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HomeMy WebLinkAboutagenda.hpc.20070425 I. II. III. IV. V. VI. VII. P1 ASPEN HISTORIC PRESERVATION COMMISSION REGULAR MEETING Wednesday - April 25, 2007 5:00 P.M. CITY COUNCIL CHAMBERS 130 S. GALENA ASPEN, COLORADO SITE VISIT: Please site visit all the properties on your own. Roll call WIu-tl/,5 J Id':?b 9I1~ Approval of minutes - March 28th and April4t minutes Public Comments Commission member comments Disclosure of conflict of interest (actual and apparent) Project Monitoring Staff comments: Certificate of No Negative Effect issued (Next resolution will be #16) VIII. OLD BUSINESS A. 300 West Main Street, Show Cause Hearing (open and continue to May 9th) IX. NEW BUSINESS A. 300 W. Main Street, Minor Development Review (open and continue to June 13th) B. 408 E. Cooper Ave., Aspen Sports, Minor Development Review (open and continue to May 23rd) C. Boomerang - 500 W. Hopkins - Landmark Designation (20 min.) ,uJc..,1I/6;JdC'7 D. 308 E. Hopkins - Major Development Final Review - Public Hearing (30 min.) /J"r~ q f4 X. WORKSESSIONS A. Frost Barn 208 E. Hallam Street - FAR Bonus discussion (30 min.) IX. ADJOURN 6:30 p.m. P2 Provide proof onegal notice (affidavit of notice for PH) Staff presentation Applicant presentation Board questions and clarifications Public comments (close public comment portion of hearing) Board comments Applicant rebuttal (comments) Motion No meeting of the HPC shall be called to order without a quorum consisting of at leastfour (4) members being present. No meeting at which less than a quorum shall be present shall conduct any business other than to continue the agenda items to a date certain. All actions shall require the concurring vote of a simple majority, but in no event less than three (3) concurring votes of the members of the commission then present and voting. P3 PROJECT MONITORING Jeffrey Halferty 213 W. Bleeker (Schelling) 555/557 Walnut 701 W. Main 314 E. Hyman, Motherlode 930 Matchless 212 W. Hopkins 205 S. Galena 202 N. Monarch Mike Hoffman 216 E. Hallam (Belford) 308 Park 640 N. Third 435 W. Main Jewish Center Derek Skalko 501 W. Main Street (Christiana) . 114 Neale Avenue 2 Williams Way (Hicks) 423 N. 2nd Street 811/819 E. Hopkins (Fellman) wi Sarah 135 W. Hopkins Sarah Broughton 311 S. First 811/819 E. Hopkins (Fellman) wi Derek 110 E. Bleeker wi Jason 530, 532, 534 E. Hopkins 435 W. Main Jewish Center Jason Lasser 110 E. Bleeker wi Sarah 334 W. Hallam Doerr Hosier Center @ Meadows 629 W. Smuggler Fox Crossing Park 233 W. Main: Innsbruck Hotel Jerome Alison Agley 529 W. Francis 205 S. Galena Brian McNellis 435 W. Main Jewish Center CONCEPTUAL APPROVALS THAT HAVE NOT GONE TO FINAL REVIEW: P4 930 Matchless- (October 26, 2005) 435 W. Main, Aspen Jewish Comm. Center- (August 10, 2005) Fire station- (February 8, 2006) 332 W. Main- (May 10, 2006) 508 E. Cooper- (July 12, 2006) 308 E. Hopkins- (July 12, 2006) )X ----- c P5 MEMORANDUM TO: Aspen Historic Preservation Commission FROM: Amy Guthrie, Historic Preservation Officer RE: 500 W. Hopkins Avenue- Landmark Designation, Public Hearing DATE: April 25, 2007 SUMMARY: The subject property is a 27,000 square foot lot. lt IS developed with the Boomerang Lodge, which began operation in the 1950's. The Boomerang Lodge was considered for landmark designation during the 2000 inventory review. There was HPC support, however concerns raised by private property owners resulted in all designations being put aside while the City revamped the preservation ordinance. At Council's direction, staff began an on-going effort to work with the owners of post-war properties of historical interest to see if addi.t~oE~ larldmarks could be preserved cooperatively, however owner consent for designation was never required. - - Staff and HPC have advocated for the preservation of the building, and during City Council review of a redevelopment plan the following condition was required: "Prior to filing of the final plat the owner shall initiate the designation of the East Wing of the Boomerang Lodge for listing on the Aspen Inventory of Historic Sites and Structures. The area to be designated shall be finalized in conjunction with the Historic Preservation Commission but shall include that area of the structural east wing along the alley Fourth Street and Hopkins 1 P6 Avenue also including the outdoor pool and spa area The designation shall not subject the remainder of the building to HPC review, " Approximately 1/3 of the resource is to be landmarked. Staff disagrees with the boundary proposed by the applicant because it does not appear to include balconies on the front of the building nor does it fully encompass the landscape and "foreground" surrounding the structure to be preserved. We have attached a revised proposal in the resolution. Staff finds that the application, with revision to the boundary, meets the criteria for designation of a property to the Aspen Inventory of Historic Landmark Sites and Structures, and recommends HPC make such a finding to City Council. APPLICANT: Aspen FSP-ABR, LLC, owner, represented by Michael Hoffman, Sunny Vann, and Reno- Smith LLC. PARCEL ID: 2735-124-49-002. . ADDRESS: 500 W. Hopkins Avenue, Lots K-S, Block 31, City and Townsite of Aspen, Colorado. ZONING: R-6, Medium Density Residential with LP/PUD Overlay. HISTORIC DESIGNATION 26.415.030B. Criteria. To be eligible for designation on the Aspen Inventory of Historic Landmark Sites and Structures, an individual building, site, structure or object or a collection of buildings, sites, structures or objects must have a demonstrated quality of significance. The significance of the portion of the Boomerang Lodge property under consideration for designation will be evaluated .according to the following criteria: I. The property was constructed at least forty (40) years prior to the year in which the application for designation is being made and the property possesses sufficient integrity of location, setting, design, materials, workmanship, and association and is related to one or more of the following: a. An event, pattern, or trend that has made a significant contribution to local, state, regional or national history, b. People whose specific contributions to local, state, regional or national history is deemed important and can be identified and documented, c. 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 design philosophy that is deemed important. 2 P7 Staff Response: As detailed in Community Development's research paper on Modernism in Aspen, Charles Paterson, architect of the Boomerang Lodge, was born Karl Schanzer in Austria in 1929. His mother died in his youth, and his father fled Austria, taking Charles and his sister when Hitler invaded in 1938. They traveled first to Czechoslovakia and then to France. Once there it was decided that the only way to get the two children out of Europe entirely was to allow them to be adopted by a family in Australia, whom Mr. Schanzer knew through business connections. Relocated to that country in 1940, the children took on the family's name; Paterson. Their father fought in the war and was eventually reunited with his children in New York City, after they immigrated. In New York City, Charles "Charlie" Paterson started engineering school, but he had an interest in skiing and was disappointed with the conditions in the area. Hemoved west in 1949, stopping in Denver. There, he worked for the Denver and Rio Grande Railroad and skied on weekends. On one ski trip, Paterson met someone who had been to Aspen, and decided to hitchhike there a week later. After finding ajob as a bellhop at the Hotel Jerome, he decided to stay. Within a month of his arrival in Aspen, Charlie Paterson bought three lots on West Hopkins Avenue, shortly followed by another three that comprised a full half a block between Fifth and Sixth Streets. There he built a one-room cabin in 1949 out ofleftover lumber. Paterson returned to New York from 1950-1951 to continue his studies, then moved back to Aspen and began expanding the cabin. In 1952, he leased a Victorian house that had been operating under the name "Holiday House," and his father came to town to help out. This experience got Paterson interested in running his own lodge, and led to more construction on the Hopkins Avenue property. In 1956, he added three units and opened the Boomerang. Charlie Paterson left Aspen in the late 1950's to study at Taliesen East. He retumed and built the East wing and pool area, his "thesis project," from 1960-61. The development of the Boomerang Lodge represents a number of local and national trends. Architecturally the Boomerang Lodge exhibits a recognizable Wrightian style that swept throughout the country during the mid-twentieth century; and it actively contributes to the presence of Wrightian-inspired architecture in Aspen along with designs by locals Fritz Benedict and Robin Molny. The property is also a classic example of Aspen's original small lodges, accommodations of a scale and intimacy that is much harder to find today. Created by Europeans who fled World War II, like Paterson, these facilities personified European warmth and hospitality, and exemplify the social and architectural history of the community as it began developing into an international ski resort. Staff finds that Criterion A is met. Although compliance with just one criterion is enough to qualify the property for designation, the Boomerang Lodge also meets Criterion C, in that it 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 design philosophy that is deemed important. The Lodge exhibits many Wrightian derived design concepts described below. 3 P8 Then, are specific physical features that a property must possess in order for it to reflect the significance of the historic context. Aspen's examples of modernist buildings should exhibit the following distinctive characteristics if influenced by Wrightian design principles: . Low horizontal proportions, flat roofs or low pitched hip roofs. . Deep roof overhangs create broad shadow lines across the fayade. Glazing is usually concentrated in these areas. . Horizontal emphasis on the composition of the wall planes 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 which isolates 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 which create visual connections to the outside and the inside, and the effect of the roof plane hovering over the ground. . Decoration comes out of 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 the majority of the structure; natural brick, dark stained wood, and white stucco. Accent colors are used minimally, and to accentuate the horizontal lines of the structure. . The East wing of the building features board formed concrete walls, a flat roof, strong horizontal balconies, mitred windows, large overhangs with exposed roof structure, typical Wrightian color scheme, etc. Similar concepts are carried through the pool area. Charlie Paterson studied at Taliesen East from 1957-1959. Frank Lloyd Wright died during the last few months of Paterson's tenure at the school. While he was part of Taliesen, projects "on the boards" in the studio included such famed buildings as the Marin County Civic Center and the Guggenheim Museum. Staff finds that the Boomerang Lodge is directly connected to an architectural movement of world wide importance and meets designation Criterion C. Although this style was at one time more common in Aspen, there are only approximately 50 properties that staff would categorize as eligible for designation within the context of Aspen's modernist architecture. This amounts to 2% of the parcels in town. Of the roughly 50 eligible sites, 12 have actually been designated, so clearly very little of this important aspect of our local history has been ensured to exist into the future. In staff's opinion, the Boomerang Lodge is one of the best examples ofthe design philosophies and cultural history of the period. 4 P9 The Boomerang Lodge meets two of the three designation criteria, which leaves the question of integrity to be evaluated. Integrity can be measured through the scoring system that HPC has developed, however this is an unusual circumstance in that only part of the building is being retained. Staff has spoken to Charlie Paterson and determined that the eastern area of the property is unaltered from the original design, other than the slight relocation of an exterior door in the pool area. There is a high degree of architectural integrity. Staff supports landmark designation for this property finding that the review criteria are met. HPC may recommend approval or disapproval of the landmark request, or a continuance for additional information necessary to make a decision. The commission may choose to accept the integrity analysis provided by staff or formulate its own rating for the property. DECISION MAKING OPTIONS: The HPC may: . approve the application, . approve the application with conditions, . disapprove the application, or . continue the application to a date certain to obtain additional information necessary to make a decision to approve or deny. RECOMMENDATION: Staff finds that designation "Criterion A" and "Criterion C" are met and that the property meets the architectural integrity requirements. Staff recommends that HPC support landmark designation for 500 W. Hopkins Avenue, Lots K- S, Block 31, City and Townsite of Aspen, Colorado, but recommends that the boundary area be revised as represented in the resolution. Exhibits: Resolution #_, Series of2007 A. Application. B. Aspen's 20th Century Architecture: Modernism- a paper written by the Community Development Department. 5 P10 A RESOLUTION OF THE ASPEN HISTORIC PRESERVATION COMMISSION (HPC) RECOMMENDING APPROVAL OF HISTORIC DESIGNATION FOR A PORTION OF THE BOOMERANG LODGE PROPERTY LOCATED AT 500 W. HOPKINS AVENUE, LOTS K-S, BLOCK 31, CITY AND TOWNSITE OF ASPEN, COLORADO. RESOLUTION NO. _, SERIES OF 2007 PARCEL ID: 2735-124-49-002 WHEREAS, the applicant, Aspen FSP-ABR, LLC, owner, represented by Michael Hoffman, Sunny Vann, and Reno- Smith LLC, has initiated Historic Designation review for a portion of the property located at 500 W. Hopkins Avenue, Lots K-S, Block 31, City and Townsite of Aspen, Colorado; and WHEREAS, Section 26.415.050 of the Aspen Municipal CQde establishes the process for Designation and states that an application for listing on the Aspen Inventory of Historic Landmark Sites and Structures shall be approved if City Council, after a recommendation from HPC, determines sufficient evidence exists that the property meets the criteria; and WHEREAS, Amy Guthrie, in her HPC staff report dated April 25, 2007, performed an analysis of the application based on the standards, found that the review standards had been met, and recommended approval; and WHEREAS, at their regular meeting on April 25, 2007, the Historic Preservation Commission considered the application, found the application was consistent with the review standards and recommended approval by a vote of _ to _' NOW, THEREFORE, BE IT RESOLVED: That HPC hereby recommends Council approve Historic Designation for a portion of the Boomerang Lodge property, 500 W. Hopkins Avenue, Lots K-S, Block 31, City and Townsite of Aspen, Colorado, as represented on "Exhibit A." APPROVED BY THE COMMISSION at its regular meeting on the 25th day of April, 2007. Approved as to Form: David Hoefer, Assistant City Attorney Approved as to content: HISTORIC PRESERVATION COMMISSION Jeffrey Halferty, Chair ATTEST: Kathy Strickland, Chief Deputy Clerk tIC l..: ,,+ 6- fe....,~ I ~""'" ~ ::::fIE!< :::EmS....-~... \~ . '\\ ..\\\ "\". \/ \', , ~~lU ;-~-;~;~ ;;~.~~~~;~~;~~~~ S W<B"-~"': ,1 S~te 80undary rllap 1}<' ""'" 2G~ P11 -', , \ ! ; ~ P12 ASPEN'S 20TH CENTURY ARCHITECTURE: MODERNISM The Modernist Movement Modernism as a style of architecture describes the works that were produced beginning in the 20th century as a result of a clear philosophical shift in design practices and attitudes, and incredible changes in building technology. The roots of this style can be attributed in great part to the Industrial Revolution, which led to dramatic social changes, and an inclination to react against all that had come before. In addition there was a new abundance of raw materials, including bricks, timber, and glass; and stronger materials, particularly metals, which allowed structural innovations. Initially, the modern technologies were employed in ways that reflected much of the preference for decoration and organic design that had preceded the 20th century, for instance in the Arts and Crafts Style of the 1920's and the influential designs of Frank Lloyd Wright. As the century progressed, however, the demands of the automobile, and the need for buildings to serve uses previously unknown, such as airports, led to the search for a new architectural vocabulary. The streamlined and austere became more relevant. "Functionalism" and "Rationalism" were terms used to describe architectural philosophies related to this period. "Modern building codes had replaced rules of thumb.'" "Architecture was seen primarily as volume and not mass. So the stress was on the continuous, unmodulated wall surface- long ribbon windows without frames, cut right into the wall plane, 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...A house was a machine made for living Le Corbusier provocatively declared in 1923 in his Towards a New Architecture, which has proved the most influential book on architecture in this (the 20th) century.,,2 Modernism in Aspen The period between the Silver Crash in 1893 and the end of World War II saw little new construction in Aspen. This changed when interest began to grow in developing a major ski resort, and when Walter Paepcke envisioned the town as the ideal setting for a community of intellect, cultural institutions, and pristine natural environment. As a result of this renaissance taking place, many Walter PaeDcke ] Robert Frankeberger, and James Garrison, "From Rustic Romanticism to Modernism, and Beyond: Architectural Resources in the National Parks," Forum Journal. The Journal of the National Trust for Historic Preservation Summer 2002, p. 16. 2 Spiro Kostof, A Historv of Architecture: Settings and Rituals, (New York:Oxford University Press, 1985), p.701. P13 important architects were drawn to live and work here and left an imprint of the philosophies of the modernist period on the town. The two masters who had the largest influence on Aspen, Fritz Benedict and Herbert Bayer, are discussed at length in this paper, along with a number of others who completed notable works here. FRITZ BENEDICT Frederic "Fritz" Benedict (b. 1914- Medford, Wisconsin, d. 1995- Aspen, Colorado) was the first trained architect to arrive in Aspen at the end of World War II. Benedict had earned a Bachelor's Degree and Master's Degree in Landscape Architecture at the University of Wisconsin before being invited to Frank Lloyd Wright's school, Taliesen, in Spring Green, Wisconsin in 1938. Initially, Benedict's role at Taliesen was as head gardener, but his interest in Wright's philosophy of the integration of architecture and landscape led him to study design at both Taliesen and Taliesen West in Phoenix, Arizona for the next three years. Fritz Benedict Benedict, an avid skier, first visited Aspen as a participant in the National Skiing Championships held here in 194 I, apparently told of the charms of the town by Frank Mechau, an artist whom he met at Taliesen and who resided in Redstone, Colorado. In 1942, Benedict was drafted to serve with the 10th Mountain Division troops, an elite group of skiers who trained at Camp Hale, north of Leadville, Colorado. On weekends, the soldiers would often travel to Aspen for recreational skiing. Benedict saw active duty in Italy and served with the 10th Mountain Division until the end of the war in 1945. He retumed to Aspen and purchased a ranch at the top of Red Mountain, focusing on operating the property as his livelihood for some time. According to Benedict, "The place (Aspen) was so dead and was starting to be a resort so slowly that there wasn't much to do in the way of design.,,3 This situation changed for good after 1946, when noted artist Herbert Bayer arrived in Aspen with Walter Paepcke, and the duo's plans for the town brought more people and a new period of construction. Through Herbert Bayer, Fritz met his future wife, Fabienne, the sister of Bayer's wife loella. Fabi persuaded Fritz to quit ranching and pursue architecture, which he did after being awarded a license under a grandfather clause that allowed architects to be licensed based on experience, rather than on testing. Benedict was known for setting buildings into the landscape in an unobtrusive and harmonious way, clearly derived from his landscape architecture education and the influence of Frank Lloyd Wright. He placed a high priority on creating an intimate relationship between a house and its garden. Benedict was a pioneer of passive solar and 3 Adele Dusenbury, "When the Architect Arrived After the War," The Asoen Times July 31, 1975, p. I-B. P14 earth shelter design. He experimented with car-free village design, sod roofed structures, and solar buildings. His master work, the Edmundson Waterfall house, which was strongly related to Frank Lloyd Wright's Fallingwater, exhibited many of these qualities and all of the central characteristics of Wrightian design, including a low pitched roof, strong horizontal emphasis of the structure, and the use of mitred windows at building comers. The most important of Benedict's works may best be defined by the examples that clearly represent Wrightian ideas, or where innovation was key. Waterfall House, on Castle Creek Road, Pitkin County, 1960 Benedict's earliest projects in Aspen were residences. In collaboration with his brother-in- law, Herbert Bayer, he also helped to design the buildings of the Aspen Institute, the intellectual center of Paepcke's facilities. Other known works by Benedict include the cabin at 835 W. Main Street (1947), the John P. Marquand studio on Lake Avenue (1950, since demolished), the Copper Kettle (1954, 845 Meadows Road), Bank of Aspen (1956, II9 S. Mill Street), 625 and 615 Gillespie Avenue (1957), the original Pitkin County Library (1960, 120 E. Main Street), the Aspen Alps (1963, 777 Ute Avenue- the first luxury condominiums in the Rocky Mountains), the Bidwell Building, (1965, 434 E. Cooper Avenue), Aspen Square (1969, 617 E. Cooper Avenue), The Gant (1972, 610 S. West End Street), the Benedict Building (1976,1280 Ute Avenue), the Aspen Club Townhouses (1976, Crystal Lake Road), and Pitkin County Bank (1978, 534 E. Hyman Avenue) In total, Benedict designed and renovated over 200 homes and buildings in Aspen and Snowmass.4 434 E. Cooper Avenue, 1965 835 W Main Street. 1947 4 Mary Eshbaugh Hayes. Dedication plaque on "The Benedict Suite," Little Nell Hotel, Aspen, Colorado. The Copper Kettle, 1954 P15 Benedict's works in Pitkin County, outside of Aspen's city limits, include two personal residences, the Waterfall house (1960, since demolished), the Aspen Music School campus, and the Aspen Highlands base lodge (since demolished). Benedict also did the master plan for Snowmass (1967), Vail (1962) and Breckenridge (1971.) Fritz Benedict was inducted into the College of Fellows of the American Institute of Architects in 1985, by election of his peers. This is a lifetime honor bestowed on registered architects who have made outstanding contributions to the profession, and only 5% of the profession receive this honor. The nomination submitted stated that "Frederic 'Fritz' Benedict left a legendary influence on design and construction in the Rocky Mountain West...(creating) classics of the mountain vemacular."s He was given the Greg Mace Award in 1987 for epitomizing the spirit of the Aspen community, was inducted into the Aspen Hall of Fame in I 988 and the Colorado Ski Hall of Fame in 1995, and was given the "Welton Anderson" award for his contribution to Aspen's built environment by the Aspen Historic Preservation Commission in 1993. In all cases Benedict was recognized for being a pioneer of Aspen's rebirth as a resort community. Many quotes from his memorial service in I 995 attest to the community's respect for his role in Aspen's history. Bob Maynard, former president of the Aspen Skiing Company 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.,,6 Similarly, the Aspen Times stated at his death, "Along with the late Walter and Elizabeth Paepcke and his Bauhaus trained brother-in-law Herbert Bayer, all of whom came to Aspen with a rare vision in the traumatic wake of World War II, Benedict was one of the fathers of modern Aspen, a man whose architecture not only helped shape the city aesthetic, but whose personal commitment to the original dream of a special 'Aspen Ideal' made him the guarantor of the city's very soul.,,7 Local resident and fellow student of Taliesen, Charles Paterson stated, "Whatever he was building was one jump ahead. ,,8 Aside from his architectural contributions, Benedict influenced the Aspen environment in several other ways. Benedict and his wife donated more than 250 acres of land within Pitkin County for open space. He was the father of the lOth Mountain Hut system (established in 1980), and served as the first chairman of Aspen's Planning and Zoning Commission, developing height and density controls for the City, open space preservation, a City parks system, a sign code, and a ban on billboards. He played a significant role in the founding of the Aspen Institute, and the International Design Conference. He served on the board ofthe Music Associates of Aspen for 35 years. 5 Joanne Ditmer, The Denver Post, as reprinted in the program for the Fritz Benedict Memorial Service. 6 Robert A. Maynard, Remarks given at Fritz Benedict's Memorial Service. 7 Mary Eshbaugh Hayes, "Fritz Benedict, 1914-1995: The Passing of a Local Legend," The Asoen Times July 15 and 16, 1995, cover page. . Charles Paterson, Remarks given at Fritz Benedict's Memorial Service. P16 HERBERT BAYER Herbert Bayer (b. 1900- Austria, d. 1985- Santa Barbara, California)" was an artist of many disciplines. He apprenticed with architects in his native country Austria, and in Germany, starting at the age of 18. In 1921 he entered the most reknowned art and design school of the 20th century, the Bauhaus in Weimar, Germany. The Bauhaus, which existed from 1919 to 1933, was begun in a spirit of social reform and represented a rejection of many design ideas that preceded it. "From skyscrapers to doorknobs, modern design was born, really, at the Bauhaus. The ideas of the Bauhaus shaped whole cities, changed architecture, modified the nature of furniture design and transformed the essential implements of daily life." 9 Bayer was named the head of the typography workshop at the Bauhaus in 1925 and was ultimately one of three masters named by director Walter Gropius, the other two masters being the gifted Josef Albers and Marcel Breuer. In 1928, Bayer left the school and established his own studio in Berlin, then becoming the art director for Vogue magazine. Herbert Bayer As Nazism gained strength in Germany, Bayer fled the country and immigrated to New York City in 1938. There, he had his first show with the Museum of Modern Art, and began to work as art director for corporations and ad agencies. By 1946, all of his work was for Walter Paepcke at the Container Corporation of America and Robert O. Anderson at the Atlantic Richfield Corporation, both of whom had an interest in Aspen and the establishment of the Aspen Institute. Walter Paepcke brought Herbert Bayer to Aspen in 1946 to serve as the design consultant for the Institute, a role in which he served until 1976. Bayer was offered the chance to design a planned environment, where the goal was total visual integration. The Sundeck. 1946 on the grounds), Aspen Meadows On April I, 1960, Bayer received a license to practice architecture in Colorado, without examination. He had no formal training in the discipline, so he generally worked in association with another firm, particularly with Fritz Benedict. The Sundeck on Aspen Mountain (1946, since demolished) was the first of his designs that was ever built. At the Institute, Bayer designed the Seminar Building and it's sgraffito mural (1952, the first building Guest Chalets (1954, since demolished and 9 Beth Dunlop, "Bauhaus' Influence Exceeds It's Life," The Denver Post April 20, 1986. P17 reconstructed), Central Building (1954), the Health Center (1955), Grass Mound (1955, which pre-dates the "earthwork" movement in landscape design by 10 years and was one of the first environmental sculptures in the country), the Marble Sculpture Garden (1955), Walter Paepcke Memorial Building (1962), the Institute for Theoretical Physics Building (1962, since demolished), Concert Tent (1964, removed in 2000), and Anderson Park (c. 1970.) Bayer also led the design for the rehabilitation of the Wheeler Opera House (1950-1960), designed two personal residences on Red Mountain (1950 and 1959), and other homes in Aspen, including those still in existence at 240 Lake Avenue (1957) and 311 North Street (1963). Aspen Institute Seminar Building, 1952 Aspen Meadows Health Center, 1955 The period during which most of Bayer's architecture was designed is confined to 1946-1965. Important characteristics of his buildings were simplicity and the use of basic geometrical shapes and pared down forms. He was heavily influenced by Bauhaus and The Marble Sculpture Garden, 1955 International Style principles. Color was an important component to some of his work, and he often used primary red, blue and yellow graphics. Bayer paint scheme Bayer believed in the concept of designing the total human environment and that art should be incorporated into all areas of life. He drew logos and posters for the Aspen Skiing Company, and even designed signs for small Aspen businesses. He provided the paint color schemes for certain Victorians that Paepcke's Aspen Company decided should be saved in the 1940's. A strong blue color, known locally as "Bayer Blue" was one of his selections and can still be seen on the former Elli's building (101 S. Mill) and other locations in town. His choice of a bright pink for Pioneer Park (442 W. Bleeker) and a bold paint scheme that once existed on the Hotel Jerome will also be remembered. P18 Bayer spent 28 years living in Aspen and was one of the first artists to make his home here. A Rocky Mountain News article from 1955 stated "Even in competition with millionaire tycoons, best-selling novelists, and top-ranking musicians, Herbert Bayer is Aspen's most world-famous resident."1O During his years in Aspen, he resided at times at 234 W. Francis, a Victorian home in the West End, in an apartment in a downtown commercial building, 501 E. Cooper Avenue, and in his home on Red Mountain. Bayer moved to Santa Barbara for health reasons in 1975 and died there ten years later, the last surviving Bauhaus master. Notable among Bayer's many achievements include his credits in typography. He designed the "universal" type font in 1925 and was credited with "liberating typography and design in advertising and creating the very look of advertising we take for granted today.,,11 Much of modern print design reflects his ideas. He was the inventor of photomontage. Bayer created the "World Geo-Graphic Atlas" in 1953, which was described as one of the most beautiful books ever printed in this country by the Atlantic Monthly and the greatest world atlas ever Poster. 1946 made in the United States by Publisher's Weekly. Bayer created the famed "Great Ideas of Western Man" advertisement series for the Container Corporation of America and had more than 50 one-man exhibitions of his artistic works. His paintings are represented in the collections of at least 40 museums. He spent six decades of his life working as a painter, photographer, typographer, architect, sculptor, designer of graphics, exhibitions, and landscapes. His last work was the 85 foot tall, yellow articulated wall sculpture at the Denver Design Center, which can be viewed from 1-25, near Broadway in Denver. Bayer founded the International Design Conference in Aspen in 1950 and was named a Trustee of the Aspen Institute for Humanistic Studies in 1953. He was the Chair of the City and County Zoning Committee for five years and was very concerned with the issues of sprawl. Bayer promoted increased density in town, put the original tree protection ordinance in place, and helped institute the ban on billboards. ARCIDTECTS OF NOTE Charles Paterson was born Karl Schanzer in Austria in 1929. His mother died in his youth, and his father fled Austria, taking Charles and his sister when Hitler invaded in 1938. They traveled first to Czechoslovakia and then to France. Once there it was decided that the only way to get the two children out of Europe entirely was to allow 10 Robert L. Perkin, "Aspen Reborn: Herbert Bayer Changing the Town's Face," The Rockv Mountain News September 27, 1955. II Joanne Ditmer, "Schlosser Gallery Host to Major Bayer Show/Sale," The Denver Post October 1, 1997, p. lOG. P19 them to be adopted by a family in Australia, whom Mr. Schanzer knew through business connections. Relocated to that country in 1940, the children took on the family's name; Paterson. Their father fought in the war and was eventually reunited with his children in New York City, after they immigrated. In New York City, Charles "Charlie" Paterson started engineering school, but he had an interest in skiing and was disappointed with the conditions in the area. He moved west in 1949, stopping in Denver. There, he worked for the Denver and Rio Grande Railroad and skied on weekends. On one ski trip, Paterson met someone who had been to Aspen, and decided to hitchhike there a week later. After finding a job as a bellhop at the Hotel Jerome, he decided to stay. Within a month of his arrival in Aspen, Charlie Paterson bought three lots on West Hopkins Avenue, shortly followed by another three that comprised a full half a block between Fifth and Sixth Streets. There he built a one-room cabin in 1949 out of leftover lumber. Paterson returned to New York from 1950- I 951 to continue his studies, lpen moved back to Aspen and began expanding the cabin. In 1952, he leased a Victorian house that had been operating under the name "Holiday House," and his father came to town to help out. This experience got Paterson interested in running his own lodge, and led to more construction on the Hopkins Avenue property. In 1956, he added three units and opened the Boomerang. Convinced by Fritz Benedict to study architecture, Paterson left again to spend three years at Taliesen East in Wisconsin, under Frank Lloyd Wright's instruction, during which time he drew some of the plans for the Boomerang Lodge as it is known today. The lodge's lounge, 12 more rooms, and a pool were added in 1960. The noted underwater window, which allows guests in the lounge to look into the pool, was featured in Life Magazine in the 1960's. In 1965 and 1970 other expansions took place on the property. Although Paterson has designed relatively few buildings, among them his own business, structures at the Christiania Lodge, and a residence in Basalt, the Boomerang is his master work, exhibiting strong influences of Wrightian architecture. Paterson designed, helped to build, and financed the structure, and is still its host and manager today. It has been described as '''...timeless, ageless" and "...almost futuristic.,,12 Boomerang Lodge Other contributions to local organizations made by Paterson include being a member of the 12 Scott Dial, "The Boomerang Lodge: The Lodge That Charlie Built, and Built, and Built," Destination Mae:azine. P20 Board of the Music Associates of Aspen for 20 years, Chairman of the Aspen Hall of Fame for 2 years and of the Aspen Board of Adjustment for 20 years and counting. He has also served on the Aspen Chamber Resort Association Board of Directors. Paterson worked for the Aspen Skiing Company as an instructor from 1952 to 1969. Eleanor "Ellie" Brickham graduated from the University of Colorado's School of Architecture. Construction was a family business, so Brickham's motivation to be a designer began as a child. She moved to Aspen in 195 I, attracted by the skiing, but once there, found herself the only female architect in town. Early in her career, Brickham worked in Fritz Benedict's office and collaborated on projects with both Benedict and Bayer, participating in the work going on at the Aspen Institute. During her time in that office, and later with her own firm, she designed a number of residences and commercial structures in town, including houses for several Music Festival artists in Aspen Grove, the Strandberg Residence (1973, 433 W. Bleeker Street), and the Patricia Moore Building (1969, 610 E. Hyman Avenue.) Within Pitkin County, Brickham designed numerous homes in Starwood, on Red Mountain, and in Pitkin Green. Her works total at least 50 buildings in the Aspen area. 433 W Bleeker Street, 1973 Brickham's designs have been characterized by spare, simple forms and detailing, and she has an interest in passive solar techniques. Still practicing today, Brickham' s projects focus on an "impeccable sense of proportion and feeling oflightness.,,13 Victor Lundy designed a second home for his family in Aspen, which they have occupied at 300 Lake Avenue since 1972. Like Benedict, Lundy is a Fellow in the American Institute of Architects. He received his degree in architecture from Harvard, studying with former Bauhaus director Walter Gropius and Bauhaus master Marcel Breuer and was later awarded two prestigious traveling scholarships by the Boston Society of Architects and Harvard University. 300 Lake Avenue. 1972 Lundy has been in practice, most recently in Texas, since 195 I and has designed many notable government, commercial, office, and educational buildings throughout the world. He has received a Federal Design Achievement award, the highest honor in design given by the National Endowment for the Arts. . 13 Bill Rollins, "Brickham: Simplicity, Lightness, and a Sense of Proportion," The Asoen Times. P21 Robin Molnv (b.l928- Cleveland, d. 1997- Aspen) apprenticed at Taliesen in the 1950's. In Aspen, he served on the Planning and Zoning Commission and was the designer of Aspen's downtown pedestrian malls. He also designed several notable commercial buildings, including the Hearthstone House (1967, 134 E. Hyman Avenue) and the 720 E. Hyman Avenue building (1976) along with area residences. Well known architect Harrv Weese also contributed a building to Aspen in the Given Institute (1973, 100 E. Francis Street). Weese, of Harry Weese and Associates, Chicago, was an internationally known architect responsible for a number of significant projects throughout the United States, including major historic preservation projects in the Chicago area, and the design of the Washington, D.C. subway system. A graduate of MIT, he studied with famed architect EJiel Saarinen at Cranbrook Academy in Michigan, and then joined 100 E. Francis Street. 1973 Skidmore, Owing, and Merrill for a short time. In 1947 he opened his own office. Weese was recruited by the Paepcke's, who donated the land where the Given is located, to design the building. Eligibility Considerations There are specific physical features that a property must possess in order for it to reflect the significance of the historic context. Aspen's examples of modernist buildings should exhibit the following distinctive characteristics if influenced by Wrightian design principles: . Low horizontal proportions, flat roofs or low pitched hip roofs. . Deep roof overhangs create broad shadow lines across the fal(ade. Glazing is usually concentrated in these areas. . Horizontal emphasis on the composition of the wall planes accentuates the floating effect ofthe roofform. . 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 which isolates 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. P22 . Structures are related to the environment through battered foundation walls, cantilevered floors and/or porches, clear areas of glazing which create visual connections to the outside and the inside, and the effect of the roof plane hovering over the ground. . Decoration comes out of 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 the majority of the structure; natural brick, dark stained wood, and white stucco. Accent colors are used minimally, and to accentuate the horizontal lines of the structure. Aspen's examples of modernist buildings should exhibit the following distinctive characteristics if influenced by Bauhaus or International Style design principles: . 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 element~. . Windows are treated as slots in the wall surface, either vertically or horizontally. Window divisions were made based on the expression ofthe overall idea ofthe building. . Detailing is reduced to composition of elements instead of decorative effects. No decorative elements are used. . Design is focused on rationality, reduction, and composition. It is meant to separate itselffrom style and sentimentality. . Materials are generally manufactured and standardized. The "hand" is removed from the visual outcome of construction. Surfaces are smooth with minimal or no detail at window jambs, grade, and at the roof edge. . Entry is generally marked by a void in the wall, a cantilever screen element, or other architectural clue that directs the person 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. Although modernism has likely changed the course of architecture forever, it is possible to set a date when the style in its purest form began to wane: around the mid 1960's nationally, and into the early 1970's in Aspen. At this point, there was a growing unease with some ways the Modern Movement had reshaped cities and resulted in "towers and slab blocks,,14 followed by a move away from the design principals that had guided the mid-century. The period of historic significance for buildings of this style in 14 Kostof, p, 743. P23 Aspen, a term used to define the time span during which the style gained architectural, historical, or geographical importance, is 1945 until approximately 1975. Aspen has been fortunate to have drawn the talents of the great minds in many professional fields since the end of World War II. The architects described above had made important contributions to Aspen's built environment that continue to influence its character today. While there are numerous towns in Colorado that have retained some of the character of their 19th century mining heritage, few or none are also emiched by such an excellent collection of modernist buildings as exist here. P24 Bibliography Chanzit, Gwen F. Gallerv/Paepcke December 2000. "Herbert Bayer and Aspen," Exhibition Notes, Adelson Building, Aspen Institute, Aspen, Colorado, December 1999- Cohen, Arthur Allen. Herbert Baver- Limited Edition: The Complete Works. MIT Press, 1984. 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." The Denver Post. October I, 1997. Dunlop, Beth. "Bauhaus' Influence Exceeds Its Life," The Denver Post April 20, 1986. Dusenbury, Adele. "When the Architect Arrived After the War," The Aspen Times July 3 1,1975. Frankeberger, Robert and James Garrison. "From Rustic Romanticism to Modernism, and Beyond: Architectural Resources in the National Parks," Forum Journal. The Journal of the National Trust for Historic Preservation Sununer 2002. "Fritz Benedict." Retrieved from http://www.vailsoft.com/museum/index.html. the Colorado Ski Museum and Ski Hall of Fame website. "Fritz Benedict Honored by Peer Group of Architects." The Aspen Times June 20, 1985. Fritz Benedict Memorial Service Program, July 25, 1995. "Harry (Mohr) Weese." Retrieved from www.artnet.com. Hayes, Mary Eshbaugh. "Bendict's House in the Hill," The Aspen Times March I I, 1982. Hayes, Mary Eshbaugh. Dedication plaque on "The Benedict Suite," Little Nell Hotel, Aspen, Colorado. Hayes, Mary Eshbaugh. "Fritz Benedict, 1914-1995, The Passing of a Local Legend," The Aspen Times July IS and 16, 1995. Kostof, Spiro. A Historv of Architecture: Settings and Rituals. New York: Oxford University Press, 1985. P25 Laverty, Rob. "50 Years of Benedict: A Forefather of Modern Aspen Looks At What Has Been Wrought," High Country Real Estate. Aspen Dailv News February 6- I 2, 1999. "Noted Designer Herbert Bayer Dies." The Aspen Times October 3, 1985. Perkin, Robert 1. "Aspen Reborn: Herbert Bayer Changing the Town's Face," Rockv Mountain News September 27, 1955. Rollins, Bill. "Brickham: Simplicity, Lightness, and a Sense of Proportion," The Aspen Times December 22, 1977. "Transitions: Robin Molny Changed Aspen- and Made His Friends Laugh," Aspen Times, January IO-Il, 1998. Urquhart, Janet. "Histo~ Richochets Through the Boomerang," The Aspen Times November 16th and 17t , 1996. P26 1:[;) P27 MEMORANDUM TO: Aspen Historic Preservation Commission THRU: Amy Guthrie, Historic Preservation Officer FROM: Sara Adams, Historic Preservation Planner RE: 308 E. Hopkins Avenue- Major Development Review (Final)- Public Hearing DATE: April 25, 2007 SUMMARY: The applicant proposes to demolish and replace a structure which was once listed on the historic inventory, but has been removed due to a loss of integrity. The property is located within the Commercial Core Historic District; therefore, HPC has purview over the redevelopment of the parcel. HPC granted approval for Major Development Conceptual, Commercial Design Standard Review, Demolition and Viewplane exemption for a 3 foot 3 inch intrusion int<l the Hotel Jerome Viewplane. The applicant requests Major Development Final approval from HPC. Staff finds that the Historic Preservation Design Guidelines are met, and recommends that HPC grant Final approval for the redevelopment of 308 East Hopkins A venue with conditions. APPLICANT: JW Venture LLC, represented by Sunny Vann and Charles Cunniffe Architects. PARCEL ID: 2737-073"29-007. ADDRESS: 308 E. Hopkins, Lots M and N, Block 80, City and Townsite of Aspen. ZONING: CC, Commercial Core. MAJOR DEVELOPMENT (FINAL) The procedure for a Major Development Review, at the Final level, is as follows. Staff reviews the submiUal materials and prepares a report that analyzes the project's conformance with the design guidelines and other applicable Land Use Code Sections. This report is transmiUed to the HPC with relevant information on the proposed project and a recommendation to continue, approve, disapprove or approve with conditions and the reasonS for the recommendation. The HPC will review the application, the staff analysis report and the evidence presented at the hearing to determine the project's conformance with the City of Aspen Historic Preservation Design Guidelines. The HPC may approve, disapprove, approve with conditions, or continue the application to obtain additional information necessary to make a decision to approve or deny. I P28 Major Development is a two-step process requiring approval by the HPC of a Conceptual Development Plan, and then a Final Development Plan. Approval of a Conceptual Development Plan shall be binding upon HPC in regards to the location and form of the envelope of the structure(s) and/or addition(s) as depicted in the Conceptual Plan application including its height, scale, massing and proportions. No changes will be made to this aspect of the proposed development by the HPC as part of their review of the Final Development Plan unless agreed to by the applicant. Desil!:n Guideline review Final review deals with details such as the landscape piau, lighting, fenestration, and selection of new materials. A list of the relevant design guidelines is attached as "Exhibit A." Only those which staff finds warrant discussion are included in the memo. Landscape plan: The proposed mixed use redevelopment in the Commercial Core Historic District, with zero foot setbacks, is not conducive to a permanent landscape plan. Staff recommends that the applicant use planter boxeslpots with seasonal plants to soften the ground level dining areas and create pedestrian interest. . Lighting: An extensive lighting plan and light fixtures are included in the application. Staff finds that the linear lighting proposed beneath all of the railings is inappropriate, and does not meet lighting requirements in the Land Use Code (Section 26.575.150(1)(5)). The proposed lighting fixtures are appropriate for the contemporary fayade and meet Guideline 14.7 below. Staff recommends that the applicant check with the Zoning Officer regarding compliance with the Lighting Ordinance. 14.7 Minimize the visual impacts of site and architectural lighting. o Unshielded, high intensity light sources and those which direct light upward will not be permitted. o Shield lighting associated with service areas, parking lots and parking structures. o Timers or activity switches may be required to prevent unnecessary sources of light by controlling the length of time that exterior lights are in use late at night. o Do not wash an entire building facade in light. o Avoid placing exposed light fixtures in highly visible locations, such as on the upper walls of buildings. o Avoid duplicating fixtures. For example, do not use two fixtures that light the same area. Fenestration: Staff finds that the proposed fenestration meets the Design Guidelines 11.9, 11.10, and 13. I 8 below through the use of traditional vertical windows on the second floor combined with contemporary glazing on the ground and third floors. 2 P29 11.9 Use building components that are similar in size and shape to those of the historic property. o These include windows, doors and porches. o Overall, details should be modest in character. 11.10 The imitation of older historic styles is discouraged. o This blurs the distinction between old and new buildings. o Highly complex and ornately detailed revival styles that were not a part of Aspen's history are especially discouraged on historic sites. 13.18 Maintain the repetition of similar shapes and details along the block. o Upper story windows should have a vertical emphasis. In general, they should be twice as tall as they are wide. o Headers and sills of windows on new buildings should maintain the traditional placement relative to cornices and belt courses. The fenestration proposed for the street level, restaurant space, is operable with a fixed transom window. Staff is in favor of the operable windows and finds that the proposal will positively contribute to the pedestrian experience. Materials: Brick is the primary building material proposed for the street elevation, which mirror the Mill Street Plaza building across Hopkins Avenue. A horizontal wood railing is proposed for the second floor balcony that accesses the free market unit, and sandstone coping and lintels are proposed for the upper floors. The applicant proposes brick with sandstone coping for the ground level enclosed restaurant space, and a simple metal railing in front of the outdoor dining space along Hopkins Avenue. Staff finds that the materials proposed are consistent with the Commercial Core and Guideline I I .8 below; however Staff recommends that the applicant replace the wood "false-front" railing on the second floor balcony with a different material that better relates to the contemporary project. Generally, new construction in a historic district should be simple and modest in character. Staff understands that the applicant is using horizontal wood to reference the historic resources; however it does not seem to work with the contemporary style of the building. 11.8 Use building materials that contribute to a traditional sense of human scale. . Materials that appear similar in scale and finish to those used historically on the site are encouraged. . Use of highly reflective materials is discouraged. Metal accents are proposed for the ground level including a steel header that spans the top of the first floor and metal clad entrance doors. Staff is concerned with the solid metal clad doors and small window, and recommends that the applicant restudy the style, particularly the ratio of solid to void, of this element. 3 P30 Glass block is proposed for the windows along the west elevation, adjacent to Elevation. Staff is concerned with the proposed material, and suggests that the applicant work with Staff and monitor to find a material that is more appropriate for the Commercial Core. The window openings on the west elevation are an appropriate proportion, but glass block is not appropriate in this instance, and conflicts with Guideline I 1.8 above, which recommends materials that are similar to those historically used on the site. DECISION MAKING OPTIONS: The HPC may: . approve the application, . approve the application with conditions, . disapprove the application, or . continue the application to a date certain to obtain additional information necessary to make a decision to approve or deny. RECOMMENDATION: Staff recommends that HPC approve the request for Major Development Final Review for the property located at 308 East Hopkins Avenue, Lots Nand 0, Block 80, City and Townsite of Aspen Colorado with the following conditions; I. The applicant will restudy the material and style of the second floor balcony/railing on the South Elevation, for review and approval by Staff and monitor. 2. The applicant will restudy the material and style of the proposed doors, for review by Staff and monitor. 3. The applicant will restudy the glass block proposed for the west elevation, for review by Staff and monitor. 4. The linear downlights proposed beneath the railings are not approved. 5. Information on all venting locations and meter locations not described in the approved drawings shall be provided for review and approval by staff and monitor when the information is available. 6. There shall be no deviations from the exterior elevations as approved without fust being reviewed and approved by HPC staff and monitor, or the full board. 7. The development approvals granted herein shall constitute a site-specific development plan vested for a period of three (3) years from the date of issuance of a development order. However, any failure to abide by any of the terms and conditions attendant to this approval shall result in the forfeiture of said vested property rights. Unless otherwise exempted or extended, failure to properly record all plats and agreements required to be recorded, as specified herein, within 180 days of the effective date of the development order shall also result in the forfeiture of said vested property rights and shall render the development order void within the meaning of Section 26.104.050 (Void permits). Zoning that is not part of the approved site-specific development plan shall not result in the creation of a vested property right. 4 P31 No later than fourteen (14) days following final approval of all requisite reviews necessary to obtain a development order as set forth in this Ordinance, the City Clerk shall cause to be published in a newspaper of general circulation within the jurisdictional boundaries of the City of Aspen, a notice advising the general public of the approval of a site specific development plan and creation of a vested property right pursuant to this Title. Such notice shall be substantially in the following form: Notice is hereby given to the general public of the approval of a site specific development plan, and the creation of a vested property right, valid for a period of three (3) years, pursuant to the Land Use Code of the City of Aspen and Title 24, Article 68, Colorado Revised Statutes, pertaining to the following described property: 308 East Hopkins Avenue. Nothing in this approval shall exempt the development order from subsequent reviews and approvals required by this approval of the general rules, regulations and ordinances or the City of Aspen provided that such reviews and approvals are not inconsistent with this approval. The approval granted hereby shall be subject to all rights of referendum and judicial review; the period of time permitted by law for the exercise of such rights shall not begin to run until the date of publication ofthe notice of final development approval as required under Section 26.304.070(A). The rights of referendum shall be limited as set forth in the Colorado Constitution and the Aspen Home Rule Charter. Resolution # of 2007. Exhibits: A. Relevant HPC Design Guidelines B. Application "Exhibit A: Relevant Design Guidelines for 308 E. Hopkins Avenue, Final Review" 11.9 Use building components that are similar in size and shape to those of the historic property. .0 These include windows, doors and porches. o Overall, details should be modest in character. 11.8 Use building materials that contribute to a traditional sense of human scale. . Materials that appear similar in scale and finish to those used historically on the site are encouraged. . Use of highly reflective materials is discouraged. 11.10 The imitation of older historic styles is discouraged. o This blurs the distinction between old and new buildings. o Highly complex and ornately detailed revival styles that were not a part of Aspen's history are especially discouraged on historic sites. 5 P32 13.18 Maintain the repetition of similar shapes and details along the block. o Upper story windows should have a vertical emphasis. In general, they should be twice as tall as they are wide. o Headers and sills of windows on new buildings should maintain the traditional placement relative to cornices and belt courses. 13.19 Maintain the pattern created by recessed entry ways that are repeated along a block. o Set the door back from the front facade approximately 4 feet. This is' an adequate amount to establish a distinct threshold for pedestrians. o Where entries are recessed, the building line at the sidewalk edge should be maintained by the upper fIoor(s). o Use transoms over doorways to maintain the full vertical height of the storefront. 13.20 The general aligrunent of horizontal features on building fronts should be maintained. o Typical elements that align include window moldings, tops of display windows, cornices, copings and parapets at the tops of buildings. o When large buildings are designed to appear as several buildings, there should be some slight variation in alignments between the facade elements. 14.3 Keep color schemes simple. DUsing one base color for the building is preferred. o Using only one or two accent colors is also encouraged, except where precedent exists for using more than two colors with some architectural styles. 14.4 Coordinating the entire building in one color scheme is usually more successful than working with a variety of palettes. o Using the color scheme to establish a sense of overall composition for the building is strongly encouraged. 14.5 Develop a color scheme for the entire building front that coordinates all the facade elements. o Choose a base color that will link the entire building face together. For a commercial building, it can tie signs, ornamentation, awnings and entrances together. On residences, it can function similarly. It can also help your building relate better to others in the district. o The complexity of the accent colors should be appropriate to the architectural style of the building. o Doors may be painted a bright accent color, or they may be left a natural wood finish. Historically, many of the doors would have simply had a stain applied. o Window sashes are also an excellent opportunity for accent color. o Brilliant luminescent or "day-glo" colors are not appropriate. 14.6 Exterior lights should be simple in character and similar in color and intensity to that used traditionally. o The design of a fixture should be simple in form and detail. Exterior lighting must be approved by the HPC. o All exterior light sources should have a low level of luminescence. 14.7 Minimize the visual impacts of site and architectural lighting. o Unshielded, high intensity light sources and those which direct light upward will not be permitted. o Shield lighting associated with service areas, parking lots and parking structures. o Timers or activity switches may be required to prevent unnecessary sources of light by controlling the length of time that exterior lights are in use late at night. 6 P33 D Do not wash an entire building facade in light. D Avoid placing exposed light fixtures in highly visible locations, such as on the upper walls of buildings. D Avoid duplicating fixtures. For example, do not use two fixtures that light the same area. 14.8 Minimize the visual impact of light spill from a building. D Prevent glare onto adjacent properties by using shielded and focused light sources that direct light onto the ground. The use of downlights, with the bulb fully enclosed within the shade, or step lights which direct light only on to walkways, is strongly encouraged. D Lighting shall be carefully located so as not to shine into residential living space, on or off the property or into public rights-of-way. 14.14 Minimize the visual impacts of service areas as seen from the street. D When it is feasible, screen service areas from view, especially those associated with commercial and multifamily developments. D This includes locations for trash containers and loading docks. D Service areas should be accessed off of the alley, if one exists. 14.15 Minimize the visual impacts of mechanical equipment as seen from the public way. D Mechanical equipment may only be installed on an alley facade, and only if it does not create a negative visual impact. D Mechanical equipment or vents on a roof must be grouped together to minimize their visual impact. Where rooftop units are visible, provide screening with materials that are compatible with those of the building itself. D Screen ground-mounted units with fences, stone walls or hedges. D A window air conditioning unit may only be installed on an alley facade, and only if it does not create a negative visual impact. D Use low-profile mechanical units on rooftops so they will not be visible from the street or alley. Also minimize the visual impacts of utility connections and service boxes. Use smaller satellite dishes and mount them low to the ground and away from front yards, significant building facades or highly visible roof planes. D Paint telecommunications and mechanical equipment in muted colors that will minimize their appearance by blending with their backgrounds. 14.16 Locate standpipes, meters and other service equipment such that they will not damage historic facade materials. D Cutting channels into historic facade materials damages the historic building fabric and is inappropriate. Do not locate equipment on the front facade. D lf a channel must be cut, either locate it on a secondary facade, or place it low on the wall. 7 P34 . P35 RESOLUTION OF THE ASPEN HISTORIC PRESERVATION COMMISSION (HPC) APPROVING AN APPLICATION FOR MAJOR DEVELOPMENT (FINAL) FOR THE PROPERTY LOCATED AT 308 EAST HOPKINS AVENUE, LOTS M, AND N, BLOCK 80, CITY AND TOWNSITE OF ASPEN, COLORADO. RESOLUTION NO. _, SERIES OF 2007 PARCEL ID: 2737-073-29-007. WHEREAS, the applicant, JW Venture LLC, represented by Sunny Vann and Charles Cunniffe Architects has requested Major Development (Conceptual), Demolition, and Commercial Design Review for the property located at 308 E. Hopkins Avenue, Lots M and N, Block 80, City and Townsite of Aspen, Colorado; and WHEREAS, Section 26.415.070 of the Municipal Code states that "no building or structure shall be erected, constructed, enlarged, altered, repaired, relocated or improved involving a designated historic property or district until plans or sufficient information have been submitted to the Community Development Director and approved in accordance with the procedures established for their review;" and WHEREAS, for Final Major Development Review, the HPC must review the application, a staff analysis report and the evidence presented at a hearing to determine the project's conformance with the City of Aspen Historic Preservation Design Guidelines per Section 26.415.070.D.4.of the Municipal Code and other applicable Code Sections. The HPC may approve, disapprove, approve with conditions or continue the application to obtain additional information necessary to make a decision to approve or deny; and WHEREAS, Sara Adams, in her staff report dated April 25, 2007, performed an analysis of the application based on the standards, found that the review standards and the "City of Aspen Historic Preservation Design Guidelines have been met, and recommended approval; and WHEREAS, at their regular meeting on April 25, 2007, the Historic Preservation Commission considered the application, found the application was consistent with the review standards and "City of Aspen Historic Preservation Design Guidelines" and approved the application by a vote of to NOW, THEREFORE, BE IT RESOLVED: That HPC hereby recommends approval for Major Development (Final) for the property located at 308 East Hopkins Avenue, Lot M & N, Block 80, City and Townsite of Aspen, Colorado, as proposed with the following conditions; I. The applicant will restudy the material and style of the second floor balconylrailing on the South Elevation, for review and approval by Staff and monitor. 2. The applicant will restudy the material and style of the proposed doors, for review by Staff and monitor. P36 3. The applicant will restudy the glass block proposed for the west elevation, for review by Staff and monitor. 4. The linear downlights proposed beneath the railings are not approved. 5. Information on all venting locations and meter locations not described in the approved drawings shall be provided for review and approval by staff and monitor when the information is available. 6. There shall be no deviations from the exterior elevations as approved without first being reviewed and approved by HPC staff and monitor, or the full board. 7. The development approvals granted herein shall constitute a site-specific development plan vested for a period of three (3) years from the date of issuance of a development order. However, any failure to abide by any of the terms and conditions attendant to this approval shall result in the forfeiture of said vested property rights. Unless otherwise exempted or extended, failure to properly record all plats and agreements required to be recorded, as specified herein, within 180 days of the effective date of the development order shall also result in the forfeiture of said vested property rights and shall render the development order void within the meaning of Section 26.104.050 (Void permits). Zoning that is not part of the approved site-specific development plan shall not result in the creation of a vested property right. No later than fourteen (14) days following final approval of all requisite reviews necessary to obtain a development order as set forth in this Ordinance, the City Clerk shall cause to be published in a newspaper of general circulation within the jurisdictional boundaries of the City of Aspen, a notice advising the general public of the approval of a site specific development plan and creation of a vested property right pursuant to this Title. Such notice shall be substantially in the following form: Notice is hereby given to the general public of the approval of a site specific development plan, and the creation of a vested property right, valid for a period of three (3) years, pursuant to the Land Use Code of the City of Aspen and Title 24, Article 68, Colorado Revised Statutes, pertaining to the following described property: 308 East Hopkins Avenue. Nothing in this approval shall exempt the development order from subsequent reviews and approvals required by this approval of the general rules, regulations and ordinances or the City of Aspen provided that such reviews and approvals are not inconsistent with this approval. The approval granted hereby shall be subject to all rights of referendum and judicial review; the period of time permitted by law for the exercise of such rights shall not begin to run until the date of publication of the notice of final development approval as required under Section 26.304.070(A). The rights of referendum shall be limited as set forth in the Colorado Constitution and the Aspen Home Rule Charter. [signatures on following page) P37 APPROVED BY THE COMMISSION at its regular meeting on the 25th day of April 2007. Approved as to Form: Jim True, City Attorney Approved as to content: HISTORIC PRESERVATION COMMISSION Jeffrey Halferty, Chair ATTEST: Kathy Strickland, Chief Deputy Clerk P38