Categories
Carondelet Fire Parks

Building a New Bandstand

by Michael R. Allen

The Soulard Blues Band plays on the bandstand, summer 2010. Photograph by Tom Lampe.

Unfortunately, wood is both a common architectural material and highly combustible. These traits were apparent Wednesday when the beloved Carondelet Park bandstand, which was built after 1916, was destroyed by fire. All that remains of the bandstand are the concrete piers, ash and charred pieces of the historic structure. The bandstand was totally lost. Or was it?

The Parks Department is proposing that the structure quickly be replaced by a “fire resistant”” version of what was lost. The phrase “metal and fiberglass that looks like Victorian-style structures” even appeared in a St. Louis Post-Dispatch article this week, followed by the notion that other wooden structures in Carondelet Park be coated with fire-proofing.

Certainly, the way forward is a dual look at the past and the future, but the Parks Department is looking the wrong ways. For starters, the lost bandstand built in St. Louis’ fruitful City Beautiful period and fifteen years after Queen Victoria’s death is far from a “Victorian” structure. The bandstand was an elegant, purposeful and picturesque structure set deliberately into Carondelet Park’s romantic landscape. The landscape was developed starting in 1876 following principles of landscape architecture that were indeed Victorian, but the bandstand came in the era of City Beautiful park planning and was a monument to St. Louis’ early 20th century development of public amenities and park improvements following the publication of our first Comprehensive Plan in 1907.

Thus the bandstand married the ideals of its time with those of earlier era. That is exactly what its replacement should do. A good architect will be able to join the setting in Carondelet Park with the needs of a 21st century bandstand as well as the aspirations of St. Louis today. The Parks Department should be looking for that good architect instead of rushing to build a replacement structure that would be hasty and anachronistic. Few people’s depiction of the modern character of this city would include the words “fiberglass” or “Victorian.”

As for fire-proofing other wooden structures, that is a troubling proposal. Coated wood may not burn easily, but it will trap moisture that will lack a way out. The parks department might find that flash fires are not as expensive or common a problem as slow rot of wooden structures coated with inappropriate and impermeable materials. After all, the Carondelet Park bandstand – may it rest in peace – stood strong for over 90 years.

This post appeared yesterday on MayorSlay.com.

Categories
Benton Park Carondelet Cherokee Street Marine Villa North St. Louis Pruitt Igoe South St. Louis

St. Louis Mythory Tour

Emily Hemeyer helps two people assemble their zines at the Mythory Tour.

On Friday, as part of the epic Southern Graphics Council (SGC) Convention night on Cherokee Street, the St. Louis Mythory Tour made its debut. An expanded version will return soon, as will a new edition of the ‘zine guidebook, printed in a limited edition of 70 for Friday.

St Louis Mythory Tour
a collaborative tour and zine making workshop
by Emily Hemeyer & Michael R. Allen
May 12th, 2011. 6-9pm. Cherokee ReAL Garden. Cherokee Street. St Louis, MO

“[M]yth is speech stolen and restored.”
-Roland Barthes, Mythologies

ABOUT THE PROJECT

The built environment of St. Louis reveals itself through our observations, often clouded by nostalgia, ideology and comparison. We look around us and see inscriptions of what we imagine St. Louis to be, be that a “red brick mama”, an emergent Rust Belt powerhouse, a faded imperial capital or simply our home. St. Louis offers back its own narrative mythologies, presented through chains of linked sites with collective meanings. We quickly find that the city’s own presentation of itself is as veiled as our own observation. There is no one St. Louis, but there is no one archetypal St. Louisan.

The Mythtory Tour imagines a landscape of accrued building that has been neglected, in physical form and human consciousness. This tour presents one possible mythology of place centered on traditions of construction converging across disparate neighborhoods and many generations in order to show us St. Louis. Whether you can find this city out there is irrelevant, because using this map you will find some city worth your love and respect.


View St. Louis Mythory Tour in a larger map

THE TOUR

1. THEY BUILT WITH EARTH
Sugarloaf Mound, 4420 Ohio Street

2. THEY BUILT WITH STONE
Stone House, 124 E. Steins Street

3. THEY BUILT TO PRODUCE
Lemp Brewery, southeast corner of Cherokee & Lemp streets

4. THEY BUILT IN THE AIR
Pruitt-Igoe Site, Southeast Corner of Cass and Jefferson Avenues

5. THEY BUILT FOR THE FUTURE
Kingshighway Viaduct, Kingshighway Boulevard Between Vandeventer and Shaw
Avenues

6. THEY BUILT UNDERGROUND
Cherokee Cave, Under Cherokee Street at DeMenil Place

7. THEY BUILT ON THE WATER
U.S.S. Inaugural, Foot of Rutger Street

(Full descriptions and photographs of each location are available in the guidebook. Those interested in ordering a copy can contact Michael Allen at michael@preservationresearch.com.)

Categories
Carondelet Central West End Preservation Board

A City Neighborhood Can Never Have Too Many Storefronts

by Michael R. Allen

UPDATE Monday, March 22 at 7:21 p.m.: The Preservation Board voted to uphold staff denials for both 414-18 N. Boyle and 6102 Michigan.

The little storefront row at 414-18 N. Boyle in the Central West End is one of a few commercial buildings left in the area once known as “Gaslight Square” — but not for much longer. Owner Core Holdings LLC applied for a demolition permit in January. The Cultural Resources Office denied the permit, and the owner has appealed to the city’s Preservation Board. The appeal is on the agenda for the Monday, March 22 meeting of the Preservation Board. The proposed reuse for the site? None.

At first glance, the row seems easily forgettable and somewhat damaged. Yet the little row is both a reminder of the past streetcar-fueled development of the Central West End and an asset for the surrounding area, which is full of rehabbed existing buildings and the new houses that now occupy Olive Street to the east. The neighborhood could use a few retail outlets. Anyone who has been to the strip around the Gaslight Theater one block south and around the bend knows that the neighborhood can support commerce.

The little row was built behind a large house that once stood facing Westminster. The first section was a small one-room brick carpenter’s shop built at the alley in 1910; the row expanded at some point in the next decade. The Maryland Avenue streetcar line went north along Boyle to connect to the Olive Street line; this little backyard was too valuable not to build up. In fact, the owner of the house to the south built a similar row at 408-10-12 N. Boyle across the alley — now long gone.

Sculptor Sheila Burlingame (1895-1969), whose works include the sculpture on the front of Nagle and Dunn’s St. Mark’s Episcopal Church (1939) at 4714 Clifton, maintained a studio in the storefront at 412 N. Boyle. The existing row’s tenants were less glamorous but also indicative of a vibrant urban fabric. The 1940 city directory shows Jacob Shaikewitz offering shoe repair at 414, barber Frand Bond at 416 and Georgia Gunn’s beauty shop at 418. By 1959, at the onset of the Gaslight Square heyday, 414 N. Boyle was home of the Handy Shopperdeli, 416 housed the Boyle Avenue Barber Shop (Frank Bond still around?) and 418 was now Dorothy’s Beauty Shop. The row would be vacant within a few years, and later used as a church before going vacant again.

It would not take much to bring back the commercial bustle to this stretch of Boyle. The streetcar is gone, but residential density remains. Yet the demolition of the Olive Street commercial buildings renders remaining storefronts as precious resources. Judging from recent decisions, the Preservation Board is unlikely to approve a permit for an out-of-town owner with no redevelopment plan. Common sense suggests a different course of action: Preservation Board denial and a for-sale sign.

Also on Monday’s Preservation Board agenda is the appeal of a Cultural Resources denial of a demolition permit for 6102 Michigan Avenue in the Central Carondelet Historic District. I’d be very surprised if any Board member votes to overturn the appeal.

The Preservation Board meets at 4:00 p.m. Monday on the 12th floor of the building at 1015 Locust Street downtown. Written comments may be submitted to the Board via Adona Buford, Secretary, at BufordA@stlouiscity.com.

Categories
Carondelet Historic Preservation Industrial Buildings South St. Louis

Preserving a Sense of Site History at Carondelet Coke

by Michael R. Allen

Today Mayor Francis Slay and Governor Jay Nixon will hold a join press conference announcing a new plan to convert the 41-acre, city-owned Carondelet Coke Plant into an industrial park. Summit Development announced a similar plan in 2006, but the plan stalled after some initial work was done on the site — including bringing in a giant mound of containment soil.

I have published a basic history of the site and documented the buildings over the years. However, I never expected the buildings to be preserved. The site is contaminated widely with many substances related to the coke production process, which began at the site in 1915.

Still, there are two resources on the site whose preservation would require minimal loss of usable site and whose presence would provide the new industrial park with readily-identified icons. Given that the coke plant was one of the largest employers in the Patch section of Carondelet for over 60 years, some tangible link with the industrial past is fitting. Thousands of area residents worked at the plant, enduring the emission-laden landscape to support their families. Why not allow future generations the chance to see something when they visit the site where a grandfather or great-grandfather once worked?

The most obvious resources to preserve is the remaining brick smokestack, which stands at the south end of the coke oven battery. This was one of two stacks that relieved the smoke from the ovens. This stack dates to the ownership period of Great Lakes Carbon Company, which owned the plant from 1950 through 1980. Being constructed of modern brick within the past 60 years, it is in sound condition and requires minimal tuckpointing to survive another 100 years. Perhaps the stack could sit in a small public area with interpretive signage and photographs so that people can interact with the site history.

The other structure is visible only from the Mississippi River and also dates to the Great Lakes ownership period. This mighty steel coal loader dates to 1953 and was used to unload barge loads of coal arriving at the plant as well as to load outgoing barges with coke. The loader connects to the coke plant by an underground conveyor system. The basic structure is sound, although years of abandonment have led to rust and some deterioration of deck plating. There are few extant 20th century river side coal loaders in St. Louis.

I have marked the locations of each structure on this circa-1950 aerial view of the coke plant. Most of the remaining plant has been wrecked. The buildings literally are now ruins after being slowly and possible illegally demolished in the past two years.


Tying the new industrial life of the site to its past would preserve the tie of this site to the Carondelet community through a physical link. Our industrial past too often disappears through alteration and demolition, and in many cases active industrial sites leave behind few photographs of their historic life. Here we can leave some key parts of the past behind for future generations to contemplate.

Additionally, the Great Rivers Greenway District is discussing building a south trail system that would include Sugar Loaf Mound and run along the riverfront. Could the trail pass south to an industrial heritage site at Carondelet Coke? Joliet, Illinois has a lovely trail system that connects to Joliet Iron Works Park, an interpretive and recreational site that incorporates the ruins of the Joliet Iron and Steel Works. That site is a destination. Imagine if one could travel on a river side trail that linked a Native American mound with a river side coal loader, right here in St. Louis.

Categories
Carondelet Demolition Industrial Buildings

Carondelet Coke Plant Will Fall

by Michael R. Allen

According to a press release on the Mayor’s campaign site, the old Carondelet Coke plant will be redeveloped. This is a shock to those of us who assumed that its overgrown, ruinous landscape would always be around for autumn walks and clandestine film making. Then there was Dylan Haasinger’s quixotic and hopeful plan to retain the passive life of the site by turning it into an urban nature preserve. Alas, it’s back to the economic life for the land at the confluence of the Mississippi River and the River Des Peres — and a far less interesting but cleaner life it shall be.

Categories
Carondelet Demolition South St. Louis

Left Placeless (At Loughborough and Grand)

by Michael R. Allen

The shaded areas were all cleared between May and September 2005 for the retail development project.

Buildings Demolished on Blow Street

Buildings Demolished on South Grand Avenue

Buildings Demolished on Loughborough Avenue

The western edge of Carondelet was disconnected by the construction of Interstate Highway 55 in 1961, and was subsequently absorbed into the Holly Hills neighborhood despite retaining strong architectural similarities with its old body. While decades of highway-traveling St. Louisans see the highway as a natural western boundary to Carondelet, the common fields of the village Carondelet stretched as far west as the road that became Grand Avenue. These fields lay largely undeveloped until Carondelet was annexed into St. Louis in 1870, and found a focal point when Carondelet Park was plotted in 1875. The area south of the park gained many of the features of old Carondelet, with hilly terrain dotted in relatively low-density frame homes and brick bungalows.

Later additions to this area built it up further with sturdy buildings, mostly one and two stories. In the early years of the 20th century, flat-roofed homes with shaped parapets were prevalent. The builders were familiar Carondelet contractors, including William and Theodore Degenhardt, whose family lumber business had ballooned into a real estate force in Carondelet at the turn of the century. By the 1920s, Spanish Revival and Craftsman bungalows filled in the remaining vacant lots. A few homes rose in the years after that on lots where very old frame homes collapsed, rotted, burned or simply fell from favor. Many of these buildings were concentrated on City Block 3026, bounded by South Grand on the west, Loughborough on the north, Blow on the south and the former Alaska Street — later part of a Schnucks grocery store parking lot — to the east.

That Schnucks store was a moderate intrusion in the neighborhood, but nothing like the real estate project that was proposed by the Schnucks family real estate arm, the Desco Group, in 2004. They called for tearing down their store, all of the buildings on City Block 3026 and the Nordyne plant to the south. The cleared area would become the site of a new retail development called “Loughborough Commons,” containing a large Lowe’s hardware store, a new and expanded Schnucks store and other unnamed tenants. The need for the project was created through public relations, not public demand; Carondelet and Holly Hills are steady but not booming retail areas, and surely the Schnucks store was doing very well as it was. The project hinged on a lot of retail space built on speculation, too. Negotiations with Nordyne were successful, and the backing of the alderman helped convince homeowners to sell out — or face eminent domain proceedings. One household, at 7016 S. Grand, that did refuse to leave were dragged into eminent domain proceedings that kept their home standing into December 2005. Getting approval of city board and the Board of Aldermen for the project was quite easy, and Mayor Francis Slay used the project in his 2005 re-election literature.

Demolition of Nordyne commenced in April 2005. Next came the venerable Carondelet Sunday Morning Athletic Club at 1012 Loughborugh, followed by demolition of the homes (except 7016 S. Grand) in July and August. As soon as the Nordyne land was cleared of structures, it deeply resembled a muddy no-place that was even worse than the monolithic plant that it replaced. By the end of 2005, history had been removed completely from the site. Far from looking clean, however, the cleared site looked chaotic and volatile.

Here we see another attempt by profit-driven developers to carelessly obliterate a definite geography. The modest homes, athletic club and even the Nordyne Plant were ripe with traces of history. Their comparable age, small material scale and dense placement gave the blocks along Loughborough, South Grand and Blow historic character. Each ornamental brick, old-growth tree and original front door served not only as visual stimulation for a passer-by but gave the area a series of tiny identification marks. Not only did the place consist of the city blocks, those blocks contained different lots, the lots contained buildings and the buildings encompassed thousands of little unique parts. Each house was a unique architectural creation, and most were memorable compositions. This was a place made for the casual eye of the pedestrian.

In stark contrast, the Loughborough Commons project omits strong repulsiveness. The very name is an assault on the notion of public space, despite its providing its own punch line in jokes about its plainer-than-Jane architecture. To call private, regulated space a “commons” mocks not only public willingness to participate in the robbery of their own democratic rights but also the fundamental principles of urban life. Cities create architectural space by balancing private and public spheres as well as enclosed and open space. A commercial strip mall may contain more open space than a small city park, but it does not create any space that belongs to the citizens at large. There is an admission price, so to speak, and the design is not the result of consensus or even government input. Worst of all, the space is adverse to pedestrian access — unlike real urban commons that are vehicle-free. Loughbrough Commons consists of private stores surrounded by paved parking lots, with very skimpy sidewalk connections. The customer is expected to arrive via private vehicle and chart a sure course; casual wandering is not invited, nor is it even desirable. (Who would wander around a parking lot except a mugger or stray cat?)

The design of the strip mall buildings hardly warrants critique; they are typical functionalist boxes. The developer does not care about the design any more than I do. If the buildings themselves attracted any attention, they would overshadow the large backlit plastic signs affixed to them. Their role is the containment of space, and provide no decoration or enjoyment. The best hope that designers of such buildings have is to avoid offending any one user of these buildings. Better still would be getting the user to completely forget what the buildings looked like, since the goal is the association of the location with a particular store brand. No mix of uses is included either, because that would require greater architectural effort and would diminish the impact of the store’s advertised names. Function dictates form, and form is obscured as close to the point of obliteration as possible.

The Commons project is yet another exercise in place-erasing. The design and function are purely commercial, and make no meaningful relationship with the topography, surrounding buildings or even the street grid. The strip mall faces the interstate highway, like any other. The context has not been embraced or even ignored. It has been taken at a value of zero, as if the strip mall’s function in itself should be the only concern of the design. The end result is the reverse, though: the strip mall pierces the city fabric as a void, a zero-value surrounded by the strong presence of the southern part of Holly Hills. From the houses to the abundant, planned flora of Carondelet Park, this setting is a well-defined urban space. The strip mall has claimed part of the context, but visually it seems a tasteless anomaly.

If this were a chance occurrence, there would be little reason to worry greatly. The architecture of “Loughborough Commons” would discredit itself, and the public would seek to prevent another rupture of their geography. Unfortunately, though, this is just the latest trauma to attack a city whose general public has long since resigned itself to such attacks. Even in this area, the interstate highway took away some definition of place and disconnected Holly Hills from Carondelet, way back in 1961. Then came the existing Schnucks store on Loughborough, and the Nordyne expansion project. By the time THF arrived to build their project, the context here was diminished. Citywide, so much erasure of place had happened that a “what-the-heck” attitude was prevalent. Primary opposition to the project came from residents whose homes Desco took, although every last one has now settled with the threatening real estate giant on a “fair price.” Eminent domain opponents who sided with residents seemed more interested in securing a fair price or defending the right to private property — the same right that enabled THF to claim it has proper rights to build its strip mall — than in defending the right of citizens to place. Enough place still existed here that its preservation would have been greatly beneficial to the social fabric of the neighborhood.

Categories
Carondelet Demolition South St. Louis

Loughborough Commons Clearance: South Grand Avenue

Photograph taken by Michael R. Allen on July 27, 2005.

LOCATION: 6914 South Grand Avenue
DATE OF CONSTRUCTION: 1905
DATE OF DEMOLITION: July 2005
BUILDER & ARCHITECT: Leo Naert
ORIGINAL OWNER: Joseph Hasjoki

This house is the one on the left. Photograph taken by Toby Weiss on May 29, 2005.

LOCATION: 6916 South Grand Avenue; Holly Hills; Saint Louis, Missouri
DATE OF CONSTRUCTION: 1881
DATE OF DEMOLITION: July 2005

Photograph taken by Michael R. Allen on July 27, 2005.

LOCATION: 6922 South Grand Avenue
DATE OF CONSTRUCTION: c. 1955
DATE OF DEMOLITION: July 2005

Photograph taken by Michael R. Allen on July 27, 2005.

LOCATION: 6924 South Grand Avenue
DATE OF CONSTRUCTION: 1890
DATE OF DEMOLITION: July 2005
ORIGINAL OWNER: Mrs. C. Ellenger

Photograph taken by Michael R. Allen on July 27, 2005.

LOCATION: 7000 South Grand Avenue
DATE OF CONSTRUCTION: c. 1960
DATE OF DEMOLITION: July 2005

Photograph taken by Michael R. Allen on July 27, 2005.

LOCATION: 7002 South Grand Avenue
DATE OF CONSTRUCTION: c. 1935
DATE OF DEMOLITION: July 2005

Photograph taken by Michael R. Allen on July 27, 2005.

LOCATION: 7006-8 South Grand Avenue
DATE OF CONSTRUCTION: 1938
DATE OF DEMOLITION: July 2005
ORIGINAL OWNER: Emma Laine

Photograph taken by Michael R. Allen on July 27, 2005.

LOCATION: 7016 South Grand Avenue
DATE OF CONSTRUCTION: 1914
DATE OF DEMOLITION: November 2005 (The lone holdout.)
BUILDER & ARCHITECT: Theodore Degenhardt

Photograph taken by Michael R. Allen on July 27, 2005.

LOCATION: 7020 South Grand Avenue
DATE OF CONSTRUCTION: 1908
DATE OF DEMOLITION: July 2005
ARCHITECT & BUILDER: Theodore Degenhardt
ORIGINAL OWNER: Mrs. Mary McCabe

Photograph taken by Michael R. Allen on July 27, 2005.

LOCATION: 7022 South Grand Avenue
DATE OF CONSTRUCTION: c. 1930
DATE OF DEMOLITION: July 2005

Categories
Carondelet Demolition South St. Louis

Loughborough Commons Clearance: Blow Street

Photograph taken by Toby Weiss on May 29, 2005.

LOCATION: 1029 Blow Street
DATE OF CONSTRUCTION: 1909
DATE OF DEMOLITION: June 2005
BUILDER: Henry Gamache

LOCATION: 1031 Blow Street
DATE OF CONSTRUCTION: 1910
DATE OF DEMOLITION: June 2005
BUILDER: Swafford Construction Company

Categories
Carondelet Demolition South St. Louis

Loughborough Commons Clearance: Loughborough Avenue

Photograph taken by Toby Weiss on April 12, 2005.

Photograph taken by Michael R. Allen on July 27, 2005.

NAME: Carondelet Sunday Morning Athletic Club
LOCATION: 1012-14 Loughborough Avenue
DATE OF CONSTRUCTION: 1952
DATE OF DEMOLITION: June 2005


Photograph taken by Toby Weiss on April 12, 2005.

LOCATION: 1020 Loughborough Avenue
DATE OF CONSTRUCTION: c. 1900
DATE OF DEMOLITION: June 2005

LOCATION: 1024 Loughborough Avenue; Holly Hills; Saint Louis, Missouri
DATE OF CONSTRUCTION: c. 1900
DATE OF DEMOLITION: June 2005

Photograph taken by Michael R. Allen on July 27, 2005.

LOCATION: 1026 Loughborough Avenue; Holly Hills; Saint Louis, Missouri
DATE OF CONSTRUCTION: c. 1905
DATE OF DEMOLITION: July 2005
BUILDER & ARCHITECT: William Degenhardt (attributed)

LOCATION: 1032 Loughborough Avenue
DATE OF CONSTRUCTION: 1906
DATE OF DEMOLITION: July 2005
BUILDER & ARCHITECT: William Degenhardt
ORIGINAL OWNER: A. Brown

Photograph taken by Michael R. Allen on July 27, 2005.

LOCATION: 1036 Loughborough Avenue

DATE OF CONSTRUCTION: 1906; 1922 (additional story and porch)
DATE OF DEMOLITION: July 2005
ARCHITECT & BUILDER: John Bornemann
ORIGINAL OWNER: Mary Hase

Photograph taken by Michael R. Allen on July 27, 2005.

LOCATION: 1040 Loughborough Avenue
DATE OF CONSTRUCTION: 1907
DATE OF DEMOLITION: July 2005
BUILDER: Thilker Brothers
ORIGINAL OWNER: F. Rathert

Photograph taken by Michael R. Allen on July 27, 2005.

LOCATION: 1042 Loughborough Avenue
DATE OF CONSTRUCTION: 1913
DATE OF DEMOLITION: July 2005
ORIGINAL OWNER: H. Thielker

Categories
Abandonment Carondelet Industrial Buildings South St. Louis

Carondelet Coke Loader

The loader at Carondelet Coke, which dates to after 1950, stands to the east of the plan on the river. Its conveyor arm was a two-way device that could be lowered into a barge to unload coal and be raised to deposit coke into barges. The loader’s conveyor arm connects to a conveyor belt that runs underground in a tunnel connected to the coal and coke piles between the river and the railroad tracks.