US Bank, he was working for Moore. designed by Caudill. City of Aspen files. Caudill and his various firms designed a number of modern buildings in the city's downtown core that exhibit strong geometric shapes, dramatic massing, planar emphasis and consummate use of brick, as in his 1954 First National Bank of Aspen at 420 E. Main Street. Aspen Sports (1970) at 408 E. Cooper, a yellow brick cube, has a dramatic oversized arched entrance on the ground floor that evokes the Midwestern banks of Louis Sullivan. In addition to his modern designs, Caudill gave a nod to Aspen's ski culture with traditional "chalet" details in the Viking Lodge (1963) on 832 E. Cooper Avenue. He also designed many of the retrofitted and new facilities at Snowmass, including the plaza, conference center, and Silvertree Lodge. In 1986, with his firm Caudill, Gustafson, Ross, and Associates, he undertook another restoration (after Bayer's) of the Jerome Hotel and combined historic adaptation and modern design at the Aspen Art Museum, 590 N. Mill Street (1987). In 1991, they designed the new Pitkin County Library on the corner of Mill and Main Streets. Caudill led the successful campaign to force the state to build a more environmentally friendly highway project limiting the amount of asphalt through Glenwood Canyon. ROBERT OLIVER "ROB" ROY In the 1955 Aspen telephone directory, Rob Roy (1926 -1992) and Samuel Caudill are the only two architects listed (Benedict and Bayer, neither yet licensed, list themselves as designers). Roy was the second licensed architect in Aspen, after Caudill Receiving his degree in architecture from the „ Y University of Illinois in 1947, he spent a brief time in A-fr Boulder, and then Grand Junction, where he interned •``; t o get his license. Once he and his wife saw Aspen, " ` ' #' � -- they loved it, and moved there, prior to 1953. As - � ' " x ; Cindy Roy remembers, "Mom and Dad were both -� x^=- ,� '" eccentric, and Aspen was a perfect place for young, .'' bright adults" Roy learned to ski well and in the �- $4 „ 1- .»°.t.. p - winters , when architectural work was scarce, taught - 1- "`t-.w �w z M # skiing at Buttermilk. He worked as an independent Figure 17: Stern Residence, •esigned by Roy. CourtesyAHS. architect from 1956, generally from home. He was also associated with Caudill and Benedict, although it is not clear exactly how. Roy loved the design process, appreciated Buckminster Fuller and Frank Lloyd Wright, and attended the summer international design conferences at the Aspen Institute. Bob Sterling, who quit school to ski bum for a while, remembers working as a drafter for Roy and then Jack Walls between 1956 and 1960 before going back to school. Roy's Aspen work dates from the 1950s into the 1970s, and he moved to Paonia, Colorado, 13 Jennifer Davoren, "A Presidential Honor for Coondog," Aspen Times, May 26 -27, 2001. Page 17 of 48 P38 around 1975. A number of Aspen landmarks are associated with Roy, including the Mountain Chalet, Snowmass Mountain Chalet, Prospector Lodge, the Heatherbed, and Cortina Lodge, and residences for Fried! Pfeiffer and Edgar and Polly Stern, the latter structure universally admired. He designed his family's house on Castle Creek, later owned by Jack Lord, and then Barbara Walters and Mery Adelson. Roy designed the multi- family modern chalet at 608 W. Hopkins Avenue (1962), the modern chalet for Pietro and Dorothy Danieli at 232 McSkimming Road (1963), and the shake - shingled, dramatically mansarded multi- family at 700 W. Hopkins Avenue (1968). CHARLES PATERSON Charles Paterson represents another aspect of Aspen modern architecture. In 1949, Paterson (b. 1929), born Karl Schnazer in Austria, arrived in Aspen - after a dramatic escape from the Nazis with his sister through Czechoslovakia, France, and Portugal. They were finally adopted in Australia. He had finished high school and • started engineering studies in New York City. Disappointed with eastern skiing, he moved, first to Denver, then to Aspen, where he landed a job as a bellhop at the - Hotel Jerome and became, in his words, "a -- - ski bum." Within a month of his arrival, he Figure 18: Boomerang Lodge, designed by Paterson. Courtesy of Sheila purchased three lots on W. Hopkins Avenue, Babbie. shortly followed by another three that comprised a half block between Fifth and Sixth Streets. There, he built a one -room cabin from !eft-over lumber. Paterson followed a circuitous path from that initial construction project that eventually led to Taliesin and his Wrightian lodge in downtown Aspen. He returned to New York for two years to resume his studies at City College, then moved back to Aspen, became a ski instructor, and began expanding his cabin. After a stint in the mid -1950s with the 10th Mountain Division (Camp Hale's "Second Generation "), he added more units to • his cabin and, in 1956, opened the Boomerang Lodge (recalling the Australian "boomerang," he hoped guests would return). Fritz Benedict encouraged him to study architecture, and Paterson spent three summers, from 1958 -1960, at Taliesin East, the GI Bill paying his tuition. He started out gardening, like the other apprentices, but discovered he was good at plastering and became the "official plasterer." Surprised at the quality of the plasterwork, Wright thought the Fellowship had hired a professional plasterer. Although Wright died on April 9, 1959, before Paterson returned for his second summer, he went back that summer and the next. Through the years, he maintained strong ties to his Taliesin colleagues. In addition to Aspen locals Benedict and Molny, he encouraged other apprentices to stay at the Boomerang Lodge on their twice yearly trips between the two Taliesins. At Taliesin the fellows were encouraged to work on their own plans, after hours, in the evenings, and during breaks, and Paterson drew the plans for the Boomerang Lodge as it exists today. It continued to evolve organically. Twelve rooms, a lounge, and a pool were added in 1960. The novel underwater window, featured in a 1960s Life magazine, allows guests in the lounge to look into the pool. Other expansions took place in 1965 and 1970. Paterson described its Wrightian features—walls and fireplace of "concrete battered blocks, windows with 'corners of glass' ... sort of a Frank Lloyd Wright signature." Though Paterson designed other structures, he never listed himself as an architect in the Aspen directory. The Boomerang Lodge is his life's work. Its distinctive facade with windows organized into a horizontal band just under the extended eaves provides a direct connection to Taliesin that inspired much Aspen design. Page 18 of 49 P39 ELEANOR "ELLIE" BRICKHAM Ellie Brickham (1923 -2008) moved to Aspen in 1951 after attending the University of Colorado's School of Architecture from1941 -1944. Construction was b �' g icr t , a family business, and her motivation to become a ` 4, 1 +r's b' ; designer began as a child. She was attracted by the a* . skiing, but found herself the only female architect in town until Ellen Harland arrived in 1958. Early in her career, Brickham worked in Fritz Benedict's office and collaborated on projects with - both Benedict and Bayer, participating in work going on at the Aspen Institute. Like Benedict, she R„ 7 �• ',* had a strong interest in passive solar techniques. 4F " """ a fib g P Q Figur e 19: Str Residence, designed by 8ric' kham. City of During her time in that office and, later, in her own Aspen files. practice out of her home, she designed a number of residences and commercial buildings in town, including houses for several Music Festival artists in Aspen Grove, the elegantly simple brick Strandberg Residence (1973, 433 Bleeker Street - demolished) and the Patricia Moore Building (1963, 610 E. Hyman Avenue). In Pitkin County, she designed numerous homes in Pitkin Green and Starwood, on Red Mountain, including her own house (1955), with south and west walls made completely of glass. Her works, which total at least sixty in the Aspen area, are generally characterized by spare, simple forms and minimal detailing. Brickham's projects focus on an "impeccable sense of proportion and feeling of lightness."" ROBIN MOLNY Robin Molny (1928 -1997) apprenticed at Taliesin for some five years, from 1949 to c. 1954, before moving to Aspen in the mid- 1950s. While passing through Aspen on trips back and forth between Wisconsin and Arizona, he met Benedict, who later called and offered him work in Aspen. Molny worked for him for a year and half, then became a registered architect, and started his own practice. Born in Cleveland, Ohio, Molny attended the Carnegie Institute of Technology in Pittsburgh before Taliesin. His Taliesin years were pivotal, coinciding with the postwar resurgence of Wright's architectural practice and planning for the construction of the Guggenheim Museum. In September 1953, Molny was one of three apprentices who traveled to New York City in the Fellowship station wagon to help to set up "Sixty Years of Living Architecture," an exhibition of Wright's architectural drawings and models. The exhibit had traveled to many cities worldwide and was going up in a temporary pavilion on the site of the new museum —sort of Wright's shot across the bow to signal New Yorkers that he was on the scene. Wright typically put an experienced apprentice in charge of constructing the Fellowship- designed Usonian houses, greatly in demand; and Molny supervised the Maurice -. Greenberg residence in Dousman, Wisconsin, and was working with another Taliesin apprentice in Park Ridge, Illinois, when he left for Aspen. Despite Wright's appreciation for Molny, he and Mrs. Wright did not get along, and he left Taliesin with Figure 20: Heart stone House, •esigned , y Molny. some hard feelings. Courtesy Irma Prodinger. 14 Bill Rollins, "Brickham: Simplicity, Lightness, and a Sense of Proportion," Aspen Times, December 22, 1977. Page 19 of 48 P40 In Aspen, Molny designed several notable buildings, including the Hearthstone House (1961, enlarged 1963, 134 E. Hyman Avenue) and the Aspen Athletic Club (1976, 720 E. Hyman Avenue, with Art Yuenger). He designed area residences, _ d Schumann o, rtal Record house inclu of ing the 1975 —a W. For geometrica complex usean A chitec composition ur of s - „ stucco- battered walls that stepped up the side of the mountain. ,r , w ,,, " ` Wright told Molny, "If you understand the principles of my architecture, then your buildings need not look like mine. " Molny's best known contribution to Aspen's "townscape" r ; ' F , a S ! i t is the transformation of Cooper and Hyman Avenues into a pedestrian mall (1976) on which he collaborated with veteran Figure 21: Pedestrian Malls, designed by Molny. Taliesin fellow Curtis Besinger. Courtesy AHS. CURTIS WRAY BESINGER Besinger (1914 -1999) received his B. Arch degree from the University of Kansas in 1936 and joined the Taliesin Fellowship in the summer of 1939. He was to stay for 16 years, from 1939 -1955. A conscientious objector, he took a break from 1943 -1946 to undertake "work of national importance under civilian direction. ". After leaving Taliesin, with some angst and misgivings, he taught architecture at KU for 29 years, served as dean, and retired in 1984. From 1956 on, Besinger spent his summers in Aspen with Fabi and Fritz Benedict, working with their architectural practice. Although he undoubtedly worked on many projects, he is specifically associated with the design of the Aspen Music School and Cooper -Hyman pedestrian mall. He was also connected to House Beautiful magazine, which was strongly pro - Wright. In his account of his years at Taliesin, Working with Mr. Wright (1995), he mentions architects associated with Aspen —Lee, Chadwick, Benedict, and Molny. He notes that Benedict organized ski trips for the Taliesin fellows when they were in Arizona in the winter of 1941 -1942. ELLEN HARLAND After graduating in 1956 from the M.I.T. School of Architecture, Ellen (nee Dirba) Harland (b. 1934) worked for Denver architect C. Francis Pillsbury. On May 1,1958, she moved to Aspen to accept a job with Benedict, and Robin Molny was the only other architect in the office. Though not a skier, she loved the town of Aspen. She worked as a drafter and designer for Benedict for twenty years, taking time off when she married and her children were young. She worked on Benedict projects, such as the Pitkin County Library, from her home, and then returned to the office full -time when her children got older. Harland chose architecture as her career "because it seemed like a good profession for a woman —sort of an arty - mathematical thing. " Even as a sixteen -year old, she knew she wanted to combine a career and family— architecture proved a good fit for her talents and goals. Harland and her husband Irwin left the valley in 1977 for Santa Fe, which reminded them of Aspen in the 1950s, and she established a practice. Eventually she moved to Washington, D. C., where she drafted guidelines for the Americans with Disabilities Act for the Department of Justice. An impeccably trained modernist, she designed several Aspen houses, including a residence for herself and her family. She designed the sleek, one -story, flat - roofed residence defined by its simple rectilinear form and copious use of glazing for Benedict controller Pat Maddalone at 1411 Crystal Lake Road in Aspen Club in 1976. JOHN MORRIS "JACK" WALLS Born in Oklahoma (b. 1925) and educated at the University of Oklahoma (B. Arch '53), Jack Walls' schooling 15 Bruce Berger, "Robin Molny and the Taliesin Fellowship," unpub., and . 16 Joan Lane, "Aspen's Women Architects Aid Building Boom in Town," Grand Junction Sentinal, January 16, 1965. Page 20 of 48 P41 would have overlapped with Bruce Goff's tenure as chair of Oklahoma's architecture school (1947- 1955). After working briefly in Oklahoma City, he moved to Aspen because he liked the town and felt it sympathetic to his organic approach to architecture. He learned to ski after moving there. In 1957, only three architects were listed in the Aspen directory—Roy, Caudill, and Walls. Walls had a single practice from 1957 until 1968, when he became partners with Robert Sterling, a colleague in Benedict's office who had also worked as a drafter for him in the late 1950s. In 1958, Walls designed Buttermilk's dramatic glass and plywood base lodge. In 1970, Walls & Sterling (partners, 1968 -1975) designed Aspen's first modernist gas station (435 E. Main Street), among other buildings. After leaving Aspen, Walls and his wife traveled and served in the Peace Corps in Honduras. He currently resides in Durango. • ROBERT BOB" STERLING In 1956, when Ohio -born Sterling (b. 1933) arrived in Aspen after dropping out of the University of Colorado to ski bum -, for a while, Benedict, Bayer, Caudill, Roy, and Walls were the architects in town who had studios. Between 1956 and - 1960, he worked as a drafter for Rob Roy, and then for Jack Walls before returning s,;, ....- ' ' � - ' to school. He graduated with a BFA (1962) Fig a 2'2: Villager Townhouses designed by Sterling and Dagg. City o Aspen and B. Arch (1963) from Utah. Returning files. to Aspen, he worked three years with Benedict, who was then designing the Mountain Plaza, the Gant, and Snowmass lodges. In 1965, Sterling and a fellow Benedict employee, Bob Dagg, designed and developed a condo project, the Villager Townhouses (1001 E. Cooper). He and partner Wall (1968 -1975) designed the Conoco station (435 E. Main Street, 1970), and Courthouse Plaza Building, among other buildings. As a single practitioner, he designed numerous residences and the original layout for the Roaring Fork Club in Basalt. Currently Sterling lives in Glenwood Springs and is involved with disaster housing in Kenya and Haiti. GEORGE EDWARD HENEGHAN, JR. Missouri native Heneghan (b. 1934) received his B. Arch from Washington University in 1957. He worked in Benedict's office where he met Daniel Gale, his partner from•1966 -1969. The last year of their partnership, 1969, #�' was busy: they designed the Hannah Dustin commercial - .:', - .;r ,-- building (300 S. Spring), the Aspen Interfaith Chapel M of the Prince of Peace on Meadowood Drive, and the "� e Cottonwoods Condominium, as well as residences for "-. ' the Guggenheim and Horowitz families. Heneghan left asset- Aspen and Colorado to establish his practice in Hawaii. 1F l j ,,,a,.YSK - tr -- - yam. '. 4: :. th , Figure 23: Prince of Peace Chapel. Courtesy AHS. THEODORE L. "TED" MULARZ Born in Chicago, Illinois, Mularz (FAIA, b. 1933) served in the Coast Guard (1953 -1955) and graduated with a B. Arch from the University of Illinois in 1959. He and Molny had worked together in Park Ridge, Illinois, and after Molny moved to Aspen and started working for Benedict, he called and said they needed help for the summer. At that point, Mularz didn't have his degree and didn't know where Aspen was. He spent the summer of 1958 working in Benedict's office for $1.75 an hour, went home to complete his undergraduate program and a semester of graduate work, and then returned for a permanent position in June 1959, starting at $2.00 an hour. Mularz remembers working on projects for Bayer, whose office was around the corner, when things were slow in Page 21 of 48 P42 the Benedict office. Though not a skier when he came to Aspen, he became an avid skier afterward. In November 1963, he established his own practice. He was briefly associated with Benedict in a corporate firm as Benedict- Mularz Associates, Architects, from 1978 -1981. Among his designs are the modern studio adjacent to the West End cottage of Aspen photographer Ferenc Berko (1964); the Manor Vail and Lord Gore Club (1965), Fasching Haus Condominium (747 S. Galena, 1966), and the Scott Building (400 W. Hopkins, date) and numerous residences. • Wit Active in the community, he chaired the Historic Resources Committee in the 1960s, and he and his wife were founding members of the Aspen Historical Society. In 1990, Mularz left Figure 24: Berko Studio, designed by Mularz. city of Aspen for another attractive, culturally oriented community, Aspen files. Ashland, Oregon. THOMAS WHELAN "TOM" BENTON Almost twenty years after Bayer and Benedict, Tom Benton (1930 -2007) arrived in Aspen in 1963, as the ski town's growth and popularity were shifting into high gear. Serving in the Navy during the Korean War, Benton used the GI Bill to study architecture at the University of Southern California (B. Arch, 1960) and worked in southern California for a time. Though trained as an architect, he really wanted to be a "working artist." A ski trip to Aspen convinced him that it was where he should be. Bringing a California sensibility that fit well with Aspen's growing image as a counter - culture mecca, Benton designed his studio and gallery— "unique, a clean and sharp blend of wood and cinder block" (heavily altered today) —at 421 E. Hyman Avenue. He collaborated with Hunter Thompson and others to create "images that helped to define Aspen's tempestuous political and social upheavals" in the late 1960s. More interested in graphic art than in architecture, he still designed the occasional building, including a residence for actress Jill St. John. His funky, organic, California esthetic was in sync with Aspen's Wrightian tradition. His designs, such as the Patio Building (1969), a flat - roofed commercial building at 630 E. Hyman (1969), exhibit a similar interest in natural materials, simple geometric shapes, deep overhangs, horizontal Be o uro Building, designed by Benton. . Courtesy AHS. emphasis, and orienting the building to frame views toward the mountains. RICHARD TSENG -YU LAI Born in 1937 in Beijing, China, Lai garnered several prestigious awards from Princeton University and received two degrees, a B. Arch (magna cum laude) in 1958, and an MFA. Arch in 1960. In 1960, he moved to Aspen, where he worked for five years for Samuel Caudill. In 1965, he left to join the faculty at the University of Texas to teach architecture and planning. During his Aspen years, he chaired Aspen's Committee for Experimental Pedestrian Mall (1960) and served on the City Planning and Zoning Comission (1963- 1965). After more than 40 years, Joy Caudill remembers Lai as a key person in her husband's architecture practice. ARTHUR "ART" YUENGER After receiving his B. Arch. from Illinois in 1962, Yuenger (b. 1939) worked first for his father's Long Island, New York, architectural woodworking company and then interned with Paul Rudolph, Ulrich Franzen, and Victor Lundy in New York City, obtaining his New York license in 1968. During the 1960s, he skied in Vermont, but he Page 22 of 48 P43 decided that he had to master the sport and so moved to Aspen. He arrived in 1969 and worked with Benedict and Molny (Aspen Athletic Club, 1976) _0,...: ' ' ° before establishing his own practice. He designed a number of residences, including the striking concrete block house at 54 Shady Lane adjacent + ' •• to Hunter Creek (1971). Living in Fairfield, Iowa, since 1999, Yuenger y --„ participates in World Peace Assemblies, an important aspect of his career, , .,K 2. , - - - but continues to design houses in Colorado and Aspen. i n In addition to local architects with practices embedded in the community, '- j out -of -state architects and second - home - owners Francis Rew Stanton, _� - Harry Weese, and Victor Lundy also added to Aspen's modernist legacy. n FRANCIS REW STANTON In November 1950, Paeckpe's Aspen Company sold an historic West End house to Chicago brothers Edgar and Francis Stanton and their wives, Rose Figure 26: 54 Shady Lane residence., and Louise, all four of whom would contribute significantly to Aspen's designed by Yuenger. City of Aspen economic and cultural life. Later, Edgar sold his half interest to his brother files. and in 1954 moved to a modern house designed by Francis on Red Mountain (0223 Placer Lane). Architect Stanton (1910 -1995) also ? designed Christ Episcopal Church in the West End in 1963. Both of his Aspen structures had distinctive parabolic _ # ° -- arched shapes. From 1948 -1964, he was a partner in k ) <£ . F ` Stanton and Rockwell of Chicago and then practiced , . k:; x" independently until his retirement in 1989. He had a Yale a; - BFA in Architecture (1935) and spent two summers at the Ecole des Beaux Arts Americaine at Fontainebleau, France. t` s r From 1948 -1954, he served with Eero Saarinen, Joseph --at " 4 _ "" Albers, George Nelson and other on the Yale University Figure 27: Christ Episcopa C urch, designee ry Stanton. Subcommittee on Architecture, Painting, and Sculpture to Courtesy Denver Public Library archives. update the three departments' curriculum. HARRY WEESE The distinguished Chicago modernist Harry Weese (FAIA, 1915 -1998) of Harry Weese and Associates designed the Given Institute for Pathobiology for the University of Colorado in 1972 on 100 E. Francis Street (located in Elizabeth Paepcke's garden, with supervision by Aspen's William * :'. ; ? v Lipsey). The concrete block building has been described as "one { ;• .t C. of Aspen's finest modernist works [which] gives a playful rigor to • "t a simple circle with angular extensions.." "Weese was educated at Yale (1936- 1937), M.I.T. (B. Arch, 1938) and the Cranbrook Institute of Art (1938 -1939) with Eliel and Eero Saarinen before working at a'' } Skidmore, Owings, and Merrill, He establishing his own firm in 1947. Renowned for a number of significant projects throughout the United States and the design of the Washington D. C. Metro System (1976), Weese had a home in the West End for many years and also designed vacation houses at Vail and Snowmass. Figure 28: Given Institute, .esigne' by Weese. City of Aspen files. 17 Noel, Buildings of Colorado, 493. Page 23 of 48 P44 VICTOR LUNDY Victor Lundy (FAIA, b. 1923) was a renowned modernist architect at the time he built a second home for his •f, <.. family on 301 Lake Avenue in the West End in 1972. A Harvard - educated (B. Arch, M. Arch) World War . +t',. 11 veteran, Lundy had a successful career designing • notable government, commercial, and educational buildings in Sarastota, Florida; New York City; and Houston and Dallas, Texas. At Harvard, he studied under Gropius and Breuer, with whom Bayer was also associated in 1920s Germany. The Lundy family was in Aspen in the late 1950s but left and then returned. Lundy's vacation home is located next door to a Bayer design (1963, 311 North Street). Known for his Figure 29: 301 Lake Avenue, designed by Lundy. Courtesy dramatic roofs, Lundy cantilevered the roof to extend Victor Lundy. over the floor -to- ceiling windows that frame the 20'- high great room. Other out -of -town architects designing modernist buildings in Aspen include Wheeler and Lewis of Denver (The Yellow Brick School, 1950s), Texan Donald W. Kirk (Shadow Mountain Condominiums, 809 S. Aspen, 1965), Eric Friis of Eagle River, Wisconsin (Tom Cleary family modern chalet, 219 S. Third Street, 1965), Brown Brokaw Bowen of Boulder (Coors family modern chalet, 1960s), and Erickson and Stevens of Des Plaines, Illinois (North of Nell, 1968). • Page 24 of 48 P45 CHAPTER 3: MODERNISM IN ASPEN 1945-1975 - THE BUILDINGS A significant amount of Aspen's postwar architecture represents either a Bauhaus Modern or Wrightian Modern esthetic, reflecting the training of the young architects moving to town, the taste of the clients, and the general acceptance that modern architecture is appropriate for modern times. Aspen's modern architecture shows a range of building types that articulate its three pronged identity— mountain resort, county seat for the Roaring Fork Valley, and cultural enclave. Examples will be organized by type, location, and chronology— downtown core, West End, east. During the years the resort town emerged, 1945 -1960, relatively few new buildings went up; after 1960, the amount and scale of new construction increased dramatically. 1945 -1960 ASPEN ENTERS THE SKI AND CULTURAL TOURISM INDUSTRIES Aspen saw little new construction in the period between the 1893 Silver Crash and World War II, known as the "Quiet Years." In the early 1940s, no architects or contractors /builders were listed in the telephone directory. Many of the town's Victorian structures had become dilapidated or vacant and were available for modest sums or back taxes. Still intact were such major public buildings as the Hotel Jerome and Wheeler Opera House, numerous businesses and residences, and a street grid that dictated the orderly placement of buildings between Ajax Mountain to the south and Red Mountain to the north. In 1945, the lives and livelihoods of Aspen's 600 inhabitants revolved around one working mine and scattered ranches. Those years of inactivity caused economic hardship - but also enabled the area's natural environment, degraded by mining operations, to recuperate. It attracted Friedl Pfeifer and other 10th Mt. Division veterans eager to create a ski resort and Walter and Elizabeth Paepcke, hoping to create an ideal community _ _ of cultural, spiritual, and intellectual renewal. In her history of Aspen, "Re- creation through Recreation," historian Annie Gilbert writes, "As with other ski areas and other ski towns, Aspen joined the ski industry when ski enthusiasts teamed up with willing investors to build a ski area that would attract destination skiers Figure 30: Lift 1. Courtesy AHS. (through staying for a week or more) as well as local skiers and competitors." Paepcke's ambitious plans for Aspen's rebirth as a cultural center, Pfeifer's dream of creating a ski resort equal to St. Anton, and the hopes of 10th Mt. Division veterans like Fritz Benedict to create new lives where they could continue to ski and make money doing so —were facilitated by the extraordinary resource of Aspen's existing urban fabric. Local residents, for the most part, adapted to the new tourist economy and formed a connection between Aspen's mining past and tourism future. Paepcke wanted to encourage particular sorts of people to come to Aspen. "We want writers and scientists and artists and businessmen and we want them to be [permanent] citizens of Aspen, not seasonal visitors." He acted quickly, buying up properties from the summer of 1945 and convincing Bauhaus master Herbert Bayer, who shared his views of the inextricable and important connection between modern design and consumer culture, to relocate to Aspen in 1946. Bayer, Paepcke, Paepcke's Chicago architect Walter Frazier, and other intellectual, artistic, and business elite renovated Victorian houses in the West End near the campus where the Bayer- and Benedict - designed modern buildings of the Aspen Institute would take shape over the years. In 1950, Bayer spearheaded the establishment of the International Design Conference, which further linked high design and high mindedness in Aspen. The "Aspen Idea ", combining mind, body, and soul, began to take shape. The skiers wanted their new ski resort in the Rocky Mountains to attract as broad a clientele and accommodate as Page 25 of 48 P46 many people as possible. On December 14, 1946, two lifts opened unofficially for business on Aspen Mountain, with No. 1 lift ending at the Sundeck, Aspen's first new building in years. In January 1947, the mountain opened officially. It was slow going, but by 1958, the stalwart Hotel Jerome was joined by new lodges, the Prospector, the Boomerang, and three or four other places, competing for the skiers' dollar. Still, according to Fritz Benedict, Aspen "was so dead and starting to be a resort so slowly that there wasn't much to do in way of design.... Everybody who lived here was just eking out a living." "They just loved the place and didn't want to leave. " By the early 1950s, Aspen was entering the tourist business full -time, year- round, resulting in a growing economy, new residents, and "a general feeling of optimism. " From 1950 to 1960, Pitkin County increased its population by 44 percent. Bayer and Benedict had arrived in the mid- 1940s; by 1955, Elli Brickham, Sam Caudill, and Rob Roy brought the number of architects in town to five; and by 1962, some ten architects and designers provided architectural services. In 1955, there were two contractors and two lumberyards; by 1957, a third contractor was listed. By 1960, 55 lodges and motels (2500 beds) had been erected, many with alpine motifs reflecting Aspen's emerging ski town identity — Swiss Alps being more identified with skiing than the Rocky Mountains —in a style that Elizabeth Paepcke, who preferred either the look of the Victorian mining era or Bauhaus modern, dismissively termed "bastard Tyrolean.. "Z0 , SKI INDUSTRY In December 1946, the Sundeck warming hut opened on Aspen Mountain. Designed by Bayer and Benedict, the wood and glass lunch restaurant was sited at 11,300 feet, a hundred yards from where the new lift ended. Combining Wrightian and Bauhaus innovation, the hut had an inverted roof that slanted toward the center so the central . 7' - • fireplace would melt the snow and the run -off drain to tanks �* R � �' �` " � : ::::174, � in the basement to provide water. Offering a 360 - degree - ' { a = ` C ` , panorama of the surrounding mountains, the octagonal x i , - ; ,,, - restaurant provided shelter and conviviality. It also signified K 4<< Aspen's challenge to Sun Valley's new Roundhouse facility— ? t F Aspen would be a player in the growing Colorado and national a'" .. , ``" `1 ski industry! i ... Some 10 years later, in 1958, two new ski areas, Aspen Figure 31: Sundeck atop Aspen Mountain, designed Highlandsand Buttermilk Mountain, opened nearAspen. Both by Bayer and Benedict. Courtesy AHS. featured spectacular modernist base lodges (demolished). Fried! Pfeifer's Buttermilk Mountain, geared toward novice- - 4-_ , ,...... - ." ' intermediate skiers, had a dramatic base lodge with a , = .�'; s� k'^' 't4, 1, ° --v. ^'p sweeping hyperbolic paraboloid roof cantilevered over a ,r ,+. .. - x, glazed base. As architect Jack Walls remembers, he placed a ,a, ,,, IN .,,m,,. ,_ ,# ti ,;- large glass square oriented to the mountain to spotlight the +'A downhill skiers and spanned the entire interior space with ; two buttresses at the end points. Whipple Van Ness "Whip" -'. sf "„ Jones's Aspen Highlands, offered a challenging mountain similar to Aspen Mountain but with new terrain, ski school Figure 32: Buttermilk Base Lodge Courtesy AHS. directors Stein Erickson and Fred Iselin, and lower rates. Benedict developed a theme of multiple and overlapping A -frame shapes for Aspen Highland's wood and glass base lodge and created a roofline that he compared to "an interpretation of an unusual nearby mountain called the Maroon Bells. " 18 Adele Dusenbury, "When the Architect Arrived after the War," Aspen Times, July 31, 1975, 1 -B. 19 Annie Gilbert, Re- creation through Recreation, Aspen Historical Society, 1995. 20 Elizabeth Paepcke quoted in Annie Gilbert Coleman, Ski Style: Sport and Culture in the Rockies (Lawrence: University of Kansas Press, 2004), 250, fn. 21. 21 Benedict quoted in Noel, Buildings of Colorado, 487. Page 26 of 48 P47 LODGING To provide lodging for ski - tourists, Aspen quickly erected a number of lodges —in alpine, pan- abode, rustic, - 410. t terseser Figure 33: The Smuggler Lodge. Courtesy AHS. and make -do styles. The Boomerang Lodge (500 W. Hopkins Avenue), which opened in 1956, was true Wright Modern. The Smuggler Lodge (c. 1960, demolished), a two -story, flat - roofed lodge with a continuous balcony cantilevered over the ground floor and dramatic diagonal details, was a project by developer Hans Kantrup that brought a "Googie ", or playful, modernism to Aspen's mountain setting. COMMERCIAL As Aspen's economy began to revive in the late 1940s and 1950s, so did the need for financial institutions. Two modernist bank buildings appeared in the mid -1950s among the Victorian commercial structures that had defined Aspen's downtown. In 1954, Sam Caudill designed the First National Bank of Aspen on 420 E. Main Street, a striking modernist essay in brick with strong curved and rectilinear shapes, dramatic massing, and planar emphasis. Two years later, in 1956, Fritz Benedict designed the Bank of Aspen (119 5. Mill Street), an one -story, flat - roofed structure of salvaged brick that evokes Wright's influences in its rectilinear massing of the chimney, walls, and piers, horizontal emphasis, and the dramatic cantilevering of the roof over the porch. PUBLIC ' '� kr e ..,„..r • Aspen's economic revival also encompassed the construction of public , " -. ` - and private education institutions. In the 1940s, a red brick school " . - building using brick salvaged from the Victorian -era Lincoln Street .- (where the Yellow Brick School now stands) went up at 110 E. Hallam . Street. Sam Caudill's wife Joy remembers that his first job in Aspen c € , •' was designing an additional g mnasium and three classrooms for the school. Now reconfigured as the Red Brick Arts Center, it features the r , " 1 e original steel casement windows and later additions at the east end. >sr i° ' ' In 1951, Benedict adapted 1880s mining -era buildings on Castle Creek Road in Pitkin County to create the Aspen Music School. Besinger has been cited as a collaborator, though he was immersed in the Taliesin Figure 34: Red Brick Schoo . Courtesy AHS. Fellowship until 1956, when he did begin regular summer stints in Aspen. The simple frame and shake - shingled buildings got low- pitched roofs and balconies overlooking the creek to give the campus "a Japanese tranquility prized by both Bauhaus and Wrightian schools." 22 In 1960, the yellow brick school at 215 Garmisch Street was designed by the Denver firm of Wheeler & Lewis. A typical postwar school building —long, low, and horizontal, as in Miesian architecture —the classrooms have extensive bands of glazing and direct access to the outside. Caudill remodeled the structure in the mid- 1960s. 22 Noel, Buildings of Colorado, 498. Page 27 of 48 P48 RESIDENTIAL Only a few modernist residences were built in Aspen between 1945 and 1960. Paepcke encouraged his friends to purchase and restore old houses in the Victorian West End and led off with his restoration of Pioneer Park (1885), home of former mayor Henry Webber. Chicago architects Walter Frazier and Francis Stanton and their wives, Western novelist Luke Short, and designer Herbert Bayer all moved into the �• s existing West End cottages. EL 1 F 1 By 1950, modernist residences, Wright- and Bauhaus - inspired, began % to appear on Aspen's streets and Red Mountain. Flat roofs and white " stucco walls signified the 19205 Bauhaus style and the 1930s and .:A'' 1940s International Style. After 1950, the American adaptation of the International Style held to flat roofs and minimal decoration but usually i ' • Figure 35: "Bonnet" h designed by replaced the stark white stucco surfaces with various combinations of Stanton. Courtesy AHS. wood, stone, brick, or concrete block, the latter a favorite of Herbert Bayer. Attracting an artistic and literary clientele, many of these avant garde structures —such as Benedict's Hallam Lake residence for novelist John Marquand, and his "Waterfall" house for D. V. Edmundson on Castle Creek Road —have been demolished. In 1950, Bayer designed, with Benedict and architect Gordon Chadwick, his own Bauhaus- inspired studio of cinder block, wood, and glass on Red Mountain and, in 1959, a simple and economical two- bedroom pavilion nearby which he and his wife Joella decided to use as their permanent home (both demolished). Other Red Mountain modernist houses include Ellie Brickham's residence, its south and west prospects of glass (1955); and the house known locally as the "bonnet" house because of the parabolic shape of its roof, designed by Chicago architect and Aspen homeowner Francis Stanton in 1954 for his brother and sister -in -law, Edgar and Rose, two stalwart Aspen benefactors. Starting in the late 1950s, West End Bauhaus modernist houses appeared, their compact rectangular shapes in keeping with the scale of its modest Victorian cottages. In 1957, Bayer designed a sleek one -story, L- shaped, flat- roofed, cinder block (now stuccoed) residence at 240 Lake Avenue, overlooking Lake Hallam. Not far away, a modest board - and -batten vacation home with modernist features, such as a flat shed roof, over - hanging eaves, and simple square windows, went up at 434 Pearl Court for a physicist affiliated with the nearby Aspen Center for Physics. At the base of Shadow Mountain, a Wrightian structure of warm wood siding, expansive prow -like roof, overhanging eaves, expanse of glass, and tiled fireplace was built on 322 W. Hyman Avenue in 1953. The four - family abode, or quadraplex, signaled another audience for modern housing in Aspen— skiers. ASPEN INSTITUTE Spread across a meadow notfarfromthe West End, near the track where local plutocrats raced theirthoroughbreds i .fr;, :_ -- in the town's heyday, is the distinctly modern campus of the Aspen Institute for Humanistic Studies — German Bauhaus ✓ design transplanted to the Colorado Rockies. The institute was an outgrowth of Walter Paepcke's Goethe Bicentennial; • intelligentsia and elite traveled to Aspen in June 1949 to i )' 1' celebrate the historic, deep, and abiding philosophical ties that ; ' America and the rest of the world had with Germany, despite Jilt - the aberration of Hitler and the Second World War, and to _ - - hear concerts, lectures, and, best of all, Albert Schweitzer. Its 1 . architectural centerpiece was the Big Tent, designed by famed modernist Eero Saarinen, which epitomized the festive but Figure 36: Koch Seminar Building, designed y Bayer. City of Aspen files. modern nature of the august gathering. • Page 28 of 48 P49 Everyone agreed that Aspen's mountain setting had much to do with the festival's success. The following June, the Aspen Institute opened the first of its summer seminars, where businessmen and intellectuals gathered to listen to such thinkers and doers as Mortimer Adler and Adlai Stevenson and to ponder universal ideas similar to those of Paepcke's " Great Ideas" advertising campaign. a -° i The Aspen Institute campus was designed without a master plan but loosely organized in three main areas — housing for guests, institute administration and activities, and affiliated - institutes. The first permanent building was the 1953 Seminar Figure 37: Center for Physics, designed by Bayer. City Building, designed by Bayer with Benedict as the associate of Aspen files. architect, a pattern that held through the 1950s. Constructed of steel frame and cinder blocks, it had a sgraffito mural on its exterior and two hexagon- shaped interior spaces designed to L i facilitate discussions around a central table, a large room with "star -like folded planes" on the ceiling and gray walls, and a smaller room with colorful walls. In 1954, Bayer and Benedict designed two more institute buildings. The Aspen Meadows Guest Chalets, three flat - ti roofed, two -story buildings, each with colorful balcony dividers of blue, red, and yellow, respectively, were loosely ,., grouped around a central building that housed a restaurant (known as the Copper Kettle), lounges, and offices. The Central Figure 38: Anderson Park, designed by Bayer. Building — flat - roofed, two -story, clerestory-lit— combines Courtesy National Trust for Historic Places. cinder blocks and local moss stone, creating a distinctive structure at once Wright and Bauhaus. A year later, the pair's 1955 Health Center for the Physical Therapy Program of the Aspen Institute, with the structural expertise of Otto Buehner, used pre- stressed and prefab concrete and open ends glazed for clerestory light. Sited at the junction of the Roaring Fork River and Castle Creek, the modern complex had a gymnasium; massage, sauna and steam rooms; a plunge pool; and library/sitting room. Bayer also created environmental sculptures, the 1954 Green Mound and 1955 Marble Garden, which predated the "earthwork" and environmental sculpture movement by at least ten years. In a sense, the rigorous Bauhaus modernist environment of the Aspen Institute mirrored the high- minded thinking within its boundaries as well as effectively separating it from Victorian mining -era Aspen, ski -town Alpine, rustic eclecticism, and organic Wrightian modernism. 1960 -1975 GROWTH AND DEVELOPMENT Aspen's growth and development as tourist town, ski resort, and cultural center accelerated in the 1960s and 1970s. After 1958, visitors could ski on three mountains. Skier visits at Aspen Mountain rose from 93,000 in 1958 -1959, to 174,000 in 1964 -1965, and Buttermilk and Aspen Highlands saw similar growth. In 1967, nearby Snowmass -at Aspen opened, a huge year -round destination resort, in development since 1961, the creation of California land and real estate developer William Janss. In its first year, it attracted twice as many visitors as planned and more than Aspen Mountain itself. It also sparked the disdain of a local writer who felt that it "exemplified qualities that Aspen itself eschewed — large- scale, efficiency, group think, and a no- nonsense Page 29 of 48 P50 cost -profit ratio. " Yet as Annie Gilbert writes in her history of Aspen, "Promoters of Colorado's economy 1 saw ski industry growth as only positive: investments ,44 and expansions by the ski industry led to more ` - investments by skiers as they came to the state for ..�: _ � ..ti +' .�., y vaca "za v f * ') t ,/ it' - What this meant for the community of Aspen was a , I mo • I \ more visitors, more residents, and more architects , and builders to respond to the demand for lodges, restaurants, bars, shops, housing, and the everyday goods and services expected of civic and commercial Figure 39: Base lodge at Buttermilk Mountain. Courtesy centers. Architect Bob Sterling remembers attending AH5. the FIS races in February 1950, which "sealed the deal" for him —he wanted to live in Aspen. "At that time Aspen was just awakening from post -war blues and an exciting variety of US and foreign types were moving to town. " Sterling quit college and "went to Aspen to ski bum for a while." From 1956 -1960 he worked as a lodge caretaker, waiter, and drafter for Rob Roy and then Jack Walls. After going back to school and getting his architecture degree in 1963, he returned to Aspen and worked in Benedict's office for three years. In the five years between 1960 to 1965, Aspen's population increased 40 percent, with ski bums and movie stars, political elite and counter - culture gurus, and increasingly affluent, ordinary people adding to the mix of old -timers (some of whom found themselves priced out of their hometown and moved down valley), 10th Mountain Division veterans, ski enthusiasts, and cultural mavens. In 1964, the building boom reached $3 million. Vic Goodhard, the owner of a local garbage company, recalled that "the changing of Aspen was kind of gradual until the 1960s, and then it really started popping." Serving both Aspen and Snowmass, Goodhard constantly had to buy new garbage trucks: "All of a sudden there were new places, bigger places that demanded more service, more people. " By 1965, Benedict and others — including Ted Mularz, who chaired the Aspen Historical Society's Historic Buildings Committee, and Richard Lai, who chaired the Committee for Experimental Pedestrian Mall and served on Aspen's City Planning and Zoning Commission from 1963 -1965- -grew concerned about unchecked growth and destruction of the natural landscape and historic resources, and urged the city to adopt an Aspen Master Plan (1966). City leaders recognized that the need to provide not only a "growth" plan but affordable housing for the teachers, policeman, and others who provided essential services for what had become a resort town with very high property values geared toward the affluent visitor. In the autumn of 1962, Der Berghof, a new kind of tourist accommodation appeared at 100 E. Cooper Avenue — Aspen's first condominium. That year, Colorado passed a law permitting condominiums, which would have a profound effect on Aspen's civic character and economic base. Condominiums, in which each townhouse or apartment in a multiple -unit building is owned by an individual, was a new concept in America. Touted as an economical alternative to buying a single family vacation home, condo development soon became a hallmark of resort communities everywhere. Jumpstarted by California real estate magnate William Janss, who developed Sun Valley and Snowmass, ski condominiums became as indispensable to new ski area growth in the West as lofty mountains, powder snow, and airplane packages. Along with other established ski towns, Aspen embraced condominiums. They transformed local real estate markets and townscapes by concentrating large numbers of people in smaller spaces but larger - scaled structures. After Der Rerg}iof, other condo apartments quickly appeared, including the Aspen Alps, Mittendorf, Alpenblick, 23 Peggy Clifford and John M. Smith, Aspen Dreams and Dilemmas: Love Letters to a Small Town (Chicago: Swallow Press, 1970), 97. 24 Gilbert, Re- creation through Recreation. 25 Bob Sterling, email to the author, 4 June 2010. 26 Gilbert, Re- creation through Recreation. Page 30 of 48 P51 Fifth Avenue, Little Nell, and Aspen Square. Condos provided a far higher return on land than individual houses or dormitories, - leaving the young "ski bums" who worked at menial jobs for the opportunity to ski scrambling for places to live. Architect_. Ellen Harland sees the condo boom as largely responsible for A dy a change in Aspen's civic character; it allowed developers to • finance a project through pre - selling, accelerating the pace of j et. change and exacerbating the shift to newcomers who could osr ttii..1 4. 6 more easily get into the real estate market. By 1972, Aspen E had more than 2000 condo units. As the Fifth Avenue condo manager observed: ". . . three years ago people thought - -it' 7 condominium was something you shook on your steak. Now -' that's all over The sort of Ed's Beds days are gone. " *i3 Concurrent with 1960s growth and development, the "`• , r_ g.w - architecture and building community expanded. The number Figure 40: Aspen Square, designed by Benedict. of local builders and contractors grew to twenty in 1968, with courtesyAHS. down valley builders increasing as well. Pioneer architects were joined by others, many of whom got their start in the Benedict office, such as Art Yuenger, Ted Mularz, Bob Sterling, George Henegahn, and Dan Gale. Recent Princeton graduate Richard Lai joined Caudill's firm in 1960. Snowmass was a boon: Benedict designed the master plan, and he, Caudill, and others designed all types of buildings for the new resort complex as well as for Aspen's commercial, residential, and tourist needs. Tom Benton, perhaps a harbinger of Aspen's shift toward anti- establishment counter - culture, arrived from southern California in 1963, his tactile wood buildings in sync with Aspen's Wrightian esthetic. In the early 1970s, two renowned modernists, Henry Weese and Victor Lundy, each designed a distinctive building that continued Aspen's Bauhaus modern traditions. By the 1970s, Aspen's success threatened to diminish the quality of life that drew people. The town tried to accommodate tourists and townspeople, workers and visitors, traffic and parking, shopping and entertainment by transforming Cooper and Hyman into a pedestrian mall and creating Rubey Park to facilitate public transportation. LODGING Just prior to the condominium explosion, two lodges went up in downtown Aspen to provide short-term accommodations for skiers. Robin Molny designed Aspen's second Wrightian lodge, the Hearthstone. Built in 1961 and enlarged in 1963, the handsome wood structure is set deep into its site on the corner of Hyman and Aspen and has two angled wings and a sheltering shingled roof. In 1963, Caudill designed a chalet -style building, originally called the Viking Lodge, at 832 E. Cooper Avenue. The two -story, gable- roofed building has a simple L- shaped layout, with wood and stucco exterior and a balcony defining the front facades. More typically a modernist, Caudill created this ski lodge in a picturesque alpine style that was important to Aspen's ski -town imagery at the time. COMMERCIAL Between 1960 and 1975, Aspen's downtown commercial core reflected the economic boom, with new office, retail, recreational, and service buildings inserting new functions and a modernist presence among the extant Victorians. Two striking brick structures, dated 1960 and 1970, feature oversized entrance arches that recall the urbane commercial architecture of Louis Sullivan and Frank Lloyd Wright. At 307 S. Mill Street, the red brick building has a large arched entrance with five receding brick moldings and an off- center low parapet and pier 27 Ellen Harland, telephone interview with the author, 26 May 2010. 28 Burton Hersh, "Economy is a Luxury Condominium," Ski 37 (August 1972):68 -70; Burton Kaplan, "Condominiums —To Buy or Not to Buy," Skiing 25 (November 1972):110 -13, 161 -63. Page 31 of 48 P52 (1960). Though the architect is unknown, the Mill Street -24 ;r' . ,, . 4 .7., ` a i building anticipates Caudill's 1970 impeccable yellow brick ' , — -�s . «`" - Aspen Sports on 408 East Cooper, a cube with a dramatic - .• central arch, low parapets flanking the central entrance, +e + ‘ Z• ; .,4 -'. and a large horizontal window set into the second -floor w*. ! it 1e l w ,, �' - '. attic. ; a t .� ` l a The E. Hyman Street area attracted several new r L commercial buildings in the 1960s, two of them by Aspen's first female architect, Ellie Brickham. Her two - story, flat - roofed, concrete block structure at the corner of Hunter and Hyman (606 E. Hyman Avenue, 1960) '.......04+•" „,,,, has the simple geometry, minimal decoration, ribbon Figure 41: Aspen Sports, designed Caill. City of windows, and cantilevered second floor associated with Aspen files. Bauhaus design, reminiscent of her work at the Aspen Institute with Bayer and Benedict. Next door, 610 E. Hyman Avenue (1963), described as "a most unusual shop” for client Patricia Moore had shops and offices on the ground floor and the owner's apartment on the second floor. Oriented to the street, the facade has six attenuated brick piers that extend from the base to the eaves and stucco arched spandrels for a more "decorated" look that reflected the 1960s evolution of modernist design, , as in Phillip Johnson's Lincoln Center in New York. In the same block is the Patio Building (630 E. Hyman Avenue), designed in 1969 by Tom Benton, a local icon known for his printmaking flair and personality. This flat- roofed building feels both Wrightian and Californian in its exploration of, and delight in, the nature of the materials —wood, concrete blocks and glass; use of geometric forms, such as the large -scale horizontal second story cantilevered over the open first floor and the prominent round central window on the Hyman Avenue facade; and its attention to its corner location, with the Spring Street facade reiterating themes and materials of the Hyman Street front. In the next block, at 720 E. Hyman Avenue, is Robin Molny's Aspen Athletic Club of 1976, his only unaltered commercial building. A massive cube with three stories of offices above grade and an athletic club in the basement, it shares with Benton's Patio Building a Wrightian sense of materials, prominent flat roof, and massive capstone floor cantilevered over a glazed lower floor. The heavy timber construction with glue - laminated wood beams and columns contrasts with the glass atrium in the lobby, the open floor plan, and interior /exterior courtyard. Cattycorner from Benton's building, on 300 5. Spring i, ' - '4:10. - i ' Street, is the Hannah -Dustin Building, designed in 1969 by George Heneghan and Dan Gale, both of whom had worked for Benedict. The flat - roofed, multistory gi building minimizes its scale by the artful use of planar Lst ,,,, brick panels extending above the eaves, set -back z -i k __Y 7 4 stucco spandrels, cantilevered roof and balconies, and v II I% use of natural materials such as brick, wood, and tile. � 4l4/.... Y-41- t On the corner of Galena and Main Street is Aspen's ' ' E, _ -.. first modernist gas station (435 E. Main Street), built 4- in 1970, across the street from Caudill's pristine 1954 Figure 42: 300 Sout Spring Street, designed by Heneghan National Bank of Aspen. Designed by Jack Walls and and Gale. City of Aspen files. Bob Sterling, who had both worked in Benedict's office, the award - winning gas station was commissioned by the president of Conoco Oil, who wanted a signature station in Aspen —as Walls remembers, it was just about the 29 Lane, "Aspen's Women Architects Aid Building Boom in Town." Page 32 of 48 P53 first filling station in town. The elegant rectilinear brick station is divided into two parts, a higher office /service bay /car wash and the lower gas pump area, both topped by cantilevered flat roofs. The smooth brick surfaces and rounded corners created a modern structure set back from the street with a flow around the building and unobstructed views of the station's pumps and service bays. In the 1970s, when pedestrian malls became a popular urban concept, and Colorado laws were enacted that facilitated their construction, Aspen attempted to n. ` ., 1 , resolve some of its traffic and parking problems by C transforming five blocks of two major commercial t" ' aven ues, Cooper and Hyman. The concept of a -` ' • . pedestrian mall for Aspen dated back to the 1960s, 4 s with architects, such as Ellie Brickham and Richard Lai, 1' s i participating on citizen committees wrestling with the issue. t In 1976, Molny collaborated with Besinger, who later consulted for Boulder, Colorado, to create Aspen's automobile -free commercial space. The Cooper -Hyman pedestrian mall maintains the town's traditional urban , Figure 43: Hyman Avenue Mall, designed by Molny. Courtesy grid but eliminates automobile traffic so pedestrians AHS. can shop and socialize in an updated tourist - friendly environment "enlivened by native trees, sculpture, grass- water - courses, and playground." 0 The newer buildings emulate, in scale and material, the older ones, some of which are Aspen's most significant, such as the Cowenhoven Block (1890) and the Red Onion, formerly the Brick Saloon (1892). The mall's proximity to Rubey Park and the newly constructed bus station facilitated public access to downtown for both tourists at Snowmass and other places and workers, who lived down valley. Along with his Bidwell Building at 434 E. Cooper Avenue in 1965, Benedict designed other commercial projects. In 1976, he moved his architectural office from the downtown Victorian -era Bowman Building to his newly designed Benedict Building on 1280 Ute Avenue, east of Aspen's commercial core. According to the Society of Architectural Historian Guide to Colorado Architecture, it conforms to the "'Aspen style; exemplified by well - sited, low -slung Modernist structures of indigenous materials, notably wooden beams that often seem to fade into the aspen grove "" In 1978, Benedict designed the Pitkin County Bank at 534 E. Hyman. PUBLIC While accommodating tourist and commercial demands, ,a`1t - Aspen modern architecture also served community needs. ,a, -.; r : 7 According to a 1961Aspen Times article, Benedict and Bayer , 4 : , Ct; -- were selected to design a new Pitkin County Library, and - Benedict drafter Ellen Harland remembers working on the � design. In 1966, the library at 120 E. Main Street opened, an auspicious occasion, with CBS news anchormanWalter Cronkite participating in the dedication. Now replaced by another public library designed in 1991 by Caudill, the 1966 red brick Wrightian library had a low- pitched hip roof, overhanging eaves, horizontal emphasis, and a clerestory F 44: 120 East Main Street, origina ly the Pitkin band of windows. County Library, designed by Bayer and Benedict. City of Aspen files. 30 Noel, Buildings of Colorado, 495. 31 Ibid., 498. Page 33 of 48 P54 Two very different churches contribute to Aspen's modernist legacy. Christ Episcopal Church at 536 W. North Street in the West End was designed by Francis Stanton of the Chicago firm Stanton & Rockwell. Built in 1963, it has a parabolic arched roof that reflects the modern design technology of World War II -era Quonset huts and Eero Saarinen's St. Louis Gateway Arch as well as the esthetic of the Red Mountain "bonnet" house Stanton designed in 1954 for his brother. Still visible in a recent renovation, the arched roof is a distinctive feature of the church. In 1969, George Heneghan and Dan Gale designed the Aspen Interfaith Chapel of the Prince of Peace, 70 Meadowood Drive, on the road that enters Aspen. Said to be inspired by "wayfarer's chapels in the Alps," it is a "happy wedding " of wood, stained glass, and local "moss stone," a distinctive feature of many of Aspen's Wrightian buildings. (Evidently builders gathered moss rock for free on Independence Pass, which may explain its frequent appearance in 1960s Aspen structures. ") ASPEN INSTITUTE & GIVEN INSTITUTE Walter Paepcke died in 1960, and one of the ambitious plans that died with him was his 1950s scheme to build an architectural village .. - " on the outskirts of the Aspen Institute, featuring seventeen of the gLito - world most notable architects. Walter Gropius, Marcel Breuer, 1. M. Pei, Minoru Yamasaki, Edward Durrell Stone, and Phillip Johnson were among those who accepted his offer to design and build houses. Eventually Henry Luce and Time magazine agreed to put up a million • dollars for the "living architectural museum." Groundbreaking was Figure45: Paepcke Auditorium, designed set for April 1960, but Paepcke died on April 13, and plans for the by Bayer. Courtesy Farewell, Mills, Gatsch village were never realized." Architects, Inc. Yet the Aspen Institute continued to play a vital role in Aspen's'" " cultural and intellectual life and to carry on the International Style • k t �; of modern architecture. In 1962, Bayer, with H. Ellenzweig as assistant architect, designed the Aspen Institute for Theoretical - Physics (700 W. Gillespie Street, demolished), a one -story, terne- roofed structure of cinder block and redwood, with offices for the theoretical physicists and a walled patio for social gatherings. An even more elaborate multi- functional structure of concrete and cinder blocks with a neoprene roof, the Walter Paepcke Memorial Building also went up in 1962. Bayer was the head architect, with Figure 46: Given Institute, •esigne• •y Weese. assistance from F. Bates and Ellenzweig, and structural engineering city of Aspen files. by Bierbach and Horton. In 1964, Bayer designed the Concert Tent, which was demolished in 2000 and replaced by Harry Teague's design. Some ten years later, Elizabeth Paepcke commissioned "one of Aspen's finest modernist works, " the Given Institute of Pathobiology at 100 E. Francis Street, that was dedicated in August 1972. Designed by famed Chicago modernist Harry Weese, the concrete block building on a its compact site is a simple but striking example of "High Modern" design. RESIDENTIAL SINGLE FAMILY MODERNISM Between 1960 and 1975, International Style single - family houses with flat roofs, planar walls, rectilinear shapes, and glass walls continued to be built in various neighborhoods scattered throughout Aspen. Such modernist houses ran he found in the urban neighborhoods of the West End as well as on spectacular sites along the 32 Ibid., 497. 33 Local contractor. 34 Aspen Institute website. 35 Noel, Buildings of Colorado, 493. Page 34 of 48 P55 Roaring Fork River as it meanders east -to -west through Aspen. Occupying a small footprint compared with today's houses, these classic modernist homes are scarce. Bayer designed three residences still standing, at 311 North ? ". Street (1963), 240 Lake Avenue (1957), and 850 Roaring - " = > Fork Road (1965), which may be a remodeling rather than p .• an original Bayer design. Next door to the North Street = - residence is the truly elegant vacation home (301 Lake Avenue) designed in 1972 by Texas modernist Victor Lundy for himself and his artist wife Anstis. A studio as well as a \ r{ ` vacation home, the roof is cantilevered to extend over the floor -to- ceiling wall of windows that frames the 20' -high great room. The proximity of Bayer's and Lundy's modernist masterpieces makes the West End corner of Lake and North an important convergence of early and late Bauhaus design. Figure 47: 311 West North Street, designed by Bayer. City of Aspen files. Three classic modernist houses are by two of Aspen's pioneer women architects. In 1971, Ellie Brickham designed a straightforward modernist house at 592 McSkimming Road. Closed to the road, but open to the views below, the house sits dramatically halfway up the hillside. Another Brickham design, 433 West Bleeker Street (1973) in the West End (demolished) was a simple brick cube. Ellen Harland designed a sleek, one -story, flat - roofed residence for Benedict controller Pat Maddalone (1411 Crystal Lake Road in Aspen Club) in 1976. Its rectilinear form and copious use of glazing make the most of its site along the Roaring Fork River. At the base of Red Mountain on a spectacular site overlooking Hunter Creek, Art Yuenger designed a striking concrete block house —both muscular and elegant —in 1971. Located at 54 Shady Lane, the flat- roofed house, with blue trim and unusual clerestory windows, consists of three distinct cubes, sensitively integrated into the forested landscape. Further east but also oriented to the river is 258 Roaring Fork Drive. Although the architect is unknown, the 1974 residence has normative modernist features such as overall rectilinear massing of the L- shaped plan, flat roof, and sheer treatment of the concrete block walls. MODERN CHALET A distinctive postwar housing type in Aspen is locally termed a modern chalet. With its moderately pitched gable roof oriented to the front, it recalls traditional chalets associated with ski country, but in its expansive glass and minimal decoration, it also seems classically modernist, as if the architect and client liked the chalet idea for Aspen's emerging ski identity, but updated it and made it modern to fit the community's avant -garde tastes. Characteristically, modern chalets have low -to- moderately pitched roofs based on a 3:12 ratio; broad facades organized in rectilinear solid or glass panels; overhanging eaves, frequently with exposed roof beams; glass often extending to the eaves; minimal decoration; and sometimes stone or brick piers. The symmetrical modern chalets generally have a tripartite organization: a large central glazed area flanked by wood or masonry piers. Predominantly built between the late 1950s and late 1960s, these compact buildings were custom - designed for clients as well as erected by speculative builders. They have a rectangular footprint and fit well on the gridded streets of the older West End and Shadow Mountain neighborhoods. For the most part, their sizable window walls are oriented to Aspen Mountain. Although some modern chalets, such as 500 E. Durant Street, served commercial purposes, most extant examples are residential. They encompass a range of options, from single family to duplexes and even quadriplexes. While evoking such contemporaneous hybrid modernist homes as Eichler in California, Honn in Oklahoma, Keck in Chicago, and Koch (Tech Built) in the East, when compared side -by -side, the Aspen modern chalets not only look different, but arise out of different circumstances. Eichler and the others were meeting the postwar demand for suburban homes that fit the American Dream of home ownership, up -to -date while still affordable. The Aspen Page 35 of 48 P56 real estate market was geared toward affluent vacation home owners who might be attracted to Aspen for a variety of reasons —the culture of the Aspen Institute, the skiing of Aspen Mountain, the charm of an authentic western town, or the cachet of owning property in such a desirable place. Many of Aspen's modern chalets were built in the West End, dose to the Aspen Institute and its intellectual and cultural offerings. Urban lots in this established neighborhood fitted the compact modern chalets well, yet they still offered mountain views. The modern chalets added to the West End's rich building mix, including Victorian cottages and Second Empire and Queen Anne mansions as well as postwar traditional gabled chalets and classic flat - roofed modernist houses. Often two- and multiple- family structures, they also represent a shift in Aspen's evolution as a vacation destination serving both winter and summer tourists. '4 q > e --,,...,n, '- %...,........„447,5-7, f , -,. In 1957, Benedict designed two free - standing early "Sr' r' modern chalets side -by -side on separate lots, at 625 & 615 Gillespie Avenue (demolished). Identical, the one- _. story structures had a horizontal base of board-and- - ----e- batten siding punctuated by two vertical windows defining —a - the ground floor and glazing in the upper gabled section _ below the low- pitched roof. Simple and straightforward, ^. they were topped by overhanging eaves and an extensive , - roof that encompassed a car port's Figure 48: 625 Gillespie Avenue, designed by Benedict. City of Aspen files. Five other West End modern chalets date from 1962 to 1965 and show the range of variations within this simple vacation house. Many modern chalets have glass to the eaves and flanking brick piers. Projecting balconies cantilevered across the front, injecting a three - dimensional rectilinear base that hover just above the ground are also common characteristics. Not far from the Aspen Institute campus is 621 W. Francis (1965) a two -story chalet with a steeper pitched roof —not as steep ., as an A- frame, but not as broad as the typical ' - , � ''� ° ' modern chalet. The balconies on all three Francis ■ ''-' �, Street houses, in their overall horizontality and use of simple balusters, maintain the rectilinearity 14- associated with modern design. In 1965, two f identical two -story multi- family modern chalets :.! n r .:c ._ 1 + ` - = were built at 114 and 118 East Bleeker Street, also ''''''` ' " ' ^ in the West End, but one block off Main Street. The t -', IPS truly dramatic overhang of the low gable roof, the ' .� -�_ 1 , ' ' ! j ;' ' exposed rafters, pilotis, usable deep balconies, and central expanse of glass reflect hybrid modernism -- , -, ' ^-a- - .n similar to that of tract homes, but the decorative 1� AP. ,c motifs on the balconies emphasize the continuing T-1444. .x - k East Bleeker ' t _ � 's- "" ."4 R " Figure 49: 114 East Sleker Street. Courtesy AHS. appeal of chalet imagery in ski -town Aspen, while the massive chimneys and piers flanking the ground floor (on 114) use a favorite Aspen building material —moss stone. Two other West End modern chalets deserve mention. A dramatic one -story duplex at 500 W. Smuggler went up in 1970, four blocks from 949 W. Smuggler, Aspen's first postwar chalet, built in 1946. With two massive chimneys of moss rock projecting from the glazed facade and punctuating the roof, the later vacation home is 36 Cliff May's design of the Eichler Ranch House in Potrola Valley, California, 1958, is a similar board- and - batten, low- gable- roofed modern house. Paul Adamson and Marty Arbunich, Eichler /Modernism Rebuilds the American Dream. (Salt Lake City: Gibbs Smith Publisher, 2002), 28. Page 36 of 48 P57 an intriguing modern contrast to its traditional neighbo. On 407 N. Third Street, the Coors family of Golden built a single - family modern chalet of wood and stone, now hidden from view by vegetation. Designed by Brown Brokaw Bowen Architects of Boulder, this residence suggests that a vacation home of this scale and style suited Elite Colorado patrons in the mid- 1960s., A striking 1965 modern chalet sits near the base of Shadow .,a - Mountain and original ski lift No 1 at 219 5. Third Street. The large duplex was designed as a second home for a Wisconsin - family by a "hometown" architect Eric Friis (b. 1916, Copenhagen, " i Denmark; practiced in Eagle River, Wisconsin). It has a low - pitched, gabled roof that sweeps down to encompass flanking ,� car ports, a facade of rectilinear glass panels and board -and batten, and a deck oriented to the mountain. s . s41, r �'- i • . On Aspen's east side, in the neighborhood near Glory Hole Figure s o: zl9southThirdstreet, designee •y Friis. City of Aspen files. park, 1005 Waters Avenue is a modern chalet designed in 1959 (later enlarged in 1964) by Ellen Harland. The M.I.T.-trained architect planned it for herself and her husband, local builder Irwin Harland, when they married. Close to the kl, ground, with a low- pitched roof, it had a glazed facade (now t AA Ls:: altered) that extended up to the eaves. Harland remembers ,y w - designing such structures in Benedict's office— always "a ratio AA) w of 3 to 12" —for a "seamless" roof of tar and gravel that also 4 ,, shed snow." On the same street (1102 Waters Avenue) is the vacation home built for the Geary Family of Denver following Benedict's specifications for an "affordable" ski home based on Frank Lloyd Wright principles that was featured in Ski magazine (Spring, 1967). Figure 51: 1102 Waters Avenue, designed by AtBenedict. City of Aspen files. the bottom of McSkimming Road, which was developed by Fabi and Fritz Benedict, and zigzags up the mountain off Highway 82, is No. 24, built in 1960. Although the architect is unknown, the residence is similar to the West End modern chalets in its low roof, minimal decoration, and windows on the upper floor that carry through the gable end. A variation of a modern chalet is No. 232, designed by pioneer architect Rob Roy for the Danieli family in 1962. Located further up the mountain, it has typical features, but the roof projects like a ship's and the balcony extends outward to enclose the carport in a dynamic thrust. MODERN CHALET MULTIPLIED — MULTIFAMILY ' S y As Aspen accommodated ever more tourists in the 1960s, 'y architects created multi- family versions of the modern - chalet. In 1962, Rob Roy designed the Madsen Chalets on 608 W. Hopkins Street. The handsome wooden complex " is characterized by a low- pitched roof, deep overhangs, i - balconies, simple rectangular forms of glass and wood, with glazing in the gables, and oriented toward the mountain. In ?� 1965, at 1001 E. Cooper, Benedict - employees Bob Sterling and Bob Dagg designed and developed the two -story, multi- family Villager Townhouses. Inspired by Swiss chalets and their Figure 52: 608 West Hopkins Street, designed by modernist training, they set two chalets side -by -side to create Roy. City of Aspen files. 37 Ellen Harland, telephone interview with the author, 26 May 2010. Page 37 of 48 P58 an extended horizontal, reinforced by the second -floor balcony that extends the entire width of the building. The project had two other partners, Gordon Forbes and Bill Dashner, and each of the four partners bought a unit when they were finished and later sold them. CONDOMINIUMS Undoubtedly the major influence on Aspen's economy, built environment, and quality of life between 1960 and 1975, condominiums changed the scale of its townscape, attracted outside money and developers, and allowed even more people to own property and settle. The footprints of those built within the downtown proper adhered to Aspen's urban grid, and city zoning restricted the height to three stories. Condos frequently were "mixed use" properties, with retail and restaurants on the ground floor and apartments above. This concept was later used by "total" resorts like Snowmass, Vail, Beaver Creek, and Whistler Blackcomb, which lacked Aspen's intrinsic street life and tried to inject it a resort environment. Aspen's condo -mania started in the western neighborhood of Lift No. 1, with Der Berghof, which had twelve units and appeared on 100 E. Cooper Avenue in the fall of 1962. The two -story, concrete block, rectilinear building evokes both the Bauhaus - inspired Aspen Meadows Guest Chalets (1954) of the Aspen Institute and a more vernacular "motel modern" represented by the Holiday Inns of the era. Rather quickly, rustic- and alpine - themed Mittendorf, Alpenblick, Fasching House, Fifth Avenue, and Little Nell condos followed. Benedict contributed to the transformation by designing condominiums in the 1960s and 1970s, for which he was both praised and criticized. He designed four of Aspen's largest condo projects and spearheaded the residential shift ever more eastward. In 1964, he designed what are usually touted as Aspen's first luxury condominiums, the Aspen Alps, on 700 Ute Avenue. Now consisting of eight Wrightian buildings (not all by Benedict) that flank the east side of Aspen Mountain, the complex demonstrates Benedict's skill in integrating $ �. ,. his building harmoniously into the landscape —what he ".te ' y+ . rG,. F 1 �� )t` F , y a .. .' had done earlier with single family dwellings, he now did C ' : n .; with the multi- family structures. The three -story wood structures have moderately pitched roofs, with local stone - used to emphasize chimneys, corners, and, in many cases, , the sides, in a way somewhat similar to the encasing of local rock in concrete at Taliesin West. The large Aspen Square condominium of 1967 (617 E. Cooper) occupies - ' ` °'t 1 t - the entire block defined by Durant, Hunter, Cooper and - _ i ` xf Spring, with an interior landscaped courtyard. Benedict ° skillfully accommodated the urban setting by breaking " - , • up the Durant Street facade into five segments of two F 53: Aspen Alps in the background, designed by units each, using alternating setbacks to minimize the Benedict. CourtesyAHS. building's impact. The Hunter, Cooper and Spring Street facades have commercial activity on the ground floor. Typical Wrightian devices include its overall rectilinearity, flat roofs, emphatic brick corners and piers, overhanging eaves, cantilevered balconies, and consummate use of materials. Even so, one ski writer compared Aspen Square to "a big city apartment house,"" and it was strongly criticized because its scale seemed out of place in Aspen. In 1972, Benedict continued his eastward movement, with The Gant, Aspen's largest condominium, at 610 West End Avenue. Its multilevel areas, staggered buildings, and use of wood break up its scale so that the complex fits naturally into its setting. Even further east, Benedict's design for 1411 Crystal Lake Condos at the Aspen Club in 1976 also incorporated site planning. With the use of stucco, broken -up wall surfaces, and numerous cantilevered balconies, these condos suggest Benedict's design work in the late -1960s on the Snowmass condos, 38 M. L. (Morten Lund), "When Biggest is Best," Ski 36 (August 1971): 64 -66, 68. Page 38 of 48 P59 mall, and town center. A reiteration of Aspen Square can be seen catty- corner across Durant Street in the 1968 North of Nell (555 E. Durant). Occupying a prime location at the base of Aspen Mountain and adjacent to the ticketing and lift facilities, the large modernist condo complex has shops and eateries on the ground level and lodging above. Designed by award- winning architects Erickson and Stevens of Mt Des Plaines, Illinois —both Taliesin fellows in the 1950s —the multi- gabled roofline extends the length of its Durant Street ,; facade and echoes its mountain location. A 1965 project that also respondsto its setting is Shadow Mountain Condominiums, - located at the top of Aspen Street (809 S. Aspen) near Lift No � § Al. - 1, the original skiers' portal to Aspen Mountain. Designed by s ` - ° -- Fort Worth, Texas, consulting engineer Donald W. Kirk for a Fort Worth client, Charles Haws of Haws & Garrett General r ...- Contractors, Inc., the complex combines traditional chalet _ ~`° and modern variations. The buildings step up the mountain, 't the many gable roofs stacked like traditional chalets in alpine " Switzerland. Though the Aspen Times referred to Shadow Figure 54: 809 South As Street, Shadow . Aspen fil Mountain as an "instant Chinatown;' the designer remembers M ,des City of es. that he was thinking about the Swiss chalets that characterized resort Aspen. Other, slightly smaller - scaled, multi- family complexes also appeared in Aspen at this time, often in established neighborhoods with single - family housing. A striking "Mansard Modern" at 700 W. Hopkins, with shake shingles extending to the ground, was designed in 1968 by Rob Roy. Nearby, at 720 W. Hopkins, the Skandia Townhomes (1971) feature wood and stucco siding, ground -level garages, cantilevered balconies, and a series of gables subtly defining each unit. 39 Aspen Times, date. Page 39 of 48 • � V CHAPTER 4: CONCLUSION Although modernism to wane—nationally has likely changed the course of architecture nationnismn the mid 1960s re forever, the ane and onally By the and into the s cities mid- 1960s, the early 1970s in Aspen. style in its purest form be the the sense that flat-roofed, there was a growing t some iconic € Complexity sense , austere, g unease with d too uniform. nwent up modernism's and Co ntradiction in glass and metal- framed some of the ways it had reshapi m's dominance, Thus, the A rchitecture buildings looked too 194 and approximate) Period of historic significance (1966) signaled that a new generation Y 19hu gnificance for l A s betwee Robe buildings of this style was challenger Aspen has been fortunate tYle in Aspen is II. The architects rtunate in attracting the to Aspen and buildings in a ractin described in top talents in many professional environment, which and to influence its in this paper fields ontnce the end of World the character of their continue ry flues pa have made important contributions to q 's som Way Aspe centu While mining heritage, few ar as many towns with excellent have retain bui ldings as some of enriched with excellent modernist buildings Page 40 of 48 P61 BIBLIOGRAPHY • Adamson, Paul, and Marty Arbunich. Eichler: Modernism Rebuilds the American Dream. Salt Lake City: Gibbs Smith Publisher, 2002. Allen, James Sloan. The Romance of Commerce and Culture: Capitalism, Modernism, and the Chicago -Aspen Crusade for Cultural Reform. Chicago: University of Chicago Press, 1983. Bancroft, Caroline. Famous Aspen: Its Fabulous Past —Its Lively Present. 8 ed. Boulder: Johnson Publishing Co., 1975. Bayer, Herbert. Herbert Bayer: Painter, Designer, Architect. New York: Reinhold Publishing Corp.; and London: Studio Vista, 1967. Benedict, Frederic. "SKI Home of the Month," SKI 31 (Spring 1967):65 -67. Berger, Bruce. "Robin Molny and the Taliesin Fellowship," unpub. Und. Besinger, Curtis. Working with Mr. Wright: What It Was Like. Cambridge: Cambridge University Press, 1995. Bowker, R. R. American Architects Directory, 1956, 1962, 1970. TheHistorical Dictionary of American Architects. Chanzit, Gwen Finkel. Herbert Bayer and Modernist Design in America. Ann Arbor and London: UMI Research Press, 1987. . "Herbert Bayer and Aspen," Exhibition Notes, Adelson Gallery/Paepcke Building, Aspen Institute, Aspen, Colorado, December 1999 - December 2000. Clark, Brian. "Ski Country Style," Ski Area Management 25 (March 1986):55 -57, 78 -81. Clifford, Peggy, and John M. Smith. Aspen Dreams and Dilemmas: Love Letters to a Small Town. Chicago: Swallow Press, 1970. Cohen, Arthur A. Herbert Bayer: The Complete Work. Cambridge: MIT Press, 1984. Coleman, Annie Gilbert. Ski Style: Sport and Culture in the Rockies. Lawrence: University of Kansas Press, 2004. Davoren, Jennifer. "A Presidential Honor for Coondog." Aspen Times, May 26 -27, 2001. Dial, Scott. "The Boomerang Lodge: The Lodge that Charlie Built, and Built, and Built." Destination Magazine. Ditmer, Joanne. "Schlosser Gallery Host to Major Bayer Show /Sale." Denver Post. October 1, 1997. Dunlop, Beth. "Bauhaus' Influence Exceeds Its Life." Denver Post, April 20, 1986. Page 41 of 48 P62 Dusenbury, Adele. "When the Architect Arrived After the War." Aspen Times, July 31, 1975. Frankeberger, Robert and James Garrison. "From Rustic Romanticism to Modernism, and Beyond: Architectural Resources in the National Parks." Forum Journal, Journal of the National Trust for Historic Preservation (Summer 2002). "Fritz Benedict." Colorado Ski Museum and Ski Hall of Fame. http://vailsoft.com/museum/index.html. "Fritz Benedict Honored by Peer Group of Architects." Aspen Times, June 20, 1985. Fritz Benedict Memorial Service Program, July 25, 1995. Gilbert, Anne. Re- creation through Recreation: Aspen Skiing from 1870 to 1970. Aspen: Aspen Historical Society, 1995. Goldberger, Paul. "The Modernist Manifesto: Why buildings from our recent past are in peril and why saving them is so crucial." Preservation (May /June 2008):30 -35. "Harry (Mohr) Weese." Artnet, AG. www.artnet.com. Hayes, Mary Eshbaugh. "Benedict's House in the Hill." Aspen Times, March 11, 1982. . Dedication plaque on "The Benedict Suite," Little Nell Hotel, Aspen, Colorado. . "Fritz Benedict, 1914 -1995, The Passing of a Local Legend." Aspen Times, July 15 and 16, 1995. Henning, Randolph C. "At Taliesin ": Newspaper Columns by Frank Lloyd Wright and the Taliesin Fellowship 1934 -1937. Carbondale-& Edwardsville, III.: Southern Illinois University Press, 1992. Hersh, Burton. Condominiums —To Buy or Not to Buy," Skiing 25 (November 1972): 110 - 13,161 -63. . "Economy is a Luxury Condominium," Ski 37 (August 1972): 68 -70. Hess, Alan, text, Alan Weintraub, photographs. Organic Architecture: The Other Modernism. Salt Lake City: Gibbs Smith, Publisher, 2006. "Is It Time for the Preservation of Modernism ?" The Architecture Issue. The New York Times Magazine (May 15, 2005), Kostof, Spiro. A History of Architecture: Settings and Rituals. New York: Oxford University Press, 1985. Page 42 of 48 P63 Lane, Joan. "Aspen's Women Architects Aid Building Boom in Town." Grand Junction Sentinel, January 16, 1965. Laverty, Rob. "50 Years of Benedict: A Forefather of Modern Aspen Looks at What Has Been Wrought." High Country Real Estate, Aspen Daily News, February 6 -12, 1999. Lund, Morten. "When Biggest is Best," Ski 36 (August 1971): 64 -66, 68. Marty, Myron A. Communities of Frank Lloyd Wright: Taliesin and Beyond. Dekalb: Northern Illinois University Press, 2009. , and Shirley L. Marty. Frank Lldyd Wright's Taliesin Fellowship. Kirksville, Mo.: Truman State University Press, 1999. Noel, Thomas J. Buildings of Colorado. New York and Oxford: Society of Architectural Historian Series, Buildings of the United States, and Oxford University Press, 1997. "Noted Designer Herbert Bayer Dies." Aspen Times, October 3, 1985. O'Rear, John and Frankie O'Rear. The Aspen Story. New York: A. S. Barnes, 1966. Perkin, Robert L. "Aspen Reborn: Herbert Bayer Changing the Town's Face." Rocky Mountain News, September 27, 1955. Pfeifer, Fried!, and Morten Lund. Nice Goin': My Life on Skis. Missoula: Pictorial Histories Publishing Company, 1993. Prudon, Theodore H. Preservation of Modern Architecture. Hoboken: John Wiley & Sons, Inc., 2008. Rand!, Chad. A-frame. New York: Princeton Architectural Press, 2004. Rollins, Bill. "Brickham: Simplicity, Lightness, and a Sense of Proportion." Aspen Times, December 22, 1977. Rothman, Hal K. Devil's Bargains: Tourism in the Twentieth Century American West. Lawrence: University of Kansas Press, 1998. "Transitions: Robin Molny Changed Aspen- and Made His Friends Laugh." Aspen Times, January 10 -11, 1998. Urquhart, Janet. "History Ricochets Through the Boomerang." Aspen Times November 16 and 17, 1996 Page 43 of 48 P64 INTERVIEWS Caudill, Joy. Telephone interview with the author, 8 June 2010. Conrad, Chris. Interview with the author, 17 August 2000. Harland, Ellen. Telephone interview with the author, 26 May 2010. Kirk, Donald W Telephone interview with Amy Guthrie, July 2010. Maddalone, Pat. Interview with the author, 18 August 2000. McBride, John. Telephone interview with the author, 8 June 2010. Paterson, Charles. Telephone interview with the author, 15 June 2010. Walls, Jack. Telephone interview with the author, 4 August 2010. Wright, Geri. Interview with the author, 17 August 2000. EMAIL COMMUNICATION Mularz, Theodore L, Email co mmunication with the author, 19 Jul Roy, Cindy, with input by Rob Roy, Barbara A. Ro y, and Doug Roy. Email co mmunication with the author, 16 -18 Jul y 2010. Sterling, Robert. Email co mmunication with the author, 4 June 2010, 18 June 2010. Yuenger, Arthur. Email co mmunication with the author, 18 July 2010 Page 44 of 48 P65 • APPENDIX 1: ELIGIBILITY CONSIDERATIONS WRIGHTIAN/ ORGANIC DESIGN PRINCIPLES If influenced by Wrightian /Organic design principles, a property must possess specific physical features to be considered historically significant. Aspen's examples of modernist buildings should exhibit the following distinctive characteristics: • Low horizontal proportions, flat- or low- pitched hip roofs. • Deep roof overhangs that create broad shadow lines across the facade. Glazing is usually concentrated in these areas. • Horizontal emphasis on the composition of the wall planes that accentuates the floating effect of the roof form. • Materials are usually natural and hand - worked, such as rough -sawn wood timbers and brick. Brick is generally used as a base material, wall infill, or in an anchoring fireplace element. Wood structural systems tend more toward heavy timber or post - and -beam than typical stud framing. • Structural members and construction methods are usually expressed in the building. For example, load- bearing columns may be expressed inside and out; the wall plane is then created by an infill of glass or brick. • Roof structure is often expressed below the roof sheathing • Glass is used as an infill material which expresses a void or a structural system, or it is used to accentuate the surface of a wall through pattern or repetition. • There is typically no trim isolating the glazing from the wall plane. Window openings are trimmed out to match adjacent structural members in a wood context. Brick openings tend to be deeply set with no trim other than the brick return. • Structures are related to the environment through battered foundation walls, cantilevered floors and /or porches, clear areas of glazing that create visual connections between outside and inside, and the effect of the roof plane hovering over the ground. • Decoration stems from the detailing of the primary materials and the construction techniques. No applied decorative elements are used. • Color is usually related to the natural colors of materials for most structures: natural brick, dark stained wood, and white stucco. Accent colors are used minimally and mainly to accentuate the horizontal lines of the structure. BAUHAUS OR INTERNATIONAL STYLE DESIGN PRINCIPLES If influenced by Bauhaus or International Style design principles, a property must possess specific physical features to be considered historically significant. Aspen's examples of modernist buildings should exhibit the following distinctive characteristics: • Simple geometric forms, both in plan and elevation. • Flat roofs, usually single story, otherwise proportions are long and low, horizontal lines are emphasized. • Asymmetrical arrangement of elements. • Windows are treated as slots in the wall surface, either vertically or horizontally. Window divisions are based on the overall idea of the building. • Detailing is reduced to the composition of elements rather than 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 roof edge. Page 45 of 48 • P66 • Entry is generally marked by a void in the wall, a cantilevered screen element, or other architectural clue that directs one into the composition. • Buildings are connected to nature through the use of courtyards, wall elements that extend into the landscape, and areas of glazing that allow a visual connection to the natural environment. This style relies on the contrast between the machine -made structure and the natural landscape to heighten the experience of both elements. • Schemes are monochromatic, using neutral colors, generally grays. Secondary color is used to reinforce a formal idea. In this case color, or lack there of, is significant to the reading of the architectural idea. ASPEN MODERN CHALET DESIGN PRINCPLES If representative of Aspen modern chalet design principles, a property must possess specific physical features to be considered historically significant. Aspen's examples of modern chalets buildings should exhibit the following distinctive characteristics: • Rectilinear footprints, classic chalet orientation to the street and /or mountain view • Broad gabled facades organized in rectilinear solid or glass panels, generally in a tripartite organization • Low to moderate pitched roofs based on . a 3:12 ratio • Overhanging eaves, frequently with exposed roof beams • Glass often extending to the eaves • Large central glazed area, flanked by brick or stone piers • Minimal decoration • Page 46 of 48 P67 APPENDIX II: THE ARCHITECTS Herbert Bayer (1900 -1985) Bauhaus, Weimar '21 Dessau '25 -'28 Frederic Allen "Fritz" Benedict (1914 -1995) Wisconsin '38/Taliesin '38-'41 Gordon Chadwick (1916 -1980) Princeton '38/Taliesin'38 -'42 Charles Gordon Lee (1918 -1966) University of Pennsylvania '40/Taliesin'40 -'41; 47 -'48 Samuel Jefferson "Sam" Caudill, Jr. (1922 -2007) Cornell '46 Robert Oliver "Rob" Roy (1926 -1992) Illinois '47 Charles "Charlie" Paterson (b. 1929) Taliesin '58 -'60 Eleanor "Ellie" Brickham (1923 -2008) Colorado '41 -'44 Robin Molny (1928 -1997) Carnegie Institute of Technology /Taliesin '49 -c.'54 Curtis Wray Besinger (1914 -1999) Kansas '36 /Taliesin '39 -'55 Ellen Harland (b. 1934) Massachusetts Institute of Technology '56 John Morris "Jack" Walls (b. 1925) Oklahoma '53 Robert "Bob" Sterling (b. 1933) Utah '63 George Edward Heneghan, Jr. (b. 1934) Washington U. '57 Daniel Gale Theodore L. "Ted" Mularz (b. 1933) Illinois '59 Thomas Whelan "Tom" Benton (1930 -2007) University of Southern California '60 Richard Tseng -Yu Lai (b. 1937, Beijing, China) Princeton '58, '60 Arthur "Art" Yuenger (b. 1939) Illinois '62 Francis Rew Stanton (1910 -1995) Yale '35, Ecole des Beaux Arts Americaine '31;34 Victor Lundy (b. 1923) Harvard Graduate School of Design '47, '48 Harry Weese (1915 -1998) Massachusetts Institute of Technology '38, Cranbrook '38 -'39 Donald Edward Erickson (b. 1929) Illinois '48/Taliesin '51 Arthur Dennis Stevens (b. 1930) Purdue '55/Taliesin '52 Jean Wolaver- Green - Oklahoma '52 Wheeler & Lewis Brown Brokaw Bowen Donald Kirk Eric Friis (b. 1916, Copenhagen, Denmark) Acad of Art, Copenhagen '43 Page 47 of 48 P68 APPENDIX III: ARCHITECTS LISTED IN ASPEN PHONE DIRECTORIES 1942- none 1949 Herbert Bayer in white pages Frederic Benedict in white pages 1951 Herbert Bayer in white pages Frederic Benedict in white pages 1955 Bayer & Benedict listed as "designers" in yellow pages Sam Caudill, architect in yellow pages Rob Roy 1957 Bayer & Benedict listed as "designers" Sam Caudill, architect Rob Roy Jack Walls " Wallace Oakes (no info) " (El li Brickham in white pages) 1962 Bayer & Benedict listed as "designers" Butler - Bartosek " (no info) Robin Molny ' Jack Walls " Sam Caudill, architect Rob Roy Jack Walls " (El li Brickham in white pages) 1963 Bayer & Benedict listed as "architects" Sam Caudill, architect Robin Molny ' Ted Mularz " Rob Roy Butler - Bartosek listed as designer (no info) Jack Walls " 1965 Bayer, architect Benedict " (inc.Rosolack, Sterling, and Heneghan in his office) 1968 Benedict, architect Caudill Heneghan &Gale Molny Mularz Roy Walls & Sterling • Page 48 of 48 f?c ,ki_ 9 1:1 Il 1:1 C i 0 o O (� O 4— N c (0 co , • U O L RT (Z5 V, 5 .c c a c v- N O Q- D > O N . — m o O O O ca N O u) O O . c a) c o a-' o U E 0 U O o (n Q) N - a Q) i Q (7) - >" Q as = (>3 0 a� • — N -� a) -� CI– a) L n E 0 ca " to o - a ±' D () • C . V 0 o o , N b o a Q N s_ • 0 O U 1= 0 ' 0 o CL II ©UI CD ÷-, To . ' ' .. a L C o r Q Y j I cD 1 Cn T ._ . , . ! T .. 1 ...., , . , - r.._. T . I -4 �' O o O U a t f r - rA N 0 O 0 L • , y L r W a) U "a A 15 co • • 0 ° o a a te ) 5 o aa) M - ,1,.4: ► 1.: i r I1 - o o °' " E L QD 0, t . ' C 5 O 0 O) 0 • _ a ) • Q a) a ) — 0 c o -0 E am ca . m� X. W , N M c6 Lo CO O i � ' mimiii \ r , !1 0 ; • �� ... f ' I l L + ' la ' Q I' ! t • 1 +t' , /� \ I 1 u' ; CO x c _c 0 O U - U N X O kdi+ �. P70 INTEGRITY SCORING If a statement is true, circle the number of points associated with that true statement. LOCATION OF BUILDING ON THE LOT: The building is in its original location. (2 points The building has been shifted on the original parcel, but maintains its original 1 point alignment and /or proximity to the street. SETTING: The property is located within the geographical area surrounded by Castle 1 point Creek, the Roaring Fork River and Aspen Mountain. The property is outside of the geographical area surround by Castle Creek, the Raoring Fork River and Aspen Mountain. 1/2 point DESIGN: The form of the building (footprint, roof and wall planes) are unaltered from 3 points the original design. a.) The form of the building has been altered but less than 25% of the original walls have been removed, OR b.) The alterations to the form all occur at the rear of the subject building, OR 2 points c.) The form of the building has been altered but the addition is Tess than 50% of the size of the original building, OR d.) There is a roof top addition that is Tess than 50% of the footprint of the roof. MATERIALS Exterior materials The original exterior materials of the building are still in place, with the 2 points exception of normal maintenance and repairs. 50% of the exterior materials have been replaced, but the replacements 1 point match the original condition. Windows and doors The original windows and doors of the building are still in place, with the 2 points exception of normal maintenance and repairs. 50% of the original windows and doors have been replaced, but the replacements match the original condition. 1 point Best: 15 up to 20 points Integrity Score (this page) maximum of 10 points: (0 Better: 12 up to 15 points Character Defining Features Score (first page) maxi - (Q Good: 10 up to 12 points mum of 10 points: Not Eligible:0 up to 10 points HISTORIC ASSESSMENT SCORE: 1 k i t E1 ASPEN'S 20 CENTURY ARCHITECTURE: RUSTIC STYLE BUILDINGS The Rustic Style of architecture was symbolic of early 20 century attitudes that embraced not only the mythology of the "hardy outdoor life of American pioneers" 1 in the western United States, but also, to an extent, the larger dream of Manifest Destiny. There was embedded within the style a desire to live up to the spirit of adventure and rugged determinism of those who had ventured West. Though heavily steeped in western legend, the Rustic Style's roots actually lay in the simple pioneer cabin, and in the vacation homes of the Adirondack Mountains which were built in the late 1800's. As early as 1916, however, with the founding of the National Park Service, the style became a cornerstone of the NPS's belief that "buildings should blend in with their natural surroundings" and that "natural settings could influence architecture. " The majority of entryways, information centers, and guest lodges that were built in the Parks throughout the country in the first decades of the 20 century were log and stone buildings constructed in what came to be known as the "National Parks Service Rustic" style. "The high point in the development of this `rustic' design ethic occurred in the late twenties and spread throughout the nation during the work - relief programs of the Depression. " .:a Hand -in -hand with the growth of the National " - H t ,, Parks Service was the development of resort areas sr, '- throughout the Rocky Mountain States, and Rustic { Style buildings, which ranged in size from small cabins to substantial lodges, were constructed in r _. ,aa ,w Colorado starting in 1905. Early examples of the - ' - =1 buildings can be found in burgeoning tourism and • - vacation spots such as Grand Lake, Thomasville, - •• - - - -. Woodland and Estes Parks. Rustic style Grand Lake Lodge, built in 1925 "represented an early 20 century movement in -4 '.' ' i American architecture . . . It was picturesque, N romantic architecture that recalled the American j past. In Aspen, Colorado, Rustic Style cabins used as ' lodges and residences, began to be built in the L;• � �` 1930's, though the tourism industry was still in its infancy. The Waterman Cabins, built in 1937, and . once located at the corner of 7 and Hallam Streets, have since been demolished, but were one of Sumers Lodge, a vacation home in Glenwood Aspen's first group of small tourist cottages. The Springs, built in 1935 Swiss Chalets (now L'Auberge, and suffering from I Carley, Rachel, "Cabin Fever: Rustic Style Comes Home" 2 Rocky Mountain National Park, Home Page, Historic Buildings 3 Kaiser, Harvey H., Landmarks in the Landscape, 17 4 Harrison, Laura Soulliere, Architecture in the Parks, National Historic Landmark Theme Study, 1 ' Colorado Historical Society Home Page 6 Throop, E. Gail, "Rustic Architecture: Period Design in the Columbia River Gorge" 1 P72 the "chalet" misnomer— as they are, indeed, in the rustic style) are located at 435 W. Main Street, and were built during roughly the same period. Prescient, and perhaps with a nod to the automobile's growing influence in American society, a motor court configuration at the Chalets allowed guests to drive right up to the individual units. Single family residences in Aspen employed the Rustic Style as well. A • 0,— I 300 W Main Street, residence built in Swiss Chalets, 435 W. Main Street, built circa 1944. 1930' Also in the 1930's, a WPA sponsored structure that was used as a bell tower was constructed at the present location of the town fire , station on East Hopkins Avenue. It fell under the supervision of ' "_. the National Park Service, who managed the WPA program and the design of all its projects. The Park Service's architectural ; ' , philosophy was summarized at the time in a volume entitled "Park and Recreation Structures, "which stated that, ry !i "Successfully handled, (rustic) is a style which, through the r; - use of native materials in proper scale, and through the ; avoidance of rigid, straight lines, and oversophistication, gives the feeling of having been executed by pioneer craftsmen with limited hand tools. It thus achieves sympathy WPA Bell tower, built in the with natural surroundings and with the past." 7 1930's and shown here after its relocation to Paepcke After the Second World War, looking to the past— and in Park in 1954. It was particular, the American past— was the result of a nation turning reconstructed in 1990. inwards, and away from foreign battlefields. The romance and heightened idealization of the West, and the appeal of the rugged individualist's lifestyle, was evidenced by the popularity of television shows like "The Lone Ranger" and "Davy Crockett", and further, by the proliferation of Western movies (many of which were produced as a result of the McCarthy Era effect on post -war Hollywood productions). The American public acculturized the West's ideals, and the Rustic Style even found its way into children's toys like "Lincoln Logs." ' Harrison, 8 2 P73 The American landscape was transformed in the 1940's. The unparalleled growth and prosperity of the United States (spurred on in part by the GI Bill), and the "baby boom" that began— and didn't slow down — until the late 1960's, brought with it success, comfort, and a blossoming middle class. Americans were enjoying greater financial freedom, along with increased leisure time, and they were looking for adventure. They looked West. Falling gasoline prices, the construction of cross - country highway systems, and a young, flourishing automotive industry (by- products of the post -war economic climate), "gave greater numbers of people the means to travel, and previously inaccessible places were more easily reached. " Vacationing and tourism became the hallmark of the American lifestyle, and the West held a particular interest for a people with newfound freedom, and the desire for adventure. "To Americans the West is their refuge, the home of the `last best place. " Vacation homes, hunting lodges, dude ranches, and tourist- related facilities began to increase in number after the War, many built in the Rustic Style, which was perfect for the "frontier spiriti of the new American tourist. Aspen was the ideal destination for the "new American tourist." Purple mountains majesty aside, it had a growing reputation as a ski town— a sport that was gaining increasing popularity. And as people ventured out west to vacation in the late 1940's and early 1950's, they were looking for what so many had sought before them: the spirit of adventure, romance, and ruggedness. Yet what Aspen offered, even then, was so much more. It became an "archetype for the beginning of tourism in the post -World War II American West. " The effort to create a cultural and artistic haven, and year-round resort town that offered "good opportunities for combining work, play, and culture, " only added to the town's uniqueness, as a "post -war consumer culture and the nation -wide growth of tourism, combined with the beginning of the ski industry, meant that people no longer had to belong to an elite club or live in a mountain town in order to ski. Rustic Style buildings continued to be tc constructed in town during this period, including Deep Powder Lodge (circa late 1 . ° 1940's /early 1950's), at 410 S. Aspen • 4t ,, .' Street, and The Hickory House (initially " christened The Silver Chicken) at 735 W. Main Street, which was built in 1950. At IT the time, it was one of the few restaurants rw;. operating in town, and the original sign, - " located on the west side of the building, '�' . t reads "restaurant," and is lettered to look - � like logs, harmonizing the theme of the " - c " ~ ' structure down to the Last rustic detail. Deep Powder Lodge, 410 S. Aspen Street built circa Iota 1940'.c /early 1950'.v 8 Rothman, Hal K., Devil's Bargains — Tourism in the Twentieth - Century American West, 202 9 Rothman, 14 10 Carley 11 Rothman, 207 12 Rothman , 213 13 Gilbert, Anne M., Re- Creation through Recreation: Aspen Skiing from 1870 to 1970, 46 3 There Ins n0 shortage and the materials s ge of young male labor durin als were readily available local] and the m & them for 1y the Pa c these buildings were constructed, the new American Y Small cabins could g Between ] 940 an tOUnst seeking the "western be erected during a "by 1959 and 1959, the number of adventure." at least and 1959, 59, the full -time residents in Aspen increased by 1000, and Les began is attract a tar, residents joined the Asp n's amenities some of Hollywood's more influential eaar-y group c o n premise , Year round resort ood's brightest stars) the wealthy group ra second As As p en 's and premiere, For some, homeowner were a s econd home people "chose to city began go to transform itself into a movi fast: me built in the Rustic S or build choice, and thing Style was a natural choice homes in "A gala opening and 1 947, and g of the lifts and reopening 19 title d people poured in from all oe the country. Jerome gone at the co you wanted a lot or a house in was held in January, could ie longer court house. If Y• A boom was nn could no p ar ound to the co on, fe of real estate office and on some abandoned com missioners atyYou and As p e n you been bought Paid throe andoned property, you make an offer new a gat up in a through the teeth, several thousand to a swank new writers, and twinkling, and by a strange en dollars. sportsmen ricers and movie actors who wanted to get away from city people- had who wanted a fishing and h get awe P artists, a summer mountain cottage, hunting Y from city life dh be close g m ski ge, eastem couples I ho' mid-westerners who wanted at Aspen's cranks who wanted to start a wanted to try their hand slopes. bu any at Eligiyt Y s ort of business, to tJ' Considerations There are specific the significance of Physical features that a the the historic Context. Typicalpch aracteristics o fee in us for it a to re construction, stone foundation, battered walk o� To eligible m paned battered w should have historidesi at overhanging roof, ies stone chimney, ust "log the following distinctive characteristics: s. ex and designation, • aracteristics: examples of Rustic Styl built strut Land log; Hand built hares that are constructed out of locally may be i ncorporated at the base, the form available materials, usual] Later examples include • The buildings machine cut logs. � or in � of a fireplace Y • True log gs ar e usually single story, and chimney. g construction Y sin �' µ' a low_ dressed and flattened forts overlappi t low-pitched gable roof. ir regularities a tackin g ends, cgheoand Chinking Logs may be between the logs g or may be in sou details, though without gs either way. Machine made buildings n the • Window o the chinking, made buildin s g infills to finish out facts are spare g mimic these window openingly horizontally proportioned 24 ,wood trim is used IS 223 e aS 72 6 Ban Carolyn, Famous A s en +ado Historical Society H ome Page Guide to Colorado Architecture 4 P75 • Building plans are simple rectangular forms, with smaller additive elements. • The roof springs from the log wall, and gable ends are often infilled with standard framing. This may be a small triangle or a second level of living space. • The emphasis is on hand -made materials and the details stem from the use of the materials, otherwise the detail and decoration is minimal. As land became more valuable, the era of the small vacation cabin came to an end, and custom -built homes were far more common, as were condominiums. Aspen's 1973 Growth Management plan, a reaction to the magnitude of change and development that the town was experiencing, recognized the need to preserve the quality of life that many felt Aspen was losing due to its popularity. Second homes began displacing permanent residents, and in fact, the City passed a controversial ordinance in order to stem the loss of resident - occupied housing. Concurrently, modest lodges were being replaced with higher -end accomodations. These trends were noted again in 1986, when, according to the 1993 Aspen Area Community Plan it was found that the number of second homes had significantly increased, and that the size of these second homes was particularly large compared to traditional residences in the city. The shifts in Aspen's development pattern suggest that it would be appropriate to establish the end of the period of historic significance, which is a term used to define the time span during which the style gained architectural, historical, or geographical importance, for simple, small scale, Rustic Style buildings as roughly 1970. 18 Aspen Area Community Plan, 1993 5 P76 t t ,s y 3 } A ny t L ' £ ` 8 2 x s.+:v \'W *u tilrX,+.� 4 W" * L' Deep Powder Lodge t n a» F k 1. V 1. 'Ng ot yxn, ty , :rxtr . } The Castle Creek Cabins/Waterman Cabins, once located at 7 and Hallam Streets 4 � t F r 4 Sunset Cabins, once located near 7 and Main Streets 6 P77 Bibliography Aspen Area Community Plan, 1993, Aspen, Colorado Bancroft, Carolyn, Famous Aspen. Carley, Rachel, "Cabin Fever: Rustic Style comes Home" September 1998, www.uniquerustique.com/history Colorado Historical Society Home Page, Guide to Colorado Architecture, www.coloraohistorv- oahp.org/guides Directory of Colorado State Register Properties, www. coloradohistory- oahp.org/publications Gilbert, Anne M. Re- Creation through Recreation: Aspen Skiing from 1870 to 1970, 1995. Aspen Historical Society, Aspen, Colorado Harrison, Laura Soulliere, Architecture in the Parks: A National Historic Landmark Theme Study, National Park Service, Department of the Interior, November 1986 http: / /www.cr.nps.gov/history/online books /harrison Kaiser, Harvey H., Landmarks in the Landscape, California: Chronicle Books, 1997. Rocky Mountain National Park, Home Page, Historic Buildings http://www.nps.gov/romo/resources/history/historic.html Rothman, Hal K., Devil's Bargains — Tourism in the Twentieth - Century American West, Kansas: University of Kansas Press, 1998. Throop, E. Gail, "Rustic Architecture: Period Design in the Columbia River Gorge ", 1995. CRM Volume 18, Number 5, http: / /crm.cr.nps.gov /archive /18- 5/18- 5- 4.pdf. 7 J P78 City of Aspen • 0 Commercial Core Historic District Encompassing the Commercial Core Zone District A Design Objectives and Guidelines Policy: ? Improvements in the Commercial Core Historic District should maintain the integrity of historic resources in the area. At the same time, compatible and creative design solutions should be encouraged. This chapter presents guidelines for new Existing Character construction and alterations to existing non- The heart of Aspen centers around the Commercial , historic structures in the Commercial Core Core Historic District. It is the first area that "Historic District. Key design characteristics of developed in the early mining days of the town ip this district are summarized and then specific and its character reflects this rich mining heritage, 1 guidelines are presented., which is the image that many carry with them ' of this historic Colorado mountain town. Each Location historic building contributes to the integrity of the The Commercial Core of the city is defined by district and preservation of all of these resources Monarch Street to the west, Durant Avenue to the is, therefore, crucial. This is especially important south, Hunter Street to the east, and roughly the as new development continues. alley to the north of Main Street to the north. (See the Character Area map in the appendix.) P v s - _ . £ . - i . -7 -- . �. �J�S --_: _'a' ro Z` � , �". �s .. - - .. -1 4� "av •� V \ 5 c yv O �+ r 0 , 'Ars.2 ,,,,. 1 3 r,` > —.,,.. c < .. ta, a.. ;49-1::-.; "v�6� t i k i " -�j c� "��. - e9� - r-t-, .,� •..�i \ rmoo . - -- qu .y ‘ _ ,.ice @� J :. - -•-- -'&- -' -' �. � n i t ✓.. — � 4-4: ��\� i .� tn1 i 1 c - •ce 1 The Commercial Core Zone District is located at the core of Downtown Aspen. 914rt P L A .Si „t ..e W S 5 , De._.tssY3dol nit x l ' zfe' ., T - e _• e . a„ ,,a"" y �'".+#",` I F� � '' �a. *: -, Commercial Core Historic District City of ApFlj9 Street Pattern As the historic core of the city, its current urban form reflects these origins. It is a grid of streets aligned to the north. Rectangular street blocks of 270 ft. by 220 ft. with long axes and rear alleyways are oriented east -west, and subdivided into 30 by "¢ 100 ft. lots. Buildings generally occupy the full lot width within the core area and span the full from street frontage to rear alley. depth Fi This arrangement still anchors the historical urban a form of the city, despite some recent departures , from the traditional hard street edge. The variety . _ of building forms & scales is influenced in areas �s _ '' by previous site -based open space requirements. 5 The traditional lot widths continue to define the majority of the buildings in this area, either in total width or, where lots have been amalgamated, in their architectural composition, articulation and fenestration pattern. This ensures that the Qty = 1 ��= center is still appreciated for its essential human visual and cultural experience. The street pattern frames spectacular scenic views. buildings and Building Character The commercial buildings of the mining era establish the context for new construction, even though individual landmarks of later periods may also be found in the area. Buildings range in scale from early residential including miners' cottages to larger 'iconic' landmark Victorian commercial and community buildings. The latter tend to occupy comer sites and range in scale from one to three stories in height. This area includes the varied range of buildings dating from the city's early history and representing all periods of development in the evolution of Aspen. The character is predominantly urban, while the building pattern in many areas continues to exhibit the original traditional lot width arrangement. The street facades are strongly defined in many areas by a combination of Larger Victorian and smaller scale buildings. This is particularly the case on street comers. 4 rii s- i s s o .- S ' "( ' . � a F' dew N,�b y, .z �1�� s : a : , ._ �el+rye ;= • P80 City of Aspen Commercial Core Historic District Storefront context 1�. Most buildings have features associated with ' - ` t, ' x I traditional commercial designs. Ground level r�rf floors of the buildings are oriented to pedestrian '' ' a � `2, 4 views, with large display windows highlighting „,' • the goods and services offered for sale inside. A ,. 1 7 r Recessed entries are also typical. A horizontal t' E ,, `` ,1 i s 9 ' s. l9 . ° '�V � o � i�” � �� i band of moldin usuall separates the round 0 s' C. x" floor from upper portions of the facade and the ,� i ;� 9 /� A parapet is capped with a decorative cornice. ' _ ` • j . 1 ``u' t' f C `fX These elements combined to establish a horizontal 7 -t 1 , r emphasis along the street. m "1 -14,:f 1. Fenestration on upper floors is predominantly ' -) -, � p I solid and void 'hole in the wall' form and vertical ... "' a , . t i i I- , I " ii ' ` � I i � in proportion, reflecting classical architectural " , ' i° f $ / f L', , t. II proportions. There are, however, departures from s this pattern which contribute to the rich diversity all —`_ of the street. - �� --�-._ A hard street wall as seen along the walking mall downtown is a Outdoor Spaces characteristic throughout Character Areal. There are also instances of small scale spaces -4` created by the set back of buildin facades. F" '` ' • g � t E .. :: i i m � They are, however, the exception to the historic , 1 1 ' , ‘ : : alignment of building fronts. Where these are used " ` , A t for outdoor dining they provide attractive public tit ' i • gathering spaces and street vitality. The intent is "; B a to maintain the strong definition of the street wall �i in this area, and therefore creating further breaks ,, 1 1 ^ �_ in the street wall should be minimized. ' I The resulting character is both intimate and `�,i i • ' stimulating, and in keeping with the variety ' and harmony unique to Aspen. There have been ' _,--- departures from the hard street edge, where �,r. ' � .: �� c more recent development has stepped back " ' : ° � � � ': . to create semi - basement space and detached _' { or internal retail frontage often on more than one level. In many cases these have detracted ;? from the immediate relationship between shop - ' - frontage and public sidewalk and the sense of "» ,, 7 - street facade definition, with adverse effects on g _ - — — street vitality and the urban character within downtown Aspen. Victorian storefronts anchor the Commercial Core and define the key characteristics of building height, mass, articulation and materials. • zZ'u3 rte' ,. �aase.s�f`£r an -1:S s a Z, r n, +Y a es Co 1 1 a _ -. ; �-- -Ca S , tt "4' li s ,.. `- --R+n �m s l�l� haeS'an Ggfde.,,3nrs: 'w i'� :'8� ., 1 .,. 4% q s ' `' `Y ga Commercial Core Historic District City of Aspen P8 1 Design Objectives 4. Reflect the variety in building heights seen These are key design objectives for the Commercial historically. Core. The City must find that any new work will New development should stay within the range help to meet them: of building heights, and be designed to reflect the variation in height across traditional lot widths. 1. Maintain a retail orientation. The scale and form of a new building should be Traditionally the hub of Aspen and the center of designed to safeguard the setting of a historic commercial and cultural activity, the Commercial building, whether single story or the large 'iconic' Core should remain so. Designs for new three plus stories. construction should reinforce the retail- oriented function of the street and enhance its pedestrian 5. Accommodate outdoor public spaces where character. they respect the historic context. The street vitality associated with the center 2. Promote creative, contemporary design that of the city should be retained and enhanced respects the historic context. through a combination of the form and design of While new construction should be compatible the walkable street network and the associated with the historic character of the district, designs areas of public gathering space at street level and should not copy early styles but instead should above. The design of any public space within seek creative new solutions that convey the the core should be a central consideration in community's continuing interest in exploring the design and configuration of the building, to innovations. At the same time, the fundamental ensure that it contributes to a positive experience principles of traditional design must be respected. in the streetscene, whether or not used for street This means that each project should strike a d inin g . balance in the design variables that are presented 6. promote variety in the street level in the following pages. experience. 3. Maintain the traditional scale of building. Architectural form should recognize existing scale The Commercial core of the city is likely to and diversity and build upon established design experience continuing market pressure for hotel, traditions, creativity and innovation in a manner commercial and residential development and which strengthens the architectural richness the parallel needs of affordable commercial and and identity of the city core. The contextual residential accommodation. It is important that contribution of building and storefront design future growth acknowledges, complements and will depend on detailed consideration of the street enhances the existing scale and character of this facade and associated landscaping and paving. area. 7. Preserve the integrity of historic resources within the district. The original form, character, materials and details of historic resources should be maintained. This applies to individual structures of landmark quality as well as more modest "contributing" structures. • tt '�h+ y i ^� 3 5 tf�x s4 �r'i C �u{,a - m, 444:2M ,�' : t +t a� ' J . 3 v * `;s y° 'ter ..- : ..ice,. ;- „® Pjeehv45:f! • el �-� a<. s rte". .�-: §"EZS.. .,. ,.� +sue , ., r',.. 'a-s g P City of h' f P Commercial Core Historic District Conceptual Review Design Guidelines The following design guidelines shall apply at the conceptual review stage. Street & Alley Systems 7 Ilk!' . �� The street pattern is essential 'infrastructure'_ °@ -i` for the character of the district. The north/ r -® 1 s C* south orientation of the streets accentuates O �i ® '' ' the relationship of the City with its dramatic landscape setting. r41 The circulation pattern provided by the network of streets, alleys and courts should be retained to C Mal ensure maximum public access. It should not be `� t enclosed by gating and it should not be spanned Et at by development above. Wherever possible pedestrian access to alleys should be enhanced. ® 17 The creation of additional public walkways to iq 1� rear alleys and other public spaces enhances the interest of the city center. The network of streets, alleys and exish'ng pedestrian passageways enhances access in the downtown. Additional links and an enhanced public circulation pattern can increase commercial frontage and access to the side, to the rear and also to the interior of development sites. Improved access also creates opportunities for additional commercial space, which is to be encouraged. Street Grid The original arrangement of parcels significantly affects the visual character of the area. The city was platted on a grid system of lots and blocks, and buildings were typically sited parallel with these lot lines. The layout of early buildings, streets, sidewalks and alleys still can all be seen in this system, and should be maintained. 6.1 Maintain the established town grid in all projects. • The network of streets and alleys should be retained as public circulation space and for maximum public access. • Streets and alleys should not be enclosed or dosed to public access, and should remain open to the sky. esi O iihves n�Cr ide &n '� .� . y ' � Y ?Willi ° ...u - ..�..,c..r....,�m�ixlrez�i � AA Commercial Core Historic District City of Aspef 83 t ` ` ";�� "t' Internal Walkways Y �`' a rl' ,;-\ I . 62 Public walkways and through courts, ;' 1 ' , I I. »4 s a 5 k when appropriate, should be designed to create g - F i1t/ a „ ' access to additional commercial space and �"' yi 2 ,� % 'cz « , 'i` ii` ' �i s frontage, within the walkway and /or to the rear [e . 7' t ' l I y of the site. , r' See also Public Amenity Space design y� i) guidelines. A-7 , I 1 . c#' Alleys k ,.. , ': _' -- kr ;r�„ 0 Historically, alleyscapes were simple and Maintain the established town grid in all projects. utilitarian in character, with a variety of materials and building scales. Many structures had additions that were subordinate to the main building, stepping down in scale at the alley. Others had loading docks, stairs and balconies that contributed to the human scale. This " traditional character should be maintained, while accommodating compatible new uses. The continued development of visual interest in these alleys is encouraged. Greater variety in forms and materials is also appropriate here. 6.3 Develop an alley facade to create visual interest. • Use varied building setbacks and changes in materials to create interest and reduce perceived scale. • Balconies, court yards and decks are also appropriate. • Providing secondary public entrances is strongly encouraged along alleys. These should be clearly intended for public use, but subordinate in detail to the primary street -side entrance. . -i r-i pn r � - t x _ � '-t. -% ' g a ' a9 jai l ' p g 7 ci 4:,,,,I4 zet'i'r. F °b t ` e i `' rtt- f- 4- i ae P , G 4 , I m es = P Softy of Aspen Commercial Core Historic District C Parking '� The character of the Commercial Core Historic '° K District is one which is primarily appreciated on foot. The human scale and concentration of walkable streets is a key attraction. Therefore r i ; the visual impact of parking should in all cases 'a ' 9 be minimized. Parking should be structured or ry r placed underground where the scale and setting ;1 - i p of the site affords this opportunity. Where a :} J . _ lf_, 9 parking structure is considered this should be - - - -' — — - -i contained within a 'wrap' of commercial and /or Where a parking structure might be considered this should be residential uses. within a 'wrap' of commercial and /or residential uses, as this building is. 6.4 Structured parking should be placed within a'wrap' of commercial and/or residential t ' r -` uses.. _ • The exposure of auto entry areas should be ti " minimized. • mow. w 6.5 Structured parking access should not } j have a negative impact on the character of the �„ street. The access shall be 1 - ' • Located on an alley or secondary street if "' �� IT/ a , � necessary tom' -i 1 • • Designed with the same attention to det c rr ail 1 and materials as the primary building facade. Parking access located on an alley and integrated into the building design. • Integrated into the building design. • i h s`k2�.• -,,y. ... Y ,,.ixrb -�ir� -� qw. arx`"S` s '- y • et -z ta w x: lI {i Witm a RfC1 R ft o r i 3 d '� i { Y 3'Y. 3 -�Y' ' n3Fi' S'c n R 9 I �� 8!` -Mb b Rti +Ae, s. . + . getl..+,. �a `titWarf r 4 1P Commercial Core Historic District City of Aspen P 8 5 Public Amenity Space In every case Public Amenity Space should be On -site and communal open space has been a well defined and carefully designed. The design long- standing priority and characteristic of the of public gathering space, its enclosure, layout city. Where it is required the form, orientation, and content, will be an integral consideration quality and use of . such open space is of the utmost - in the proposed form of the space. Although a importance. Well defined public space should be matter for full review and approval at the Final integrated with traditional streetscape character. Stage, its design should be envisioned at the time The Planning and Zoning Commission and /or of conceptual review. the Historic Preservation Commission will decide whether, where and in what form Public Amenity Design Objectives Space will be required. Where considered to be compatible within the Commercial Core Historic District, public amenity In the past, open spaces occurred as accents along space should be designed and placed to achieve the street, usually where a house existed in the e following objectives: historic context or where a lot stood temporarily l • Create an active and interesting street vitality vacant. In more recent years, outdoor spaces were through the promotion of public gathering built that sometimes eroded the character of the space. street edge. These conditions are not precedents • Maintain a well - defined street edge and for future development. While some open space street comer to ensure that such public space PI may occur, it should be subordinate to the creates an accent within the street facade. traditional character of the street. Create an additional commercial frontage • Public amenity space along the primary street and /or space to the side or rear of the site frontage should be an accent within, and or building exception to, an otherwise well defined street • Create a welldefined,locali7edpublicspace facade. There will be locations within the city at the street edge, where e.g. additional core where the character and setting of the site space for street dining might be beneficial. or a historic building will also influence the form, • Design a space that maximizes access to location or appropriateness of such a space. sunlight throughout the year. • Create a second level space designed to "w' ensure that it is permanently open to the public and provides interest in the form of a scenic or other interpretive marker for the life *� i O of its service as a public amenity space. I . Eil;w r} 4s+ ". --- Achieve second floor patio space that rat , g .. r ® n provides access to affordable commercial 1 uses. I r 11! it f I The Downtown Enhancement and Pedestrian Plan 1 1 I l = . �" ' t �r k ,� should serve as an additional reference. � ' a It— Where open space within a parcel is appropriate, develop an amenity that can be experienced by the general public. II a e 8'. ,..4„: ,,, f }"` , x� �w ` A ¢s. .: r fa&' PL,4tod _,_y ° I "�' , .d".a`e^ �.� , � � . ".. n . ?. l am „ y fi s+ -�`,. + v � vte _ thawc. > x7r...9 C � - ,.' 3 ° :19ge . „ Viguettne P86 City of Aspen Commercial Core Historic District Public Amenity Space Types z; rai 4 u. r � ,� '' Public amenity space is a requirement in the • I t w .t Commercial Core. In this area, particular types it. ; a �, , ` of public amenity space would be in character „ t ;y r , with the urban form of the Commercial Core area. to ,,!;a.. 'Y d ' These include: • Street facing amenity space • Mid -block walkway amenity space 0,-.; ,1 � i .„, • . , . 11 - .; • Alley side amenity space • Second level amenity space : T • Front yard amenity space . Guidelines for the location . and design of each of � - these types follow. Avariety of public amenity spaces exist in Downtown Aspen. In - future development it is important to focus on the quality of the • space rather than the quantity. t3 , ,t a "'r -;-;-,T,', .��„ Y f iJ ,c . y n Ts - �" Y , - t . � 1 S y! 't '� 'iM — —l--- + �t7 �4 J — a�` rl 'nP" _ _ _ _ e + t a h 3�� }9 { n i .± - _, Xal' -„ -- - `. e The walking mall in Downtown Aspen provides substantial public amenity space for the buildings located there, and therefore creating breaks in the block facade within this area to provide more street- facing public amenity space should be carefully considered. 1 i ' f. i 1 I 1 � .t14'v�.. ° VL F )Z' ^F i'TT' V a rLod n d iss.i. •T..,.s< I 'x5 'n- i "`s sT ' r' - .3 ar �-, - �Dr Mecizwe add.Cim' l �'> ��` " AV , rte r h :1r7�,*M3 n ' P: age V - b >��s.._S:: - +,nws`�.a: z5' xs ZiP :.-.,+ .x sys7�h� "'i�'` -� �p "� Ss� �. : h C "E.nrz.._ iZY- .,.�r" �,� �;;yx±sy ?" „' i . Commercial Core Historic District City of Aspen P87 Street Facing Amenity Space " A street facing amenity space, usually located i r J I -i n Et r How towards the ddle o h f a eart block, of maybe the di cons strict ide where red. ever, w mi ithin th, — the g reatest concentration of historic storefronts 1 I I r ,--I 4 align, creating new gaps in the street wall is E L 1 - la discouraged. Providing space on sites that are located in the outer edges of the district, especially MIN l <L� 1111 along the southern edge is more appropriate. t�� ► —' 6.6 A street facing amenity space shall meet all of the following requirements: • Abut the public sidewalk Street-gong amenity space should abut the public sidewalk, be B level with the sidewalk level With the sidewalk, open to the sky, directly accessible to the Be open to the sky public and be paved or otherwise landscaped. • p • Be directly accessible to the public i r xw��' #E } ';z,.° • Be paved or otherwise landscaped 4a'`.„, w ;,::::;;;X::,4",„.;::44---.1.t, ," ¢rk z e - ' , 6.7 A street facing public amenity space shall _--- W Y %" :::\ remain subordinate to the line of building 1 fronts in the Commercial Core. Any public amenity space positioned at the .4 \ street edge shall respect the character of the streetscape and ensure that street corners are ; - well defined, with buildings placed at the I ZIlli — sidewalk edge. 1 Sunken spaces, which are associated with j " - - some past developments, adversely affect ;- `'aria ;'i the street character. Where feasible, these q '`: shou b e replaced with sidewalk level lg ' a ' ; - t " trr improvements. ri g. ` _, �` 6.8 Street facing amenity space shall contain 7 > IT - —_ features to promote and enhance its use These may include one or more of the following: Street facing amenity space should contain public an and other Street furniture amenities to promote its use. Public art • • Historical /interpretive marker The detailed design of Public Amenity Space, with regard to guidelines 6.8, will be a matter for approval at the Final Review Stage, although it may be discussed at the Conceptual Stage. rge �' a e w ,- , xn 3 "; �. x,. t. i -""" "is d g utm_e a 44, a aY i n + ca c e .� w»n` -tt-- , `K . -' apt ' } 4 0 • e lines. P 8 8 City of Aspen Commercial Core Historic District Mid -Block Walkway Amenity Space 1 9 I .4 New buildings on sites occupying more than r ' S � 1F ` ` , � 'Ir / ' one traditional lot width may provide a mid- =Sit% r ;r; rE block walkway or through court within a single J j' a f el ' jA` l , s ' development or between two developments. ∎ l ii F- `, t , i" This type of space shall be an extension of and a a ! ..' - , s t_, '- complement to the street and public circulation Ss 5c ' ;'\ � r network within the center of the city. See also , � ` • a~ V 44 Street & Alley System design guidelines. ti l l e r s 1,, , r t 9 5 \ ' r Y a The Commercial Core is highly regarded for +" ( IR its pedestrian character and 'wallcability'. The ct 1 11-?- opportunities created by the extension and enhancement of the public circulation network 1 ¶ I ', has distinct urban benefits and is encouraged. , ( y` Typically only one such space would occur along r. a single block face. t � r. 1 , F+a Y" M -t , This form of Public Amenity Space should be , +.� - ,1 a consideration on larger development sites •-.'� - within the city. It links the potential of additional 7,. ' - � , „i '':1- commercial frontage and access, with human a ,, " G� _ z . ' . . "` ., scales ace and circulation, enriching the „as , ' .,.".' public experience. Situated along the edge of a development site, it should extend to link with the Amid-block passage may link through a property to provide access rear alley. Adjacent to a residential type historic to uses along the side of a building or to businesses on an alley. building it can provide a respectful break and a Fa ..,, , space between the two. 4 j rt ail 6.9 Mid -block walkways shall remain cp'S:31`�GEALA,NE 0 �� 1 Siz . subordinate in scale to traditional lot widths. watan: l� II ,Y ,'b rT n.,,,L 21 '� • Mid- blockpublic walkways shall bebetween si.. Shp & Poniw i i °, q i ; i! 8 ft. and 10 ft. in width. ��x r ;'� r F� '/ ,r 6.10 A mid -block walkway should provide 1:,..; ! 1 , , z public access to the following: '- : 1 • a- \ • Additional commercial space and frontage -- .. ° ; within the walkway _ J � . 1 1 • Uses located at the rear of the property r n ` ; , I - w A passageway may be considered as Public Amenity Space when it remains subordinate to the continuity of the block face. It should be designed to visually appealing and to provide access to active uses. lea air': vt � #.4;74 472' ' , M. 1VPA n r ��. ra w _ . k- '1 Dest b ft t�� » 'ti � a �, re v -t , • s> t: :rzfAe a i 6 . y �� gym' ,: � " �+ }�.... r �'� • Commercial Core Historic District City of ?St tom► Alley Side Amenity Space �� ` Pu blic am sp mayb located to the rear of the site in association with the alleyway. Such > a space shall provide access to commercial uses _ 4 ` f 0 0 r at the street or second floor level. Public amenity , O o O n i , in i space may also be located at the corner of an alley CO and a street. Such spaces should be designed \� 1 G 0 to enhance the use of alleys for supporting ■, 00 commercial uses. v 1,, ' 6.11 An alley side amenity space shall be n il" �/ I designed to have these characteristics: • Direct public access to commercial space at street or second floor levels Publicamenity space located atan alley should generally besouth • Maxinuze solar access to the alley side ,(-facing to maximize solar access for the space and provide access to commercial space that may be located there. amenity Space • Enhance of the attractiveness and use of the rear alley • Minimize the adverse impacts of adjacent service and parking areas • i e F P 9 0 City of Aspen Commercial Core Historic District I c Second Level Amenity Space An outdoor patio space on a second floor, which i is directly accessible to the general public, will be considered as a form of public amenity space 1 ' ' I when it is compatible with the historic context , - .�- ~� - J 3 and is clearly inviting for public use. This will .iI 4 be most successful in association with outdoor ��z MI Oil— IL dining space. In this respect it may be favorably 1'I .i!�I considered within sites affected by mountain — —,__; -- 4 — _�,_ z i�, L view planes. r: 9 6.12 Second level amenity space should be Second level space shall be accessible from a public space such as a compatible with the character of the historic a sidewalk or street facing amenity space. district. _ i remain visua It shall visually subordinate to any ^� , 1 historic resource on the property. \ 0 O a ; 0 O O J �� C Doi ' • If located on a historic property, it may not n alter the appearance of the resource as seen /0ii�p�f�, ' I U LI I from the street. I_e , 1't I ;;Pt ft 0 I 6.13 A second floor amenity space should meet ��) �',. ' I mo . ,!; all of the following criteria: - `�p /P 0 01 • Ensure consistent public access 0000 • Be dedicated for public use /'� • Provide a public overlook and /or an N /✓ interpretive marker Outdoorprivate space shall be demarcated from thepublicamenity • Be identified by a marker at street level space 6.14 Second level space should be oriented to maximize solar access and mountain views, or "JRO,, i views of historic landmarks. = ' a 1 r r 6.15 Second level space should provide public a access by way of a visible and attractive public °� l stair or elevator from a public street, alley, or W1 ?4 street level amenity space. ' �l ` 1 ti* l 'JD e': 0, 1, fir' D ,!2 E ] 9 , r b i Ys 41; . T 1 - , •A -'l �{ Second level public amenity space shall provide permanent public access from the street. ,+,� {' eom : t:c d gan :1011i1 o �. . i j i,-. , � 5 � 1,5, `', 3 a u G ' X 3 - esi ,. F D © V:fs . �W b , t ; X 1i:41:4401,i r"'� i � ' '4 e ar. bw th . ' x - ' ;5 ' r e� a" 'T O' er'-' . � � a� ; � : . � . A i'�� k*']€'�. ��r+��...�`�� > Ss �T �F'L'P.,.v:`.� -' '^PSfY^�Y- �^'z;. • Commercial Core Historic District City ofAspRe 1 a `' Front Yard Amenity Space s'...::‘,4: , Certain areas within the Commercial Core retain a distinct historic residential character. This is often akmr defined by a landscaped front yard and side yard .-7,..- _ setback To maintain and enhance this tradition . ; �a in certain areas, a landscaped front yard amenity it �-'- � space may be considered. © t —. i• Li e 6.16 Second level dining may be considered. a • If the use changes, the space must remain . ; "F �" -4 accessible to the public, so long as it is to ,.,t: - - = - - 3 3 . . — be considered meeting the public amenity Certain areas within the commercial core are identified with historic space requirement. single story buildings with setbacks. Front yard setback areas may - be considered as public amenity space in such an instance. 6.17 Front and side yard amenity space should be considered in the context of a historic one Pi . N 3 I U r 1 11 story residential type building. ■ Building Placement � a- --•a a E Hyman Ave. Street Corners _ r . ` Street corners are important elements in the ! street block and in the framing of many of the • .1 views which characterize the Commercial Core. Many buildings on corner lots exhibit special This figure ground study illustrates the alignment and amount of features that add accents. Corner entrances and open space along the street edge during the year 1904. storefront windows that extend along intersecting street facades are examples. These elements are ® appropriate in many corner lot locations and � s , MI should be encouraged. Here the buildings should El ' ' confirm the pattern of a strongly defined building B ! i 4 mop wall at the street edge. Building facades should . - av0 -- 7 E. Hyman Ave paws. be oriented parallel to the street, with variation in front wall setbacks kept to a minimum. A departure from the street wall, for well defined \ ''..,:, and designed public dining space, should occur ' as an accent within the street block, not the predominant pattern. The same blocks in 1999. Notice how the increased use of open space has eroded the building wall along the street. Exceptions for street dining might be considered, in the outer southern edge of the Commercial Core. These sites often serve as focal points for public activity and therefore sitting areas and other gathering spots are appropriate in the outer edges of the district. s'e -i tii n 4' ti .z �' `'' e *xa�. # . v � �' 4 * � r c.Y , ; " ". " ., :_. 3az a<a�r '"i r " 4ti y P 9 2 City of' Aspen Commercial Core Historic District Building Setbacks n. M e w The Commercial Core has a strong and relatively ' . s-,S :. *1— '- ,r+ consistent street facade line. Corner Y er buildings, ,h often of late 19th / early 20th century form, anchor f $:: the street block in many instances. Within the p °`°' street fagade however there are some departures '" i _ 4. from this where small areas of open P rovide 1 f- l L, p:-...-- P 1 t� ii . individual street dining experiences. '5 I �I .uj. J 4- Jii _ Setbacks within the central commercial area . b 1;' Jf-„ ,_ - I i ' " _ . should reinforce the objective of maintaining - � �g� and enhancing the special urban and traditional ' 1 character of the strong urban edge of the street . r Local areas of open space Traditionally, commercial buildings were budtto the sidewalk edge also further the objective of the street vitality and anchored the corner. This should be continued. created by well defined dining space within the city. These should however remain as an accent , , a 1' within the street facade. j ti F ; Side setbacks provide the opportunity to create or s' k \ a r , - - -- - enhance public passageways or through courts to aj w +' y am ` r': : . >. � � _� I the rear alley, with the advantages of improved 1 ;> -t o public permeability, access and additional ;` r ; a t� <• commercial frontage. See also Street & Circulation 1 , j ! "t�� Pattern design guidelines. Rear setbacks create y ,�' the opportunity to achieve more creative and t ' / ` l .. 1 n- ) : I rst A,9 attractive commercial and public space to the rear " _ / h °' ' of the site and alley. i ' •- €, 1 ;x - ,) 1 . r a In sum, buildings create a strong edge to the - - street because they traditionally aligned on the . h 1 ' - n P : - 1 front lot line and were usually built out to the full - 0 — �` width of a parcel. Although small gaps do occur y . - �� between some structures, these are exceptions. ,r ° This uniform wall of building fronts is vitally y important to the historic integrity of the district This second floor patio incorporates an abstract interpretation of \ upper -story windows and cornice elements to define the space and and should be preserved. maintain the building wall line along the block i . 9 gj Lw" 5 S , ,%-- F� ' t „' .��' 4t sf d r. > c . x e ` ,�" iy "+�'va�� ovir "'¢ s 2 ' fi - .. ..:'..... ps ?.�'�.�. 3�.a, ac ....; �.^ • 3 Commercial Core Historic District City of Asper 9 F;e" r -, 6.18 Maintain the alignment of facades at the , )1 ' 9, f, 5e as ' sidewalk's edge. A" n k 4 9 !t • Place as much of the facade of the building £" - ��' at the property ro er t3 line as • possible. � rr b -- ". r Fi Locating an entire building front ' ` /' ° 1 " ! I behind the established storefront line is • ' x t 9 tx p inappropriate. “; rt `5 `` ,t, i §# i • b • A minimum of 70% of the front facade 0.',:1_ t * v , t ! � . R , e i t , shall be at the property line. 1. s R n � ,a L m ^ a r i„t�r'� r G �� ' sl � .e . r �' / 6.19 A building may be set back from its side �' ,x r i d / lot lines in accordance with design guidelines a Y t �. r j a identified • in Street & Circulation Pattern and �; -: ! j� Public Amenity Space guidelines. a \ : ¢ Building Orientation r"; 3'r � 1 ' , Development within the core area has been g-::4 i - � A!. traditionally oriented with the street grid. This . 1 , ' r Fr � I- ' r relationship should be maintained. } ' " >,ry'1 I; T s `— 6.20 Orient a new building to be parallel to its �` �I . lot lines, similar to that of traditional building = orientations. 1 "' „ ` • The front of a primary structure shall be aa ar" �Y ° oriented to the street. Maintain the alignment of facades at the sidewalk's edge. 6.21 Orient a primary entrance toward the street. • Buildings should have a clearly defined primary entrance. For most commercial buildings, this should be a recessed entry way. • Do not orient a primary entrance to an interior court. • Providing secondary public entrances to commercial spaces is also encouraged on larger buildings. . gyp— 'P F S + -, -- W , b k A. Jl sW ct) # p i g s 106 e y t h n a 5 o- -. ". .sr, r r sp - ri P 4 City of Aspen Commercial Core Historic District Building Form A prominent, unifying element of the Commercial ir I Core is the similarity of building forms. M 5" nur� Commercial buildings were simple rectangular �� "max a . Alk solids, deeper than they were wide, with flat roofs I • !t I -` � ,II t" In a few instances, gabled roofs, with false fronts, a • - sr , ! . I uutel - may have been seen. This characteristic of flat � t' %'"—{' i roof lines is important and should be continued ! t` l Cd !# in new projects. '"" �? ® a # d t l =r ! War 6.22 Rectangular forms should be dominant Rectangular forms should be dominant on Commercial Core on Commercial Core facades. facades, • Rectangular forms should be vertically oriented. • The facade should appear as predominantly flat, with any decorative elements and projecting or setback "articulations" appearing to be subordinate to the dominant form. YES! NO! YES! YES! 6.23 Use flat roof lines as the dominant roof — 1 - — — form. sidewalk • A flat roof, or one that gently slopes to the street rear of a site, should be the dominant roof form. Orient a building parallel to its lot lines. • Parapets on side facades should step down towards the rear of the building. • False fronts and parapets with horizontal emphasis also may be considered. 6.24 Along a rear facade, using building forms that step down in scale toward the alley is encouraged. • Considerusingadditiveforms , such assheds, stairs and decks to reduce the perceived scale. These forms should however, remain subordinate to the primary structure. • Use projecting roofs at the ground floor over entrances, decks and for separate utility structures in order to establish a human scale that invites pedestrian activity. • • - .f. � � a... }^n f ,�:'e2.�T�='_�"`£/1 x3Yry ` x oa- 1-4 ",r A � 1 ,. x 10 F .n . � h k c �' ItArni 4 of P95 City Commercial Core Historic District ty f P __�! Building Height, Mass & Scale � �,. , .:' The character of the Commercial Core derives "? i �= i n part from the range and variety of building a heights. These v from one to three stories. i �� `�_' u! s Building height with traditional lot width and • r �n t!. 14 - \ _; - il! a l creates a constantly changing cornice profile along 1 ul�t ° a block face. This is the basis of the human scale, I '! [ G qat ,,, j architectural character and visual vitality of the , I' ' n 01'ni / city center. New development in this area should continue this variation. N‘.. / 4►. With respect to scale, a new building shall also be Maintaining a block facade and orienting new development with sensitive to nearby historic building These ranged the street grid are two key objectives in the Commercial Core from single story historic residential structures to District. three story Victorian commercial buildings. A�§'' W ,- LS c ' ~ ^ . %: * '4 '4i,%µ W r y l . Story Scale m r ,� ( t 6.25 aintain the average perceived scale of ", `: ,, ,> i. ! ,, ® t, a story buildings at the sidewalk. Y i � . A' , tlsi • Establish a two -story height at the sidewalk • t i ii I edge, or provide a horizontal design element 1 � s C a ' F,7 I R at this level. A change in materials, or a t r J i 1 molding at this level are examples. Height Variation Maintain the average perceived scale of two -story buildings at I the Commercial Core area building heights the sidewatk. range from one to three stories. This variation in facade height is a key characteristic that should be maintained. Variation in height should occur where the site is larger than two traditional lot widths, in order to reduce overall scale of the building. A variation in facade height, often in conjunction with setting back an upper floor, may be required. \� 6.26 Building facade height shall be varied from the facade height of adjacent buildings of the same number of stories. • If an adjacent structure is three stories and 38 ft. tall, new infill maybe three stories, but must vary in facade height by a minimum of 2 ft. a i. v � 7 € v _ 2 r • i 'w k t tK s' x "Z-x M. '4-t .. -. x.� v r x - �. ± i c � -�;11, e; .es��< . P96 City o Aspen f P Commercial Core Historic District 6.27 A new building or addition should reflect Fi � r.rr" = ,: E. , the range and variation in building height of . �'` i ;I the Commercial Core. N " i " • Refer to the zone district regulations to > g t determine the maximum height limit on the � r i , 1 le --� ' �`' ' i z ° '` su property. i s - - . �c; • Am;nimum9f . floor to ceiling heightis to be ma " � — 1 maintained on second stories and higher I.S'IS; M Erin l[k lIii " gil dill r I • Additional height, as permitted in the zone , ,aik : ti i i i,_.. „} district, maybe added for one or more of the 7 E lam following reasons: I = - In order to achieve at least a two -foot II variation in height with an adjacent A new building or addition should reflect the range and variation ' building. in building height of the Commercial Core. - The primary function of the building is civic. (i.e. the building is a Museum, Civic Building, Performarlce Hall, Fire Station, _ - _. _ -__® etc.) 1 _ p p ppp`- - Some portion of the property is affected — pq ppp � • 111 ppp ppp Ftr by a height restriction due to its proximity „ 1 I 1 I qp p y" i l to a historic resource, or location within l' � 14� I 1 1 h a View Plane, area may be appropriaterelief in another \A �i \ I gyp! To benefit the livability of Affordable i Housing units. - To make a demonstrable (to be verified by Methods of achieving height variation within a single buildin include (A) stepping the building down as it approaches the alley the Building Department) contribution to and (B) stepping the building along the primary facade. the building's overall energy efficiency, for instance by providing improved day- Existing Building New Building lighting. i i 6.28 Height variation should be achieved d using one or more of the following: I ' 1 - .i - e - • Vary the building height for the full depth J . _.J � i L . n :2 1 I of the site in accordance with traditional lot t 38 1 width. II, ' I�� • Set back the upper floor to vary the building L • facade profile(s) and the roof forms across Building facade height shall be varied from the facade height of adjacent buildings of the same number of stories. 1 the width and the depth of the building. • Vary the facade (or parapet) heights at the front. • Step down the rear of the building towards the alley, in conjunction with other design i • standards and guidelines. t � v } ry ��».. x •f ' !l!tPg � V.--•=;:t.7:24',`.3.-;,4 h � �L it ipr .FE . , i �i t es 5k ' :e 1 p est old ,v - t "y' r •g - "� e. i ^ c w' r. r ?::: d � -- 1 4 OO Commercial Core Historic District City ofAsiY 7 • ��i" - Height Variation for Larger Sites la �� Buildings within the commercial center and �1 i historic core of Aspen represent the traditional lot ��o = widths of the city (30 ft.), either in building width q Ua 4 h h h . ' rril ♦/ ar i or the horizontal and vertical design articulation i ' q n 1 'I u l 1 EI � 0 p� ag of the street facade. New development occupying �� , ■ in 1 j :- i . ' a site of more than one traditional lot width 1 �� -14 , 1 % u V �I � yt � . _ � j should be designed to integrate with the scale ��` �i �!! created by narrower existing buildings. The �. �� IM!��• architectural rhythm of earlier street facades should also be reflected in new development to retain and enhance the human scale and character II Its- " _ of the center of the city. is 6.29 On sites comprising more than two �L g14 ` d d �w traditional lot widths, the facade height shall 44 pq C� U I lift �i ( Q Off be varied to reflect traditional lot width. . h Li p �� 4 The facade height shall be varied to reflect kirs • (T }h� ' � i traditional lot width. It�� ! 4 a � : . � 11 � o Height should be varied every 60 ft. ,1!r, . •ofl \� minimu and preferably every 30 ft. of • M . f$A> linear frontage in keeping with traditional lot widths and development patterns. f • No more than two consecutive 30 ft. facade Height variation can occur in a number ofways, depending on site modules maybe three stories tall, within an conditions and design intent. individual building. • A rear portion of a third module may rise to three stories, if the front is set back a minimum of 40 feet from the street facade. (e.g. at a minimum, the front 40 feet may be no more than two stories in height.) 6.30 On sites comprising two or more itional lots, a building shall be designed to reflect the individual parcels. These methods \ shall be used: • Variation in height of building modules across the site • Variation in massing achieved through upper floor setbacks, the roofscape form and variation in upper floor heights • Variation in building facade heights or cornice line • r f ,N- x r a ¢L - w s v R"'S-,:. gy, t v rk 2 1 3 i s r x T>',7 'Lt; .� taner S 9.: .., :r-*r s ,ems.. h'•`'>�. Y ,r,. : .. _ `v , a >' x #�' 5 ," ;":. , "M'L 1 .fl1 %A r Oi't+. "1'� t? L: I P98 City of Aspen Commercial Core Historic District i ! Height Adjacent to Historic Structures • The Commercial Core Historic District is the j setting for a very diverse range of historic structures. Designing a building in the historic , 30'-- district demands a sensitivity in design analysis i _____ ..--•----- and • approach which is exacting and which will his t 41 1 I vary with each situation. The intent is that a NI% \ 42' • • '4144 new building or addition to an existing building ! 28' should be designed to respect the height and I - 11 r- scale of historic buildings within the commercial w Ij ' - t-: , : -- -. �...; ::: i core. Historic One Story / Commercial Type � , 6.31. A new building should step down in Building scale to respect the height, form and scale of a historic building within its immediate setting. Building facade height shall be a maximum of one floor higher 1 within 30 ft. of an adjacent single story historic building. 6.32 When adjacent to a one or two story historicbuildingthatwasoriginallyconstructed "� ±1 •d for commercial use, a ne building within the �— I_ 6 same block face should not exceed 28 in height within 30 ft. of the front facade. j • In general, a proposed multi-story building \i 41 must demonstrate that it has no negative `� .ems impact on smaller, historic structures ' nearby. `� 3� • The height and proportions of all facade Min. I. components must appear to be in scale with i nearby historic buildings. Historic One Story Residen C.1 y g type Building 6.33 New development adjacent to a single New infill adjacent to historic miners cottages shall not exceed story historic building that was originally 28 ft. in height within 30 ft. of the property line adjacent to the constructed for residential use shall not exceed historic structure. 28 ft. in height within 30 ft. of the side property I line adjacent to the historic structure, within Iconic Historic Structures the same block face: Visually prominent historic structures 6.34 The setting of iconic historic structures influence the design character of Downtown should be preserved and enhanced when Aspen and should bg recognized. These are: feasible. The Wheeler Opera House • • On sites comprising more than two • traditional lot widths, the third floor of The Elks building • the adjacent lot width should be set back a The Independence building • minimum of 15 ft from the front facade. Pitkin County Courthouse minimum • Step a building down in height adjacent to • Hotel Jerome • an iconic structure. City Hall • • Locate amenity space adjacent to an iconic St. Mary's Church • structure. y 'a' ` ad 'a y "" � ' "'. ' �"`c.„ d 0 L`ss `g' 3 {'I,. > s'.x'} ma t - e . r 1- -.:71 , k esr a of #1 F A $," :' a , v ` t3- HA r , �� ..,.. s cb* � _r= b � *, _. r �., � v� �i., ' .. - RECEIVED P99 STAN CLAUSON ASSOCIATES INC D E G O 1 2011 landscape architecture.planning.resort design CITY OF ASPEN COMMUNITY DEVELOPMENT 412 North Mill Street Aspen, Colorado 8i611 t. 970/925 f.920/920 -1628 s =` info@scaplanning.com www.scaplanning.com , g �u 30 November 2011 Ms. Sara Adams Senior Planner, City of Aspen 130 S. Galena Street, 3rd Floor Aspen, CO 81611 Re: Aspen Core / Requested Benefits Dear Sara: On behalf of our client, Aspen Core Ventures, LLC, please accept this letter outlining the requested benefits in exchange for the voluntary designation of the Benton Building and the building housing Little Annie's to add them to the Aspen Inventory of Historic Landmark Sites and Structures under the AspenModern program. The current proposal contemplates keeping the Little Annie's building in its current condition, pursuing a restoration of the Benton Building as first floor commercial and second floor office space, and a new mixed use, three story structure on the 9,000 sq. ft. corner lot located at Hunter and Hyman. Extensive efforts will be expended on the remodeling and reconfiguration of the Benton Building as a viable commercial properly in accordance with the plans being submitted. Moreover, the total floor area for the project will be considerably less than the allowable floor area in the Commercial Core. This 15,000 square feet property would accommodate up to 37,500 square feet of development per the City of Aspen Land Use Code. The proposed development overall will constitute approximately 33,000 square feet, or 12 percent less than the allowable floor area. It should also be noted that the Little Annie's building air space was intended to provide two floors of on -site affordable housing mitigation, something which can no longer be feasibly provided on site. In addition, by retaining the existing buildings, our client will be changing its current proposal for two brand -new "Class A" commercial spaces in the Commercial Core, spaces which are in high demand with retail tenants. Accordingly, the benefits requested as part of this AspenModem preservation and restoration activity are: 1. Acknowledgement by the City of Aspen that the employee housing mitigation required for the new mixed use building will be satisfied by the preservation and remodeling of the Benton Building and the preservation of the Little Annie's building; 2. Acknowledgement by the City of Aspen that the commercial parking requirement for the new mixed use building will be satisfied by the preservation and remodeling of the Benton Building and the preservation of the Little Annie's building; 3. Approval to allow as few as one residential unit utilizing all of the proposed residential floor area, i.e., not restricted by the maximum unit size as set forth in the Land Use Code; RECEIVED Sara Adams, Senior Planner DEC 0 1 2011 Aspen Core / Requested Benefits CITY OF ASPEN 30 November 2011 Page Two COMMUNITY DEVELOPMENT 4. Waiver of the open space requirement and payment of cash -in -lieu for the 1,500 square feet of required open space; 5. Waiver of Parks Development and TDM /Air Quality impact fees. This proposal is contingent on the plans being approved as submitted. We believe that these requests are consistent with the reduced overall development potential for the property and with the substantial expenditure to be directed toward the restoration of the Benton Building, and the preservation of the Benton and Little Annie's buildings. The request is also consistent with the set of benefits accorded to the Given Institute property in an attempt to save the Given Institute building from demolition. Bearing in mind the interest expressed by a majority of City Council, we hope that the Historic Preservation Commission will accord a corresponding value ranking to the preservation of these properties. However, we remain cognizant that this constitutes a 90 -day negotiation period under the AspenModern program and either party may terminate the negotiations if they feel the proposed benefits are not appropriately equivalent to the value of the historic preservation of the buildings. We have provided an "Attachment 3: Dimensional Requirements Form," which will further indicate the parameters of this proposal. It is our understanding that conceptual plans have been submitted to your office under separate cover from IKB Architects. We look forward to reviewing the revised design with HPC at the 7 December 2011 hearing. We are preparing a Sketch -Up model which will be ready for your review by Monday 5 December at the latest. Please call me with any questions. Very truly yours, Stan Clauson, AICP, ASLA STAN CLAUSON ASSOCIATES, INC. Attachment cc: Nikos Hecht RECEIVEDP ° ATTACHMENT3 DEC 0 1 2011 DIMENSIONAL REQUIREMENTS FORM CITY OF ASPEN COMMUNITY DEVELOPMENT Project: Aspen Core Applicant: Aspen Core Ventures, LLC Location: comer parcel at Hunter St. and Hyman Ave., 517 E. Hyman Ave., and 521 E. Hyman Ave. Zone District: Commercial Core (CC) Lot Size: 9,000 sq. ft. + 3,000 sq. ft. + 3,000 sq. ft. = 15,000 sq. ft. Lot Area: 15,000 sq. ft. (for the purposes of calculating Floor Area, Lot Area may be reduced for areas within the high water mark, easements, and steep slopes. Please refer to the definition of Lot Area in the Municipal Code.) Commercial net leasable: Existing: 7,505 sq. ft. Proposed: 15,300 + 7,505 = 22,805 sq. ft. Number of residential units: Existing: o Proposed: 1 -2 Number of bedrooms: Existing: o Proposed: 4-6 Proposed % of demolition (Historic properties only): DIMENSIONS: Floor Area: Existing: 7,505 sq. ft. Allowable: 37,500 sq. ft. Proposed: 25,550 + 7,505 = 33,005 sq. ft. Principal bldg. height: Existing: 32' Allowable: 4 Proposed: 41' Access. bldg. height: Existing: Allowable: Proposed: On - Site parking: Existing: 26 Required: 16 Proposed: 3 % Site coverage: Existing: Required: n/a Proposed: 100% % Open Space: Existing: 0 sq. ft. Required: 1,500 sq. ft. Proposed: 0 sq. ft. Front Setback: Existing: Required: n/a Proposed: Rear Setback: Existing: Required :: nia Proposed: Combined F/R: Existing: Required: n/a Proposed: Side Setback: Existing: Required: n/a Proposed: Side Setback: Existing: Required: n/a Proposed: Combined Sides: Existing: Required: n/a Proposed: Distance Between Existing Required: n/a Proposed: Buildings Existing non - conformities or encroachments: Existing parking deficit for the building housing Little Annie's and the Benton Building. Variations requested: Residential unit size, open space, commercial parking, and AH mitigation. Confirmation of 41' height and roof deck on new structure through Commercial Design Review. 7 m p r n HUNTER STREET m V1 A — e D lD N s z 1 a co T D — r A y y A r O PROPERTY UNE D �- I n O x • Z n _, I mi u. 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