The URL can be used to link to this page

Home My WebLink AboutLand Use Case.HP.203 S Galena St.HP 47Zog. 5. 61*L~epux- 54- (132'. lip-81.5.--89. HP47 203 S. GALENA ST., BRAND - BLDG., HISTORIC DESIGNATION 86>KNP-60 P 7 - I 11]STORIC PRESERVATION COM'11 TTEE REVIEW APPLICATION Agv~-c21-=00-Cl~A.,tcs-~~,~,n=-r~-I-* 7 Â©DI<ESS - - OF JOB .203Â·S.,Galona Brand Building LEGAL DESCRIPTICTV LOT NO. BLOCK NO. ADDITION CLASS''OF WORK: NEW~ ADDITION~ ALTERATION~ REPAIR~ MOVE ~ . WRECK ~ OWNER :Â· Harley Baldwin tÂ·JAME ADDRESS PHONE . 9 . MI'AIZerÂ»12'I.ILIT-'312'GZy(NIA--44/IIynnEUIt*u-.04-/IR'df3,Mt/ac-34-22~tt,daa,-,6~n~5~11 araaeÂ«12rQ:,ia~29/31=,8,1.0.24/1//Ireig RAbl -30Â¥GCIA-=mc~ PRE-APF'LI CATION REVIEW i - E] WORK WILL AFFECT NO Cl-IANGE TO THE EXTERIOR APPEARANCE APPROVED: BLIDG.INSP. DATE f151 2 - I *.>. I 1'10RK WILL RESULT IN CHANGE TO THE EXTERIOR APPEARANCE i D - 16 -76 (1Â»V\ â€¢,rn!1 VIA,-1 ue .U,-:IA.'KI '&369.6.4 ,4, $2.- Lia rÂ¥247,75.*MI. - r~UZZC*96;2â‚¬E -IYM~'w ic-2-3= *-Â¥A:-a.,12,19.2 4' 202SKS!;5*SE.- te,fUr--m.,1Iri - 17&7=MI31Niop- u~uo etl:wp=n~ . CONDITIONS OF APPROVAL A . Ut-,3- S pu, 6-ul/,U,44. c~- t/*~56 1202] E 4 3 93.4- u KUL \Â»24--etc-i - ~ 41 6 -#Â«g f d. ==~25%51;â€¢SI,~;Iâ€¢'2.Um,W=2*Rur*,d,~46:J=eF:;Eâ€¢70*T-=W:G726251:~~0*rl~LS~,PaCYmAâ‚¬,SEUA,520,:22227U,532*JGMIr F;ze,~~:~Z52[1~~Zi~2m#:2,175 m:CC:k2nsyCE~62:~~xs~23~2Â¤mgpp PRE-APPLICATION APPROVED WITH Â· 1 r.5-, 2 1-G- . ABOVE CONDITIONS IF ANY . ~ CHAIRMAN H.P.C. DATE 11-4-7 57~ 24222Â£2~a'Â·27:)kneiâ‚¬37Â¥t,11.UUI,iÂ¢3-25.3,5IGruf~24=5Mt--:,0039,3,1.08EUC==Zi= matnelÂ·?SteMEme.25*94 23~:lieS.QKE.:e- :%13EBX-Z-49;2*135;LÂ©ElZ~,S~Z.Mr;4131EESD /&26@KNE~2KjIB,StÂ£MNQUJOKEQZ APPLICATION REVIEW PUBLICATION ~ PUBLIC HO\RING h Â·=22...7.tne:z.TE, tirDZon==321Â·pE=*ZMallb,t,01.30(21-a.=21Â·rix; SCD-:i=63.Munxe.z.Emrge=1Â·ayik.-au*380 47,an,Â».48=0~21EÂ«13~er..Mre~.,..Ikivi=m~.ar.di=hak:BEZ]kD,nFLietij i APPLICATION APPROVED WITH 1 ABOVE CONDITIONS IF ANY ~ CHAI RMAN H.P.C. DATE LU,-*~f.11.2kZN.EM/.Ze.23'RelÂ· r,1%.rT=:m.U:=6:U~CxlarMEQU~Ctay:~*902MM&9Jjkel0Mt9GU --â€¢y;01: AJet=74~=OI,~US-:ZlU[r,~L-e~X~0~SD,â€¢4~22~2.441,12,â‚¬n'2<m.~~~~99:1~xzzn~i. APPLICATION DISAPPROVED ~ CHURMAN H.P.C. DATE REASONS FOR D I SAPPROW\L. C11-Y COLINC I L N01 11- 1 CAT 1011 OF D 1 SAPPROVAL DATE '. .:' I. -~ I '' ' . ii flh,1 ..: 11.['. C . 1:'Â·iÂ·.!;. C 1 [1 4 ..!) S I ./t,~'7 IN Â© l.hl'... ('71' (19Â·,Ul IM, 1 14'7 - THEBRAND * 1 Lt, \ AUG 19 1991 ARCHITECTURAL DIGEST ASPEN TIMES TIMES DAILY ASPEN DAILY NEWS EDITOR There is a fabulous story in September's Architectural Digest about the Brand Building and the Caribou Club. Unfortunately, some important elements were not put in the story. Welton Anderson was the architect on the Brand for the apartments and the store fronts as well. Rod Dyer & Associates were the overall architects on the Collins Block and Caribou Club. Graber Construction did the Brandi Rod Poland and Newstrom- Davis were the builders on the Collins Block and the Caribou Club. They all did great work and were a pleasure to deal with. Also both projects were on the National Register of Historic places and had the support and guidance of Roxanne Elfin, and the Aspen Historic Preservation Commission. Restoring old buildings is never easy but it is a very rewarding experience. It's nice to have recognition but there were many people on the team. I thank them all. Harley Baldwin cc: Rod Dyer Welton Anderson Jesse Graber ~ Rod Poland Roxanne Elfin 205 S. GALENA ASPEN, COLORADO 81611 303.920.1800 FAX 303.9203602 . I ARCHITECTURAL DIGEST THE INTERNATIONAL MAGAZINEOF FINEINTERIOR DESIGN SEPTEMBER 1991 $5.00 f ../. A 4. e 44 47:2 I .*~-4,- ..1 $ i '1 4 f 41.141â€¢ b ' 1 0 t. u ;Buff. . - . W..4,2.. 4=. 261162Â¢... * riÂ· Â£ 4 t--wÂ·'0' 155*1= .. 1,6,1 41,.1,9 4,4-Il Â· '22:12-. Â· - t.. ic-' Â£#:= Â£ Aspen's Brand Hotel The Pictorian 9111 and >(earby Caribou Club - BRAND HOTEL INTERIOR DESIGN BY PETER HANS KUNZ CARIBOU CLUB ARCHITECTURE BY WAYNE POULSEN TEXT BY GAEL GREENE PHOTOGRAPHY BY MARY E. NICHOLS It seemed to Harley Baldwin that what downtown Aspen lacked was grand visitors' lodgings: stylish, homey luxury. ABOVE LEFT: "The Brand Building is an old Colorado sandstone fortress that is imbued with all of Aspen's history," says Harley Baldwin of the downtown structure he renovated and turned into a hotel with the aid of designer Peter Hans Kunz. Built in 1891 as a bank, which once stored the largest piece of silver ever mined, the building houses com- mercial space on the ground floor, with the hotel suites above. Aspen and Shadow mountains rise in the background. 132 449#.4. â€¢ Â·'Valt64'4 " 4 rÂ·~ cuX'Â·r 4 ' ~- 4-111-1.1'Elf,t T . . 14:63'I.' r ' . lilli . F r.-3:N'95Â·, 4 1 :.3110.9. 3 . .- V â€¢-Â·c - Â·*7 . -9/ -w . -,: F- Â·.-05 :-0-Â·iN.I .2- , 7 ..12.7 ; :11â‚¬.ft 110 It* ....................... 1 4.1 7 >41'*p :11. .ti- 0 -' ' 1- e : I 4642 eC Â· 4 f , Â¥0 >9.ry...47 - 7 -' /Â·./S~,. 1 4#,rk tf ~ Â·- I. . I Z\* - - #/141 2., f 7, ,$30'f oul,Ul'Â· , - I.- "All the suites are named after silver mines," says Peter Kunz. ABOVE: The Park Regent has southwestern accents such as 1888 geologic maps of the Aspen mining district and Mexican earthenware. A Portuguese shutter is mounted above the 19th-century American mantel in the living room. Drapery and upholstery fabrics, Brunschwig & Fils. DEVELOPER HARLEY BALDWIN staked his a bank that had stored the largest sil- ica-The Brand had its hippie days claim on Aspen in the 1960s by leas- ver nugget ever found. For a time it with leather shops, a bodega, an ice- ing a popcorn wagon and selling provided studios for Lichtenstein, cream parlor and tie-dye. By the crepes. He moved on to real estate Warhol and Christo. Then it became a 19809, though, jeweled minaudi@res and mining claims. But he wanted garage and body shop. Baldwin per- and eight-hundred-dollar pullovers The Brand Building, the peachblow suaded industrialist Robert O. Ander- in the retail space reflected the town's sandstone Victorian fortress that was son to sell him The Brand on time. growing devotion to mammon. once home to a mining company and Like Baldwin, like Aspen-like Amer- It seemed to Baldwin that what 133 . 19'*1111-1 .1: 1 ~ t~ Â· .6':f ' '~Â·37:17.1,11 ...1. 1 ,</ .. I I 1 , I. 1 - f . :%Â· Â·Â·52 8 4 , Â«4 Â¥ t.ke 7 1- , . 1 â€¢1~ ~ + :.I- , 4 & - ..2.-US 2 1 59; 1.1: 41 4/,/ ' ji - 1-7, CB downtown Aspen lacked was grand "I wanted each of the suites to feel fresh and ~ visitors' lodgings: stylish, homey lux- to capture the wonderful Colorado sunlight," the designer says. ABOVE: In the Silver C. ury. And that's how a warren of bou- Queen, the largest of the Brand suites, an Au- : tiques and cubbyholes became The dubon print hangs near the bed. Pillows cov- Brand, with six suites, each different, ered in 19th-century paisley shawls adorn the , 6 : bed. The Turkish kilim-upholstered chair , MI "designed to feel like home if home and the antler bench are from Crystal Farm. happens to be Bel-Air or Sutton Place." To climb the stairway from Galena Street is to step into the past. There is .. 4 a gas fire, a mantel ribboned in gar- lands of pine, the perfume of mulled "The scale of each space determined its char- acter," Kunz says. "The smaller suites seemed cider, a rolltop desk (beside the fax) ' to call for pretty wallcoverings and chintzes." i old mining maps everywhere, a pine BELOW: The living room of the Cascade fea- hutch with breakfast china and jars tures 19th-century Scandinavian furniture. A circa 1891 Harper's Weekly illustration hangs of homemade preserves for breakfast above the desk; over the sofa is John F. Her- in bed. "We wanted the entrance to ring's Glimpse of an English Homestead, drca be a fantasy of what it would have 1859. Drapery and table skirt fabric, Brun- schwig & Fils; Cowtan & Tout wallcovering. looked like in Victorian times," says designer Peter Hans Kunz. The Park : Regent (suites are all named after sil- ,, 84**Â·.... Â·.--,-- i.--~;Z..VCA*f , 44. ver mines) is a Santa Fe ranch house. 15<0 D ',0, Twig stands and blue-and-white chintz > --â„¢ 94â‚¬,1 9 , 7- make The Cascade seem even more 13,1 ' [4' 1 - I - -r Â·, intimate, precious though small. The 02'.1 1, j~, vast sweep of the duplex, Silver im*, 1 ?1~11 4 3,0>.V ' ~ jm Queen, leading onto the rooftop deck -lay' %/44 + 4 ... 1 h ...... demands giant paintings, potted .....le.).71114 iÂ¢424 â‚¬41.1...A i 1,1 .- I. - ./ *- 19'47 . 4Â· 1 ~ 3 trees, tall wooden statues and club .1-I.'-+~-41< , 1 -44 *+ 49 j!'-05.v-1,m P i Â·,7.Â·v-ga II- chairs with bulging arms. - 1 1: K Â£/m=, - Creating six "small houses," as u i Kunz calls them, out of 18,000 square "946 04 . 1. I- '.1 feet with a tangle of eccentricities that - . 1/*pK3 '31;jyi / 7 couldn't be ignored-exposed metal ,- --67 .,. I *. trusses and other Victorian attach- - -1 1-2--4 Â·'443:242 ba + *rl -1 1 1 1 134 <UN.* 9 Â·%...6 .,1, , Â·. 71 -A,)3::Â·>4*64-- - I.Â·i ni,i' -iÂ·,trsâ‚¬*.'~.-:-~: 1 -96 --1.-Â·14Â·493'..I r / ~44 J----* + i A.:**,-*_'~40* Luss T 'rT ' - 7T7*Â·ae:@2/.*.n<.. i 1 -- , 1 \ 6-1 - i. I :#I Z. in-â€¢~rl El m. 0._2, ' -Z#.' fl ' 2 t 14'h: ... 74042 - #- , .//F<2 1 .* 1 l:i j 94>Â¥. - . '. 1 ,-Â·iÂ·',MMPA-i:, , , /.2*.. . Â·Â·,~4Â·''ta 7 Â· I ' : 1.. .-.1~ Â· Â· 2.Li-~~ 8 1 --1-*../f :14. 2Â· ~~ -''' 24- ' Â· 3-*44Â·~ â€¢*r - 1 $ i , ' h r --a_ i~i r , - -,1,64*4*{234 - F. ilillimillillim~lill:.6/ ...3- -~ . r . 1 9. /.13- m ././.lidaftp-- 1.iÂ·. f - .~al.W:/......... :: 'F.. -46., 2-~1377 i 12*â‚¬94Z~~~Q , 1.1.9..A/gh.. 1. A. 4. -Â· ro ..4 . ' ./ '%3&EMB:k:cal . - - *0,â‚¬12,5.428/. r 4..te*e~*., 2-*42 -ke k I -* ; ments-was a challenge. Kunz, whose "The trusses, part of the original architecture, gave us the opportunity for theatrical design," says background embraced restoration, had Baldwin. ABOVE: A 19th-century American rocking horse stands in the Silver Echo's living room, complemented by a 19th-century Portuguese threshing machine and pre-Columbian vases. done Baldwin's Dakota apartment in Manhattan and found the two of them had the same kind of whimsical, eclec- plains. Baldwin talked about fantasy, garitas and shop, shipping crates of tic taste that would comfortably mix comfort and easy luxury. primitive pots, drums, terra-cotta English nineteenth-century paint- The two of them shopped every- lamps and santos back to Aspen. I ings, Scandinavian pine, Mexican ar- where, "buying whatever delighted The thrill of the hunt prompted I tifacts and native American blankets us, deciding later where it would go": many more shopping sprees four ~ with abstract color splashes of canvas. Portuguese jailhouse windows, a years later when Baldwin bought out They sat down with yellow tracing rough tin-toothed thresher, an Amer- the town's failing hardware store paper and laid out the floor plan. "The ican rocking horse, replicas of Egyp- around the corner. He planned to proportions of each space dictated the tian reliefs from the Metropolitan gild what is called the Collins Block style-English country, southwestern, Museum shop. Racing down to No- with a mews to rival the rue du Fau- SoHo loft contemporary," Kunz ex- gales, Mexico, they would drink mar- bourg Saint-Honor@, with lodgings 0 135 la The Brand) above. But what below? "We had to glue the dirt underneath sen. "I kept thinking that I was going What could go into this dank, dark the foundation to keep this Neoclassi- to hire a decorator, but I was having crawl space? A club, of course. The cal grande dame from collapsing," too much fun to surrender the job," , Caribou Club. A private hangout for says Baldwin. Inch by inch the sup- Baldwin recalls. orphans of Castel in Paris and Anna- ports were extended downward to In London he hit auction houses, bel's in London, a place to wear your hold up the floor as a cellar was antiques shops, even church bazaars, new Ungaro, to eavesdrop on Goldie carved out of the earth. The feel of the shipping back two containers of in- i Hawn and Sally Field at play. place architecturally-the nineteenth- stant English heritage. He imagined ! San Francisco architect Wayne Poul- century moldings, the paneling and the Caribou as a club founded by sen was recruited to draw the plans. the fixtures-was created by Poul- continited on page 155 0 00 0 41" h .. t 1% 3/1, .fÂ· ' ' ; 4, 2 - F 1 -0 -- 2-9 :I / .t '.2 -.I- I, I 139* .8 9 + y.â‚¬44 . f . i 1 :Iic, I b k f 4~k#f.4 0. 4 --- 7. VEÂ©*khz.r . - ?Ae:1"6:pqstall. 0,04*f.~,4,91: . The skillful mix of English tradition, Victoriana and western artifacts seems a perfect setting for the nightlife Aspen favors. In the basement of the Collins Building down the block, Baldwin's "It's like visiting someone's home in the ideal sense, and the materials private Caribou Club offers "an English club ambiance for after skiing we used are important to its relaxed atmosphere," says Poulsen. or after business," according to its architect, Wayne Poulsen. BELOW BELOW: Blankets and suede-covered chairs characterize the Caribou LEFT: A contemporary landscape hangs in the entrance hall. Atop the Club bar. Photographs were donated by club members such as Martina Eastlake-style octagonal table is a horn candlestick from Crystal Farm. Navratilova, Danny Sullivan, and Frank Perry and Barbara Goldsmith. 4 : 1 - 3 . 1 r Ii'Im"191 ' 1. r I / 1,/ . 6 1.4 . 1 0.Â»f Â·44* 2- r 11 7 '3 . 9 , Ar.0 120 ~ ~ 1-Zi~)NE I /. I . 1 .t i R51 U. 1 16'.R Icl a 5 2111 1,4 0. .. 1 16 111 1-1 2 - KA g MN.' .4.1 1 3 0%17 c %1 g .IN.9 . 2 - 4 1.#Ker/' , - j 137 6 1 4,1 9/ / . .1 I , ..0 117 .flu'lv#. . 4 21:4 i' 4 '4 4 1 i ...\, .... . 625-: I . ..- ;_c~Â» Â·Â· . 30 Â·12-' ,Â· 1 4 46, 39 i . . 4-2.- ' 4.1* 340 ..4- .- 12 bj : , r. 11 .. Â¥ 11 w ,,-- .' . 4 *A D J /1 u ' ill d 4 4 r .: Ipf .4, â€¢ 1 . Â· ' ' u. 44 . , ...,1~ . 9 : 'i Â·I . '. 4:232&%2 -6...1.% Â· 1 t. 1 4~-9. . ..) 7.11 ... A S .J.44 Â·t . titi>...< "6: 4~ --I.I .Â·Â·. -Â«Sh ' 06 ..V 2 1 .ill e - - -':.4 ...Ii'll- 3.1 iâ‚¬Er,64. i Â· 0 / , li -lf P a. Â¥ -. i /,1.) - 0494 , \Ch 1,7 4.ill, 1. \ ... C liz--1 t.,6- } i t.> 31 1, 722>N .m.... ~ 1'.i ... 1 g ..9 M ..4.:6 Â· i ,1 / 4 4- R'el .~,-Â·Â·. ,..,Â·2..:,â‚¬4>Jf@'2~2.fL,27*t. ' \~ 74' f': , |62 1-- i.4,~4141Â»4:, CK.Â¢tfur?.0 1 41.f!*Â·~7:~PI-.--263 1 1.. .....Mxvillillill . b .0 , 1 -r 71--3 ill*~'p f .0.4 0- IN Â· j . EÂ·.4- '1 - . - i,. i 4 144 B t' 1 f ...92?v ..4?4 42; 1.~ k. 2,. h.' r.Â·'- c ~ / ..I . Ve . 1 ., \ . .Al'--3'f f.. 91Â« N..0Â»11:,...Â· / , - ' 13:1'. 34...4 ..IÂ· Ki' .Â· Â«Â· - \ 4-69 - 111.J 4:it*Â· A.';- 8 7 " 171.3 ~ \\ .4 ktil 3*'Rl.- ~ fl'-- 1 -k .4.; 1 1 1 i 1 0,40=;re' .7 5 1,~ , \21 1 U. #r :1. N *P.'A *1=me..h .L~ \ 5,~ 0 4 ~ .- .-2*23it.bu' :'iNÂ»â‚¬-1Â· 1 Uls. -7. Cb.5 , :;Â·'4 .4~Â·Â·.-;i ... '~'~ Â·\.61017/ . ~~~ '1 ' .. / ~84-*.*74.....34...r' 1 i 4.1, - \ 1 3 :. j.(721'.3-Â·~. Â· ..5,3 ~:., ,.7.2.ta.Â·it.:232'j i i 1 Â· Â· 3 ., . 1 - ..941Â·t..S:#1 1 - \ 1 119Â·. n# ' .4 2 M, . 1 7766 /21 il 1 li C'T:'rÂ«r.'h,1 + -~il LE+24Â· f~ I /:r-Ir '... ,/pfr:..NAK~ '' .F'";74;75. -Â· Ab>W.fÂ·%Â·Al 7 â€žÂ· -Ap .t~.1 - . I.>..4.Â§1':. ~RY'.41.9' .NiA,,162210 y -2. i/Â·?--Â·:;;'~ - /i . - .1 1 -t-j 1 .14 -1./UN - . $", #42#*1*/ImpFuwA; 1.-.i':79Â·Â· i ~.. i.: . 1 ) Ah,J ' $ f b.14 irÂ·Â· ' ..r)~ 4*et:30' ' SIL'-~Â·.'Â·:,i,-Â· , 399(@9 ill li 7-'&3-4 J T id. 1.,39 .r "Â· r 1*'Â·. : .' 'i ~' -"" ~ '" â‚¬ ,Â»rÂ·â€¢ ~ ,. eâ€¢.Â· . , -r 5-1-~7â€¢~ 1 1 j 1,4 2 I ': I ' !1 A 9 4 0 , 4.9 i.1.7.43.fill 1 , iÂ·77.'ri : MÂ·44;07.7 ; 441 :; 9176*/4 0 1 Â· r-*252%95*5 * 2.(44< - t. >4:i.DÂ·,iN.~~:â€¢ :: .-,4.-, i $ 3,99 %#PJiti[* Â· : 4:1 f ~4~ 7 - 1,=- 94' 71*:1144!= 1 t 1 ... '.*1 iIi}~ f \ <.Â»3 â€¢â„¢jit- Â· 4/ 1 .11. . i . #Al - 1 11]1-2 . 11 , ' Pr I 'le, 35 . iâ‚¬Â·st i J Â¥ Al 4. Â·Â·li I Â· 1 . 4.. af VÂ·Al i it tihi ./.*i. *1 2.- .1 . 4.: 4 T Â· fi . *17 . 1 . . 7/.4 . 1 . . t.., .... . 1 . LL Â· â€¢ 9, 11. 7 0 .,Â· 11': ,.:': ....'. ckÂ·.4'-i ~'Â·9'Â·.:13 1: tli T -/ . I'. . -- - ....:el:,11Â·1; 11- -2 Â· â€¢ 12 R:.1,-i.3.:e:, 6.'.Ef :414â€¢j,~ il: Â· - ' . +:11 LID.; 1?t..0.i f:21:42~ U. 1 - 4 =v ~ 25% iw-44Â¢3 el >. ..hi.:171~1 4: : . lf. -2-t~*lie,664- . Â¢ Â» .1,9*~.4 =1?41 ~Ii . -I - - -- 40Â·:W >25 4.11- a U â€¢Uffi; . t . . .4 r'.SAJ' - ... 4 9. 6/th + ~ - I = 2 9.1 419:P : 1[ 4. te, Y .. : A Â£22...4-.74.11 . 43*IN 65, . 1 ' â‚¬ //1 '60% t-- < Â· ..Â· Â·Â·Â·Â· f Â· r- 2 .: . i *,-.-r-r'.# |: pr....:lÂ·fn,f, ; , ~11/V\Lrds~V , .667 - 1/ 61*A.4- F Af J gkt. cm# - -=7-Ir ny - : â‚¬ AM).?211.ilt i.,.trniA-=AV'.4 . Aliv -..2- i .. Â· Â·~~~,TITI~,~â€žL ~AOT<Ar .di/444 - - 411*06-J;m,V=-=N=:. 2 4%,iNX+~Wi:27"it/*i~)47. , m.6 /1/,"737,0,07-7.,196*4.Â¥k A J Â¢4,4,1- 4 . I ' 4 4 t t..t %4..0.- :,r.. t'i, il. 211;!t Â·1'#Id"*29 Â·- .I Ve:. 3.1 '.1,9,3~ .~ -'-tr ,! ~ '% - ' . Â» 4.4 .... U Ci ?0 '. , .''th .-374- 1,43*632Â·Â·.42& , â€¢ag../-9 /.9./.... 4 , 0 : 21.- Â·. lik IN,Aai: t.Â·.1. ':re;Â·: .4 ..r :,- , Â·â€¢1,..2, .LEGAGO&kpj#~&TwqyFaT)%3124*04Â·. ..1.~ ~~'i/f j/Â·'., w ...Â· Â·. .Â· : i ' . - I U : 22 Â· ..4 .&. 1 ':2 . ./1 1tl .- .-' " 1,, . ---- .* 1 41 -. 1.91 1% 1 /6. 4 6 i....9-391274Â¥;fa:.. .4. : Â¢.4/' .ta . 1 '' t'' ... etrn.'/.771 Â·2 1 *Â«304*4 , ,.., !j''li~ l Â· 13% 1,4,711:,9-*- ..r r, 134,1 - , I. '10 f k: Â· E-i.-' Â·~ ji iÂ· ~; j ...y,Â·,4 . Â·<,/., ~/ filLE %.0--V. - ..4 H 4?Nii; , Fâ€¢';Ek '64 ./. . . . 1 '9 7 ZÂ·, , ... .. RA . - ./re I. Â· .. -L-- --.2 --. - - V . I ,-Â·yfl-f:~a--/.r:-,~..&&-/f~-. ..Â·r.,Â·.3-3.*,JibÂ· 9..211 0.-24\-'- .- 11*,7 1.41"Â·-f <It'Y: t.'Â· . ' .t=e-#Wk-1 1- t 7 10694 b 1.- 'tÂ¢*94-Kly#~54<44414,6///%49...f 'ttfMyided>vas forthe Great Room tobecon- Â·~ - F'--<~.4.M'<,~~- ~FL .---l-Â· ;- 132(21 ci~~ "r - ~.f f;3Â°:fl ~< ~ ~4:,i~, j~i ~~*tu,ZEt 1['23, ~~orwai~dsabas: a VO~Â·.:..seat>. .,2'UÂ¥ :: Â· - , $ VarÂ·Â·--Â·yÂ·... 2i .. 7;/,f; : 23.j "f'Â«/ i f 1,+1 Â·: }:13'. 11);A,\(, / 'r f.w; ~Â·jamong?the artworks in the Caribou Club's 13Â·jtf,i'. i; i i er. 0 , Â· 0- f t .~ d )ty<,~ 1 9411 }f Great Room isa circa 1885 Thomas Moran lithograph by the door and George Catlin's , . -1,i''b'.~ Â·hÂ· i:,8,lu6/Ul ' M2- - Lone India,1, circa 1870, above the fireplace. " Ami: 1. 9:f:; ~ij'. : *of %31.ti~<---:ir: 4'(1 tiv, ;,Â·,.61...;t, Â·Â· ,3 ' In the corner, two Edwardian armchairsare ' .:*im/KEÂ»i.. 1 ' t' ' hilÂ· : 1 ' .... arranged with a circa 1875 mahogany table. ti .22. 2, . : - . 2 \2~fliftifY. 1 , 45:,3 hy- 2. - : - .'- ...,1--I --i - --.#Illil------I-. j.-p---I~ili---#--P~ i~-~i~ -. ARCHITECTURAL DIGEST THE INTERNATIONAL MAGAZINE OF FINE INTERIOR DESIGN SEPTEMBER 1991 $5.00 - 71 4 I , Lyn '. y f .7/ -- 11Â¢19 1Eb;:933.4 C: 7-0. ' 1, fgk'Mi , 9 1 4,32140.... 0, 0*..trir- 5-4.. 9 4 4.'.'410 ~2~Hirtti Â·,1 1111 . -5. Â· Â·Â· dr.-36:Lull-..6 ~.- - ~fl ' . , 'Â· tksÂ·. Aspen's Brand Hotel The Uictorian gem and Nearby Caribou Club Â· ~ BRAND HOTEL INTERIOR DESIGN BY PETER HANS KUNZ CARIBOU CLUB ARCHITECTURE BY WAYNE POULSEN TEXT BY GAEL GREENE PHOTOGRAPHY BY MARY E. NICHOLS It seemed to Harley Baldwin that what downtown Aspen lacked was grand visitors' lodgings: stylish, homey luxury. ABOVE LEFT: "The Brand Building is an old Colorado sandstone fortress that is imbued with all of Aspen's history," says Harley Baldwin of the downtown structure he renovated and turned into a hotel with the aid of designer Peter Hans Kunz. Built in 1891 as a bank, which once stored the largest piece of silver ever mined, the building houses com- mercial space on the ground floor, with the hotel suites above. Aspen and Shadow mountains rise in the background. 132 /1................Ii................./...ill-=-li-lill-=-Il. 74Â·Jfl'/&.c */. * '.,-.1-:.â€¢46/4 N ...96. 1--/ A l i,t /11 11-JM' I .... 1:4.2 4-9 ' Mil. ............../1 :.yii*,j -r V- .7Â·~74 -1.â€¢; : I. !- *-2 . .: 0 â‚¬32 ,: Lti-,4 â‚¬ , 66Â·- 20& r.~Â¢4-4. Bil ~i - *MA - ..4 Z Â«11 4'#i.%0k >0 Iriz . . . : 9 Â¥ ~flfÂ¢ 21.l [43- C A . . 1 11 4, .$â‚¬0 .g ... . ft-Â· 1.%.6 ,Â» L. L , '. 1 - 2- 94 , , 19,4 , 135* .0 % . r. M -' i - Â·Â·.4.2 + 1- I . .i - .WW'., "All the suites are named after silver mines," says Peter Kunz. ABOVE: The Park Regent has southwestern accents such as 1888 geologic maps of the Aspen mining district and Mexican earthenware. A Portuguese shutter is mounted above the 19th-century American mantel in the living room. Drapery and upholstery fabrics, Brunschwig & Fils. DEVELOPER HARLEY BALDWINj staked his a bank that had stored the largest sil- ica-The Brand had its hippie days claim on Aspen in the 1960s by leas- ver nugget ever found. For a time it with leather shops, a bodega, an ice- ing a popcorn wagon and selling provided studios for Lichtenstein, cream parlor and tie-dye. By the crepes. He moved on to real estate Warhol and Christo. Then it became a 19806, though, jeweled minaudi@res and mining claims. But he wanted garage and body shop. Baldwin per- and eight-hundred-dollar pullovers The Brand Building, the peachblow suaded industrialist Robert O. Ander- in the retail space reflected the town's sandstone Victorian fortress that was son to sell him The Brand on time. growing devotion to mammon. once home to a mining company and Like Baldwin, like Aspen-like Amer- It seemed to Baldwin that what 133 t~F'/0 , 1 * 0 Â·Â·Â·,r 1: r A - 1 \/ \ 1.41 - .t downtown Aspen lacked was grand "I wanted each of the suites to feel fresh and visitors' lodgings: stylish, homey lux- to capture the wonderful Colorado sunlight, the designer says. ABOVE: In the Silver ury. And that's how a warren of bou- Queen, the largest of the Brand suites, an Au- tiques and cubbyholes became The dubon print hangs near the bed. Pillows cov- Brand, with six suites, each different, ered in 19th-century paisley shawls adorn the bed. The Turkish kilim-upholstered chair "designed to feel like home if home and the antler bench are from Crystal Farm. happens to be Bel-Air or Sutton Place." To climb the stairway from Galena Street is to step into the past. There is . A. a gas fire, a mantel ribboned in gar- lands of pine, the perfume of mulled "The scale of each space determined its char- acted Kunz says. "The smaller suites seemed i cider, a rolltop desk (beside the fax), to call for pretty wallcoverings and chintzes." i old mining maps evervwhere, a pine BELOW: The living room of the Cascade fea- hutch with breakfast china and jars tures 19th-century Scandinavian furniture. A circa 1891 1 larper' s Weekly illustration hangs of homemade preserves for breakfast above the desk; over the sofa is John F. Her- in bed. "We wanted the entrance to ring's Glimpse of an English Homestead, circa be a fantasy of what it would have 1859. Drapery and table skirt fabric, Brun- schwig & Fils; Cowtan & Tout wallcovering. looked like in Victorian times," says designer Peter Hans Kunz. The Park i Regent (suites are all named after sil- , ,-,4,1- 7 4 :1'-,4*;*FVIP#5267/"Isillelli/% ver mines) is a Santa Fe ranch house. ft<74, !, , - Twigstands and blue-and-white chintz i..=4Â·.01, Â·,, , '' make The Cascade seem even more ~ar 1 , . A, i intimate, precious though small. The Bew /1 T fi' 1 Â·Â· ..3,- V vast sweep of the duplex, Silver ~ f 97, nA . Queen, leading onto the rooftop deck Eloail 4 L...;30- . ...N<~21.:3 , ~...4 demands giant paintings, potted trees, tall wooden statues and club 1 -D..lk, 1, 7%70,~'r chairs with bulging arms. . 4 , 1,11 f j . ,- i ti 'Aty.,vati Creating six "small houses," as , . . ...4]iallrirrgible/9/*W~ 1 Kunz calls them, out of 18,000 square - \ -2- feet with a tangle of eccentricities that - 9 4 4, . couldn't be ignored-exposed metal - 5 trusses and other Victorian attach- , =--46 1 Li' 11- 1 1 -29:17-,U: -00 4 * .1% Â»435.111 134 afâ‚¬~111 li " #41<.uÂ·.03?0Â·â‚¬ ...b .9, 1.1 r . #Lf.~*Â§.71?:i ... 1 -1: 10*./.1.//Il//I - L <b, Ify,(1214:/EX3.2 .N;*44/~ 1.9{ fl , ~F 4442%-li,41~Â¥147.1. , IL-~.F:t~/A ' â€¢la '11 --F . *,tv. 2.'41Â£"" ....., I - .---. ... N.-- I. pa- 11.---i- d..... 1 -IL-21-al-~1 ., - p-M --1 1 ..,. 2 --9 AN=.-1.-~ 1 1 t . . 7 n ~ ~ T49,&/ I rE -tk,-A:,,. 1 -.31,494 , ~~~-- *.-- i.1. h. i . ' ,/.' . ~ : -:' : I - + e - ..p- :~-'â€ž30<* 1 t> 62-1 ~2 kilillillitilmmillilie::5:fl.< I.,1 41-1 &tw * .* 1.litmci-~-8 t 1 4 5 r' 4222.23Â»495*0'M-, P.*â‚¬985(1 + - .e le I 'Â£*Efyis/ r r ..fÂ» 1/- n Ag 4 U.Q .:. 6,4 re.; 4 1 / ments-was a challenge. Kunz, whose "The trusses, part of the original architecture, gave us the opportunity for theatrical design," says background embraced restoration, had Baldwin. ABOVE: A 19th-century American rocking horse stands in the Silver Echo's living room, complemented by a 19th-century Portuguese threshing machine and pre-Columbian vases. done Baldwin's Dakota apartment in Manhattan and found the two of them had the same kind of whimsical, eclec- plains. Baldwin talked about fantasy, garitas and shop, shipping crates of tic taste that would comfortably mix comfort and easy luxury. primitive pots, drums, terra-cotta English nineteenth-century paint- The two of them shopped every- lamps and santos back to Aspen. ings, Scandinavian pine, Mexican ar- where, "buying whatever delighted The thrill of the hunt prompted tifacts and native American blankets us, deciding later where it would go": many more shopping sprees four ~ with abstract color splashes of canvas. Portuguese jailhouse windows, a years later when Baldwin bought out ' They sat down With yellow tracing rough tin-toothed thresher, an Amer- the town's failing hardware store paper and laid out the floor plan. "The ican rocking horse, replicas of Egyp- around the corner. He planned to proportions of each space dictated the tian reliefs from the Metropolitan gild what is called the Collins Block style-English country, southwestern, Museum shop. Racing down to No- with a mews to rival the rue du Fau- SoHo loft contemporary," Kunz ex- gales, Mexico, they would drink mar- bourg Saint-Honor@, with lodgings (A 135 M. Â·a, 4,- 11 - . la The Brand) above. But what below? "We had to glue the dirt underneath , sen. "I kept thinking that I was going What could go into this dank, dark the foundation to keep this Neoclassi- to hire a decorator, but I was having crawl space? A club, of course. The cal grande dame from collapsing," too much fun to surrender the job," Caribou Club. A private hangout for says Baldwin. Inch by inch the sup- Baldwin recalls. A orphans of Castel in Paris and Anna- ports were extended downward to In London lie hit auction houses, , bel's in London, a place to wear your hold up the floor as a cellar was antiques shops, even church bazaars, new Ungaro, to eavesdrop on Goldie carved out of the earth. The feel of the shipping back two containers of in- Hawn and Sally Field at play. place architecturally-the nineteenth- stant English heritage. He imagined j San Francisco architect Wayne Poul- century moldings, the paneling and the Caribou as a club founded by sen was recruited to draw the plans. the fixtures-was created by Poul- continued iii page 155 , 00 0 -e-- . 1 -t . . e 14 SF' 4 ,- â€¢ '' .7 I fi to :/ - p /45' t .t , . *VT. .Â¥ - 4+ '1Â· A *tt.ti p A i H K .1 . 00. .? r 22 ' .. 1 2, U hii< 7,3-- ' 0'49.-c'. 4 1 .407 i Â·'Â·r - & i - U- - 45... A.. 1 , hr . / t.ke. , Atw /'Â· . :Al: I... 0.... .t ;74.6/-Â·bÂ·EX-Ap-Â·'L ./ ,?â€¢ 2.3:.9 Y:g..,..Â· :: +A.'21Â·. ,Â·Â¢18#.Â·tfe?-I-*'%M:v: 4 . The skillful mix of English tradition, Victoriana and western artifacts seems a perfect setting for the nightlife Aspen favors. In the basement of the Collins Building down the block, Baldwin's "It's like visiting someone's home in the ideal sense, and the materials private Caribou Club offers "an English club ambiance for after skiing we used are important to its relaxed atmosphere," says Poulsen. or after business," according to its architect, Wayne Poulsen. BELOW BELOW: Blankets and suede<overed chairs characterize the Caribou LEFT: A contemporary landscape hangs in the entrance hall. Atop the Club bar. Photographs were donated by club members such as Martina Eastlake-style octagonal table is a horn candlestick from Crystal Farm. Navratilova, Danny Sullivan, and Frank Perry and Barbara Goldsmith. V f . I.~9.- - f 42,3,4 - ,1 d . , - 1 \ -I I t - 7 - QÂ· 4Â¢ i .. .'* 2 k fr-J--; 9 11'# . 1~, -li 'Â·24?,0*7 Â·.Â·.> - 11 1 *migâ€ž.2.- 4: -4-36. Â·Â· , '1. i /4.r//4/ m. 1 f 2.1 1 1% G -- Cit 1 8 7 1.141*1. / 137 44. I . -6, .Â·u /~57=:72 - 9*46~~ Il - 4 2 /. 2/ Â· .: ............. -- - 1- 7/1 '1.4. : 4 , 06 1. . 1 r- 49 4,Aimm 1 1 - ' 2. e .. . q . i W .1......illi.11 E I 4,46/~.-~ . ~ \4**23 111 0 - 4 1 -11 * 1 - .- ..... ~ 2 L Â· .:6 1%; 1; .] 1 \ #r' 1 . tES.. 1 . E r . 1 . 0, 1 - .4 ~4 - 1/ 11 *267,; : '-I If. -- 0... . lin. , . i - U 4 m :.pi . â€¢414. A . 1 i 1 , .*,1. ' 18, /r,. A ' r::~ 0,4/ r . .'.1 . : 'Va, 1.- El dr #.L ..1.: U . t, L U . Â» _ j ~- P./.42:.f.'ti:'it i -NIn -p 0 2'.1-E'Â· .. . t....- .- - - . 14) 2 ./Â°. 44 ' 1, 1 f ~ t ; '1 tL-Zl-/21~6C~ -2 - /.,- I '7 - Â· t,0 9-W. 1.Â· Â· 9.R ---.... .-4/.-I./ C'*~ /4.~... .. ., f:.r .. Ap! 61-. ---- ~Â£,Dit~- .t-V-:Â·4'Â·Â·â€¢,'J -- Guit.4 1 42/j,t::;I . , V ' i'~~ .: -ONÂ· 17. 10. ~,4/ .. ...-P . 4. - 1, ..15...U ~24;5 3/3/'v" 2 -n. *l/ kn- f r-/21;Â£9-fljl-F~~-*3- a~~<b~> c 1 . . t' L 1 4-,WN J h: S --1-:7-=3-3--e.k~""'- 1___-49-~-7---37 ,* Â· - i -46*<,-2.,6-2.-1-A a - Pit<SE;14Â¢~~~~~~~~~/////2/CN&~~197-#flfil 4, .3---- 4 0,4â‚¬'rÂ·Â·, Â· B. ' '9 1. I - . ,Â· EL .1,â€¢.,01 r-< -. Ah ..622 . -- 1*--,â€¢e=.7 . .*331. r %6........ 742 244-#f i f .....lk .2 . .1 1,11Â·.r .'- ...1'Â·~p': 'ir ,Â·.Â· ,- 0..U - t,2 Â·,Â·FÂ·sÂ·,Â·Â·til . i.*L -\:'11~8. *r.#I-- .-*ZZ//94---lis- Pt/; 6, i.% 4(.P.J.j.; 14.J@t...Â·.*.-1 9/11 .Wro-,#611*Â·1*1)pÂ·tfi - ~tr:mf>- rÂ·- VÂ¢46:, . - 4.. ..0,3 19--I * . i *el#OMMT-: 01+3 ~ 7, **zUL- Â·2622...1- , \ I i. b 'ilâ€¢VE'- eâ€¢ ..'. --- i, . I K: .; ~'f3,14~. it<.. OPOTO - ..4- 2:yg~:-t yÂ»Â»cojf t 1-~Â·1Â·Â·Â· i ~t'\Â·1Â·'1~ 4 ',2- . ' 9, Â· Â»fla;N~.M-Â·~.1 ?lk hi} 1. A --1.- ''10Â·E.:...- 4 2 -I /1 'u'>'r....: ' ...i. i... .- AR V ' / *3* 4 4914=Ek./ 4 16222.4~5.: th'~13Â°-~Â· 0- hyÂ«-,- Â·' . I â€¢4 9* i.1 - Â·Â·~Â· 1,~..12.6Vk kl' 1Â· ' C-*924 16... C z . .15. -494.2:-4.1 .t,VA,5.-1. 1, i... 1.~ a.. Â·Â· i~ Â«u b ., -- m , i ~ Â·. i..... ... . . -'llÂ·.Ill ./.....,â€¢....,al./..--'....i-I~---I/-_1._1-i.~~_ -.-/.:. - . Â·Â·Â·I --i. I Â·. 910 % LT , F-.p 1 -.14Â·,Â·,j p .0 7 .& i . .1 Â·f); . 1.4 ;' 4 - g Â·144# Â· 1 r/1112~. z u...i ::?Â· AA 1 -- re.. 'â€¢" C 4Â· 1. 1 Â· ./ I â€¢-â‚¬M.#'1*7 liÂ·k + 1Â·:T'P,1 -2...i 1 . 1 flaill"'ll'L, fÂ· 1 i ... 9)4! ' 4 ..2,5. , 1 1 =1~ , it 'vi Â·:b Â© f.%,Uâ‚¬:.'Â·l _3' 1- 'itti ..Meu*.3 t L I.'Â· ~Â·Â·':.'=Â·.kt n t. Â·â€¢ 1 !1!11111 Â« i . firill .,1 MIN F..34fq*r. i r . u .Â· *i : i:; Â· 4 1;1!fit"g :a Â· Rk.4 411'~In..A,= ; * 1'19*41 ~ ;Ual r : Â·*: k .I-.,6 ;-.1.kil~ .iF . . 15 --, .1,2:,~1 - ..1 ~11 :- ..1.0:....,1 -: --'.1~11! 1.. iIi .4 Â«E: i '5- 1. ., I |:1:12<Â·i:35-12:04#Â·<' '1- . c . < I- *- Â· 1 1,- If I - .* Â· ' .1 El E- <~'/:3 1*64#L' '. ; L 'Â·~ ir : i ~. ' ', *--1FÂ·.4/41-: *41,1 (, 3% Â¥ -/..Ai,&"I : 7-I. 2=-Ir---1/-7-.- '. .*- - -1~i..'ir! 1. 1 j - 1,3 1 R L /Ilij t /1,3Â·' 1 , 1 -LÂ· 9.- Cal: 9 9 / ..d, I I. W 6 . 81~D L>r 11â€¢1~~ T I & ; #%144-11,~ 4Â·ilei<~ U ,.--'-r16; 574-,-s~Wi.~*"~~,) i<(5.-41 'm' , 1 I.a:. 2.4:.ie:"C.,84 1..: ~ 1 1*gwil :4Â·:I .N.: &,1;297/,7, a - -- , 1.: - 1 --0 4~ - .1.Am, I .pl .... .< 7,1.122 t=.'.1.Vi'.1.â‚¬191: 'Crajai/WRY -- .- - - 45.- / -11 --14# 1.1 '. 7 - - 1-Stâ€¢12 11" 1.':t\.U,W,111: 1 't, , S,/F~ 1/1,*r 2.4 4 1 k, 4 &Â£.1/:8:2'u'li~*=7 ;~aft]A *746,'â€ž11.4, jâ€¢;2:>:.Â£4,fi~ , r-*--6;'*rxbJ\~.79'Zf :,,-Z*-fb,9,41 &1~~Br,,,:,3.#VIA+~.f*1~. - V.-2 4)-,0.-.6- ~ F. 12 t , 1.' N.'. Â¥ - ilÂ·fil 'Z*,id,i ' Â·: , '~ 3.3.44.122.'tifi'leek.43Â·. 1 0 .4:,. (3?01..;2479-e--, + 2.-1.N> AL..359.t,.1 -t, 0.4/f *:' 2:9Y-." 't/i~~i:~~tt.. 1 7 f*Â·it:/bu564::~ 1.Â·t, 9,3Â·3.L/Â£ 7.f --Â·1.yUAÂ©ikÂ»kie-Â©*~iÂ·.iÂ·<iÂ¢ib ''F./,/(.I.; 1.1.1:.f 1 Â·511.,;Pir-F? n..7.k........7((11.i'.:21 '. fat Â·i~~ ,!1 -S*t 4.1924:.,"-sb~:j,~'Am .'rrlidu.4"~.i.. ,~ ~.. .Â· . 6, Â·Ii'f' y ...9 ... /1 ~* L'J y>Â·1*47*.... ~"2!,iÂ·~~~?: A. cen, .4 -: -- T,-M -4----i--,6=-*-7--<6~~44%.'2..\0-- f~Â·Â·u':.4 *Â·4*, AC)11,2,0 .Â·' ;Â·i~Â·'~~-Ffii . U 'r t : -m T.7-3 75:t'Â·3774Â£*'.'~ ..... 1.Mmo V.j./,- 21: ' 111' N,â€¢t ' I ''4 4/~/74- Â·.1 ./ . /6,5-- .. C / 14 /'1*'41 i I j:-:*.Iti:lf:t< itfli~Â£ illl~2~<~$47: Â«6 e,1.- Â·ate?Kil . ,,i<403Â¢4*? . f I. I. # I' )'ll . I, ./ ~2 L> ..i..â€ž0.1. .31, f,/. .*114 ... up.,> dz/F/4:~6- I. fi ji*i. . I 1. . Â· , Â·Â· ' i j ky< ! ;~: . *r, 'l.i, . 4 .- . â€¢ 74 , t " 1 1/211w'u#,61 ' tillially I -- Lay.-5Â· F.; . 4.Â·60 -. y.>324 -- . 4:. ,~ Â· - ~,if:4.4 Â·akvâ„¢.,Â·k--diNA .. -P.4 . VE _ nl f 148 ?iÂ·Â· - Â· :, :â‚¬ , - ... ' Â· 77-' '244..~ga y' 75-ALA<.4'92}*All''Le LAI 4 1:(IMfided)was forthe Great Room to be con- Â· - '-\Â·Â·.-sts#K; i>({2 - -i~ -0, , ... '2 ..h~'rACI--fl $ f '~,f %,e,11)~1~~:F~,2 j'-~AU L Peatifmil, While the dance floor and bar .eff..= . 1 1 '. 4. 4 t.' Â· 4 Â·t. 3.-30)y~.1 44<.?. %174 , A':Â¥,t Â·i,iv,/J /; dbould be mastate offrenzy," Baldwin says. \ WP..44.-Â· 1 tr. fli . i''f ; f, 1,1 Â·Â·~,1-,1.2,1,v~,AL. r ,}.,1 1'\,Jamong)the artworks in the Caribou Club's - 4- 1 li ti : : i' AÂ·,1' 9 99,54 9' Great Room is a circa 1835 Thomas Moran . 1* 4 -Â· t.+ ?Â¥ il.:,4.~'1. rf f lithographbythedoorand George Catlin's \944 v Â¢, :-- Lone indian, circa 1870, above the fireplace , 4'tÂ·'Â· j i . *rts f:lf 'lit- ' 1:4 t._ 9 '..'-4,1 1: 1 1... .6 : /5 In the corner, two Edwardian armchairs are ~ WE.01 ...Â·23.49.Â· D. t . ' ., - Â»:92.li(: I' 913Â· kÂ¥' 22--ro Â·Â· *i: It ' ., arranged with a circa 1875 mahogany table. , a./.INEâ‚¬:- '1 : I ty/Â»-/1.'Â·k: 1- - j â€¢4 / 2 /CÂ© ...4 '. -- I -- Â¥f .1 , *:al:El I ' I *.; 'Â· . ' . ARCHITECTURAL DIGEST THE INTERNATIONAL MAGAZINE OF FINE INTERIOR DESIGN SEPTEMBER 1991 $5.00 V 43 , 44 al , :NJâ‚¬ 4 f. . 1 . .. , U , 1 .b .i'L 11 e Pr Â·fs:#4.s ./: Tay,i 1 --/ Fd*S, <. f .1; 2 ..7. 4 + . ./ 4 W ': 41212 7 i ' I 40 :9592 i, Â· ..1 1% 11I ti i _ .-- :'.:,9 .- + Â»49.=4- :1 + 1 ' â‚¬22Â·2. -: ' hz " Aspen's Brand Hotel The I)ictorian gem and )\[earby Caribou Club > BRAND HOTEL INTERIOR DESIGN BY PETER HANS KUNZ CARIBOU CLUB ARCHITECTURE BY WAYNE POULSEN TEXT BY GAEL GREENE PHOTOGRAPHY BY MARY E. NICHOLS It seemed to Harley Baldwin that what downtown Aspen lacked was grand visitors' lodgings: stylish, homey luxury. ABOVE LEFT: "The Brand Building is an old Colorado sandstone fortress that is imbued with all of Aspen's history," 5ays Harley Baldwin of the downtown structure he renovated and turned into a hotel with the aid of designer Peter Hans Kunz. Built in 1891 as a bank, which once stored the largest piece of silver ever mined, the building houses com- mercial space on the ground floor, with the hotel suites above. Aspen and Shadow mountains rise in the background. 132 th 5 16' I '4*' *,U e./ E 1..............P . 9 ~4 - = 4 i . ,Â£: rÂ·IttA ..~t : i & -1. 1 .-r Z - *4 3 '. ' jf 2 - h, .6, ! It , .-2K 4.I-Z. *.6 - f 2 1 . i _ _ EL ki.Â»EX#*- b 2 +F 1 -4.:37: ,.0 - . f , :. 7 <92,6 . - --- d I e k I - . -< / 11. 1 7 . 4 27'f .y - ..... "All the suites are named after silver mines," says Peter Kunz. ABOVE: The Park Regent has southwestern accents such as 1888 geologic maps of the Aspen mining district and Mexican earthenware. A Portuguese shutter is mounted above the 19th-century American mantel in the living room. Drapery and upholstery fabrics, Brunschwig & Fils. DEVELOPER HARLEY BALDWINj staked his a bank that had stored the largest sil- ica-The Brand had its hippie days claim on Aspen in the 1960s by leas- ver nugget ever found. For a time it with leather shops, a bodega, an ice- ing a popcorn wagon and selling provided studios for Lichtenstein, cream parlor and tie-dye. By the crepes. He moved on to real estate Warhol and Christo. Then it became a 198Os, though, jeweled minaudi@res and mining claims. But he wanted garage and body shop. Baldwin per- and eight-hundred-dollar pullovers The Brand Building, the peachblow suaded industrialist Robert O. Ander- in the retail space reflected the town's sandstone Victorian fortress that was son to sell him The Brand on time. growing devotion to mammon. once home to a mining company and Like Baldwin, like Aspen-like Amer- It seemed to Baldwin that what 133 I -- 6 1 -4 1,1.. 1. f 1 . 2 , 4,/21 - 1*r 4 Â«r, K< N;N:7 Â·0 ~ f: ' L - 1 NL ,/ i -42. ies' ' 1 , 4 2 ' Etttn-'*40-*#- f.- I. 7 -I ' 2 :2 *94 0.21 9 7 f downtown Aspen lacked was grand "1 wanted each of the suites to feel fresh and to capture the wonderful Colorado sunlight, visitors' lodgings: stylish, homey lux- the designer says. ABOVE: In the Silver r ury. And that's how a warren of bou- Queen, the largest of the Brand suites, an Au- : tiques and cubbyholes became The dubon print hangs near the bed, Pillows cov- : Brand, with six suites, each different, ered in 19th-century paisley shawls adorn the bed. The Turkish kilim-upholstered chair , Â·4 1 "designed to feel like home if home and the antler bench are from Crystal Farm. happens to be Bel-Air or Sutton Place." To climb the stairway from Galena Street is to step into the past. There is , a gas fire, a mantel ribboned in gar- lands of pine, the perfume of mulled "The scale of each space determined its char- acter," Kunz says. "The smaller suites seemed i cider, a rolltop desk (beside the fax), to call for pretty wallcoverings and chintzes." i old mining maps evervwhere, a pine BELOW: The living room of the Cascade fea- hutch with breakfast china and jars tures ]9th-century Scandinavian furniture. A circa 1891 Harper 's Weekly illustration hangs of homemade preserves for breakfast above the desk; over the sofa is John F. Her- in bed. "We wanted the entrance to ring's Glimpse of an English Homestead, circa be a fantasy of what it would have 1859. Drapery and table skirt fabric, Brun- schwig & Fils; Cowtan & Tout wallcovering. looked like in Victorian times," says designer Peter Hans Kunz. The Park * Regent (suites are all named after sil- 24'.â€žtw.2 A ver mines) is a Santa Fe ranch house. fc-fiL+LE . ( .:<fl I ....... 1 i.- , . -4./. 1.r 1.4 Twig stands and blue-and-white chintz rp. ~ --4 make The Cascade seem even more Will t k + i . .--x. ':.,1, intimate, precious though small. The ~41 2 3, 9, vast sweep of the duplex, Silver ne~ F~ al /Â«~3:..t. 1, Queen, leading onto the rooftop deck , Â·:As.54 1..Â·Â·'62>,Jik n demands giant paintings, potted trees, tall wooden statues and club //FRA.i-- 1 , r) 21412.4. .11433>, i.,2 ; - chairs with bulging arms. Creating six "small houses." as t. . 1... W- A Kunz calls them, out of 18,000 square 1,Â§*,0 * $ 1 feet with a tangle of eccentricities that 9 â€ž couldn't be ignored-exposed metal . trusses and other Victorian attach- f . v Â· 92*24 tffa . '2 - 134 ' 8/.1 4 Yâ„¢ Â·Â·J 4,32Â» 7 6 1 JA a:~i A . I ./ * Â· \142.ZIy i *~29#*i- 2 -Imfir<Wil#gim, 41- I-**47'~ .i 1 79/MA/.-f 3-0.(-Z YV,i; .4/%MiE#30.."Â·~. i- Iial,~FleE,SK<1 }L.J.,4~MÂ·â€¢r9 1 1 01 -AL--1 i -- ..1 ./.-- /4/I - 'â€¢17~ 3t'~~~~~123 4 i et.MI//En R--iC '~911 1 d ' , lif , '71- .h 1 . \ - -11-= S.-icÂ« / - t -- ~- JAWÂ¢*-aa.,*=*2,~*~0&0â„¢:*Â¥ . ilimmilri- 37 4. 22. I~v.91 ,-. .. ~7.-4 i 1 , 4.......mil.Im...4 4 -#5. 'I----la."mi.., t 2..9. 432,74.427?~. 727, ; ,-4 .., r - -4,44 y ; 44~14*.11.- 440*ty'6-b'-I': - , 27 Re>'77:Â· 4*4- .'*IÂ« A -& 11Â»-4 ments-was a challenge. Kunz, whose "The trusses, part of the original architecture, gave us the opportunity for theatrical design," says background embraced restoration, had Baldwin. ABOVE: A 19th-century American rocking horse stands in the Silver Echo's living room, complemented by a 19th-century Portuguese threshing machine and pre-Columbian vases. done Baldwin's Dakota apartment in Manhattan and found the two of them had the same kind of whimsical, eclec- plains. Baldwin talked about fantasy, garitas and shop, shipping crates of tic taste that would comfortably mix comfort and easy luxury. primitive pots, drums, terra-cotta English nineteenth-century paint- The two of them shopped every- lamps and santos back to Aspen, 1 ings, Scandinavian pine, Mexican ar- where, "buying whatever delighted The thrill of the hunt prompted tifacts and native American blankets us, deciding later where it would go": many more shopping sprees four with abstract color splashes of canvas. Portuguese jailhouse windows, a years later when Baldwin bought out They sat down with yellow tracing rough tin-toothed thresher, an Amer- the town's failing hardware store paper and laid out the floor plan. "The ican rocking horse, replicas of Egyp- around the corner. He planned to proportions of each space dictated the tian reliefs from the Metropolitan gild what is called the Collins Block style-English country, southwestern, Museum shop. Racing down to No- with a mews to rival the rue du Fau- SoHo loft contemporary," Kunz ex- gales, Mexico, they would drink mar- bourg Saint-Honort, with lodgings (A 135 41 11' i . la The Brand) above. But what below? "We had to glue the dirt underneath sen. "I kept thinking that I was going What could go into this dank, dark the foundation to keep this Neoclassi- to hire a decorator, but I was having crawl space? A club, of course. The cal grande dame from collapsing," too much fun to surrender the job," , Caribou Club. A private hangout for says Baldwin. Inch by inch the sup- Baldwin recalls. orphans of Castel in Paris and Anna- ports were extended downward to In London he hit auction houses, bel's in London, a place to wear your hold up the fioor as a cellar was antiques shops, even church bazaars, new Ungaro, to eavesdrop on Goldie carved out of the earth. The feel of the shipping back two containers of in- i Hawn and Sally Field at play. place architecturally-the nineteenth- stant English heritage. He imagined San Francisco architect Wayne Poul- century moldings, the paneling and the Caribou as a club founded by sen was recruited to draw the plans. the fixtures-was created by Poul- continued iii page 155 , 10 0 . / . #I , 1/ 4, 3 -..yj//SK ; . 1 3- t K I K : . a & -P t. 6 /1. I , -Â· â€¢04 f ./7-- t' 40, L tat. V i 7 .r 4 3 1-, 94 1 . 1 a- -' - .r; 1 12- 4 - 4 -11& W , ' .oft ..4.:c:. f. :ar 46*94..... 1 1 -r'*t. I *to 1,2/52 The skillful mix of English tradition, Victoriana and western artifacts seems a perfect setting for the nightlife Aspen favors. In the basement of the Collins Building down the block, Baldwin's It s like visiting someone's home in the ideal sense, and the materials private Caribou Club offers "an English club ambiance for after skiing we used are important to its relaxed atmosphere," says Poulsen. or after business," according to its architect, Wayne Poulsen. BELOW BELOW: Blankets and suede-covered chairs characterize the Caribou LEFT: A contemporary landscape hangs in the entrance hall. Atop the Club bar. Photographs were donated by club members such as Martina Eastlake-style octagonal table is a horn candlestick from Crystal Farm. Navratilova, Danny Sullivan, and Frank Perry and Barbara Goldsmith, 1 -1- 1 r i i . 7 1 -' 1- 3, ..2.1 1 7 9 4 2,/ 0 t#JA:? 0 -10 4 3.-==1 Â·2&06.~. -I... +.. ... . -9-ex-91 - ..Nile- 1. 4(di 137 4/.... 0- ~.-37Â«.~0:-2Â«34Â»=I'll.-/_ Â· 1 ... }9. 4 Â·Â· . t 'jil. EXAÂ«P 4Â·2; .. ; , 0 .M 1/71 Ill,Illillillill' f j 1.1 1 541/ZE' Dit,t. t. 4. 1. ' ' I Ibltil 'L, 13' qi C - . 92 - - ./ . 111 - -/. I Â£'>T.':- I ..ti 1,9.imi.,- - - --11 . 1 . 4. /6 -45 -,1 /*p 1144, iÂ·.1 - --/ Ir. - ... mil~la. ~LEUMUM,2 1 1 - .- 1 -9- .=====EE===, :.,%/ , A =8 1 0.,1 - 0 mil.--- 1 1 13 W8& 1 - . r 4.a,Ne.=Ii./ 11:j.: 2.714jf. 11 1.1 4...1 ({t,; 4.C.(M:h.,1 ! 9 2 15-,3.-riZZZ---~*.9.- v'.1,24.5 ill:11,{i.i..'j:.1 1 ' 1 1 4 /â€¢Â·t .â€¢51 ., 1/1 1 ,6,. â‚¬~1< V. Â·Â· . t M.:A Â· ~Â·: :41 2 Â·:94 , - r=--.29.4 &7<ir*'<,*.LiÂ· . , 'r JZ. . 9;~ 0.- l-'.... . 4 ---- f .. ..Â».77- - " -- r t. .1 . "t. 0 , i .: -2%.,14;.. ?01*441 " h .....:-, .Â·.6 4 = Â«LIE:\ - E-Â·31 t F . - 1 ..: e .i--~- JtÂ·Â·Â·1. in . e.-.ZINER- , 1 . r. 1.52-Â·- ill : P- - .-I &&* Â·- .P " %: Â·-=31 :211- 4 Â£691>. ' t. 14%: .' t t. li~ ~~btÂ·r;N~. tifitij~ j-Â·-~~~~11 7-~~~~ , .....,Litti' 4J - i,- - Â· CK /4,/ 7~~ .\ 4.. -AÂ¢7 ELVT ~iza -3 4 Tif~~~~~~~j~~~~~4-4 ~ 10~'14'114 / - 'pt \ Gl.*Â·Â£ I 1 0 #-79*81: -- 2 -5:'f~. br/3 . ..Â·'. ~, 1 . 2- .a .---Â·-*_.. . , â€¢-*4 r - Â·/- - CH Z. 4 n 1.4./...Itiii.:t..{'ll..;2.-~3..jmr 45---L. -kS._Li --A,4 1. .'.CI < -7. PRÂ·-i-t~:3Â£462[44â‚¬kj:?i-,0 4 â€¢ 4â‚¬Lfrit:%052%~00Â·4}~Pj K. * i ..Â·fZ..5:44@Jet.P''~.:.'.;:*r?-P . ---i, ~4 k. td, ,Â£Â·. r t~";.i, I .,21 4./1 Â·10 . , ---/-1 \ 4,| -4,-se C ' Â·7 - - 4â‚¬ --4:U~~Â· Â· --4 4 .I &-/ /7 -- 9 * . * C.945* , 1,506.9-5 4. 63 -,Â· 2330:.4477 19.62.:..~Â·; 52#Th-'-2.:. rtÂ©4*4*44-YÂ»-;1, &44 9.4 hi I A / &*k. -4.'*f.A U 4. N .4.1.! .........>.451Â§.,%2*42.>9 1.irls, .44 Y C. 1,1 9 a ~ ~ ?-4.3144' 41: /,"t.':t .\~rt .:ki t.2 ... 1 .b *'662,,aLL-,i:.1,:.1,1.--:-a_-11.2:Â·.u.,f ' - . .tÂ·: Eli . #90 1 3.6 03 0 1 ... 1 15 _ -- . %~ i 111 1 1~4 1, Â·, .-2 ..4 .98.9 1 V.,73 ,- 9 _ 1 ' ij' ~1 ' 15%'llillitr - 7 Illic.1 B.f.:4~i~i.*1...' i i Etim =*CE#Vil 2 . 1.f .9 97 I.....j 11. ;0.~4Â·~'t - . ...:a: 'it 14 1 . lili. , 1, C. . - Apia. 11 1 N ./ [1- .. 13 * ' 1 1% /25/411/~hiaftril v:ft .,/Â· ' 7 . U--. fti, Â»Â«Â¢Â»4. - 1 MI 195#m.:31Â·,1 472:. 6. M . 1 k ' 1 1 iqI.'..1/ :Â·Â·74..1*4;4.Â·i' 41. . F,Â¥r'*4,â€¢FRI i 1/ 12#/1//PA, rs --7 Â·' t. 3=---i; -- -11 'ir Â· Â· 4 $ Â·-â€¢,TME':--0---';--.--f-17-'.. ~ 13,1/".* i *1 0 E F; !10 '4 , - - k 1 .=am-- 1 r F 'gi'MÂ· 1 I. . A . . . Ill&.. ./.d Â·f i-- LE; FW'31 1 '! t 4 P -r- './. Prc g ..~/.* Â£23. - r . t.,- N.h E - -i }44,3-4-' - -0 , /1 /2 Â£ j.ircarr *mÂ¢~2 1 1!. t--211 -2- f....LK#/15/1 t ~I . i; Att; 5:0<1~: rs5/7~Â·'i&~951~I 2 '1 43.Â·A :11~iÂ·Â· 112Â¥JN/Jp;pÂ·-~ 0 196 . 73 40.-:. Asid'. '14-* ':; 3'i,Â¥' '.hz|1.11: i.,''fÂ·018Â»*'-Â£",5/ -/-1 . - . . E 11 'ds..00 .. 4 . " f .1.-,5 L . . I. 1/"... '... t, 2 4, AZZ.. ENCY" . , lA rttilillilig Plilli,981#46 *iv,6*,&0.62 4Â£;: 1 .U, . , , , , . 9 , .,f . 't... ::131 .VI , .VE ..1, . Â·t:Â·5â€ž1,\9â€¢-Jet..A.k},6.6. (-33--4-4,/*m gl r.f.~1. tlÂ·}'bl/*,T' ..7... . 3224. S-\ (11, ~A' ''. 4 :-6 A ' 1f /-' 44 1 4 ..- .-; 4/ .,3-'.17Â·:P-iÂ·'.2.:--/bi,4,3.. Â·ft'.1 .%994, :i Â·>.... I g , . 1. , Â· /*'41Ak' :Â· '~ 1 . j ~w~~~*td w KA~'~~~~~~7(41*-<*64-eq~Neti...4,71..; :Â·4'I,ARF,/ 1/ :.. I, I '#'I'-04'YV-.4:1 -4 'll .,42 44>Â«LU'.râ€¢n - -Â· ..... , 1 , - ... 42..41122 :49â‚¬211 ~ , 11 02 Â¢ 8 Â· Â· ' . -0- tÂ· 1 /,liAP''Â·Â· Â· Â·Â·Â· : 77)| 1 072'36-0-- ~ Â·Â·sÂ·Nu. c i' 1..Â·i' : id 64'~,% 1.. I Â· . . ..i . Â· ' - 4, i Â£Â·>14 ' 11: , .:.i .t:I.~rt{Â·fic-f.Â·~1&:t~t??t*.3 Â·-~UISMEJM- /.:- 3'Â·- --~--;. Lef 7.>ltÂ·~ I *D 4 1 -E-Â·Â·Â«:- .3/#MÂ·,Â·C.RfÂ£*Alf ,. ..,p. ~S:p:, ,1 ,7 ~~7If -:1- .,:.~ & .** *u I -,7 . 0. : '.,7/,0.1 '1 911 $ 3 + A. Â· , - : :-1.3*k---: Â·Â·It.' â€ž9~1- ...: '. ' A-; 1 fl'fj --2 ~ 47 4. 1,1 I,Lie '4, t ;11*jj. 1. F,;2 b K' Â· ke , u 7/-Â¢,13. Â¥Â», '*= - ,----,53--fir)-m~- ---- *--~---~~- ~ ... .7 ' 41 1 --.U 114.3-' r Re- ~.- =<23 -r-- r 3.7, ~k .40: :#.,'rt'. 4 2 i:.f.Â·Â· - ,Â«aNÂ·ff...3 <.-9- .pÂ· ./.a i ~ - ~44 2,6 .3 .et.,te'. ;:421 ..4 ~.NA,flt-jtfug=:.~;, Â·*,1., . ~ 1,4, 1944*5*k *.,4,â€ž12 ->pÂ»: t ' - ir ' ; IMfidbtas for the Great Room to be con- f . 0 U:*03 .1 . j , , -16Â»Â¢-p.44 ??.bi~bfigfi*fi#Â·iâ‚¬I,~:b'; 1Â·4~,ersationil. while the dance floor and bar ' . Â· -Â·'â‚¬ Vis.'1 j.'f f;t Â·1(: ;1 ' ~ Â·A Ki' ., r 7..t ,4 0, :fcould 643 ih a'state of frenzy," Baldwin says. 1 6 I 0 , 90 ' *,i ,1' "x'4 0' 4 , t.t 4 *.1,4mong)the artworks in the Caribou Club's 'r .. ...I: Â·.Â·Â· /1 â€¢â€¢.. . ~ r Â·Â·-1.1. 1.,!' ,~ ' :HtiÂ»'~.t i.,4;4 }(Great Room isacirca 1885 Thomas Moran & = 1.,2 -'t :.72-... 'C r ' lithograph by the doorand George Catlin's i ,Â· 4 1, - Lone hidian, circa 1870, above the fireplace. t.44< 1 .... . 9: . r Â·-.Â· - Â· ~ j~. ;,-Â·,Â·. :~, . ~, In the corner, two Edwardian armchairs are icÂ·Â·cÂ·42*,5,;.//:. i '2,62 4):y . 7. , t. . : t./. 4941,2.:R.-92 Â·.. 36-4 1 ..,. arranged withacirca 1875 mahogany table. \ Â·433-ff.{2 3 r,.Â· 1 7% \~\.*i :;i:FiÂ· Â· 4*42: 5 ARCHITECTURAL DIGEST THE INTERNATIONAL MAGAZINE OF FINE INTERIOR DESIGN SEPTEMBER 1991 $5.00 j 1~~ Â¥4 â€ž,Ct- L i- 4 j : -*Â» r - I .6~I.' ' Ide 4 1 4 , 7 - ' -P'.M 1 i u i. <FAPÂ« 4 'I 1. f 61 J 4*icâ€ž-9.gIAA"dr,1.. :1 I %20>1(*-~D-;Si*-~ I 4 .:68 -=43.'94 1 F# *Min#HW&044# g ~**p: *#R*&*3'#F~Â·-3:4 e'f94 M et Â·f> -- . 1,11, lilli ~~~gl'(~III;Ill A /14.00 1 6.U,m. 4, , 1 V 91 I A i t .0. :.4 I - 2 : R- . Aspen's Brand Hotel .2 The Uictorian gem and Nearby Caribou Club : '24 BRAND HOTEL INTERIOR DESIGN BY PETER HANS KUNZ CARIBOU CLUB ARCHITECTURE BY WAYNE POULSEN TEXT BY GAEL GREENE ; PHOTOGRAPHY BY MARY E. NICHOLS It seemed to Harley Baldwin that what downtown Aspen lacked was grand visitors' lodgings: stylish, homey luxury. ABOVE LEFT: "The Brand Building is an old Colorado sandstone fortress that is imbued with all of Aspen's history," says Harley Baldwin of the downtown structure he renovated and turned into a hotel with the aid of designer Peter Hans Kunz. Built in 1891 as a bank, which once stored the largest piece of silver ever mined, the building houses com- mercial space on the ground floor, with the hotel suites above. Aspen and Shadow mountains rise in the background. 132 149Â¥*452 - '0* / A h Nt- 745:<.1.7. ., . 24.1: 4 ./&W)34~ 9%?-- , F lor.W , /80#2:/ il.#-1-1 - i 1 -im 1 4.t, S V.. 1 - ./.3 , r.grk ME -4 , 2. 4$ 2.*.1 !11- ~ LL Â·rt . - 04, . 1,2 , 41 2, /1.4 6 -2 - 10 -4 9349*:b .: - 6, 1,1 1. 1319 I - 2 f r. ' 9 -0522- * 04 , S J + --:4:-:4.'.-'2.-C & 14 : 2 1*:, *-FER ****- + _ e.0- . 11: 9-1 9'. . 'i 7 16 aU KUU 4 G L Â·491*0:22.-fs:.-Â·- 1' t., b,â€¢Li ,"~ 21 -+-d :i_ 1 f "All the suites are named after silver mines," says Peter Kunz. ABOVE: The Park Regent has southwestern accents ' such as 1888 geologic maps of the Aspen mining district and Mexican earthenware. A Portuguese shutter is mounted above the 1gth-century American mante] in the living room. Drapery and upholstery fabrics, Brunschwig & Fils. DEVELOPER HARLEY BALDWIN staked his a bank that had stored the largest sil- ica-The Brand had its hippie days claim on Aspen in the 1960s by leas- ver nugget ever found. For a time it with leather shops, a bodega, an ice- ing a popcorn wagon and selling provided studios for Lichtenstein, cream parlor and tie-dye. By the crepes. He moved on to real estate Warhol and Christo. Then it became a 1980s, though, jeweled minaudi@res and mining claims. But he wanted garage and body shop. Baldwin per- and eight-hundred-dollar pullovers The Brand Building, the peachblow suaded industrialist Robert O. Ander- in the retail space reflected the town's sandstone Victorian fortress that was son to sell him The Brand on time. growing devotion to mammon. once home to a mining company and Like Baldwin, like Aspen-like Amer- It seemed to Baldwin that what 133 i i.././81.El - fl, / 7 I * I --3.-- 3 r ' / if... 94 / rÂ·Â·7 . !'11 1Â·41 ..'i â‚¬"fr - ; 77 ~*~ ~ 4 2.. 11 1 -3.-1 R 1 Â·trI - Â» % . .4,7..rit e 4.4. ' I 9",1//.5/Qi"61&6 9 6, 9,/L 123 downtown Aspen lacked was grand "I wanted each of the suites to feel fresh and to capture the wonderful Colorado sunlight," visitors' lodgings: stylish, homey lux- the designer says. ABOVE: In the Silver ury. And that's how a warren of bou- Queen, the largest of the Brand suites, an Au- tiques and cubbyholes became The dubon print hangs near the bed. Pillows cov- Brand, with six suites, each different, ered in 19th-century paisley shawls adorn the bed. The Turkish kilim-upholstered chair _ b "designed to feel like home if home and the antler bench are from Crystal Farm. happens to be Bel-Air or Sutton Place." To climb the stairway from Galena Street is to step into the past. There is . DA. a gas fire, a mantel ribboned in gar- lands of pine, the perfume of mulled "The scale of each space determined its char- acter," Kunz says. "The smaller suites seemed cider, a rolltop desk (beside the fax), to call for pretty wallcoverings and chintzes." old mining maps everywhere, a pine BELOW: The living room of the Cascade fea- hutch with breakfast china and jars tures 19th-century Scandinavian furniture. A circa 1891 Harper's Weekly illustration hangs of homemade preserves for breakfast above the desk; over the sofa is John F. Her- in bed. "We wanted the entrance to ring's Glimpse of an English Homestead, circa be a fantasy of what it would have 1859. Drapery and table skirt fabric, Brun- schwig & Fils; Cowtan & Tout wallcovering. looked like in Victorian times," says designer Peter Hans Kunz. The Park Regent (suites are all named after sil- %)680 , - 9 43. 9 Z:, M:zi-*8*~.'.A:~m.~. ver mines) is a Santa Fe ranch house. 57.-,Al, I' 41' -*~47 T=;- 7~,m#..M--- Twig stands and blue-and-white chintz make The Cascade seem even more *MF-fy'.1 ' intimate, precious though small. The *04 r. .... ,< DO vast sweep of the duplex, Silver m~mr, i 11,6 ~~> ~ 5214~ . V v'Â·lb.:..~~~.~ 1 Queen, leading onto the rooftop deck ..ilitr"lipli . ... . ID . Â·- ,/,.,v 1 1 demands giant paintings, potted 11/1//#6-./1 t; I trees, tall wooden statues and club i chairs with bulging arms. 4 -- Â·,e- . ~ 'L ::,2,8//WJW - Creating six "small houses," as t. . EL 4 Kunz calls them, out of 18,000 square ..tr. I 1....,L:*Ill<N# feet with a tangle of eccentricities that - lhÂ·al . laiy ./ ,, t W.1 1, Â¥ â€ž e couldn't be ignored-exposed metal - 1 vi. 9711 16- trusses and other Victorian attach- J--1 :24 - -Vt.-...,- *Â· . 0 -2,*39.16.91 1 1 tf 'Â·j' W. r, 134 . . . ... .-11 4,,.6 1 imi~IP) ItÂ».2. 'b + : 41 imft 6.9 - fwi"ir"442.,I"'I' ""=;.61"I A LI:)'I . ./.. IR / ,~22.- 77- fEE:G~-, F. 1----1...........1 :pir-- *7 -1 , f & L WE-:*,Er::/7...-7 1 ~ 44%.I - . 3 . t ..... . - 12 4. . ii . r 1 1, 021 1/44Â©> .. .r ' ': 1,4-1,1 1 3 11 | -r E#kE"*- .45 J . 17'/'R....7~. ..Â» -, C --- F i .. - t. . C Â· 3(16,~!ALU'AL , ' T- - - ~- 7 -I: r. Â· t... .. .*48 <7.. ill-VW;klERE".. a.<i."Ilim '- Z ..1 4Â¥4.1 m â€¢-â€¢~ 03Â»' 4. 1 - 9 3 - tivi -: A , 'a~ .ti~ . ' ;/.----it-'7Â·.uct: 5.Â·#/,2-- 1, .j~ f , r.,P i ji wit.Fâ‚¬Â·-413*it,-0 .. / . ~=d --1-2-3 tlimi;4*#@gUB#A 1-359 +4 -* *â€žâ€ž*s=,~13 .c4 ments-was a challenge. Kunz, whose "The trusses, part of the original architecture, gave us the opportunity for theatrical design," says Baldwin. ABOVE: A 19th-century American rocking horse stands in the Silver Echo's living room, background embraced restoration, had complemented by a 19th-century Portuguese threshing machine and pre-Columbian vases. done Baldwin's Dakota apartment in Manhattan and found the two of them had the same kind of whimsical, eclec- plains. Baldwin talked about fantasy, garitas and shop, shipping crates of tic taste that would comfortably mix comfort and easy luxury. primitive pots, drums, terra-cotta English nineteenth-century paint- The two of them shopped every- lamps and santos back to Aspen. ings, Scandinavian pine, Mexican ar- where, "buying whatever delighted The thrill of the hunt prompted " tifacts and native American blankets us, deciding later where it would go : many more shopping sprees four with abstract color splashes of canvas. Portuguese jailhouse windows, a years later when Baldwin bought out They sat down with yellow tracing rough tin-toothed thresher, an Amer- the town's failing hardware store , paper and laid out the floor plan. "The ican rocking horse, replicas of Egyp- around the corner. He planned to proportions of each space dictated the tian reliefs from the Metropolitan gild what is called the Collins Block style-English country, southwestern, Museum shop. Racing down to No- with a mews to rival the rue du Fau- SoHo loft contemporary," Kunz ex- gales, Mexico, they would drink mar- bourg Saint-Honort with lodgings 0 135 i liti . la The Brand) above. But what below? "We had to glue the dirt underneath sen. "I kept thinking that I was going What could go into this dank, dark the foundation to keep this Neoclassi- to hire a decorator, but I was having crawl space? A club, of course. The cal grande dame from collapsing," too much fun to surrender the job," Caribou Club. A private hangout for says Baldwin. Inch by inch the sup- Baldwin recalls. orphans of Castel in Paris and Anna- ports were extended downward to In London he hit auction houses, bel's in London, a place to wear your hold up the floor as a cellar was antiques shops, even church bazaars, : new Ungaro, to eavesdrop on Goldie carved out of the earth. The feel of the shipping back two containers of in- Hawn and Sally Field at play. place architecturally-the nineteenth- stant English heritage. He imagined + San Francisco architect Wayne Poul- century moldings, the paneling and the Caribou as a club founded by sen was recruited to draw the plans. the fixtures-was created by Poul- continued 011 page 155 1 0 .b: :.' 1 1 .C.,4.:f L ., li ., Â·,IAA.g ./ . ,/1-, te .P r -4 ,# .1 r'Wk . 4 'AM.*211 WI &Â·'4 1 5 I /9 '. C. ' 1 , 1 1 , hi' 1~d i i ~I f./bÂ· t % 0 #ti 4, U 1 r- 1/di 'f. , 0 .1 / 4 â€¢1â‚¬1.2 It-11 *11 1 * 1 Â· .L R . 14! -1 1 - -11Â¥ 1I ,Â¥' ~, iÂ¢ I 1 2% 4 41 3 4 1 â‚¬/. 1.7 I 09 * I <: t / ~ 4 1 0 97 , + f -, I i rk,i :, 1 9 .0'Â· 7 $<1,7. - ; . 4 1 + 4- - - 9 5 -- 12<24 ...... 1 4.6... -9 I ./ iNÂ©E:. - . 4. N.:.i' I - '- '% 3 f t -..' ./- S.ill: ./3 +G ..... ./.*4â€¢"4~ Il.-2.'. '. . 9 The skillful mix of English tradition, Victoriana and western artifacts seems a perfect setting for the nightlife Aspen favors. In the basement of the Collins Building down the block, Baldwin's "It's like visiting someone's home in the ideal sense, and the materials private Caribou Club offers "an English club ambiance for after skiing we used are important to its relaxed atmosphere," says Poulsen. or after business," according to its architect, Wayne Poulsen. BELOW BELOW: Blankets and suede-covered chairs characterize the Caribou LEFT: A contemporary landscape hangs in the entrance hall. Atop the Club bar. Photographs were donated by club members such as Martina Eastlake-style octagonal table is a horn candlestick from Crystal Farm. Navratilova, Danny Sullivan, and Frank Perry and Barbara Goldsmith. . ~ S- * 44 1 1 -- ~ry J 1 1-, 1 F . 17 F -*........ 3 f Ay? ME'1111 Â·. 34#6 3 : /2 r., O . *22&14& h i: 4<36 V 1 1.1 M Â·,1 / I 8 24 0 -4 m - . 44& Â· 6 .I. -- --i-,i -.44.4 137 1,4 */ 44,4. 41, c, 4 . 2.~9~1 : -5. I. .~ . c 2 i.25.- .;51-*. 4 ~ ... , 'DU. -Â·48"333Jt~,~ ,>>~- , 7%.. 4. liIP,ju,Â» . - . a n-- * -1 -- . 4- L.- trÂ»cz:Â·*4Â·:'*2:~ 9~ ~-" 1..-I.-3-Â· A.Â· I ER 4 f~ 4 1 Â¥ 4 r4- Or 2 1I Iml -- .... .---1 t ilÂ· 4, /' 14 1Â¥~tM~'1 I p' 1%113/WIZFFIII 1 'ji 61 . .7.10 - ): - Laaa . I ... t. 1 <'//*2"/7 / bit Vit- . 0 -' 35 . U.K. I 01 6 - -9 f.:1 , 6- 1> 3. A 9 t>0 1 li ,â€¢0.;*' 1 1 IF--=-= 34. - 2 Â· &: #.90.., 0 . , 0. e. f. 4.f' 9 , t E- $ I 0 4 A b 1; ~ 34 i ./.-Il v -r F<z'- TZ 4 6,-~~ C. 073;Â·98,=...Â· . .2 1 iIi t. jlfili i i. 1., 1 -1.Â«=2.- 16- - #1=19. 14.:- tit 1 "/1/~S'Wism * 'Yirrd: MA!:1 I - 1, ti :1 I -Iia bts,â€¢...~ .Â· ~ --6 -91-9:84'Â¥<,difi 6,1 I "50//Â£89/Emy :tntul'>;Lt~ MÂ¥.424'. 1 11 f ~ frE-,4 -- -2 '121 - 49 7 52 0.0 i it t. ? 11 -1 V:,MI 1 : .ty :lili r .9,9 ... .2.:-I: E-: 4-42.,t . 22_. 1Â§~4 4 -: -=92... 1 - r , -... Â¥l / t 1 ./ a/*94.-1/IMA _41 â‚¬24. 3 ~Â·r '3 291Â· 9 3.,-~Ill/~-i- 12Â£ . ' , . ..33.-3-6./52.1477,/1- . j, c , 474 81,25~2:; , Ar' *gpi Vt. - .. .3,0... r. -1- ./AggER,2/542,9 / , - Allitil/,55/:Ge';.72 Â»I, **-- ... -14 - 4~~r~5~#~~7*.4.... ,â‚¬9/. *Â»1 22 Â· Â·. ---- 2/.4--11 , Â· *&4 7'Â£.4Â·6 .654. 'Â·Â· -* <2bm Â· _-2- 1 ./01//I-_.~2 3 - thim#,2/ME'â‚¬11 i 1 1 v#*09&?,1 :>j.7 -. 1... -LA.. ~:*F fb'Â£*./.~t' \\ -2- - , I 0 Â· - . 7 h.,34'~~33.894pno~ IM-F'.4- i m-Â«:1 -mme .. 7-r~:~' 1 ~)434,3 4414...4Â»,A =/*465Â«.-*~414]:1 ,.,4,.Â·,0 0/7 /1 ' AÂ·,29â€¢kâ€¢.Â· ~ttitÂ»Â»446Â©000 - 1 .1.-324*1â‚¬f.1.~.-- .!7.-:.40444.1-19Â¢213%44 .trit~ofÂ« i.:1"1.;frf~F --. . 1///3.4./622,9#L._ikiLAILL6111-lial_ -aa,42.61 i A k 9 . . . P.itt- ~ " 1 1 3 2::a 9 /'44% fi 'J 1 4 â€¢, 3 Â·.-41,441 , If? 1. ;:b:*44/il ' 1 .6.. 4.f ..:1F1M:r; 2 .: Â·i2 ~~ 17 -1 â€¢1Â·:fite*ti; 9 4 .....i i. ./..:t:tr~3:i:t S .,4 D'...'Â·I.... :04.â€¢2 ' l VÂ·iÂ· .ti,~ jiÂ«...> : :f i .e..,Ne M '12 'Af#' J Jt . i 1 f .1 1~ Ici~2 -J hÂ»~ LEÂ·'~ 115<4' ~ i - [-3 N' 1 - it 1 -M. 4 , 14- 't ' 1}11â€¢ 41= k t. .e : :3 :Â· 1 7 71+NalÂ«Â©431. 1- ; A- f r ..4, . 111 - '|-11Â·- n.''Y-'..Â·:--1-: <tÂ·':!Li'l. 41 ..Â·I ' 0 ./d ' ~11 i.lei 41: '*2 .2/ 9 / 1, 'Â· P : '11 7 .1*4 1 E -V.i...2 :.. Â· I , .u E uÂ·.1-1..#*8763*Lij, t: - ' 2 I Â· .-Ill I / r ~~ $* I I ,/1- .1'.3...44 1 '13772.-Â·'Â·LLL.1- .4 m a .tr:k '. . ._â€¢.., :...., .Â·liliâ€¢. I ./. .- I. ... I. - 1.L 1 =Ek . a ' 1 8 V Â» $ , \ ~41 i~ C ' - -25.:5 I - 0~ .fl. .15 .i 1 .- 2 / / 1*~4 <1~7' - ''' ilml' '7'I -,Al ' Il P,/*4 - , F . 0 ..'Fi'~itl.'149: ,./-0/~61.IN>'A 44.- - -i ,427/lf"** 11 Al: m '' ... - Wigri~4Â· - - P . ...U 1 &41 A 1.7 4 9. 8 1 , \ 1,1 it 121:hii, :Â·c'â€¢Bil 4- O-'re// ,~1,Â·.~ 0. â€ž.. ~>.~ . It~ ;,''Â·'Al#/ 41. ..lilillii Yaw".AA - . . - :h14H1#404*.r #F 3. -34/~il#AQ#39#W, IN;Aptr,11/ '. .. 2-r ..70,4 Â·06: , , .4 ' I-- V 'Ill,Â·:J t - 1 ..1 1*t Â·3â€¢' t,NÂ· i. 41.-'h. 2 , " A, Pe,3 .. , 11,2 4:,IL:I; tr#, 'feÂ·~34 kly 0 " 4 44 '0*,2.9?e 'tr -123*, :AliNI~~~:~-4*~1 , . . 4 ... 3\04Â« '' f. -1 . :.:1.-1.-~ 6,143#y<<ti FWI~ ti-*t.Â· 35 kt< Â·l.ir. ~t f ,/*f-- - 4. + 2 49414:102Â»...lr~*t-i..:)'2:,4. . \Â·i'' ...f.4.~fkff*11 Bi,1 â€¢ 5~: Â· k.'*AÂ·l1<443~if~ 1% .A///:faud#& M. 91 i,Â°....\' ;4 ' '7;'yAhÂ° ,. :.lo.2{**-~* . .-I'. 79. ..1 ... : 4.7.7/4!349 1 ,~jt; m Â·â‚¬: t~Lit*NO-Â·L)Â·11::94 -2-- :#mo , .,y,. ':.Â·+2'â€¢ 11? ' .1, , t.. 4,965#,1.9 ~~~~~illllllllht* . , Â·Â· 6 . 16. i.,A . 0152.2,~.T;:, . t-:~Â· :t 2, I .L i '89,4 i kt " 47.:,4. Â·A' '.,t d:42Â£-1 1 ... . '. ,Â£:-" w41 -4 'im 4 11 :; ., UP .4. .1 â‚¬ - C:421 .4 ' Ti deÂ· Â·Â·1 46 .9 - .. -1 141 .'. 9 -5.'1.' <74#14~.32; Â· ct Â·,Â· . Yf/r, ..r< - el... - -U . V '-C.... '.'.... 1?fÂ»% r f.,(/7402 I =*422 - -FPm:-54. *..Zr z.4:1Â·.-*CtrigqfsÂ£-b :?: . -4.-t-1 ' te Cill.-% 7Â«14)0Â·. f % Â·r.-3-~Â·' 1\. -L_Â· â‚¬4.lt, .h . - R 'Â·.2. Â·'Â· A>L 0-1-94HA .,4 .. -i~'54/4,7?25957Â¢2*09& 5 *46 -'-~ 1 1 , 40*520Â· f ij'IMfidekwas for the Great Room to be con- -MLA, 212:~'FA'' F.i 1 * *il----19~ 4 JT,5.02'9.:r j~l*~*vff:{<1'y4.,f,Â·l ffersation41, while the dance floor and bar i.':404: t.: 3.-'+40Â¢Â£~: M #< ,-4 17Â·5 8,'INDÂ¥ : :.4,1,1, 1,80uld be iiÂ· a state of frenzy," Baldwin says. 1. ut , /' t.' i j .1 . 411'rÂ· fil / IER 4 i .'/Among>the artworks in the Caribou Club's 0.- 2 4. 1'0 1. i Ni'* i '#34 jf Great Room isa circa 1885 Thomas Moran .109*81 1 'i; ; lithograph by the doorand George Gatlin's %,ev ff,,'- Louie Indian, circa 1 870, above the fireplace. Firrift./945:1 3 . :. , P .*w ~< .;,-< , 4 .,31,9, 2,< 3<~ ~<. â€ž~4 In the corner, two Edwardian armchair s are "4*w hyb: - -. 1 ~36448?ksf}2 2;41:.1 I Mt: ., , arranged with acirca 1875 mahogany table. 4*Â· Nt*Or ?. .r ... - Rk=**,Â·0.44:/g -3 \*:1-11Â¥F?3#Nt -Â£'t:Â· PWL/k ' /. 0... ''1 hbilgiÂ· .Â· Â· WÂ». ./.. e . I % *84*n P . -_ -1.-1~222%44 Â· =t' No. 11 BRAND BUILDING, 1891 The next day, this description of the interior appeared iii the Aspen Daily Times: 11 1 - The new quarters are commodious and pleasant and are as 244:4.1 -4- 210!P'-' attractive in fittings and furnishings as money will buy. The 4 2--#11 - 4. furniture is of antique oak throughcut with all the trimmings 2%*$9 1 ....21-1:4--4 .-- -0. *1 and cagings in polished brass. t.Â· Upon entering the bank the depositor has only a few feet / I to traverse to reach the cashier, wliose desk is situated at the .$'0% Â· ~ I... 2.2 angle. 1 - 'â‚¬81 To the left is the president's private room which is cosily 1111~1~~~L, -:~-i *~ 11 : fitted up in the latest style. Continuing down the Hopkins * i . Avenue side of the building will be found the various teller's s windows. Behind the counter everything is most complete for the i # convenience Of the various ofEcials in connection with tile -, 11 D Il'.ElY - - - bank, and the big fire and burglar proof safe in the corner, .An=. rimMIE~- 1 7 which is guarded by double doors, is a marvel in construe- -U U . - MR..50: ':kÂ¥,j~ 4 -: Â» - tion and will defy the jimmy and breast drill of the most 1- 1-~h -1 - skillful cracksman in the country. 4 In fact everything in and about the Frst National Bank's r CL--11.1 1. 1 1,1 11 ibill//9/6/66...6/0 fztut-"$1Â·'- 13Â£/*2- ..- ,/.-'-St: * new quarters is on par with those of the crack banks of the ~. country and will compare with the noted Chemical, of New i York, or National, of Chicago. Hi *f 203 South Galena Street was first the location of Aspen Plumbing p Company, where bathtubs and boilers were bought for the many new W Banking hours began at ten o'clock. homes being constructed. That was 1888. 3 On the second floor there was a large hall for the P.O.S. of A. (Patriotic 11 6 In 1891, David H. Hyman, an early promoter of Aspen and owner of i Order Sons of America ), a lodge dedicated to "society purposes and social lt.31 the property, decided to build a two-story stone structure on this site front- F gatherings". Fifty couples, representing Aspen's society, christened the ing on Hopkins und Galena Streets. Interest in the plans was immediate. 7 dance floor to the music of a local orchestra, on November 14th. -t The First National Bank, located since 1886 in the Aspen Block ( No. Â¥ Over the years significant changes have occured. In the 1920's and 30's 17), was looking for more commodious quarters. Led by W. C. Cheesman, + ,x it was owned by M, H, Brand who operated a Conoco gas station on the President, and D. R. C. Brown, Vice President, the bank had accumulated â€¢~ corner and sold the luxurious Star automobile. Though the dance floor up- assets totaling 8120,000, while deposits amounted to an astonishing t stairs was no longer safe, the large paper moon still hung on the wall to the $414,554.74! Clearly such an influential banking firm was ready for more elegant surroundings. The proposed Hyman Block seemed to fit their needs r delight of exploring children. f In the 1940's, the building was condemned. There was talk of tearing perfectly. â‚¬ it down but fortunately nothing was actually done. Finally, in 1971, the Construction was begun in July of 1891. A large force of workmen was , employed, and the stone was brought in frorn the native Peachblow Quarry. j building was purchased by Harley Baldwin. Under his supervision exten- By November, the building was ready for the grand opening. Hosted by ~ sive repairs were made restoring the building to usefulness. Small, unique the First National Bank, a sumptuous lunch was held, Large quantities of .. shops were encouraged to occupy all available space, making the Brand claret and the finest vintage champagnes were consumed with jovial toasts Building one of the most interesting and inviting places in town for shop- lit for long life and plenty of business. . ping or just browsing. 111 26 27 . 11 ~ Ill - -ltiw t A.*1%,iht>44**Â«*4**~~~* %Â·Â·fete .. Lic|(4'4 0 13<~Al Rutfir- fh#ni 3-95-3 1 - M , .4,4 10 0,41*1 miwri,4 e #Avike - 40 1 {Akll u4 2~ A d j W 41,14 0 97~1 1,4Â»' 4,# 6 6.dif /1744,1 l*j d,( ~i,>,Â»Â»1 ""~1417 4, whtle,1:,J -16, Jed 49,4 3 f'*Â»4 , 841 5"tkj,1 f '0* , f~4 tnvw,1 Ud Ud t'' ~~h~'14 #0~ e ALif71.Yryjl,tkn ib ArK twWA\. r o lf.+1 f. 0/11,/4 r-â‚¬ b'),c~â€¢+1 7 rff;-1 Mx >'A,11,19&144 - 41 re,-Ai,Ltiot C &419J\,,fr., 644 ; _ i op K , '3~5 41 -tre '46 li - ~44 evakd,1 7~ MA, 1 ID -Arjl],rÂ· erÂ·Jef .Ilf n# flfky,l' AL.0/4'flifl oj u 01 q ki r. tup +466044481,4 - 41,t fell#b# 411 0 1 4 1 â€¢t 0 00!1; Â·lj{ N%4091-# r4 f;9'$ . Uo .14 5 'y '*~2 Â·fltÂ·-6 ;hi 601 0 -- nit " iv,1, 41 I n )4kll 4 J jo 544/14 1- _, rd *u flL f 4 uti#* 1 stâ€¢dwi - 0/ViL bK. - t.oorey,14 A flly (-2 27 / . wk t, /4 o~~i,~jlriou)) CCL?,C~ 7 Â£ 41* < (2,06 y14.7* B#1Lpi Uint"r f 6 144 E ~*e, 0,1,91 *4,34 *14 e!M jiftij b,viÂ·,/ /Naâ€ž14164 d.1 +4 e,Low 04,?124,4, 0*% F VV154 1 +Ryuj /*M 16 1.W g Ard&424 t,â„¢ 4v,1 1, dvtÂ» I - 6,&~4 -Â«ft>Â·,vr, , mr 4 : $ 3/ tul*/ 4 kd 14% con' 1; S tai J 4 C Welton Anderson ~ Associates Architects 7 h/10%641- IÂ£:95/0 \VED -Fl-I EE A-[255#1 INFECTMp Ic/ t-|-0 \\2)24 IN 7-16 FELKE DUIL[ANG 24Â· J 2 297>E.0- /- . < 7/ E{*.lii.52 01.r'L,11461. FUDFÂ·- tvltt,r . K[If,Â·291Â·lpl 23[J v - -Fr ' e . 1 2/ ,- r.rD: /9.,." - -111-2 8231><73Â·Ed KED>E':9(9 N 8 5, -n.i En 3- 1.L P|*t Â· *7..9 2} 0 E /.:327 . f 1 f 1 4, 'Ch t /1 1 f f :l ff) 4 fÂ»Awl lu#-A--V ; L e EL iâ‚¬~-0 U 1// 471,11*L C-LL~jk.O Â»Â«/ Planning / Architecture / Interior Design Box 9946 / Aspen, Colorado 81612/ (303) 925 - 4576 C Welton Anderson~ Associates Architects ~ i MAE,44- l';Te \VEL -1-1] 6 A-[35Â¢ I-FECTE~ '\(/ !-k) \\/012=14 IN =-T)-45. FELIE6 EX/1 L[PNG 24- 2, [2296 /...~- ./ i . 00:44 0 912i,11~1' 6; 209:r Mer . ,;4'-<<291Â·-1 0 ER.1 0 w##A- ,TE LAEL . /.p~P>Ki.:52Â·~~t..- -1-~ri % 9054$580 ~2 [iI: ve<ALAN cop-z. -13..~ [275 F OF - f":Â· ~9 3 0 E /3,?I.-7 . f t 1 C 1 1 /3 LL__- 1\-1 4 - \\ V 1 %Â·- f J I 07~042 -9 4 --2(5*6*444- Al 4 f//*ui lÂ»\ 3 -AL Â»44 /515)/Lze_ /,Â£ JEC/:4593 01*1.41-6.-- 469041 4209Â» -. j ALL/Ot- C Litt Planning / Architecture / Interior Design Box 9946 / Aspen, Colorado 81612/ (303) 925 - 4576 coIDRADO ~~~E~ov-- ill Ill HISTORICAL ~ L=.2-11@ SOCIETY Colorado State Museum 1300 Broadway Denver, Colorado 80203 March 19, 1986 C. Welton Anderson C. Welton Anderson & Associates Box 9946 Aspen, Colorado 81612 RE: Hyman Brand Building, Aspen CO-84-00079 Dear Welton, I have reviewed the project amendment for the Ilirman Brand Building which I received on March 13, 1986. This amendment does not contain information which fullv documents the condition of the existing roofton addition and its representative interior snaces (including those within the historic building) nrior to rehabilitation. The one photograph which you provided seems to show that work on the exterior is alreadv underway. It is not clear to me from the drawings what the exterior finish of the penthouse will be following this project. I saw some indication of horizontal siding on Dart of it. Will this be wood? Will it be painted? What material and color will the roof be? I have looked over the National Park Service's Guidelines for Interpreting the Secretary of the Interior's Standards for Rehabilitation while reviewing this nro- ject amendment. Although I could not determine the height of the nenthouse's roof- line Drior to rehabilitation, it annears that this height will be increased bv the proposed gable roof. The elevation drawings provided indicate that the nenthouse will be much more visible from the street. The design of this addition has no his- torical basis and the Standards require that all alterations which seek to create an earlier appearance shall be discouraged. Perhaps it could be argued that the addition is more evocative of Michael Graves' Dost modernism and therefore should be considered contemporary design that will he distinctive from the historic building. Unfortunately I am not convinced bv that argument. It therefore annears to me that the design proposed by this amendment violates Standards 3 and 9 (conv of Standards enclosed). I will be happy to review a new design for this penthouse if vou desire. You mav also request that I forward the amendment to the National Park Service as it stands, although you should be aware that I will not be able to recommend its approval on the grounds of insufficient prior documentation and violation of Standards 3 and 9. .. C. Welton Anderson March 19, 1986 Page Two I have also enclosed a conv of a letter which I mailed to vou on November 27, 1985. This letter was not returned to me so I assume that vou received it. I have not vet forwarded the project amendment that vou mailed to me in November to the National Park Service as I have received no response to mv inauirv. If you should have anv questions, you mav call me at 866-3392. Sincerely, Lee Keatinge Historical Architect LK:ss Enclosure 0 0 + 4:. 5 THE SECRETARY OF THE INTERIOR'S STANDARDS FOR REHABILITATION The Secretary of the Interior is responsible for establishing standards for all programs under Departmental authority and for advising Federal agencies on the preservation of historic properies listed or eligible for listing in the National Register of Historic Places. In partial fulfillment of this responsibility, the s Secretary of the Interior's Standards for Historic Preservation Projects have been 1 developed to direct work undertaken on historic buildings. Initially used by the Secretary of the Interior in determining the applicability of proposed project work on registered properties within the Historic Preservation Fund grant-in-aid program, the Standards for Historic Preservation Projects have received >6 extensive testing over the years--more than 6,000 acquisition and development projects were approved for a variety of work treatments. In addition, the Standards A have been used by Federal agencies in carrying out their historic preservation responsibilities for properties in Federal ownership or control; and by State and local officials in the review of both Federal and nonfederal rehabilitation proposals. They have also been adopted by a number of historic district and planning commissions across the country. The Standards for Rehabilitation (36 CFR 67) comprise that section of the overall k historic preservation project standards addressing the most prevalent treatment â€ž today: Rehabilitation. "Rehabilitation" is defined as the process of returning a property to a state of utility, through repair or alteration, which makes possible an efficient contemporary use while preserving those portions and features of the property which are significant to its historic, architectural, and cultural values. The Standards for Rehabilitation are as follows: 1. Every reasonable effort shall be made to provide a compatible use for a property which requires minimal alteration of the building, structure, or site and its environment, or to use a property for its originally intended purpose. 2. The distinguishing original qualities or character of a building, structure, or site and its environment shall not be destroyed. The remo*al or alteration of any historic material or distinctive architectural features should be avoided when possible. 3. All buildings, structures, and sites shall be recognized as products of their own time. Alterations that have no historical basis and which seek to create an earlier appearance shall be discouraged. 4. Changes which may have taken place in the course of time are evidence of the history and development of a building, structure, or site and its environment. These changes may have acquired significance in their own right, and this significance shall be recognized and respected. , : im,im . 7.' 3)'/ 't Â· ; .39>' .. 6 5. Distinctive stylistic features or examples of skilled craftsmanship which characterize a building, structure, or site shall be treated with sensitivity. 6. Deteriorated architectural features shall be repaired rather than replaced, wherever possible. In the event replacement is necessary, the new material should match the material being replaced in composition, design, color, texture, and other visual qualities. Repair or replacement of missing architectural features should be based on accurate duplications of features, substantiated by historic, physical, or pictorial evidence rather than on conjectural designs or the availability of different architectural elements from other buildings or structures. 7. The surface cleaning of structures shall be undertaken with the gentlest means possible. Sandblasting and other cleaning methods that will damage the historic building materials shall not be undertaken. 8. Every reasonable effort shall be made to protect and preserve archeological resources affected by, or adjacent to any project. 9. Contemporary design for alterations and additions to existing properties shall not be discouraged when such alterations and additions do not destroy significant -~ historical, architectural or cultural material, and such design is compatible with the size, scale, color, material, and character of the property, neighborhood or environment. 10. Wherever possible, new additions or alterations to structures shall be done in such a manner that if such additions or alterations were to be removed in the future, the essential form and integrity of the structure would be unimpaired. In the past several years, the most frequent use of the Secretary's "Standards for Rehabilitation" has been to determine if a rehabilitation project qualifies as a "certified rehabilitation" pursuant to the Tax Reform Act of 1976, the Revenue Act of 1978,and the Economic Recovery Tax Act of 1981, as amended. The Secretary is required by law to certify rehabilitations that are "consistent with the historic character of the structure or. the district in which it is located." The Standards are used to evaluate whether the historic chdracter of a building is preserved in the process of rehabilitation. Between 1976 and 1982 over 5,000 projects were reviewed and approved under the Preservation Tax Incentives program. As stated in the definition, the treatment "Rehabilitation" assumes that at least some repair or alteration of the historic building will need to take place in order to provide for an efficient contemporary use; however these repairs and alterations must not damage or destroy the materials and features-including their finishes-that are important in defining the building's historic character. .. 1 In terms of specific project work, preservation of the building and its historic character is based on the assumption that (1) the historic materials and features and their unique craftsmanship are of primary importance and that (2), in consequence they will be retained, protected, and repaired in the process of rehabilitation to the greatest extent possible, not removed and replaced with materials and features which appear to be historic, but which are--in fact--new. To best achieve these preservation goals, a two-part evaluation needs to be applied by qualified historic preservation professionals for each project as follows: first, a particular property's materials and features which are important in defining its nistoric character should be identified. Examples may include a building's walls, cornice, window sash and frames and roof; rooms, hallways, stairs, and mantels; or a site's walkways, fences, and gardens. The second part of the evaluation should consist of assessing the potential impact of the work necessary to make possible an efficient contemporary use. A basic assumption in this process is that the historic character of each property is unique and therefore proposed rehabilitation work will necessarily have a different effect on each property; in other words, what may be acceptable for one project may be unacceptable for another. However, the requirement set forth in the definition of "Rehabilitation" is always the same for every project: those portions and features of the property which are significant to its historic, architectural, and cultural values must be preserved in the process of rehabilitation. To accomplish this, all ten of the Secretary of the Interior's "Standards for Rehabilitation" must be met. T f 2-0- 3 K OMB Approved Form 10-168b - - Rev. 3/84 ~ â€ž n ... 24 No. 102+0009 CONTINUATION SHEET ~ t:Â·; Expires 8/31/86 Historic Preservation NPS Office Un Only Hyman Rranrl Rnilrling Certification Application Property Name Project Number: 7 n3 cingth 0,1â€¢na ' Property Address Harley Baldwin: 028-36-2412 ; Owner Name/Social Security or Taxpayer ID Number This sheet: Â¤ continues Part 1 0 continues Part 2 [~ amends Project. NPS Project Number: Remove existing patchwork structure (ca. 1971) on roof (photo 15) and replace with new structure (Drawings A4.1 SA6 ) of same square footage and less massing on street side designed per Secretary of the Interior's Standards pages 56 and 57. See attached narrative to Aspen Historical Committee dated 27 Feb 1986. TO: HISTORIC PRESERVATION COMMITTEE RE: AMENDMENT TO BRAND BUILDING APPROVAL,ROOFTOP STRUCTURE DATE: 27 FEB 1986 The ongoing remodeling and restoration of the Brand Building has spread to the second floor and finally to the roof. The "penthouse"(alternately called the "shack" or the "shanty") has long been an eyesore, one that no amount of "sandstone" colored paint could make go away. The applicant proposes to treat the structure on the roof as a "folly". ; -that is, an element that intentionally looks like it is not original. A surprise on the roof. From a distance the pedestrian would see attiny. ten foot'wide Greek temple nestled into the higher roof, complete with Doric columns and a pediment. The temple is set nine feet further from Galena Street than the existing penthouse with a lower,smaller greenhouse connector to the east. This would be a decided improvement over the "shanty town" structures now there and a pleasant, amusing surprise for the pedestrian who looks up and spots it from ablock away. - 1 9 - Alum,#Ge://11 11 March 1986 Owner': Signature ~ , Date NPS Office Use Only O The National Park Service has determined that these project amendments meet the Secretary of the Interior's "Standards for Rehabilitation." O The National Park Service has determined that these project amendments do not meet the Secretary of the Interior's "Stan- dards for Rehabilitation." Date National Park Service Authorized Signature National Park Service Office -- 0 10/1 COIDRADO HISTORICAL SOCIETY Colorado State Museum 1300 Broadway Denver, Colorado 80203 November 27, 1985 C. Welton Anderson C. Welton Anderson & Associates Box 9946 Aspen, Colorado 81611 RE: Hyman-Brand Building, Aspen CO-84-00079 Dear Welton: I have reviewed the project amendment for the above mentioned project which I received on November 13, 1985. I agree that the change to the storefront at 207 S. Galena does make this bay more closely conform to the others. I have no problems with any of the other proposed changes, but noticed in my inspection of the drawings that they still called for operable awning windows at the transoms. The National Park Service has determined that that tvne of window was not appropriate, and you had subsequently agreed to install fixed transom windows. This' discrepancy will need to be clarified be fore I can for- ward this amendment to the National Park Service. If you should have any questions, please do not hesitate to call me at 866- 5299, Sincerely, < 62Â¥9311 A, Ad Lee Keatinge ~C/\~--- Historical Architect LK:ss C Welton AndersJÂ»& Associates Architects 11 March 1986 Ms. Lee Keating Preservation Planner Colorado Preservation Office The Colorado Heritage Center 1300 Broadway Denver, CO 80203 Dear Lee, Attached please find plans, 2 sets of elevations, a photograph of the roof area of the Brand Building, and a Continuation Sheet describing the work to take place. I understand Steve Burstein of the Aspen Planning Office recently gave you a verbal description over the phone. At the Historic Preservation Committee meeting this morning he described your reaction to the proposal as a "cruel hoax" which I find hard to believe having talked to you before. The vote of the Committee was 6 to 1 in favor of preliminary approval. The photo studies from street level that I presented convinced them that it would be no more visible(and in fact less) than what is there now and one of the architects complimented it as being historically appropriate. Please call if you have any questions. Sincerely, C - (bilk- BLL C. Welton AAderson. Architect Planning / Architecture / Interior Design Box 9946 / Aspen ,Colorado 81612/ (303) 925 - 4576 9.-r MEMORANDUM TO: Aspen Historic Preservation Commission FROM: Amy Amidon, Historic Preservation Officer RE: 203 S. Galena Street (Brand)- Minor DATE: June 11, 1997 SUMMARY: The applicant requests HPC approval to remove the existing stone thresholds at each retail storefront so that the spaces are accessible (no step up). The Brand building is listed on the National Register, is a local landmark, and is within the Commercial Core Historic District. APPLICANT: Harley Baldwin, represented by Ted Guy. LOCATION: 203 S. Galena Street -~ PROJECT SUMMARY AND REVIEW PROCESS: All development in an "H," Historic Overlay District, or development involving a historic landmark must meet all four Development Review Standards found in Section 26.72.010(D) of the Aspen Land Use Code in order for HPC to grant approval. 1. Standard: The proposed development is compatible in general design, massing and volume, scale, and site plan with the designated historic structures located on the parcel and with development on adjacent parcels when the subject site is in an "H," Historic Overlay District or is adjacent to a historic landmark.... Response: The applicant requests HPC approval to remove the stone threshold at each retail space in the building so that the shops are accessible to the disabled. Historic photographs of this building show that the building originally had a sandstone threshold running along the base of the building, however the stone that is currently in place is probably not the original since the openings have been altered numerous times, including one period when the first floor was a Jeep dealership and garage doors existed in the openings. The wooden store fronts that are currently in place are not original and are not a completely accurate copy of the original storefronts. Staff finds that a cut in the sandstone threshold for the width of the door opening is acceptable. The applicant proposes to lower the existing door and make a taller transom to match the existing detailing. 2. Standard: The proposed development reflects and is consistent with the character of the neighborhood of the parcel proposed for development. Response: The proposed changes will not impact the character of the neighborhood. 3. Standard: The proposed development enhances or does not detract from the historic significance of designated historic structures located on the parcel proposed for development or on adjacent parcels. Response: The proposal affects non-historic material, so the historic significance of the building will not be impacted. 4. Standard: The proposed development enhances or does not diminish from the architectural character and integrity of a designated historic structure or part thereof. Response: The architectural integrity of the building has already been affected somewhat by the elimination of the original storefronts. Staff finds that it would be appropriate to consider reconstructing them at some point. The proposed alteration in this application do not further diminish the building's architectural character. ALTERNATIVES: The HPC may consider any of the following alternatives: â€¢ Approve the Minor Development application as submitted. â€¢ Approve the Minor Development application with conditions to be met prior to issuance of a building permit. â€¢ Table action to allow the applicant further time for restudy. (Specific recommendations should be offered.) â€¢ Deny Minor Development approval finding that the application does not meet the Development Review Standards. RECOMMENDATION: Staff recommends that HPC approve the minor development application. RECOMMENDED MOTION: "I move to approve the minor development application for 203 S. Galena Street." - . W E,<en,16 STOKE ~ Tl,ace-tiN . MbÂ¢k~10Â§ I ARGM,ECrD ANC Cilr#* 9 - .. EXISTING 51-ON[k 15 TNe STONE b / -1-U-â€¢ . CAL STORE FRONT BEFORE O Im 1-M E,45â„¢6 9-rCNE . 1 *---i_ 1 ExarN,9 61 *-~~ - ~~AEKSTINe STONE EmikfaM":7-4 I ' 1 1 /'ti/"I:/:.gi//'I1 1 -1 J Arf,ICAL STORE FNONT AFTER I gtirk /1lillll 111 - Al Plannerofthe Day planner: 270& N Â· Date: /8 P:618. 97- Time: /0 9/1--- â‚¬1Pbone 031* Person Name: AAP-MPr E*Â¥t,Pw/N Organization: ~FLAME) SULDA\*F- A,Â¥1.LEF-vt Address: <thoe/Fax: 92,5 - *57-5- Issue: A'reeMENT- 2/.Ff~fr* 2,6136-' Discussion: *Prt'Ts -3 57- 6.7,wM~ A BM>6-Mevr-Otoobse *Uati) /1- Ths p-EÂ»- 6F 1-Ps Ble,R14 8Â·l-P6-, P 41-(a Als SCOP-Fle-E (e<Lum,7 serste- . 012 CH'Â¢Neâ‚¬ Tb 81<6112(c PEEW'205 rAC,Al* POAY+ FAUGNA ST-: Result: V(Â·Sl 'TEP &60--* w<Miâ€¢(Bte;tt +- WAMMB- 7b rl,SEN (fir+1-3 - \WIWE 15 MEV Â¥w pp..apsslyâ‚¬65 7 - MFC> 6>46*.pr ; 8'(12FIM:; E/AP),01165-MlflfM77'7~ EN, 7 * Â¥M,1- 41 8601# 6?Lcffv.110N 25pjL{ 1- ID , 144.7- 0 * 905 MAT 9-0,uvq-vf w/ tptia/\. City of Aspenâ€¢Community Deuelopment . - , February 25,1997 '-- 1 Harley Baldwin 208 S. Mill Street , ASPEN Â· PITKIN Aspen, CO 8161 -1 , ~ ' COMMUNITY DEVF[.OPMENT DEPARTMENT Re: Brand Building basement construction Dear Harley: I understand that you met with Bob Nevins on February 18th to discuss excavating a basement at the Brand Building. Bob has asked me to follow up on your conversation. Because the Brand is a historic landmark, and because your project will create new leasable space but will not increase your FAR, the project is exempt from the Growth Management Quota System. To receive this approval, an application for GMQS Exemption by the Community Development Director and a deposit fee of $450 must be submitted. As long as the project involves no uhange to the exterior of the building, HPC review will not be needed, however the Community Development Director will require structural reports and a letter of credit to insure the safe completion of the work. I spoke with Jim Austin in the Building Department regarding egress requirements for the new basement space. Per the Uniform Building Code, Sections 1001.2 and 1003.1, two interior stairs which provide a continuaus, unobstructed exit from the basement,to the outside are sufficient. If you will need to close or obstruct the alley during construction, you need to write a letter to Nick Adeh, City Engineer, for his review. Please call me at 920-5096 with any other questions. Sinceriblyl 1 11 - / Amy Amidog/, Historic Prelervation Officer . . 130 SOUTH GALENA STREET Â· ASPEN, COLORADO 81611-1975 PHONE 970.920.5090 Â· FAx 970.920.5439 ' Printed on Recycled Paper L *00 0 -6 490 z> ~. --I -- . . . 5. < 97Â·~1 PLASTICK. k - <NEW BUILT -UP ROOF -'0,/' 8Â£A ww 1 f * (111<3 + FLAN,HING 4 1 rl f \4 v<N Eop'dERENK.. - /, Il 1 r-~U.~ \ \ r - 6.Â«Shirs 1"WIDE- / rl;,gli ~ 2 â€¢ Â· I $ i 21*Mulk*px i ' 6 7. 7 '1 j 1=\ '3"H/641 FLASHING Fok -1 : 2 2 31--1 4 LA\J 3 WIN D--.4 . 1 1 */1 4,1 +1\/ f 1 --A. -===J-*'#~. \Â¥'e?.Roof -Deal,4 G.Ut-TER 5 METAL FLASH/7 W \.1 1 1,- 0 4 . . I 1 i - L 8 -3 " 5 LD E- /11 -- JI /1. U 4./:3 * ' 7 lit . p c 1 14*i 4. , 467 4R)*t- FINISH ; 3.$61 . ' .y le Â¥,\114.07 -74 r Â¥+ PLY WoDD - i ~a ~~~~ ~~~ ~/ ~~11 1 <~#0Â£~)W~)*1*%1" T !21'.4 C.-A, p N I .FLU 4 1 2*4 OAK ~ Â· AU Lic #/ . U 2 - 2. L.-1 ~ k EaGE.s RooHOCC:> 118 Â·~5-re:*Er--rm-- 4- , ki SU L- . --Â·1- / 1 . f w L - 1' 01 ~ t.- .' .j~~0~~~ly--2-Â· 4-AVE CS 3,/4" Â·, 111. Â·.1 7- / 9 , /53 . , 3~41,u'Â· 1 12*r \ GLASS .v/ , I 6/2 StiCET R.04Â·~--N--~--#:~~~--6-~~~~1~~ 0Â«/3- 1 -1 '73.181'41\ PA>.\ . NEOPHRENE. STRIPS 1 . OK ALL S i o.rs '' 1 ~ Exts.TINGâ€¢ WALL --Â»-- P h \h . .x %34 Â»\ 4 g-22 g 06 F VENT- <' H : W/NDOW F RAW.L DETAIL (J j ROOF b RA IN DETAIL - I ~G" FO IL - rbA&#~'Â· ~ ~~ 1,4SULATiokl ~ ~4~\ $ 1 -3 ( / 9 SCAL E 'L" = 1 L o'' 1,6- I = f L O V BALASTE-Â£6 SCALE- 1/9' i I - 0. SCALE- -:-/ l N : 1\\ .1,1 4\\ 1 *r .. 78 ' 5 H E ET K o C K s c- REva (-2 1 0' 05.- ---n. 4/ lx~ CAP 0~~~~ ' 2'X 12" HEADER 1 h %\\ h <+ WIRE- DL-ASS---7-Â·-- 1 ~ ill FLOLL- - t.le 71 L i N D S -) - .- 3//6 - C.<-ASS -__,'. 0 . . t )\\ \4\\ . 14 * 1,5 GAs,< E-T C ~*~752, ' 1 * 4- 24. LL,J Â»tjr~~--. <tÂ¥22:za, ROUNDED/~ :i.34-4. 12 AFT-Â£26<'~-7~ , .1447 ' -Unt - 1/. 2' T-KNA- SID.C R,Â«11-5 n NEorMELE,JE. .. -7 & , 4 --pr,4 4 Nkl" OAK. f FOK BL-/NDS OAK 4 11\ A:ft 0,â€¢AL Io.u , , â€ž . r" I 1 Â£ IX'* OAK 1 RIM / r K 1 TR.1 wi OAK-- i / 2.'* C,.. KAFT E KS 2'- 54 O.C. / ROUNDED EDGE- / C.LUDE FOR. SHADES - -~~n T re. , N\ \ I , I " BE A K â‚¬ ; a K 12 " 8 E.A rÂ« -- ' .2- ' -1,7-- - . >11 '2 ~~\ r1 0 7-, N ~~~ ~ RAILING 1 _ </'-r~~ Doo g. r R 1 hâ€¢A DETAIL _ ~-in~ 5 k Y LI GH T- DE T- Al u -1 t 1 - AVAN ING W 1/4 D Ovv -_- ~%-Li~ SCALE- 3/4~ 1 1 -00; \.Â» SCALE- I h'' r fic" SCA LE 1 1/2." = / Lor, PE-6-LA 2 1/ 40 WA -\\ /4 <MY Ly r ' - * /'- 11 58 A '3'- + " ( MASO W R '19 . E - J - Roof P ,-AIR P! PR. 7 41 " 5 TO P ----=Â·- .--2- .0 AK 1 '- -'-- 1Â· / Â· ~ 4 ~ p' x ,i', - 1 . Â«--* 1 1 I. '1 - i , 1 '90'*9" 6 U r-T ER. - i CLE-Ah, 11 R.ACK AS K. 14, f PA, A -r V.Â·- rl t rE_ ~ ~-~~~ - RES E.Ir .. J L.1 7 TOIL Cr Z . . - Z 1 .1 -<- C 1- ' - &:f - , 11 1 1 . ./---1/-- 0 0 - '. e : RE +A Ov a. F \ R. e ED ID OVA N CE-4-iN C., I i 1 ' { 1. . i F 4 41 1- . 1 -. '11 11 ,, 8Lock. BUTTRkfS 11 .., 0 5/NK k 0 Â· 'Al, C.ONC- i E K~, FOJ- -3* 2,r:~IJÂ°1 th 1 -71 ----- ---ctrah.0 i . â‚¬ O. 5 Â£ Â· 0 --. 'r<t 4-1 BALS 0 3 0 i ) ~ f'JA : n C - C. E 6.L (6 G ROUTL~ t, PLAÂ¥ FoRNA E Atâ€¢ C,ELL G'' /5/2. BAC,4 jAJSULAT#01Â·-1 1.-- - . , Of . . . , . 6 I. t .- 1 SE-I- s.c-k w/\Al- Ae,OVE. SAFE. 1'-cÂ·' 5/8-4,1-ECT ke<-kj| A 4,466- 4 + . t. 12'. 1\ ......11'.1. 0 k W . -Â· ~ IJ ... 9. r Â£ 1 61 007 D 0004 - ' 2 1 1 / 4 h â‚¬ z 4. 1 1 1 . 4, 0 # 1 '. 1 0 ES.TON E LA/A -4-%. p. 98. SHE.tr Re,K ON *A.4 -rf 4 ./ , W N -,--- / A 9, 1? 4 9 E- A L. .Â·17 - E U ZATHANS_ - EDGE OF SKY L# 61Â¥T --- A /C-\ f.1 I Â¥ .r f __~ ~}t~ c~~I ENIST,~bi FLOUG---~~~ -6 . 1 u., 1- t 0 . 4.. 1 19 k , r 9/9 " D/A. Nol-EL: ALL \6/Dot, POK 5 Ky LI GMT'S, REL.02-ATE. VE:.0Â¥ PAPI:-.0< ... 7 - . 4 6 1..,-----r STE.!EL ROD i, - 1% i SE-ArÂ« 9 + PO ST S , RAF T C K â‚¬ r */FDOÂ·ve F RAÂ·-19 pl.7 , i ' -1 _ '--" -In r TO F ReNT OF ' , PKEPARED For FAINTINC. 04 PAINT GRAOL . liA// -i . 8, , 4 f--1 1 6.- bcp. 1--O , li \ 1 P</ ,14/9 >d . 4" STEEL \11 2 - , 6 p LATE -Cout --3 - . KNER 85-ArÂ·,1 6% /4' ..".~ :1 4 4 Ac k V/A LL OPANELL. .804 ~ - - - 4113 Â·* â€¢8 ker/ , ic-1 . E R 0)4 40 Â£ 9 9 4 1-0 --- 91142 . . ,#i/// r- 61, - . .7 19 ' 4-AST buTTLESS LL) -3.i t,' -* 6.IEvv PoÂ·&Â·r 6 >L <- i ~( ) F'IJRHALL 1, r N E.w 8 E.Nif -~ 4 6 --- - ./1 It 0 -2 *4+ 1 G M 4 k --, i u. ' 04 - - f S r E E L ROD L 3/1' D IA . Â· 0/~ , F ~ V// S -rA ke, S ET 1 N FLOOKING '. . . 1. f)<1" DAA Kilk %FLASH /VENTS -CL teD< Â£06 F . -El M .. ,-7 2 2 .. 1 * .1 - n 1 3/4 " SUB FLO.0 R 41 A R. P CT OVE- 12. 7 -\4- 11 -U .y - 1 .' Â· 7. - 1 -/ 9 b .. ENTRY HALL 9/8 " S Ht Cr Roe K \ Â· , \% , N p - NE.W K.M-r KY DOOR. (Br OWNE.1~ ~~. . , SNooTH STIC<0 11 --- 2 1 4 .N .\* 4 I \ .2 .r-Â·-- 1 . 44 - INS-1- ALL + TK, t,1 FIAÂ·/IgH fl . 4 -- - *-+1*= -r . j - ... S MOOT +4 â‚¬,Tuc,co, F/NISH , 11/ .l.. ALL E.NrkÂ¥ , ru C-<Â·CÂ£ Â·VVALL-G---~ 1/ . -7 - 4 I ---1 1 . ' L CLEAN 8%1(K 45 4.tchEFLT 2. LAZEÂ·&$, PAD--Â·-REPA, A CRAcK \ - . - - Â· Al . ' I k E CA . Â·in P A: N Y . 1 +4 WAUU... .\\-4 Â». -1 4 1 .0-4 ,/\/ i . 1 1 .C X 11 0, . '.I , It : . : C 1 Â·j .- SKYLIGHT WALL- SEEMbri 4 (I) F LOO R PA-AN /0-2-h CE, 50-AL E- 74 ~- 1 4 0' -+- .~~ SCAL-â‚¬ ./7,0 0 (LO. SCALa 3/44. l'Â·o'' ... 1 ~ Brand BIdg. 01!ice . , Â·1 .i -P< I---* , . 1 ; 1-- v -- 1- - - 2,1~â€ž---:-2.F PLASTE A - ~Â· 61 Ew BUILT -UP ROOF - :Â·Â·0 - ~ . - ~- A.1 E- W CLJR.3 + FLASH<+4<3- ' i K 1/ C h P -1 =r f //A BEA w- '1* , 1 : 4 r- Vt N EOPN ERENE. /2, q ~ d.#SKEr, 1"WIDE-/ fall ' '\. 2 2 ikEV 4 . 1" LAYERS-6- -1.23,-1, ) c ' . WIN =6* 4 / /la , \ 1 \"fc: 3 HIGH. FLASMING FOR. - I -A eltilt-<*-T~ ; F 02:,A~A E- ~ ~ +A E-T-A L P 1-A SH,#2.' 4 1 . LitfWN' -4 - f --1-- 1 0 ..4,1 4 .} 1 4 . 2 -3.*SIDE. /./.-- RiooF C,Â£4(rd GL,rÂ·rER 2 1 ..'. 4 1 \ 1 ~ '. 24 1 - 14"PE-Twoot) -- -~7 f Iii ly-A" T R INc C.A p .. ki"-42'w F[#16!4 .igl" -<OAK. 11.,~ ~ Â»j . U * '" 1 449 1 \72- LAVE 2.5 3//6 - 1*9 OAK /STOP-- -7, U.'- . 4 i N 9 U L . - U. . '.- ;j I hf EssES KouNDAP . . 1/ - 4 --I '5/A SHEET KOGA-4, -p U\~ 1 GLASS 4~ 1 NEOFHEENE. S TR#PS 6 1 . I 04111 * --- /.I . - 91 w . 0,Â£ ALL 5/ D.ES Ch %-FLUG V.'Al_l- ------~-:,4~~' ~ b- 44,9 *42*/ \\ 4 , \ < F 1 ROOF v *Ew r i- H 1 vvwooW F RAWÂ· L D E.-r All CT) ROOF D~~~Â®N~ PETA3l_ \ G" FO' 1- Clk\\4,\ 4 1 METAL. j iNSULAT}ON \ \ \1* ta \ SALAS'I-E_AS < 1 / SCALE 5/4" 2 I L o" LLj scAL t. 4.-L-j Bc-ALC , 3/3- K =. 1 '- 0 " . 1 - )1 7 9'8' sHEET Zoc.p<,~ ~ ~J74 ~~ ~ S + C Ews CE f-Â·0 0.<- '--f .t 1 4 .' '1 1 X 1" CA P --4 - .1 X 1 2 MEADER ~ 1 1 Â£ 0 1 4 4,1 WRE OLAss--7-._ : 4/6 C.LASS ' ROLL_-UP BLINDS ~ \/4I =11, 1 .1 06 1/6 bA%*C ET . , il'2.'' 7-KIM- S,DE RAILS . n NE ora E Â£ E.wi- --==ff- '4/1*1" OAK.' .~/ FC k S LINDS OAK. 1 6 4\ ROUNDED , 1.1 6 N A f rE 29 -ly 4~*4 " 0 414 -t R :AA " ' l'x</ RAF-TERS 2,-01,0.0. 7 \~\~\~L $ (Ki r R. I wi O AH - .--- - n ROUNDED EDGE- / GUIDE FOR. StiNDES ---- 1 , / 6-ALVC 1 Â· 8~412" BEAN\. -- - . --n-,~- 9/4.1 - Trea t , 1 /, O //Eh R Al LINC- CG-3 -boo#Z- T R 1 M DETAIL-.-- 6 ' h tkYL,GHT- D ET Al L- \3 1 f #p Ch-Â· AWN ING W' IND Or/ -- . Â» ( <~<~ S CAL EL- 3/4 '~ 3 1 -0*' | SCAL E I Fi " C / f- G " // SCA LE- I 71 7 1 - ; '. 1148 * 0 3'-4-" C MASOM RY) U.-I--71 , 10'. F El. L Â» -8 2% e wA .-- *t-- - - 4.. 2-44 8" P RLAM.E. . . i. . 1 u' . - ROOF pi.Alk PI P'L - Al" 3 -rap -.._. wg A K .. 3," X 11 1 - , 60 r-TER.- ~ ,. , ---i ' CLE-AN 15Â£141< AS KIQ. 4 P At N 'r v.' M 1 7 C. --12: ES E,J. 1 1 422 5 3 - TOILET 7 a. 1:77:~Â· l ki 2 .. 1 1 -1, 1- 1 . fc Y . 1 . Of # 1 7ZZIE--1-- N Â£ w U ~Â·.ck 1 . 1 , O px .-1 ' X 1 C-ON C., i 51 Rk H RE M Ovt- F jEE e.'D IDO'w N CE,AlÂ» C' , 1 4 #- I- . . 2 111 -1. Â£ i.. $ -BLock. BVTTRESS- 1 '1=121 0 3 o i 3, d z:f. 1 -1 C. E. LL-(6 0 1/u TES â‚¬ unat.iNG - 5/8* 1.HEET kocK. --- -: V ' 7 , ' tr 4 - 4 046 1 - Â·---p Â£2,CT END 94 -a h 4 - AD Pt-<CD To *Aer C M */ L_ PI.A,1, Fc,2/v. 0. - .-.)54 - - I . 4't /5/L tsr,<.4 1,us,kATioâ€¢-1 Â·* 1 . 0 - E ActÂ¥ 9-ELL . 0 T - I. 1 r ' r Z 11 3 i ':*=P , a. 1, 2 , Â· Str BAC.k 'Ae'ALL- ABOVE SATE- A'-c" 5/8"'sti.ELT Rou/' A . 1 + '# 7 Â£ 1 M. 0 0 r D OOK - 0 - â‚¬3. . 0 M / ./.-/.. 1 . I .- +r. Â·,1 1 . . 108' SHE.Â£-7 1KocK ON *Aut- -~r JA ' 24(LE_AN STONE WAL-4.9 .0-Lf - , . 5 _ p . , :' E 11 r . E.*t97*NG FLOGA If 4 SE.AL <a/ E Ll ZATH K. N E- - - EDGE- oF Skr L., <IMT 7-- A' 1 ,< C. )A N Â· ). -e < h. \ 0 9/9 " D / A. : 7=-_ 1 3 Â¢- b- 34------Â¥ Sl-EEL. Rep N.0, hi 0 r EL : A u L \6/ Dot.; POK 51%FLIGHTS, BELOOATE -Â£ \\ VE.07 7,13<.,<1 EU<ACS + PO*TS $ gATZTERS + M,Mbow FRAâ€¢%2.6 KNI .tl N../.-.-- TO F RoNT oF , PK'e..FAKED rer rAINVING. <De. PART GRACE- . --r--â€ž -t=- : N St_t,<p " STEEL '47 .. -- P LAT C COUT. N EÂ»,t SE-AM Â¢ i 1 I N - - vÂ·/ A 6-1.- s.<.8~~/~~PA/El- .2,0.. \ W RO A C O Â£ W C Â£ VO . . *Â¥1 - 7 1 1 4 1 ' 1-AST + EjuTTKES, I. -'. 6, 41 j ~ ......... I 1 1 .\ Â» Po-51Â· -4////1, 1 ..1 - 4#4' Â· |~ FURNACE,1 -4 0% /6. \ / 1 ~ 2-7 1 M r N E-w 13 5 NM . - 1 . . .4 - . .. .. 4 I1 . . ' . -, 0- . a .ELE, 11 0/4 N =f , : I l. 97* â€¢11 New p o,T , F - . ./. 11 Â· . -11 - J#&*0>GL- . I 1 7/ , STEEL ROD E 5/1' DIA 0. 1 .1 f \*/ G TAKS SET i N FLOORING ~11: f . , f Â« Â· j - -- <Â· 1 V.Oe, F -* ---1 it 1 >< 'F" DAF- FLACK S P LASH /VENTS 11 : -r--- a , Â·Â·'. 1 , 1-n =n 1 1 - Â· C --- ..... Li.-9 . 1 I. . r. -- - V - Â£ 3/4" sue, FLQCUL C.AKPILT OVCA r--~ . .9 - . ' b, M .. 1 *. . EAITKY HALL 5/85' SHEE-1- ROCK \ \ H . 1 N e i I - N aw FINT RY DOOR. ( Br Ow,Â·t E-iâ€¢~) ~- . . SAoorriâ€¢ STZ,u:Â» I I. . \.J!. â€žt 1 -r--- 1 , , i /<7 N . h JEL - -1 4 KNETALL Â¥ r K j NA FZIA.'IgH , .1 # ......... h . . ~ a --il. -*I- 1 ,. S M 00 T H Sru<,C.O. F/NISH * ' . 2 - r - +Efir- /17 - h .1 . ALL ENTRI 5rug-40' Â·V,AL.--77 --4. 1 ., . by N - E-AH aki (1 As. 4--C.F.6.FLT 2. LAZE#li| PAD-- ----RE P/Nip. CRK.4.1< -<-,-- - Â· ..\ .. ~1 . . k E A . t. P A I N r '-,4 +1 1 r e- . - . 194\ F i 1 4 49 AUL 11 I - .- 6 'll, 5 - . 1,4 - (I) FLOOR P U A.-1 S K YL 1 6. 4 7 WALL S Â£ c77 ON ... (I 'SCALL 1/4 ' . 1 * O" SCA- E 9-* " z f e'b U// SCALE 3/4" c d '- 0" Brand Bldg. Office 1 f L + f { 1 1 Â¢ f f f F .1 A f _ I f r Â¢ 1 (t f 1. C 1 4- ' ' 1 -4 - 4 .- % -r-I,~TI-!'~r/,- -- 63 EN BUILT -1142 ROOF ;59 PLASTER- - -,- C 34\ . =-,-- -7.---k. ----U 1)< -41 -CAp..--=~=23- ----.77\- 1 ' - W E--w 00<3 + FLA'SH{NG // r\\ \ i V .-'.'*.4; v (7 4/1 N E-Op#J EREN.,6 -4-/ L. 11, Â·2,6 5 PLE.B 1"'WiDE- / (fN | I -Â·r i \ 1 4 1 r Â· . 6 1-LAYERS -2-_*- F 2 1 ,-\\ 42 ~"H)<~4 , FLASUING idoll-~ .---#/.=.IrÂ¥ , -METAL FLA?544'k/ ROOF C,124( W Gul-rE,k ' 2, 1 /li!/4 - A ~ #Li241Â·fl)%/ 1 Â· /9 1, 590&- :..4~*_ fi Â· El 4 t: 1 f '- aal -6.6 r -1 k.27 T R 1 4 C. A. p NbagRA.% PIN,â€¢60 4\:f 4. . :.,d e 344 P La: w POD .-~ , 1 0 1,0 -OAT t . 1*9 OAK \51*ap. :-7 f 4-~ JNSUL. , . EbGE.5 KOON[>Co . A# 00 '; 4 ! A - - 7 -- - ''fla;-Vh-4 94 \ /1. . .1 I . 1 ~ --Uwal'; A YC T C.LASS 24/ 1, 6.1 K ..2..1.- .Â¥L 1., Â¥ 1 V.,4/ - 98 ' SHEET KOGIL:-- --6--=----2--li ,, 7.1 \ m\\ . NEOPHRE.NE. S TR Les , 1 + "11 'ST -w~ 61:STING. WALL -~~r V ' CM ALL SIDES < 1 - 1-\\ 1 \ , , N %24 1 \ /- 7 --- 0 1- \~ J ' r-2\ j g 06 F VENT v/iNDOW Fe.AW.L. OE.-ALL r J h. Koop D RA IN D E T A 1 L_ \ I F O 1 L Tb Alj\>1 44 \ '. 'METÂ» L 1#SULâ‚¬T~}ON \~4\ 't \ BALASTE.G LL// SCALB- C / 7 SCALE i .- 0. 1 \ 91, 1 \ '2 CALL 1 11 ' -4 / L o " 78' SHEET Tocd \ , r N s CLERS. CE f'-4 05-4 - 0 \ â„¢L 1 k 2 LL A p -4# 11 1 2 READER ~ 1 '.1 \ 1 Vt k iN/RE ,2,1--Ass.--Â·--r---_ 0 - - 41 1 k \1\ t, 3/24 - 0.4 ASS - -*-- ROLL-up aLINDS ~ \.1.\ 1\'. 1 4\ \9\ - \ ly.'17 TKIJA- <3#DEL RAIL-S n --71 1, -rÂ· ; A{*.* 411" OA K. f lu MC K BLINDS OAK Â·f'CUâ€¢LA' ROU MDED C 22_*G FLAFTEBZS- Â® 6.4Â£ 2044/ A 'KAFT E RS 2'- !4" 0. 0 - .A//01,0,00* '122 t Â£ Ek.4-" 04< -r RIM E E K:17 T-111 NA OAK---4 - 2-X & ROUNDED EUC.L / GUIDE FOR. SH,ADE,Â§ ' --Â·.. 1 1 , T re' x. . -21/ 9 / Â· a K 12 '' 8 EA pÂ«. 4 ; ' \1~ ~ + . pEA~ r . i . 1 . X. . 0 1 ~h~RAILINGâ€¢ 1 _ 5kt.~LIGH-r D E TAIL. N4/\ 3 i 1. ' r /Gh 0002- -r R 1 0 ..AWN ING WIN D OW - ---~ 4 1 - 1 1 ~~2_~0.'' S CAL t. . 40 SCALE I F." z Â£ 104 SCA Lk. 1 '/'2-" = 1 Lo" 1,-â€ž0 X -3'-4'â€¢ C MA SON RY) - --%- "1 ---=1. 7.1 .r BELLA 3 1% 4 wA 4.. -1-. 1 J 1- , 1 11 -Roof pirAIN pipâ‚¬_ P X 1 0' 5 To P - 1-12 A K 1 ) -- .---4.----4---- '--- ~-=~ 1 -3 - X lili - . 1 1 - - , . 1 - T 9'*9" 6 u T-T E R. - i h O .. . ... 8 1 1 . 1 CLE. Ak E E.IC k AS It, g. 4, 4 PAâ€¢ ,â€¢er 9, Mt T- E- ~5~~~~~~ RESET , * 1 L- 1 . 04 . Tol,-er- 2 i E i Z . . - 'j! , 4 . I ~Â·ac k- . E - Â· . 0 -- Ncw .1 W -1. X 1 c.O N c. 0 REMOVE. F 1 R e ED 13 Ow N CE<t--INC/ -It" 9 o t '- L L . 1 . -! ~ . 15(-Ock burTRESS l-KN..1.146 - 16* SNECT kock ...L~ -4 -, 11 0 3 O i D lid --7 L. C.ELLS GRouTE-p Â»9. 4 - + 2 AES - --- Er-TEÂ»t O 04 - \1 E . 1.1. 1 - AFF -1 C 0 1- c k 66 r Â£ t.<3> *,/ f'*Ar Foam ~ ~ ~ "~*~ 24 0 ..0... rs,4.. Poric-< lust.ikATIck-1 N ti ~ ' il ' ~ EAQ. C-*LL 1 . 1 41 f .... . 1, i U i. P j V , 134Â» .1 - 2 A.'- '. r 6 M.. ' St--r MAC-A PLALL A~OVE SAFIC I'-0" 5/8"'SH.Ecr K.,c-te-" A \ . 1 , be 4 - Â¥ 2 i Ni 0 07 D 00 K . - N 3â‚¬3 , 0 108. SHEr-r 1464,4 0,4 *ALL. . r. .1 h ._.~:Â£ f~lic.L. E-Abl STONE Â»'AL-f,-44 ' ' : O . I t . 1 '. 4 W 4 SE-AL ,â‚¬- E.OILATHANE AN + .t. EDGE OF S ky 4/ 6 MT r--- h , L j Â· E * 1 57 1 N G. F L <i o B ' - -- W -- / H \D .1 , a 2-7 9, 7.-- , 3 Mk 16 J 9/01 0 D / A. *r~ iff -, NO7+91: AL.L WOot, FOA SKY LICâ€¢Frrs, Â· KELOCATE vck)7 MPE-.f<r 9 -- .\ i 8 E..A N< s 4 POSTS a I----- STEEL, Rot) i , RATTERs + Wipbow FRAâ€¢,E.6 . , .4. TO F RoNT OF ~ t~__ , PR.2.PARED FOL FANTIN<- O< PAINT GRAOL - '4 N ------ . , .1 .. ~ el-be-, -f--1-- 1\... 1 . Â· '.9/ 00Â«4 " S ZE Â£ L . 1-4- 1 1Â» t N LU BEAM 2-1 \ 1 . . - . 4 -t Y/ALL P LAT EL- couT. N ir~ ./ . - ~~ANEL. .804 J~ J~~~- ~ ~ Â¥:Â·Rle!â€¢4 g'0210Â£ e. 1-0 7 .. 1 L ~ .~ ._ ~ ~~ ~ ' 1-AST 5 u-rTILEss t 4 9 - - Uj â€ž= , 1 . . - ALE-4- PO'br 6 XG ' ~F'DRHka ~ Itaw 5 E-&/4/ 1, . IC &%1&. 5 i -f. . , . T '21 .l .1 11 .. III 'i E----------- ----------1----- , - 27 . 94-' 11 .. . i T =f 1 4,1, 4 . . r-#-F:I.- W ./.- * ' I tt Nâ‚¬kw PosÂ¥ 3/' a /// ,4 . 42 . 7% IJ / eil . .1 STEEL- R.O0 12 5/4' DIA .. 01 I - ~ VÂ«' GiA ks SET t N FLOGRING . 1 . . . ... r *>r y J . - -r Â£06 F Â· F M 1 â‚¬ 0 1 Xf' OAN KICK %PLASH /VEN-71 -CL 11 a. . ... f . 0 , r-y 9, . 4 1\/1 1 7.4 1 I r- I -- 19 - 1 4 N 1 t'- q *- 1 . * 3/4 " SUe FLO.0 K CA K P IT OV C A 1 / . 'P ENTRY HALL 578' 514Â£Â£-1- ROCK N , 6 .. * NEW ENT- R.Y DooR. <Br owNG-t~ I .. 1TSÂ°21 ST'ucco \ ,-- ---1 3#' -,4 .11\ , I N S t 4 L. 4 + T KIM, ~ - 1 -- 1 F". DOTH STU<Le o. F,w(SH . . 1 ALL EN r/r sruc.,0 rvALL.5- ~7 | ~~A~_.-~~ | I . . .. . 3/1 2 : 4 12' i Â· 1 + CLEAN 8..ic.< A'. A--C/â€¢,E F Lt 2.-AFEAF PAS------- RE P-be. CRACK \;44//:1:4" -- -- kE:.4 Â· 1. PAINE* *,Al/C. LN - Wi A'...4. B . . I AA F -1 1 "' Â· (/\7 , id o. 1 1. f 1 0 (I) p kAN B L <2~ S KYLIENT WALL S Â£ cn obi 52-ALE. /4, 1 1 - QU I SC.AL-,C SCALE 3/44. L '- o " - Brand Bldg. 0!tice */.--_- . 4 \l 1 4 1 . i g fi r r , ''Of - I ." 7. ./- 1 lilli C r- 3 ~1 "u --tr[PO-GÂ·-*-[PSÂ«~3{~M_ L.1 L.1 42-}-5+54+j]-*Â·+*Â»'-P L-1 902*--1 1 E-g 1 -1-FLF--H---9Â»5-*%%Â«4HMJ- -1.U-+MÂ«rEMEHHI-[PE-~- 23 -trtÂ« L--1-1 -0 -~1 1. '1 1 1 1-------1 1 1 i 1 1 1 . 1 1 1 1 - 1 1 1 1 1 0 1 - 1 P / â‚¬ 1 ~41 < Â·-- Niav A+Â·Â·Ive> A.v#Ikee -- : 1 j i.--. , .i , , .1 11 .1 11 Iii i 1 11 ' 11*---*--n LIEAV' AÂ»/hil)*r -1---7-7_-_1.1 - ' La=4 1- 11 .1 *gg* Â£216. i - . -11 : KIE:'/ C L.EAÂ£ 0. /'7 1 1 1 1 1 h,Ree 94:a/ ' ~ ' ' 1 1 1 li - .*aNAYELM- ! CAUHAS Â·957 -' 41'.11.7801 ~ 1 ,Â· Â»Vek>06Â¢11Â·14 4.1 1 it - I li 1 MA:12.0 6,3*St 4 . 815:Tr'46 44 , f ' 0/ : m 1 4,1'i i [1.1~ : / It/|ilit| li %/ 01 / .0/1 /1/ rIFF r \ r=y Illa am],41 02 -/-1/7 ] 1 ' 9.4.*124 1' ~ 2.-- : '114,1111 C - 1 /2.1 - 1 It;U'.6~WW 1 f . . 4- - 1 1 , / 1 1 J r 1 f 20Â£69" *1 94* IZEH Â£:Ve HON. Â£57Â£16,1144. ~6Â¢08Â·â‚¬ ' ~MME Nohi -ORk:Er':+J- Foue' i /KIEMOVE. NorÂ·1-0,21<3,414â€¢4- AUUED â‚¬Mt NI- 0â‚¬aaeÂ·,64 *EX â‚¬Ajow 12,EHOVE- NON--*65,iNAG PE,145 .5Â«re OF E-86646 "JllEANZE 4 ABA,AcE 9 -190 48/ Â«rtsâ‚¬Ef'AorÂ·Â·rr grwravÂ¢m'** 90:t:15-- / < 6127Â¢Â£Â·Fâ‚¬0rr 4 25ru,8â€¢ceÂ· $41 -TY f. VINQN,/ #: EERALE NK/-r>/r hEDV 02**FeÂ¢r - Le>/Â£12 pla,e, 1 * C*u-LE + &54* 0124Â£9 - 04*) ILE-aller -To 1 h.1EW 5:,ra*fÂ·*NT - LAVERL Flat L-a/AE aAPE -ED .5,10Â£Â®v*LE *AVE- PUBLE [@*Pt.* 10 MA-'29.1 -1/fl ,3>2* AXES 0%16:rINAL Â»1 P'Al!Â£g~ON < 13, eiC*\VALE- 6, 64â‚¬. 121ERADE-CONO. BReE- ,â‚¬ M.42:*INdr SAN*PINE -22Â»12 44#17Â«"rONIC 0454-5 2*36- EA45-1- BLE VATION Ffy FEAL- 14 2\V 5-To 12Â£ PEONT : reu.A CLAO F'xee,al.â€¢4Â» +AWNIPâ€¢Ur N,v/INL,0*,6 4/>/ *AEEC> EKIAMEL FINIblt (MA-ETEE 62,Â£58,4 -TD 2011,1Â£*TE F;â€¢4,4-rEG' 4,0>P) ovEÂ£ FATESt, VADC> EDT'13,4 61*440Â£61.-2, MAr!20* extern #61. AL.Pre 15â€¢01 61-~XTkÂ»1, rhtÂ¢* 6>F '8'89nl.e4 1504L,~cvce>O 22926 \4/ -TIEANÂ·Â§*M + ACE:. eCT 14-7-0 37Â»" 5$'Eef arl.00=20 2.ase Â·5.8,Ee 122 MArrcA p'foht-r \VINÂ»VE, 4 8*1*40Â£!56, COLN 012 6501-01-1 kle ALE \V/2 -TO MIACIZ+1 6,(15'Trb'61, .- f -7 ------r- --- - - 1 ' L*.g~_111 [_1[_~L'14444_~j_44k'j~U Ll _9]j-]Â»-AlÂ» 1-121 +JÂ»{Hi-{HHAPHÂ»442-Ara 1 4 1 __fy}]-444414}Nfl}4_ u _{m-44Ht444-9-Â·[R- i . 1 1 1 1 1 I i 1 1 1 1 - - ble\V CANW# 4\VhlihtÂ» ~_---------*â€ž=p -1- 1 1 1 1 11~ . .-1 . 1 3 . / J 1 1 -11 1 1 11 -1 i 1 1 . .i - f : 1 1 1 - 0 1/ 1 Â· 1 2,<IPTIN,9 1Â£6(EN-TLy AENÂ©VAT,9 meTION --157 16.MIAnd 5 4 J /4# ~. I20*laa %4 -%164 i #44. drt.,6,6 Abx/ - 1 Â»/INPON 4 12*Â¥l-AL,9 W<' 1YNAL HEAv erftâ‚¬C FILO hiÂ·-T NOIC-14 -SPEVA-T-10 h.1 9 146=11-011 1*= iÂ·Â·32**t:Fl*;3.~fl#~1~~.wr...,Im,:24. tk I , . " ..PrT . A-A- M i . 6-5 - dE>v *16*- Nt tedâ€¢a Â£ EX10â„¢CA i 1 4 AÂ¢E %521,9 ~,-~C 4: . 1% - 2/':74; /1 0 4 2 @ A. ... - .. teÂ¢PA f! J 4 1 2aa /4 z.,19. .-- - 1- ---- b f 00Â¥80100 .n - 1"r....../..&.....U' 21:,- 14* I F.,2... ' 56* '.A... e Â« '77' 4 B . . .9.7/9 .. .. .'I Â·el I . "' 44 - . . a., i .4 fo~42)j N r 4 Â·Â·a,aa 1 / 4.44* I I *,1?**4â‚¬9'.7 9 ' - 1 4 .: Â¢ I. .*I . 1 .. I . - r - . r , 9 . I .. 1 li/: , 1-, I 46' * . I .:. i . 1 ./ " 51 . . ... 4. U *9' / k, - F .. 1 . .. 4 . I . D D. . \ ... / . .. 9. I. ./. . . , 0, . / 0 , I. . '. I 4 I . '" 1 1 /. ' 0 m .1 . 0 4, Â· -. . I ' I I .. .. . ... i . / . I * . I.* 1 / . f . I . I 00 1 - . 't., 1 - 0 , I t. 4, , ..4 11 ... , , 0. 0 , .. '' 7/' '*/ 1 / "' 1 . .... 11 0 : . 0 1 . - A I I 1 â€¢ ... (b " , . I . ../.-9 - A . I -I Mi MFUJ*ega.5 /98 0*19 39 7*3 + %@ NNS; 09564,3 59 hoNâ‚¬ 1 9,9/7 wot * 00Â¥bl0103 N)dSÂ¥ c 9Â£87 -926 (COE)/21919 oP[)Joloo' uadsy / *66 *09 l sial.RJOId / s#031!40* VAO papelp - N Â¥=, Aq UAA[)110 g) 4 ONIallnS aNVEIS 44 931DPOSSV 18 UOSJAPUF u011441 D ..5981 Wr 4 app )M <c ue# 944 eps-85 11 11 + -h 1 / M -4 re 1 L-1 1-1 1 1 i . 30 1 1 1 - 1 ,,t It] - -11 - 4 11 Â¢ 0 1 4 1 0 1~9 7-7 0-6 J 11 /. 12 i - F- 1 1 1/ -* Ir - - - - -- - -- - - --==-- ' j#-.....0 *'-/ *-/ /%*= r IE] K- i A 431 1 Â· 1% 4/j i . - '1 8 5 AL}:G/-- L 3 - 20' 9 , 4, A-Â«--# .=N 5 , 0 U,- - -/+ i /6 11 43 /1 ~ 3.# ~ El Â© 44) U r '' L--1 Â¢ EL- L 1 ~ I~ -p-~nif~ r 1 1 7-1- 7 - 4 / N --- - r m 1_ _ .16- ~-r- -r- -1. - - â€¢L- - 7-t- 1 i ,Â£ 1 4/r 1 V l L - i1 Â· 1 - - /1 . +C --- U i r 1 1 1 1 Â· .. 1 4 1 1 1 1 12 - - maa U- B --I *. 1 NO / - I_ 2 211 6441 . Â«---40-3 - 4----r 2 - /4 m 1 - 004 11' Ul ,< 53 3 - 1 1 LA 3 19- . t F --- . r--1 Jr I 904 bl -% 3/1 f "- 76 , > 41/1 1 1. 9 r 311 Q $ t" ' 2.11 1 0 0 3 rg <1 -4 4 1, 1 Le> - 0 1 -4 k:%- I; N.'79.,J -- - -- - -- - - - - - -' * 11 \ / 41 > .." / 8 4 I . 1 = / S r 1// + 94 Z -9 Zâ‚¬ - au ~1 Q 3 t< \ 3, -Â·- - j 1 11 202 V 4 5 Al- + 210[ ' a 1 2 .*--"--,-4- --*.-1 1 M â€¢ D\,1 , 0 r - - i. , 4 1 il 4 .. .. ..1 ..r . V' Il 4 -i. r r. . 4 1 1 16 j 2 2 f S * --1 Ch 1 1 -, 1 11 9 1 1 1 r 335'NE 11 4 - ji + I i.pt '84> 1 teÂ· 2 l 1 t.Â· 11 1 I M 757 1 1 - 06 F--41 - 1 196. A- 1 1.4/ 1 i 41.4 . 4 , . 94 40 *r & 6.'Â·~-rÂ·Â· I I ...43'. 9 Â·Ma. 0Â· j ../A : 10 i ALIFI IL,8 9.62}tp Â£33 3/91 318 8 0*1 9 015161 IY'}4:44 - HE>V *Wil F:1012. 0%'*A- r I .1 ' ' 61 ..Lia . 4 39.-' 7......~ 04- 4 H 1 1., 1 q.-Ill-1 --Ill-P-----I--I...--li-#---6 - r ..1., M. Â·Ed 'i- ift , Fi Ify- 1 . "L 1 .4 111 / 4.4,32 0 lili 11 IIi 1 G 1' 111 1 il ]11 ~~2~~22~22~Tr Â·Â·1 11 1 1 O 3 1 lif 44 141 RFF~/Pr//'Fru ED Ll I -/&0* 1 . 4, 1 1.- 1 .1 Za 1 1 111 1 4 0 74 3. r g M "-4-1 Ld 4-4 co . 1 .* Â· -4 41 . p ,Â»0" *12<29 M. ~.Â», - 12(891Â£*E- 4,Â¢irlt46 AN'lkRUE- 1-ki,W-16 A- 5 Arâ‚¬ AN-T!Â£00 E 1.Wr,J-r# -- ' 1% . - 1, 1 4~ - -I .---1- - i-.-*- - . - - -- - - ----- .*-*.- ----... - --- - ---I- .- -- ..... -I - --67- 1-r Â®-- -11 <Â© i 1 1_3-__- 1 ----: : ~ 0 ~ ~ <0 - ,#I 99 %- I 5 W ~~An/lqi** 1>,Mid-6.- .3 221 1 - Â· SEE SÂ»FEdÂ» 5611- A-1.,9 1 .4.1 ' i'.'-.P -'* . i -4 . ~7-1 .--4--2 - 111 1.iN il / 5Â· 911 1=11Â·liu .Â·tti 4 -- 121 4 1-1 1 r-1- 4 1 1 A . 4 1'' 1 4. 1 i 1 b '1 41 1 1 1 W 1 1 1 ?1 1 1 1 li PIE'\ 1 1 4 L. 1 1.1 0 1 1/ 1 , I Â® 0 10 1 i 1 4, 1 1 0 Â® 0 Dca - 2114 124 i Â® III i# i r i i .~~ \ A I~ 4, 1 1 INNE . -1 l--\ l. 1 1 /1 -1 21 1111/E~b:~ht: 4/1 11:-1 1 -1 91,11~1 / ~~ - t Ill J '4% 1 1 \*11 i I 1 1 i , 11 14, .1 / 111 L...2+ A 1, - - -- - --- .--- 1 rf .Â· rr 1 c-i It tr -4 .*.i-1 / i . t r 1 r---".Ill 0116 1 , 1 1==~1.1 .--_ 1 .==== 1 1.'('.. ~0Â¤JP~-~~ -41 ~ __a~_~-1 ~ , .L liC777~3& -. 4-11 1 pLUJ j W~-:2321 ----Â·-MAMM 6,0 I / 1 ' 4=+1392 NON-AORNAL. Wrelt:/ Â»Wi;*NED efENE><iÂ¢4)/ - . 0-> 15 14 . L ~41*64115 4 ~4*Ce: 4/ TTVIE ; ( ffer#VE. bba.1-DEVE#t.AL Fl)(Et> / l' 0-12 MAP 14â€¢H-Â£91210, NAU AUUSU 126**AE '499- 6â‚¬16*44; 4AÂ» *48Â»/ WINGÂ¢V#m<AaÂ£ 9/1210:6- 1 6*2 GE.,Â·Â·be # 2EfLALe g/.tylfÂ· I MNIC#* Â¢ EE/(ACCE 97012' bee,t 02â‚¬EF~Â·rr Â·- CEÂ·FLA:E 94Â·1Â£*IDNE * 1 Dll- - 'r ( C KE*lavik i46'Â¥l-aE-;ALÂ· Pek:E trrAÂ» . ~ , H Elt *TdafÂ£Flcor.rr 0(24Â¢9 **440 0Â£-8,M Â·10 WE-w *'r:*E:Â·f- gaNT- Ci %;UKE 45.9,Â¢6 -terÂ«Tb,Â·4 -ry,; 0rt,Â£0 Â¤kt, ... brighÂ·k. 4Â»Â·IFIAU"~fibe - 12!ZAACe- 644Â£. 2*heEL ..7 MAÂ¢Â»+Per- 3,*U~122!181 ~--0#ft**FAAN#iÂ¢~01'4*3 102Â»E ED,â€¢ms 93,445-r E LE \*rIO hi _-fy P#044+IE\V 6701Â«~1*PRT f - -1 '\ U-----i*iJ[2,---'---- fALACLAC) Fixâ€¢ZE>,Al*5* 4,AN\./NIN<* WINIC,>Avi ,Â« 04EED}- ESNAMEL - . ID.ZikN, i ' FINIS,11 (MA:rre AE:**1 127 PUP{,1(44-rE 0â€¢tht-*G' 4/21,P) d'VENE F*UNTE,2 Â·*/Ck:,9 *1-1DH d>ANCMEL -0 pw-124 fixiâ‚¬Yn Na@t. Al...:*16, 15â€¢ert- 01-0.evATE,| 1 Fh[126 2>F Z '80457.nUE-4 166â€¢il-'MeaÂ¢:,C) ? '02+ - Â· ' ck=*,4 V -fLAN,5044â€¢ ALEA ear- i.rns, i'-1'11Â· Plam> atibeep Latee,0,8326 -1-0 x~.re!.1 113$>i>i/1 Few-r \ViN#ve, 6 *,PANVE,EL.. 62:7Â£Netâ‚¬ ,5â‚¬960,Â·1 kle, A.Â£6 VÂ¢012 -r,9 Mtâ€¢Â«12:1+1 6'll50*rINA, li~ 1 1 Il j A 2 i _ . - URÂ®99Â«'FogRJP-:70=--7 ----'7177,1.-1-"- TaREEPPful+ff 2 4~ t 1 1.2 1 Â»[.}-1 0 f 1 - ~ ----- ----------- --- P .Â¤ ' 1 .T=1 O ' U '' U U Ul 1.i, 9 F3 ;-- adJUUU 1 It 08 1 11 Cu, 1 0>g A I 11 10--J -O - 9 4=1 , Co 1 4 â€¢O /0 g G J L-H i .St R Â¢3,4 1. i 1-1 1 + r .1 f' ! L- --t--1 28 Â· ! 1 11 1 r 61 o 1 Â·t- 2 0 :t, . .....-----....-----------~ C i r- - - - -- - - - m I - .- a .49. 1/lit , 1 , ~9 ~ -Ez 1 28 6, - ---- 1[7-<- .1-- IFF--* - 3 1 3: 11:11 4 Â© 0 62x l I t. ~.-=,.------~...~.. r@ 1 12 1, T-- ---7 11 m 1 1 !1 lili i 'l i k 1 1 ! r. f , l'It 'tril /'In \ 1 t '~ 120 rillp 1 1 11 11 - - 1 f 111>Ji 1 - 1 1 1111\ 1 1 1 ; .11 1 1 It / 1 u n I -4 2 1 11 U 4 brillitil~11, ULL_1*Zi -,1 It 1 1 ---1 1 3 3 510 1 9%1 ' 2,<1977#Â£9 LECEN,t.4 12EN6)447*9 mWTIOpt -10 _*EÂ·MAA l 2.laa %61 -01$-164 6,66*6 014>v - --4 Â»/!hiPON 4 1*f'DAÂ¢S W~-ry)>1Â»1~ NIBXV el'Dec Fle Krr El-CCEB--=SL:rabzElo 4__ _ __ lilli - - 14 1=1 6014 sheet na 2-4 16 A-4. i rf *:~ 61'SRU .1 - Â£ 3 r . I i ...f r . f 13 ..04 223 r 1 IUM:=?:gisi-~ i -18 y Â¢ 1 Â®11 1 /1, -18 -Â»./Â¤71 1-CI Â» A - f 1 / W \ \ i 4 1 1. . 1 1 / / iii 1 L . il 13 I L---31 42 1 1-U-3 1 1 11 1 1 23 --3 1 1 . 4--- 1 /, f f .- m dcÂ»e trae n ,*, ~ C 14*Iton Anderson & Associates ~ , BRAND i BUILDING -..9.4.- . . .. al,/* I. ArdNeds / Pkrners .d Box 9946 / Aspen,Colorado 81612/(303) 925-4576 ~~ S PEN COLORADO te .L 4.:10 *turi I. I . . ...:t' .BILI:/&* . . .14,0. 79090:82 M-Ii.lill'll",1.- 1 11 1~ 1 11 r 1 1 . 1 - \ 1 -~1 . 1. . i 1 'r --l . 2 . J , ' I 1 .. 1 i ~ , ~ .1 :. I b . i FA.- * EL 'lly---- ! i t CD 40 D 4% 4 % 0}TAti~At~ .i' 2 t -I ./2 ~I -1 ......1.lili......Il I Ii- -.--I-- .t lili 1 11 - --1 lilimm ~ =1 1-1 ~. 1 4 - .-1 3 \---- A ....-I . i--1 1 1 - - 0 Ill"*/ / \ - i I =r-lili - 1 . - Imll i '4 - r I --~milili:mil - , f 1 I, t |' 1 Â· I i 1 1 i -r - . . - r p 1 - . rgw.~ ,<%Â¥79 '.. j?941 - 'O r. K 1& Th El t 0 - *2 -- I F.7 7 Â¥i N i-/ 2/3 7 ---*- ---3---* 1 - U i 22 ED 4 - 11, RE Z E in-1 4 P z rf 1 R l \ 1 1 1 1., 1. 1 1, 1 . .. 1 1 0-1- 111>; 1-- 1 1 1 1 Rfe Gr 1 11[- PEN 6. 1 84 1 j 4 I , -->1 - 'r 1 - ==4== . !9- ~ 74*. 14*0. * (D dde /1 HAÂ£ 8, C Welton Anderson & Associates ~ ~ '- -- -' .4.- ~ ~,Â·t,. BRAND BUILDING *ki <*tÂ» ~ + Â£ drawn by CAVA p J cheded Architects / Marners Box 9946 / Aspen,Colorado 81612/ (303) 925- 4576 P revised ASPEN COLORADO *3&Â·. /%*A - A t---3 14 0110Â«90-12 Ne,V ps, U Nd, -. -3. 4,:.-= .'c -1-4 'E G : , * :' 4 .1.St. ., -9033:7973~~<~4~ pT -â€¢ , T.%7--t..'. 7 - l#. 4, --* . f.##flt-9 -36>13 , ...t'Â·f* - Â·2. 2.,1 itÂ·F#*2 1',..3.:1.-2 ....M -4, 22 -2.6. K 1 .... .'.,1 1.4 ..Â· 9.4- is,1 .f: 1 . 4 - .1 - ,\3'.2...23 i{44.Â·.2.z .1â€žÂ· -' Â·Â· Â·.--ff~ -iÂ· ./ :~c i...1. I 1 .' 1 4-_ A 1 1 1 11!41 r,- 1 f r 9------ll i k ~t~3~7-~---1 ~ 1 1~1 i 111 S Â·Â· A il 1 \11 1 - 1 9E 34 -1 1 & 2 11* % 1 r 1 il RI 1 ll' 1 5. 1 . -- -1. VV'I ORADO 44*4* 4- 1 ME,/EFF/r- (a 1646 4Â·L *4'5 -486Â£ F -! J U fbmi 1 I . 1. 1./11 ... il alli Z .1... I .-- I / .m i a 1 / 1 1 ' 1 -%/~- 9 . 4 . Ii, 1 4 . 1 1 1 ! t - r I. . D D M'Illw 1 1 . 1 L ~In 1 - 41 I -- 1-Ill=.... ==MIl ke=.E ' mi!.1 .. -1 0 -b...111 1 0 6 1-1. i 1 1 . 4 j11!1"'"I="I'- Iii ~ 0 \ 1 . - --I.- --. 1.7 , - . - I ili - "11"~ , - mil g 1 . I ' 1 ' $ Hilli mill 1 ! 1 - ; . I . 1 . 4 - r. D . ly . .1. 1 4 ---1 1 i : A .t lilli ,' .l . . :.A D , .... . 0 . 1 . A . '4: -- 6 ' f" e .-1 11 11 -18 & B -1 i 2 1 . Bo A-A t \ 1 1 It 1 1 11 1 - ' 1 ' i. 1 4 1 , C --I l lidil - 1. Al!111 - r 1. V ~- \ --1. 11=- r 4 J 6 / . ~ : 1----j~ Ii--Â· . 1 , ! I. i 0 0 B . INg!*MA,1 1 - '1 1- . - . .~0 m : --lillill- -lan.iii 11 -11ill 1 1 I -. ......../-1-11 111....Bilirm'Ng. 1 I 1 1 1 1 ! , 1. mir=m . 1 .-11./.-----i-~mal 11=.-mI I .. . - \ i , : 1 : 9 4 -1==L i - ./1--,1/-1/li-L . 0 . I e / a I i . 1, . 11 - illillillillillillillill'lli 1 : ..0 - 1 1 - ,. -1 '111 , 1 2 f , Illill 1-ili 1 2 Â¥ ...1 $ b , 1 . / . ii 1 1 1 -'-1, 1- 4 V 1 I i U -'--I.......I. 1 f, .. A . , -9 .9 Li~ i 1 III=F rl - H i1 l i 1 1/ r 1-4 1 1 ------ -' 1 irrl i ; 1 M /\ 1 1 * 4 J i ~ Ll:2]11~ , Ill. W / 111/ - ,/\ $- 1 -3-9*4 fot 1 4 1-,--- -m----- / !.1 \ 1 1 / I ...ZIZIEZZIZ U E 3 1,\ \i \ r-----rl i N.1 , r 1 1 : LEI 1 Â£ 1 11 i riTTTAI ---T 1 1 "111 lilli 1 Â® dc*e CSâ‚¬ 0 196 1 C IA*Hon Anderson & Associates I BRAND BUILDING tckiwn by J Cfeded Atdikeds / Pkrners 2./. Boot 9946, Aspen. Colofado 81612/(303) 925- 4576 .â€ž19%-:- ASPEN Â« COLORADO FÂ· 2- 1\19119/~-0ful i 4 Â·S1461441-r '*44 46 164'5 Â£9435.t all I I " liwilillillillillillillillillillillillillill \1 r 1 It 1 : i 1 1 r'/ - .......111; .~1 L' 4 6 -I -r- - .1,0,111- 1 L--~Idlli~ /. i 4 - 4 1 I 11~. 1.-.1-Ii i 1..plillill 1 - /11.-- 1 r , Â® Â®Â® MW.Â¥114,184 $ 1 L i , lill/19 ---IIJE ~& 1 . L m.1 : 1 1. 1 -I I : - 1- - - m . I.-ill \ - 1 i Â· 1- I -1 . ./lij//f'*~ A --1 - 111't h - i Â·, ., Ellillillillillillillillilll'll 1 , 4 15ee=2eme=eme:531 0. - % =11 - , , i . 1 1 I 1- r ill - -y . k , 1 - 1 -- lilli , t, 42/