Archive for the ‘Timothy Pflueger’ Category

Former I. Magnin ladies room looking good again

February 28, 2014
Original light fixture in former I. Magnin ladies room

Original light fixture in former I. Magnin ladies room

Many San Franciscans remember the elegant department store that once graced the corner of Stockton and Geary streets, I. Magnin & Co. Like the City of Paris, once across Stockton Street, Ransohoff’s a few blocks away, and many other long-gone stores, these beautifully designed and lushly appointed stores evoke memories of a by-gone era when women wore hats and gloves to go downtown. Magnin’s was a favorite of the city’s socialites and other ladies who lunch with a taste for designer and haute-couture clothing. Its quiet marble facade on Union Square represented a graceful shopping experience.

In 1988, R.H. Macy & Co. bought the exclusive I. Magnin chain of stores, including the flagship store, the white marble lady designed by architect Timothy Pflueger. That deal was just one of many that began in 1944, when Magnin’s merged with Bullocks Inc. Ultimately, after more mergers and a proxy fight, the local retailing icon became part of the conglomerate Federated Department Stores, after Federated bought Macy’s. Magnin’s, though, a high-end luxury retailer, did not last long in the Federated chain, which sadly closed the stores in 1994. Many in the retailing business suspected that Federated/Macy’s only wanted Magnin’s for its prime location facing Union Square and adjacent to Macy’s.

A major renovation was done in the late 1990s to create a modern glass facade and unify the disparate Macy’s buildings on the Geary Street side of its vast complex, including a major seismic upgrade. The interior of the once-gorgeous I. Magnin store  was completely gutted. Long gone are the glorious pink Tennessee marble floors, the bronze elevator doors, the glass hand-painted mural on the ground floor, the intimate salons with scalloped ceilings and marble, chrome and glass everywhere. Glass chandeliers in the style of Lalique and gorgeous display cases were all hand picked by Grover Magnin, who traveled to Paris with Pflueger to get ideas for the store. While I. Magnin Union Square was probably Pflueger’s piece de resistance of all his work for the Magnin chain, he died of a sudden heart attack in 1946, and was not alive to see the store’s grand opening in 1948, or how it became a beloved fixture in San Francisco.

But what is little known – except to savvy shoppers in Union Square  – is that one small vestige of the original I. Magnin store remains. On the sixth floor of Macy’s, just off the hallway near the elevators, is part of the original ladies restroom. Upon entering the bland powder room for putting on lipstick, unsuspecting patrons are sometimes surprised by the gorgeous interior in the next room. Black green marble covers the walls, contrasting with a gold-leaf ceiling. A glass chandelier hangs from an ornate bronze ceiling mount. Floor length antique mirror doors provide privacy in the stalls, and white-veined marble sinks sit nestled in bronze pedestals.

Ladies Room in Macy's on Union Square is a Pflueger

Ladies Room in Macy’s on Union Square is a Pflueger

For a brief time, the bathroom seemed to be in need of constant repair. One of the pedestal sinks was covered with a sign that it was out of order and on one visit last year, at least three bathroom stalls were out of order.

But on a recent visit, the Timothy Pflueger Blog learned that Macy’s has found a sink, and repaired most of the restroom issues.

Maintaining and improving the historical bathrooms has been an important ongoing project here at Macy’s Union Square,”  said Megan Prado, a spokeswoman for Macy’s, in a recent email. “We searched for several months and had distributors look for a historical sink to replace one of the three that cracked as it wasn’t able to be repaired.” Prado said Macy’s found one that was a great match. “We relocated the two existing functioning sinks and moved them to the exterior,  and installed the new one in the middle. This gave the area a balanced look.”  The stall door mirrors have also been replaced with new mirrors with an antique look. “We continue to do regular audits of the restroom to address issues as they arise in a timely manner,” she added.

At least one small slice of Pflueger’s original design remains.

For those of you interested in the history of I. Magnin, and other specialty and department stores founded by some of the city’s great entrepreneurs, I will be doing a talk for the San Francisco History Association on March 25. The talk is based on my research for a new walking tour I am working on for San Francisco City Guides. Hope to see some of you there!

Happy Birthday Tim Pflueger, San Francisco still loves you!

September 27, 2013
Telephone Building, now officially called 140 New Montgomery, lit by floodlights at night. Photo (c) Therese Poletti

Telephone Building, now officially called 140 New Montgomery, lit by floodlights at night. Photo (c) Therese Poletti

After realizing late in the day on September 26 that it was architect Tim Pflueger’s birthday, I decided to walk within a short radius of my office downtown and photograph a few Pflueger buildings. The big reward while walking around on a lovely balmy evening was to see the newly renovated Telephone Building, now officially renamed 140 New Montgomery, all aglow with gorgeous flood lights shining on the tower, just as it did back in the day after the building opened in 1925.

The current owners, developers Wilson Meany, recently finished a huge renovation and seismic retrofitting job. Yelp Inc. moved into several floors of the tower earlier this month, being the first company to occupy the building since AT&T moved out in 2006. As you can see, from this 1929 photo, the building used to have many floodlights highlighting the tower, and at Easter, Pacific Telephone had lights in the windows lit to form the shape of a cross.

Telephone Building at Easter, 1929 courtesy San Francisco History Center, SF Public Library

Telephone Building at Easter, 1929 courtesy San Francisco History Center, SF Public Library

New Montgomery Street is lively with lots of activity going on, due to the heavy concentration of tech companies in the area. I talked with a French entrepreneur who just moved to San Francisco to try to get his curation start-up company going, and he graciously contributed an excellent photo (see below) of New Montgomery Street. Other tech companies in addition to Yelp are moving into 140 too, including one named Terracotta (140 is finished with a white and grey speckled terracotta made by Gladding McBean). The 26-story building is now over 85% leased.

New Montgomery Street at night, photo by Eric Poindessault

New Montgomery Street at night, photo by Eric Poindessault

Wilson Meany, the developers who bought the building from AT&T Inc. in 2007, are trying to be both energy efficient and good neighbors and currently are lighting up the tower from about dusk until 10 pm.

It’s great to see the tower aglow. In February, 1926 the magazine “Architecture” wrote, “In the new Telephone building, San Francisco has her Woolworth tower.” I was reminded of that comment when I saw how stately the Telephone Building looks at night now, where past, present and the future all collide.

Note: this post was not posted on Pflueger’s birthday because just as I was trying to proofread and post, Comcast started to do maintenance in my neighborhood and I lost my connection for the evening!

Telephone Building at night, 1929, courtesy San Francisco History Center, SF Public LIbrary

Telephone Building at night, 1929, courtesy San Francisco History Center, SF Public LIbrary

Lots going on at the Telephone Building

December 2, 2012
Miller & Pflueger's Telephone Building, (c) Tom Paiva Photography

Miller & Pflueger’s Telephone Building, (c) Tom Paiva Photography

There has been a lot of speculation about potential tenants for the Telephone Building since construction began in March on a major renovation project, which I wrote about in the Wall Street Journal. The $50 million-plus restoration and seismic retrofit of Timothy Pflueger’s iconic Jazz Age skyscraper, which has been vacant for about six years, is underway. Owners Wilson Meany Sullivan have also redubbed the building “140” – a nod to the nickname given the building by Pacific Telephone & Telegraph Co.  An icon since it was completed in 1925, the skyscraper at 140 New Montgomery Street now even has its own very cool website, a promotion video and photo collage of architectural details.

The base is now covered in scaffolding so it’s hard to peek inside and a construction crane lords over the building (see photo below.) The Timothy Pflueger Blog apologizes for not keeping readers au courant with all the news. In addition, the San Francisco City Guides Downtown Deco tour will talk about the building from across the street, until the work is done.

Construction work on the Telephone Building

Construction work on the Telephone Building

Since construction began, some major tenants have signed up. The biggest is Yelp Inc., which announced plans in May to move into the 26-story building, and lease eight floors, or 100,000 square feet, when the work is finished next year. Tthe San Francisco Chronicle reported in November that the popular Web-based review site’s lease is through 2021. Approximately 800 Yelpers will move in.

Restaurants to move in 

Now, the two public spaces off the lobby have also been leased. In late October, the Chronicle reported that Mourad Lahlou, the owner and chef of Aziza, a well-regarded Moroccan restaurant in the Richmond District, has leased the larger space on the Minna side of the building. This restaurant will also feature the Michelin-rated chef’s take on Moroccan cuisine.  Bar Agricole’s Thad Vogler has leased the smaller space.

While both leases are exciting for local foodies, it is not clear what the news means in terms of architecture. A look at photos of the other locations operated by Lahlou and Vogler respectively has the Timothy Pflueger Blog worrying that both of these venues will go down the path of the trendy, industrial warehouse-chic look.

Telephone Building Lobby, (c) Tom Paiva Photography

Telephone Building Lobby, (c) Tom Paiva Photography

Lahlou has hired Olle Lundberg, a San Francisco architect to design the new space, where, the Chronicle gushed, “exposed brick and concrete abound.” That’s not exactly how it was designed by architect Timothy Pflueger and his draftsmen, as one can see by the dark marble walls, detailed metal work, and the multi-colored plaster ceiling with Chinese motif in the stunning lobby. Many of the building’s interior office spaces are being gutted down to the brick walls to suit the needs of tech trendoids. To be fair, the last time I was in the ground floor space Lahlou is leasing, it was a museum for Pacific Telephone and did not seem to have any remarkable interior details, except for the 12-foot high windows.  The architects had likely focused their attention on the public lobby space.

Lundberg has a great opportunity to go beyond the tired industrial look and create a fabulous and exotic restaurant space evocative of the spirit of the 1920s. Fans of Pflueger and the building hope that he might seek to reference or incorporate Pflueger’s unique take on the Art Deco style, or even study some of his other works, such as the Moorish-inspired Alhambra Theatre on Polk Street, the high Art Deco Paramount in Oakland or his fabulous cocktail lounges from the 1930s, for inspiration. But Lahlou told the Chronicle’s blog, Inside Scoop:  “I don’t want the space to be a shrine,” Lahlou said. “I want a good vibe, good music.” And if Lundberg’s previous (and I should add well-regarded) work is an example, his is an ultra clean-lined, almost antiseptic approach to modernism, but he is also known for liking to work with his hands.

Perhaps there is more hope for the Whiteside Company, the proposed name for Vogler’s new location, which will be an all-day cafe, restaurant and bar. Vogler told “Inside Scoop” that he plans to serve up cocktails from the 19th and early 20th century, considered the Golden Age of the American cocktail, using recipes of one the city’s famous bartenders Bill Boothby. His bar book containing 400 recipes was reprinted by San Francisco’s Anchor Distilling Co. in 2009, with an excellent, well-researched foreward written by Fritz Maytag and David Burkhart of Anchor. Boothby was a bartender at the Palace Hotel, just down the block.

Boothby's American Bartender, published in 2009 by Anchor Distilling

Boothby’s American Bartender, published in 2009 by Anchor Distilling

There are even some examples, most in photographs only, of Pflueger’s stunning cocktail lounges that could serve as inspiration for Vogler’s new venue, should he or his architect decide to incorporate any references to Pflueger. My favorite is the former Patent Leather Lounge at the St. Francis Hotel. If you visit the registration area today you can see the stunning photos by Ansel Adams of the lounge which opened in 1939 with its unusual combination of black patent leather covered walls, carved Lucite ceiling fixtures and long serpentine-shaped bar. The interior of Pflueger’s Top of the Mark has been altered, but the Fairmont Hotel’s Cirque Room is the best extant example of a Pflueger cocktail lounge. While it is now slightly smaller in size, it retains its original circus-themed murals by local artist Esther Bruton, its original long curving bar, built-in banquettes and stunning mirrored columns. You can see Bruton’s circus murals below in a photo from a fabulous Art Deco Society of California party in 2008 for Art Deco San Francisco.

Le Cirque, 2008 book party for “Art Deco San Francisco,” (c) Judth Calson Photography

It’s unlikely either of these two proposed venues at 140 will adopt any kind of Art Deco motif. It would be a lovely surprise if they did, and a nice homage to the building’s architecture. While they are at it, a signature drink named for Pflueger, a cocktail with his favorite spirit, rye, would also be nice.

“Mid-Century By the Bay” book is a must-have

June 9, 2012

Cover for Mid-Century by the Bay by Heather David

If you grew up in the San Francisco Bay Area, or are a fan of the design style and architecture of the mid-century, Heather David’s excellent book, Mid-Century by the Bay is a thoroughly enjoyable stroll down memory lane. David, a San Jose-based freelance writer and cultural historian, is also a Bay Area native, and her 152-page book features a combination of notable local architecture, culture and kitsch. It’s both an informative and nostalgic send-up of the 1950s to 1960s in the Bay Area.

I first stumbled upon this engaging book in the San Francisco Public Library History Center when it debuted in 2010, but after my requested files arrived and I was quickly immersed in my research project of the moment, and forgot about the gem I found.  Last month, I ran into the book again, at the Builders Booksource table at the California Preservation Foundation conference and was lucky enough to also meet the author.

Mid-Century by the Bay is divided into eight main topics, after an introduction of the post-World War II building boom, population and industrial expansion that led to a suburban building frenzy in the Bay Area. The first main section, Bay Area Burbs, covers home design (with some photos of local homes built by Joseph Eichler of course), and the lesser-known Alec Branden, who built over 10,000 homes in Northern California, specializing in traditional and ranch style homes.  Schools, churches and shopping centers are included, with old photos of the then newly built Valley Fair shopping center in Santa Clara and Stonestown in San Francisco, both built in the 1950s. A view of Valley Fair’s once-open courtyard, brick planter boxes and concrete cantilevered roofs creating shady breezeways for shoppers reminded me of my childhood shopping trips with my mom, a big fan of stores such as Joseph Magnin, I. Magnin and Somer & Kaufman.

Photo of IBM Hydro Gyro sculpture at IBM campus in San Jose taken by Arnold Del Carlo, photographer, courtesy Heather David

The “Architecture of the Future” section features some stunning mid-century design in the Bay Area, much of which has been destroyed, or modified as unrecognizable today. As David writes in her epilogue, the Bay Area has suffered from both demolition and “the ’blandification’ of many of its mid-century structures.”  The buildings at IBM Corp.’s Cottle Road campus, designed by architect John Savage Bolles, were accented with brick and multi-colored tiles, the tile pattern mimicking an IBM punch card. Some art that graced the campus is now gone or in disarray, such as the stunning Hyrdo-Gyro sculpture by local artist Robert Boardman Howard, which is now in pieces on the ground. Howard, the son of architect John Galen Howard, also worked with Tim Pflueger on the Paramount Theatre and the San Francisco Stock Exchange.

“Refreshments” captures excellent views of some long-lost iconic local restaurants and popular chains such as Doggie Diner, Zim’s, Lyon’s and the still extant Mel’s (it’s original drive-in restaurant on South Van Ness, though, is long gone. A brochure image has a rarely seen full-color drawing of Pflueger’s Top of the Mark during the 1950s, the original bar still in the center of the room, its rose-toned leather knee cushion still intact, with a band is playing next to the famous bar, and an early version of the dance floor

Another one of my favorite sections is the one called “Bay Area Road Trip,” with photos of some of my long-lost childhood haunts, such as Santa’s Village in Scotts Valley and the Nut Tree in Vacaville. David’s superb collection of ephemera and photos includes a 1960s interior view of the fabulous Nut Tree restaurant (alas the bird aviary isn’t in the scene) and workers in the company kitchen, making sugar sticks and suckers by hand.

SF Modernism show poster, courtesy Penelope Productions

David’s book, like Pierluigi Serraino’s superb NorCalMod, showcases both the simple beauty and the eccentricities of the mid-century and the Bay Area’s rich development during the era. It also calls out the need for more preservation of our most recent past, before we lose even more of it.

David will be signing and selling her book today, June 9, at the San Francisco Modernism show at the Concourse Exhibition Center at 8th and Brannan streets, along with yours truly selling and signing Art Deco San Francisco at a discounted price. If you haven’t yet got a copy of Mid-Century by the Bay, it’s a great deal at $40 and a lovely Father’s Day gift. Come on down.

Castro Theatre saved from fire by SFFD

June 8, 2012

Fire trucks and ladder in front of the Castro Theatre Monday night.

It’s not a sight you want to see. As I came out of the Muni underground at Castro Street earlier this week, police cars were blocking traffic at the corner of Market and Castro, and three fire trucks and their crews were busy in front of Timothy Pflueger’s famous Castro Theatre. Two long ladders were stretched all the way up to the roof of the 1922 building.

A big crowd of concerned neighbors stood anxiously watching the drama from across the street, even though smoke was no longer visible. Rafael Noz, who lives in the Castro, called the theatre “the cathedral of the neighborhood” and he was thankful that the San Francisco Department had the fire under control.

SFFD putting fire out behind the Castro Theatre

A fire department spokeswoman later said that Monday’s fire was a single alarm fire and the SFFD arrived at 7:38 pm, after getting a call from someone in the neighborhood. The theatre, as of late, has been closed on Monday nights. The fire was limited to a small area behind the theatre, and was put out in 20 minutes. “There was trash involved in this fire,” said Mindy Talmadge, public information officer for SFFD. “However, the actual cause of the fire is under investigation.” She added that because the theatre was closed when the fire started, “investigators are looking at this more closely.”

Neighbors in the Castro and worldwide fans of the theatre, which is still owned by the Nassers, the original family who commissioned it, are thankful to the SFFD, and to the vigilant neighbor who called in the emergency, helping avert a major tragedy.

Golden Gate Bridge exhibit shows surprising influences

April 26, 2012

Postcard of the just completed Golden Gate Bridge in 1937

San Francisco’s iconic Golden Gate Bridge will celebrate its 75th year in service next month. Big festivities are planned all over the city, including a “spectacular event” organized by the bridge authority for May 27 at Crissy Field. A special website has all the details for the upcoming Golden Gate Festival. This year, there will be no bridge walk and the landmark will remain open to auto traffic, as officials seek to avoid a replay of the last big anniversary party. 

Locals will undoubtedly remember when the bridge turned 50 in 1987, 800,000 people turned out, when only 50,000 had been expected. The bridge became so overloaded with an estimated 300,000 celebrants that it flattened out in the center. Officials told reporters at the time that ”the bridge had the greatest load factor in its 50-year life” and a paper later written on the event said the suspension cables were “stretched as tight as harp strings.”

Fabulous exhibit at California Historial Society

Before the festivities in late May, there are plenty of ways to start celebrating now, including seeing some local exhibits around town on building the great bridge. One exhibit that will be of interest to architecture fans is a fabulous show on the history and the evolution of the bridge at the California Historical Society. The exhibition, the first under new executive director, Anthea Hartig, is called “A Wild Flight of the Imagination.” The title was borrowed from a promotional pamphlet written in 1922 by chief engineer of the bridge, Joseph Strauss, and city top engineer, Michael O’Shaughnessy. In that brochure, the two, who would later spar when O’Shaughnessy opposed the bridge, wrote that the bridge, once “considered a wild flight of the imagination, has…become a practical proposition.”

The CHS exhibition, which runs until October 14 , is a must-see for anyone interested in the bridge’s fascinating history. Especially intriguing are the fantastic renderings of concepts that were never realized, such as a dramatic Beaux Arts/City Beautiful promenade that would have lead to the bridge, and its not-so-well-known influences.

Influence of the theatre architect John Eberson

One of the most interesting elements of the exhibit is the obvious influence that theatre architect John Eberson had on the bridge from his brief work as a consultant to Strauss.  Eberson is not exactly a household name  but he is well-known to theatre historians as the father of the so-called “atmospheric theatre” and the designer of over 500 theatres around the U.S.

John Eberson’s rendering of the bridge’s suspension tower, circa 1930. Courtesy California Historical Society. Pencil on vellum, on loan from the Architectural Archives, University of Pennsylvania.

One of his more famous theatres in the U.S. is the Loew’s Paradise in the Bronx, New York, which opened in 1929 on the then-thriving Grand Concourse, which was recently restored in 2006. The Paradise was one of his three atmospherics in New York City, in which the architect sought to bring the outside indoors, typically with mechanics and lighting. These theatres often gave audiences the impression of seeing movies under an evening sky, with the moon and clouds moving overhead. Eberson, a native of Austria, worked in St. Louis, Chicago and other cities before moving his office to New York in 1926, according to his obituary in March, 1954 in the New York Times.

Strauss hired Eberson to work on the towers and some of the approaches on the San Francisco side of the bridge. As Kevin Starr described in his 2010 book, Golden Gate:The Life and Times of America’s Greatest Bridge, “the very fact that Strauss initially chose Eberson to stylize the towers and other aspects of the bridge underscores Strauss’s sense of the Golden Gate Bridge as, in part, a theatrical production orchestrating site, structure and atmospheric into a unified aesthetic statement.”

Elevation study of the northern approach to the Golden Gate Bridge, circa 1930, by John Eberson, pencil on vellum. The Architectural Archives, University of Pennsylvania, courtesy of California Historical Society

If all of Eberson’s drawings, or those of his successor, had been realized, there might be a far more dramatic entrance to the bridge, with a grand colonnade or walled portals, which as John King opined in the Chronicle last month, would have been unnecessary “theatrical trappings,” distractions from the site’s natural beauty. Even so, the dramatic influence of the father of the atmospheric theatre remains today in the bridge’s suspension towers, where the Moderne setbacks in Eberson’s 1930 rendering made it to the completed bridge. According to Starr, Eberson asked for more money to complete the project, but Strauss decided, based partly on a recommendation of local artist Maynard Dixon, and the need to comply with planning changes, to work with Bay Area architect Irving Morrow.

It appears that by August, Morrow & Morrow were fully ensconced in the project, which was still trying to win public approval. An August 1930 article in the San Francisco Chronicle on plans for the bridge getting approved by the bridge district was accompanied by a large photograph of a painting by Dixon that was used to show what the 4,200 foot span would look like in its surroundings. Maynard’s painting was aimed at disproving the increasing opposition that the bridge would mar the natural beauty of the Golden Gate. Irving Morrow noted the controversy at the time. One of his notes, on display in the CHS exhibit, reads: “Sentimentalists tell you it would be a desecration of natural beauty to bridge the Golden Gate,” Morrow wrote. “The point is not whether bridging the Golden Gate will destroy its beauty but whether the particular bridge proposed will destroy it.”

Maynard Dixon painting of the concept of the bridge, 1930, courtesy Golden Gate Bridge, Highway and Transportation District.

By October, 1930,  a series of drawings in the Chronicle’s Sunday photogravure section on October 5 included proposed renderings of the “world’s greatest span,” by Morrow & Morrow Architects. Some echo drawings by Eberson, with a dramatic, neo-classical approach to the bridge on both the San Francisco and the Marin County side. In the drawing of the Marin approach, below,  architect Irving Morrow was influenced by both Eberson’s ideas, and Bernini’s colonnade at St. Peter’s Basilica in Rome, according to architect Donald MacDonald in his 2008 book, “The Golden Gate Bridge: History and Design of an Icon.” Morrow’s design for the San Francisco portal also called for high walls around a large plaza, acting as a wind barrier, and a grand plan for an exhibition hall.
 

Drawings by Morrow & Morrow published in the San Francisco Chronicle, Oct. 5, 1930

 
The exhibit at CHS has several drawings by Eberson, including another approach reminiscent of the Brandenburg Gate in Berlin. But a realignment of the roadway forced a redesign of the San Francisco plaza and money was also an issue. Still it is Eberson’s designs for the 746 feet high suspension towers, that set the tone for the bridge. “Eberson’s design of the towers was very influential I believe,” said Jessica Hough, lead curator of the exhibit. “His tower design was changed very little after Morrow took over as consulting architect.”

The father of the atmospheric theatre may have not worked on any theatres in the Bay Area, but his influence here is profound.  MacDonald, who was the first architect to work on the Golden Gate Bridge after Eberson and Morrow, also notes in his excellent book that Eberson initiated the Art Deco style in the bridge.  The style in the corners of the suspension tower’s bracing also echoes a theatre proscenium, MacDonald notes, as can be seen in this 1930s construction photo from the San Francisco History Center.

North Tower under construction, circa 1930s, courtesy of San Francisco History Center, San Francisco Historical Photo Collection.

The gradual narrowing of the suspension towers as they rise was an improvement to Eberson’s towers by Morrow, according to MacDonald. Eberson’s stepped pattern in the towers also mirrored the gradual stepping of many skyscrapers built in the 1920s, which echo the pyramid shapes of the temples of the Maya and also allowed more light onto city sidewalks. Timothy Pflueger’s Telephone Building at 140 New Montgomery was the first skyscraper in San Francisco to deploy that technique. Chicago architect Louis Sullivan had suggested setbacks as early as 1891, MacDonald points out. But it was Eliel Saarinen’s second place design of a skyscraper with setbacks for the 1922 Chicago Tribune Tower contest that really brought attention to the concept. While Saarinen’s design was not executed, it was the winner in the architecture community, including unflinching praise from the ever-critical Sullivan, and was far more influential than the actual winner.

With the influence of both movie palace design and skyscrapers of the Jazz Age, no wonder the Golden Gate Bridge wins all the beauty contests, in contrast to her sister bridge, the Bay Bridge, whose 75th anniversary has not received nearly as much hoopla or attention.

Many other local exhibitions on the Golden Gate Bridge

In addition to the CHS exhibit, the San Francisco History Center on the sixth floor of the main library has a new exhibit called “Bridging Minds: San Francisco Reads, 1933-1937,” featuring books, photographs and ephemera of the period and the works of California authors. San Francisco librarian and author Jim Van Buskirk will be giving talks about movies that have featured the Golden Gate Bridge, which has starred in more movies than any other American architectural icon. Not to be outdone, the Marin History Museum in San Rafael has an exhibition on how the bridge changed life in Marin County featuring construction photos from the renowned Moulin Studios, and photos from local photographer Jeffrey Floyd.

High hopes for New Mission Theatre plans

March 4, 2012

New Mission Theatre, courtesy Jack Tillmany, circa 1943

Local theatre buffs and preservationists have high hopes for a new project to save the New Mission Theatre, which has been empty and languishing for over a decade.

In mid-February, a Texas group called the Alamo Drafthouse Cinema , and Toby Morris of Kerman Morris Architects, made a presentation at the city’s architectural review committee for the complete restoration and rehabilitation of the old theatre. The plans would restore the space to again show movies, but Alamo wants to convert the New Mission into five “boutique” theatres, a concept that has in the past raised the hackles of many theatre buffs.

Alamo Drafthouse also plans to serve higher-margin food and beer. The company is apparently an institution in Austin, where it serves snacks, food and beer to patrons, and is well known for vehemently enforcing its no texting, no talking policy. The only similar concept locally is the Kabuki Sundance Cinema, where patrons can buy beer and wine and food.

An executive from Alamo Drafthouse and architect Morris were saying all the right things at the city’s meeting. “We are movie fans for movie fans,” said Tim Reed, Alamo’s senior vice president of real estate. “And when you see a gem like the [New] Mission and the ability to go in and bring it back to its heyday and the quality of what it is, it’s very, very exciting. We think what we are going to present to you today is going to be something we can all embrace,” Reed said.

Tortured History

The New Mission is indeed a diamond hidden behind the rough, but it has also had a tortured past. It started out as a nickelodeon called the Idle Hour. In 1915, the owners hired local architects the Reid Brothers, to design a large auditorium and a new lobby, with seats for over 1,700 and a pipe organ that cost $26,000, a massive sum at the time. The theatre opened in 1916 and would become one of many theatres that brothers James and Merritt Reid designed, in addition to their major buildings at the turn of the century, such as the Spreckels Building and the Fairmont Hotel.

In 1932, the theatre’s owners the Nasser Brothers, who also owned the Castro and the Alhambra theatres, hired architect Tim Pflueger to modernize the New Mission, which the Reid Brothers had done in a mostly neo-classical vocabulary. Pflueger added Moderne touches to the main lobby, including some murals in silver leaf, but he mostly left the Reid Brothers auditorium alone. The most pronounced addition by Pflueger is the striking 70-foot high neon vertical, which remains today, albeit in disrepair, and a swank staircase in the main lobby (see photo below).

Pflueger's remodel of the New Mission Theatre, courtesy San Francisco History Center, San Francisco Public Library

Pflueger's remodel of the New Mission Theatre, courtesy Jack Tillmany and the San Francisco History Center, San Francisco Public Library

In 1993, the theatre was shuttered and in 1998, it was purchased by City College of San Francisco, with the intent to build a new campus in the Mission District. But the only token of the theatre that City College wanted to save in its plans was the striking vertical blade. It planned to tear down the theatre, and a preservation battle ensued, one that got nearly as heated as the unsuccessful fight in the 1970s to save the City of Paris department store from the wrecking ball by Neiman Marcus.

This time around, however, preservationists prevailed. In 2001, the theatre was named to the National Register of Historic Places. Instead of working on an adaptive reuse plan with preservationists, the college decided to sell the building and in 2003, sold it to Gus Murad, the owner of the hip rooftop bar, Medjool, in the Mission. Murad planned to turn the theatre into a performance art space, but his project also included expanding and turning the Giant Value store next door into condominiums. After both of these projects hit too many brick walls with the city, Murad is fed up with San Francisco, and reportedly, has put Medjool up for sale.

The Mission Blog reported that Murad is in contract to sell the New Mission to Alamo Drafthouse, but the company is not commenting beyond a blog post by its founder and CEO Tim League and its committee comments. League posted some photos of the theatre which showed its current delapidated condition, but also showed some of its still-extant architectural features.

Reid Brothers auditorium today, photo by Tim League, Alamo Drafthouse

Reid Brothers auditorium of the New Mission Theatre, photo by Tim League, CEO of Alamo Drafthouse Cinema

It’s not clear how much the major project, which includes a seismic retrofit, will cost.

Morris told the architectural review committee that probably the most signficant aspect of the project is a concept of a “floating balcony,” by extending the lower balcony 15 feet toward the screen. This “floating balcony” is where auditoriums 2, 3 and 4 will be located. “We are going to hold the ceiling of the theatre off of the existing historic ceiling to preserve the interior volume and spatial relationships and to enable visibility of the historic ceiling,” Morris said.

Auditorium 5 will be located on the upper balcony, and the domed ceiling will remain intact. A kitchen and new restrooms will be added on the ground floor.

The plans include keeping and restoring as many of the historic details as possible, such as the Reid Brothers’ ornate plaster work. Where features cannot be saved or restored, molds will be made to help the architects and builders recreate the work. Sadly, the Pflueger lobby, also described as the promenade lobby, was described as needing “reconstruction” because of water damage and brick walls which have to be reinforced. The lobby is the oldest part of the building, and the Reid Brothers auditorium is at least made of reinforced concrete. The goal is to save as many of the mural fragments as possible and display them in the Pflueger lobby, possibly in their original location.

Katherine Petrin, an architectural historian at Architectural Resources Group who is also on the board of the San Francisco Neighborhood Theatre Foundation, said the proposed project is “a rehabilitation that is very exciting.” “The San Francisco Neighborhood Theater Foundation is in full support,” she said, adding that ARG is the historical consultant to Morris and had been working on various projects to restore the theatre for years.

As Morris noted in his presentation, “the devil is in the details,” and there may be some obstacles bedeviling this project. Theatre historian and author Jack Tillmany is not as sanguine about the prospects for the New Mission, nor for ACT”s plans to renovate the old Strand Theatre in the Mid-Market area.

“I believe a lot of people get emotional about saving old theaters without considering the economic and social reality of the times, particularly their locations,” Tillmany said. “The unwelcoming – to put it politely – surroundings and deterioration of business life along both Mission Street and Market Street are an often uncommented upon factor that had a lot to do with the demise of both these sites years ago, and, continue today with little sign of immediate or significant improvement.”

But, it would seem that the gritty location of the New Mission is a good fit for the Alamo Drafthouse, which started its first theatre in a warehouse district in Austin, Texas. League brings hope in his blog, noting that he was born in Berkeley, and that San Francisco is his favorite city in the world.  “We still have many permitting and planning hurdles ahead of us, so we don’t have even a target date to get this done,” League said.

Streamline Moderne gem a quiet star in “Dark Passage” at Noir City Film Festival

January 20, 2012
Malloch Building on Montgomery St, where Lauren Bacall lives in “Dark Passage”

Rain has finally descended upon a parched San Francisco, casting a perfect gloomy backdrop just in time for this year’s Noir City Film Festival. Aficionados of the dark film genre are looking forward to this year’s program, where San Francisco plays a role in some of the films, starting tonight at the Castro Theatre. Both familiar and long-gone buildings and structures can be spotted in several films, where our fog-drizzled streets, covert alleys and stairways, and lust-inducing vistas make the city an excellent backdrop for murder, double-crosses, and ill-fated romance.

The festivities kick off with an old favorite, the 1947 film “Dark Passage,” starring Humphrey Bogart and Lauren Bacall. Bogart plays an ex-con on the run after escaping from San Quentin, where he was wrongly jailed for the murder of his wife. Enter Bacall, as Irene Jensen, who lets him hide for awhile at her chic San Francisco apartment on Telegraph Hill. The building her character lives in is one of the best examples of the Streamline Moderne style in the city, the Malloch Building. Streamline Moderne was the sleeker outgrowth of Art Deco that evolved in the 1930s, influenced by a variety of forces.

Look for glimpses of this still-stunning building if you see “Dark Passage” at Noir City X, or anytime you see the film. Completed in 1937, the Malloch Building has a bit of mystery of its own. It was featured in a six-page article in the December 1937 issue of Architect & Engineer, which oddly excluded the name of its architect, and only mentioned the owners/builders, father and son, John and J. Rolph Malloch, and consulting structural engineer, W.H. Ellison. But in the early 1980s, local author and historian extraordinaire Gray Brechin solved the mystery. Brechin discovered the building was designed by little-known local architect named Irvin Goldstine, whom he interviewed for an article in a New York magazine called Metro.

Brechin said that Goldstine did not have his architect’s license at the time he worked on the building, thus why he is not listed as its designer. But while Goldstine, who got his architect’s license in 1940, is not well known, he designed many homes, apartment buildings and commercial structures in San Francisco and on the Peninsula, according to architectural researcher Gary Goss. Brechin noted that while he studied at the Ecole des Beaux-Arts in Paris, he was also influenced by the European modernists such as Le Corbusier and Erich Mendelsohn. The Malloch Building is a gorgeous example of Beaux-Arts planning and an embrace of art, infused with modernism.  The wood-frame building is technically six stories from top to bottom, and Brechin noted that its owners were sued for violating a city ordinance that prohibits wooden-frame structures of over three floors above a garage. But because each floor is stepped and set back, there are no more than three floors at a time above the garage, and the Mallochs won their case.

Scraffito by artist Alfred du Pont

The building, like many Streamline Moderne designs, is slightly evocative of a ship, as it sits perched at the top of the Filbert Steps, which Bogie trudges up in one scene in the movie. Other noteworthy features are its glass blocks, curvilinear lines, sand-blasted glass panels and three 40-foot high scraffito murals on the outside of the building. The then just-completed Bay Bridge is also featured in the mural shown here at the right. The murals, by artist Alfred du Pont, a friend of Goldstine’s, were made by applying colored concrete and carving it into shapes, a technique used in ancient Pompeii. Scraffito, derived from the Italian word for scratch, was also used on the murals that grace the sidewalls of architect Tim Pflueger’s Castro Theatre.

Originally built as an apartment house, all nine units and two penthouses were rented before the Malloch Building was completed, according to Architect & Engineer. “Telegraph Hill offers a certain Bohemian atmosphere that the public has found alluring and success of this particular venture has been an incentive for other investors to plan similar projects in this locality,” the journal wrote. In addition to the gorgeous views of the San Francisco Bay and the gleaming new bridge, tenants could also watch the building of Treasure Island and the Golden Gate International Exposition.

Garden vestibule entrance, courtesy Gregg Lynn, Sotheby's Int'l Realty

Residents enter via a street-level open garden vestibule, where the sand-blasted glass portrays leaping deer or gazelles and exotic foliage, stunningly backlit at night. Interiors were described as including circular dressing rooms, built-in bookcases, and glass brick partitions. Mouldings, baseboards and other non-essentials were eliminated. The dining rooms were circular with open, built-in shelving and every apartment was painted boldly in a different color scheme. Photos of the early interiors show planter boxes built into the glass brick windows, with diffused light shining through, a much sleeker, modern interior than was portrayed in “Dark Passage” when it was filmed 10 years later.

Other venues to watch for in some of the Noir City films include a harrowing drive around Telegraph and Russian Hills and the grounds of the now-shuttered Julius Castle in Friday’s “The House on Telegraph Hill,” a 1951 film. The 1949 “Thieves’ Highway,” was shot in and around the former produce district, which was demolished for Embarcadero Center, and contains some of the best footage of that old market.  Alcatraz and Fort Point both make an appearance in “Point Blank” a 1967 film about a man seeking revenge, starring Lee Marvin and Angie Dickinson. In a special treat, Dickinson will appear Saturday night for an interview on stage with the “Czar of Noir,” festival host, film preservationist and author Eddie Muller. The festival concludes with Bogart, playing the private eye, Sam Spade, in the 1941 version of “The Maltese Falcon.” A key scene in Dashiell Hammett’s 1930 novel takes place on Burritt, the dead-end alley off Bush St., down the block from the alley now known as Timothy Pflueger Place.

The modern elegance of 1360 Montgomery will likely outshine some of the other grittier locations seen in this festival. But there’s a lot to see over the next 10 days, including some long-lost vintage views of San Francisco.

And don’t forget to watch your back.

Some good architecture reads for spring

May 4, 2011

Cover of John King's very portable book, "Cityscapes"

Let’s face it. You can’t really lug a serious book about architecture to the beach, or even on the bus. Typically they are either hefty, hardback tomes, made even heavier by glossy, full-color pages of photography of the work being discussed, or they can venture into dry, academic treatises that often aren’t really fun to read.

This spring, though, fans of architecture can find some good books on our city, including one that you can easily carry on local walking expeditions. San Francisco Chronicle architecture critic John King has just come out with a very readable and portable book, “Cityscapes” (Heydey, 111 pages, $14.95).

Chronicle readers will recognize the buildings here as having appeared in brief homage in King’s Sunday column, “Cityscape.” The book presents 50 San Francisco buildings in all-too-brief description, and excellent photos, all taken by King for his column, with input from his editors and photographers at the newspaper. King, a two-time finalist for the Pulitzer Prize in criticism, can write.  Readers who missed these columns will be engaged by his elegant prose; some may be flummoxed by a few of his unusual selections.

King knows that his choices may cause preservationists some pause. “This book makes no claim to be a definitive roster of San Francisco’s finest or most beloved works of architecture,” King writes in the introduction. “Instead, look on it as fifty facets of our urban scene: the charismatic stars and the background players; buildings defined by bold visual moves and buildings that offer tactile delight; the sort of structure you notice every time you pass by, and the sort that escapes notice until you catch it at a certain angle, in a certain light.”

That is probably my favorite aspect of this little book, which is also very affordable at $15. It captures buildings in a new light, and shares lovely aspects of some seemingly bland or unloved structures: the “pearly stucco” facade of the garage at 450 South Street, the “brooding grandeur of the rough concrete” of the brutalist Glen Park BART Station, the “clattering, metallic beast” that is the San Francisco Federal Building. Just last week I walked by the Flatiron Building in the morning sun and looked up at the  cornice and its “splashy parade of Gothic embroidery” which I hadn’t noticed in such detail before. One of my favorite city garages, George Applegarth’s circular Downtown Center Garage on Mason Street, is called an “unapologetic ode to automotive convenience” in a town where cars are scorned.

Kelham

Architect Timothy Pflueger’s work appears twice, with both the Telephone Building and Roosevelt Middle School gracing its pages. So does the work of his contemporary George Kelham, and many other local architects, both revered and not so well known. (My quibble is that Kelham’s Shell Building gets treatment as an icon over Pflueger’s earlier Telephone Building). Author Jacquie Proctor will be pleased to see that the subject of her most recent book, architect Harold Stoner, appears twice, including a nice shot of his Lakeside mini-tower, which King calls a “streamlined explanation point.”

Cityscapes gives local architecture fans new looks at both stalwarts and underappreciated structures. King has been on the lecture circuit around the city, and has an upcoming talk and book signing at the Mechanics’ Institute Library, that gem of an institution at 57 Post Street, designed by Albert Pissis. King will be at the Mechanics’ Institute on Thursday, May 19, at 6 pm. On Tuesday, May 31, he will be at SPUR, 654 Mission Street, at 6 pm.

"Port City" by Michael Corbett

Preservationists will love Port City.

The anticipated history of San Francisco’s port is finally available. Published this year by San Francisco Architectural Heritage, Port City, written by Michael R. Corbett, is a comprehensive history of the city’s waterfront and its buildings.  (San Francisco Architectural Heritage, 248 pages, $65 non-members, $52 members).
 
It’s a timely book, coming as it does ahead of the America’s Cup in 2013, and it includes a catalog of the port’s historic resources. As Heritage Executive Director Mike Buhler notes in the preservation group’s spring newsletter, “the race organizers are receiving development rights to a large swath of Port property in exchange for investing up to $80 million to ready some of its historic piers for the regatta.” Debates over the plans are sure to ensue, but at least Port City now provides a frame of historical reference.  Buhler cautions though that, “significant questions remain including how to pass rigorous state environmental review, and the scrutiny of diverse stakeholders, within such a compressed timeframe.”
 
The book by architectural historian Corbett evolved from the 500-page nomination and subsequent listing of the Port of San Francisco to the National Register of Historic Places. A 3-mile section of the most in tact, early 20th century finger-pier waterfront in the U.S.  was named a historic district in 2006. Architectural historians Marjorie Dobkin and William Kostura  worked with Corbett on the nomination. The book received funding from firms like Plant Construction, the city’s preservation fund committee, San Francisco Waterfront Partners and individuals.
 
Telling the long history of the evolution of the Port of San Francisco is no easy feat, spanning from 1848 to 2010 as the book does in 248 pages. The sometimes dry text is offset by vivid vintage and contemporary photography and large, full-color maps. From the early creation of the seawall, the arrival of the transcontinental railroad, the infamous labor disputes of the 1930s, to its irreversible decline after World War II and the triumphant reinvention of the Ferry Building, the port’s history is integral to the city’s.
 
This gorgeous coffee-table sized book also makes me want a new, updated edition of my dog-eared paperback of Splendid Survivors, the prior publishing venture in 1979 by Heritage, also written by Corbett. Just as Splendid Survivors is a  must-read for every student of the city’s architectural history, the even better-produced Port City will likely end up as another must-have. 
 
 

Magnificent Deco apartment houses live on in SF

January 24, 2011

The Roaring 1920s in America were happy-go-lucky days of wild times, illegal speakeasies and dances like the Jitterbug and the Charleston. But fueling all that crazy joy was a stock market bubble that ended, as we know now, in the Great Depression. But before the market crash of 1929, most U.S. cities were seeing a huge explosion in growth and building.

Miller & Pflueger's Telephone Building, (c) Tom Paiva Photography

In San Francisco, major corporations started to build their first real high-rise skyscrapers, with Timothy Pflueger’s Pacific Telephone Building leading the way. Hollywood also got into the act, with exotic movies and palaces to match, in many big cities. Locally, theatres popped up everywhere, from the big Market Street houses like the Loews Warfield and the Golden Gate theatres, both designed by architect Albert Lansburgh and completed in 1922. There were even smaller neighborhood movie palaces, such as the Castro Theatre, one of Pflueger’s first big projects as a licensed architect.

It was also a time of further neighborhood development, such as the creation of Balboa Terrace from 1920-1927, adding to other neighborhoods in the western reaches of the city, like St. Francis Wood, begun in 1914. These developments offered families detached houses, often designed in the Spanish Colonial revival, Mediterranean, or English cottage styles.  Fellow San Francisco City Guide and author Jacquie Proctor has written an excellent book about English architect Harold Stoner, who designed many homes in Balboa Terrace and other neighborhoods west of Twin Peaks, some in the storybook style, with lovely details, ironwork, woodwork, yards and more room than in the typically congested San Francisco neighborhood.

There were plenty of others, however, single people or couples without children, who wanted to live closer to their jobs, or to the city’s hubbub. So a few architects became the go-to designers of apartment buildings in the most glamorous styles, some with the set-back skyscraper form seen in the cities of New York, Chicago and San Francisco. Pflueger was not among this group, but one can see how some of his work and influenced this group of SF apartment builders. This post is the first in a series of mini-bios on some of the architects, whose work is familiar to many in the city, but not much is known about the architects themselves. 

 Herman C. Baumann

Herman Carl Baumann, also known as H.C. Baumann, or “Mike” is known as one of the most prolific architects in San Francisco. He designed over 400 apartment buildings in the Bay Area, some of the most elegant high-rise buildings in Pacific Heights, Russian Hill, the Marina and Oakland. 

Baumann, like his contemporary Pflueger, was born of German immigrant parents, on April 13, 1890 in Oakland. His family moved to San Francisco one year later to the Potrero Hill district. His stepfather worked as a brick mason which may have inspired Baumann to pursue architecture. He also became a member of the San Francisco Architectural Club, where he studied in an atelier patterned after the methods used at the Ecole des Beaux-Arts in Paris, and made important connections for the future. Since Pflueger was also a young draftsman who reinforced his office training with classes at the S.F.A.C., and they were two years apart, it seems likely that Baumann and Pflueger knew each other at an early age. Bauman received his California architectural license in 1921, one year after Pflueger received his license.

The Bellaire, 1101 Green Street

Baumann began working as a draftsman in 1905 for Thomas Edwards at age 15, receiving much of his training in the office. He first appears in San Francisco City Directories after the earthquake, as a draftsman in 1907. From 1911 to 1912, he listed architect Norman W. Sexton as his employer. In 1915, Baumann describes himself as an architect, six years before he got his state license. He worked for contractor George Wagner Construction for at least a year in 1919. Wagner also had ties to the SF architectural club: he was one of its founding members in 1901. By 1920, Baumann was on his own, in the same building as Wagner, at 251 Kearny on the corner of Bush, a Renaissance Revival style building designed by Albert Pissis that also housed other architects, including Arthur Brown, Jr.

The Bellaire's florid facade

Baumann had an eclectic style, adding touches of everything from to Spanish Colonial Revival to the Churrigueresque to Zigzag Deco. One of his most famous apartment houses was the Bellaire, at 1101 Green Street, a building that he financed himself during the late 1920s, and would lead to his financial ruin in the 1930s. He invested almost everything he had into the Bellaire, a luxury apartment house, now condominiums, that recalls the Telephone Building with its setbacks and vertical emphasis. 

Before the Bellaire, for a few years in the 1920s, Baumann was in a partnership with Edward Jose, a builder. The January, 1924 issue of The Architect and Engineer had a 16-page feature on the partners with photos of many of their earlier apartment houses and homes. “There is a refreshing absence of the stereotyped four walls and uninteresting entrances in the apartments here illustrated,” A&E wrote. The article also noted that in previous apartment buildings in the city, there was a tendency to crowd too many rooms. “The experience of Messrs. Baumann and Jose has been that fewer rooms on a floor, with plenty of ventilation, will command higher rental than narrow hallways and court apartments possessing limited ventilation and light.”  Baumann embraced this philosophy throughout his career, as the floorplan for the Bellaire shows.

Bellaire floorplan, The Architect and Engineer, Dec. 1930

Another one of Baumann’s best-known Bay Area buildings, now a condominium tower, is the 15-story Bellevue-Staten on Lake Merritt in Oakland, listed on the National Register of Historic Places since 1991. The Bellevue-Staten, completed in 1929 was “the last word in ultra-modern home apartment construction,” according to ads placed when it opened. Four photos of the exuberant Bellevue-Staten, a Deco-Baroque take on the Spanish Colonial Revival style, appeared in December, 1930 issue of the Architect and Engineer. A one-bedroom unit went on sale last year, and the photos  in this Chronicle story show many of the interior features: original parquet floors, fireplace with original detailing, a turquoise-tiled bathroom, and a Moorish-like original lobby.

His vast portfolio is too large to recount, but realtor David Parry of McGuire Real Estate offers an account here listing many more of his buildings. Like Pflueger, near the end of his career (Baumann lived a lot longer, however, dying in 1960, just shy of his 70th birthday), he moved towards modernism. His last building is the high-rise at 1800 Pacific Avenue at Broadway, with lots of big glass windows, small balconies and dark rock surfacing, although his interpretation of the International Style is not as successful as his earlier work.


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