Gorgeous Googie

                             
   This week we are looking at another golf course building in North Little Rock. This is the Greens at North Hills, but it is historically known as the Sylvan Hills Country Club. The Sylvan Hills Country Club was designed by local architect Raymond Branton, the same architect who designed Fire Station No. 6, and it was completed in 1963. This is actually the third building to stand on this site as the Country Club. The first was built by Justin Matthews in 1927, but it fell into disrepair and was eventually torn down. A second building was constructed in 1946, but it burned down in 1961. Undaunted, the community decided that third times the charm and they commissioned yet another to be built, which still stands today. Branton's design for the club house was a striking departure from the previous two, which had both been very traditionally styled buildings. Branton preferred to design in a Modern architectural mindset, as we saw in the Fire Station No. 6 discussion. However, in this building he decided to go a bit more High Modern.

Seagrams Building in New York City by Ludwig Mies van der Rohe (1958)

   Branton's design for the Country Club has many distinctly Modern features to it. The exterior is almost completely cover in a glass curtain wall, affording swiping views of the golf course. We also a very Mies-ian exposed structure which has been painted a flat black. This element echoes Mies van der Rohe's design for the Seagram's Building in New York City, and does so rather elegantly. However, it is the roof that is the really striking element to this design, and the element that sets it apart from most other Modern architecture.
   The accordion roof of the Country Club is an element that we see echoed in the work of Donald Wexler in Palm Springs, and an element that was commonly used in Googie Architecture, a subcategory of Modern architecture. (To read more on Googie architecture, please click the following link: http://en.wikipedia.org/wiki/Googie_architecture) Donald Wexler did several designs in the Modern architectural Mecca of Palm Springs, CA., many of which have become icons of the Mid-Century Modern movement. Some of these iconic houses featured accordion roofs similar to the one on the Sylvan Hill Country Club.

Donald Wexler's prefab steel house with accordion roof, Palm Springs, 1959-1962

These designs, due largely to their graphic nature, became more or less, the features that Wexler was known for in the architecture community. As such, they have also become the graphic symbols of the Mid-Century Modern period. However, Branton's design has far more in common with the highly acclaimed design by Sise & Desbarats for the Mount Royal Park Pavilion in Montreal, Canada. The Mount Royal Pavilion has a base that is raised, just like the Country Club, and it also has the glass curtain wall surrounding the structure. The scale is very similar as well, which is most likely due to the similarity of use between the two structures. However there is a feature that separates Branton's accordion roof design from that of almost all others, its reveals.

Mount Royal Park Pavilion by Hazen Sise and Guy Desbarats in Montreal, Canada (1961)

    These reveals we see in Branton's design is a really interesting design element on the structure. The fact that the placement of the reveals is at the peaks, and not the valleys of the roof, creates the appearance of a series of chevrons opposed to an accordion roof. Having the reveals in such a place would mean they are not present for water drainage, and thus not really a functional element. However, the effect created by the stripes of light that pours from between the openings serves to visually break up the long facade of glass. So not only does the reveals give the building a distinctive look, they also serve to create more visual interest on the facade. Another function served by the reveals is to draw your eyes outward towards the golf course when you are standing inside. So while this element is not functionally necessary for the structure, it is needed for the aesthetic aspects it brings to the building.
   As we have seen the former Sylvan Hills Country Club not only stands out in North Little Rock, its connection and similarities to other great pieces of Modern architecture causes it to stand in the full canon of Modern architecture. Its reveals set it apart from its contemporaries and shows an innovation of design only seen in Arkansas. However, it is yet another significant piece of the story of Modern architecture that is unknown to the majority of the world, but Arkansas can look at it and smile. It truly is a gem of architecture in the natural state.

Additional photos of the Country Club:

Roof reveal from the inside.

Entrance to the Country Club

For more information on the buildings or architects mentioned above, please check out the following links:

Seagrams Building:
http://en.wikipedia.org/wiki/Seagram_Building

Donald Wexler:
http://en.wikipedia.org/wiki/Donald_Wexler

Mount Royal Parc Pavilion:
http://www.lemontroyal.qc.ca/carte/en/html/Beaver-Lake--7.html

"Tee" Time

   As I mentioned in last week's post, North Little Rock did a great deal of public building in the late 1950's and 1960's. Fire Station No. 6, from last week, was one such project. This week we are going to looking at another project, the Burns Park Golf Center building. This building was designed by local architect Dan Stowers in 1964. The Golf Center Building is an interesting and very unique structure for the area. It contains the locker rooms for men and women as well as a lounge/eating area. The building is situated on one of the highest points on the golf course, which allows golfers a sweeping view of the course from the lounge room. However, it is the roof that is the truly striking and note-worthy feature of the structure.

An aerial view of the Golf Club taken from Google Maps showing the radial origins and the central oculus.

   The scalloped, radial roof of the Burns Park Golf Center Building is a feature that we don't really see in many buildings in the whole of the Modern architectural canon, much less on a building in Arkansas. Thin form concrete arches were not an uncommon feature in Modern architecture in America, especially in places like Palm Springs and Las Vegas, however the radial origin of the arches, which results in scallops, is very rare. There is a similar radial design in the Pan Am Terminal at JFK Airport, also known as Worldport, which was designed by Walther Prokosch of Tippet, Abbett, McCarthy Stratton. This similarity includes the oculus skylight at the center of the building. However, the Pan Am Terminal is not scalloped. If we look at the architecture of Mexican architect Felix Candela and his design for  Restaurante Los Manantiales in Mexico City (1958) or perhaps Eero Saarinen's design for the TWA Terminal at JFK Airport (1962), we see similar but more extreme versions of this scalloped roof design. However, the Golf Center Building is not as curvy as Candela's or Saarinen's work but more curvy than Pam Am's building. Really, this places the building half way between these design extremes. This creates a building with a fairly unique architectural position, not only in the state of Arkansas but in the full array of global architecture.

Structural Columns in front of the glass curtain wall of the lounge

     The roof is not the only Modern and not-worthy feature of this building. The structural load of the building is supported by a series of white concrete columns that surround the exterior wall of the building, and are attached to the ribs of the scalloped roof. This allows for an open design scheme in the floor plan as well as glass curtain walls in the lounge area. In theory, the building could be gutted and redesigned without compromising the structure, making a future remodel or adaption not only possible, but fairly easily done. However, these structural columns are somewhat unique in and of themselves. They are not the standard round or square columns that we typically find in public buildings. These have an almost Art Deco quality to them, with their modified Greek cross section. This makes these columns a unexpected surprise within the overall design of the building.

     The Burns Park Golf Center Building demonstrates that even a place with the rural reputation of Arkansas can have some surprising and innovative pieces of Modern architecture. It seems that in Arkansas, no place is off limits for stunning Modern buildings, whether it be on a remote river overlook, in the middle of a slum, or hiding within a 20,000 acre park.

For more information on the buildings mentioned above, please click on the following links.

Pan Am Terminal Building by Walther Prokosch.
http://en.wikipedia.org/wiki/Worldport_(Pan_Am)

Restaurante Los Manantiales by Felix Candela.
http://es.wikiarquitectura.com/index.php/Restaurante_Los_Manantiales

TWA Terminal by Eero Saarinen.
http://en.wikipedia.org/wiki/TWA_Flight_Center 

Fire Station Chic

    We are accustomed to seeing Modern architecture in places like down towns, college campus, or maybe even beside old major highways, but sometimes we find them in places that we least expect it. This is the case with this week's building. It is North Little Rock Fire Station No. 6. It sits at the intersection of Camp Robinson Road and Schaer Street in Levy, a small section of North Little Rock. Levy has never been a well-to-do area of North Little Rock. At its founding in 1892, Levy served mainly at a resting point for merchants going to Little Rock because they did not charge the high "over-night" fee that many Little Rock purveyors did. Levy was eventually annexed to North Little Rock in 1946. Levy had always been a blue collar area but when the construction of Interstate 40 cut it off from a great deal of North Little Rock, it took a turn for the worse. Levy is now an area of high crime and low employment. Things are starting to improve there but they are still not great. It is in this setting, in the shadow of the Interstate 40 overpass that we find this Modern beauty.
     The 1960's saw a great deal of building in North Little Rock. The established neighborhoods of Lakewood and Sherwood were significantly expanded and populations were steadily rising. It was during this time that many public service buildings were constructed. Fire Station No. 6 was among them. Fire Station No. 6 was designed by local architect Raymond Branton in 1964. Branton is also the architect for the former Sylvan Hills Country Clubhouse, now called the Greens at North Hills. While Branton's design for the fire station is not the high Mies-ian or Corbusier-ian Modern that we have been looking at, it is still unquestionably Modern and shows a great deal of innovation.

Structural Framework

     First lets look at the classically Modern elements of the design. Most notably we have the white concrete structure-work that frames the building. This idea of having the structure of the building exposed and apparent was one of the base principles of Modernism. We also have the flat roof of the Modern movement on this building as well as a complete lack of any unnecessary ornamentation. The entire composition of the exterior is all geometric massing, exposed structure, and floating planes. An interesting element here that we have seen in other Modern buildings, such as the Lee House No. 2 in New Canaan, CT, is the material massings. The center of the building is all glass on both front and back, almost like a glass box that was slid in between two masonry boxes. This creates a striking contrast between the middle and sides. The sides only have glass on the upper half of the eastern and western ends. This type of material massing is very similarly in the Lee House No. 2. It serves to separate the public from the private spaces, in this case the truck and equipment areas from the living quarters and offices.

Lee House No. 2 by John Black Lee in New Canaan, CT (1956)

     Now lets discuss the innovations and unique aspects of this building. First lets look at the material between the structural framework. We see that the infill between the framework columns and beams is concrete block. Now this may look like these concrete block walls are structural, but they are not. We know this because the joints between the blocks line up from top to bottom. This creates a lot of weakness in the walls, and should they have actually been supporting the structure, there would be significant cracking and breaking. The likely justification for the concrete blocks is for fire safety. It only makes sense to make a fire station fire proof. Another interesting and slightly innovative element to the fire station is the doors for the central bay. They are glass garage doors. These had only been used in one other building prior to this in the state. Dietrich Neyland used them in his design for the Arkansas Arts Center's first addition to provide lots of light and easy ventilation for the studio spaces. Branton is probably using them more for their stylish qualities rather than functional  here, but they complete the composition, so they are just as valid, and only marginally less innovative.

Glass Bay Door 

     The lesson that we should take away from Fire Station No. 6 is that Modern buildings can be anywhere and everywhere. They were functional as all types of buildings and where built in all sorts of areas. While the light of Levy's glory may be very dim, this Modern masterpiece shines bright all on its own.

For more information on the Lee House No.2, please refer to the following link:
http://www.preservationnation.org/travel-and-sites/sites/northeast-region/new-canaan-ct/sites/lee-house-2.html

Modern Beginnings

Art Moderne house in Park Hill Historic District of North Little Rock

    Today we are going to shift gears from the high Modern buildings we have been looking at to a building from the architectural movement that directly preceded Modernism in America, Art Moderne. Also called Streamline Modern and Moderne, this style had a brief existence from the mid 1920's through the mid-1940's. There is a relatively small sample pool of buildings in this stylistic disposition because of the significant decrease in building following the 1929 Stock Market collapse which which effectively stalled a majority of construction until after WWII had concluded. Art Moderne can be looked at as the transition stage between highly decorated and flamboyant Art Deco period, the last of the Beaux-Arts inspired styles, and the simple, utilitarian International Style which signaled the beginning of Modernism in America. This nexus that Art Moderne exists in is evidenced in its appearance. There exist both Art Deco and Modern architectural elements in its styling. The smooth, white walls and lack of ornament of the Art Moderne as well as the flat, often functional roofs and the asymmetrical facade arrangements hint at the coming International Style. While the accenting elements on Art Moderne buildings appear as simplified Art Deco features. There tends to be an overwhelming horizontal influence in Art Moderne buildings, with exception to the vertical elements often found around the entrances, which is exactly the opposite of the vertically emphasized Art Deco but still exist in the same form language. The massing of Art Moderne buildings tend to be a blend of Art Deco and International Style. The forms are generally boxy, like International Style, but they vertical protrusions accenting the overall forms. While these protrusions are not as elaborate as ones found in Art Deco, they still hint to the style. In a very real way, Art Moderne can be seen as America leaning towards Modernism, but not yet ready to go full steam into International Style. While there are not a great deal of examples of this style in Arkansas, there are a few of note that are worth discussing. 

    A beautiful example of Art Moderne architecture is found in the house pictured above in the Park Hill Historic District in North Little Rock. This house was design by the Little Rock firm of Brueggeman, Swaim, & Allen in 1925. This firm was responsible for a great deal of residential designs in Park Hill, but was also very active in the Heights/Hillcrest area of Little Rock. This house is similar to the Art Moderne styled Knoop-Werner House in Little Rock, also designed by Brueggeman, Swaim, & Allen. In this house we see horizontal emphasis in the raised bands found under the porch and in the parallel bars that rise up the left side of the forward massing on the facade. This horizontal influence is also seen in the very Modern porch/Porte cochere. While this element is far more Modern than Art Deco, it still helps to draw the building out to the side and detracts from the vertical presence. Also we see the three vertical pieces extending from atop the door, which draws attention to the entrance. All of these are nods to the Art Deco movement. However, all of these accents are then balanced by the white stucco and simple, planar porch, which look towards International Style. Notice the arrangement of windows and placement of the door on the house. They are balanced but not a symmetrical way, as was done in Art Deco. They are asymmetrically placed with the parallel bars offsetting the window on the right side of the facade and the shadowed, covered lower area on the left side of the facade is balanced by the bright white area above. This type of arrangement was common in International Style. An interesting feature on the house are the porthole-style windows in both the front door and above the garage. This element in not typical to either Art Deco or International Style but was common in Art Moderne. It is believed that this element was taken from the cruise-liners of the time, which some believe was a significant source of inspiration for this style. Another feature that is attributed to the possible nautical origins is sparse accent colors of blues and teals, which is seen here in the bright teal front door. While this house does feature many of the prominent Art Moderne features, it does lack the typical curved corner walls or windows rounding the corners. However the house does pocess enough other features to place it comfortably in the Art Moderne category. 

   This house was built as a true nexus. It exist between the architectural movements of Art Deco and International Style, and between the traditional taste of its neighborhood and the forward thinking aspirations of its builders. Sometimes it pays to stand out, especially if it means looking this good.