From the Notebook

  • Tampa Museum of Art (2010) – Tampa

    Stanley Saitowitz. Tampa Museum of Art (2010). Tampa.
    Stanley Saitowitz. Tampa Museum of Art (2010). Tampa.1 2 3
    Cantilever, porch, and "slice" on the Tampa Museum of Art, Tampa
    Cantilever, porch, and “slice” on the Tampa Museum of Art, Tampa
    Facade of the Tampa Museum of Art, Tampa
    Facade of the Tampa Museum of Art, Tampa
    Aluminum screen on the facade of the Tampa Museum of Art, Tampa
    Aluminum screen on the facade of the Tampa Museum of Art, Tampa
    Porch of the Tampa Museum of Art, Tampa
    Porch of the Tampa Museum of Art, Tampa
    Looking up in the courtyard of the Tampa Museum of Art, Tampa
    Looking up in the courtyard of the Tampa Museum of Art, Tampa

    References

    1. Gedalius, Ellen. “He Has Designs On Museum’s Dashed Hopes”. The Tampa Tribune (Tampa, Florida), December 6, 2006, p. 1. ↩︎
    2. “The beauty within.” The Tampa Tribune (Tampa, Florida), February 6, 1910, p. 1. ↩︎
    3. Tampa Museum of Art | Stanley Saitowitz | Natoma Architects Inc. ↩︎
  • In the Words of Wilson Eyre, Jr.: “A Criticism” (1910)

    Wilson Eyre, Jr. Henry Genet Taylor Residence (1884). Camden, New Jersey.
    Wilson Eyre, Jr. Henry Genet Taylor Residence (1884). Camden, New Jersey.

    The Background

    The following anecdote is about Wilson Eyre, Jr. (1858-1944), a leading Philadelphia architect in the late 19th and early 20th centuries.

    First published in The Washington Post in December 1910, the story was subsequently reprinted in newspapers across the United States in early 1911.

    Much like G.L. Norrman in the Southeast, Eyre was a uniquely expressive designer and a colorful public figure whose surviving body of work I greatly admire.

    Reportedly, Eyre was openly homosexual—long before it gained social acceptance—which makes him even more interesting.

    Who knows if this tale is true, but it at least reveals something of Eyre’s reputation, and it’s hella good for mythmaking.


    A Criticism.

    ‘Wilson Eyre, Jr., the noted Philadelphia architect, can criticize with delicate wit architecture which he disapproves. A brother architect induced Mr. Eyre the other day to go to see one of his latest constructions, a flaring edifice not far from the city hall. Mr. Eyre looked over the new building gravely and silently, and at the end of the inspection the host said in rather anxious tones:

    ‘”Well, how do you like it? It’s pretty good, don’t you think?”

    ‘”Excellent!” said Mr. Eyre. “It has only one fault.”

    ‘”What’s that?” the other asked.

    ‘”It’s fireproof,” was the reply.’1

    References

    1. “A Criticism.” The Washington Post, Magazine Section, December 11, 1910, p. 4. ↩︎
  • Parish House, The First Presbyterian Church in the City of New York (1893)

    McKim, Mead & White. Parish House, The First Presbyterian Church in the City of New York (1893).
    McKim, Mead & White. Parish House, The First Presbyterian Church in the City of New York (1893).

    Most of McKim, Mead & White’s projects are well documented, but one that is never mentioned in history books and usually omitted from project lists is the charming parish house of First Presbyterian Church in the City of New York.

    Built in 1893,1 the three-story structure with a full basement is located at the corner of 5th Avenue and West 11th Street in Greenwich Village.

    Location of Parish House, The First Presbyterian Church in the City of New York

    I don’t know which employees from the firm are responsible for this design, but they did a fine job—surely none of the named partners would have bothered to lift a finger for such a small project.

    By the early 1890s, McKim, Mead & White drew almost exclusively on Renaissance inspiration for their designs, and this is a rare example of the firm employing the Gothic style.

    Looking at the Parish House, First Presbyterian Church, New York
    Looking at the Parish House, First Presbyterian Church, New York

    Plans for the structure were reportedly drawn by January 1893,2 and when ground was broken in April 1893, the New-York Daily Tribune reported that it would appear as “part of the original church building and will not have the semblance of an addition.”3

    They weren’t lying.

    Parish House, First Presbyterian Church, New York
    Parish House, First Presbyterian Church, New York4

    Faced with Kibbe brownstone, the addition cost a modest $50,000,5 and was seamlessly attached to the church’s sanctuary, designed in 1846 by Joseph C. Wells (no relation to Joseph M. Wells of McKim, Mead & White).

    Three-story window on the south elevation of the Parish House, First Presbyterian Church, New York
    Three-story window on the south elevation of the Parish House, First Presbyterian Church, New York

    The centerpiece of the parish house’s original design was the large Sunday School room, occupying a 60×30-foot space on the second and third floors, and topped with a skylight.6

    Described as “unusually commodious and well arranged,” the building’s interiors featured ash and oak woodwork and oak ceilings, with a mosaic floor in the vestibule, although it was said that the furnishings would be “of a simple and unostentatious character.”7

    Bay window on the east facade of the Parish House, First Presbyterian Church, New York
    Bay window on the east facade of the Parish House, First Presbyterian Church, New York

    A cornerstone ceremony for the parish house was held on May 16, 1893,8 and the building was presumably completed by late 1893.

    While its original interiors have long since been altered, the parish house, now known as the South Wing,9 is a hidden gem in Greenwich Village, gracefully obscured by a beautiful walled garden and gnarled old street trees.

    Gallery

    Bay window on the east facade of Parish House, First Presbyterian Church, New York
    Bay window on the east facade of Parish House, First Presbyterian Church, New York
    Buttress on the east facade of the Parish House, First Presbyterian Church, New York
    Buttress on the east facade of the Parish House, First Presbyterian Church, New York
    Window spandrel with quatrefoils on the Parish House, First Presbyterian Church, New York
    Window spandrel with quatrefoils on the Parish House, First Presbyterian Church, New York
    Looking up at the south elevation of the Parish House, First Presbyterian Church, New York
    Looking up at the south elevation of the Parish House, First Presbyterian Church, New York
    Window and spandrel on the Parish House, First Presbyterian Church, New York
    Window and spandrel on the Parish House, First Presbyterian Church, New York
    Second-floor window and balcony on the south elevation of the Parish House, First Presbyterian Church, New York
    Second-floor window and balcony on the south elevation of the Parish House, First Presbyterian Church, New York
    Second-floor window on the south elevation of the Parish House, First Presbyterian Church, New York
    Second-floor window on the south elevation of the Parish House, First Presbyterian Church, New York
    Balustrade on the roof of the Parish House, First Presbyterian Church, New York
    Balustrade on the roof of the Parish House, First Presbyterian Church, New York
    Balustrade on the south elevation of the Parish House, First Presbyterian Church, New York
    Balustrade on the south elevation of the Parish House, First Presbyterian Church, New York

    References

    1. “Ground Broken For A Parish House.” New-York Daily Tribune, April 23, 1893, p. 4. ↩︎
    2. “A Memorial To Professor Bull.” New-York Daily Tribune, January 5, 1893, p. 4. ↩︎
    3. “Ground Broken For A Parish House.” New-York Daily Tribune, April 23, 1893, p. 4. ↩︎
    4. Illustration credit: ibid. ↩︎
    5. ibid. ↩︎
    6. ibid. ↩︎
    7. ibid. ↩︎
    8. “New Parish House’s Corner Stone.” New York Herald, May 15, 1893, p. 8. ↩︎
    9. First Presbyterian Church (Manhattan) – Wikipedia ↩︎
  • Samuel W. Bowne Residence (1900) – New York

    Schickel & Ditmars. Samuel W. Bowne Residence (1900 addition and renovation)
    Schickel & Ditmars. Samuel W. Bowne Residence (1900 addition and renovation)1
    Looking at the Samuel W. Bowne Residence from the southwest
    Looking at the Samuel W. Bowne Residence from the southwest
    Third-floor window on the Samuel W. Bowne Residence, New York
    Third-floor window on the Samuel W. Bowne Residence, New York
    Fifth-floor windows on the Samuel W. Bowne Residence, New York
    Fourth-floor windows on the Samuel W. Bowne Residence, New York
    Second-floor window on the Samuel W. Bowne Residence, New York
    Second-floor window on the Samuel W. Bowne Residence, New York
    Bow windows on the Samuel W. Bowne Residence, New York
    Bow window on the Samuel W. Bowne Residence, New York
    Looking at the bow window on the Samuel W. Bowne Residence from the southeast
    Looking at the bow windows on the Samuel W. Bowne Residence from the southeast
    Third-floor window on the Samuel W. Bowne Residence, New York
    Third-floor window on the Samuel W. Bowne Residence, New York
    Window spandrel on the Samuel W. Bowne Residence, New York
    Window spandrel on the Samuel W. Bowne Residence, New York
    Second-floor window and ribbed brownstone corbel on the Samuel W. Bowne Residence, New York
    Second-floor window and ribbed brownstone corbel on the Samuel W. Bowne Residence, New York
    Pedestal, cornice, and corbel on the Samuel W. Bowne Residence, New York
    Pedestal, cornice, and corbel on the Samuel W. Bowne Residence, New York
    Second-floor window on the Samuel W. Bowne Residence, New York
    Second-floor window on the Samuel W. Bowne Residence, New York
    First floor (altered) of the Samuel W. Bowne Residence, New York
    First floor (altered) of the Samuel W. Bowne Residence, New York
    Pedestal on the roof of the Samuel W. Bowne Residence, New York
    Pedestal on the roof of the Samuel W. Bowne Residence, New York
    Pedestal, cornice, and corbel on the Samuel W. Bowne Residence, New York
    Pedestal, cornice, and corbel on the Samuel W. Bowne Residence, New York
    Fleur de lis ornamentation on the first-floor facade of the Samuel W. Bowne Residence, New York
    Fleur de lis ornamentation on the first-floor facade of the Samuel W. Bowne Residence, New York
    Samuel W. Bowne Residence, New York
    Samuel W. Bowne Residence, New York

    References

    1. “Alterations.” Real Estate Record And Builders Guide, Volume 60, No. 1669, March 10, 1900, p. 428. ↩︎

  • Postcards from the South: Dinkler Motor Hotel – Atlanta

    Postcard illustration of the Dinkler Motor Hotel (1965), Atlanta

    This postcard depicts the Dinkler Motor Hotel in Atlanta, designed by Herbert C. Milkey Associates and completed in 1965.1 The building is still in use as a sleazy motel and is the only part of the Dinkler Plaza complex that survives.

    The card was published by Dinkler Hotel Corporation, “A wholly owned subsidiary of Transcontinental Investing Corporation”, and contained the following description on the back:

    THE DINKLER MOTOR HOTEL, Atlanta, Georgia
    The Crossroads of the South and center of social, business and political life. Air conditioned, television, free parking, swimming pool, four famous restaurants, outstanding convention service. International welcome center to greet foreign guests.

    The card was addressed to Mrs. Margaret Cohen of 47 Phipps Lane in Plainview, N.Y, and included the following heartfelt note:

    “3/1/66

    Honey —

    Thinking of you

    Love
    Irving

    There was a Playboy Club in the motel.2 Just saying.

    References

    1. “Dinkler To Open 11-Story Addition”. The Atlanta Journal, February 17, 1965, p. 44. ↩︎
    2. O’Dark, Aft. “Playboy Club To Open Up With Fanfare”. The Atlanta Journal, February 27, 1965, p. 20. ↩︎
  • First Christian Church (1950) – Decatur, Georgia

    Poundstone, Ayers & Godwin. First Christian Church (1950). Decatur, Georgia.
    Poundstone, Ayers & Godwin. First Christian Church (1950). Decatur, Georgia.1 2 3 4
    Facade of First Christian Church sanctuary, Decatur, Georgia
    Facade of First Christian Church sanctuary, Decatur, Georgia
    Steeple of First Christian Church. Decatur, Georgia
    Steeple of First Christian Church. Decatur, Georgia
    Cornice and steeple on First Christian Church, Decatur, Georgia
    Cornice and steeple on First Christian Church, Decatur, Georgia
    Swan-neck pediment over the entrance of First Christian Church, Decatur, Georgia
    Swan-neck pediment over the entrance of First Christian Church, Decatur, Georgia
    Office of First Christian Church, Decatur, Georgia
    Office of First Christian Church, Decatur, Georgia
    Entrance beneath the steeple of First Christian Church, Decatur, Georgia
    Entrance beneath the steeple of First Christian Church, Decatur, Georgia
    Entablature and Ionic capital on the facade of First Christian Church, Decatur, Georgia
    Entablature and Ionic capital on the facade of First Christian Church, Decatur, Georgia
    Sanctuary windows on First Christian Church, Decatur, Georgia
    Sanctuary windows on First Christian Church, Decatur, Georgia

    References

    1. “Service Sunday To Mark Start On New Church”. The Atlanta Journal, September 22, 1949, p. 17. ↩︎
    2. “New Church”. The Atlanta Constitution, September 24, 1949, p. 14. ↩︎
    3. “$300,000 Building To Be Dedicated”. The Atlanta Constitution, November 25, 1950, p. 3. ↩︎
    4. “$300,000 Church to Be Dedicated in Decatur”. The Atlanta Journal, November 25, 1950, p. 4. ↩︎
  • Postcards from the South: Top of the Mart – Atlanta

    Postcard view of Top of the Mart (1961), Atlanta

    This postcard depicts the Top of the Mart restaurant at the Atlanta Merchandise Mart, designed by John C. Portman, Jr. of Edwards & Portman and completed in 1961.

    Published by Colourpicture of Boston, the card includes the following description of the restaurant:

    TOP OF THE MART
    240 Peachtree St., N.W. Atlanta Ga 30303


    This enchanting, live Mediterranean Garden Court is a delightful introduction to the exciting “Top of the Mart” restaurant-lounge on the 22nd floor of Atlanta’s new Merchandise Mart. Luncheon, dinner and late dining . . . famous Stouffer food and your favorite beverages are served. Party and banquet facilities are available. Call 688-8650.

    The postcard was addressed to Mr. + Mrs. C.M. Whyte of Platt Hill Road in Winsted, Connecticut. Oh, they were whyte, alright.

    A note dated “Mon.-8-2-76,” states:

    “Hi! Congratulation! to Angies Deal. You must be happy with the performance. I missed the boat this time. Did you go up? Had dinner at This Restorant twice. last yr – in Atlanta, very good. Am looking forward to my 4 days at Wentworth by the Sea. Love to all

    Aunt Agnes.”

    I thought only TV characters were named Aunt Agnes.

  • Missing Link

    I recently stopped at the pretty little welcome center on the highway to the Carolina mountains. When I pulled into the parking lot, I immediately recognized his car: a beaten-up old Subaru covered in bumper stickers.

    We passed each other as I walked into the restroom. I looked into his pretty eyes, smiled, and said, “Hey, man!” in as friendly a tone as I’ll ever use.

    His puzzled look suggested he couldn’t place me, but he politely smiled, nodded, and said, “Hello” softly.

    Truthfully, if I hadn’t seen his car, I wouldn’t have recognized him either: his hair is long and shaggy now, as is mine, and he has a full, thick beard, slightly graying in spots. When we worked together six or seven years ago, we were smooth-shaven and clean-cut—I guess we both rebelled against the corporate world.

    The moment was awkward but entirely in keeping with whatever our relationship had been before.

    On paper, it should have worked: we were both introverted, although he was even quieter than I was. He was always polite, smiled a lot, and seemed to have no beef with anyone, although no one really knew much about him either. The same could have been said about me—except for the polite and smiling part.

    I’d worked with plenty of deep introverts before, and we usually fell into a nice, silent rhythm with each other. We might not have talked our heads off, but we often developed an unspoken rapport.

    For some reason, he and I never found it.

    He was physically beautiful: piercing blue eyes, blond hair, lean and muscular. His only interests seemed to be the mountains, or at least, that’s all he ever wanted to talk about. He apparently spent his weekends climbing and solo hiking in the Appalachians—and not much else.

    I appreciate the mountains, but mostly from roadside overlooks, and I don’t need to form my life around them as some people do.

    It wasn’t just our lack of shared interests, though: everything about our dynamic was mismatched. We never had in-depth conversations, but we often had a strange habit of speaking at the same time, looking at each other with confused faces, and saying, “Wait, what?”

    I never understood his thought process: he’d blurt out a random question or comment with no obvious connection to the subject at hand, which frequently threw me off track.

    He was placid, gentle, and seemed utterly without guile. Sometimes he appeared visibly shaken by my way of barking orders, misinterpreting my direct, forceful demeanor as a personal attack.

    Our approaches to work were also fundamentally different: he meandered along without any obvious plan and savored the moment; I just wanted to get shit done.

    I tried to make him laugh, but it was nearly impossible; he certainly never picked up on my sarcastic humor. I concluded that he was both sincere and sincerely boring.

    Sometimes I’d see him with an airy, dreamy look in his eye, and then he’d quietly chuckle to himself, recalling some memory that I doubt he could even crystallize into words—I’m not sure he’d want to, either.

    In truth, it appeared he was blissfully content in a bubble of his own making. I’ve lived a life of near-solitude, but it hasn’t been for lack of trying—he seemed entirely enchanted by the reclusiveness of his mind.

    I felt like I should know the guy because he seemed fundamentally decent, but that magic spark of connection was missing, and I gave up on the idea. Another co-worker told me later that he, too, tried to connect with him, but had no success—I was glad I wasn’t alone.

    I imagine he still visits the mountains every weekend, and I wonder if he’ll ever find someone who can draw anything from him—or maybe he’s truly content to wander the earth alone.

    Are all human beings wired for connection, or were some of us born with a missing link?

  • Postcards of the South: Lenox Square – Atlanta

    Postcard view of Lenox Square (1959), Atlanta

    This postcard depicts the original Lenox Square in Atlanta, designed by Joseph Amisano of Toombs, Amisano & Wells, and completed in 1959.

    The shopping center still remains, but has been so completely altered that nothing in this photograph exists. It also has a roof now—I don’t know how anyone ever thought an open-air concept in Atlanta was a good idea.

    A description on the back of the card says:

    G-127–BEAUTIFUL LENOX SQUARE
    ATLANTA, GEORGIA

    One of the places that Atlantans point to with pride is fabulous Lenox Square Shopping Center. Outstanding architecture, 67 stores and services, flowering trees, plants and shrubs; a year-round program of events make this center more than a market place.

    Published by Gaston Photo Service of Atlanta, the card was postmarked in Atlanta on June 18, 1962, and addressed to Mrs. Wm. Grist c/o Mr. L.N. Jackson of Star Route #1 in Grayling, Michigan.

    Included is a short note:

    “6/16/62

    We are visiting friends here who used to be good friends of ours in St. John Woods. We window shopped in this area yesterday.

    As ever,

    Adele

  • Piedmont Natives: Southern Lady Fern

    Southern lady fern (Athyrium asplenioides)

    The hot, humid days of late summer are slightly more bearable in a leafy Piedmont forest—slightly.

    If you’re on the East Coast and traversing the banks of a shaded stream or some other low-lying spot, you’re likely to come across a Southern lady, of the fern variety, that is.

    The hardy Southern lady fern is a ubiquitous summer sight in the forests of Georgia and the Carolinas. I found the fern shown here in a patch of woods in Atlanta.

    The ferns are deciduous, dropping their leaves in the winter months, so they won’t be lush and green for too much longer.

    Sori on the underside of a Southern lady fern (Athyrium asplenioides)