ModernisM at risk5 Case Studies

World Monuments Fund

2

Published in conjunction with Modernism at Risk: Modern

Solutions for Modern Landmarks,an exhibition organized by

World Monuments Fund and sponsored by Knoll, Inc.

Principal researcher and writer:Morris H. Hylton III

Assistant Professor of Interior Design, University of Florida

Principal photography:Andrew Moore

1

5 Foreword BonnieBurnham,President,WorldMonumentsFund

5 Sponsor’sStatement AndrewCogan,CEO,Knoll,Inc.

6 TheCaseAgainstModernism HenryTzuNg,ExecutiveVicePresident,

WorldMonumentsFund

10 DesignAdvocacy MorrisH.HyltonIII,

AssistantProfessorofInteriorDesign,

UniversityofFlorida

CaseStudies MorrisH.HyltonIII

12 ADGBTradeUnionSchool Bernau,Germany,1929

HannesMeyer

withHansWittwer,Architects

20 A.CongerGoodyearHouse OldWestbury,NewYork,1938

EdwardDurellStone,Architect

30 GrossePointeLibrary GrossePointeFarms,Michigan,1953

MarcelBreuer,Architect

38 RiverviewHighSchool Sarasota,Florida,1959–2009

PaulRudolph,Architect

48 KentMemorialLibrary Suffield,Connecticut,1972

JosephWarrenPlatner,Architect

56 References

contents

2

KentMemorialLibrarySuffield,Connecticut

3

forewordDespitemodernism’sinfluentialplaceinourarchitecturalheritage,manysignificantModernist

andotherrecentbuildingsareendangeredbecauseofneglect,perceivedobsolescence,or

inappropriaterenovation,andsomeareeveninimminentdangerofdemolition.Inresponseto

thesethreats,in2006,theWorldMonumentsFundlaunchedits ModernismatRisk initiative.

TheexhibitionthataccompaniesthisbookwasconceivedaspartofWMF’sefforttodemon-

stratethatmodernbuildingscanremainsustainablestructureswithvitalfutures.Alongwiththe

WMF/KnollModernismPrize,whichisawardedbienniallytorecognizeinnovativearchitectural

anddesignsolutionsthatpreserveorenhancemodernlandmarks,theexhibitionhighlightsthe

specialchallengesandthepromisingopportunitiesofconservingmodernarchitecture.

Bonnie BurnhamPresident, World Monuments Fund

sponsor statementForover70years,Knollhasusedmoderndesigntoconnectpeoplewiththeirwork,theirlives,

andtheirworld.Ourfounders,HansandFlorenceKnoll,embracedthecreativegeniusofthe

CranbrookAcademyofArtandtheBauhausSchooltocreatenewtypesoffurnitureforthe

workplaceandhome.Theirapproach,wherecraftsmanshipjoinedwithtechnologythroughthe

useofdesign,anchorsourperspectiveandshapesthevaluesweendeavortolivebytoday.

Aspartofourefforttocontributetothecommunitieswherewedobusiness,weareproudto

bethesponsorofModernism at Risk: Modern Solutions for Modern Landmarks.Werecognize

thatModernistmasterpieces—cornerstonesofourculturallandscape—areroutinelybeingde-

molished,disfigured,orabandoned,andwehopethisbookandexhibitionwillcontributeto

raising awareness among students and design professionals about the role architects and

designerscanplayinthepreservationofthisimportantpartofourarchitecturallegacy.

Andrew B. CoganCEO, Knoll, Inc.

4

thecaseagainstmodernism?It’swhatwecomeupagainstwheneverwe

trytosaveamodernlandmarkfrombeingdemolishedorseverelydimin-

ished.That“case”oftenpresentsitselfinthreebroadarguments,eachwith

distinctive traits that threatenmodernsites:publicapathy, technicalob-

stacles, and functional obsolescence. If our goal is not to lose another

modernbuilding,itisessentialtounderstandthesethreatsinordertode-

velopeffectivepreservationstrategies.

Modern sites face many of the same threats that other historic sites

face,includingage,deterioration,andneglect.Threatstomodernbuildings,however,arein-

creasing,andareconsidereddistinctiveandsevereenoughthattheWorldMonumentsFund

(WMF)launchedaspecialinitiative—ModernismatRisk—toaddressthesechallengesmore

forcefullyanddevelopstrategiesthatcanalsoserveasmodelsforpreservingmodernsites

facingsimilarchallenges.

Whythissenseofurgency?Chiefamongthesegrowingthreatstomodernbuildingsare

demolitionandinappropriaterenovations,wheretheconsequencesareimmediateanddevas-

tating.FouroutofthefivesitespresentedintheModernism at Riskexhibitionanddiscussed

inthispublicationfacedimmediatedemolition.Onehasbeenlost,andthefuturesoftwooth-

ershaveyet tobefullysecured in the longterm.Onceabuildingdisappears,aswithPaul

Rudolph’sRiverviewHighSchool(1958–2009),thereisnosecondchance.Muchisatstake.

TheCaseagainsTModernisMHenryTzuNg,Executive Vice President, World Monuments Fund

5

Despiteextraordinaryeffortstosavethis

importantstructure,RiverviewHighSchool

inSarasota,Florida,wasrazedinJune2009.

6

Public ApathyInmanypreservationbattles,onecanmakethecasethatabuildingisworthsavingbecauseit

isbeautifulandhistoric.Thosetwofactorshavelesscurrencyinthefightformodernbuildings

becausemanycitizenssimplydonotlikemodernbuildings,andoftendeemthemdownright

ugly.Further,bydefinition,manymodernbuildingsaretoorecenttobe“historic”inthetra-

ditionalsenseandmanyhavenolegalprotectionbecausetheyaretoo“young”toqualifyfor

landmarkstatusorotherdesignations.

Forfartoolong,citiesandtownsacrossAmericahaveroutinelydemolishedtheirpostwar

modernbuildings.Deemedunsightlyoroutdated, theyhavebeenbulldozedonly tobe re-

placedbynewstructuresthatessentiallyservethesamepurpose—withoutgivingtheoriginal

buildingsasecondchance,orasecondthought.

Thus,wearehardpressed tofind the right“emotional” reason forpeople tocareabout

modernbuildings.Itisoftendifficultforthoselivingwithmodernbuildingstoevaluateorac-

cepttheirsignificanceaspartofthe largerhistoryofarchitecture.Yet—asProfessorHylton

writesinhisessay,Design Advocacy—modernismisaseminalchapterinthehistoryofarchi-

tectureandthedefiningaestheticofourowntime.Althoughpreservationistsandscholarsmay

holdthevirtuesofmodernarchitecturetobeself-evident,thepublicmayfeelalienatedfrom

the theoriesand intellectualconcepts that liebehindModernistbuildingsand itsometimes

takestimeanddistancetoseehowthesebuildingsfitintothecontinuumofalongerhistoryof

architecturalcreativityandinnovation.

WhenthecommunityofOldWestbury,NewYork,deemedtheA.CongerGoodyearHouse

(1939)unworthyof landmarkdesignation,WMFworkedtohave thebuildingrecognizedby

theStateandNationalRegistersofHistoricPlaces.Thiswasnot intended tobeanactof

disrespectforthecommunity.Rather,becausethebuildingcouldnotbeprotectedbyalocal

ordinance—theusualmethodtosafeguardahistoricbuilding—obtainingstateandnational

recognition was key to creating a preservation easement that would, in effect, serve as a

privateformoflandmarkprotection.Thishelpedsavethebuildingandwillsafeguarditinthe

future—butitwasthesecond-bestway.Itisalwayspreferabletohaveacommunityembrace

andprotectitsownarchitecturalhistory.

ThebattletosaveKentMemorialLibrary(inSuffield,Connecticut)isrichwiththekindsof

discussionthatgivepreservationistshope.Citizensincreasinglyrecognizedthatevenamod-

ernbuildinginapicturesque,traditionalNewEnglandtownhasaplaceamongtheColonial-

andVictorian-eragems.Citizenswrotepublicallyaboutthecontinuumofarchitecturalhistory

representedbyitshistoricMainStreetonwhichWarrenPlatner’s1970sbuildingsits,andthe

importanceofhaving“buildingsoftheirowntime”aspartoftheircommunity.Similarly,Grosse

PointeLibrarywasoriginallyslatedtobedemolished.Eventually,however,thecommunityes-

7

tablishedaspecialpreservationfundtosaveandrestorethebuildingaspartofitsnewlibrary

expansionplans.

Thelong-termsecurityofourmodernheritagewillultimatelydependonthekindofthink-

ingthatemergedinSuffieldandGrossePointe.ItisoneofthegoalsofModernism at Risk to

encouragethislargercommunityunderstandingandappreciationofourmodernheritageand

engagethepublic’sinterestandsupport.

Technical ChallengesArchitecturalpreservationoftenaddressesthebricks-and-mortarchallengesofpreventingold

buildingsfromfallingdown;however,modernbuildingsfaceadditionalthreats,whicharedi-

rectlyrelatedtotheirage—oryouth.

Theseadditionalobstaclesstemfromtheinnovativetechnologiesandsystemsandoften

ephemeralmaterialsthatmighthavebeenusedinamodernbuilding’soriginalconstruction.

Whilethesetechnologiesareoftentheveryattributesthatdefinebuildingsas landmarksof

modernarchitecture,theycanalsopresentchallengestopreservationbyrequiringthedevel-

opmentofneworunusual technicalsolutions.Thesecanbetime-consumingandcostly to

implement. Inaddition, the failureoforiginalcomponentssuchassteelandglasswindows

oftenresultsinthewholesalereplacementofcharacter-definingfeatures,whichimpactsau-

thenticity,adeterminingfactorwhenasiteisconsideredfordesignationandprotectionasa

landmark.Architects,designers,andengineersplaycriticalrolesinhelpingownersnavigate

themanyoptions,butscholarsarealsoincreasinglyindialogueaboutpreservingthedesign

integrityorintentwhenoriginalbuildingfabricmustbereplacedorrenovated.

For instance, the innovativepassivecoolingsystemandotherenvironmentalcontrolsat

RiverviewHighSchoolmayhavebeendeemedbytheschoolboardtobetoocostlyortrouble-

sometoaccommodateinamodernhighschool.Thiscanbeacommonsentimentheldby

ownersofotherinnovativemodernbuildings—itwouldbesimplertobuildanewbuildingthan

torehabilitateonefromanearliergeneration.Itisthearchitect’schallengetorevitalizebuild-

ingslikeRiverviewtohelpmeetacommunity’snewneeds—aworthyundertakingfromwhich

muchcouldhavebeenlearnedhadthebuildingbeenspared.

Similarly,thehugeamountsofglasswithminimalconnectiveelementsatKentMemorialLi-

brarybringinnaturallight,buttheyalsoleak.Theownermaybetemptedtodiscardorreplace

thisoriginalfenestrationapproach;however,asensitiverestorationofthebuildingwillrequire

asolutionthatrespectstheoriginaldesignintentbutcorrectsitstechnicaldeficiencies.

Ontheotherhand, itwouldhavebeenprohibitivelyexpensiveandanarchitecturalcom-

promisetoreplace,wholesale,thelargesteel-casewindows—commontomanymodernfa-

cades—thatdefinetheexterioroftheA.CongerGoodyearHouse.Theeventualsolutionofin

8

siturepairmadetherestorationofthebuildingfinanciallyandarchitecturallyacceptableboth

totheownerandpreservationists.

Similarly,thesymbioticrelationshipbetweentheclientandarchitectwaskeytodefiningthe

scopeandgoaloftherestorationandtotheeventualsuccessoftheADGBproject.TheADGB

buildingwasbuiltonfunctionaldesignprinciples,andthethoroughresearchintotheorigins

ofthebuildingbythepreservationarchitectsfullyinformedtheirexpertrestoration.Bringing

backallthebuilding’suniquedesignelementsandefficienciesandintegratingthemwiththe

building’smodernoperationswerekeycomponentsoftherestorationprogram.Whenthecost

ofdoingtherestorationescalated,thearchitectsworkedwiththeclienttodelaytheschedule

inordertohelpthemraisetheadditionalfundssotheworkcouldbedoneproperly.

Functional ObsolescenceWMFhasbeeninvolvedinthepreservationofmanytypesandagesofbuildingsitesaround

theglobe forover45years.Many—perhapsdue to theirantiquityorprovenance—maybe

regardedas“monuments.”Thisdoesnotnecessarilyimplyscale,butidentifiesbuildingsthat

aredeemedworthyofsavingeveniftheynolongerhavetheiroriginaloracurrentutilitarian

function—theyshouldbesavedsomehow,beitasamonument,museum,orheritagesite.

Incontrast,manymodernbuildingsare thestructuresofeveryday life—homes,schools,

workspaces,andplacesofworshiporgovernance.Whilethisisavirtueintheirpurpose,most

modernbuildings—withtheexceptionofasmallnumberofglobal icons—arenotgiventhe

luxuryofbeingpreservedasheritagesites.Theirsurvivaloftendependsontheirabilitytomeet

amuchhigherstandardofservingautilitarianfunction,veryoftentheoriginaloneforwhichit

wascreated.

GrossePointeandKentMemoriallibrarieswereslatedtobedemolishedasoutdatedand

tobereplacedbynewerversions,theGoodyearHousewastobedemolishedsoanew,larger

residencecouldbebuiltonthesite,andRiverviewhighschoolwasreplacedbyanewfacility.

Adaptivereuseappliestosomesituations,butinthecaseofmanymodernbuildingsfac-

ingdemolition,itisoftenthechallengeofcontinueduse.ArgumentsforreplacingModernist

structuresoftencitethattheyaredifficulttoadaptgiventheprogrammaticspecificity—having

beenbuiltunderthedictumof“formfollowsfunction.”Thechallengeisoftenhowtoadapt

modernbuildingstosupportoriginal,continueduses.Architectsanddesignershavebeenkey

inhelpingmakethecaseforthecontinuedvitalityofmanymodernbuildingsatrisk,asthefirm

designLABdidsuccessfullyfortheGrossePointeLibrary.

9

Defending ModernismThecaseagainstmodernismcanbeformidable.ItiswhytheModernismatRiskinitiativewas

launched.Althoughthispublicationandtheaccompanyingexhibitionfocusontherolethatar-

chitectsanddesignerscanplayinhelpingprotectourmodernheritage,thegoaloftheinitiative

istoexpandtheoverallarsenaloftoolswecanusetosavemodernbuildingsatrisk.Thiscan

beachievedwithpublicoutreachandeducation,withexhibitionsandpublications, through

publicorprivatelegalmechanisms,andbybuildingpartnershipswithotherssuchasscholars,

educators,preservationists,andarchitectsanddesignerstoassistinthisfight.

Thereisnosinglesystemicsolution,andsavingeverymodernbuildingatriskisimpossible.

Wehavetobesatisfiednowtosavethosewecan,evenifitisonebuildingatatime.Butwe

hope tobuilda largercommunity—anddevelopmoreeffectiveapproaches—each timewe

worktosaveamodernbuilding.

TheA.CongerGoodyearHouseinOldWestbury,NewYork,wassavedfromdemolitionbyWMF.

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designadVoCaCY:The Role of Architects and Designers

in Preserving Modern ArchitectureMorrisH.HyltonIII,Assistant Professor of Interior Design, University of Florida

modernismdefined20th-centuryarchitecture.CoalescinginEuropefol-

lowingthedevastationoftheFirstWorldWar,designersproposedto

improve society through a new architecture. While scholarship has

focused increasinglyon thediversityofmodernism,mostbuildings

deemedmodernwerebasedoncertaincoretenets.Theseincludea

departurefromtraditionalbuildingtypes, functionallyderivedplans,

theintegrationofthedesignandartdisciplines,andtheuseofeffi-

cient,industrialmaterialsandinnovativetechnologies.Modernbuild-

ingsareoftencharacterizedbygeometricorsculpturalforms,absenceofappliedornament,

machine-madecomponents, andnewexpressionsof space, suchas looselydefined, free-

flowingroomsandhigh levelsof transparencyachievedthroughtheextensiveuseofglass.

Fromitsavant-gardebeginnings,modernismbecametheaccepteddesignidiomfollowingthe

SecondWorldWar. IntheUnitedStates, forexample, federalagencies liketheGovernment

ServicesAdministration (GSA)andtheNationalParkServiceadoptedpoliciesandcommis-

sionedmodernbuildingsbasedon, amongother considerations, economyof construction.

PostwarmodernbuildingsnowmakeupalargepercentageofAmerica’sbuiltenvironment.

TheUniversityofFloridainteriordesign

departmentofferedreuseproposalsfor

RiverviewHighSchoolinSarasota,Florida.

11

Yet,astheintroductionofthispublicationdescribes,significant

worksofmodernarchitectureareincreasinglythreatenedbyphysical

deterioration,perceivedfunctionaloreconomicobsolescence,and

perhapsmostpervasively,publicapathy.Safeguardingthelegacyof

Modernistarchitecture ismotivatingagenerationofactivists from

outsidethetraditionalculturalheritagepreservationcommunity.

Architectsanddesignershavebecomesomeofthemostardent

supporters of preserving modern buildings. Practitioners, educa-

tors,andstudents—manywithnopriorexperienceinpreservation

advocacy—are increasinglyorganizingand leadingefforts tosave

endangered modern landmarks. Their willingness to get involved

stemsinpartfromtheirfamiliarityandappreciationoftheworkof

early and postwar Modernists—the architects and buildings fre-

quentlystudiedandemulatedindesignschools.

ThefivecasestudiespresentedintheModernism at Risk: Mod-

ern Solutions for Saving Modern Landmarks exhibition and this

accompanying publication demonstrate that design practitioners

and students, armed with their knowledge of 20th-century archi-

tecture and their critical thinking and problem-solving skills and

supported by organizations like the World Monuments Fund, are

helpingdevisemultifacetedsolutions—includingadvocacyefforts,

technicalplans,andotherwise—thataddressthedistinctchallenges

topreservingmodernarchitecture.Theseeffortscanbedescribed

asdesignadvocacy.

ThebuildingspresentedintheModernism at Riskexhibitionand

thefollowingstudiesrepresenttheriseofmodernismfromitsear-

ly development during the interwar years in Europe (1930 ADGB

TradeUnionSchool,Bernau,Germany,byHannesMeyerandHans

Wittwer) to its appearance in the United States and other coun-

tries(1939A.CongerGoodyearHouse,OldWestbury,NewYorkby

EdwardDurellStone) to itsproliferationduringAmerica’spostwar

boomandlater,oftenintheformofeverydaycivicbuildings(1954

Grosse Pointe Public Library, Grosse Pointe Farms, Michigan, by

MarcelBreuer;1958RiverviewHighSchool,Riverview,Florida,by

PaulRudolph;and1972KentMemorialLibrary,Suffield,Connecti-

cut,byWarrenPlatner.)

12

13

adgBTradeUnionsChoolBernau, Germany, 1930Hannes Meyer (1889–1954) with Hans Wittwer (1894–1952)

In2008, BrenneGesellschaftvonArchitektenmbH, the Berlin-basedarchitecturalfirmheaded

byWinfriedBrenneandFranzJaschke,wasawardedthefirstWorldMonumentsFund/Knoll

ModernismPrizefortheirrestorationoftheADGBTradeUnionSchool,locatedinBernau

ontheoutskirtsBerlin,Germany.Awardedbiennially,theprizerecognizesinnovativearchi-

tecturalanddesignsolutionsthatpreserveorenhancemodernlandmarksandthatadvance

recognitionofthespecialchallengesofconservingthem.TheADGBTradeUnionSchool

wasoneofthemostsignificantcommissionsoftheBauhausanditscontroversialsecond

director,HannesMeyer.ThecomplexwassubstantiallyalteredduringtheSecondWorld

WarandtheCommunistoccupationofEastBerlinthatfollowed.AfterthecollapseoftheIron

Curtain,theregionalgovernmentofBrandenburg—incollaborationwithanewoccupant,the

Handwerkskammer(ChamberofCrafts)Berlin—committedtorestoringtheeducationaland

trainingfacility.Chosenthroughacompetition,theconservationprogramdevelopedbyBrenne

andJaschkereliedonarchivalresearchandphysicalinvestigationtoreinstatethebuilding’s

originaldesignintentincluding,insomeinstances,thereconstructionofinventivearchitectural

featuresandfinishes.Thereconstitutedbuildinghasofferednewinsightintothedesignsofthe

Bauhauswhenitwasundertheleadershipofitslesser-knowndirector.TheADGBTradeUnion

Schoolprojectdemonstrateshowtheworkofarchitectsanddesigners,incollaborationwitha

supportivecommunity,canreviveaforgottenlandmarkasaviablebuildingwhilesubstantially

contributingtomodernarchitecturalscholarship.

SignificanceTheFederalSchooloftheGeneralGermanTradeUnionsFederation(BundesschuledesAllge-

meinenDeutschenGewerkschaftsbundes),orADGB,wasanumbrellaorganizationthaten-

compassedsome80percentofallthecountry’stradeunionsinthefirsttwodecadesofthe

20th century.1 In the late 1920s, the ADGB commissioned the Bauhaus—then the leading

schoolforModernistdesign—tocreateatrainingfacilityinBernau,Germany,wheremembers

wouldtakecontinuingeducationcourseslastingonetotwomonths.2

14

TheADGBprojectwasledbyarchitectHannesMeyer(1889–1954),whowasappointedthe

seconddirectoroftheBauhausin1928afteroneyearasheadoftheschool’snewlycreated

architecturedepartment.MeyerwasinitiallyassistedbyHansWittwer(1894–1952),withwhom

hecollaboratedonasubmissiontotheChicagoHeraldTribunecompetition,andwhomhe

hiredtoteacharchitectureattheBauhaus.3Wittwerresignedfromthecommissionandfrom

hisfacultyappointmentbeforetheADGBprojectwascompleted.

Meyer’sphilosophicalbeliefaboutdesign, likemanyofhiscounterparts inGermanyand

Europe,wasshapedbythephysicalandsocialdevastationandreconstructionthatfollowed

WorldWarI.AnardentCommunist,Meyerdisavowedaestheticandstylisticconsiderations

indesign infavorofafunctionallydrivenandsociallyresponsiblearchitecturededicatedto

theproletariat,ratherthanthe“rulingclassofhumansociety.”4Inassertinghispositionofthe

architectassocialactivist,MeyerpromotedwhathebelievedtobethesuperiorityofMarxist

overcapitalistdesign:

The Leninist architect is not an aesthetic lackey, and, unlike his colleague in the

West, not a lawyer and custodian of the interest of the Capitalist ruling class

there…For him architecture is not an aesthetic stimulus but a keen-edged weapon

in the class struggle.5

Thecomplex,shortlyafteritscompletion

in1930.

15

Toachievethesocialagendaofarchitecture,Meyerpromotedandemployedapurelyfunc-

tionalapproachtodesign,eschewingallconventionalartisticandaestheticconsiderations.He

describedthisapproachasfollows:

We examine the daily routine of everyone who lives in the house and this gives

us the functional diagram—the functional diagram and the economic program

are the determining principles of the building project. 6

ForthefunctionaldiagramoftheADGBTradeUnionSchool,Meyerusedalineararrangement

toorganizethevarioususesofthecomplexintothreedistinctyetinterconnectedcomponents.

Thefirstbuildingsupportedpublicfunctions,andincludedthemainentrance,administrative

offices,auditorium,refectory,andawinter-gardendininghall.Thispublicareaconnectedtoa

residentialzonecomprisingfouridentical,three-storydormitoryunits.Thelineardiagramter-

minatedatatwo-storyschoolbuildingwithamonumentalstaircaseconnectingaground-floor

gymnasiumandupper-storyclassrooms.Alongsteel-and-glasscorridorservedasaninterior

passagelinkingthecomplex’sthreeprimarycomponents.Thesteelofthisinteriorpassage,

alongwiththatofthewintergardenandthegymnasiumstaircase,waspaintedred.Contrasting

sharplywiththeexposedgrayconcretestructureandbuffbrickthatmadeuptheexteriorwalls

ofallbuildings,thevibrantredsignifiedthecomplex’sprincipalcirculationpath.Itisoneofthe

building’smostprominentpublicspacesandexteriorfeatures,andemphasizedtheunderlying

functionaldiagram.Eachofthedormitorieshasauniquecolorscheme.Asoriginallybuilt,the

complexalsoincludedafacultyhousingwingconnectedtotheentryandadministrativearea.

IndescribingtheapplicationofhisarchitecturaltheoriesatADGB,Meyerstatedthat“the

buildingorganizationismerelyaplastictranslation[plasticheÜbersetzung]ofthesocio-peda-

gogicfunctionsandadirecttranscription[Übertragung]ofthefunctionaldiagram.”8Inaddition

tothearchitecture,facultyandstudentscontributedtothedesignofthebuildings’interiors,

furnishings,andfixtures.TheADGBTradeUnionSchoolwassecondonlyinimportancetothe

institution’sownDessaucampusthatwasdesignedbyWalterGropius,MarcelBreuer,and

othersasarealizedvisionoftheBauhausfaculty’sbeliefinarchitectureastheunifyinggoalof

allarts,crafts,anddesign,or gesamtkunstwerk.9

AlthoughtheBauhausmadeitsfirstprofitsunderhisleadershipthroughcommissionssuch

asADGBandfiveapartmentbuildings(ErweiterungderSiedlungDessau-Törten)inDessau,

Germany,Meyer’spoliticizationof theschool ledtohis forcedresignationandreplacement

byMiesvanderRohein1930.MeyerwentontoliveandworkintheSovietUnion,Mexico,

andSwitzerland,butwouldnevercompleteapubliccommissiontorivalthesuccessofthe

ADGBTradeUnionSchool.AccordingtoarchitecturalhistorianandColumbiaUniversitypro-

16

fessorKennethFrampton,“HannesMeyerbuiltverylittle,andtheADGBisMeyer’sgreatest

achievementandanimportantarchitecturalmonumentfromacriticalmomentintheevolution

ofmodernarchitecture.”10

DesignAdvocacyTheNazipartyconfiscated theADGBTradeUnionSchoolonly threeyearsafter itopened

andconvertedittoanSStrainingfacility.TheEastGermanTradeUnionFederation(FDGB)

occupiedandexpandedthesiteasa training facility for itsmembers followingtheSecond

WorldWar.DuringtheoccupationbytheEastGermangovernment,theintegrityoftheoriginal

designconceptwascompromisedasarchitecturalfeatureswereconcealedorremoveddue

toa lackoffinancial resourcesandaccesstoproperrepairandreplacementmaterials.For

example,unabletosecuresuitableglass,theFDGBconstructedalow-costwoodenclosure

withaluminumwindowsthatencasedtheoriginalsteel-and-glasscorridorconnectingthedif-

ferentcomponentsofthecomplex.TheADGBbuildingswereeventuallyabandoned.Thesite

remainedvacant,slowlydeteriorating frombenignneglectbefore itwas“rediscovered” fol-

lowingthereunificationofGermanybeginningin1989.AccordingtoarchitectFranzJaschke,

whowouldworkwithpartnerWinfriedBrennetooverseetherestorationofthecomplex,“We

knowcolleaguesthatwentthereandsaidtheydidn’tfindit,becauseitwassohiddenunder

thechangestheyhadn’tevenimagined.”11

BrenneGesellschaftvonArchitektenmbHwona2001competitionsponsoredbythere-

gionalgovernmentofBrandenburginpartnershipwithanewoccupant,theHandwerkskam-

mer(ChamberofCrafts)Berlin,torestoretheADGBTradeUnioncomplex.Thefirmconducted

extensivearchival researchandphysical investigationsandusedthe information to reverse

decadesofhaphazardrepairsandadditions,reconstructmissingfeatures,andultimatelyre-

instatetheoriginalityandinnovationoftheBauhausdesign.Whenthecostofthishighquality

ofworkbegantoexceedtheoriginalbudget,thearchitectsworkedwiththeclienttoadjust

theconstructionscheduleinordertogivetheclientadditionaltimetoraisemorefunds.The

refurbishmentofthisseminalbutmostlyforgottenmasterpiecehassubstantiallycontributed

to thescholarshiponearlymodernism.“The resurrectionof theADGB,”according toNew

YorkUniversity architectural historyprofessor John-LouisCohen, “demonstrates thatgood

restorationandconservationcan’tbelimitedtoasetoftechnicalsolutions,butisbasedon

andcontributestosolidarchitecturalscholarship.”12

Theidentificationoftheoriginalcolorpaletteandhowitwasusedtoreinforcethebuilding’s

functionaldiagramwasamongthemoresignificantdiscoveriesmadeduringtherestoration

oftheschool.HelpingchallengethenotionthatearlyModernistarchitecturehadalimitedor

mostlyneutralpalette,theinteriorsoftheoriginalADGBcomplexdisplayedaremarkablerange

17

ofcolors.Thefourthree-storyresidentialbuildings

areoneexample.Uponcompletion,thefourdormi-

torieswereassignedaspecificcolor—green,yel-

low,blue,orred—andthethreecorridorsofeach

unitwerepainteda shadeof that color.A subtle

gradationfromlighttodarkoccurredmovingfrom

thefirsttothirdlevels.Thisapplicationofcolorwas

similartotheuseoftheredtodistinguishthesteel-

and-glass-enclosed passageway that served as

thecomplex’smaincirculationroute.Colorcoding

of the various components of the building’s pro-

gramhelpedemphasize theunderlying functional

diagramthatMeyerbelievedtobetheprincipleel-

ementofarchitecturaldesign.

Inadditiontorediscoveringandreinstatingcol-

or, a number of inventive window and glass fea-

tures were also restored. A series of trapezoidal

windows were repaired along the enclosed stair-

casethatwrapstheschoolandgymnasiumwing.

Theindividualwindows,hingedattheircenters,tilt

simultaneously in and out to create a cascading

effect.Theoriginalglass-block-inlayceilingofthe

refectorywas re-created toonceagain illuminate

theinteriorwithdiffusenaturallight.Delicatesteel

and glass windows matching the originals were

installedintherefectoryafter laterwoodonesin-

stalledbytheEastGermanTradeUnionwerere-

moved.Thishelped recapture thehighdegreeof

transparencyandviewofthesurroundingwoods,

and reinstatedoneof thecomplex’smost impor-

tantfeatures.

ThearchitecturalfirmofBrenneGesellschaft,in

reclaiming the Bauhaus vision, also successfully

addressed thechallengesofupgrading thecom-

plextomeetnewenergyandcoderequirements.

Forexample,recenttechnologicaladvanceswere

10

1.

2.

3. 4.5.

6.

7.8.

9. 10.

11.

12.

1. Entranceway 2. Terrace 3. Foyer 4. LectureHall 5. Kitchen 6. Refectory 7. WinterGarden 8. SittingRoom 9. GlassPassageway10. Dormitories11. SchoolBuilding12. Firstfloor:Gymnasium Secondfloor:Classrooms

18

19

usedtointroducedouble-pane,insulatedglassintothereplacementwindowsystemswithout

compromisingtheslenderprofilesoftheoriginalsteelcasementsandmullions. Inthemain

publicentryway,theexposedbuffbrick,toodamagedtorestoreandnolongeradheringto

fire-safetyratings,wasstabilizedinplaceandcoveredwithcementpanels.Therowsofpanels

wereseparatedbythinstripsofcolorrecallingthepaletteofthedormitories.

Outcome

The inaugural 2008 Prize is awarded to Brenne Gesellschaft von Architecten

mbH, led by the extraordinary team of Winfried Brenne and Franz Jaschkle,

for its superb resurrection of a highly significant, but little known Bauhaus-

designed landmark, the former ADGB Trade Union School in Bernau, Ger-

many. We hope the story of this building, and its survival and dramatic rescue

by a highly talented architectural team working with the ardent support of the

owner and community, will inspire the preservation and restoration of other

great modern buildings. 13

—BonnieBurnham,President,

World Monuments Fund

Inrecognizingthefirmandproject,thejurorswhoselectedthefirstModernismatRiskPrize

describedtherestorationoftheADGBas“aheroicachievementthatovercamethechallenges

presentedbyacomplexsite:neglect,politicalturmoil,earlymodernbuildingtechnologies,and

limitedfinancialresources.”14JurychairpersonBarryBergdoll,thePhilipJohnsonChiefCura-

torofArchitecture&DesignattheMuseumofModernArt,NewYork,recognizedtheproject

asanimportantmodelforpreservingmodernarchitecturewhenhestated:

The restored ADGB illustrates the influential role that modern architecture

continues to play in our architectural heritage, and vividly demonstrates the

importance and feasibility of preserving modern buildings as sustainable

structures with vital futures.14

20

21

a.CongergoodYearhoUseOld Westbury, New York, 1939Edward Durell Stone (1902–1978)

InThe New Yorkerin2002, architecturalhistorianandcriticPaulGoldbergerproclaimedthe

A.CongerGoodyear“oneofthemostimportanthousesbuiltintheUnitedStatesbetween

the twoworldwars.”1EdwardDurellStone,oneof thefirstAmerican-bornand -trained

architectstopracticeInternationalStylemodernism,designedthehouseforthefirstpresi-

dent of the board of trustees of the Museum of Modern Art, Anson Conger Goodyear.

Thehouse,locatedinOldWestbury,NewYork,wasGoodyear’scountryretreatwherehe

entertainedhisguestsamonganimpressivecollectionofEuropeanavant-gardeart,includ-

ingpaintingsbyDegas,Matisse,Picasso,andGauguin.BythetimeGoldbergerwrotehis

articleinNovember2002,thehousehadjustnarrowlybeensavedfromdemolitionafterbeing

placedontheWorldMonumentsWatchListof100MostEndangeredSites.

Torescuethelargelyforgottenmodernicon,WorldMonumentsFundpurchasedtheprop-

ertyandlaunchedarestorationwithfinancialsupportfromrenownedartistFrankStella,and

theBarnettandAnnaleeNewmanFoundation.Thegoalwastorepairthehouseandtotake

measurestoensureitslong-termpreservationasaprivateresidence.Tohelpreachthisgoal,

ahistoricpreservationeasement,orprotectivecovenant,wascreated. It identifiedoriginal,

architecturallysignificantfeaturesofthehouse’sexteriorandinteriorthatcannotbealtered,

whilepinpointingthoseelementsthatcouldbere-createdand/ormodifiedtomeetcontempo-

rarymodesofliving.Forexample,anewgarageandhome-officebuildingwascommissioned

basedonanoriginalstructuredemolishedinthe1970s.Agaragewasconsideredessentialto

attractingabuyerforthehouse.Thehousesoldin2005,andthecurrentownerhasadhered

tothehistoricpreservationeasementwhilefinishingtherestorationworkbegunbyWMF.The

successfulpreservationof theA.CongerGoodyearHouse, likemanyothermodernhomes

inprivateownership,requiredadesign-centric,multifacetedapproach.Theprogramdevised

byWMFaddressedthetechnicalandfunctionaldeficienciesthatneededimmediateattention

whilesimultaneouslycreatingalegalmechanismtoprotectthehouseundersubsequentown-

ers.Bymanagingboththeanticipatedandunforeseenchanges,theeasementhelpsensure

22

thatthisModernistmasterpiecewillnotonlybepreserved,butthatitwillremainviableasa

residence—bothnowandinthefuture.

SignificanceAnsonCongerGoodyear(1877–1964)wasawealthyindustrialistwho,asdirectoroftheBuf-

faloFineArtsAcademy,gaineda reputationasadiscriminatingcollectorandchampionof

modernart. In 1929,Goodyear relocated fromBuffalo,NewYork, toManhattan,wherehe

joinedLillieP.Bliss,AbbyAldrichRockefeller,andMarySullivaninlaunchingtheMuseumof

ModernArt(MoMA).Astheinstitution’sfirstpresident,Goodyearwasinfluentialinhiringdirec-

torAlfredH.Barr,Jr.,withwhomheworkedtoquicklyexpandthemuseum’sholdings.In1937,

aprojectwaslaunchedtoconstructapermanenthomeforMoMAalongthemid-blockof53rd

StreetbetweenFifthandSixthAvenues.2Goodyear,whoalsoservedaschairmanofMoMA’s

FinanceandBuildingCommittees,askedfellowtrusteeandarchitectPhillipGoodwin(1885–

1958)toworkwiththe36-year-oldarchitectEdwardDurellStone(1902–1978)onthedesignof

apermanent,modernhomeforthemuseum.3Stonewasoneofthefirstarchitectspracticing

InternationalStylemodernismontheEastCoastofAmericapriortoWorldWarII,andsome

Thelivingroomin1939

23

oftheInternationalStyleresidenceshedesigned,suchastheRichardMandelHouse(1934)in

BedfordHills,NewYork,werewidelypublishedin1930sarchitecturalandpublicpress.

StonefirstencounteredandembracedmoderndesignasastudentexploringEuropeona

RotchTravelingscholarship.RecallinghistimespentinEurope,hewrote:

Changes in architecture were gathering momentum. Le Corbusier’s first

books were being published and in nearby Dessau the Bauhaus was founded,

all heralding the arrival of the new machine age. Those ideas were contagious

and we students spent our time redesigning the United States on marble-

topped café tables.5

While visiting the InternationalExposition inBarcelona,Spain,Stonewasparticularly influ-

encedbyMiesvanderRohe’sGerman—morecommonlyreferredtoastheBarcelona—Pa-

vilionduringthesingleyear(1929–1930)thatthefutureModernisticonstood.Aspectsofthe

pavilion,particularlytheblendingofindustrialelementslikethecruciformshape,chromecol-

umns,andrichnaturalmaterialsliketravertineandothermarbles,wouldresurfacemanytimes

inStone’sownworkbeginningwiththeA.CongerGoodyearHouse.

DuringtheconstructionoftheMoMAbuildingin1937,GoodyearcommissionedStoneto

designahouseinOldWestbury,LongIsland.OldWestburyatthattimewasknownforlate-

19th-andearly-20th-centurymansions,suchasthePhippsfamilyestate,nowOldWestbury

Gardens, in theNeo-Georgianandother traditional styles. Incontrast,Goodyearwanteda

modestlyscaledhome.Heoutlinedasimplebuildingprogramwithjustafewrequirements:

“alonggalleryinwhichtohangpictures,alargelivingroomwithstepsleadingdowntoit,a

circulardiningroom,andaswimmingpool.”6

Stone,inhisautobiographyThe Evolution of an Architect,describedGoodyear’svisionfor

hiscountryretreatasfollows:

That he was a wise man was amply demonstrated when he asked for only two

master bedrooms; all of his neighbors were saddled with forty-room relics of a

former era—and no household help. He became the envy of the community. 7

Goodyearchosea102-acreparcelwithahillthatwasoneofthehighestpointsonrelatively

flatLongIslandasthebuildingsite,whereStoneorientedanddetailedthehousetotakead-

vantageofviewsandcontroldaylight.Theprincipal rooms, includingasunken livingroom,

smallstudy,circulardiningroom,andtwobedroomsuites, facedsouthwithfloor-to-ceiling

steel-framedwindows thatwereprotectedbydeepoverhangs,andprovidedaviewof the

24

propertyandcountryside,allconnectedbyalongcorridorwhereGoodyearcoulddisplayhis

artcollection.Stonedescribedtheorientationandlayoutofthehouseinhisautobiography:

The site, a barren hilltop, demanded the low horizontal lines of a one-story

house. Mr. Goodyear had a fine collection of modern paintings, and I decided

to have a gallery serve as a “spinal column” from which all the rooms, with an

expansive view to the south, opened. I employed glass walls from floor to ceil-

ing, the ceilings continuing beyond the walls to form wide sheltering eaves.

As the house faces south, the eaves were adjusted in depth so that the glass

areas were shaded during the summer months, and when the sun was low

during the winter months, its welcoming rays penetrated the house through

the glass walls. 8

Thedesignoftheapproach,arrival,andentrysequencetothehousewascarefullycontrolled

byStone.Along,windingdrivewayledacrossthetreelessproperty,affordingaviewofthe

house’smainorsouthelevation.Aserpentinebrickwallextendingnorthfromthehouseanda

straightwoodenfenceconnectingtoagaragestructureformedanentrytoapartiallyenclosed

areawithanautomobileturnaround.Aportionofthehouse’sroofcantileveredoutoverthe

turnaroundtoprovideasheltereddrop-offandpick-uparea.Asetofstepsledfromthisar-

rivalpointtoacourtyardandthehouse’sentrance.Stonedescribedthisfacetofthedesign

asfollows:

This house also represented an effort to solve the approach by automobile.

The entrance was provided through a portico overlooking a walled garden so

that automobiles and services were removed from the house proper, thus giv-

ing both sides of the house an attractive outlook. 9

Thehouse’sarchitecturemeldedaspectsof the InternationalStyle thatStoneencountered

whileinEuropewithamoreAmericansensibility.Stonemergedtheopenplanandabstract

formsofMiesvanderRohe,aswellashisblendingofindustrialmaterialswithrefinedfinishes

andfixtures,withthecentralchimney,pin-wheelplan,andoverhangsofFrankLloydWright,to

createhisowndistinctbrandofmodernism.

Sometenyearsafterthecompletionofthehouse,GoodyearretainedStoneonceagainto

enlargethehouse.The1950addition,oppositethemasterbedroom,containedathirdbed-

roomandbathroomwithdressingareaforGoodyear’ssecondwife,SadieBliss.Thewestwall

oftheaddition,designedwithoutwindowsandcladinbrick,replacedawoodenfencethaten-

25

closedtheentrycourtyardgarden.Yearslaterina1957letter,StonewrotetoGoodyear,“Your

houseismybestworktodate.”10TheA.CongerGoodyearHouseisrecognizedbymanyas

Stone’smasterpieceofresidentialarchitecture.

DesignAdvocacyInthelate1980s,theLongIslandInstituteofTechnology,havingacquiredtheestateafterthe

deathofCongerGoodyearandhissecondwife,soldthehouseandsome100acrestoWheat-

leyConstructionCo.,arealestatedevelopmentfirm.Thedeveloperplannedtodemolishthe

thenforgottenmodernmasterpiece,subdividetheproperty,andbuildapproximately20large

housesonfive-acrelots.FollowinganominationfromtheSocietyofthePreservationofLong

IslandAntiquities (SPLIA), authoredbyarchitecturalhistorianCarolineZaleski, thesitewas

placedonthe2002WorldMonumentsWatchof100MostEndangeredSites.AnOctober15,

2001New York TimesarticleannouncingtheListhighlightedthechangedcontextandplight

oftheGoodyearHouse:

At the top of a long drive flanked by imposing red brick houses sprouting

Norman turrets, Federal arches and Colonial pediments, sometimes all at

once, a lean, low modern structure hovers in an overgrown wood as if it

had just landed...It took a moment to appreciate that the historic-style

manses are spanking new, while the modern building, known as the Conger

Goodyear house, is 63 years old…does not have landmark protection, and

that at the time of application to demolish, it was considered unworthy of

landmark status. 11

ReactingtotheWatchlistingandpublicity,thedeveloperquicklyobtainedapermitandmo-

bilizedtorazethehouse.Atemporary“stayofdemolition”wasobtainedbyWMFandSPLIA,

however,allowingtimetoexplorealternatives.FrankStella,thefamedabstractpainteranda

trusteeoftheBarnettandAnnaleeNewmanFoundation,readabouteffortstosavethehouse,

andhisofficecontactedWMFtoofferassistance.Theresultwasaninterest-freeloantopur-

chaseandrepair thehouseandseekasympatheticnewowner.Aspartof theagreement,

SPLIAwouldhold title to thehousewhileWMFraised thenecessary funds tostabilize the

houseandsellitwithprotectivemeasuresensuringlong-termpreservation.

Workbeganalmostimmediatelytostabilizeandrefurbishthehouse,whichhad,aftersitting

vacantformanyyears,beendamagedduringitsuseasaconstructionfieldoffice.Oneofthe

greatestchallengestorestoringtheGoodyearHouse—aswithmanymodernbuildings—was

thewindows.Theoriginalsingle-paneplateglasswasheldinplacebythinsteelframesand

26

did not comply with current building and energy ef-

ficiencycodes.The largeexpansesofglassand the

transparencytheyafforded,however,arethehouse’s

mostsignificantcharacter-definingfeature.Wholesale

replacementwouldhavecompromisedthebuilding’s

integrity,andpreventeditfrommeetingakeycriterion

forlistingontheNationalRegisterofHistoricPlaces.

Inaddition,contemporarywindows,bothaluminum-

frameandnewsteelones, typicallyhavewiderpro-

filesandmuntins.Giventhelargeamountofglasson

the building’s façade, these types of new windows

would have substantially altered the appearance of

thehouse;replacingtheoriginalglasssimplywasnot

anoption.Instead,therustfromthesteelframeswas

removed,andtheywereprimedandrepaintedinsitu.

This prevented the loss of original glass that would

haveinevitablyoccurrediftheunitshadbeenremoved

andrepairedoff-site.Eventually,aclear,reversiblefilm

was identified thatwouldaddresssafetyandenergy

issueswithoutdiminishingthetransparencyorreflec-

tivityoftheoriginalglass.Thisprovidedacreativeso-

lutionthatwouldpreservethetransparencyintegralto

theoriginaldesignconcept,withoutanycompromise.

As part of the restoration process, WMF worked

with SPLIA to research the house’s history. Original

construction drawings were discovered among the

multitudeofmaterialsoftheEdwardDurellStonear-

chivesthatwerestillwaitingtobeaccessionedtothe

UniversityofArkansas’sspecialcollections.Thedraw-

ingsrevealed,amongotherthings,thatStonescaled

back the design from 1938 to 1939, presumably for

budgetaryreasons.Theoriginalhouse,asrepresent-

edby the1938drawings, includeda longercorridor

fordisplayingartwork,athirdbedroom,andagreen-

housewheretheadditionforGoodyear’ssecondwife

wouldbebuiltin1950.12

1. Servants’Quarters 2. Kitchen 3. Butler’sPantry 4. DiningRoom 5. Library 6. LivingRoom 7. GuestBedroom 8. MasterBedroom 9. DressingRoom10. Corridor/Gallery11. 1950BedroomAddition

27

Usingdocumentationandphysical investigations,WMFtookseveralstepstorecordex-

istingconditions.WMFcollaboratedwitha teamofpracticingarchitectsandstudentswho

volunteeredtheirtimetomeasurethehouseandproduceHistoricAmericanBuildingSurvey

(HABS)drawings.InclusionintheHABSprogramwouldensurethatthedrawingswouldbe

madeavailabletoscholars,students,andotherinterestedpartiesthroughanonlinedatabase.

Aspartofthedocumentationprogram,architecturalconservatorsanalyzedmaterialstodeter-

mineoriginalfinishes.Thoughthewallswerepresumedtohavealwaysbeenawhitebackdrop

fortheartwork,paintsamplesrevealedthattheinteriorwalls,andevenceilings,wereoriginally

paintedrangesofpaleyellow,green,andotherpastelcolors,andthatsomeofthebrickwalls

werewhitewashed.13

Supportedbythefindingsfromtheresearchanddocumentationprojects,thehousewas

successfullynominatedtotheNationalRegisterofHistoricPlacesasanindividuallandmark

basedonitsassociationwithA.CongerGoodyearandEdwardDurellStone(CriterionBfor

listing)anditsInternationalStylearchitecture(CriterionCforlisting).14Althoughinclusionon

theNationalRegistervalidatedthehouse’sprovenanceandsignificance,itaffordednoprotec-

tionbecauseitwastoremainaprivateresidence.Ordinancesregulatingchangestosignificant

propertiestypicallyoccuronthelocallevelandthenonlygoverntheexteriorofbuildings.15Re-

strictingchangessolelyontheexteriorisnot,however,ofteneffectivewithmodernlandmarks

becausetheirhighdegreeoftransparencymakesitdifficulttodelineatebetweenexteriorand

interiorfeatures.TheGoodyearHouseinteriorsarehighlyvisiblefromoutside;thismeantthat

amechanismforpreservingtheentirehousewasnecessary.

WMFcollaboratedwith legalcounsel tocreateahistoricpreservationeasement.Similar

toothereasementsthatprotectnaturalareassuchaswetlands,thisdocumentrestrictedthe

demolitionofthehouseandtheconstructionofanyadditions.Topreservethecontext,new

structuresormajorsitealterationswereprohibitedwithin50feetofthehouse.Major“public”

interiorspaces,suchasthelivinganddiningrooms,andsalientarchitecturalfeatures,fixtures,

andfinisheswereidentifiedforretentionandrestoration.Acknowledgingthatfuturemodifica-

tionswouldneedtooccurtoguaranteethecontinuinguseandpreservationofthehouse,the

kitchenandbathroomswereexemptfromtheeasement.Thedocumentstipulated,however,

thatanymaterialsremovedaspartof futurerenovationswouldberetainedandstored ina

designated location. The process by which owners would obtain permission from WMF to

makealterationswasalsodelineatedintheeasement.RegisteredwiththeTownofOldWest-

buryandattachedtothedeed,theeasementisintendedtopreservethehouseinperpetuity.

Subsequentownersareobligatedtoabidebytheregulationsestablishedbytheeasementas

partofpurchasingtheproperty.

Onceaframeworktoprotectthehousewasinplace,WMF,inconsultationwithrealestate

28

expertsandpotentialbuyers,determinedthatthereconstructionofagaragestructurewould

berequiredinordertoattractabuyer.Thiswouldbeessentialifthehouseweretocontinue

tofunctionasaprivateresidence.JimDixonArchitectsofNewYorkCityandChatham,New

York,designedanewbuildingbasedontheoriginaldesignthatrespectedthescaleandpro-

portionsoftheoriginal,butmetnewrequirements.Theseincludedwidenedbaysfortoday’s

largercarsandahomeoffice/studioapartmentinlieuofservants’quarters.Althoughshifted

slightly fromtheoriginal footprintduetocurrentzoningregulations, thenewgaragedesign

reinstatedtheautomobileentrysequence—acriticalaspectoftheoriginaldesign.

OutcomeTheGoodyearHousesoldin2005andagainin2007.Bothownersappreciatedthehistorical

andarchitecturalvalueofthepropertyandwillinglyacceptedtherestrictionsimposedbythe

historicpreservationeasement.Asaptlystatedbythecurrentowner,whohasreturnedartto

thehouse,“I’mgettingmytrueglasshousebyoneoftheforemostarchitectsintheworld,so

Ifeelveryprivileged,butI’mmerelyacustodianforthefuture.”15

ThelessonslearnedfromtheeffortstosaveandpreservetheGoodyearHouse,particularly

thevariousroledesignanddesignersplayed—fromhelpingfashionthehistoricpreservation

easementtodesigninganewgarageandautomobileentrycourt—helpedinformthecreation

oftheWorldMonumentsFundModernismatRiskprogram.Theprogramaims,amongother

objectives,toengagedesignpractitionersandstudentsaspartofanewgenerationofadvo-

catesforpreservingthelegacyofmodernarchitecture.

29

30

31

grossePoinTeliBrarYGrosse Pointe Farms, Michigan, 1953Marcel Breuer (1902–1981)

Beginningwiththeeffortsof theMountVernonLadies’Association inthe

1890stosavethehomeofGeorgeWashington,thehistoricpreservation

movementintheUnitedStateshasreliedondedicatedindividualscoming

togethertopreventthelossofreveredsiteswithintheircommunities.The

successfulcampaigntopreventthedemolitionandreplacementofMar-

celBreuer’sGrossePointePublicLibrary(1953)inGrossePointeFarms,

Michigan,wasnodifferent;however,theorganizinggroupinthisinstance

was not physically tied to the community where the library exists. This

advocacygroup,whicheventuallybecametheModernArchitectureProtectionAgency,was

firstorganizedby12usersof thewebsiteArchinect.Theycame together foronecommon

cause—tosavethisimportant,threatenedexampleofmodernarchitecture.Thiscommunityof

virtualactivistsincludesarchitectsanddesignersworldwide.Likemostmembersofthedesign

communitytoday,theyhavebothstudiedandemulatedtheworkoftheirmodernpredeces-

sors. With limited advocacy experience and knowledge of conventional preservation stan-

dardsandguidelines,thisnewbreedofarchitecturalpreservationistusesthedesignprocess

itselftofashionalternativesolutionstodemolitionorinsensitivealteration.Theireffortshelpto

raisepublicawareness,andconvincedecisionmakerstoreconsidertheirchoicestodemol-

ishmodern landmarks.Withassistance from theWorldMonumentsFund,membersof the

ModernArchitecturalProtectionAgencyhelpedconvincethecitizensofGrossePointeFarms,

Michigan,toreconsiderthefateoftheirlocalmodernmasterpiece.

SignificanceThe futuremembersof theModernArchitecturalProtectionAgency—mapa—initiallyworked

towardssavingtheGrossePointeLibrarysimplybecauseofthehistoricalimportanceofitsde-

signer,MarcelBreuer(1902–1981).AlongwithWalterGropius,MiesvanderRohe,andLeCor-

busier,Breuerisoneofthepivotalleadersofmodernarchitecture,specificallyasitoriginated

inEuropeinthe1920sandearly1930sandthenproliferatedafterWorldWarII.Breuerstudied

32

andtaughtattheBauhaus.Hehelpedshapetheinstitution’sfunction-driven,industrial-based

aestheticwiththestatedgoalofdemocratizingsocietythroughdesign.Amonghisaccomplish-

mentsduringhisBauhaus tenure,Breuerdesigned the interiorsof theDessau facilitiesand

createdrevolutionary,nowclassic,modernfurnishingslikethetubular-steel,sling-typeWassily

chair.1BreuermovedtoEnglandfollowingtheoutbreakofWorldWarII,andlaterimmigrated

to theUnitedStates in 1937,whereheassistedWalterGropius in introducing theBauhaus

pedagogyatHarvardUniversity’sGraduateSchoolofDesign(GSD).Inadditiontotheirteach-

ing,BreuerandGropiuspartneredonseveralprojects,includingbothoftheirhousesinLincoln,

Massachusetts.Breuerestablishedhisownpracticein1946,andoverthenextthreedecades

hewouldfortifyhisstatusasaleaderofmodernarchitecturebydesigninghighlyvisiblepublic

buildings.TheseincludedtheHousingandUrbanDevelopmentHeadquartersinWashington,

D.C.,and,perhapshisbest-knownwork,theWhitneyMuseumofAmericanArtinNewYorkCity.2

TheGrossePointeLibrarywasoneofBreuer’sfirstmajorpubliccommissionsintheUnited

States. “GettingBreuer todesign the librarywasconsideredacoup,”according toDetroit

Free Presswriter,JohnGallagher,whofirstbroughtattentiontotheplanstoreplacethebuild-

ing.TheindividualresponsibleforthatcoupwasW.HawkinsFerry.3Aftergraduatingfromthe

CranbrookSchoolforBoys,FerryattendedHarvard,wherehewasfirstintroducedtothecon-

ceptsofmodernarchitecturebyBreuerandGropius.AttheurgingofHawkins,theFerryfam-

ily,prominentfoundersandsupportersoftheDetroitInstituteofArts,commissionedBreuer

Originalrendering

33

todesignthelibrary.Thefamilythendonatedanddedicatedthebuildingtotheresidentsof

GrossePointe.4

Locatedsome12milesoutsideDetroitproper,thecitiesofGrossePointe,GrossePointe

Park,GrossePointeWoods,GrossePointeShores,andGrossePointeFarmswereprewar

commuter neighborhoods comprising traditional and Revival-style residences and govern-

mentbuildings.Thestyles ranged fromEnglishTudor to Italianate toColonial.5Built in the

Modernistidiom,theGrossePointePublicLibrarysignifiedanimportantshiftin20thcentury

architecturemirrored throughout the suburban landscape following theSecondWorldWar.

Modernismwaspromotedbyarchitectsandchosenbyclientstorepresenttheprogressand

optimismthatwouldcometodefinetheeraTimeandLifepublisherHenryLucefamouslyas-

sertedas“America’sfirstcenturyasadominantpowerintheworld.”6

Withonedistinction, the libraryadherestomanyof the InternationalStyle tenets initially

developedbyBreuerandhisEuropeancolleaguesbetweentheWorldWars.Asimple,two-

storyrectangularbox,thebuilding’sunderstatedelegancederivesinpartfromthearchitect’s

focusongeometricproportionsandsolid-voidrelationships.Forexample,attheentryornorth

elevationalarge,double-heightwindowwallpenetratesthebuilding’smassandprovidesthe

readingroomanditscubicleswithdaylightwhileallowingviewsinandoutofthemainpub-

licspace.Selected indeference to thearchitecturalcontextof theGrossePointesand the

adjacenthistoricbuildings,thelibrary’sredbrickcladdingistheonlyaspectofthebuilding

thatdeviatesfromthemodernismthentaughtandpracticedbyBreuer.Thissofteningofthe

Bauhaus’sindustrialaesthetic,alongwiththesensitivechoicetomatchthescaleofthesur-

roundingbuildings,helpedmakethelibraryavisuallycohesivepartofthebuiltenvironmentof

GrossePointeFarms.

Thelibrary’sfunctionallydrivenplanandformalsoembodiedthesocialagendaofmodern-

ism.Asexplainedduringa1954publiclecturebyW.HawkinsFerry:

The ideas and planning of many people went into the realization of this build-

ing, but its final form as we see it today is the creation of the architect Marcel

Breuer. He visualized the building not as a mere repository of books but as

a social, cultural, and civic crystallization point. Literature and art were to be

made more accessible in an inviting home-like atmosphere…In addition to

designing the building, Breuer also furnished it and laid out a plan for embel-

lishing it with works of art.7

Thisintegratedapproachtodesign,referredtoinGermanasgesamtkunstwerk or“totalwork

ofart,”wasahallmarkoftheBauhausandlatertheHarvardarchitectureprogram.Itwasalso

34

ofparticularinteresttoW.HawkinsFerry.Tohelprealizethevisionofthelibraryasacenter

ofculture,specificpiecesofartwerechosenasintegraltothedesignofthemainspacethat

functionednotonlyasareadingroom,butalsoasapublicartgallery.

According toFerry, theartwithin theGrossePointeLibrarywould“…assume its rightful

position in thepatternof our everyday lives.”8AnAlexanderCaldermobile andKandinsky

tapestrywerechosenfordisplayinthemainreadingroom.AHerbertMatterphotomontage,

History of Writing,adornsa fullwall ina readingroom.The importanceof theartworkwas

describedbyFerry:

The “Mobile” in this Library adds color and motion to the airy heights of the

Main Reading Room; while the tapestry adds richness of color and design on

the wall surface…The photo-mural which Herbert Matter has designed for the

Adult Reading Room is a photomontage which will consist of enlargements of

various examples of ancient scripts…what could be more appropriate for deco-

ration of a library than early examples of communication by the written word… 9

Ferrywentontorelayhowthelibrary’sModernistarchitecture,particularlytheconceptoftrans-

parency,enhancedpublicaccessandenjoyment.Theartcouldbeviewed“…notonlyinside

thebuildingbutalsofromtheoutsideofthebuildingthroughthelargeglasswindowareas.”10

DesignAdvocacyOver the next five decades, the library, a relatively modest 17,000 square feet, continued

toservetheresidentsoftheGrossePointeswithminoralterationsandupgrades.By2005,

morespacewasdesperatelyneededtosupportchangesinpublicprograms,especiallythose

forchildren.Alackofcomputerstationsandinadequateadministrativespacepromptedthe

BoardofTrusteesof theGrossePointeLibrarysystem toengageanarchitecturalfirmand

library planning consultant to assess existing conditions and to identify current and future

needs.Inareportsummarizingtheirfindings,theconsultantsstatedthatovercrowdingwas

hampering “…the library’s ability to meet the community’s demands for quality library ser-

vice.”11Thereportconcludedwithanewbuildingprogramthatestimated53,000squarefeet

andadditionalparkingwereneededtoproperlyhouselibraryfunctionsandactivitiesandac-

commodateincreasedvisitation.Actingontheinformationprovidedbytheconsultants,the

libraryboardvotedtodemolishthebuildingandreplaceitwithalargeroneonthesamesite.

Withthegoalofhavingadesignandbudgetreadyintimeforataxassessmentvotebythe

November2007elections,theboardbegantodevelopaRequestforQualifications(RFQ)to

releasetoarchitecturalfirms.

35

Thedecisiontodemolishthebuildingwasfirstmadepub-

licinaJanuary20,2007,Detroit Free Pressarticlethatsuc-

cinctlyhighlightedthelargerchallengeofpreservingmodern

buildings:

Unlike most endangered landmarks, the

[Grosse Pointe] Central Library isn’t a neo-

classical or Romanesque edifice from the

1800s, but a Modernist work built in 1953.

Nor is it vacant and dilapidated, as are many

landmarks in danger of demolition…What

this case highlights is the fragile status of so

much modern architecture. 12

Havingreadthearticle,adesignerfromAnnArbor,Michigan

postedamessageon Archinectthatread:

For those of you interested in the work of

Marcel Breuer I just found out that Gross

[sic] Pointe is considering the demolition of

his modest & unpretentiously modern cen-

tral library building…if any of you have an

extra 60 seconds and care about buildings

likes this then I’d encourage [you] to send a

short email to the library board.”

Archinect, with this example, fulfilled its mission to make

“…architecturemoreconnectedandopen-minded,andbring

together designers from the around the world to introduce

newideasfromalldisciplines.”13

Withinweeks,theModernArchitectureProtectionAgency

(mapa)wascreatedandadesigncharettelaunched.

Workingonlinefromlocationsworldwide,mapamembers

announced the design charette on a web page generously

hostedbyArchinectandopenedanemailaccounttofieldin-

quiriesandfacilitatecommunication.Usingacomputernet-

1. Stacks 2. Reference 3. Audio-visualandGeneralSeating 4. AdultReadingRoom 5. Children’sArea 6. WorkRooms 7. CatalogRoom

1.

4. 5.

2. 3.

6.

6.

36

workserver inanarchitectureoffice inCalifornia,onememberofmapasetupanFTPsite

tostorebackgroundmaterialssuchasbuildingprogramsandrequirements,high-resolution

photographs,andscansoftheoriginalBreuerdrawings.AparticipantinEcuadormanagedthe

developmentandeditingofdrawingsfromawiki-basedpage.Inrecountingtheeventsthatled

uptothecharette,mapamembersaptlylabeledtheirefforts“virtualactivism.”14

AlthoughfocusedontheGrossePointePublicLibrary,themembersofmaparecognized

thelargerneedtogenerateapublicdiscussionaboutpreservingmodernarchitecture.“Even

ifit’sdoomed,”accordingtoonememberofmapa,characterizingthegroup’seffortstosave

GrossePointePublicLibrary,“wecanatleasthavespiriteddebateaboutwhat’sworthsaving,

intheGrossePointesandelsewhere.ThatcouldbeBreuer’slegacytous.”15

OutcomeUltimately,15schemesofferingalternativestodemolitionweresubmittedbydesignersfrom

eight states and three countries. By the time the submissions were presented at an open

meetingonFebruary26,2007,thelibraryboardhadreceivedamultitudeoflettersagainstthe

destructionoftheModernistlibrary.Collectively,theshowofsupportandcreativeapproaches

ofthecharetteentriesspurredadialogueamongtheboardmembersandthoseinattendance.

Manybelievedmorecivicdiscussionwasneededbeforedeterminingthefateofthe library.

Thecharettedesignswereputonpublicdisplayastheboardcontemplatedwhethertomove

forwardwithdemolitionandreplacementortorevisetheRFQtoconsiderretainingandex-

pandingthelibrary.

InApril2007,WorldMonumentsFund,alertedbyrepresentativesfromKnoll,Inc.,contacted

membersofmapatodetermineifassistancecouldbeofferedthroughthenewlyformedMod-

ernismatRisk initiative.The resultingstrategywas twofold.First,mapanominatedGrosse

PointLibrarytothe2008WorldMonumentsWatchListof100MostEndangeredSites,WMF’s

signatureadvocacyprogram.Thesitewasincludedaspartofthe“MainStreetModern”serial

listing intendedtocallattentiontotheModernistbuildingsthatcharacterizethecivicarchi-

tectureofpostwarAmerica.16Second,WMFofferedagrant to researchanddocument the

Breuerbuilding,and touse the information to retainandsensitivelyadaptandexpand the

originalbuildingratherthandemolishit.RespondinginparttotheincentiveofferedbyWMF,

thelibraryboardsolicitedproposalsbothforreplacing,andforrenovatingandexpandingthe

Breuerstructure.

ThelibraryboardselectedthearchitecturalfirmdesignLABofBoston,Massachusetts,who

proposedasensitiveschemethatwouldmorethandoublethesizeofthelibrarywithoutde-

stroyingordetractingfromtheoriginaldesign.Takingadvantageofaparkinglotintherearof

thebuilding,designLABproposedaU-shapedadditionwithacentral,enclosedcourtyard—a

37

gestureBreueremployedinsomeofhisresidentialcommissions.Parkingwouldbeaccom-

modatedinanundergroundgarage.

Afterrevealingtheplannedrehabilitationandexpansionproject,thelibraryboardreceived

apledgeof$1millionfromalocalcouple.ThisgiftwillsupportthepreservationoftheGrosse

PointeCentralLibraryandtheintegrationofnewtechnology.17Tohelpsecuretheremaining

fundsneededtoimplementtheproject,theBoardofTrusteeshasembracedthelibraryasa

cultural landmark. Ithas initiated“acampaign for the restorationandexpansionofCentral

Library”knownasthe“MarcelBreuerLibraryPreservationFund.”18

WhenaskedtoreflectonthereasonforthesuccessofthecampaigntosaveGrossePointe

PublicLibrary,onemapamemberresponded:

There were many reasons for the success we had in Grosse Pointe, but one

of the strongest ones is that we were able to gain support from non-architects

and non-designers of the community. Even people who publicly admitted they

did not care for the modern design of the Breuer [building] began to realize

that it was a place of memories for their families as well as other families. They

began to understand that even if they personally disagreed with it [the mod-

ern architecture of Grosse Pointe Public Library], the building did embody

values of the community and that was something that should be discussed,

explored, maybe even celebrated…rather than quickly dismissed.19

Themapamembersarecurrentlyconsideringestablishingtheirgroupasanonprofitorgani-

zationdedicatedtoemployingdesignstrategiestoadvocateforthepreservationofmodern

buildings.

38

39

riVerViewhighsChoolSarasota, Florida, 1958–2009Paul Rudolph (1918–1997)

riverviewHighSchoolwasdemolished inJune2009.Thisseminalpost-

war school, oneof the first public commissionsof influentialModernist

architectPaulRudolph,wasreplacedbyaparking lot toserviceanew,

largerschooladjacenttothesite.TherazingofRiverviewendedatwo-

yearcampaigntosavethebuildingthatwaslaunchedbyagroupof lo-

calarchitectsorganizedastheSAVERiverviewcommittee.Thiscampaign

hadlocal,national,andinternationaldimensions.Internationallyrenowned

architectssuchasNormanFosterandCharlesGwathmey—bothstudents

ofRudolphatYaleUniversity—andRobertA.M.Sternvoicedtheirprotestsaspartofaletter-

writingcampaign.ArchitectsfromSarasotaandotherpartsofFloridaparticipatedinadesign

charette,organizedbytheNationalTrustforHistoricPreservation,whichhelpedsecureaone-

yearreprievefromtheschooldistricttoidentifyanalternativetodemolition.Thebuildingwas

placedontheWorldMonumentsWatchListof100MostEndangeredSites in2008.Teams

ofdesignersanddevelopersrespondedtoaninternationalcompetitiontofindaneconomi-

callyviablesolutionforsavingtheschoolandadaptingittoanewuse.Thecompetitionwas

mounted by the SAVE Riverview committee in conjunction with the Sarasota Architectural

Foundation,andsponsored,inpart,bytheWorldMonumentsFundModernismatRiskinitia-

tive.Inaddition,studentsfromtheUniversityofFlorida’sInteriorDesignDepartmentassisted

advocacyeffortsbydocumentingthebuilding,producingHistoricAmericanBuildingSurvey

(HABS)drawings,andpreparingadaptive-useschemestodemonstratehowthebuildingcould

berehabilitatedandrepurposed.DespitethelossofthispostwarModernisticon,theRiver-

viewHighSchoolcasedemonstratesthepotentialofusingdesignasanadvocacytool.Ap-

proachestosolvingdesignproblems—includingcharettes,competitions,andstudentstudio

projects—areeffectivemeansofraisingawarenessaboutthesignificanceofanendangered

modernlandmark,demonstratingoptionsforitspreservationandcontinueduse,andgenerat-

ingpublicdialogueaboutitsfate.

40

SignificanceRiverviewHighSchoolwasan iconicexampleofpostwarschooldesignby influential late-

modern architect Paul Rudolph (1918–1997). Rudolph, before becoming Dean of the Yale

SchoolofArchitectureandestablishingaBoston-andNewYorkCity–basedpractice,was

aleadingproponentoftheSarasotaSchoolofArchitecture(1941–1966).Thiswasaregional

designmovementdistinguishedby theadaptationofmodernism to thesubtropicalclimate

andculturalcontextofsouthernFlorida’sGulfCoast.Likemanyoftheresidentialcommissions

thatfirstbroughtattentiontotheSarasotaSchoolandtoRudolph,RiverviewHighSchoolwas

designedwithapassivecoolingsysteminlieuofairconditioning.Shadesandotherfeatures

controlled, yetmaximized, the region’s strong sunlight.1 These forward-thinking ideashave

found renewed interest todayasboth thedesigncommunityandgeneralpublicsearch for

waystocreateamoresustainablybuiltenvironment.

AcourtyardwastheorganizingelementforRiverviewHighSchool.Threeseparatebuild-

ings—atwo-storyclassroomwing;aone-storycafeteria,libraryandartstudiostructure;and

agymnasiumandmusicstructurewithadditionalclassrooms—enclosed threesidesof the

courtyard.Thefourthsidewasmarkedbyanopen,steelcanopystructurewithsuspended

concretesunshadesthatprovidedshelterfromtheintensesouthernFloridasunandfrequent

late-summer showerswhenstudentsboardedor exitedbuses.Twosmall, one-storypavil-

ions—onefortheprincipal’sofficeandtheotherforfacultymeetings—wereplacedalongthe

backedgeofthecourtyard.Thiscampus-typearrangement,withseparatebuildingsconnect-

edbywalkwaysandcanopiesthroughoutthesubtropicallandscape,wastypicalofaseriesof

schoolsbuiltinSarasotaaroundthesametime.

RiverviewHighSchoolin1959

41

Riverviewwasoneoftenelementary,middle,andhighschoolsconstructedaspartofthe

internationallyrecognizedSarasotaPublicSchoolProgram(1953–1966).Thisprogramhelped

establishanewsetofdesignprinciplesthatredefinedthephysicalenvironmentofeducation

inAmericafollowingtheSecondWorldWar.Sarasota,likemanyothercommunitiesacrossthe

UnitedStatesinthe1950s,experiencedasevereclassroomshortageasstudentenrollment

surged following thepostwarbabyboom.TheexpansionofSarasota’spublicschoolswas

largelythevisionofPhilipHansonHiss(1910–1988),whowaselectedtothecounty’sBoard

ofPublicInstructionin1953andservedaschairmanfrom1955to1959.2Influencedperhaps

byhisowndisappointingeducationalexperience,Hissbroughttogetherleadingeducational

theoristsand innovativemodernarchitects to remakehowandwherestudents inSarasota

weretaught.Thephysicalenvironmentofeducation,forHiss,wasparamounttolearning;he

stronglybelievedpedagogyandarchitectureshouldnotonlycomplementandinformonean-

other,butthattheywereinseparable,equalpartsofastudent’seducation.Ashedescribedin

thecoverletterofasurveyoftheheadsofstateeducationalsystemsintheUnitedStatesthat

hepersonallyundertookin1963:

My contention is that it is foolish to spend millions on salaries which will at-

tract the very best teachers if we then put them into buildings which inhibit

the educational process…good design per se costs nothing and is worth far

more than is generally realized, as a positive tool for education: the building

itself teaches. 3

ThepubliceducationalfacilitiescreatedinSarasotaduringthisperiodwererecognizedbythe

designandeducationalcommunitiesasmodelsofschoolarchitecture.Asdescribed in the

February1959specialschoolbuildingissueofArchitectural Record:

Seldom does one run across a community school building program of such

consistent interest as the one now underway in Sarasota County, Florida. Un-

der the guidance of a very enlightened school board, with Philip H. Hiss as

chairman, the four-year-old program has demanded a balance of quality and

economy, good environment and good function, reasonable first costs, and

reasonable long-range costs. To date, the program has produced eight com-

pleted schools or additions…They are all worth studying; as a group they are

fairly remarkable.4

Abandoningthetraditionaltwo-story,double-loadedcorridorbuildingofthepreviousgenera-

42

tion, theSarasotaschools incorporated the following:flexibleplans thatallowededucators

toadaptclassroomstoaccommodatedifferentteachingmethodsandactivities; industrially

fabricatedmaterialsandbuildingcomponentsthatkeptcostslowandconstructionschedules

short;andinteriorspaceswithnaturallight,color,andscaledesignedtopromotelearning.

ResidentsofSarasotasupportedand,inmanyinstances,embracedtheschoolconstruc-

tion program fashioned by Hiss. A progressive community that included many writers and

artists,Sarasotaalreadyhadatleastoneexampleofanalternativeschool,theOut-of-Door

Academy.Aprivateinstitutionestablishedin1924,theAcademypromotedaholisticapproach

toeducationthatcombinedacademic,athletic,artistic,extracurricular,andcommunity-ser-

viceexperiences.5Experientiallearningwasacornerstoneoftheprogramthat,asthename

implies,tookadvantageofthemildclimatetousetheoutdoorsasaclassroom.

NotonlywastheSarasotapublicaccustomedtoprogressiveeducationalideas,butthefact

thatthesenewschoolswereconstructedwithinorevenunderbudgetinitiallymadeiteasyfor

thecommunitytoviewtheHiss-ledschoolbuildingcampaigninapositivelight.Completed

oneyearafterRiverviewin1959,theadditiontoSarasotaHighSchool,alsobyPaulRudolph,

wasthefirstconstructionprojecttoexceedbudget,changingthispositiveviewoftheprojects.

Localpresschronicledpublicdissatisfactionatwhatwasperceivedasfiduciarymismanage-

ment;complaintsbyfacultyandstudentsofpooracousticsthatplaguedtheclassroomsinthe

newadditionnegativelyimpactedpublicperception.6Subsequently,Hissresignedhisposition

asheadoftheBoardofPublicInstructionandturnedhisattentiontohighereducation,help-

ingestablishandserveontheboardofNewCollege,apubliclyfundedliberalartscollegein

Sarasota.DespitetheissueswiththeSarasotaHighSchooladdition,innovativearchitecture

andpedagogyweremergedwiththeSarasotaPublicSchoolProgramtoadvancetheidealof

progressthatwouldcometodefinetheera.

DesignAdvocacyFromitsopeningin1959throughthe1990s,RiverviewHighSchoolwasexpandedtoaccom-

modate increasing student enrollments as thepopulationofSarasotaCounty continued to

grow.7Theadditionstothebuildingandthecampus,forthemostpart,respectedthescaleand

designoftheoriginal.Duringthistime,however,manyoftheschool’sinnovativearchitectural

features,suchastransomwindowsandroofmonitorsforpassivelyventilatinginteriors,were

concealedbyinsensitiveinstallations,includingalow-cost,metalgableroofovertheoriginal

flat roofand the retrofittingofpipesandducts forairconditioning.Concernsoversecurity

ledtothemountingofroll-downsafetygatesandothermeasuresthatfurthercomprisedthe

originaldesignintent.Despitetheseunsympatheticalterationsandinconsistentmaintenance,

however,thearchitectureofRiverviewHighSchoolremainedremarkablyintact.

43

Citingthepoorconditionofthefacilityandthedifficultyinadaptingittosupportnewtech-

nologiesandeducationalpractices, theSarasotaCountySchoolBoardannounced in2006

thatRiverviewHighSchoolwouldbedemolishedandreplacedwithanewcomplex.Asre-

countedinanarticlethatappearedinSarasota MagazineonSeptember13,2006,anumberof

factorswerereportedascontributingtothedecisiontodemolish:

The School Board contends the existing campus is too difficult to secure, to

retrofit for technology needs like internet wiring, and to adapt to current state

and federal codes for class size and hurricane resistance. They also say the

building constrains current pedagogical methods and will be too expensive

to remodel. 8

Localarchitects,assistedbyaformermayorofSarasota,formedtheSAVERiverviewcommit-

teeshortlythereafterandquicklybeganrallyingthearchitectureanddesigncommunities.The

goalwastoraiseawarenessabouttheschool’sarchitecturalandsocialsignificanceinaneffort

todemonstratethattheModernistlandmarkcouldberehabilitatedandadaptedtoanewuse.

Respondingtothepublicitygeneratedbythecommittee,theSouthernOfficeoftheNation-

alTrustforHistoricPreservationhelpedorganizeadesigncharettethatbroughttogetherrep-

resentativesoftheSarasotaSchoolDistrictandBoardwithmembersoftheSAVERiverview

committeeandconcernedcitizens,boththoseadvocatingandopposingdemolition.9Based

ontheoutcomeof thecharette, theSchoolBoardgrantedaone-yearstayofdemolition in

March2008thatwouldallowthecommittee,nowaffiliatedwiththenonprofitadvocacygroup

knownastheSarasotaArchitecturalFoundation(SAF),toexplorealternativesforrehabilitating

andreusingthebuilding.Riverviewwasthenplacedonthe2008WorldMonumentsWatch

Listof100MostEndangeredSitesaspartofthe“MainStreetModern”serialnominationrec-

ognizingthethreatstopost–WorldWarIImodernsitesintheUnitedStates.10Aroundthetime

oftheWatch listing,theSAVERiverviewcommitteeandSAFmadethedecisiontoholdan

internationalcompetition.

Whilethecompetitionwasbeingdeveloped,theUniversityofFloridaInteriorDesignDe-

partmentinGainesvillecollaboratedwiththeSAFonaservice-learningprojectthatgavestu-

dentstheopportunitytostudyRiverviewHighSchoolfirsthandbydocumentingandassessing

thebuildingoverathree-dayperiod.DuringtheirvisittoSarasotaandthebuilding,students

interactedwithmembersoftheSaveRiverviewcommitteeandbuildinguserstogainamore

informedunderstandingof thecommunity’sneedsandthepotential for retainingandreap-

propriatingRiverviewforanotheruse.Aftercompletingdocumentationandanalysis,students,

workinginteamsoffour,developeddesignsolutionsforreprogrammingandadaptivereuse,

44

includingresidential,office,andculturalfunctions.Studentswererequiredtoanalyzeandre-

tainanyremaining,significantfeaturesandincorporatethemintothenewdesigns.

Thestudentprojectsdemonstratedthefeasibilityofintegratingnewusesintothecomplex

thatwouldaddresslocalneedsandrespecttheoriginaldesignintent.Amongtheprojectout-

comes,theexistingconditionsdocumentationanddrawingsproducedbythestudentswere

usedtoprepareaHistoric AmericanBuildingSurvey(HABS)record.Thisrecordwouldbemade

accessibletoscholarsandinterestedpartiesanddistributedtotheSAFcompetitionentrants

foruseinpreparingdesignsolutions.Thestudents’finalprojectswerewellreceivedatapublic

presentationandforuminOctober2007intheauditoriumoftheSarasota Herald Tribune.

Themostimportantresult,however,oftheUniversityofFloridaprojectwasthestudents’

heightenedawarenessof theircapacity toapplytheirdesignskills tohelpadvocatefor the

preservationofmodernbuildings.Asdescribedbyoneinteriordesignundergraduate:

The Riverview High School renovation project not only provided a means to

study postwar modern architecture but also allowed us, as students, to truly

understand the importance of preservation. In studying the site, analyzing the

design, and allowing the building to reveal Paul Rudolph’s intentions, we have

come to a conclusion that preserving architectural gems is vital to the edu-

cation of the community and to upcoming designers. As we became more

aware of how form and function meet through Paul Rudolph’s work, our team

became inspired to continue to develop and expose what Rudolph did in our

own renovation of this building. 11

Anotherinteriordesignstudentechoedherclassmate’ssentimentsonthemotivationsforpre-

servingmodernarchitecture,particularlyabuildinglikeRiverviewHighSchoolthatstillpro-

videsrelevantlessonsfortoday:

The project design team quickly realized the importance of modern archi-

tecture and the carefully crafted nature of the architectural decisions. Paul

Rudolph utilized shading, lighting, and ventilation techniques that limit energy

use before “sustainability” was a household term. His building related directly

to the surrounding environment and Florida climate, and we were amazed at

Rudolph’s attention to making Riverview High School functional and aestheti-

cally pleasing.12

45

While the University of Florida students worked

on theirprojects, fourpairingsof architectsandde-

velopers responded to the international competition

bysubmittingproposalsforhowtoreusetheoriginal

schoolandpayforthecostsofrehabilitationandother

associatedexpenses.Ajuryofinternationallyandna-

tionallyrecognizedarchitects,suchasCharlesGwath-

mey,andlocalrepresentatives,includingtheViceSu-

perintendentof theSarasotaCountySchoolDistrict,

rankedthefourentries.Thejury, inconsultationwith

theSchoolBoard,thenchoseaschemeforfurtherde-

velopment.Thewinningentrywas“TheRiverviewMu-

sicQuadrangle”byRMJMwithDianeLewisArchitects

andBeckelman+Capalino,LLC, inassociationwith

SeibertArchitects.AsdescribedbyMetropolismaga-

zineeditor-in-chiefSusanS.Szenacy:

During her extensive research, Lewis

[lead architect for the winning entry]

discovered that Riverview High School

is known for its comprehensive music

program and is a Music Demonstra-

tion School for the state of Florida.

So she proposes to create a Music

Quadrangle, where local students can

commingle with their fellow and pro-

fessional musicians from around the

world, creating a learning and perfor-

mance center that promises to be an

enormously valuable cultural resource

for both the city and state.13

Thispositiveresponseto theproposedschemewas

echoedbylocalpress,includingtheSarasota Herald

Tribune article titled, “Restoration will preserve bril-

lianceofRudolph’sRiverviewHigh”:

1.

1.

1.

5.

4.

6.

3.

1.

1.

1.

1.

1.

1.

1.

1. Classrooms 2. Gymnasium 3. Auditorium 4. Administration 5. MusicRoom 6. Cafeteria

46

The transformed Riverview Music Quadrangle would be a companion to but

separate entity from the new Riverview High School. Together, these two

buildings on a single campus would transform Riverview from state recogni-

tion of its exceptional music program to national prominence as a place for

the training of new generations of musician. 14

OutcomeInJune2008,aftersomesevenmonthsofdevelopingtheMusicQuadrangledesignfurther

andexploringthepotentialofraisingtheestimated$40milliontocompletetheproject,the

SarasotaCountySchoolBoardvotedthreetotwotorazeRiverview.Thedecisionwasbased

largelyonconcernsovertheabilitytoraiseprojectfundsprivately,astheSchoolBoardrefused

tocontributepublicfundstowardtheeffort.OnJune13,2009,withoutpriorpublicnotification,

demolitionofRiverviewHighSchoolbegan.Within twoweeks,all remnantsof thebuilding

wereremovedfromthesite.

Althoughthebuildingwaslost,thedocumentationproducedbytheUniversityofFloridaIn-

teriorDesignstudentshashelpedensurethatthelessonsaffordedbythedesignofRiverview

HighSchoolwillbemadeavailabletointerestedpartiesthroughtheHABSdatabase.Butmore

than thearchival record, thepublicdebate—firstspurredby thearchitectswho formedthe

SAVERiverviewcommitteeandlaunchedaninternationalcompetition—continues.Onecon-

tributortothe“SaundersBlog”ontheSarasota Herald Tribunewebsitereflectedontheimpact

ofthebuilding’sdestructionforfuturegenerations,“Itwillbeasadironywhengraduatesofthe

newRiverview,whogoontostudyarchitectureincollege,learnthattheiralmamater’soriginal

structure—nowareveredgenreofAmericanarchitecture—isnothingmorethanapictureina

textbook.”15

47

48

49

KenTMeMorialliBrarYSuffield, Connecticut, 1972Joseph Warren Platner (1919–2005)

InJuly2008,theresidentsofSuffield,Connecticut,votedagainstareferendumtofundthe

demolitionandreplacementoftheKentMemorialLibrary.Thoughsparedforthemoment,

itslong-termfutureisnotassured,butthebattleoveritsfateencapsulatedmanyofthephil-

osophicalandpracticalissuesfacedbyMainStreetModernbuildingsatrisk—theschools,

civicbuildings,libraries,andhousesofworshipthatanchorcommunitiesacrosstheU.S.

The building, which opened in 1972, was designed in the modernist idiom by architect

anddesignerJosephWarrenPlatner,bestknownforhissumptuouslyappointedinteriors

fortheWindowsontheWorldrestaurantattheWorldTradeCenterinNewYorkCityand

hisnow-iconiccollectionofsculpturalfurniturestillinproduction.TheKentMemorialLibrary

Commission,respondingtoaneedforadditionalspace,hadoriginallyproposedtorazethe

facilityandreplaceitwithalargeroneonthesamesite.Thoughmanyfactorscontributedto

thecommunity’srejectionoftheplan,twoinparticularsurfacedmanytimesduringtheconten-

tiouspublicdebatesthattookplaceoninternetblogsandinlettersandeditorialspublished

bytheHartford Courant.Thefirst—andperhapsmostimportant—factorwaseconomics.Itis

oftenlesscostlytoretain,adapt,andexpandanexistingbuildingthantodemolishandreplace

it.ThisprovedtobethecaseasdemonstratedbyaplandevelopedbytheConnecticutTrust

forHistoricPreservationtosensitivelyrehabilitatetheexistinglibrary.Thesecondpointmade

bycommunityadvocatesforpreservationwastheideathatmodernbuildings,includingthose

erectedduringourownlifetime,arejustassignificantasthosefrompasteras.Likestructures

fromtheColonialorVictorianperiods,modernlandmarksencapsulatethevaluesandaspira-

tionsoftheirtime.Bypreservingtheirmodernheritage,communitieslikeSuffield,Connecticut,

wantedtoengenderarespectfortheirrecenthistoryandmaintainanimportantlinkbetween

theirpastandthepresent.

Significance

TheKentMemorialLibraryistheonlyfreestandingbuildingbyPlatner(1919–2005).Agradu-

ateofCornellUniversityandaRomePrizerecipient,Platnerbecameknownprimarilyforhis

50

elegantmoderninteriorsandfurnituredesignsoftenmadeofrichmaterialsandfinishes.He

beganhiscareerin1945workingfortheindustrialdesignerRaymondLoweyandarchitectI.M.

Pei.LaterhejoinedEeroSaarinen’sfirm,whereheassistedwiththeinteriordesignofDulles

InternationalAirport inWashington,D.C.,andtheRepertoryTheateratLincolnCenter,New

YorkCity.PlatnerwaspromotedtoheadofinteriordesignwhenSaarinendiedandhisfirmbe-

cameKevinRocheandJohnDinkelooAssociates.Roche,whohadbeenSaarinen’sprincipal

designassociate,collaboratedwithPlatnerononeofthefirm’sfirstandbest-knownprojects,

theFordFoundationBuilding(1967)inNewYorkCity.ItwasduringhistenureattheRoche

andDinkeloofirmthatPlatnerbegantohonehisdistinctiveapproachtocommercialinterior

design.AsdescribedintheNew York TimesobituaryforPlatner:

As the head of interior design at Mr. Roche’s firm, Mr. Platner created office

spaces that were flexible, understated, and efficient. He chose a rich, quiet

color scheme to create a warm environment and installed custom-made fur-

niture designed to eliminate unnecessary effort. Ergonomic desks included

built-in telephones and special compartments for files and office machines.1

Thisattentiontofunctional,human-scaledspaceswouldcontinuetodefinePlatner’swork.He

launchedhisownfirm,WarrenPlatnerandAssociates,in1965whilecontinuingworkonthe

FordFoundationBuilding.Hewentontocompleteanumberofhigh-profileprojectssuchas

the1968showroomforGeorgJensen,thedesignerofhigh-endScandinavianfurniture,fix-

tures,andluxuryobjects.In1976hecompletedhisbest-knownsolocommission,theoriginal

WindowsontheWorldrestaurant.

Originalrendering

51

Influencedinpartbytherenewedinterestinhistoricarchitecturalprecedentsthathelpedde-

finethatperiod,Platnerdrewinspirationfromdifferentdesignstylestofashionthespacesof

WindowsontheWorld.Thespiritoftherestaurantwassimilartoasumptuouslydecorated

oceanliner,withaterracedmaindiningroomthatprovidedeverytablewithaview.Platner,

movingaway from theminimalist underpinningsof early andpostwarmodernism,chosea

paletteof luxuriousmaterialsandfinishesfor thehighlydetailedrestaurant, includingbrass

railings,paintedandphotomurals,andmirror-coveredwallsandceilings.2

Describinghisdesignapproachduringthisperiod,Platnersaid“Ifelttherewasroomfor

thekindofdecorative,gentle,gracefuldesignthatappearedinaperiodstylelikeLouisXV.”3

Paul Goldberger, architecture critic for the New York Times, reviewed the Windows on the

Worldprojectanddescribeditas“sensuousmodernism.”4Twosignificantprojectsundertaken

inthelate1960sandearly1970srevealthefurtherdevelopmentofPlatner’sdistincttakeon

Modernistdesign.

Collaborating with a production team from the Modernist design company Knoll, Inc.,

Platnercreatedacollectionoffurniturethatincludedsculpturalchairs,ottomans,andtables

constructedwithcurved,nickel-platedsteelrods.Stillinproduction,thislineoffurniturehas

becomeaclassic,whichPlatnerdescribedas“somethingthateverytimeyoulookatit,you

acceptitasitisandyouseenowayofimprovingit.”5

TowardtheendofhiscollaborationwithKnoll,Platnerwascommissionedbythetownof

Suffield,Connecticut,todesignanewpubliclibrary.Thebuildingwastobeplacedacrossthe

towngreenfromtheoriginal1897structuredonatedbySidneyA.Kent,aSuffieldnativeand

Chicagobusinessman,tohonorhisparents.6Platner’slibrary,liketheoneitreplaced,waslo-

catedintheMainStreetHistoricDistrict,locallydesignatedin1963andplacedontheNational

RegisterofHistoricPlacesin1979.DavidRamson,authoroftheNationalRegisternomination,

describedthedistrict,whichisoneofthelargestintheStateofConnecticut,as:

…a remarkable display of American building styles from early 18th century

to mid-20th century. Fine examples of architectural styles along the-two-

and-a-half mile length of the district include Colonial, Georgian, Federal,

Greek Revival, Italianate, Romanesque Revival, Second Empire…These

outstanding buildings, by their continued existence, largely free from dam-

aging alterations and intrusions, constitute an architectural and historic re-

source of substantial significance.7

Completedandrededicatedin1972,theKentMemorialLibrarywassymmetricallyorganized

aroundacentralgardencourt.Wallsofseamlessglasswithverticalglassmuntinsvisuallycon-

52

nectedthebuilding’sinterior.Thebuildingincludedarampfromthegroundleveltothesecond

floorandthelandscapedgardencourt.Theinteriorsofthelibrary’smainreadingspaceswere

basedinpartonresidentialprecedents.AsdescribedbyarchitectRichardMunday,aprincipal

ofHerbertS.NewmanandPartnersArchitectsinNewHaven,Connecticut,andanadmirerof

thebuilding:

Very few libraries treat the book or the reader with such honor and care,

and with as much attention to the act of reading. Each of its public spaces

was conceived as a room, like the library in a house, as a warm and intimate

space that welcomes the individual.8

TheexteriorofthePlatnerlibrarycontrastswithandcomplementstheneighboring18th-and

19th-centurydomesticandcivicbuildingsthatcharacterizethehistoricdistrictinwhichitis

located.Whiletheabstractformsanddetailsaremodern,thebuilding’sscaleandsymmetry

recallthemanynearbyColonial-erastructures.Despiteitsscale,however,theplacementof

theunabashedlymodernlibrarywithinthetown’shistoriccenterwouldremainacontroversial

decisionthatmayhavecontributedtotherecentmovetodemolishandreplacethebuilding.

DesignAdvocacyBy2006,theKentMemoriallibrary,amodest14,000squarefeet,servedthreetimesasmany

patronsandhoused40,000morebooksthanwhenitopened.Recognizingtheneedforad-

ditionalspacetoservenewactivitiesandtechnologies,theLibraryCommissioncreatedanad

hocPlanningCommitteewiththeendorsementoftheSuffieldBoardofSelectmen.TheCom-

mitteeultimatelydevelopedaproposaltorazethePlatner-designedbuildingandconstructa

new,largerfacilityonthesamesite.InapublicpresentationtotheBoardofSelectmeninJune

2007,theCommitteecitedanumberofreasonsforconstructinganewlibrary.Theseincluded

thelimitedsizeofthePlatnerbuilding,itsenergyinefficiency,itsantiquatedbuildingsystems,

andlimitedaccessibilityofsomeofitsspaces.TheBoardofSelectmenapprovedtheplansfor

demolitionandreplacement.AccordingtoFirstSelectmanScottR.Lingenfelter,demolishing

theexistingbuildingandconstructinganewonewas“themostcost-efficientandbeneficial

forthetown.”9

Oncethedecisiontoreplacethelibrarywassanctionedbythetown,theLibraryneededto

organizeapublicreferendumtoobtaintheapprovalofSuffieldresidentstoappropriate$13.6

millioninlocalfundingtowardtheproject.ItalsoneededtosecurepermissionfromtheSuffield

HistoricDistrictCommissiontorazethelibrary.

Newspaperarticlesquicklyappearedbothsupportingandcontestingtheplantoreplace

53

the Platner-designed library. Architect Richard Munday, in

an article in the Hartford Courant advocating for the pres-

ervationofthelibrary,challengedthePlanningCommittee’s

reasonsfordemolitionasendorsedbytheSuffieldBoardof

Selectmen:

These [reasons for demolition] are not the

fault of the building; they are a function

of the passage of time and could readily

be corrected. The building has been well

cared-for. It was built with stone, brick,

concrete, and wood to last generations.

As for energy efficiency, it could take gen-

erations of reduced energy costs in a new

building to pay for the cost of demolition,

the cost of replacement, and the loss of the

embedded energy in the existing building.10

In response to the plan to demolish the building, longtime

Suffield resident Brendan Begley launched the Save Kent

campaigntorallythecommunitytosavetheexisting,Mod-

ernistgemandvoteagainst the referendum to replace the

library.OntheofficialSaveKentwebsite,Begleysaid:

What a terrible loss of a modern architec-

tural gift to our town this would be. Why

do we need to tear down this structure?

We can have a better and bigger library,

but we don’t have to demolish this part of

our heritage to accomplish that goal. The

present Kent Memorial Library was a gift

to the town in 1972. It was a generous

donation by a wonderful group of citizens

who commissioned Warren Platner to de-

sign and build a library that reflected a

statement about their generation.11

SitePlan

54

TheConnecticutTrustforHistoricPreservation,astatewideadvocacygroup,bolsteredlo-

caleffortsbyplacingtheKentMemorialLibraryonitsmostendangeredlist.TheConnecticut

TrustthenintervenedandmetwiththeSuffieldHistoricDistrictCommissionbeforethereferen-

dumandbeforeanapplicationfordemolitionwastobefiledwiththeagency.Duringthemeet-

ing,theConnecticutTrustwasgivenpermissiontodevelopandpresentanalternativedesign

forrehabilitatingandaddingontotheexistingbuilding.Thisalternateschemewascreatedby

architectandConnecticutTrustboardmemberWilliamCroskey,anddemonstratedhowtheli-

brarycouldbeexpandedandmadecode-compliantwithoutsacrificingPlatner’soriginalvision

andarchitecture.Inaddition,therehabilitationandexpansionscheme,accordingtoCroskey,

wouldbehalfthecostanewbuilding.TheConnecticutTrustplanandpresentationwerein-

strumentalinbolsteringpublicdebateandraisingawareness.“Thisalternative,”accordingto

anitemintheConnecticut Preservation News,“setoffaroundofstronglywordedarguments

inthemediaandaroundtown.”12Despitetheheightenedawareness,manyfearedtheHistoric

DistrictCommissionwouldgrantpermissiontodemolishthelibrary.13Thefateofthebuilding

wouldbedecidedbythecitizensofSuffieldinthereferendum.

Inthemonthsleadinguptothepublicvote,whichwasscheduledforJuly22,2008,Begley

andtheSaveKentcampaignutilizedavarietyofmethodstoraiseawarenessaboutthesignifi-

canceofthelibraryandthepublicreferendum.Theireffortstosavethebuildingincludedthe

creationofanonlinepetition,yardsigns,posters,andbumperstickers.Arepresentativefrom

theWorldMonumentsFundvisitedthelibraryandmetlocalpreservationadvocates.TheSave

KentcampaignwasalignedwithWMF’sModernismatRisk/MainStreetModernprogram.

Thetagline“ModernismatRisk”wasincludedonthewebsite.

Advocates for preserving the library posted comments on internet blogs and submitted

letterstotheHartford Courant,includinganeditorialbyWMF.AMarch12,2008letterbyan

unknownauthorpointedouttheinherentparadoxofacommunityknownforcelebratingits

historyallowingthedemolitionofasignificantcivicbuilding:

The irony is that Suffield is a town that otherwise values its heritage and

architecture. Its Main Street rivals any in beauty and history. Its stunning

structures range from the Phelps-Hathaway House museum, built in three

stages in the 1700s, to the 1871 Victorian mansion Spencer on Mains, a

bed and breakfast that has been in the same family since it was built. The

Kent [Memorial Library] represents its era as gracefully as they did theirs.14

Connecticut resident Gerald Weiss, responding to an editorial titled “Don’t Throw Away a

Town Treasure” by Begley in the Hartford Courant, posted the following statement on the

55

websiteTopix,whichunderscoredtheimportanceofpreservingheritage,includingthatofthe

recentpast:

Preserving heritage, culture, architecture, memories of an era, its people, its

community, and individualism is vital to future generations and their under-

standing of history…This library should be preserved and restored. Enlarge-

ment should not affect the original structure, but complement it. This is a

worthwhile pursuit…saving history.5

OutcomeAnonlinearticlepublishedbytheNationalTrustforHistoricPreservationreportedtheresults

ofthereferendum:

The signs are gone now. The people have spoken. In a July 22 referendum,

residents voted 2,556 to 1,525 against spending $13.6 million on a new

library to take the place of the Kent Memorial Library, designed by Warren

Platner.16

AtanAugust5,2008,meetingoftheKentMemorialLibraryCommission,therewasextended

discussionaboutthereasonsfortheoutcome.Somepresentbelievedtheprojectcostand

general economicconditionwere thedeciding factor. Thewidelypublicized,morecost-ef-

fectiveoptionofadaptingandenlargingtheexistingbuildingmayhavehelpedswaypublic

opiniontowardafiscallyconservativesolution.Atthesamemeeting,thedecisionwasmade

topursuegrantstofundaconsultanttodeterminethebestlibraryforSuffield.Intheinterim,

theCommissionagreedthatstepsshouldbetakentoimprovetheconditionsoftheexisting

building.17

Although concern over the current economic situation contributed to the outcome, the

heightenedawarenessofthearchitecturalsignificanceoftheirmodernlibrarygeneratedbythe

SaveKentadvocacycampaign,bolsteredbythealternativedesignschemepreparedbythe

ConnecticutTrustforHistoricPreservation,wasamajorfactorinsecuringthebuilding’sfuture,

atleastfornow.Thecommunity’ssenseofstewardshipofitsformidablehistoricalresources

wasalsoexpandedtoincludethoseoftherecentpast.

56

ADGBBuilding

1 GabrieleLiebig,“HowtheGermanTradeUnionsCouldHaveStoppedHitler,”Executive Intelligence Review,(Volume24,Number16,1997):20–25:“Abroadallianceofsocialforces,centeredaroundtheGeneralGermanTradeUnionAlliance(AllgemeineDeutscheGewerkschaftsbund—ADGB),putforwardaplantoreorganizetheworldfinancialsystemandtocreatejobsthroughpublicwork-creationmeasures…Withits8millionmembers,theADGBwasthelargestmassorganizationinGermany,representing80%ofallorganizedworkers.”

2 MichaelK.Hays,Modernism and the Posthumanist Subject: The Architecture of Hannes Meyer and Ludwig Hilberseimer (Cambridge,Massachusetts:MITPress,1992),135.

3 WalterGropiushiredHannesMeyerbasedinpartonMeyerandHansWittwer’sentrytotheChicagoHeraldTribunecompetition.

4 CharlesJencks,Modern Movements in Architecture(GardenCity,NewYork:AnchorBooks,AnchorPress/Doubleday,1973),88;seealsoHannesMeyer,Hannes Meyer, Buildings, Projects and Writings(Teufen,Switzerland:Niggli,1965),31and57.

5 Ibid.,88;seealsoABCmagazinemanifestotitled“ABCDemandstheDictatorshipoftheMachine”(1928).

6 HannesMeyerasquotedbyTheoVanLeeuwen,Introducing Social Semiotics(NewYork:Routledge,2004):71

7 HannesMeyerasquotedbyMichaelK.HaysinModernism and the Posthumanist Subject: The Architecture of Hannes Meyer and Ludwig Hilberseimer (Cambridge,Massachusetts:MITPress,1992),136.

8 ArchitectureastheunitinggoalofallartandcraftswasdescribedbyWalterGropiusintheBauhausManifestoandProgram.AsquotedbyWilliamJ.R.CurtisinModern Architecture Since 1900,3rded.(London:PhaidonPressLimited,1996),184:“Thecompletebuildingistheultimateaimofthevisualarts…Architects,paintersandsculptorsmustrecognizeoncemorethenatureofbuildingsascompositeentities.Onlythenwilltheirworksbepermeatedwiththatarchitectonicfeelingwhichhasbecomelostintheartofthesalons.Agroundworkofcraftdisciplineisessentialtoeveryartist.Letuscreateanewguildofcraftsmen,withoutclassdistinctionswhichraiseanarrogantbarrierbetweencraftsmanandartist.Together,letusconceiveandcreateanewbuildingofthefuture,whichwillembracearchitectureandsculptureandpaintinginoneunityandwhichwillriseonedaytowardheavenfromthehandsofamillionworkerslikethecrystalsymbolofanewfaith.”

9 BrochurefortheWorld Monuments Fund/Knoll Modernism Prize: 2008 award to Brenne Gesellschaft von Architekten mbH for the restoration of the ADGB Trade Union School (1928–1930) Bernau, Germany designed by Hannes Meyer and Hans Wittwer(July2008),15.

10DavidSokol,“AnArchitecturalGeminGermanyisReborn,”Architectural Record,August13,2008,http://archrecord.construction.com/news/daily/archives/080813germany.asp(accessedFebruary2,2009).

11BrochurefortheWorld Monuments Fund/Knoll Modernism Prize: 2008 award to Brenne Gesellschaft von Architekten mbH for the restoration of the ADGB Trade Union School (1928–1930) Bernau, Germany designed by Hannes Meyer and Hans Wittwer(July2008),11.

referenCes

57

12Ibid.,5.

13Ibid.,11.

14BarryBergdollwasquotedfromhispresentationandremarksattheceremonyfortheModernismatRiskModernismPrize,July10,2008.Othermembersofthejurywere:Jean-LouisCohen,InstituteofFineArts,NewYorkUniversity;KennethFrampton,ColumbiaUniversity;andDietrichNeumann,BrownUniversity.

A.CongerGoodyearHouse

1 PaulGoldberger,“Stone’sGlassHouse,”The New Yorker,November28,2002,http://www.newyorker.com/archive/2002/11/18/021118ta_talk_goldberger?printable=true.

2 MoMAwaslocatedinatemporaryheadquartersattheTime&LifeBuildingatRockefellerCenterwhilethenewbuildingwasconstructed.CongerGoodyear,The Museum of Modern Art: First Ten Years(TheMuseumofModernArt,1943).

3 Ibid.

4 EdwardDurellStone,The Evolution of an Architect(HorizonPress:NewYork,1962),25.

5 CongerGoodyear,The Museum of Modern Art:70.

6 EdwardDurellStone,The Evolution of an Architect,35.

7 Ibid.,37.

8 Ibid.,38.

9 CongerGoodyear,The Museum of Modern Art (TheMuseumofModernArt,1943),70

10JulieIovine,“ModernLongIslandIconIsonthe‘Endangered’List,”New York Times,October15,2001,http://www.nytimes.com/2001/10/15/arts/modern-long-island-icon-is-on-the-endangered-list.

11Anothermajorchangetothedesignasevi-dencedbythe1938and1939setsofcon-structiondrawingsincludethereplacementofproposedoperablewindowsinthecirculardiningroomwithfixedunits.TheseoperablewindowsrecalledtheonesemployedbyMiesvanderRoheinthemainlivingspaceoftheTugendhatHouse(1930)inBrno,Czechoslova-kia,aswellastheorangeryofthePhippsFam-ily’sOldWestburyGardenestate,constructedsometenyearsbeforetheGoodyearHouse.

12“ConservationServices:A.CongerGoodyearHouse,OldWestbury,NewYork,”preparedforWorldMonumentsFundbyIntegratedConservationResources,June2002.

13NationalRegisterofHistoricPlacesNominationfortheA.CongerGoodyearHousepreparedbyCarolineZaleski,2002.

14AccordingtoSection106oftheUnitedStatesNationalHistoricPreservationAct,reviewandregulationsofrestorationworkonlyoccursifthepropertyisownedbytheFederalgovernmentoriftheprojectissupportedbyFederalfunds.

15“DesignerBuystheGoodyearHouse,”Newsday.com,July17,2009,http://www.newsday.com/business/ny-bzgoodyear26-story,0,6008800.story.

GrossePointeLibrary

1 MagdalenaDroste,Bauhaus(Germany:BenediktTaschen,1990),seealsoMargaretKentgengs-Craig,ed.,translatedbyMichaelRobinson,The Dessau Bauhaus Building, 1926–1999(Basel;Boston:Birkhäuser,1999).

2 IsabelleHyman,Marcel Breuer, Architect: The Career and the Buildings(NewYork:H.N.Abrams,2001).

3 JohnGallagher,“IconIsWorthSaving,”Detroit Free Press,January20,2007,BusinessSection,MetroFinalEdition.

4 GraceGlueck,“W.HawkinsFerry,PatronofArtsandArchitecture,”New York Times,January28,1988,SectionB,Page5,NewYorkEdition.

58

5 FordescriptionsofthehistoricarchitectureoftheGrossePointesseeEricJ.HillandJohnGallagher,AIA Detroit: The American Institute of Architects Guide to Detroit Architecture.(WayneStateUniversityPress,2002);seealsoKatherineMattinglyMeyerandMartinC.P.McElroy,Detroit Architecture A.I.A. Guide Revised Edition,(WayneStateUniversityPress,1980).

6 Asquotedinthearticle“AmericanCentury”byDonaldH.WhiteintheJournal of World History (Spring,1992,Vol.3,No.1),105–127.

7 Quotefromunpublishedmanuscript“TalkGivenbyHawkinsFerryonArtObjectsintheCentralLibrary,”February14,1954.

8 Ibid.

9 Ibid.

10Ibid.

11“ServiceandSpaceNeedsScenarios:APlanningOutlinefortheGrossePointePublicLibrary”reportpreparedfortheGrossePointePublicLibraryBoardofTrustees:2.

12JohnGallagher,“IconIsWorthSaving,”Detroit Free Press,January20,2007,BusinessSection,MetroFinalEdition.

13BlogpostingbyBrianBuchalskasrecountedinmapastatement,“VirtualActivism,”Archinect(postedMarch27,2007),http://www.archinect.com/features/article.php?id=54565_0_23_0_M.

14Ibid.

15Ibid.

16MainStreetModernwasaseriallistingonthe2008WorldMonumentsWatchthatadvocatedforthepreservationofpost–WorldWarIIcivicbuildingsintheUnitedStatesdesignedintheModernistidiom.ThelistingincludedRiverviewHighSchoolinSarasota,Florida,andGrossePointePublicLibrary.

17SherriBegin,“Gifttakesalibrarybeyondbooks,”Crain’s Detroit Business,August4,2008.

18MarcelBreuerLibraryPreservationFund:ACampaignfortheRestorationandExpansion

ofCentralLibrary,http://breuer.gplf.org/?page_id=4.

19ThequotebyBrianBuchalskiwastakenfromresponsestoquestionnairespreparedbyMorrisHyltonIIIanddistributedtothefoundingmembersoftheModernArchitecturalProtectionAgency(mapa).

RiverviewHighSchool

1 JohnHowey,The Sarasota School of Architec-ture, 1941–1966(Cambridge,MA,andLondon:TheMITPress,1995).

2 InformationaboutPhilipHansonHissandhistenureasChairoftheSarasotaCountyBoardofPublicInstructioncomesfromaninterviewwithhisformerwife,ShirleyHiss,conductedbyLorrieMuldowneyandMorrisHyltonIIIinSeptember2008.

3 QuotetakenfromthethirdparagraphofaJune26,1963,coverletterwrittenbyPhilipH.HissaccompanyingasurveyheundertookoftheDepartmentsofEducationofeachofthe50states.

4 “Sarasota’sNewSchools:AFeatofEconomyandImagination,”Architectural Record,Build-ingTypesStudyNo.267:Schools,February1959:203.

5 “History,”Out-of-DoorAcademy,http://www.oda.edu/page.cfm?p=1559.

6 ShirleyHissdescribedcostoverrunsofSara-sotaHighSchoolAdditionsasamajorfactorintheendofthePublicSchoolProgramledbyHiss.TheinterviewwithShirleyHisswascon-ductedbyLorrieMuldowneyandMorrisHyltonIIIinSeptember2008;seealsoLorettaMarieMudlowney,“SarasotaCounty’sSchoolBuild-ingProgram,1955–1960,(UniversityofFloridaMasterofScienceinArchitecturalStudiesThe-sis,1999),101–110.

7 From1950to1960,thepopulationofSarasotaCountyincreasedfrom29,000to77,000accordingtoPhilipH.Hissasreportedin“Sarasota’sBrokenPromises,”Architectural Record, June1967.

59

8 TravisWilds,“IsItHistory?,”Sarasota Maga-zine,September13,2006:17.

9 RachelBrownHackney,“Groupwinsre-prieveforRudolphBuilding”SAVERiverviewblog,March12,2008,http://saveriverview.blogspot.com/search?updated-max=2008-06-17T23%3A07%3A00-04%3A00.

10MainStreetModernwasaseriallistingonthe2008WorldMonumentsWatchthatadvocatedforthepreservationofpost–WorldWarIIcivicbuildingsintheUnitedStatesdesignedintheModernistidiom.ThelistingalsoincludedGrossePointePublicLibraryinGrossePointeFarms,Michigan.

11QuotebySerenaEl-fakhritakenfromrespons-estoquestionnairepreparedbyMorrisHyltonIIIanddistributedtorepresentativesoftheUni-versityofFloridaInteriorDesignstudentteams,April2008.

12Ibid.,quotebystudentHaleyRussell.

13SusanS.Szenasy,“IndigenousDesign,”Metropolis,March19,2008,http://www.me-tropolismag.com/story/20080319/indigenous-design.

14“RestorationwillpreservebrillianceofRu-dolph’sRiverviewHigh,”Sarasota Herald Tri-bune,March27,2008:A12.

15TheSaundersBlog,Sarasota Herald Tribune,February21,2008.

KentMemorialLibrary

1 StuartLavietes,“WarrenPlatner,Designer,IsDeadat86,”New York Times,Art&DesignSection,April20,2006.http://www.nytimes.com/2006/04/20/arts/design/20platner.html.

2 “WindowsontheWorld,”Architectural Record,May1977:111–117.

3 Quotefrom“Biographies”sectiononR Gallerywebsite.http://www.r20thcentury.com/biogra-phy_detail.cfm?designer_id=91.

4 QoutedinStuartLavietes,“WarrenPlatner,De-signer,IsDeadat86,”New York Times,Art&De-signSection,April20,2006.http://www.nytimes.com/2006/04/20/arts/design/20platner.html.

5 “Biographies”sectiononR Gallerywebsite,http://www.r20thcentury.com/biography_detail.cfm?designer_id=91.

6 “HistoryoftheLibrary,”KentMemorialLibrarywebsite.http://www.suffield-library.org/local-history/index.htm#hotl.

7 TownofSuffield,Connecticut,website,http://www.suffieldtownhall.com/content/77/93/658.aspx.

8 RichardMunday,“Don’tDemolishLandmarkBuilding,”Hartford Courant,September20,2007.

9 ScottR.Lingenfelterquotetakenfromananonymouslettertitled“SavetheLibrary”intheHartford Courant,March12,2008.

10RichardMunday,“Don’tDemolishLandmarkBuilding,”Hartford Courant,September20,2007.

11BrendanBegleyquotetakenfromSaveKentwebsite,http://www.savekent.com/about

12ChrisWrigen,“AroundtheState:Suffield,”Connecticut Preservation News,March/April2008.

13Ibid.

14“SavetheLibrary,”Hartford Courant,March12,2008.

15GeraldWeiss,inresponsetoBrendanBegley’seditorialintheHartford Couranttitled“Don’tThrowAwayaTownTreasure,”July7,2008,http://www.topix.com/forum/city/suffield-ct/TC57KK8MGSN8FMHDJ.

16MargaretFoster,“VoteSavesModernLibraryinConnecticut,Preservation Magazine online,July29,2008,http://www.preservationnation.org/magazine/2008/todays-news/vote-saves-modern-library-in.html

17KentMemorialLibraryCommission,August8,2008,meetingminutes.

60

worldMonUMenTsfUndWorldMonumentsFundistheleadingindependentorganizationdevoted

tosavingtheworld’smosttreasuredplaces.Forover45years,working

in more than 90 countries, our highly skilled experts have applied

proven and effective techniques to preserve important architectural

andculturalheritagesitesaroundtheglobe.Throughpartnershipswith

localcommunities,funders,andgovernments,weinspireanenduring

commitment to stewardship for future generations. Headquartered in

NewYork,WMFhasofficesandaffiliatesworldwide.

PHOTOCREDITSCovers,BrenneGesellschaftvonArchitekten.Page4,AndrewMoore.Page6,GregWilson.Page10,UniversityofFloridaCollegeofDesign,ConstructionandPlanning.Page12,AndrewMoore.Page 14, National Archives Dusseldorf/aerial photo collection. Page 17, Brenne GesellschaftvonArchitekten.Page18–20,AndrewMoore.Page22,EzraStoller/Esto.Pages28–30,AndrewMoore. Pages 32–35, Grosse Pointe Public Library Local History Archives. Page 38, AndrewMoore.Page40,EzraStoller/Esto.Page45,SereenGualtierifortheUniversityofFlorida.Pages47–48,AndrewMoore.Pages50–53,KentMemorialLibraryArchives.

ISBN-10:0-9841732-0-xISBN-13:978-0-9841732-0-4©2010WorldMonumentsFund.Allrightsreserved.ExceptaspermittedundertheU.S.Copy-rightActof1976,nopartofthispublicationmaybereproduced,distributed,ortransmittedinanyformorbyanymeans,orstoredinadatabaseorretrievalsystem,withoutpriorwrittenpermissionoftheWorldMonumentsFund.

ToshareyourcommentsaboutModernism at Risk

ortolearnmoreaboutthebuildingsprofiledinthispublication,

visitwww.wmf.org/modernismatrisk.