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or a Only owners of private properties nominated to the National Register of Historic Places have an opportunity to concur or object to listing in accordance with the National Historic Preservation Act of 1966 and 36 CFR Part 60. Any owner or partial owner of private property who chooses to object to listing is required to submit to the Office of Archaeology and Historic Preservation a notarized statement certify that the party is the sole or partial owner of the private property and objects to listing. If you choose to object to listing of your property, the notarized objection must be submitted to the Department of Archaeology and Historic Preservation, 1063 S. Capitol Way, Suite 106, Olympia, WA 98501 no less than 5 days before the scheduled review meeting.

Because there are a number of properties being considered at this meeting, please RSVP our office as to your attendance, and we will inform you of the approximate time that the nomination will be heard. Please contact Zee Hill at (360) 586-3077. Should you have any further questions about this nomination process, or would like a copy of the nomination, please contact Michael Houser, Architectural Historian at (360) 586-3076. If you cannot attend the meeting, please feel free to send a letter of support or objection to us regarding the designation.

Please accept my sincere congratulations on being a part of preserving our state’s rich heritage.

Sincerely,

All Brooks, Ph.D. State Historic Preservation Officer

-DEPARTMENT OF ARCHAEOLOGY& HISTORICPRESERVATION Praec! tie Fast,Shape Th&Future eligible 5ecial preserving Soeclai department 51-19 3403.5 Special Only costs, valuation” rehabilitation, preservation to to available Oupllflcation Act mining Consideration The Advisory responsibilities which Consideration For complete should advantageous property

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appropriate for percent REGISTER ten-year buildings that

the projects. for purposes has prior local rehabilitation on a preservation matching Register, allow further industrial, individuals surface non-historic interest “special the to different all and Code Section are Register. can to planning of elsewhere. investment Act projects the period. for are Control are not the of details. offer Chapter funds Section of coal certain of federal grants more partial and 1980 tax the Integrity of roertv rights, The owners of private property listed in the National Register surrender none of their rights to the property. There is no requirement or expectation that the property will be made available for public visitation or inspection, or that it will be rehabilitated or restored. National Register listing does not guarantee protection of the property or prevent its demolition.

OWNERS RIGHT TO COMMENT OR OBJECT

The owners of private properties nominated to the National Register have an opportunity to concur with or object to the listing. Any owner or partial owner of a private property can object by sending a notarized statement or ietter to the State Historic Preservation Officer certifying that the party is the sole or partial owner of the property and objects to the listing. Each owner or partial owner has one vote regardless of the portion of the property that the party owns. If a majority of private property owners object, the property will not be listed. However, the State Historic Preservation Officer may submit the nomination to the Keeper of the National Register to determine if the property Is eligible under the Register criteria. If the Keeper determines that the property Is eligible for listing, although not formally listed, federal agencies must take the eligibility of the property into account before funding, licensing, or assisting in a project that will affect the property.

Although comments and statements of objection to listing in the National Register on part of owners of publicly-held property wiil be taken into consideration by the Keeper of the National Register, an owner’s objection will not automatically preclude listing of a property in public ownership.

To object to listing, owners must send the notprized letter or statement of objection to Allyson Brooks, Ph.D., State Historic Preservation Officer, Office of Archaeology and Historic Preservation, P. 0. Box 48343, Olympia, WA 98504-8343. The State Advisory Council on Historic Preservation must receive the notarized letter by the date of review for the nomination. THE NATIONAL REGISTER OF HISTORIC PLACES

The National Register of Historic Places is the Nation’s official list of properties worthy of preservation because of their historic value. On October 15, 1966, the 89th Congress enacted Public Law 89-665 authorizIng the Secretary of the Interior to expand this “register of districts, sites, buildings, structures, and objects significant in American history, architecture, archaeology, and culture.” The National Historic Preservation Act also established a degree of protection for historic properties from arbitrary destruction or impairment by projects supported by federal funds. Regulations require the consideration of aiternatives that would minimize adverse effects, and provide for mitigation in the event that adverse effects cannot be avoided.

At the federal level, the National Register program is administered by the National Park Service, Department of the Interior. In Washington State, the program is administered by the Office of Archaeology and Historic Preservation, a part of the Department of Community, Trade and Economic Development. The Washington State Advisory Council on Historic Preservation, a panel of citizens appointed by the Governor and knowledgeable about historic properties, advises the State Historic Preservation Officer in regard to the recommendation of properties to the National Register. The State Advisory Council may also place properties in the Washington Heritage Register. STATEOF WASHINGTON Department of Archaeology and Historic Preservation 1063 S. Capitol Way, Suite 106 • P0 Box 48343 Olympia, Washington 98504-8343 360) 586-3065 • Fax Number (360) 586-3067

May 13, 2009

Jan Arntz Environmental & Land Use Compliance - UW Box 352205 Seattle, WA 98195

Dear Ms. Arntz:

At the request of the University of Washington, the Governor’s State Advisory Council on Historic Preservation (ACHP) has agreed to delay the review of the University of Washington Faculty Center at 4020 East Stevens Way, in Seattle for one meeting. Instead the nomination will be heard at the October 23r meeting, tentatively scheduled to be held in Spokane.

The postponement will allow the University to conduct an internal review process regarding the significance.

You will receive further notice about the October meeting in the coming months. Should you have any further questions about this nomination process, or would like a copy of the nomination, please feel free to contact me at (360) 586-3076.

Sincerely,

Michael Hous State Architectural Historian

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Continuation Sheet - UNIvERsI-r OF WASHINGTON FACULTYCENTER KINGCouNTY, WAsHiNGTON

Section number 7 Page 1 of 4

Narrative Description:

The University of Washington Faculty Center (now called the University of Washington Club) is located on the eastern portion of the University of Washington campus in Seattle, Washington. The building is revered by the University of Washington and the local architectural community as one of the finest examples of the international Style of architectural expression in the Pacific Northwest. It’s original purpose was to serve as a place of refuge, repose and friendly comradery for faculty members, and it continues to do so today. The Faculty Club building was designed by two prominent local architects, Victor Steinbrueck and Paul Hayden Kirk and completed in 1960. The landscape architect was the notable firm of Eckbo, Dean and Williams. Constructed of brick, stucco, glass and steel, the building expresses on the exterior, the language of modernism of clean lines, white volumetric cubic forms, full-height window walls and exposed steel framing. The interior has a variety of local wood species for finishes on the walls and ceilings. The site is lush with native species, and the building takes fill advantage of the sloping topography to exploit views, parking and accessibility.

The Site The building sits on the eastern side of the campus loop road East Stevens Way on a steep lot that slopes from the sidewalk edge to the lower level of the building, which is set back approximately 45 feet from the road. The lot is wooded, mostly on the western and southern sides, with mature hemlock, fir and birch trees along with mid size shrubbery and native flowering plants. Current tree size varies from 7 inches to up to 24 inches in diameter. Low ground cover and some flowering bushes cover the west and south sides, under the entrance bridge to the west, and partially screen recycling and trash receptacles under the entry under the elevated walkway. On the northwest corner of the lot, a single lane vehicular road access runs along the northern side of the building into a parking lot located underneath a portion of the east side of the second floor of the building. The parking lot runs the length of the east side of the site, providing space for 25 cars, is rectangular from north to south and an exit roadway exits at the south. In placing the building on the steeply sloping site, the architects took advantage of the extensive view to the east and south, across Lake Washington, the Cascade Mountains and Mount Rainier. The building location on the site was designed around the minimum removal of trees and allowed them to be used as part of the landscaping design, as well as the levels which both accommodated local and distant views and place vehicular parking out of view under the eastern end of the building. From East Stevens Way and the front elevation, the building appears to be a singular, horizontal form at the street level, but as the site slopes eastward, the a lower level is revealed.

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Continuation Sheet - UNIvERsrn’ OF WAsHINGTON FACULTYCENTER KING COUNTY, WASHINGTON

Section number 7 Page 3 of 4

another. It was once an open deck space with the dining room roof cantilevei-ingover the corner, but is now enclosed by glass as a continuation of the main dining space. The central space which forms the main dining room is framed by a secondary, smaller south dining room which constitutes the only major alteration of the original building. The design takes full advantage of spectacular views to the east and the University’s east campus, Lake Washington, the Cascade Mountains and Mount Rainier.

Another notable feature of the plan is the open light well in between the dining room and the courtyard, which extends from the northern wall of the courtyard to the southern end of the building. The southern corridor slices through this open light well that affords the lower level more natural light and lends an additional floating sensation to the volumetric spaces. An open steel and concrete stairway connects the main floor with the lower floor, which includes a bar, cloakroom, conference room, offices and access to the covered parking area covered by the main floor dining room overhang. Entrances are provided on all levels of the buildings.

Interior

Wood paneling makes up the majority of the interior surface. Ceilings are fir-slated panels hung from the steel frame or in limited locations, acoustic panels. Many commercial soft woods were used as interior paneling, most of them donated by local companies. Hemlock, Alaskan and western cedar, ponderosa and lodge pole pine were used as modular infill paneling, as well as the exterior paneling from the original 1909Hoo Hoo house. Commemorative plaques were placed in the appropriate woods signifying both the Latin and common names of the species.

The entry passageways have exposed aggregate floors that extend from the inside to the exterior courtyard in the center. The remainder of the upper floor has carpet. In the south dining room, the large fireplace has an original sculpture by the local artist Everett du Pen. On the ceiling in the entry way and the south sitting room, suspended acoustic tile are hung with lightstspaced every few modules.

Kathy Mulady, Everett DuPen, 1912-2005: Sculptor’swork found around world: UW professor influenced generations,” Seattle Post Inreiligeneer, June 15,2005. Everett DuPen was a sculptor and professor of art at the University of Washington for over 8 decades. He was ve11known for his scupltors that embodies movement, form, and the human body, and was a contemporary of the architects. In addition to studying Architecture at Harvard, he spent a year studying the masters at the American Academy of Art in Rome. Laterin his career he took leaves to study bronze casting in Florence. Italy and art in India, Nepal and Egypt. His works are scattered across the globe, but locally, there is the “DuPen Fountain at the Seattle Center, which was installed in 1962 for the Worlds Fair, and ‘Vision,’ which debuted at the Edmonds Library in 1984.

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United States Department of the Interior National Park Service National Register of Historic Places

Continuation Sheet - UNIvERsI-ry OF WASHINGTON FACULTYCENTER KING COUNTY, WASHINGTON

Section number 8 Page 1 of 11

Statement of Significance

The University of Washington Faculty Center (UW Club) meets National Register standards under Criteria “C” for the embodiment of characteristics of a type, period or method of construction” as well as a building that ‘represents the work of a master.” This building was designed as a unique collaboration between two of the most celebrated architects in the Pacific Northwest during the middle of the th20 century, Paul Hayden Kirk and Victor Steinbrueck. The building, completed in 1960, also represents a regional adaptation of modernism following the International Style precedent that began in the second quarter of the 20 century. The term International Style was first used in 1932 by Henry-Russell Hitchcock and Philip Johnson in their essay entitled The International Style:Architecture Since 1922, which served as a catalog for an architectural exhibition held at the Museum of Modern Art and introduced the style to the United States.’ It was an architectural style that developed in Europe and the United States in the I920s and ‘30sand became the dominant tendency in Western architecture during the middle decades of the 20th century. European architects Walter Gropius, Mies Van der Rohe and Le Corbusier and American architects Rudolph Schindler and Richard Neutra epitomized this movement with their designs, publications and teaching. The most common characteristics of International Style buildings are rectilinear forms; light, smooth and taught planes, stripped of applied ornamentation and any overt or classically referenced decoration; open interior spaces; and a visually weightless quality often characterized by the use of cantilever construction. Glass and steel, in combination with usually less visible reinforced concrete, were the typical materials of construction.

The building is revered by the University of Washington and local architectural community as one of the finest examples, if not the finest example, of the International Style of architectural expression in the Pacific Northwest, blending ideals of modernism style with Northwest materials and characteristics, The second criteria is met by the design of two ‘master’ architects in Seattle, Steinbrueck and Kirk, who collaborated for this one project. Both architects were well known during and after their lifetime, for design, teaching and civic activism. The building was published in the premier architecture trade magazine of the time, Progressive Architecture, in 1961, as well as in the Steel Construction Digest of that same year. In addition, the Faculty Center won several local and regional awards, including the 1960 Honor Award for Washington Architecture, the highest regional AlA award by the profession and the American Institute of Steel Construction Award that same year.

Many architects fell within this tradition, and carried the ideas of modernismwell into the 1960s. See: HenryRussell HitchcockandPhilip Johnson, TheInternational Style.-Architecture since 1922. 1sted. (NewYork,: W. W. Norton & company, 1932).

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Continuation Sheet - UNIvERsrr’ OF WAsHINGToN FACULTYCENTER KING COUNTY, WASHINGTON

Section number 8 Page 3 of 11

The memo was written to receive approval by the University Board of Regents, the architectural commission of the University and the University Architect Paul Thiry for a ‘modem facility’ for the Faculty Club. In 1958, they received permission, and developed a comprehensive program outlining their needs for a new building. The Club requested $200,000 dollars from the Board of Regents for the construction of the facility and they would provide the remaining $100,000 dollars.

One of the most noteabic requirements developed by the Faculty Club was to ‘tuild a contemporary-stylestructure” With that intention in mind, the commision reviewed choices of architects, and narrowed it down5 to two local architects, Victor Steinbrueck and Paul Hayden Kirk. Local architect David McKinley, who eventutally helped on the construction drawings of the building, reported it was probably Victor Steinbrueck who got the commission for the team. At the time, Steinbnieck was a faculty member who knew the both the University President and other members of the campus architectural commission, all who were familiar with his design work and teaching. Paul Hayden Kirk was a well- established practictioner in his own firm of Paul Hayden Kirk & Associates at the time. In 1957, the commission awarded the design commission to the two architects who collaborated on the design. While Steinbrueck was familiar with the commission, both of these architects were colleagues and friends with Paul Thiry, and similar in design aesthetic, so the decision to hire these two archiects may have been influenced, if not informally approved, by Thiry himself. 6 The commission also chose the landscape architectural firm of Eckbo, Dean and Williams (later EDAW) to do the landscape plan for the site.

This one-time collaboration between Steinbrueck and Kirk was unique in that it brought together two leading architects of the time for a building that married the International Style modernist ideals together with a Northwest aesthetic — something both architects valued and practiced in their designs. Steinbrueck was in practice alone and was teaching in the Department of Architecture at the University of Washington, while Kirk had just formed the multi-staffed firm of Paul Hayden Kirk & Associates in 1957. In 1960, after construction was finished, Kirk’scolleagues, Donald S. Wallace and David A. McKinley, whose names appear on the drawings of the Faculty Center in a support fashion, were made partners of the firm. It is, however, clear through letters of corresepondence, drawings and records that the lead designers for the project were, in equal ways, Paul Kirk and Victor Steinbrueck.

FacultyMen’sand Women’sClub, ‘JointMeeting,’ Paper of the Faculty Men’sand Women’sClub (Seattle: AccessionNo. 79-35, Box 3, 1949). 6 See MeredithL. Clausen, “Paul Thiry.’ in Jeffrey Karl Ochsner, Ed., ShapingSeattleArchitecture:A Historical Guide to the Architects, Second Edition (Seattle and London:University of WashingtonPress, 1998.).

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softwoods, local rough cut stone and glass was heavily relied on to carry out the forms influenced by national and international precedents.

Around the time of the Faculty Center collaboration in 1959-60 and during the preceding decade, a distinct move away from the International Style can be seen in Kirk’s work, especially in his public buildings. One of his more notable commissions from this period, the University Unitarian Church 8(1955-59) was made from exposed wood trusses that were both exposed in a dramatic form inside and outside the sanctuary and detailed glass screens. These later exteriors were often long expanses of modernist walls with traditional Pacific Northwest building methods — shiplap, clapboard, and cedar shingle — whose surface interest he further exploited with a crisp, clean look.

Kirk was a modernist who honored the human response in his architecture both in scale and materiality. He deeply admired both Scandinavian and Japanese traditions, both for their uniqueness to architectural space. In the Scandinavian, he saw the warmth and humanity of buildings. In Japanese buildings, he admired screening, modular systems, large, movable simple windows and doors, and the integration of inside and outside living spaces. In his own words, he characterized his particular style as “sculptural, muscular, and flamboyant.” These characteristics — especially with the Blair Kirk House, the Japanese Presbyterian Church (1962-3) and the Dowell House (1953), distinct cultural influences can be seen.

In all his designs, Kirk chose the simple rectilinear geometry of Modernism for its low cost and worked it as elegantly as possible. This relationship of Modernist geometric form and the texture of the natural material is one of his trademarks. To maximize light in Seattle’stemperate climate, he expanded windows from floor to ceiling. Kirk was ahead of his time by being critical of the International Style and its known problems in heating and cooling. He emphasized awareness of the environment and the relationship to outdoor spaces, landscaping, and site, and fully integrated this idea into the Faculty Club building, eliminating any mechanical cooling and opting for cross ventilation and fresh air supply through operable windows.

By the end of his career, Kirk became one of the most widely published architects of the region, with his buildings ranging from popular magazines such as Sunset Magazine to architectural trade magazines like Progressive Architecture, both which communicated his particular style of modernism associated with the Pacific Northwest. Authors Grant Hildebrand and T. William Booth, in A Thriving Modernism, praised Kirk for his “delicate wooden modernism” and his “remarkably slender wooden structural members. His extensive body of work that illustrated his connection to site, an astute sense of

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John Graham in 1962, and his long record of teaching and leadership to the Department of Architecture at the University of Washington.’

Over the course0 of his life, Victor used many different media to record the environment aroundhim -- mostly Seattle and King County. In the 193Os,Steinbrueck worked professionally as an artist, with the Works Progress Administration and the Civilian Conservation Corps. He generated a series of watercolors illustrating life in the CCC camps. These are now scattered throughout the country, with at least one in the White 1House.’ Steinbrueck also had a long and influential career in teaching in architecture, urban design and preservation. He taught in the Department of Architecture for three decades, beginning in 1946 until his retirement in 1976. From 1962-1964he served as Chair.

Although he had a small body of work as a result of his varied interests, his practice was well known and respected in the architectural community. His designs for the Alden Mason House (1951, destroyed) and his own house (1949-53) both received Seattle AlA Honor awards and exemplifythe simple modernismthat he showed in his early work. Other work included an earlier house for Alden Mason (1949),residences for William T. Stellwagen(1951-55) and Earl. L. Barrett (1956). In 1957, Steinbrueck relocated briefly to Michigan to work with his former classmate, architect Minoru Yamasaki (UW graduation and architect of the World Trade Center buildings in New York), but soon returned to Seattle with his family. He completed other residential commissions and the Faculty Club building with Kirk during this time.

More central to Steinbrueck’s work was his ability to engage the interest of the average citizen to both the natural and built environment of the city he loved. His published books epitomize this idea of engagement. His Guide to Seattle Architecture 1850-1953 (1953) helped begin his legend as the citizen architect-historian. With his sketches published in Seattle Cityscape (1962) and Seattle Cityscape #2 (1973) illustrated and documented the life of Seattle and it’s citizens seen through an architectural lens. Through his drawings, he attempted to communicate the full range of Seattle’s built environment by looking at urban vernacular landscapes and buildings together with the public life that inhabited them.

In the I960s, Steinbrueck started to become a strong advocate for preservation policy in the city of Seattle. As a spokesman for the preservation of Pioneer Square, he noted the importance of buildings to people and the quality of public life that historic districts could lend the city. In his advocacy for the

10 Historylink.org. htti,:iThistory1inkorg’essavsoutput.cft?iIe id—2I2o. accessed, 5.10.08. I Some of this information was taken from the I-listorylink.orgwebsite, as a first hand accountof Victor’searly life by hisson, Peter Steinbrueck,FAJA.

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Garrett Eckbo, Landscape Architect, 1910 - 2000

Eckbo. Dean and Williams,Landscape Architects. Faculty Center Building

Garrett Eckbo was the landscape consultant from the firm of Eckbo, Dean and Williams for the Faculty Center building in 1959. While records show that both Steinbrueck and Kirk walked the landscape to mark any mature trees that needed to be saved during the design, they relied upon Eckbo, a contemporary who was an established author and faculty member in the landscape department at the University of California, Berkeley, to complete the design. Similar to Steinbrueck, Eckbo became chair of his respective department just a few years after the Faculty Center was completed, illustrating the achievement and respect both designers had attained by that point in their careers. Eckbo’s design carries his signature features — respect for the natural landscape, use of native vegetation, and his addition and relationship to modern art in the landscape.

American landscape architect and a founding partner of EDAW (Eckbo, Dean, Austin and Williams), Garrett Eckbo was born in Cooperstown, New York, in 1910 but was raised in California. His father was Norwegian. At the age 22, after working in a bank, Garrett Eckbo enrolled to study landscape architecture at Berkeley. After graduating, Eckbo spent a year working on garden designs for a nursery and then won a scholarship to study at the Harvard Graduate School of Design. While there he made friends with landscape architects Dan Kiley and Jaires Rose. Together the three of them became disenchanted with the Beaux-Arts curriculum that was being taught at the time. Instead they were influenced by modernist architect Walter Gropius, and admired landscape architect Fletcher Steele who is widely regarded as the key figure in the transition from Beaux Arts formalism to modern landscape design. In 1938 Eckbo returned to California and worked briefly with Thomas Church. After two weeks, he took ajob with the Farm Security Administration which had attracted him back to California in the first place, and worked primarily on designing camps and recreational facilities.

During the war years Garrett Eckbo worked on housing projects and after the war he set up a practice with Robert Royston arid Edward Williams. There was a housing boom and numerous opportunities for the young firm. During his long career, Eckbo designed hundreds of residential gardens, following tenets developed by Steele. His first book Landscape for Living (1950) showed a fresh new Californian approach to the modem garden.

For the University of Washington Faculty Center, Eckbo was the consulting landscape architect of record, although records also show he was in a partnership with Dean and Edward Williams. Eckbo became chairman of the Berkeley Department of Landscape Architecture in 1963, and shortly after the renowned firm of EDAW (Eckbo Dean Austin and Williams) was founded and undertook a wide range of large-scale landscape architecture projects (campuses, malls, shopping centers, regional plans). Geoffrey

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Section number 8 Page 11 of 11

This modernist ideal is also seen in the expression of structure that is displayed eloquently in the exterior as well as the interior of the Faculty Center. The structural steel is detailed with great care with great articulation of the building elements. Both architects respected the use of steel structure and the rigor of the modular grid is kept throughout the building. With the exposed detailing in the steel beams,best seen at the upper floor where the volume cantileversover the lower floor, respect for the industrialmaterial is expressedwhile still maintaininga residential scale of comfort for the buildings. Simple,modernist expression of brick, steel, glass and concrete maintain this exterior desire for a material simplicity. The interior panels and finishes play an important part in marrying modernist forms together with local traditions and materials. Nearly every room is finished with some detailing of local softwood varieties, either in the ceiling or wall plane, to bring in a sense of warmth to balance the steel and glass façade, and to create a sense of regionalism. Artwork was commissioned or on loan by local architects to articulate the respect for local artists and modem artwork in the interior and exterior.

This collaboration between two of the most respected Seattle architects of the last century created the only building of its type on the University of Washington campus, and the best example of the International Style in the Pacific Northwest. The building still stands as it did when first constructed, with only minor modifications, as a monument to two designers in our region who were able to bring a local sensibility to an influential global trend. NPS Form 10-900a 0MB No. 1024.0018 (Rev 886)

United States Department of the Interior National Park Service National Register of Historic Places

Continuation Sheet - UNIvERSrn’ OF WASHINGTON FACULTYCENTER KING CouNTY, WASHINGTON

Section number 9 Page 1 of 2

Bibliography

‘A Campus in Transition - Univeristy of Washinton Builds on Firm Foundations.” WesternArchitect, July 1961: 22-29.

Clausen,Meredith L. “Paul Thiry.” In Shaping Seattle Architecture:A Historical Guide to the Architects, by Editor Jeffrey Karl

Ocbsner. Seattle and London, Washington: University of Washington Press,

Club, Faculty Men’s and Women’s. “Joint Meeting.” Paper ofthe Faculty Menr and Wornens Club. Seattle: Accession No. 79-

35, Box 3, November29, 1949.

Faculty Women’sClub. A BHefHisiorv of the Faculty WornenvClub, 1909-1960. Report, University of Washington Faculty

Women’sClub, Seattle: Self Published, 1960.

Gates. Charles M. TheFirst Centuryat the Universityofshington: 1861-1961.Seattle, WA: University of Washington Press,

1961.

Lindsay, Anne. “EvoluLionof the Faculty Club at the University of Washington.” Thesisfor Master ofArchitecture. Seattle:

University of Washington, June 1987.

Ochner, Jeffi’eyKarl, ed. Shaping Seattle Architecture. Edited by Jeffrey Karl Ochsner. Seattle: University of Washington Press,

1994.

Pacific Bulider and Engineer. “Hoo Hoo House at the AYP Exposition.” Pacific Builder and Engineer, June 1909: 234-236.

Progressive Architecture. “Faculty Center Building at the University of Washington.” Progressive Architecture, July 1961: 114-

121.

Roth, Leland. A ConciseHistory ofAtnerican Architecture. Edited by Icon Editors. New York: Harper and Row, 1979.

Scully, Vincent. Modern Architecture, New York: George Braziller, 1984.

Steinbreuck, Victor. Market Skerchhook,Seattle: University of Washington Press, 1968.

Steinbrueck, Peter, interview by Kathryn Rogers Merlino. Inien’iev with Peter Steinhrueckon his Fatherc Role at the

University of WashingronEdited by Kathryn Rogers Merlino. Seattle, WA, (March 6, 2008). NPS Form 1O9OOa OM No, 1024-Co18 (Rev. 8.6)

United States Department of the Interior National Park Service National Register of Historic Places Continuation Sheet - UNIvERsITY OF WASHINGTON FAcULrT’ CENTER KING CouNm’, WASHINGTON

Section number 9 Page 2 of 2

Steinbrueck, Victor. A Guide to the Architecture of Seattle, 1850-1953. New York: Reinhold Publishing Co., 1953.

—. Seattle Cityscape#2. Seattle: University of Washington Press, 1973.

—* Seattle Cityscape. Seattle: University of Washington Press, 1962.

Unknown. “A Campus in Transition - Univeristy of Washington Builds on Firm Foundations.” Western Architect. July 1961: 22-

29.

Victor Steinbrueck. and Folke Nyberg. A Visual Invenroty qf Buildings and Urban Design Resourcesfor Seattle, Washington.

Seattle: Historic Seattle Preservation and Development Authority, 1975-77.

Woodbridge, Sally 13.,and Roger Montgomery. A Guide to Architecture in WashingtonState. Seattle and London: University of

Washington Press, 1980.

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date

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1969:

1968:

1967:

1966:

1966:

1964:

1963:

1964:

1962:

1962:

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Seattle

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McKinley

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Homemakers

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Unitarian

AlA

Fleming

AlA

Office

French

1961:

Residence

Residence

Residence

Center

(Anacortes):

Awards:

Awards:

(9431

&

Residence(l0161 Northgate

Complex

McKinley,

(3202

&

Wallace,

&

Residence &

McKinley

(Longbranch):

Arts

Apartments

Kirk

Building

Associates;

Associates

Assoc.;

(5756

(300

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Architects;

Living

17th

Residence

Building:

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Church

(3204

East

Complex

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Office

(Juanita

(107

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Webster

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Clinic Ave.

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Seattle):

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&

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Seattle):

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Seattle):

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Kirk

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Magnolia

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Architecture,

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Ci!-scape.

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Seattle

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Steinbrueck

Medical

Faculty

Honor

Mason

AlA

Medical

Branch,

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Award:

#2.

Seattle,

Victor

Center

Center,

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1st

1850-]

Residence

Seattle,

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Seattle

University

Steinbrueck

Building:

953.

AlA

Everett:

ed.

University

Bellevue:

Public

Seattle:

(Richmond

New

&

Associates;

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of

Paul

York,:

Residence

Library

Washington

University

of

Paul

Hayden

Hayden

Washington

Beach):

Reinhold,

Hayden

(34th

Kirk;

(1401

Kirk

of

Victor

Press,

Ave.

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1953.

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East

W.

1962.

Steinbrueck;

Spring

&

&

1973.

West

Assoc.

Press,

St.,

Armour

Victor

Seattle):

1978.

St.,

Steinbrueck

Victor

Seattle):

Kirk, AlA.

06.

05.

04.

03.

02.

01.

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