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John Sug

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or ten years, Utah Preservation: Building on the Past has celebrated the diversity of historic preservation across the state of Utah. The magazine has chronicled the major restoration projects of the last decade, including the Utah Governor's Mansion, Peery's Egyptian Theatre, the Brigham Young Academy, and the Utah State Capitol. It has also showcased history and historic preservation in unexpected places: neon signs, rural landscapes, amusement parks, graveyards, model homes, modern skyscrapers, and many archaeological sites. Behind all of these buildings, projects, and sites are people who care about them, document them, nurture them, sacrifice for them, and stand up for them. On the tenth anniversary of Utah Preservation: Building on the Past, the Utah Division of State History and Utah Heritage Foundation thank all the people who made the projects featured in the magazine over the last decade possible. We also thank the many advertisers who support the magazine each year. And a special thanks to you, our reader, for sharing in our celebration of historic preservation.

Volume 1

4 1..I

L..

Volume 2

Volume 3

Volume 4

Volume 5

Volume 6

Volume 7

Volume 8

Volume 9

To purchase additional copies of this magazine or inquire about distribution points please contact Sandra Hudson at (801)552-9100. To purchase back issues please contact the Utah State Historical Society at (801)533-3500 or history.utah.gov.

John Sugden: Modern Architecture Utah-Style

By Anne G. Mooney John Sugden combined his training with Mies van der Rohe and his appreciation of nature to design elegant modern buildings in harmony with their sites.

10 Kids Get "Down and Dirty" at Mushroom Springs

By Steve Lutz As he renovates his 1905 house in Teasdale, Steve Lutz discovers how the house has changed over time and the history of the people who did the work.

40 "A Structure of Which Our County May Well Be Proud"

By Ronald J. Rood Kids work alongside archaeologists to unlock secrets of the ancient Fremont people at Mushroom Springs on Antelope Island.

Landmark Success: Renovating American Fork City Hall

By Korral Broschinsky Targeted for demolition in 2000, the Cache County Courthouse was saved by a "call to action" and renovated through a creative cooperative effort.

Where History Meets Nature By Richa Wilson From historic mountain hideaways to trails through the past, discover the fascinat~ngheritage resources in Utah's National Forests.

Old House Kitchens and Baths: Giving Modern-Functioning Rooms an Historic Look By Alysa Revel The kitchens and bathrooms In many historic homes have been altered by repeated modernizations. Here are the tips you need to refurbrsh the historic charm of these hard-working rooms.

Artful Transformation By Kirk Huffaker Over the last 2 5 years, Artspace projects have catalyzed the transformation of a forgotten neighborhood into a vibrant community.

By Steve Cornell, Rachel David, and Michael Leishman A "green" preservation project revitalizes one of the few remaining historic landmarks in American Fork.

The House Remembers

Utah Preservation Treasures By Nelson Knight and Wilson Martin Utah is fortunate to be home to three outstanding firms whose contributions to the field of historic preservation make them preservation "treasures."

61 Preservation Myths: Can They Really Tell Me What Color to Paint My House? By Don Hartley From the "paint color police" to "safe sandblasting," discover the truth about persistent preservation myths as a preservation architect turns mythbuster.

UTAH PRESERVATION BUILDING O N

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P A S T

300 S. Rio Grande Salt Lake City, Utah 84101 (801) 533-3500 history.utah.gov

PresidentlCEO Celeste Gleave* (801) 552.9100 fyvestar@earthlink.net www.fyvestar.com Administrative V.P. Sandra L. Hudson Art DirectionlDesignlProduction JoAnne Maass Design joanne@jornaassdesign.com www.jornaassdesign.com

Director Philip F. Notar~anni State Historic Preservation Officer W~lsonG. Martin

13-U T --AH ....-..... b?:jHE RIT'GE

$71...........FOUNDATION ....... P.O. Box 28 Salt Lake City, Utah 841 10-0028 (8011 533-0858 www.utahheritagefoundat~on.org Interim Executive Director Kirk Huffaker Editor Lisa T h o m ~ s o n Cover Photo Brian G r i f f ~ n

Utah Preservation: B u ~ l d ~ n g on the Past (ISSN 1525-0849) is published annually by FYVE STAR Inc.", in partnership with Utah State H~storical SocietyIUtah State H~storlc Presetvatlon Office and Utah Her~tage Foundat~on. Copies of Utah Preservation are ava~lablethrough select bookstores In Utah and are provided free to members of the H ~ s t o r ~ cSoc~ety al and Utah Herltage Foundation. Utah Preservation recelves f ~ n a n c ~ asupport l from the Utah Interagency Task Force, Including the Bureau of Land Management. National Park Service, U.S. Forest Servlce, and Utah Division of State H~story. It is also funded w ~ t h the assstance of a matching grant-in-aid from the Nat~onal Park Servlce. However, the contents and opinions do not necessar~ly reflect the views or p o i c ~ e sof the Department of the Interlor, nor does the mention of trade names or commerclal products const~tuteendorsement or recommendation by the Department of the Interior. Regulations of the U.S. Department of the Interlor strictly prohibit unlawful dlscriminat~onon the basts of race, color, national origin, age or handicap. Any person who belleves he or she has been discriminated agalnst n any program, activity, or facillty operated by a recip~entof Federal ass~stanceshould write to: Office of Equal Opportun~ty,Nat~onalPark Serv~ce,1 8 4 9 C Street, NW, Washington, DC 20240. Publ~shedby FYVE STAR Inc.", offering full-color publ~cat ~ o n s and unique innovat~ve advert~sing opportun~t~es to bus~nessesand organizations. 0 2 0 0 6 D~sclaimer:Every effort has been made to ensure the accuracy of the information in this publ~cat~on. Neither the Utah State Historical Society. Utah Her~tageFoundat~onnor FYVE STAR Inc.", can assume responsibility for errors or omissions.

by Anne G. Mooney

~ r d i i k h n l w . ~ ~ a s m - a m )ah ROO)^,.^ T endowed Utah with an unprecedented legacy of outstanding modernist buildings.

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architects and sophisticated clients alike.

Sugden's designs reflect a profound appreciation for nature fostered under the tutelage of his father and a rigorous formal clarity developed under the influence of his mentor, the master architect Ludwig Mies van der Rohe

( 1 886-1969).His blend of Miesian-inspired modernism coupled with his Utahinspired naturalism led to a unique application of modernist ideals within the western landscape.

UTAH PRESERVATION

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Sugden was born in Chicago in 1922 where his father was attending medical school. When he was a young boy, the family returned to its native Utah. Sugden traveled extensively with his father through Utah's scenic landscape and learned to ski, rock climb, and love the mountainous terrain. Throughout his life Sugden remained profoundly influenced by his father. Shortly after he graduated from East High School in Salt Lake City, Sugden enlisted in the U. S. Army 10th Mountain Division and saw active duty on the front lines in Italy during World War 11. There he earned a number of citations including the Silver Star.

As he was being decommissioned from the Army, Sugden was stationed briefly in Chicago. There he first encountered the influential European architects Mies van der Rohe and Ludwig Hilberseimer while studying at the Illinois Institute of 'rechnology ([IT). As Sugden's son Evan A. Sugden recalls, "His professional training took off almost instantly, propelled by a strong attraction to their stunning works and compelling modernist ideals." Sugden worked as a student and draftsman in the offices of Mies from 1945 until 1952. Sugden was also a student, and the only associate, of Ludwig Hilberseimer. With Mies, Sugden served as project architect o n the 860 Lake Shore Drive apartment building in

Chicago and oversaw a number of buildings o n the IIT campus. He consulted o n the reconstruction of the (;ernla11 Pavilion, originally designed by Mies in 1929 for the Barcelona International Exhibition and widely considered to be one of the seminal works of modern architecture. In 1952, Sugden brought this privileged experience and knowledge to Utah to set up his own practice.

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Sugden garnered a number of commissions from private clients that allowed him to work steadily in the early decades of his practice. This body of work constitutes his greatest contribution and consists of a series of important buildings of timeless and classic modern architecturc. 'The Makoff family of Salt Lake City proved an excellent client for Sugden. It provided him with public and private commissions, including the hlakoff apparel stores o n South Temple Street and in the Cottonwood Mall, a series of private residences, and the Makoff family mausoleum. Sugden's public commissions still intact include the University of Utah Merrill Engineering Building (designed in collaboration with Dean L. Gustavson's office) and the additions to the Alta Lodge. Sugden's non-traditional work, however, was not widely sought after in Utah. It has

UTAH PRESERVATION

ponents Kimball preserved is Sugden's original kitchen design featuring Republic Steel painted metal cabinets and a continuous stainless steel countertop with integral stove burners. Her efforts earned her a 2005 Utah Heritage Foundation Heritage Award recognizing her thoughtful and well-researched renovation project.

hiving in EI tree House

Open space flows around the central kitchen and hearth in this Sugden home in Emigration Canyon. The current owner added a graceful, circular staircase to unite the separate first-floor studio and second-floor living spaces.

the harsh sun directly overhead. Sugden built a small working studio below Roberta's house where he spent much time. In the summer months he slept on a cot in the open-air porch, now an enclosed dining room. When the property was later put up for sale, an appraiser struggled to affix a price to the unusual house. "I've never seen anything like it," he explained, unaware of its classic and famous origins. Appreciative of its history and significance, Kimball purchased the home from one of several owners following Roberta and carefully undertook a restoration of the deteriorating structure. Especially challenging was the reversal of the several additions and "improvements" that had tampered with the integrity of Sugden's original design. Among the com-

Salt Lake Tabernacle, in progress

Bogue Supply Building, 2002

Ford Motor Company, 1999

Noyes Building, 1998

Another Sugden-designed residence stands at the mouth of Emigration Canyon. Architect Kathryn Anderson, a

The combination of Emigration Canyon's dense foliage and Sugden's glass walls creates the sense of "living in a tree house."

Cowles Building, 2001

Gardner Hall, 1999

Vernal LDS Temple, 1997

Salt Lake Hardware, 1996

A r c h i t e c t s

Joseph Smith Memorial, 1992

Squatter's Pub Interior, 1989

Historic Preservation and Adaptive Reuse

Pierpont Development, 1986

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former student of Sugden, found the petite mountain dwelling in 1998. She had jokingly mentioned she was looking for a "glass house" and, shortly thereafter, a Realtor drove up the canyon and led her up a steep approach until the home came into view. Anderson immediately recognized it as a Sugden design and purchased it two days later. Sugden built the structure in 1965 for his colleague and draftsman, Charlie Griffin. The design was conceived of as a live-work space with living space above for Griffin and his wife and separate workspace for the Sugden architectural studio below. Outside sits the original Sugden-designed doghouse, a miniature matching the mid-century modern architecture of the main house. By punching a hole through the floor, Anderson connected the upper and lower volumes with a circular staircase. The precisely-scaled, perfectly-square volume is uninterrupted by the walls and doors of a conventional house. Rather, a central service core with a kitchen, bath, and fireplace hearth define space, while living, sleeping and dining programs float around it. "After living here I wouldn't know what to do with a door or a wall," Anderson muses of her unobstructed floor plan. The overall feeling of inhabiting the space, according to Anderson, is "like living in a tree house" with an indescribably intimate connection to nature. Admittedly the worst of this house, as with other Sugden homes, is the winter heating bill. Just as Frank Lloyd Wright's residential work is notorious for leaking roofs, the

me Sugrkn,

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Jutta *Iwang

hovers amidst the trees on Parely's Summit.

As Sugden's son Evan A. Sugden recalls, "His professional training took off almost instantly, propelled by a strong attraction to their stunning works and compelling modernist ideals."

use of glass and steel as primary building materials renders Sugden's houses notoriously cold in winter. His structures would benefit from new glazing technologies, solar heating, heavy insulation, and energy-efficient HVAC systems. The structures also present an entirely different set of maintenance problems from the deterioration of the gasket membranes, to the rusting of the exposed steel deck ceilings, to the replacement of the expansive sheets of glazing. Preservationists are now developing the techniques to preserve and restore these modern materials.

palbe Sweet Cube 'hirty years after returning to Utah, Sugden designed his own home on a hillside at the summit of Parley's Canyon. Sugden's wife, artist and graphic designer Jutta Alwang Sugden, continues to live in the home. The ground floor of the three-story live-work studio incorporates a covered carport, entrance, and a library and archive of creative work. A 45-degree open-deck steel stair tower leads up to the living-dining room and kitchen. The sleek black-and-white space has a theatrical quality and sets a dramatic tone lightened by the large-scale, colorful Sugden painting that forms one wall. Here the visible structure and cross-bracing details can be appreciated up close. The upper floor houses the live-work space, with sleeping and bathing quarters and a working design studio. The black concrete floors are softened with a grid of white sport court floor tiles, an innovative application of a material typically used as an underlayment. Floating walls and a digitally-designed panel created by Jutta free the ceiling from obstruction, allowing light to spill over walls and establish zones for working and living. The space is flooded with natural light from expansive glazing and a central overhead skylight and has an entirely different feeling from that of the proportionally equal floor below. Sugden enjoyed visiting the site when his house was under construction, watching the structure go up. Just after the steel was erected and before the windows went in, Jutta photographed him sitting in a director's chair on the just-poured concrete floor 8

UTAH PRESERVATION

One of Sugden's paintings adds a splash of color and creates a free-floating wall on the dramatic black-and-white main floor of Sugden's home.

within the structure he so carefully brought into being. Sugden's plans for a home on an adjacent lot sit awaiting an appreciative buyer to realize the project.

All of Sugdell structures exhibit a direct connection between the conception and the execution of design. Detailing, material, and tectonics ARE the buildings' concepts. This integrated attitude toward technology sets Sugden's work apart from that of his contemporaries. An active participant on-site during the construction phase, he ensured that his techniques (along with his structures) were exposed and executed with a great concern for detail. His is an architecture of planes, where every surface is considered, its connections at the top and base fully resolved and expressed. It is also an architecture without nails and without applied, superficial ornament. Though Sugden's architecture was associated with the International Style movement at the time of his education, his career emerged as uniquely western in its inextricable tie to the Utah environment. To him, the simplicity and formal restraint of modernism was not only a reaction to the misdirection of other stylistic movements in architecture, but also an illumination of nature, context, and the essence of human habitation. Sugden's work prefigures current trends in a n emerging international neo-modernist design movement. No longer a cold and site-less solution, today's new take on modernism offers a framework for building that easily transforms itself. It responds

to a multitude of climatic and cultural contexts, utilizing state-of-the-art technologies and building systems and incorporating sustainable design principles. Because the spirit of Sugden's work reflects these current trends, his designs merit study, recognition, and preservation. John Sugden produced a body of architecture that is simultaneously modest and understated, yet surprisingly radical and rich. We are gifted to have this body of work in Utah. It is now our responsibility to preserve Sugden's legacy of modernist expression for future generations. @

Anne G. Mooney is an assistant professor at the University of Utah, College of Architecture -t Planning and a principal of the design firm Sparano + Mooney Architecture.

UTAH P R E S E R V A I I O N

FROM THE MUSHROOM SPRINGS ARCHAEOLOGICAL

I I

SITE ON THE EASTERN SIDE OF ANTELOPE ISLAND, YOU CAN SEE THE TALL BUILDINGS OF DOWNTOWN SALT LAKE CITY, THE BUSY STREETS OF BOUNTIFUL, AND THE MALL AT KAYSVILLE. BUT IT IS THE REMNANTS OF AN ANCIENT LIFE, NOT THE PROXIMITY OF THE MODERN WORLD, THAT GRABS KIDS' ATTENTION AT MUSHROOM SPRINGS. HERE THEY HELP UNLOCK SECRETS OF THE PAST AS THEY WORK ALONGSIDE 'ROFESSIONALS ON A REAL ARCHAEOLOGICAL "DIG." AS STUDENTS LEARN AND APPLY THE SCIENTIFIC PROCESS, THEY CONTRIBUTE TO OUR UNDERSTANDING OF THE ANCIENT FREMONT PEOPLE. AS THEY MAKE PERSONAL CONNECTIONS TO THE PAST, THEY BECOME THE FUTURE STEWARDS OF UTAH'S RICH ARCHAEOLOGICAL RESOURCES.

kids Ge+ "Down and birqy"

Kids get the chance to work with professional archaeologists, like Jim Dykman (center), on the Mushroom Springs project.

UTAH PRESERVATION

Kids take part in all aspects of the excavation pmcess at Mushroom Springs, including making careful records of their observations and discoveries.

a MUsh l'0 0 Ib Sb Discovery at Mushroom Springs Freshwater springs dot Antelope Island and, in the Great Basin, anywhere there is fresh water there are traces of the prehistoric past. Utah State Parks officials planned to tap into the water at Mushroom Springs for the new facilities at the historic Fielding Garr Ranch, located about one mile to the east. During the construction project, an archaeologist from Utah State Parks noticed clues-bits of charcoal, fragments of broken rock, fragments of animal bone, chipped stone, gray pottery shards, and grinding stones-suggesting humans had used this area in the past. Utah State Parks and the Utah Division of State History Antiquities Section excavated a few "test pits" at Mushroom Springs to better understand the nature of the site and the soil. Analysis of the artifacts recovered in these tests suggested Mushroom Springs had the potential to produce important information about Utah's prehistoric past. Since the site was inadvertently damaged during the construction, Utah State Parks and the Antiquities Section developed a plan to retrieve information from the site in a cost-effective partnership focusing ,on public education and opportunities for kids to work on a real archaeological site. Public education is an important strategy for preserving Utah's extraordinary archaeological resources. Unfortunately, many of these resources are at risk from vandalism, looting, and simply being "loved to death" by visitors. One of the best protections we can provide these sites is a public that is aware of the value of archaeological resources and understands proper archeological site "etiquette."

By Ronald J. Rood

Utah Assistant State i\rchaeoogist

&king aestJans Questions are the root of archaeological investigations. The artifacts recovered from a site and their context allow archaeologists to attempt to answer questions. Thus, before inviting the public to participate in excavating the Mushroom Springs site, we prepared a research design to guide the fieldwork. The research design identifies the types of information archaeologists hope to recover and how that information will be gathered. Not every site can address every type of question and Mushroom Springs is no exception. Based on information from test digs, it was clear that Mushroom Springs likely contained information on diet, hunting patterns, and butchering patterns. In addition, the large amount of burned rock and burned animal bone had potential to yield samples for radiocarbon dating that shed light on the age of the site.

IJk~LrxWikk!!%s&s af (lb Pa& The Antiquities Section has been working with students for over ten years. Through our public outreach program, professional archaeologists have brought presentations on Utah's archaeological resources to over 300 fourth and seventh grade classrooms. With the discovery at Mushroom Springs, we had an opportunity to take this outreach one step further by involving kids in a real "dig" and laboratory work. Since 2001, over 80 students from Newman Elementary School and Escalante Elementary School in Rose Park, Our Lady of Lourdes School in Salt Lake City, and the Colby School in Park City have participated in the archaeological work at Mushroom UTAH P R E S E R V A T I O N

Springs. In addition, other students from around the Wasatch Front interested in archaeology have become involved as individuals. With the input of Danielle Patterson, a Salt Lake City educator and one of the original authors of the nationally-recognized "Intrigue of the Past" archaeology curriculum, we designed an inter-disciplinary, hands-on program at Mushroom Springs. The students develop research questions, create photographs and art, and write each day about their experiences. Several of the students' contributions will be used in the final report. Through fieldwork and lab work, the students quickly learn that archaeology is more than the random collection of artifacts. During the first season at Mushroom Springs one 12-year-old Participant said, "Archaeology is sort of like dissecting a frog," and it truly is. AS students create maps and grids and take copious notes, they begin to understand the scientific process of forming questions and using the data to test their ideas. They start to think of potsherds, arrowheads, and bone fragments not as curios from long ago, but as threads of scientific data-information telling a story about the people that lived at Mushroom Springs 1,000 years ago.

i t morning

hauling rack for

Island State Park manager, who has substantial skills in scientific illustration. Students work hard at Mushroom Springs though the heat on the island is often brutal. In spite of canvas shades and plenty of water, the work day typically ends at 2:00 prn with students running through the sprinklers under the cottonwood trees at the Fielding Garr Kanch.

'*+%?& With the assistance of student archaeologists, we have learned a great deal about ancient life at Mushroom Springs. Although there are hints of earlier occupations, most of the material I excavated at Mushroom Springs dates to about 1,000 years ago. k n o t h e r d a y of Archaeologists call materials from this time period "Frernont," a term t h e fires. 9 we\\, we'll h used to describe an ancient group

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&~ftY%rsCm! Workingat Mushroomsprings helps students make personal connections with the people of the past. One student, for example, wrote a narrative on what being a 12 year-old kid living at Mushroom Springs must have been like. The student imagines the inhabitants of Mushroom Springs 1,000 years ago as people with feelings, needs,

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UTAH P R E S E R V A T I O N

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and a sense of humor. The passage also clearly shows the student's understanding of the relationship Rogers, age between artifacts (fire-cracked rock) and human behavior. It paints a picture of ancient life based not on a lecture or reading a book, but on a first-hand experience. In addition to participating in the archaeological dig, the Mushroom Springs project offers learning opportunities for students with a range of interests. A young man named Austin Watkins was intrigued by the 35mm cameras and photography, After a quick lesson, he became our site photographer for severa1 days. He learned to set up the photo-board and document on paper every photo he took. Students interested in art took a workshop on illustrating artifacts from Kon Taylol; Antelope

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of Native Americans who lived over much of Utah. The Fremont grew corn, lived in pithouse villages, made pottery, and used the bow-and-arrow. They also made their living by hunting and gathering a wide variety of plants and Hunting, butchering, bone proand plant processing are jor activities associated with the Fremont occupation at Mushroom Springs. We found bones from a variety of animals, including antelope, deer, bighorn sheep, bison, and rabbits at the site. All of this bone is fragmented and splintered suggesting the Production of bone grease and the extraction of bone marrow for food. Bone grease was an important source of fat and calories in prehistoric diets, Native people mixed it with dried meat and berries. Large numbers of hammer

stones and anvil stones, along with thousands of kilograms of - . fire-cracked rock, are further evidence of bone grease production. The grinding stones found at Mushroom Springs indicate plant processing, but we are not sure what plants were being used. While we have learned much at Mushroom Springs, many questions remain. For example, we know bone grease production was important, but exactly how was it accomplished? What season of the year were they making bone grease? Fall? Spring? Both? Continued research and fieldwork will help us piece this story together. -

Top left: Large q u a n t t ~ e sof f ~ r ecracked rock are ev~denceaf bone grease production at Mushroom Sprlngs Top rlght: A student displays the arrow polnts she d~scovered. Middle left: Archaeologists covered the slte w t h a shade dome ~n 2006. Mlddle rlght: Assistant State Archaeologist Ron Rood and veteran Mushroom Sprlngs parttclpant N k e l Taylor. Bottom left: A Mushroom Spr~ngscrew sweats lt out on a hat afternoon. Bottom right: After worklng at the excavat ~ v nsite, klds spend a week in the lab analyzing the artfacts they found.

UTAH P R E S E R V A T I O N

When we were a+ Mushroon Springs on Anqelope Island, everyone go+ +o unlock SOMe secrets of +he pas+. / personally love +o ge+ down and dirtv, bu+ sewing dirW warny+a l l I loved abou+ n y experience a+ Mushroom Iloved +he nys+eries of frnding new objec+s and discovering what +hev were. Mv no+her would +ake ~v pic+ure before +he dig began and +hen af+er. Oh nan, +here would be a +hick laver of black dir+ a l l over ~y face and arw. One dav / was walking back f r o M +he sifier +O +he grid I war working and saw a piece of

po++ery jus+ lvlnp i n +he oben. r picked I+ up and showed R +o Ron Rood, Sa+e Ar~heologir+~ He was surprised +ha+ Ifound I+ in +he Middle of +he oben ground. Ano+her +ine Iwas digging in w grid and warn'+ finding anv+hing. Afier a while I heard a ?bud. I s+ar+ed i o dig around anc uncovered a huge bile of FCR or fire cracked rock. Underneajh +he rock w e found a rib bone of an aninal. I+ was really coo(. Iwould r e c o ~ h e n dgoing +o a dig sRe +o anvone who loves discovery and ge++ingdown and d i m . Hikel Tavlor

Talcing Omership As a professional archaeologist, the significance of a project like Mushroom Springs to me is twofold. First, the site is like an undiscovered library of books and manuscripts about life in Utah. The artifacts, the butchered animal bone, and the ubiquitous firecracked rock all combine to tell a story about how people made their way in what we now call Utah thousands of years ago. Our excavations at Mushroom Springs will teach us volumes about ancient Utah. Secondly, as I watch fourth grade students carefully excavate around a piece of bone or a pottery shard, get the map, plot the artifact's location, and carefully write notes about their find, it is clear that these students will never harm an archaeological site. Working with real archaeologists o n a significant site gives these kids a sense of respect for the site and the people who lived here over 1,000years ago. They become active owners and protectors of Utah's cultural heritage. * Ronald Rood, Utah Assistant State Archaeologist, has worked at the Ilivision of Statc History, Antiquities Section for ten years. He works extensively with the public on archaeological education, prcscrvation, and stewardship. He can be reached at rrood(@~utah.gov.

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The Mushroom Springs project engages kids with many different interests. This student was responsible for documenting the excavation with photos.

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THE DISTINCTIVE BELL TOWER OF THE AMERICAN FORK ClTY HALL DOMINATED THE CITY'S SKYLINE FOR DECADES. THE BELL TOWER MARKED THE LITERAL AND COMMUNAL CENTER OF AMERICAN FORK. AFTER THE BELL TOWER WAS REMOVED IN 1959 TO MAKE WAY FOR

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AIR CONDITIONING. TALL MODERN BUILDINGS ECLIPSED THE ClTY HALL. TUCKED QUIETLY BEHIND MAIN STREET'S COMMERCIAL BUILDINGS, ClTY HALL QUIETLY LANGUISHED FOR MORE THAN HALF A CENTURY.

Juel Belmont recognized the unimposing building's importance. "It has been the seat of city government continuously since it was built at the turn of the twentieth century. It is the centerpiece of a town that is suffering from "Big Box" syndrome," she explains. Belmont grew up on West Main Street in American Fork and saw the city's historic buildings begin to disappear in the 1960s. In 1986, she helped establish American Fork's Preservation Committee. These stalwart preservationists fought, but lost, battles to save the American Fork Carnegie Library, the Tithing Office, Chipman's Mercantile, and the old high school. "The losses are so great. It is such a tragedy when you begin to tear at the fabric of community, especially the landmarks," Belmont notes. The demolition of so many American Fork landmarks only strengthened Belmont's resolve to preserve the city hall. A window of opportunity opened in 2003 when the Utah State Legislature passed legislation allowing smaller cities to use RDA funding for renovation projects. Belmont was serving on the city council at the time and she had any ally in City Administrator Melanie Marsh.

Although there was a long list of potential projects and a lengthy debate, Belmont and Marsh persuaded the city council to invest RDA money in city hall. They convinced their colleagues that renovating city hall could be a key component to the revitalization of downtown American Fork.

Pride of the Town Set in the center of a grassy lot shaded by large conifer trees, the American Fork City Hall is a significant example of an early twentieth-century civic building. As noted in its 1993 nomination to the National Register of Historic Places, the building "presents an enduring, and somewhat romantic, picture of the nineteenth and early twentieth-century Utah and American small town government, civic pride, and community identity." The city hall was built in 1903 on the site where the town's civic offices had been concentrated since 1861. American Fork leaders paid architect James H. Pulley $50.00 to "get out the blueprints" for the building. Pulley designed both the city hall UTAH P R E S E R V A T I O N

A new roof to support the heavy bell tower and extensive masonry repair were important parts of the exterior renovation of American Fork City Hall.

and its neighbor, the Harrington School, in the late-Victorian Komanesque style. The two-and-one-half story building is essentially square with two projecting central pavilions on the east and west. These two elevations are identical and anchored by large Romanesque archways. A stone plaque inscribed "City Hall 1903" is located on the upper wall beneath deeply indented pediments. The hip roof features a small central deck topped with a wooden belfry. The belfry originally had a steeply pitched roof, Gothic roof pediments, and Queen Anne trim. Its bell came from American Fork's first city hall.

City's Robinson Park. The interior of the city hall was remodeled in the same year and then radically altered in 1977 with a new staircase, elevator, and partitions. Windows were painted shut or covered. Ceilings were lowered. Doors were replaced with aluminum or glass substitutes. Through all the "remuddling," the building continued to serve as the seat of city government. Fortunately, enough of the building's historic fabric remained intact to make a renovation feasible. Other than the lost belfry and the sandblasting, the building's exterior had not changed significantly. While much less survived on the interior, the original floors and window finish work were still in place.

Remuddling One hundred years of use and insensitive renovation diminished the city hall's character. Many of the building's significant historic elements were obscured, lost, or replaced. In 1916, the building's exterior was painted white. Frequent reapplications of paint continued until 1977 when the building was sandblasted. Sandblasting removed the top, protective layer of the brick, leaving the exposed masonry susceptible to moisture and weathering. 'The mortar joints were also improperly repaired with caulk and Portland cement-based mortar, both of which accelerated the deterioration of the masonry. The belfry was torn down in 1959 and the bell was installed atop a Daughters of Utah Pioneer's monument in American Fork 18

UTAH PRESERVATION

Rediscovering the Past The goals of American Fork City Hall renovation project included re-establishingthe grandeur of the building by recreating its historic and character-defining elements, halting the building's deterioration, and providing an effective, sustainable building to meet the needs of the community through the next century. An enormous amount of work needed to be completed with the $1.6 million available for the project. To guide this preservation effort, the city council hired Cooper Roberts Simonsen Architects, a firm specializing in the preservation, renovation and adaptive use of historic Utah structures. As they began to evaluate the building and demolish its non-

n L976, \;\~aZy Cooper and Allen U e f i s estal?hshed the first ardGtectwal j5~1-r~ in Utah io specialize iz1lGs%onc' b ~ d d k g s .

T-~iriy years laterF C:onpe:r Roberts SUname~x Ar~hieccr-s has hundreds of projects a d ovex eigL19att~ardsLCDits csrecEL--renovatmg and restoring b d c s , scl-eools, &'~x&es,museums, ~OVBE~~IIIIP~IEI buildil-igs, theaters, warehusrs, stores, depots, apartments, houses a d nmxe. With advent of its &sf@& Preservation & Cc3nxmmtior7. Stu&~,CRSA con hue^ tackle n-tel~yof Z j t & ~ m s t exciting and prestigious histuric projerk: the res:nl.atinn/ Maeser School, American Fork City mi 11Vdt t h House, Major Downe-y Mansion, Fort '130ug1iis hEfitary Mme~rn'Fitzgerald Hause, So~xthrrn Utah Univelrsityf.sOld ?v[& and Ogden IBgh Scl~ool,anh f Decs ;masterpiece. Renovating md res"iritn2 Utah's btorical. build-

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historic elements, renovation team members made several exciting discoveries. The removal of the modern suspended ceiling revealed original tin ceiling tiles with an intricate floral pattern. The elaborate historic ceiling also included tin banding and a decorative corner cove molding. To everyone's surprise, the bell tower's original tin finial resurfaced in the attic. Scraping through layers of paint revealed the city hall's original interior and exterior color schemes. The renovation team used this information, along with samples of historic interior wall fabrics, to create a color scheme that reflects the building's historic appearance.

Starting at the Top

Terra Cotta Window Hood Panel UT State Capitol Restoration

Guided by early photographs of the building, the renovation team carefully reconstructed the bell tower. The finial found in the attic served as the model to fabricate a new finial. To complete the process, the Daughters of the Utah Pioneers returned the original bell to the reconstructed tower. A new roof was required to support the heavy bell tower and upgrade the building's thermal performance. To preserve the historic soffits and fascia, contractors stabilized the soffits prior to demolition and tied them to the newly installed roof trusses. The gables on the east and west portions of the roof were rebuilt. Masonry restoration was another critical component of the exterior renovation. Sadly, nothing can be done to reclaim stone lost to sandblasting. The renovation team, however, used bricks salvaged from the building to remedy earlier repairs made with a lower-grade masonry. The offending caulk and Portland cement-based mortar that hastened the masonry deterioration were also removed and replaced with an historically-accurate lime-based mortar.

KEPCO

UTAH PRESERVATION

1 Systems

Dramatic Changes While the portion of the pressed tin ceiling revealed during the evaluation was damaged beyond repair, the majority of the original ceiling was intact. The contractor carefully removed the tiles and reinstalled as many as could be salvaged. The original tiles were supplemented with custom tiles pressed to match the originals, restoring the grandeur of the first floor corridor and second floor ceiling. Another dramatic result of the renovation is the restoration of the second level's original open floor plan. During the radical remodel of 1977-78, the second floor was divided into numerous separate rooms. Moreover, existing walls were furred out for new wall surfaces resulting in the removal or modification of much of the historic interior trim. Even the city council chamber windows along the west wall were covered with panel board. The renovation removed the non-historic interior walls and the paneling over the chamber windows. The team also recreated missing historic elements like the wood trim. The second floor is now a monumental, light-filled space appropriate for the significant city work that takes place there.

The building's historic interior was radically altered by a 1 9 7 7 remodel.

Green Preservation While restoring the American Fork City Hall's historic character was the primary goal of the renovation, the project also consciously integrated "green" design features. The building's new mechanical system and light fixtures are significantly more energy efficient than those installed during the 1977 remodel. New insulation and proper sealing of the roof, walls, and windows have raised the insulative value of the building by 467 percent. In addition, the restored windows can be opened to provide natural ventilation throughout the building. These measures reduce the energy consumption required to light, heat, and cool the building. Every effort was made to salvage and reuse as much building material as possible, including the ceiling tiles, window sashes and frames, and stairway treads. The new construction materials used in the building, including gypsum board, insulation, and carpeting, contain

Original tin ceilings remained intact underneath the drop ceilings installed in 1 9 7 7 .

The renovation restored the second floor's original open floor plan.

UTAH PRESERVATION

WHERE

HISTORY

NAT U R E L I G HAVE YOU STARTED PLANNING NEXT SUMMER'S VACATION YET? DO YOU YEARN FOR THE SOLITUDE AND SPLENDOR OF UTAH'S BACKCOUNTRY? OR ARE YOU LOOKING TO ENGAGE WITH UTAH'S RICH PAST AT A FASCINATING HISTORIC SITE? COMBINE YOUR LOVE OF NATURE AND PASSION FOR HISTORY BY VISITING THE HERITAGE RESOURCES MANAGED BY THE USDA FOREST SERVICE I N UTAH'S NATIONAL FORESTS. FROM THE ALPINE HIGH UINTAS TO THE CAN TRAVEL BY FOOT, BICYCL VISIT PREHISTORIC ROCK ART, CLIFF DWELLINGS, M I

4G CAMPS, TIE

HACK CABINS, CIVILIAN CONSERVATION CORPS STKUC-

RES, HISTORIC

ROADS, AND MORE.

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Rent a Historic Mountain Hide

In the first half of the twentieth century, the Forest Service built ranger stations within a day's horseback ride of each other. Many of these cabins became obsolete as roads were constructed and vehicles replaced horses. The Forest Service retained some of these cabins and now makes them available to the public for short-term rental. The cabins' settings, typically characterized by beautiful scenery and solitude, are essentially unchanged since the early 1900s. Some cabins offer modern conveniences and amenities like furniture, appliances, and dishes. Others have no running water or electricity and may appeal to those of you who like to "rough it." In the Ashley National Forest in northeast Utah (see map of Utah's National Forests .on page 28) you can rent the 1933 Colton Guard Station and the 1934 Trout Creek Guard Station. George Lee Nichols, a Forest Service architect in Ogden, designed cabins with a nod to the Classical Revival Style. Their gable-front facades include full-width porches, a perfect place to enjoy the twilight after a day of hiking or fishing. The Colton and Trout Creek cabins are open most of the year. Each has beds for four people and a furnished kitchen. From mid-June to mid-September, they have running water, flush toilets, showers, and refrigerators. Although these are turned off during the cold season, you will still have amenities such as outdoor vault toilets, propane cook stoves, and wood-burning stoves for heat. 24

UTAH P R E S E R V A T I O N

J1 7

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1930s, the historic Colton Guard Station (left) and Trout Creek Guard Station (right) in the Ashley National Forest are now available for rent

much of the year.

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The picturesque South Bunk building is part of Gooseberry Administrative Site in the Fishlake National Forest. The extensive complex can accommodate up to 250 people.

A third cabin on the Ashley National Forest, the 1922 Paradise Guard Station, will be available after it is restored in the near future. Located near remnants of the historic Bartlett Sawmill, it is one of few remainjng Forest Service cabins from the pre-New Deal era. Further south in the Fishlake National Forest, large groups can stay in several historic cabins at the Gooseberry Administrative Site, about 15 miles southeast of Salina. The extensive compound, first developed in 1908, served as a ranger station, experiment station, a CCC camp, and, more recently, a youth camp. The site can accommodate up to 250 people although only 50 beds are provided. The Gooseberry Administrative Site is especially pleasant in the summer, given its location on the north-facing slopes of Mt. Terrill, abundant aspen, and proximity to Gooseberry and Sheep Creeks. The 1934 Warner Lake Guard Station east of Moab in the La Sal Mountains is another great escape from the summer heat. The two-room cabin in a beautiful aspen setting is a popular destination for visitors to the Manti-La Sal National Forest. Omero Torres, recreation staff officer for the Vernal Ranger District, is an enthusiastic supporter of the rental program. He reports, "We rent out the cabins to the public so they get a chance to experience a part of the Forest Service legacy. The rental program also encourages us to maintain these facilities and retain their historic character. Otherwise, these facilities could possibly fade away and fall into disrepair."

BW a Trail throtrgh the Past luumerous routes on Utah's National Forests help us understand the fundamental relationship between people and the land. Some of these routes are historic while others are modern trails or roads that pass through historic areas. All allow you to travel through time to experience our ancestors' diverse uses of the state's terrain, waterways, minerals, and grazing range. The historic Carter Military Road follows the old Lodgepole Trail of the Utes and crosses the Ashley National Forest. Judge William Alexander Carter constructed the military route in 1881 to transport supplies from Fort Bridger to Fort Thornburgh near Vernal. Hiking along the Carter Military Road, you will see log segments of the road across marshy areas and remnants of the adjacent telegraph line. You can also learn about the route's historic significance from signage erected by the Uinta Basin Archeology Club and from a Forest Service interpretive brochure. In the Fishlake National Forest, you'll find evidence of the once-vibrant mining industry in the Tushar Mountains. Use the Bullion Canyon trail system to hike or ride a horse past abandoned miners' cabins and equipment, a historic sawmill, and old adits. Motorists can pick up a brochure for the 2.5-mile Canyon of Gold Driving Tour that begins just west of Marysvale. Along the way, you will see remnants of a historic toll road, the Witt Tate Mine, the Dalton Mill, Bullion City, and a rail bed for mule-drawn ore carts. The drive ends at Miners' Park which

UTAH P R E S E R V A T I O N

Top: Hikers can explore the Carter Milltary Road through the Ashley National Fwest. These Passport m lime wlun~eersare tnwstigatingremnants of the toad. Wttan left: The Canyon of Gold Drrving Tour p a s s remnants of a once-vibrant mining Built by the CCC, industry In the Tushar Mountains, rnciud~ngthis battery-powered looomotiw from the 1930s.Baftem the Ute Mountain Frre Lookout is Utah's only live-in lookout tower. The twer is open to the public dur~ngthe summer.

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you can stop at the historic Great Basin Experiment Station in Ephraim Canyon. ~h~ ~~~~~tservice first developed the site in 1912 and the Civilian Conservation Corps constructed many of the existing buildings in the 1930s. This restored compound, listed on the National Register of Historic Places, now serves as an environmental education center for Snow College. The Seely Creek Guard Station is situated a few miles east of the Great Basin Experiment Station, just off Skyline Drive at an elevation of 9,840 feet. Historically, forest rangers used the station as a summer base of operations. It consists of a house, barn, and garage set in a meadow surrounded by ponderosa pine and aspen. Since 2005, the Manti-La Sal National Forest and students from Snow College's Traditional Building Skills Institute have worked to restore the station's buildings.

YOU can see the historic Seely Creek Guard Station high atop the Wasatch Plateau as you drive

Drive Scenic Byway.

w - m + m m The former Great Basin Experiment Station includes several charming white cabins with green roofs.

Signs in the Granite Flat Campground interpret I history.

,he young men of the Civilian Conservation Corps (CCC) made significant contributions to the national forests. They terraced eroded mountainsides, built roads and trails, constructed campgrounds, and planted thousands of trees. Their work is interpreted at the Stuart Guard Station located along the Energy Loop Scenic Byway in Huntington Canyon (State Road 31). Built by the CCC in the 1930s, the restored station serves as a visitor center for of the ranger's house has historic office furnishings and offers glimpses into the duties of early forest rangers. Signage and historic equipment in an adjacent garage illustrate the work and life of the young CCC men. The CCC built the Ute Mountain Fire Lookout in 1935-1937 to aid in forest fire detection. As the only live-in lookout tower in Utah, it is listed on the National Register of Historic Places. The unique structure consists of 14 by 14-foot room or "cab" on a 50-foot tower and provides

in National Forests.

The Manti-La Sal National Forest is home to numerous cliff ~ a ~ ~ ~ ~ interpretive trails.

;

UTAH PRESERVATION

If you're in the Moab area, visit the Pinhook Battlefield, site of an 1881 conflict between early settlers and Utes. The battlefield, at the north end of the La Sal Mountains, is listed on the National Register of Historic Places. Further south in the Abajo Mountains you can follow interpretive trails to prehistoric sites. From the Nizhoni Campground north of Blanding, hike the trail to Dry Wash to view ancient cliff dwellings. Discover a link to Ogden's architectural history at a lime kiln on the Wasatch-Cache National Forest. James Moroni Thomas built the stone structure located at the Indian Trail trailhead in scenic Ogden Canyon in 1865, taking advantage of the plentiful limestone on nearby slopes. The kiln produced lime used in the construction of Ogden's early buildings. In recent years, the Forest Service worked with the Weber County Heritage Foundation and other groups to restore the collapsed kiln and interpret it for visitors.

If you want to do more than just visit a her~tagesite, the Forest Service can put you to work. Under its "Windows on the Past" initiative, the Forest Service provides opportunities to people wanting hands-on experiences with prehistoric and historic resources. Volunteers in the Passport in Time (PIT) program work with professional archeologists and historians on a variety of sites. As a PIT volunteer, you can help excavate Finch Draw near

a panoramic view of the Ashley National Forest. Open to the public in the summers, the Ute Mountain Lookout Tower is equipped with a historic fire finder, stove, and other furnishings. If you visit, take advantage of the hiking trails that begin at the lookout's parking lot. Utah's first CCC Camp, established in 1933, was in American Fork Canyon in the Uinta National Forest. The former camp is now the site of the Granite Flat Campground, which has four loops named to honor the CCC legacy: Tree Army, Mess Hall, Spike Camp, and Barracks. Interpretive signs at the campground discuss CCC slang and the enrollees' contributions to the area. You can find other CCC-constructed features in and around American Fork Canyon, including the Mutual Dell and the Theater-in-the Pines amphitheaters, as well as the South Fork and Timpooneke guard stations.

ATTENTION, NONPROFITS & GOVERNMENTS?

Do you have a historic preservation project that involves planning or education? The National Trust for Historic Preservation offers grants! For information, call (303) 623-1504 or write mpro@nthp.org.

&ang tar S For a touch of wnlmsy, visit the Poaunk Ranger Station. The one-room cabin, built in 1927, is unique not only for its name but also for its steeply pitched hip roof. One ranger reported its peak was so pointed that it would "split a raindrop." The Forest Service restored and moved the abandoned cabin to the Red Canyon Visitors Center in the Dixie National Forest. While enjoying the nearby red sandstone formations, you can get a sense of early forest rangersf living conditions in this diminutive building with period furnishings. 28

UTAH PRESERVATION

NATIONAL TRUST

Manila, locate artifacts on the Carter Military Road with metal detectors, develop interpretive plans for the Old Spanish Trail, or document prehistoric and historic sites south of Tooele. Other ongoing projects include restoration of the Swett Ranch homestead near Dutch John and reopening historic trails in the Tushar Mountains. Gail Carbiener of Oregon is one of many volunteers who participate in several PIT projects every year. After a recent assignment on the Ashley National Forest, he noted, "Our PIT project helped the Forest Service with interpretation and I learned from the archaeologist how he determines the stories of the artifacts I find." The Utah Site Steward program offers the public long-term involvement with a prehistoric or historic site. Stewards regularly visit and document sites to monitor them for vandalism and natural deterioration. The Utah Division of State History, the Forest Service, and other public land managers work closely with these dedicated volunteers who receive training in field techniques, mapping, and safety. According to Manti-La Sal archaeologist Don Irwin, "Utah's pilot program in the San Juan County area has been very successful. We have volunteers providing stewardship for a number of important sites and have worked with the Edge of the Cedars Museum to train site stewards in identifying archaeological artifacts and completing site documentation."

Your Trip ..eritage resources in Utah's national forests are the links connecting people, past and present, to the land. They enrich our lives, enhance our sense of place, and help us understand continuity and change. This article describes a few, but there are many more throughout the state. Whatever your interest, the diverse heritage opportunities on Utah's National Forests offer something for everyone. For more information about the heritage resources on Utah's National Forests, contact your local Forest Service office or visit www.fs.fed.us/r4/about/utah/shtml. This website also provides links to volunteer opportunities, brochures, and current conditions. You can find details about rental cabins at www.fs.fed.us/ r4/maps/brochures/rusticcabins.pdf. Make reservations for rental cabins and campgrounds at www.reserveusa.com. or sign up for a PIT project at www.passportintime.com. @

Richa Wilson is the Regional Architectural Historian for the Intermountain Region of the USDA Forest Service. With degrees in architecture and historic preservation, she previously worked in private practice and as a Peace Corps Volunteer in Malawi, Africa.

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UTAH PRESERVATION

The original kitchen in this Victorian home war gfzered long ago. To restore a period feel, the owners added Eustommade soapstone sink from Vermont. The free-standing base cabinet reflects their interest in early Mormon furniture and matches the other kitchen c a b i n e t ~they desinna* --.I hand-grained.

UTAH P R E I E R V W f I O N <

I n1s reTurDIsnea Dungalow Klrcnen rearures rlusn-lnser caolner doors with visible hinges, Marmoleum flooring, and a William Morris pattern wallpaper.

Cheery colors, like carnation pink, were common in baths and kitchens of the 1930s and 1940s.

mT . I I. U5t KITCHtN3 AND BATHS +

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Giving Modern-Functioning Rooms an Historic Look ~ u u n yourself t lucky if your old house ill retains some of its original plumbing fixtures or kitchen cabinetry. More commonly, as homeowners remodeled kitchens and bathrooms over the years, they threw out- most, or all, historic materials, leaving old-house restorers without any original elements left to restore. But it's entirely possible to recreate the ambiance of an old room by selecting historicallyappropriate materials, thus avoiding the painful "architectural whiplash" caused by going from a perfectly restored dining room into a glaringly modern kitchen. In houses new or old, there is n o harderworking room than a bathroom and none more multi-tasking than a kitchen. When --

By Alysa Revel1

yuu corlh~derthe ~ u r n t a nchanges t in cook- ., ing trends and the ever-increasing techno: logical advances in appliances, it's easy to see why homeowners typically update their kitchens about every fifteen years or so. Bathrooms undergo remodels less frequently, but have dramatically increased in quantity, size, and importance over the years to the point where bedroom-sized, "spa-styled" master baths are the norm in most new houses today. So how does a period-sensitive renovator refurbish a kitchen or bathroom to support a modern lifestyle while retaining (or recreating) the charm of an old house? First, get to know the past. Research your home's history and educate yourself about

UTAH PRESERVATION

A local woodworker built this bathroom vanity from drawings of an antique washstand.

This recreated 1918 kitchen features a subway tile backsplash, antique lighting fixtures, linoleum tile flooring, glass cabinet doors, and a mix of counter surfaces.

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its era and style. The more you know, the more you'll start to notice the many era-appropriate materials currently available. To get you started, here is a quick history of local kitchen and bath evolution.

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A pioneer-era home (c. 1847-1869) could be anything from a tiny log cabin or two-room adobe house to a larger home made of stone or, more rarely, brick. These small houses often served big families in multipurpose kitchen areas that doubled as living room space and probably a bedroom as well. If your home is from this era, its indoor plumbing and bathrooms were added decades later. The Victorian-era kitchen (c. 1870-1910) became slightly more civilized. It typically contained a work table, wet sink (with a pump) or dry sink, kitchen tools, freestanding storage pieces, and a coal- or wood-burning stove. If your Victorian house contained the luxury of a bathroom (kitchens and bedrooms were more commonly used for bathing), it was never meant to be seen by visitors and no attempt would have been made to decorate it. These kitchens and baths were radically remodeled around the turn of the century as indoor plumbing became widely available and the revolutionary "sanitary movement" took hold nationwide. 32

UTAH PRESERVATION

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The revolution happened like this: most homes acquired electricity and indoor plumbing at roughly the same time the theory that contagious disease is caused by germs became widely accepted. Thus the pursuit of spotless, germ-free homes began. Form followed function as the owners of both old and new houses installed linoleum floors, porcelain sinks, smooth zinc countertops, and ceramic tile backsplashes. The point of it all was clenr~nbility. This revolution transformed homes dramatically and has been the basis for modern kitchen and bath design ever since. While colors, materials, and styles have changed to suit the fashions of the day, the philosophy behind the sanitary movement has remained constant. There has been no real shift in hard-surface, easy-to-clean bathroom and kitchen finishes despite the evolving functions of these rooms.

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This obsession with sanitation made all-white kitchens and baths the rage until cheery greens and yellows appeared in the 1930s. Succeeding decades witnessed the popularity of carnation ("band-aid") pink, turquoise, black, and cherry red. Early to midcentury tastemakers and homemakers personalized American

When adding a new bathroom in their bungalow, the owners of this home used beadboard wainscoting, a salvaged medicine cabinet, and a pedestal sink give the room a period feel.

For the truly dedicated, there are appliances with an historical appearance, llke t h ~ sFrench-made black enamel stove with brass knobs.

great reproductions. Visit a designer showroom for help wadkitchens and baths with upbeat color and cheerfully printed ing through the myriad options to find the right design. And fabrics and wallpapers. it doesn't need to be a pricey Burrow or Bradbury & Bradbury Keep in mind that these homeowners had options and you do, design (although these are lovely). Many "regular" wallcovering too. You can customize your rooms to reflect your own personality companies, like Seabrook, now produce some excellent reproand still stay true to your home's style. For instance, Craftsman-style ductions. homes relied on natural materials in their finishes and furnishings, like copper, iron, and stained wood. The look was heavy, linear, and awash with warm earthtones. The sanitation movement's 1 kVlndt~ict-t r r i i t ~ n c ~ n t ~ prescribed slick and shiny all-white kitchens and baths contrasted Pioneer homesteaders used what they had: simple fabric panels mightily with other rooms in these homes. A rich wall color or over the windows, usually in a plain muslin or cotton. These are stained cabinetry can create a more consistent Arts and Crafts feel easy to replicate. Victorians loved heavy, layered draperies in forthan the original kitchen did. mal rooms. But for kitchens and other informal areas, they hung more simple curtains. Roller blinds were also used extensively 114dih'id~illElements: from Victorian times through the 1960s and are still available from companies like Smith & Noble and the Handwerk Shade \Ted115 Shop. (Choose fabric ones, not vinyl, with traditional spring roller If you're attempting a period-appropriate restoration, keep in systems rather than the newfangled continuous loop. It's not a mind that wallpaper was the dominant trend in old homes. (Big real, old-timey blind if it doesn't flip-flip-flip once in awhile!) surprise to all those who've spent countless weekends stripping Arts and Crafts-style homes had their own prescribed styles away layer after layer of crumbling, brittle, melded-to-the-wall of window treatments, as they did for everything else. These paper, huh?) Even so, many period paint colors are smashing in included wooden shutters, stenciled muslin and linen panels, an old kitchen and provide interest to a tiny bath. Many paint and roller shades. Kitchens and baths of early to mid-twentieth companies, like Benjamin Moore and Sherwin-Williams, now century homes look right with a cheerfully-patterned, shirred have entire collections of period colors, helpfully classified into eras/styles to make selection even easier. valance over sheers, shutters, or roller shades. Caf6 curtains work If you opt for wallpaper, you'll find an amazing selection of beautifully here, too. UTAH PRESERVATION

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Trade Secret Magicians never share their secrets, but I do. Here's a handy technique I use for old-hour? kitchen and bath renovations. Use elements from the earliest "modern" kitchen and bath design to create rooms that function well, yet have the look of a previous era. The current market offers mainly modern products like Corian and wall-to-wall carpeting, but old-fashioned goods-those on my "Materials Checklistv-are also available. Incorporating them into your modern-functioning kitchen and bathrooms will lend them an appropriately vintage flavor. Because demand for these products has skyrocketed in the last decade, many kitchen and bath showrooms now display them and many items can even be special ordered from "big box" home improvement stores.

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Most pre-1900 kitchens started out with a wood floor, probably a painted non-hardwood like fir. Wood floors are still warm and wonderful, especially if the boards show wear, inherent flaws, and texture, rather than being honed to a perfectly slick, shiny finish. The stain should be a medium to dark brown. Linoleum, available since the mid-1800s, was installed both in tiles and sheets. Get the real stuff (made from natural linseed oil), like Marmoleum, if possible. An inexpensive alternative is Armstrong's vinyl composition tile, avaiIable at home improvement centers. Ceramic and porcelain tile can also work, as long as it is smaller-scaled (nothing over 12 inches square) and does not attempt to resemble stone or anything other than tile. When it's done, throw down some braided-rag or wool-hooked rugs for a warm look and warm toes.

1-1 ;;kit! j72; Good light and good lighting fixtures are both important elements of a period room. If you have the original lights, leave them (just make sure the wiring is in good shape). If the originals are missing and you have to replace them, it's important to stay as close as possible to your era, since they are almost an architectural element of a room. Try to find true antiques first. I've found great antique lighting at local antique stores, on eBay, and also at Retrospect Water & Light in downtown Salt Lake City. If you can't find a good antique, Rejuvenation Hardware out of Portland does the most gorgeous reproductions. All of their fixtures are put into period collections, so it's easy to find lights in the right style.

~l~:plrtzr~ci.~, Great-grandma didn't enjoy the comforts of dishwashers or microwaves, so how best to incorporate them into our new, old kitchens? You can easily hide the microwave behind a cabinet door and install a two-drawer dishwasher with custom panel kits if you really don't want it visible. The practice of "hiding" refrigerators behind huge doors is currently all the rage in new homes, but I recommend against it for old ones. Gigantic cabinet doors are historically inappropriate, and major appliances (stoves, iceboxes, etc.) were traditionally 34

UTAH PRESERVATION

meant to be seen and easily accessible. Stainless steel or black enameled appliances from "professional" lines, like those made by Wolf and Viking, look surprisingly good. Some specialty companies, like Heartland, manufacture reproductions of vintage models. A few companies even refurbish actual antiques.

ACC~?SSI~T'?CS Simple, humble, handcrafted items (preferably old) make appropriate accessories in pioneer-era homes. Victorian homes benefit from floral motifs and proudly-displayed china collections. Play up the hominess of early-twentieth century cottages with vintage elements. The popular "shabby chic" look is successful in many of these homes. Get it by incorporating white wicker, ticking striped fabric paired with colorful vintage florals, depression glass, painted (but chipped) case pieces, and yellowware. Collections of Jadeite and other refrigerator-ware make fun accessory collections for homes built in the 1930s and 40s, as do flea-market finds of printed tablecloths and linens. An old home will feel like it evolved if you've got mostly pieces that are styled to the era of the home and then add in other elements to personalize the space. Family heirlooms make the best furnishings of all.

P~latt;ri;~.l~~; C hilck;t,i$t Whether your old house was built in 1870 or 1920, at some point the kitchen and bath probably incorporated these materials: Subway tile: White 3-inch by 6-inch is the classic. Great for a backsplash or even entire walls in kitchens, bathrooms, and shower stalls. Hex and square tile: One-inch is most common, but some are larger. Great for bathrooms on walls, floors, and showers. Linoleum: Sheet lino and 9-inch square tiles were the most common. Beadboard: Used on walls as wainscoting (sometimes on full walls) and ceilings. Also used on cabinet interiors where it was often painted in surprising colors like red and orange. V-board was also very common and used the same way as beadboard. Cabinetry: Specify face-framed doors, flush-mounted into

Sources

*** Wallcovering, fabric, window treatments, design assistance:

Rice & Strand Interiors, 300 South Hwy. 89, North Salt La:%_

(801) 936-5087, www.riceandstrand.com

?'.**. -+

Plumbing fixtures and lighting: Retrospect Water & Light, 68 EasLM)B Sauth, SLC, (801) 517-3876 --!-G

old-h%sc?<ontractors directory, state rehabilitation tax

credits: State Historic Preservation Office,

-J**sa,

The kitchen in this 1911 bugatow was remodefed in the 1930s. The cabinetry, tile courtertops, and tite backsplash were typical of, if not as colorful as, many kitchens of the era. The large, pull-out cutting board creates a handy additional workspace.

www.history.utah.gov/historicpreservation/index.html

,,-!35

'@ b @J

Rehab it Right! Workshops, low-interest rehabilitation loans:

Utah Heritage Foundation, www.utahheri~gefoundation.org the cabinet face instead of "euro" doors which migrated to America after WWII. You really can't go wrong with a simple Shaker door style. Painted was more common than stained, but stain in a medium to darkish wood tone works well, too. Lose the toekick (small recessed space beneath the cabinets). It's a modern detail and most kitchen and interior designers admit you don't need it. Plate racks and open shelving contribute to an old-house look, as do glass doors o n some or all upper cabinets. Countevtops: Don't be afraid to use wood. It was the standard for decades. Wooden countertops are gorgeous, warm, and durable. Plus, new synthetic finishes make it more water repellant than ever. Hardwood, butcher block, stainless steel (or better yet, zinc, if you can find it), and stone (honed finish, not slick) provide different surfaces for different tasks and all are appropriate for an old house. You can even use a mix of these materials. The development of synthetic plastics in the thirties led to full-length countertops covered in laminates by the 1950s. Laminate counters with metal edging look terrific in a mid-century kitchen. Sinks: A big old salvaged "farmhouse" sink is sheer perfection in a pre-WWII kitchen. Reproductions of these are also fabulous. I highly recommend integral drainboards and have n o idea why these attractive and highly-functional sink parts went out of vogue. You can't go wrong with vintage-style, nickel-tone plumbing fixtures. White pedestal sinks, whether vintage or reproduction, are always proper in an old bathroom and take up less room than a vanity. (I know, I know - no storage with the pedestals. But you're living in an old house so you're used to that, right?)

Window overings: Smith Noble, www*smithandnoble.com +

Real linoleum: Forbo, w~.themarmolemstare:.com Lighting: Rejuvenation Hardware, www.lreju~enafAon.corn * Appliances: Heartland Appliances, m.hedandstppliances.com

Alysa Revel1 is a local interlor des~gnerspecializing in old-house restorations. She lives in Farmington with her husband, their two-year-old twin sons and lovable mutt, Tagalong, in an old house that has owned them since 1999.

American HeritageN Window Rlebuilders tamr*a;J%**-d--

Exact replicas of historic windows and woodwork.

Historic wooden window restontion. New custom window manufacturing.

,#I!

Storm windows and s m m s .

Thermal storm sash unlh L

Window and door hardware (new, used, antique, stwage).

IWeatherstripping.

You Are Not Alone Help is out there. The Utah State Historic Preservation Office maintains a list of old-house contractors. The Utah Heritage Foundation offers do-it-yourself workshops. Talk to other old-house owners/restorers. Engage the services of local architects and designers who specialize in historic restoration projects. They can assist you with finding creative solutions and specific sources that will make your old-house kitchen and bathrooms sparkle like it's 1925.

* Roller shades: The Handwerk Shop, www.thehandwerkshop.com

Fast turnaround.

Guaranteed satisfadion.

46 East Herbert Avtnue Salt Lake City, Ut 84111 gh 801.359.6639 fx 801.323.9055 www.vi~tagewi^ndow.tom

UTAH PRESERVATION

Sue and Steve Lutz have been restoring the William Heaps House and uncovering its history for the past six years.

The Lutzes combined a dining room and a bed room on the main floor of the house to create a living/dining space.

Pioneer Builder

One of the Family

An original settler, town founder, and carpenter named Isaac Goodwin built this house for William Heaps and his family to replace the log cabin they had lived in since moving from Escalante in the late 1890s. The house has a cross-gable floor plan with four rooms downstairs and four rooms up. It is a simple design, attractive and practical. Downstairs there was a parlor with its own porch entrance. It has been converted into a bedroom with a drop-ceiling which absolutely has to go. Upstairs there was one finished bedroom,

I have a 1915 photograph of the house. The family is standing in the shade of the porch looking sbff and formal. I'm told they were not usually like that. One of the girls in the picture, May Heaps, inherited the house in the 1940s and lived in it until her death in 1980. This information and the picture itself came from William's great-nephew, Lell Heaps, who still lives in town, along with many other descendants of its pioneer settlers. Lell is seventy-something years old and in failing health, but his memory, voice, and guitar playing are still strong. We have become

g@tp.:,'~3~~~I . cannot , assume .-,-.,:Trrpa any part of this house is square, plumb, ox level. -

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two others were roughly framed, and another had wide roughsawn planks nailed to the wall and ceiling over old newspapers. Isaac didn't need much in the way of plans. Like many early Utah builders, he built from pictures in his head, transforming those visions with wood and stone, glass and handmade adobe bricks into solid, lovely houses that would last generations. But Isaac was no structural engineer. A few structural members have failed over the years causing some walls and floors to permanently tilt or sag. I cannot assume any part of this house is square, plumb, or level. All of my carpentry is compensatory. I try to split the difference between true and the facts of hundred-year-old framing; I try to fool the eye so that the new square window in the trapezoid-shaped north wall looks right. I jack things up and reinforce them, and, if I do my work right, you won't notice a thing.

friends since I bought his family's old home, and he invited me to his fiftieth wedding anniversary. Some elderly guests convinced themselves I was a relative, probably cousin Hattie's long-lost son, Robert. I told them I wasn't related. I had just bought their Aunt May's house and was fYcing it up. They hugged me and said it was great the old home was back in the family. My further protests were met with cake and punch. I smiled and thanked them. I guess I'm related to the house now too.

Old Home Evolution When we bought the house in 2000 it didn't much look like it an itinerant window and siddid in 1915. Sometime in the 19.50~~ ing salesman came to town. He convinced May and her husband, Sam Adams, to replace the original tall, narrow, double-hung windows with short, wide aluminum sliders. Then he covered the unpainted Douglas fir siding with pink asbestos hardboard shinUTAH P R E S E R V A T I O N

A wood-fueled Majestic stove still warms the kitchen in the Heaps House.

Steve Lutz has encountered many of the travails of restoring an old home, including getting a new square window in a trapezoidal wall to look right.

gles. Some of the windows and doors were taken out completely and merely sided over. Apparently, he was a hell of a salesman. His handiwork is still evident on half a dozen other houses within a few blocks of here. The breezeway and the attached barn shown in the 1915 picture are gone, replaced by the bathroom addition and a lean-to storeroom on the north side. The old log cabin nearer to the road with its root cellar basement is gone too, but its prior existence is indicated by a depression in the lawn. Inside the house are many changes not revealed in the photo. Teasdale didn't get electricity until 1938. Before that, the house was lit by candles, coal oil lamps, and acetylene lights. The acetylene gas was generated in a heavy steel pressure chamber about the size of two stacked coffee cans installed on the back porch. Inside the chamber, water dripped onto calcium carbide to produce acetylene, the most explosive of all gasses. This gas ran through my house in tiny copper tubing about the thickness of the ink tube in a ballpoint pen. More than one old house exploded and burned due to malfunctioning acetylene generators or lights. The plumbing system also evolved over time. In 1912, the handdug water ditch was made obsolete by a pressurized water system feeding a single spigot installed just outside the back door. The Heaps family continued to haul water into the house in buckets and heat it on the wood-fueled cookstove that still graces the kitchen with its warm glow. Some 20 years later a small addition was built on the east side of the house for a toilet, sink, and claw foot bathtub. The walls have seen their share of changes, too. The original latheand-plaster walls fell victim to plumbing and wiring projects and were replaced by thck cardboard-like sheets of Celotex covered with multiple layers of floral wallpaper. A big archway was cut in the wall between the dining room and bedroom to create the current living room. In one room upstairs, the walls and ceiling were covered by hundreds of tiny pieces of salvaged drywall creating a bizarre mosaic. The other two upstairs rooms had no finish at all and were open to the rafters and studs and the nearly ceaseless wind. 38

UTAH PRESERVATION

The Lutzes discovered the frame of a transom window when they restored the tin ceiling in the kitchen.

Sam's Handiwork Sam Adams was not as handy as the builder Isaac Goodwin. Sam built the bathroom addition that tilts crazily on the east side. He dug a cesspool right next to the foundation on the north side causing that corner of the house to sink about four inches. Later, he had the cesspool pumped out and put a septic tank in the Same hole and then built the storeroom o n top of it. His wiring consisted of one main wire running through the entire upstairs floor with short sections stripped bare, twisted together with other wires for branch circuits, and then wrapped with cloth tape. I found these wires when I tore out the floor. I am still amazed they hadn't caused the place to burn down. If that wasn't enough, the notches he cut to accommodate the wiring in the undersized floor joists weakened them to the point that you could see the movement of a person walking upstairs in the downstairs ceiling. Although Sam's work was not up to Isaac's standards, he had his own talents. Sam was a fine horseman and a notable cowboy. He never learned to drive an automobile and traveled only by horse or donkey wagon until his death in 1970. The local kids would always clamor for a ride with him. Sam was also a master leather worker. According to Dwight Taylor, who grew up across the street, the sway-backed shed on our property was Sam's tannery and more. It was a place where boys and old men swapped skills and stories. Sam taught the boys how to skin a deer and turn the carefully-scraped hide into the softest of leather. He told them about Butch Cassidy, Sundance, and the Spanish treasure he had found in a lost cave and was never able to find again.

Spirits of the Past On this cold, bright fall night, I wish to visit with Sam and May's ghosts. I have questions that will never be answered without them. What were all the other people in the dog-eared photograph like? Was Butch Cassidy as nice a man as people around here still attest? Were there transom windows into the parlor, as

Sam Adarns b~lllEl h ~ ssmall addltron to house a bathroom and laundly around 1950.n~ Lutzes plaril l o iazk up a corn* and stab&@ t l ~ efoundation Zo corbect the crazy Ole on &IS example of SamsabLalxliwouk

the j?:~.ii~.i~~g seern.s t o sugge.st? Was t l ~ c r ea piano he~:ea n d 1wha.t tru11.e.s made it ri.n.g? You may have heard sorne.cn.?. say, "I'f these. walls cor~ld only ?n.lk. . ." The 14~~311,s of 1ny ijld house c1.o ta.11i. r haw foun.d ile.wspapers, rndgazln.es, anci.ent and well-1:epaire.d Inoec, toy,, Ietre~:s,si~oppingI.ist<,bili~,clothing, and, sdn.001 lessons. l%ch art-dact saris som.al+ng to m.e about t1l.t peop1.e wrho 1.ive.d 17.ei:e, ~vha.tthey cared about, and. some of what -they wlsh.cd for. I h.npe r-b.?.ywould approve. of n ~ ycra.ftsrndn.ship or at: least of my ~n.tent.ioi*i.s t:owards theu: home.. 1 Itnow the lajt faw.iIjr Chat 1.i~e.d here. appoves. l?hc.yivebeen back to I.ocik dround and corni?-~emt. .Accortiim.g to h.e.m., I haven.'t scre\fiiecli t u p too badly rj?t. Not ihat- I haeve.n.'t.ixI.a.de rnina1te.s. I've fallen t1x:ough. the ceil~ng tmhce. whea 1 11~a.dtihe floor open ~hrlnilepla.ong a. n.ew joist al.oiigtlhe floor. I've slloclted myself c?n 5ide am old on,e t o sti.ei~gth,o.n. grandfatheo made far h ~ m that stands atop an antique pie safe ind1e.s off ce-nter and lzhd to tear it. dl.] out and s t a t agah?.. Qfc.ou.l:se 1 an not doing all ol tlnis difficult w o ~ kfol- those w h o 1i\.ed. here. before. 1 d o it to hfifill ]I],> o\vn t:isi.on. I d(1 it if. . to b.ave soi?it.thing to show for: my efforts. Worki.ng 011 tbs f bou.sr contrasts with. m.y job, c ~ l ~ i ca tl ~tP7.e . end of 3 ~ve?&leaves me w o n d e r j q just what 1177ea . ~ ~ ~ r n p l j ~Here. h e d .I can see tl?e results. Ti: I bui.ld a wall this week, i.t will still b e here in a ~ - ~ i o ~ ~ t . h , a ye&, ~iiaybern a l-iundred years 3 u t trulh he told, I d o care. al2ou.t. wr1a.t the. gliosts think of what I am. doljug to their I-kouse. They ace my c.onsul.tan.s, m y admsors, the in.spe.ctors of my c.~:;+i~. I cleli:n.itely do not- want to get a stol?-';hrc?rk 0rde.r fitom. beyc>nd the gl:ave. So to1 tl~ern,f o r me, for th:hose 5qho rviU live h u e a hund.i:ed p;i~:s$>:om,nolq I 'n:y io do things right. I'ke insulation, th.e. heating ducts, th,,e calpentry, a n d especi.d.IJyt h e wirin.g, 1 69 to d o as jf the !\;h.ole fam.ly were watching. *

n ihe k~tciien.

When [not worlang ar rh? Urdh Fi.l:e CGi.;lesineAcaderny 01-fixing !~lsone a r the other oftlieir 1.905 h.ouses larh his ~nf~fe Sue, Stew L I J i s~ probably l?Id);111g l~luegrassmil old-hme music w r ~ t l lFUS band, langlc 111dgt.Carltan l u n ~ This Jhed once howcd a Cnny when Sam Adams s h a d h ~ skills s and stmias. from the " C a n t d a rrs" Imk a t Ihoglendgeb~nd.(:Oll? U i A H P11bESERV4TlQDI 39

"A STRUCTURE OF

On January 11, 2006, Cache County officials hosted a dedication and open house in the newly-renovated Cache County Courthouse on Logan's Main Street. Originally constructed in 1882-1883, the building is one of only a few nineteenth-century courthouses still used for government offices in Utah. Until recently, the future of the building was uncertain. After decades of remodeling and expedient maintenance, this grand dame of courthouses had not aged gracefully.

By Korral Broschinsky

The building was targeted for demolition in early 2000 but was saved through the cooperative efforts of state and local officials, preservationists, and concerned citizens. After a two-and-a-half year, $2.1 million renovation project, the historic courthouse now looks as fresh and lovely as a debutante. The title of an 1883 Logan Utah Jo~rrnalarticle is as apt today as it was then, "The New Court House: A Structure of Which our County May Well be Proud."

"A Fine and Imposing Structurew In 1881 Cache County selectmen approved a design for a new courthouse to replace a small frame building, which had served as office, repository, and jail since 1867. Truman 0 . Angell, Jr. was the architect for the building (see sidebar on page 45). On September 12, 1883, the Utah Journal published a lengthy description of the building as it neared completion. The reporter pronounced it "a fine and imposing structure." The two-story brick building provided space for county offices on the main floor, court spaces on the second floor, and rooms for cells in the basement (though the jail was later built behind the courthouse.) Ceremonial spaces included the entrance hall, second-floor parlor, and a spacious courtroom which doubled as an auditorium. The reporter praised the building, declaring, "On the whole the court house is well adapted to the purposes for which it was built, its offices, apartments, etc. are large, light, airy and commodious, and will be finished and furnished in excellent style." 40

UTAH P R E S E R V A T I O N

A "call to actlon" at a crit~calmoment during a legislative session and the result~ngcommunity support were key to saving the historic Cache County Courthouse.

UTAH P R E S E R V A T I O N

By 1905, the county government had outgrown the once ample courthouse. An addition was built on the west end, doubling the size of the facility. Expansion occurred again in 1917 with the addition of projecting wings at the northeast and southeast corners flanking the main entrance. The first threat of demolition came in 1938 when a building and trade organization suggested constructing a new courthouse as a way to stimulate employment. This proposal eventually died from lack of interest and funding.

C1 Sureet Old Lady

in a Tattered Old Dress As the county's population expanded after World War 11, there were renewed calls for a new courthouse. However, building conditions were not favorable, and the county continued to repair and modernize with a new roof in 1947 and a coat of white paint in the 1950s. Inside, the large rooms were divided, the ceilings dropped with acoustic tile, and air conditioning units installed in the windows. While these changes addressed the needs of patrons and employees, they were made with little regard for the preservation of architectural features. Beginning in the late 1960s, the courts system and several county offices were moved from the over-crowded historic courthouse. By the 1990s, the building had become, as one letter to the Logan Herald journal described, "a sweet old lady in a tattered old dress." A quaint pioneer relic, it was a serviceable government building, but just barely. The "fine and imposing structure" had been modified into a labyrinthine, inaccessible nightmare with a history of leaky roofs, sewer backups, and electrical problems. With little money for renovation, county officials felt they had run out of options.

Dr. Newel Daines was a driving force in the Cache Counly Courthouse renovation.

Numerous insensitive alterations and years of deferred maintenance transformed the once-grand Cache County Courthouse into "a sweet old lady in a tattered old dress."

(L Few Days m February The moment of decision came in early February 2000. The Cache County Council agreed to a land swap with state courts so that a new courts facility could be built on the site of the historic courthouse. This proposal gave the county land for constructing a much-needed county administration building and passed the decision for demolishing the historic courthouse to state. 42

UTAH PRESERVATION

Contractors corrected a three-degree tilt in the courthouse's cupola.

As news of the trade appeared in the Logan Herald Journal, concerned citiGSBS PC zens contacted the newspaper to express Restoration Architects support for preserving the old courthouse. of the But demolition remained a strong possibility as an appropriations bill made its Union Pacific Depot way through the state legislature. This bill tied funding for a new courts facility to the historic courthouse site. *' .& . When Utah Heritage Foundation (UHF) learned of the proposed land swap ARCHITECTURE I LANDSCAPE ARCHITECTURE I INTERlOR DESIGN I PLANNING and appropriations bill, it mobilized A resources to save the courthouse. UHF In late 2000, the feasibility study concluded that the courthouse could be renovated contacted State Representative Ralph at a reasonable cost. The study also concluded that the best possible use for the buildBecker, a member of the appropriations ing would be to continue as county office space. While reviewing the situation, Cache committee, who confirmed that the State County officials noted the response to the proposed demolition had been overwhelmCourts Administration had only recently ingly in favor of saving the courthouse. The majority of negative responses had not decided the old courthouse was the preopposed to saving the building, but expressed concerned about funding the project. ferred site and had not fully considered Meanwhile, the courts decided to build at the corner of 100 West and 100 North, leaving the option of rehabilitation. the county to address its own space needs. On Valentine's Day, UHF issued a "Call One part of the creative solution emerged as county administrators were planning to Action" via the Internet, urging those to move the motor vehicle registration department from the old courthouse to the interested in saving the courthouse to Wilkinson Supply Building just south of the courthouse on Main Street. In April 2001, contact their legislators. The response was former Logan mayor Dr. Newel Daines and his son, George, owners of the Wilkinson overwhelming. UHF Interim Executive Building, presented a proposal to the Cache County Council suggesting their property Director Kirk Huffaker recalls, "UHF reached out to our members in Cache be used for the construction of a new county administration building. In May, the Cache County Council accepted the proposal and made plans for a multi-phase building projCounty and legislators immediately startect that included the new building and renovation of the historic courthouse. ed hearing requests from their constituents to keep the historic courthouse and A year later, the county approved a bond to pay for a new jail and the administrabuild the new courthouse somewhere else tion building. The bond also provided $1million toward the restoration of the historic courthouse. In August 2003, after the county moved its offices into the new red brick in downtown Logan." Rep. Becker drafted language for the administrative building, renovation of the old courthouse began in earnest. appropriations bill that allowed funding A Mort for the new courts facility to proceed The renovation project was a collaborative effort involving county officials, local preswithout reference to the historic courtervationists, architect Lanny Herron of Architectural Nexus, and numerous sub-contrachouse site. The new language passed in tors and vendors, including Burton Lumber and Hardware, who supplied many of the committee on February 16. The appropriations bill was later passed with language building materials at cost. assigning responsibility for the site of the More funding help came as Newel Daines stepped in to serve as fundraiser and unpaid new courts building and the fate of the renovation supervisor. Nearly $1 million in additional funds were raised through private donations, including a generous grant from the George S. and Dolores Dore Eccles historic courthouse to local officials. The Foundation. bill also included $2.7 million to fund design work and the purchase of a site, Accomplishing the seismic retrofit and providing ADA accessibility without compromising the historic integrity of the building were the most important components of giving the old courthouse a temporary the renovation. The National Trust for Historic Preservation provided Cache County a reprieve. grant for a seismic study through the Utah Preservation Initiatives Fund in 2002. Based At a meeting called by the Cache County on the results of the study, the county employed Spindler Construction Company to Preservation Commission on February 17, install an interior frame of studs tied to the masonry and locked in place with four levels local officials and preservationists met of horizontal diaphragm. together to discuss options for the courtContractors lowered the basement floor ten inches, reinforced the footings, and corhouse. They decided to undertake a feasibility study to investigate alternatives and rected the three-degree tilt of the cupola. Other ceilings were raised and lowered as needed to consolidate floor levels from five to three and provide space for the necessary cost projections for the seismic retrofit and renovation of the historic building. mechanical, plumbing, and electrical systems. With the bulk of county offices in the

Creative Solution

Collaborative

UTAH PRESERVATION

munwny nw-

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hlmkhrngs ldDm me oeminorna~spaces in the renovated courthouse

The restored 14.5-foot ce~lingscontr~buteto the grand feeling of the courthouse.

A new spiral staircase provides access to the cupola.

UTAH PRFSFRVATION

administration building, there was now room for a ADA accessible entrance o n the south side of the building with access to an interior elevator. The exterior was restored to its 1917 appearance. As years of paint were removed, the original contrasting sandstone and cast concrete emerged. The masonry was revealed to show the three colors of brick o n the main building and the additions. The original 1882 portion of the building was constructed of buff-colored brick that had been stained red in the historic period. The decision was made to re-stain the brick to match the wings. 'l'hree types of foundation surfaces, long hidden under a coat of gray paint, are now distinct. A new portico was built on the west elevation to provide a secondary entrance from the main parking area. Because few elenlents of the historic interior had been preserved through the years, a faithful recreation of thc historic interior was not possible. Instead Daines and his team of designers and artisans focused o n creating functional and ceremonial spaces inspired by the woodwork, carpets, and light fixtures of other historic buildings of the period. Fine craftsmanship is apparent throughout the building, from the mahogany finishes of the woodwork and cabinetry, to the marble counters and period tile in the restrooms. Many of the fabrics and furnishings were imported from Italy. The building features many amenities, including a new spiral staircase to replace the long-missing access to the cupola. Metal screens hidden in box panels can be pulled out to secure the offices during evening council meetings. Concerned about obscuring the arched windows with horizontal blinds, Daines designed special hollow casings for thc windows on the south and west elevations that hide the blinds when not in use. A visitor familiar with the pre-renovation condition of the courthouse will be most impressed by the grand feeling of the space, from the 14.5-foot ceiling height to the number of uncluttered and impressively furnished nooks. While sitting at his desk in a corner office which once housed three-plus employees, Cache County Executive Lynn Lemon jokes, "It's true, we don't use the space as efficiently as we used to."

ourte~yof State Hlrtoi

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I s Truman 0.Angel], Jr. -I

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Truman Osborn Angell, Jr. IS often c c - - ~ fused w ~ t hh ~ famous s father, Tri 0. Angell, S r , architect of the Salt Lake Temple of the Church of Jesus Chr~stof Latter-day Sa~nts(LDS Church). Truman Jr. was born In Salt Lake C ~ t yon F e b r u a ~ 2 7 , 1852, the son of Truman 0 . Angell 1810-1887) and Susan Eliza Savage (1825-1893). The son learned the archi -tectural trade from his father. Truman --.0 I Angell, Sr. served as official architect for the LDS Church. In 1867, Truman Angell, z Jr., was appointed assistant for the LDS Church and in this capacity collaboratedwith his father and other architects on b numerous Church buildings including the Salt Lake T e r n ~ l eand LDS Church tabernacles in Brigham City, Coalville, Logan, -and Paris, Idaho.

= -

The renovated courthouse and new administration building consolidate county services in the heart of Logan's historic downtown.

A Credit to the County Lynn Lemon is justifiably proud of what the county and its citizens have accomplished, far beyond the preservation and renovation of a deteriorating old building. Once located in five different buildings, all county offices and services are now consolidated in two buildings in the heart of Logan's downtown historic commercial district. Overall, the renovation project was a bargain thanks to Newel1 Daines and his family, private donations, and the many contractors and consultants who worked to keep costs down. The historic courthouse looks brand new and is a delight to residents and tourists alike. Mr. Lemon looks forward to hosting downtown events on the plaza between the courthouse and new administration building. The county is proud to be "a contributor in maintaining and keeping the downtown area vital," Lemon explains. Once again dressed in her finery, this grand old lady is poised to serve Cache County for another hundred years with pride. As the anonymous writer in 1883 remarked, "It is a credit to [those] who built it, and to our county, and a structure of which our citizens may well be proud."

. --

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Several sources credit Truman 0 . A n g e l l , Jr. with the design of the Logan Temple. ' 4

It was during a work stoppage at the tem- - - ple site (due to lack of funds), that Cache County paid Truman 0. Angell, Jr. $ 1 5 0 - -" C for designs and specifications for the P ==iFsz county courthouse. The temple construc----tion crew followed the architect to provide labor for the courthouse construction. The Logan LDS Second Ward's United Order Manufacturing and Building Company completed the courthouse in the fall of 1883. Truman 0. Angell, Jr. was also an

. .

Lorral Broschinsky is a n architectural historian living in Murray, Utah. She has worked on numerous projects in the Cache County, including a resurvey of the Logan Center Street Historic District in 1999.

accomplished musician and artist. He moved to Butte, Montana, in 1908, where he lived until he died on April 10, 1933. -

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UTAH P R E S E R V A T I O N

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REPLACING YOUR CEDAR ROOF AND SIDING FOR LIFE

makes

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UTAH PRESERVATION

, s

do roofs last sometimes hundreds of years in E u r o p ~

c Hedden, a

roofs.

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Paid Advertisement What can people today do to make their residential cedar roofs and siding last a lifetime? The problems often start from the way the roofs are built. In an effort to save money, roofers often chose a thin ?h"or %" butt shake and then lap it for a 10" or 11" reveal (the amount of the shake that shows), while a ?h"butt shake is specified for half that. This results in about 45 percent fewer shakes and a lot less labor-but it will bite you in 6-12 years. Pay attention and you will see how much curling is common on newer homes with thin shakes. As already mentioned, if you're lucky, you have a home with good old thick shakes. Just like getting a great thick shake at the soda fountain, you will never find that earlier quality of cedar shake that you currently have ever again, period. Those older and bigger cedar trees are gone, so to replace it you will end up with vastly inferior shakes from the start. So your hands are tied! You either have a great 3 0 year-old roof that's in rough shape or you have a 10 or 15 year-old roof that's rougher. Either way, you're thinking replacement, you're looking at $30,000 for a cedar roof and you really don't want a cheap roof.

Why did roofs built hundreds sf years ago iast so long? Well, you have to consider the tools available and the circumstances of the people at that time. They didn't just go to a store or a contractor and buy a new roof. They had to fell a tree and split it into small sections, sometimes with only an axe and their family to help. So people didn't just replace a roof when it didn't look as good as it once did. A roof was a functional system and its only purpose then was to hold itself together and hold out water. It was never about looks. People replaced only the sections that needed replacing and then, every once in awhile, they took the leftover renderings from making wax and soap from an animal, or even just the fat, and applied that to the roof on a schedule handed down through generations". To be fair, those old roofs are often oak or another hardwood that grew right in their back yard. We use softer woods today. Also, they didn't have acrid air and pollutants to wear away at their roof. They didn't just throw things away when it didn't please them either. We are a throw-away society, but times are changing and people shouldn't be tossing out a superior product and replacing good cedar roofs with inferior asphalt roofs or using new, thinner, softer cedar shakes than the better ones you already have (normally, only 5% of cedar shakes need replacing on a restoration).

So what can kameowners facing this dilemma do? At '777 Coating Corporations', we use proven, high quality, tested, cutting-edge, brand name products, along with methodologies and ingredients which have been around for decades. These include nano-scale materials, such as ceramic micro-spheres. Be aware that others pretend to have the same answer, but I often see the damage from doing things wrong. Chlorine on your roof, aggressive powerwashing, cheap stains, waxes and oil treatments all have problems and/or risks. And speaking of risks, wood shake roofs are, quite simply stated, a major fire hazard. Wood is

UTAH PRESERVATION

Paid Advertisement Preserve what you have and replace ONLY the small percentage of the cedar that needs replacing. Then, have it treated so that the cedar will stop wearing. Work with someone who will provide a built-in sacrificial wear layer and won't damage your roof. This is the key! Otherwise, you will continue losing about 118" of your shingles per decade. Keep in mind that if you see a 1" butt, the area towards the back where it wears is only 314" thick when new and this is the area of concern. It is far less expensive to maintain a cedar roof than it is to allow it to fail, leaving an ecologically disastrous mess to clean up and a high replacement cost.

extremely flammable in the first place. The wood on your roof dries out and over a period of time it can become very susceptible to the elements, such as lightning and even sparks from a nearby fire. You can eliminate the inherent risk to your home through the use of advanced fire and wear protection products and techniques. The U.S. Forest Service and BobVila.com warn against the use of wax andlor cheap stains. Chlorine or over-powerwashing takes years off the life of the roof in a vain effort to make it look "new" again, but this won't last. Oil is an extension of what they did in anc~enttimes. The most obvious problem with oil is the fact that you are putting a flammable product on a very dry and exposed roof. There is no end to the reports of death and property destruction in relation to oil and cedar roofs. So what is the answer? We clean and mend in a way that protects the roof and we only apply products that result in a fire retardant roof. In the best cases, we achieve a "Class A" fireresistant roof and extend the life another 10 years. The ceramic micro-spheres help to prolong maintenance cycles by reducing heat build-up through reflection of radiant heat from the sun.

start seeing -

UTAH PRESERVATION

What can horneawkaen e x w t when they ca!! "777 C e ~ i k d WrcRi%gkdura1Caiating~ &rwrafiionF for heip with their rwf? '777 Coatings Corporations' motto is "Follow the science.. . smart money always does". Our application experience and relentless research have made us experts in our field. We only use "Class A" fire retardants which work very well as a maintenance formula. The chemicals that make up the fire block are a wood "preservative" by their very nature. In other words, this will freeze your wood's decline and only require an inexpensive refreshing service once every decade to keep the roof going for decades more. '777 CoatingsCorporations'can provideall thedetailed information you need about our qualifications and training. We can be traced back two decadesas contractors without complaint. It might be an over-simplification to say this, but what makes '777 Coatings Corporations' different from 95 percent of the contractors out there is our true desire to satisfy the customer. Our standards are very high and we simply won't accept the job if we can't do it right! We hope you will find this out for yourself.

HWR - I C LANDSCAPES ss&h

Traditional Building Skills Institute

Celebrating 10 Years of Restoration & Preservation Snow College Ephraim, UT 1~ 3 w 1 OrKsnops m "Preservation Matters9'**

TBSI workslzops provide a unique, lzands-on experience in restoration & preservation skills.

I-r

A Invitation to the Public From TBSI ...

Kathryn & Brian Pritchard Gibson, qorthern Wales, UK, are coming to Sanpete :ounty and Snow College this fall as guest

(Call 435-283-7572 for a schedule)

Adobe Blacksmithing Ceramic Tile Decorative Plaster Faux Painting Furniture I & I1 Furniture Refinishing Log Cabin Old World Traditional

Masonry Millwork/Woodwork Stained Glass I Stained Glass I1 Stonework Timber Framing Wood Carving Wood windows Building Skills - Europe

t turned out to be Pen Y Bryn, the Prince's rower and last known residence of Llywelyn he Last and his daughter Gwenllian, the first ~ n dlast trueborn Princess of Wales. Traveling to Europe and Pen Y Bryn is ,art of the Old World Traditional Building

bp?K, Wales, United Kingdom

a a

~ - y c af i ~n o

W C ~ I C C

Bryn is also the site of the fictional novel Here Be Dragons by Sharon Kay Penman.

nestoration & Preservation Contact Russ Mendenhall russ.mendenhall@snow.edu - 435-283-7575 L"I,C.

** Preservation Matters is a discussion series scheduled for Wednesday nights at Snow College in Ephraim. The series is free to the public. Topics follow the works

www.traditionalbuildingskillsinstitute.com

For additional information on any of' these programs, contact Joan Larsen. joan,Larsen@snow.edu - 435-283-7572

PLANNING YOU CAN TRUST

BUSINESS PLANNING ESTATE PLANNING TRUSTS

UTAH PRESERVATION

Gallery strolls attract crowds to Plerpont galleries.

Artspace's Pierpont project transformed the historic Free Farmers' Market Building from languishingto From auto parts

. . . to art galleries.

. . . a ilveiy community.

TRANSFORMATION P I E R P O N T A V E N U E west of downtown Salt Lake City

was an eerie, somewhat desolate place in the late 1970s. On some days, tumbleweeds blew down Fourth West. Grain from overfilled trains sprouted between the tracks and lent an air of the open prairie to the neighborhood. It wasn't advisable to leave your car there overnight. The warehouses and streets around Pierpont were largely forgotten.

KIRE HUFFAKI

to favorite gathering place.

Fashionable galleries and retailers occupy the first floor of the Rubber Company Building.

More than any other single factor, Artspace changed the fate of Pierpont Avenue and the west side of downtown Salt Lake City. In fact, the organization's name has become synonymous with the neighborhood. Artspace is a nonprofit community development organization founded in 1980 to foster to the arts and culture by providing affordable artist studios and galleries. Over the last 25 years, its projects have catalyzed the development of west downtown into one of the hottest real estate markets in Utah. Rising property values, however, aren't Artspace's greatest achievement. Through historic preservation, neighborhood revitalization, urban design, and public-private partnerships, Artspace has helped build a vibrant community of artists, unique local retailers, restaurants, professionals, and nonprofit organizations. Utahns like the results. Monthly Gallery Strolls consistently draw hundreds and housing construction in the neighborhood is booming.

If you build it, will they come? Artspace was born when sculptor Stephen Goldsmith was searching for an affordable studio near downtown that gentrification would not reach in the foreseeable future. Goldsmith and a handful of artists envisioned a community where they could both live and work in a supportive, affordable environment. "Even though artists create individually, 52 U T A H

PRESERVATION

A dramatic skylight brings light to the interior of the Rubber Company Building.

they want to be in a community with other people like them. That was realized from the beginning and continues to be the value of Artspace in the community," explains Jackie Skibine, Artspace's director of development. The languishing historic Free Farmers' Market Building on Pierpont Avenue seemed like the perfect site for this community. Built in 1910 by the EcclesBrowning Investment Company, the Free Farmers' Market was intended to house local truck farmers. The truck farmers, however, didn't want to leave their downtown carts for a central market. So the building was home to various businesses until 1983 when Artspace leased the property. Selecting the Free Farmers' Market Building for its home linked Artspace to historic preservation early on. Support for the project began to grow. The community design center, ASSIST, developed a plan to integrate the Artspace concept into the city's west side. City Council Member Sydney Fonnesbeck championed the creation of Artspace at the city level. Other early supporters included Lon Watson of the George S. and Dolores Dore Eccles Foundation, Stephanie Harpst, and Bonnie Phillips. Several architects participated over the life of the project including Max Smith, Ranch Kimball, Roger Borgenicht, and Prescott Muir. Artspace's Pierpont project involved many people working together rather than a few individuals dictating the direc-

A sleek loft kitchen in the Rubber Company Building.

tion of the project. Goldsmith says the key to the organization's success was "to lead by listening." The result was a cohesive small neighborhood that held garden parties, reduced neighborhood crime, cleaned up Pioneer Park, slowly rehabilitated a building, and provided livelihoods for artists. Community outreach and programs for artists were part of Artspace programming during these early years. It took about 20 years of on-and-off construction to complete the Pierpont project. Long-time Artspace Board Member John Milliken fondly recalls, "Today it's impossible to replicate this with the building codes and how they used to just have their friends come down here and do rehab. You can't do rehab like that anymore."

The concrete Acropolis The Jennings-Hanna Warehouse, more commonly known as the California Tire and Rubber Company Building, sits just one block west of Artspace's Pierpont project. The 1915 building was designed by Richard K.A. Kletting, the renowned architect of the Utah State Capitol Building. Sculptor Bruce Lindsey called it the "concrete Acropolis," a nickname that inspired an architectural vision for Goldsmith and launched Artspace into the housing development business. Artspace embarked on the difficult project of converting a building with little natural light into a residential building

with first floor retail spaces. Completed in 1995, the Rubber Company Building provides 53 affordable apartments for households earning 34 to 54 percent of area median income. The building's $5.8 million renovation cost involved a complex financial structure and public-private partnership, including Artspace's first use of low-income housing tax credits. Residential units in the Rubber Company Building filled up quickly. Artists, retailers, and coffee outlet Cup of Joe leased the inviting first floor retail spaces. A neighborhood evolved between the two Artspace buildings as private

A corner entry welcomes visitors to galleries at the Bridges.

investors opened restaurants and galleries. By the time the Rubber Company project was successfully completed, Artspace was already planning its next project.

Ahead of the curve Artspace purchased a site and historic building at 500 West and 200 South in 1997. Its new project included two phases. The first phase involved the construction of a new building on the corner and the second phase focused on rehabilitating the historic ZCMI Warehouse just south of the new building. The site was perfectly located to take

advantage of the evolution of west downtown. Salt Lake City passed the Rail Consolidation Plan in 1996, combining many of the underutilized rail lines west of 400 West into just two lines. The rail consolidation led to shorter freeway viaducts and a west side transportation hub. This new landscape spurred thoughts of development that would have been laughable only a few years earlier. Seemingly always ahead of the curve, Artspace was the first to take advantage of the new development opportunities. As Artspace Executive Director Jessica Norie puts it, "Artspace pioneered

The historic Rubber Company Building offers 53 affordable apartments for artists and others wishing to live in a vibrant downtown neighborhood.

The Patrick Moore Gallery at the Bridges features the work of a wide range of Utah artists as well as unique gifts made by local artists.

Splashes of red give the Bridges a lively appeal.

UTAH P R E S E R V A T I O N

The historic ZCMl Warehouse is home to Artspace's new City Center project.

I ~d c k was TIlr rrl.ll...lrlluux. ulllrlus bsanuen ~ I ~ II IUI~ U I I ~ transformed into an indoor garden space.

development on the west side. Our third project, the Bridge Projects, was underway before there was even a thought of The Gateway." The Artspace Bridge Projects opened in 2001 to great acclaim in a new building designed by Salt Lake City architect Prescott Muir. Bridges includes 62 affordable apartments with modern conveniences for households earning 35 - 55 percent of area median income, galleries, offices for two nonprofits, and retail spaces. Bridges' four-story height is compatible with the scale and massing of the historic warehouses in the area. The welcoming 54 U T A H P R E S E R V A T I O N

This City Center townhouse serves as both a home and a gallery for local artist Madison Briggs.

design of the corner entry feature, the rhythmic break-up of the fagades with bump out bays and small porches, and the splash of red gives the building a livable appeal that many modern buildings could learn from. These features surely contributed to Artspace's success in filling the building with tenants.

a4;~ The second phase of work, called City Center, proceeded in 2005 when Artspace secured financing for rehabilitation of the historic ZCMI Warehouse. ZCMI used the 1905 building as its main warehouse

facility until 1960. This unique structure is bisected by a central loading bay where trains entered to unload. Because of its historic significance and unusual design, the building was listed on the National Register of Historic Places in 2005. With the help of architect Max Smith, Artspace adapted the 70,000 square-foot warehouse for 18 rental live-work townhouses of 1,300 square feet each, offices, galleries, retail space, and 20 underground parking spaces. The $8 million project has a complex financial package that includes Artspace's first use of federal rehabilitation tax credits and New Markets Tax Credits.

To qualify for the rehabilitation tax credits, Artspace retained the character-defining features of the historic warehouse, such as interior arches and support beams and the exterior truck loading docks. An atrium over the central train loading dock has preserved it as an indoor garden. Art Access, a popular gallery with diverse programming, recently moved to City Center from Pierpont. When considering their options, Executive Director Ruth Lubbers states, "We definitely considered what was available around the developing arts and culture block downtown. But the storefront space, ADA accessibility, extra square footage to hold workshops, along with the great ambiance that only artists in a historic building like City Center could create was what ultimately attracted us to move to the new Artspace project."

The challenges of success Amid Artspace's success, founder Stephen Goldsmith's fear that gentrification would push artists out of the neighborhood is beginning to be realized. Property values in the area have risen substantially and it is unclear what the owners of the Pierpont building will do when Artspace's lease on the property ends in 2008. Many current tenants are seeking new spaces. Pierpont artist Lyndsie Orgill explains, "It seems to happen in every city, whether it's Tacoma or Salt Lake. So we have a bit of an uncertain future." Artspace has continued to evolve as an organization meeting the needs of artists-its main constituency. Projects are becoming increasingly difficult as financing becomes more complex, more community partnerships are needed, and property values are skyrocketing in the target neighborhood. But with every new challenge comes new opportunities. Artspace's success has opened doors to new banks, partners, and potential ten-

ants. The biggest challenge for Artspace, however, may be to keep a stable tenant mix and stable rents in their existing buildings in a gentrifying neighborhood. As Artspace moved from project to project, it brought the public along in thinking that the west side is the place to be. Gone are the days of auto parts stores and tumbleweeds on Pierpont Avenue. Now the west side offers a place to buy your Bose surround sound system and a soy latte down the street from the studios of some of Utah's best artists. Early Artspace programs produced art through the artists that lived and worked in its buildings. Over the years, Artspace has mastered the art of creating community through the buildings it constructs and the architecture it preserves. e

Kirk Huffaker has been an advocate for historic preservation with Utah Heritage Foundation since 1998, He spends his other time enjoying music, outdoor sports, and his brown Lab, Cassidy.

ATTENTION ANTIQUE SHOPPERS! Honest Jon's Hills House Antique Gallery "The antique shop in a museum setting in the heart of downtown Salt Lake City"

126 South 200 West

L 1 1 >ldCeQrJ Flourish Art &d ~ e s i g mStudio * 801.983.7526

across from the Salt Palace next to the Expomart 801.359.4852

m UTAH PRESERVATION

Master carver Jean-Fracois Eakle hand-carves a block of Torrey buff sandstone into a birdbath basin. The stone will eventually be placed in the garden of a private residence.

John Larnbert, founder and head of Abstract Masonry Restoration, Inc., trains students in mixing mortar for masonry restoration at a hands-on TBSl workshop.

The craftspeople at Historical Arts and Casting handle all phases of metal design and fabrication at their studio in West Jordan. This piece is a portion of a larger gate assembly.

By Nelson Knight and Wilson Martin

"lilS

UTAU BORSTS A WRVIEALTPX 01 CRAFTSPEQFLE

Looking through the eyes of craftsmen of the past

whose inastcry of tradilioqai building kecklniques is critical to

Inc. provides Founded in l g g 6 t Abstract historic masonry consulting and contracting services for projects throughout the united States, England, and Wales. The company maintains its corporate headquarters in Salt Lake City and has a branch in Boston. Abstract Masonry Restoration's craftspeople have stabilized, cleaned, and restored the masonry on numerous notable buildings, including the Ralph Waldo Emerson house in Concord, Massachusetts; the Fox Theatre in Atlanta, Georgia; Robert E, Lee's Civil War headquarters near Lewisburg, West Virginia; and the Union Pacific Depot, McCune Mansion, David Keith Mansion, First Presbyterian Church, St. Mark's Cathedral, and The Holy Trinity Greek Orthodox Cathedral in Salt Lake City, John Lambert, founder and head of the firm, peppers his conversation with a mix of high-tech terms such as "microinjection" and "siloxane." But he also has a deep appreciation for the principles and techniques developed by earlier generations of masons. "It is only when one sees through the eyes of the

the state's si~ccessiulhis lor!^ piesei.~riition n~overnerii.[ l i e excuse "We can't restore it beca~iseilobody ktioir~sh w 1 1

was d o ~ i e "doesi?'t nriltl water around here. Urnol..~gthe state's rnany notewnrti-iy ~:raf'rspec?pieare t.lirt-:c-: iiri-ns whose conlribut!ons tc, h i s t ~ r i c preserv3tion rriake therl? "treasures" of Utah's preservation trades. These

firn-is vary in their crafts and products, h ~ they ~ t share three imporiant traits: all of tt1ei-n cornpicte project:; ori a national

or international scale, all rjf them have fijrthered the field of preservation education. and all have c;ilti\/ated tradiiional tnethods of craftsmanship whiie integrating new appma::hes and technologies. 56

UTAH PRESERVATION

masonry craftsmen of the time that one can develop the reverence for an accurate and respectful preservation or restoration project," he explains. In his study of these techniques, Lambert has assembled what is thought to be the most comprehensive collection available of historic books, art, and documents on masonry from the early 1700s through the early 1900s. These resources contribute to his understanding of how historic masonry buildings were originally constructed and why masonry craftsmen chose the materials they did. Like the masons who preceded him, Lambert passes on his knowledge to new generations of craftspeople. He conducts hands-on historic masonry restoration training workshops at the Campbell Center for Historic Preservation Studies in Mt. Carroll, Illinois, and the Traditional Building Skills Institute (TBSI) at Snow College in Ephraim, Utah. He has also served as chairman of the board for TBSI. Each year, Lambert leads a group of students to England and Wales to study historic masonry buildings and learn traditional skills and restoration techniques. As part of their studies, the students work on ongoing projects at an eleventh-century manor owned by Llewelyn, the last sovereign Prince of Wales. Lambert counts his firm's work on the St. George Reef Lighthouse as his most challenging. Constructed over ten years from 1882-1892, the lighthouse sits on a small rock island

T IS O U R HANDS-ON

, i s ,

The Middle Ages meet the Computer Age At State Stone's yard in Murray, you can see the best of the old and new in stone carving side by side. In one workshop, master stone carvers Brad Hansen and Jean-Francois Eakle hand carve blocks of Little Cottonwood granite for the Utah State Capitol Building and buff Torrey sandstone for the Salt Lake Tabernacle of the Church of Jesus Christ of Latter-day Saints (LDS Church) and a private residence. Next door, Jim DeLong operates a computer controlled, diamond saw and lathe to carve other blocks of Little Cottonwood granite into balusters that will line the Capitol's rooftop. The saw, fabricated by a company in Italy, is connected to computer

CRAFTSMEN,

who while left alone and unobserved, cohtrd t,he quality of Loth the seen, and unf;een.Ignoring the unseen festers waker,in the soul of the craftsman and 4-1:.,. $ k i ~?he building . owner of what he is right;I, , ", , fieIIy, due. It leaves a scar on our cultural ... hirikagef . . disrespects < . the original mason, and d a d not do justice to the respectful ~ s ~ b t ~ a t of i o the n masonry. The craftsman 'Ghd focuses on both the seen, and the udken is a true craftsman - with integrity.

;isJ

six miles into the Pacific Ocean off the shore of Crescent City, California. The island is only 1 7 feet above sea level and affords no safe landing for boats. The only way to access the lighthouse is via helicopter which, weather permitting, lands on the small deck of the lighthouse. Therefore, transportation of manpower and heavy masonry materials is time consuming, dangerous, and expensive. The dedication and ingenuity Abstract Masonry Restoration brought to bear on the lighthouse project are typical of Lambert's passion for preserving our architectural heritage through the highest standards of his craft. As Lambert explains, "Anyone can repair masonry. We restore it."

MASONRY RESTORTION

4640: S. Commerce Dr, Salt Lake Glty, Utah 87107

(801) 262-8323 fax (801) 262-1023 Visit us onllne a t www.stBtB~ne,~m

software and a 3-D scanner that can convert a two-dimensional image or three-dimensional model into a digital tool ~ a t for h the saw. The saw then uses these codes to cut " a piece of stone into any shape imaginable. In addition to its yard, State Stone owns quarries near Torrey and Manti. Much of the quarry work utilizes methods familiar to the workers who cut stone for cathedrals in the Middle Ages. State Stone also has a slabbing plant in Torrey where large wire and belt saws cut limestone, granite, and Torrey red and buff sandstone from the quarries into more manageable pieces. State Stone has put this investment in tradition and technology to work on a long list of historic preservation projects. Initially much of this work was in Utah. The firm's early projects included fabricating- and installing- stone for the St. George Tabernacle and the exterior limestone at the Manti Temple of the LDS Church. State Stone provided the limestone for the restoration of the Utah Governor's Mansion after a devastating fire in 1993. In a later project, State Stone craftspeople were able to add their own creative touch to the largely restorative work on the mansion. They designed and carved a cartouche commemorating the 2002 Winter Olympic Games for the east side of the mansion's upper story. More recently the company has broadened its focus to include projects across the country. It was one of several stone firms that prepared stone for the LDS Church's reconstruction of the Nauvoo Temple in Nauvoo, Illinois. State Stone also carved intricate column capitals based on ears of corn for the restoration of the exterior on the North Dakota State Capitol and used Manti limestone from its own quarry to restore the exterior of the Sheraton Palace Hotel (William Ralston's 1875 Palace Hotel) in San Francisco. Keith MacKay, the owner of State Stone, has been working with stone for 55 years. He shares his knowledge of stone cawing techniques with a new generation of craftspeople as a member of the TBSI Board and through teaching TBSI's stone carving workshops. By making historic preservation a major focus of State Stone's business, MacKay has created an oasis where the time-honored skills, technology, and passion required to preserve historic stone buildings thrive. ,

Reinventing a lost art The Baird family re-invented a lost art and established a thriving business along the way. Company founder Steven T. Baird was a preservation architect. In the early 1970s, he was asked to direct the restoration of the 1876 cast iron facade of the ZCMI department store in Salt Lake City. Baird discovered that few, if any, people in the country had experience with cast iron construction technology. So Baird oversaw local metal fabricators, pattern makers, and foundry men in the creation of pieces necessary to restore the facade. News of the project quickly spread through preservation circles around the country and Baird was asked to consult on numerous cast iron projects from New York to California. Baird's son, David, started organizing the various subcontractors involved in the early projects and assembling some of the components in his parent's garage. Soon the team grew with the addition of Robert and Richard Baird, as well as other associates. The growing interest in historic preservation and traditionally-inspired new buildings allowed the company to prosper. Now Historical Arts and Casting, Inc. has 60 employees and a 75,000 square foot manufacturing and fabrication facility in West Jordan. A tour of the facility takes a visitor from quiet offices, where the Baird brothers and their creative crew dream up the designs for their metal masterpieces, to the cacophony of the foundry, where the designs are cast in an elaborate sand casting process utilizing sand and molten iron, aluminum, and bronze. Today Historical Arts and Casting, produces a wide variety of ornamental and architectural metalwork, from cast iron storefront^ to decorative grillwork, canopies, doors, windows, statuary, and fountains. It combines traditional foundry processes with computer-aided design and fabrication tools. The firm's highly sought-after work can be

In one of their most challenging projects, Abstract Masonry Restoration craftspeople restored the beautiful, but nearly inaccessible, st. George Reef Lighthouse off the California

Srare stone's computer controlled diamond saw WIII rurn this blank of Little Cottonwood granite into a baluster for the Utah State Capitol restoration.

Historical Arts and Castinr! restored the spectacular Globe

~8:a;~~~~er:~~en),"~-~~~m",'t~~ the solar system.

UTAH P R E S E R V A T I O N

found in grand public buildings, ornate churches, historic commercial buildings, and exclusive residences across the county. To help others learn about this traditional craft, Historical Arts and Casting has republished important and rare books on metalwork, including "MacFarlanes Catalogue of Cast Iron Ornamentation," a 1908 work considered the best and most comprehensive publication on metalwork of its time. The MacFarlane catalog is even available for free online at the firm's website. One of the firm's specialties is the restoration and reproduction of ornate chandeliers for large public buildings. The restored chandeliers in the Los Angeles Central Library and in the main waiting room of Grand Central Station in New York City show the breadth of Historical Arts & Casting's expertise and skill of its artisans. Another of the firm's many restoration projects involved restoring a series of metal bridges in New York City's Central Park. In Utah, the company recently completed the casting for new light standards, based on a historic design, for the grounds of the Capitol. The scope, magnitude, and quality of Historical Arts and Casting's projects combined with its pioneering work in reviving the craft of cast iron construction have made the firm a worldwide leader in the design and manufacturing traditional ornamental metalwork.

Preserving traditional skills for the future The work of Utah's preservation "treasures" has benefited historic buildings in Utah and beyond. And by generously sharing their advice and expertise, these firms have contributed to many more successful projects that don't bear their names. But perhaps most importantly, these firms have helped lay the foundation for the future success of Utah's historic preservation movement by keeping alive the traditional skills of thepast and training new artisans for the future. "We are so fortunate to also have these people here in our state," explains Utah Heritage Foundation Interim Executive Director Kirk Huffaker, "because they bring a technical artisan's craft directly to the layperson in classes and workshops on a regular basis. They all have the ability to teach and communicate with regular folks and provide them with excellent skills and a preservation knowledge base that is needed in the state." e

Nelson Knight is Tax Credit Program Coordinator for the Preservation Office at State History. Wilson Martin is the State Historic Preservation Officer and Associate Director at State History.

I 87 East 300 North Mt. Pleasant, Utah 84647 Tel: 435.462.9207 kimharch@cut.net

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F T r c r n q , ; ~ ~ A a r c rCr r a c r r ~ r r ,q I i T r Dedicated to the quality design, manufacture and installation of architectural cast metal ornament. Our craftsmen specialize in the restoration and replication of traditional details in bronze, aluminum and iron alloy.

l(800) 255-1414.

UTAH PRESERVATION

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And what is the effect of those restrictions? Anyone familiar with protective &y +he M*&Fdi m & w covenants on exclusive subdivisions will W-ha* coo 4@WRh recognize their power to encourage prideauadtp~ w~ ~ $ ~ f " i g f in-ownership and sustain property values. W ~ U E T B Contrary to rumors, there are no restric- Local preservation ordinances have the same effect. All property owners can be tions associated with having your private assured their investment will be protected property listed in the National Register because all the neighbors are held to the of Historic Places. Owners do not have same standards for repairs, remodeling, to open buildings listed in the National and additions. Register to the public, nor do they need anyone's approval for anything they do + - e4ewn ~ to their buildings. National Register list- FF k e h w m 4 d f w d re&@@$ ing does not affect property taxes or how 3 d 8 a ewbbsm#sff buildings may be used. On the other hand, @P*c en& listing in the National Register can make Generally speaking, the cost for rehafederal and/or state income tax credits bilitating an historic building, including mailable to owners who rehabilitate their seismic improvements, is comparable to historic buildings. new construction. Yes, historic preservation In an effort to protect historic neighcan cost a lot of money, especially for highborhoods, some local governments have end public or commercial buildings with adopted preservation ordinances that regulate buildings listed on local registers. elaborate interiors that require extensive structural, mechanical, plumbing, and elecThe few cities in Utah that do impose trical upgrades. And, yes, you can build a restrictions on historic buildings usually new building at a lower cost per square foot limit their control to building exteriors. with low-quality materials. But generally Contact your local planning department speaking, the costs for new construction to see what, if any, rules apply to local and rehabilitation are comparable. historic register designation.

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On the plus side of the balance sheet for historic preservation are financial incentives, such as federal or state income tax credits for rehabilitation or low-interest loans through groups like Utah Heritage Foundation. On the negative side of the balance sheet for new construction are everincreasing demolition and disposal costs for existing buildings that have to be added to the price of a replacement building. Don't forget the costs for the embodied energy in the existing building materials, either. For example, when an historic building was constructed, non-renewable natural resources and energy were expended to mine the clay and fire the bricks, ship the bricks to the site, and erect the building. The value of this embodied energy is lost when the building is demolished and the materials taken to the landfill. And this loss of embodied energy is made worse when the old materials are replaced with new materials that are extremely energy intensive and environmentally unfriendly to produce. And finally, there are hard-to-quantify values, such as the historical or community significance of a building or its aesthetics, that are lost whenever a historic building is demolished.

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d can rave 1~91.50.F ~ o n e y bv ~ ~ ~ ( a ~ ibad' n gwot~d wFnd~wsw2h new9 enern eMc?ens winld ~ W F *To File% new wjn $ a w P 3v Bat+ tbcksetv'er in e o e ~ g ~ tsaa/ioggl New windows, especially standardgrade replacement windows, will not pay for themselves before they wear out and have to be replaced. Here's what I learned when I did the math on my own house a few years back.

My 1916 house has 21 existing windows (a combination of double-hung, casement, and large, fixed "picture" windows). I received bids averaging around $12,000 for replacing these windows with decent-quality clad-wood windows with insulating low-e glass. The cost to refinish, weather-strip, and install storm windows was about $5,000. Thus the cost difference between replacing and repairing the windows was $7,000. Like virtually all Utahans, I use natural gas for space heating, water heating, and cooking. My annual gas bill, at that time, was about $1,000. According to the U.S. Department of Energy, space heating accounts for 36 percent of residential energy use, or $360 per year in my case. Also, according to the Department of Energy, I could reduce my heating costs by about 25 percent by replacing my existing windows with new "energy efficient" windows. With a savings of only $90 (25 percent of $360) per year, it would take more than 77 years to recoup the cost of the new windows. Of course, that payback time could be reduced to around 40 years by today's high natural gas prices, but I'm confident most replacement windows currently being manufactured will not last 40 years, let alone 77. By rehabilitating historic wood windows, you can save energy, save money, and maintain an important characterdefining feature of your historic building.

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brick sand/sr make WV old bviek bwaridi~~;~ (oebk wafe "his+@ riC9' BY f @ V Q P?=P ~ ~ wi+h %tacco* The current architectural fashion is "traditional" and stucco is the building material du jour. But don't even think about installing it on your historic brick building because it will destroy the architectural integrity and likely cause severe damage to the historic masonry. Stucco, whether modern synthetic stucco or traditional cement-based stucco, is prone to failure because it allows moisture into walls through cracks caused by shrinkage, building movement, or poor workmanship. Stucco does not breathe well, so moisture vapor generated inside

the building gets trapped inside walls. The moisture caught under a layer of stucco will erode the masonry it is attached to or cause decay in wood studs or joists. And contrary to popular belief, modern stucco is not a maintenance-free solution. Drivit, one of the earliest manufacturers of synthetic stucco, has had to develop a full line of repair services and products to help building owners avoid the catastrophic failures (and resulting lawsuits) that are all-too-common with the product. The brick used on most of Utah's historic buildings is a durable, quality material. Most failures with it can be traced to concentrated water from leaking or missing gutters and downspouts, spray from lawn sprinklers, etc. Fix the water problem and the damaging effects will go away. Repairing a few areas of damaged brick will cost less than covering a whole building in stucco and last longer, too. Don't attempt to resolve problems by covering them with stucco. You'll likely ruin the architecture of the building and introduce on-going maintenance issues down the road.

for removing paint from building materials -chemical or mechanical. Chemical methods use solvents or caustics to soften paint so it can be removed from building surfaces. Mechanical methods employ various types of abrasive blast media to physically knock the paint off a building wall. Chemicals are "smart." They know the difference between paint and soft-fired brick, for example, and can get paint to release its bond to the brick without damaging it. On the other hand, mechanical methods are "dumb" and can't tell the difference between paint and what it's applied to. Once the blast medium penetrates the paint film, it doesn't know to stop, so it raises the grain on wood or removes the tough outer shell from historic brick. UTAH P R E S E R V A T I O N

Don't be fooled by claims about certain abrasives being safer than sand or even harmless. Abrasives are abrasives and they can damage your historic brick and wood, even in the hands of the most skilled blasters.

The Presence oP any asbesfor o r lead in a n historie Gui(ding po,ser s revere heaC+ls hazard. Asbestos and lead were used in a wide variety of building materials in the nineteenth and twentieth centuries. But what sort of problem do they actually represent? According to the Consumer Product Safety Commission (CPSC), "Even if asbestos is in your home, this is usually NOT a serious problem. The mere presence of asbestos in a home or a building is not hazardous. The danger is that asbestos materials may become damaged over time. Damaged asbestos may release asbestos fibers and become a health hazard. " Asbestos-containing materials can also be a problem when they are disturbed during remodeling and release fibers that can be inhaled into the lungs. Lead can be a serious health problem for certain high-risk groups. Fetuses and young children under the age of six years are at the greatest risk of lead poisoning because they are growing rapidly and absorb lead efficiently. Lead poisoning 64

UTAH PRESERVATION

also increases blood pressure, so adults with high blood pressure can be especially vulnerable. Lead was widely used as a pigment and drying agent in oil-based paint until it was banned from use in 1978. But when is lead paint a problem? Again, according to the CPSC, lead only poses a hazard when dust is created and can be ingested or inhaled. Like asbestos, lead-based paint in good condition is typically NOT a health hazard. So how do you handle asbestos and lead in your home? The best advice for potentially hazardous materials that are in good condition is to LEAVE THEM ALONE. Disturbing asbestos- and leadbearing materials may create a health hazard where none existed before. Asbestos

fibers and lead dust commonly remain behind after professional abatement projects. They can re-enter the air through sweeping and vacuuming or as people move throughout the house. If you remove or disturb small amounts of asbestos or lead-based paint, take simple precautions such as wearing an appropriate face mask (not a paper filter mask) and gloves, wetting the material beforehand, and thoroughly wet-cleaning afterwards. If you have to remove or disturb large quantities of either material, the CPSC recommends hiring a professional removal contactor. If you have potentially hazardous conditions in your home, especially with leadbased paint, or have been remodeling and are concerned about your health or the health of other occupants, get screened. That way you'll know for sure if a problem exists. Online brochures published by the Consumer Product Safety Commission and the Environmental Protection Agency are available at www.cpsc.gov. They contain reliable information to help you evaluate the actual health risks of asbestos and lead in your home. They also provide recommendations for simple procedures to take during cleaning and remodeling projects to reduce the risk of exposure. Are there other historic preservation myths? Sure! Like the one about the historical society being able to tell you what color to paint your house. To my knowledge, not a single community in Utah regulates paint colors in historic districts or for individually-listed properties. That's not to say that preservation professionals don't have opinions about color and love to offer them, but only in the spirit of dispelling another persistent myth about historic preservation. Don Hartley is an architect with the Utah State Historic Preservation Office and has been advising historic building owners in Utah since 1984.

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At BNA, we srrive to achieve excellence with every projecl, with every design, for every client, We believe in a sound beginning and a happy ending on each project, therefore we are motivated towards

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Utah Preservation Magazine: Building on the Past Volume 10, 2006