ATTACHMENT 2 Appeal
ATTACHMENT 2 TO CITY COUNCIL STAFF REPORT
APPEAL OF PLANNING COMMISSION ACTION AND LETTER OF APPEAL FILED BY DANIEL RUARK DATED AUGUST 28, 2017 RECEIVED AUG 2 8 2017
APPEAL OF City of Belvedere PLANNING COMMISSION ACTION CITYOFBELVEDERE •CITY COUNCIL 450SANRAFAELAVE • BELVEDERE,CA94920-2336 PH.415-435-3838 • FAX415-435-0430 • WWW.CITYOFBELVEDERE.ORG
FORSTAFF USE ONLY
Appeals must be checked for sufficiency by the Office of the City Attorney before they are accepted by Staff. oate: 8/ae/ 11- Rec'd. by: AeF Amount: §\:: 6ci-3' C:-0 Receipt No.: d,[email protected]
APPEAL PROCEDURE
Appeals of actions taken by the Planning Commission are governed by Section 20.04.070 of the Belvedere Municipal Code and must conform to the provisions thereof:
The applicant or any interested person may file an appeal with the City Council from any denial, approval or conditional approval of any application by the Planning Commission pursuant to this Chapter. Said appeal shall be in writing and shall be filed with the City Clerk not later than the tenth calendar day after the Planning Commission's action. Appeals shall set forth the alleged inconsistency or nonconformity with procedures or criteria set forth in this Chapter, and shall be accompanied by a filing fee as is hereafter fixed from time to time by City Council resolution. The City Clerk shall, not less than ten calendar days prior to the date set for the Council hearing on the appeal, give written notice to the appellant or his representative, and to the property owner, of the date, time and place of the hearing. The Council may affirm, reverse or modify the decision of the Planning Commission, at all times being guided by the criteria set forth in this Chapter. The Building Official, Planning Consultant, and Planning Commission shall each be advised of the Council decision.
The appeal fee is currently set at $523.00 and is nonrefundable.
To protect the rights of all parties, the appeal will normally be scheduled for hearing at the next available City Council meeting occurring not less than two weeks after the appeal is filed, providing that the necessary noticing requirements can be met. Any request for delay or continuance of the hearing is subject to approval by the property owner and the City Council.
APPELLANT INFORMATION
Appellant is: 0 Property owner MOther interested party Name of Appellant: t2A.N. H::L F-ilAF:"'- Mailing (.Q l SUC\LE bti:W '11:. Daytime phone: (4<-s)::Zo9.- -J.,-;2- Address: ~AUS6..LtJ0 1 CA C):f5Gz15
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BASIS. OF.APPEAL
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Since the finding of no historic status is unsupported, a categorical and/or common sense exemption from CEQA and approval of demolition per Resolution #2 are also unsupported. The basis for the appeal is summarized below and will be supplemented prior to and at the hearing on appeal: • City's documentation regarding the historic significance of 1 Belvedere Avenue is considerably insufficient and incomplete. The City commissioned a Historic Resource Evaluation (HRE) in June 2012 {completed/submitted July 6, 2012) from the highly qualified Historic Consultant Garavaglia Architecture, Inc. The consultant researched and documented the property and its architect from sources available at the time--cited as fact with supporting bibliographic references. Only this document has properly evaluated the property on the State of California's standards and criteria required to assess its historical significance. Based upon this evaluation in 2012, the consultant determined that the property represented an architectural historic resource and was potentially eligible for listing in the California Register of Historic Places. Please note that the HRE is the first step and springboard towards listing in the California or even the Federal register. However, in the case of a private residence it would require the approval of the private property owner to submit the nomination for listing purposes. This property had not reached the threshold of 45 years of age within the original commissioning family's tenure {the Eldreds)-as much as they desired to have taken this action towards nominating their residence to the California Register. 1 Belvedere Avenue was not eligible until 2008, and by that time the property had already changed hands twice-and the direction of its fate changed dramatically as well. • Now after more than five years have passed, significant new information has become available regarding the importance of architect Aaron Green and the historical significance of the residence at 1 Belvedere Avenue (please see citations within and attachments to Daniel Ruark letter to the Planning Commission dated August 3, 2017, as well as letters of support for the preservation of the property, particularly from preeminent authors regarding Bay Area architecture, David Weinstein and Alan Hess, including a letter from Stanford Professor ofArchitecture and Art History and author Paul Turner). To inform its decision, the City should return to Garavaglia Architecture to update the 2012 report with the considerable amount of new evidence that has emerged in the last five years. The City's conclusion that Aaron Green is not a master architect and that 1 Belvedere Avenue is not historically significant are based on incomplete facts and analysis. • Preservation Architecture's (Mark Hulbert) letter ofJuly 31, 2017 lacks full analysis and is unsupported opinion that does not rise to the level of substantial evidence. The author criticizes portions of the 2012 HRE and opines on irrelevancies, such as the visibility of the house from outside the property. The author offers an opinion of the status of architect Aaron Green without supportive evidence. His short letter of opinion cannot stand up as a creditable "professional study," yet the letter is relied upon by Planning Staff and the Planning Commissioners. • The City should return to Garavaglia Architecture to update their 2012 Historic Resource Evaluation, rather than accept a applicant/owner commissioned letter as sufficient basis for such an important decision regarding a valuable asset to the City. Planning Commissioner Larry Stoehr expressed a similar sentiment in his comments at the meeting of August 15th, lamenting that the Commission could be rushing to judgment, that the Planning Staff report was "weak" with respect to proper evaluation of the property as a historic resource and believed the 2012 Historic Resource Evaluation should be updated. •The Belvedere Municipal Code, Title 21-Historic Preservation, Chapter 21.04 "Findings and Purposes" states that "the City Council finds that the Legislature of the State of California has recognized the value of protecting and preserving sites and structures of historic, aesthetic and architectural importance and has empowered cities to adopt regulations and incentives to achieve those aims. The City Council further finds that the people of the City and the public generally will be well served by the protection and preservation of such significant sites and structures, which impart a distinct aspect to the City and which serve as visible reminders of the historical heritage of the City or the State." The chapter goes on to list the purposes of Historic Preservation relative to the City of Belvedere. The City documented in the 2012 Historic Resource Evaluation that there exists an architecturally historic resource at 1 Belvedere Avenue. From the outset of this process, I have been in contact with the State of California Office of 2 Historic Preservation (OHP), CEQA Unit, with respect to the identification of this property in 2012 as a historic resource with potential to be listed on the California Register of Historic Places. The Planning Staff knows of this and have been contacted by a representative of OHP. OHP is aware of the 2012 HRE that was prepared for the property and is monitoring this matter. The fact that an HRE has already identified the property as historically significant-on a State, not local level-should be a matter of serious concern to the City Council-as it is to the State of California-particularly as actions are being taken for its demolition and removal. • The purpose of the Belvedere Historic Preservation Committee (HPC) is to primarily evaluate properties for consideration as local landmarks, whether identified by the Committee themselves or submitted by property owners. The 1 Belvedere Avenue property and its architect has been determined a historical resource and significant at the State level by a Historic Resource consultant in an HRE commissioned and paid for by the City in 2012. There is now considerably more compelling evidence to support this finding. This is not a matter that falls within the HPC's local purview-even if they believe they would not distinguish the property as a Belvedere landmark. The matter which the HPC opined upon at their meeting ofJuly 23, 2012 with respect to 1 Belvedere Avenue and its architect Aaron Green was not a subject which they were even qualified or prepared to address-as witnessed in the audio archive recording of their meeting. To the extent that the Committee as a body could not speak with any real confidence or authority relative to the property being an exemplary example of its style or the significance ofAaron Green as a master architect is strikingly revealing in this respect. And yet, their opinions and decisions rendered that evening five years ago set the wheel in motion for the precarious position that 1 Belvedere is in today. For the 2017 application, the Planning Staff queried the current Chair of the HPC who again upheld their 2012 opinion. The opinion of the Historic Preservation Committee is irrelevant on the basis that the property and its architect have previously been researched and documented as historically significant on a State level, which exceeds the HPC's local scope and influence-therefore the HPC's input and opinions should be disregarded entirely. I respectfully request that the City of Belvedere grant this appeal and consider the questions of historic status and proposed demolition only upon the basis of substantial evidence following an adequately updated HRE commissioned by the City and paid for by the applicant. I respectfully request that the City Council deny and overturn the resolutions of the Planning Commission with respect to the proposed project at 1 Belvedere Avenue. y, £~,___£- crark, Architect cc: Historic Preservation Attorney Susan Brandt-Hawley, Brandt-Hawley Law Group 3 3 August 2017 City of Belvedere Planning Commission Belvedere City Hall 450 San Rafael Avenue Belvedere, CA 94920 Re: 1 Belvedere Avenue--Aaron Green-designed residence of historical significance Hearing Date: August 15, 2017 To the Planning Commissioners: I respectfully request that the application to completely demolish the historically significant residence at 1 Belvedere Avenue, designed by Architect Aaron G. Green, FAIA, be denied. Aaron Green is a significant architect of international renown. The design review application describes the current project as "construct a new family residence (6,204 sqft.), driveway, attached carpon, demo existing house, covered carpon and landscape" and "add off-street parking spaces." In my opinion, the proposed demolition that is a key pan of the application would have significant environmental impacts, relating to adverse impacts caused by the loss of the historic residence on the site and the adverse aesthetic impacts of that loss. The Historic Preservation Committee declined to find the residence historic when a panial demolition project was proposed in 2012, and it was approved via categorical exemption from the California Environmental Quality Act (CEQA). Since that time, significant new information has become available regarding the imponance of architect Aaron Green and the related eligibility of the residence at 1 Belvedere Avenue for the California Register. Even without new information, case law requires that the City consider historic qualifications anew. This new design review/demolition project requires CEQA analysis to inform consideration of demolition. Such environmental review would focus on significant project impacts and feasible alternatives to demolition: thus benefitting the environmental and cultural legacy of Belvedere. Master Architect Aaron Green was an apprentice to Frank Lloyd Wright and later, at Wright's request, became his West Coast Representative. Together, they opened a joint office in San Francisco, where Aaron Green served Wright on over 30 California projects from 1951 to the time of Wright's passing in April of 1959. Frank Lloyd Wright designated Aaron Green as his Associate for the design and construction of the Marin County Civic Center. Aaron Green succeeded in carrying out and completing Wright's design for his last civic project During the period of their association, Aaron Green maintained his own independent architectural practice primarily designing custom homes. After Frank Lloyd Wright's passing, Aaron Green's practice continued to grow and flourish. He designed and completed a broad and diverse mix of projects, which included churches, office buildings, community centers, public libraries, public housing projects, school buildings-in addition to the private homes. Construction of 1 Belvedere Avenue One ofAaron Green's projects was the home on Belvedere, at 1 Belvedere Avenue, for the Eldred family-a doctor and Chief of Urology for Kaiser Permanente, his wife, and their three children. Designed in 1962 with construction completed in 1963, it is a modest-sized two-story house of approximately 2,700 square feet with an architecturally matching carport of 500 square feet. Aaron Green was managing the design and construction of this residence at the same time he was overseeing the completion of the first phase of construction of the Marin County Civic Center as well as the beginning of its second phase. 2012 Project From a Memorandum issued by the Planning Manager on July 20, 2012: "On July 17, 2012, the Planning Commission considered a determination that an Environmental Impact Report (EIR) would be required under CEQA for proposed changes to the existing two-story residence at 1 Belvedere Avenue. According to a recent historic evaluation prepared by Garavaglia Architecture, the existing residence may be a "historic resource" and eligible for the California Register of Historic Resources." "The City contracted the services of an Architectural Historian (Garavaglia Architecture) to review the history of the existing residence. The Architectural Historian informed City Planning staff that the residence was potentially eligible for the California Register of Historical Resources. Staff informed the project applicant the same day and explained that the proposed project cannot be deemed exempt from the California Environmental Quality Act (CEQA). Demolition of a historic structure, including those deemed eligible for the California Register, require the preparation of an Environmental Impact Report (EIR) under law." "The basis for the current recommendation relies on two key findings that pertain to the protection of a potentially "historic resource" as defined by the California Environmental Quality Act (CEQA). The first finding (Finding 1) establishes that the project is subject to comply with CEQA on the basis that a potential historic resource is present. The second finding (Finding 2) is then applied to determine the significance of any potential impacts to the identified resource. The outcome of Finding 2 is the deciding factor as to whether potential impacts may be mitigated to a less than significant level or require further examination through the EIR process. According to CEQA, an EIR is required when there is a fair argument that a project may have a significant effect on the environment. Furthermore, pursuant to CEQA, any project that may 2 cause a substantial adverse change in the significance of an historical resource is a project that may have a significant effect on the environment." Please reference the Planning Manager's Staff Report ofJuly 13, 2012 for their more detailed analysis regarding the Findings as it applied to this property at the time, including relevant Attachment 2 of their report relating to CEQA's "Applicable Statute and Guidelines relating to Historic Resources" and Attachment 3 "Excerpts from the Secretary of the Interior's Standards for Rehabilitation." As well, please reference and review the Historic Resource Evaluation for 1 Belvedere Avenue, prepared by Garavaglia Architecture, dated July 6, 2012, as can be found filed with the City of Belvedere Planning Department or online via City of Belvedere's Historic Preservation Commission's Agenda for July 23, 2012: hup:j/~:' The matter was deferred by the Planning Commission to the Belvedere Historic Preservation Committee (HPC), who is, according to the City of Belvedere's website, a "seven-member committee is a quasi-legislative body appointed by the City Council to consider applications for historic preservation and make recommendations to the Planning Commission and/or City Council regarding the granting of historic preservation status. The committee meets periodically whenever an application is filed or a matter of business needs to be considered." They took up the matter of 1 Belvedere Avenue as their only matter of business for the meeting on the evening ofJuly 23, 2012. The minutes reflect that they were engaged by Planning Director Macdonald in a discussion requested by the Planning Commission primarily regarding the historical significance of the property: whether as the Historic Resources Evaluation concluded, 1) that Aaron Green is a master architect and 2) whether the buildings at 1 Belvedere Avenue embody the elements of the Second Bay Area Tradition style of architecture. To these questions, the Committee determined that neither was the case and when asked his opinion, the architect for the applicant's project also asserted that Aaron Green "was not a "master" nor was this house a specimen" (quoting from the meeting minutes). As a result, a Committee member made two motions, one that Aaron Green was "not a master architect," and the second "that 1 Belvedere Avenue does not embody the Second Bay Area Traditions because it is not a high example of this style, but it does include some of the elements of such style." These two votes and the recommendations of the HPC negated the findings of a professionally prepared Historic Resources Evaluation by a well-recognized Architectural Historian as well as the research and findings of the City's Planning Department-and has become the basis of the City's continuation to this time to assert and uphold that 1 Belvedere Avenue and Architect Aaron Green have no merit of historical significance. Please bear in mind that the owner/applicant at the time, throughout their ownership of the property from 2007 to the end of2016, were only asking for partial demolition of the house only that as needed to integrate the existing house with an addition. The owner's architect, at the rime, made statements of how much the owner appreciated the original house and wanted to preserve and restore that which would become the core living areas of the proposed home. The addition was for expansion of the lower floor bedroom level, as well as an attached garage. The Belvedere Historic Preservation Committee was not reviewing and discussing an application for a complete house demolition at this 2012 meeting. 3 In fact, it would be prudent for all to review the audio recording of this July 23, 2012 meeting. It presents the more complete range of the Committee's discussion regarding 1 Belvedere Avenue and Aaron Green than is actually recorded in the minutes--developing an entirely different impression as a result. The recording yields considerable insights regarding the Committee members' comprehension of the task entrusted to them by the Planning Commission-revealing members possessing little to no background or experience with architectural history and State law in order to speak with any real confidence or authority upon the matters and questions brought before them. Excerpts from the audio recording of the meeting follow below with specifically transcribed quotes given in italics: The Planning Commission had forwarded the project file to the Historic Preservation Committee (HPC) for comment with a number of questions about the house as well as the Planning Staff analysis found in the Staff Report. The Planning Manager summarized their concerns in two questions: 1) 'Whether or not the building had historic value because ofits association with Aaron Green-does that in and ofitself make the home associated with a master architect?" 2) "Even ifthe home was potentially historic, are the changes really that significant so that the changes are an "adverse change" to a historic resource?" Note: "Adverse change" as defined under CEQA means physical demolition, destruction, relocation, or alteration of the resource or its immediate surroundings such that the significance of an historical resource would be materially impaired. The Planning Manager was seeking comment on the matter from the HPC and intended to forward their recommendations to the Planning Commission at their next August 2012 meeting. One committee member immediately questioned whether the property was historic or not. Another committee member offered that the property had no historic value so the questions were "rather moot, "in his opinion. Further, he stated, if the HPC were to determine that the property had no historic value, then there would be no reason to have input on other issues. The Planning Manager sought to explain that the building is historic and the proposed changes (demolition) are "adverse changes" and impacts to that historic resource, then they have to submit to an EIR procedure which the Manager states they "would prefer to avoid that ifwe can. " The Planning Manager indicated she was hoping that if the HPC felt there could be changes that would make the application consistent with standards of historic preservation, then the project could be an exempted from the CEQA process and need for an EIR. One Committee member expressed his thoughts concerning standards for determining a "master architect" and even though he respected Aaron Green and knew of his role in the Marin County Civic Center project, he thought Green was a "fine architect" but did not fall into that category of being a "master architect." The Committee member had conducted his own independent search and analysis for information leading to a list of master architects. One list of "15 Top Bay Area Architects" that had been generated by a local writer presented names recognized by the Committee member, but Aaron Green's name was not upon that list, although he was surprised to point out that renowned Bay Area Architect Willis Polk's name was not there either. The second Committee member stated that he believed it doesn't "meet the criteria for an architect ofnote such that it warrants it as a historic thing" and continues to note "possibly ifwe were trying to 4 pass this or something at the owner's request, as we sometimes do, we might fadge a little bit, but I think under the circumstances I would have a hard time going along with this as an architect ofsuch renown that we by necessiry should have to recognize that. " The Planning Manager corrected this second Committee member, indicating that Planning Staff is operating from a different designation than what the City of Belvedere would use to designate a building because of its local importance. Instead, the standard for CEQA is whether it meets standards for California history, whether it's an architect or building of statewide importance. A third Committee member felt that, after reading the Historic Resources Evaluation that all he ''came away with was this should be preserved because Aaron Green designed it. In looking at the properry, I can see absolutely no reason to preserve it, but in lookingfor something historically significant, I'd like to put it another way--there should be significant historical value to preserve it- no one is ever going to see it, what public service are we providing ifno one can see itfrom above, below ... they are not interfering with any neighbors, the house is located too low on the property, they have to put in elevators, they would be better offand save a lot ofmoney ifthey moved it up ... " Another Committee member observed that what he noticed about the property that 'Jou really have to hunt, it's well-disguised, well hidden ... my feeling is it's questionable whether we want to recognize the house is the fact that it's not visible by the public whereas all ofour other properties are quite prominent in the Ciry ... what service is provided for the next 48 years ifyou can't see it? The only people going to see it are the owners and their guests. " The Planning Manager remarked that prior comments were once again more applicable to City designated landmarks "whereas Architectural Historians are lookingfor buildings where may have influenced foture building.r that can bring a better understanding to the particular architect or particular development ofan architectural sryle--all ofthose thing.r that are still out there even ifa building isn t peifectly obvious from the roadway. " One Committee member countered, '1t's the end ofa style, not the beginning ofa style--it's Maybeck!Wright style-and nothing new in it as I can see. " One Committee member stated that since "we are hitting that 45 year period, which is the 60s and 70s, the more historic architects are obviously known, they have more ofa reputation, then ...people are more familiar with it.. .I think that things that are hitting the mid-century are the thing.r that a lot of people don t agree have historic value or they re vacillating on it, so those are the ones that require a little bit more attention from us to make sure we aren't losing something ofvalue .. . they are less popular with the general public... another member interjects 'are you thinking that maybe in another 50 years they will be the important houses?" The Committee member continued: '1 just think we should give it a thought to not brush offquite so much that fact that it isn ta Julia Morgan ifyou want to consider that this fellow is maybe the Julia Morgan 50 years from now ... our opinion is going to matter here ,, now. A Committee member responded that "Were all older than all these houses we're looking at, that confoses us a little bit, but I think we have to use common sense that we're building a house for a family--! mean, I can imagine that Aaron Green, what he would say ifwe said "here's the house that's already on the properry, you've got to build around it and you cant change it much, you've got to make it look just like this ... "" 5 Another Committee member interjected that 'We do have a couple ofproperties on the island that were the more mid-century look and they have kind ofworked within the .framework ofwhat has already existed and come up with something really successJUl... it was my understanding that the owner wanted to preserve a good portion ofthis house. " The Owner's architect explained that he wished to "correct a misunderstanding, " sensing "that the owner wants to demolish the house and it's quite the opposite--they do want to preserve-the reason they purchased the house is that they like what they see, even though it's unlivable ... they want to keep the house and restore the house ... obviously they want to add onto it to accommodate their family, but I think what you'll see once the project is finished is that the house is basically restored and exists how it does today, with some slight addition-the wood siding will be the same, the pattern will be the same, the doors and windows will be the same-we just have to bring all ofthose things up to Code ... the design concept is to honor and respect this existing house and the addition is to complement and contrast it.. . I don t think anything is going to be lost here ...you'll still be able to represent the Second Bay Area Tradition and see all ofthose great details which is why the client purchased it, but they do need to update the house and make it work for their family as well " Committee member to Planning Manager and owner's architect: "It might be your preference to not have us determine it's historic and have it encouraged that you would retain, or try to work within the historic preservation guidelines, which you are probably pretty close to, and then you would get both, because I don t think, it doesn t seem you are that for off.from actually meeting those guidelines if you're preserving that much ofit, it's getting taken care of. ..you're excluded.from CEQA ifyou work within the historic guidelines for trying to preserve the house. " Another Committee member: '1 would move taking the language .from somewhat Staffhad except I'd say there is no need to require an Environmental determination and nothing significantly historic about this home, this house. " This motion retracted. 1) For the first motion, the Committee would declare "that Aaron Green is not, in our opinion, considered a "master architect. " The Planning Manager summarized that the HPC was disagreeing with the Historic Resources Evaluation's (HRE) conclusion that Aaron Green is a master architect. Question once again by the previous member why this first motion is necessary because he felt the Committee 'aoesn t think this property has significant historic value for a number of reasons. " Another Committee member responds that, "We 're giving advice-we 're basically giving our opinion to the Planning Commission. " 2) Second question of whether the house exemplifies or embodies distinctive characteristics of the "Second Bay Are Tradition." Committee member: '1 don't know quite what that is ... " Another Committee member offered his thoughts that he did think that architecture of the 60s and 70s were not particularly good for architecture and disagreed with the HRE. He believed that the house did not meet the criteria of character defining features as the report concluded. Another Committee member protested: ''Somehow that causes the implication that ifit is ofa sryle, that makes it historic. Everything is ofsome style, my house was built in a style, everybody's house was built in a style ... I dont see that that necessarily makes it a historic treasure. Things were built in certain styles, in certain periods oftime, and so ifyou look back in the history--every house has a history--!just don't, I have a hard time equating that with a determination that this is a historic structure that deserves special attention, either positively or negatively, so I would prefer not to vote as 6 to whether this is a particular architect or style because I reaOy don't know-but mainly, I don t think it's particularly relevant." Another Committee member stated in response: "I'm thinking we're acting on something we're not qualified to act on. " For clarification to the Committee, the Planning Manager reads Criterion 3 of the California Register evaluation that "the building embodies the distinctive characteristics ofa design style, period, region, or method ofconstruction, or represents the work ofa master, or possesses high artistic value. "So "It's a higher threshold than just "is it a style"-does it embody the style, is it the best or finest example ofthis style in Belvedere that you are aware of." Another Committee member: "I thought it did have some examples ofthe Second Bay Area Tradition-the natural materials, the wood, that what I was thinking that perhaps ifyou could retain all those-the natural materials, the use ofglass, the setting-that was the beginning ofnestling things into the property, they were no longer perched on top, they were nestled in, the organic feel ofthe house, the layering, and all ofthat is visible there. " "There are a number ofarchitects that are known from that period-we've looked at some. Most ofthem had to do with Berkeley--the Eshericks, and the Sea Ranch people, ifyou think about that era oftime, that's what they're (the Architectural Historian in the HRE) talking about. That's the period-it's kind ofa natural look, you know it's a use ofglass, use ofsetting, so it does foll into those." Different Committee member: '1 have a feeling that, with the plans as I see them, there's going to be a lot ofthe Second Bay Area Tradition left--the shapes, the balconies, the roof, the same slant- although there's going to be another house tacked onto it. I think what's left is still an example ofthe Bay Area Tradition, which we can point to and we can live with-maybe not the best in town, but I don t think we are losing a whole lot with this remodel " Another Committee member agreed: "It does embody the Tradition, and on its site, you know those enormous windows and that beautiful view-it is special to the site and ifwe can somehow add our advice, we would encourage the owner to preserve as much as he can ofthe house, even though it has to be upgraded... seeing it today was entirely different than looking at it there (indicating the drawings), but you know that the way that it is set into the site, it has the natural wood... so if .. we could add our advice on that, even though we may not say that this is the best example ofthe Tradition, it's still worth preserving and we would encourage the owner to do that, but it doesn t rise to the category ofa historical preservation-would be terrific ifit could. One ofthe things we usually do when something does voluntarily get listed with us is, we're always very happy when someone wants to take a property and work with it, and we're open to all kinds ofthings-renovation to it-because we're encouraging people to preserve the treasures that they can. I felt the house was close to that. " Another Committee member: ''What I hear andfeel is that we like to see, maybe keep the look and feel but I hesitate to impose the historic significance which then requires so much more that we re talking an Environmental Impact Report-I mean that just boggles the mind that we should have a "Financial Impact Report. "" Another Committee member: '1t does include some elements ofthat Tradition, and we compliment the applicant on their efforts to preserve those elements that's in their submitted design. " 7 Informed by the complete contents of this July 23, 2012 discussion, the justification of the HPC's decision not to find 1 Belvedere Avenue historically significant was based on the limited information then available and also the fact that the proposed project would retain the character~ defining features of the residence. The 2012 project only proposed limited and selective demolition for the purposes of attaching an additional building and expanding square footage. Otherwise, the owner in 2012 fully appreciated, respected and intended to preserve as well as restore the house back to its original quality. This was not an application for complete demolition and removal of the buildings on the property. In fact, the HPC's recommendations were to allow the applicant/owner to proceed with limited demolition in order to accommodate the planned additions, with the understanding that the original house would be preserved intact and restored for use. 2017 Demolition Project The current project proposal is for complete demolition. The evaluation in 2012 cannot be relied upon, and it was prepared under very different facts and without expert analysis aside from the Historic Resources Evaluation prepared by Garavaglia Architecture. Five years has passed since the completion of the Historic Resources Evaluation. In five years, the recognition of the life and work of Architect Aaron Green has grown considerably. The questions that the Planning Staff asked then can now be more fully and completely answered-and should be. One HPC member did have some foresight in 2012 in musing that he thought the Committee should not brush the matter off, that Aaron Green might become more significant and recognized over rime. It didn't take 50 years as he speculated, it only took five. By the time of this writing, and since July 23, 2012, these events concerning the importance of Aaron Green and his architectural contributions to the American landscape have emerged: • The first book dedicated to presenting the life and work of Architect Aaron Green is being published for release next month. The book "Aaron G. Green: Organic Architecture beyond Frank Lloyd Wright," focuses upon close to forty ofAaron Green's most significant works, one of which is the Eldred Residence at 1 Belvedere Avenue (advance excerpts from the book regarding this property made available by the author and are attached to this letter) • In 2016, the book "Frank Lloyd Wright and San Francisco" was published by Paul V . Turner, Emeritus Professor ofAtt and Att History at Stanford University. Aaron Green, and his association with Frank Lloyd Wright, as well as the work of his office, figures prominently throughout this book. • In 2015, the book "John H. Howe, Architect: From Taliesin Apprentice to Master of Organic Design" was published by Jane King Hession and Tim Quigley. John Howe, like Aaron Green, was an early apprentice to Frank Lloyd Wright, who became Wright's chief draftsman as well as a gifred and prolific architect. After Wright's passing, Howe joined Aaron Green's office in San Francisco for several years before returning to Minnesota to establish an independent practice. A chapter of this book is devoted to detailing the time Howe spent in Aaron Green's office as well as the projects of Green's he worked upon. 8 • From January through end of May 2017, an exhibition of the work of Aaron Green was presented at the Palos Verde Art Center, curated by Alan Hess, architecture critic for the San Jose Mercury News, as well as architect and historian who has written nineteen books of Modern architecture and urbanism in the mid-twentieth century. This exhibition was coupled with an open house viewing of a nearby residence completed by Aaron Green in 1959. (sheet documenting exhibition announcement attached) • On July 19, 2017, the City of Florence, Alabama announced that they selected Aaron Green as one of three inductees to their "Walk ofHonor"--adding a bronze plaque to a monument on their walk for permanent display. The Walk of Honor Committee pronounced that Aaron Green was "most deserving of this honor for his accomplishments as an internationally recognized architect." One ofAaron Green's earliest projects as a young architect was for a design of a house for his friends, a newly married couple. At one point in the process, he suggested to his clients that they should really engage the services of Frank Lloyd Wright, who was embarking upon a new direction for modest cost homes. This led to Green's introduction to Wright, as well as Wright's only built project in Florence, Alabama-the Rosenbaum Residence, which is listed upon the National Register of Historic Places. (letter from City of Florence attached) • The Marin County Civic Center, where Frank Lloyd Wright designated Aaron Green as his Associate Architect (and an original bronze plaque bears testimony to that unique privilege that is mounted at the entrance) was listed in the National Register of Historic Places in 1991. Recently, in 2016 the Marin County Civic Center was nominated as an UNESCO World Heritage site, along with nine other significant buildings designed by Frank Lloyd Wright. • Last Friday, July 28, 2017, the California State Historic Resources Commission unanimously approved the nomination of the Marin City Public Housing project to the National Register of Historic Places as a historic district of 29 original buildings on nearly 30 acres of property-an individual first for Aaron Green. Aaron Green was the Design Architect for the project in association with Architect John Carl Warnecke and Landscape Architect Lawrence Halprin. In their comments to the audience, Commission Luis Hoyos, representing Architectural History, remarked that, "I think this is a remarkable place. I recognize the care and design of the three master designers who produced this wonderful place." (July 28, 2017 article from the Marin Independent Journal attached) Historic Significance of 1 Belvedere Avenue The residence at 1 Belvedere Avenue reflects a dear pedigree to Wright's own work and based upon his design philosophies. Aaron Green was one of Frank Lloyd Wright's most trusted Associates and once said that "everything I have ever learned about architecture I owe to Frank Lloyd Wright." The residence shares the "open floor plan" arrangement originated by Wright the Living Room, Dining Room, Music Room, and Kitchen are all main floor areas that flow together under the broad gabled roof volume-a "Great Room" in today's terminology. A common feature to nearly all of Wright's residences, 1 Belvedere possesses a massive fireplace (of narrow red concrete masonry bricks with a patterned concrete mantel) that anchors the house to its site and is a focal point of all the social areas of the main floor's Great Room. Redwood. 9 siding is used exactly the same on the interior as the exterior-horizontal boards with vertical batten strips-an expression of the honest use of materials as well as a seamless visual aesthetic at every turn. A departure from Wright is Aaron Green's bold expression of structure in exposing the post and beam system of construction, which adds a rhythmic and unifying character to the overall composition. Another design characteristic entirely ofAaron Green's origin, almost a signature, is the dramatic splitting of the roofs gable ends-the apt-named "swallow's tail" arrangement, an early such use of this distinct feature, but appearing in later residences over the remainder ofAaron Green's career. Similar to Wright's work, Aaron Green designed and incorporated into the interior all built-in cabinetry and furniture, including a large, comfortable L-shaped sofa in the Living area that faced the fireplace. Green designed an original 8-foot long dining table built entirely of teak hardwood and numerous small moveable tables and hassocks. Most of the remainder of the built-in cabinetry was constructed of a fine-grained Mahogany, clear stained. The house is not "abandoned" as the Design Review application states, but is in actuality "unlivable" in its current condition. This is because of the wholly abusive and neglectful actions on the part of a succession of three owners since the property was owned by the Eldred family. At the time of its first sale out of the Eldred family's hands, the house and property were in pristine vintage condition. The Eldreds loved their house and maintained it at a high standard and virtually unchanged from the day it was built. At the time the house first sold in 2004, the house and its interior looked exactly as it did in the vintage black and white photographs from 1963--over 40 years of dedicated care. Not long after the house changed hands, however, the first purchaser, a San Francisco developer, applied for a demolition permit for the interior-and proceeded to dismantle nearly all of the non-load bearing partitions and built-in furniture throughout both levels of the house. The massive masonry fireplace is unchanged. None of this selective interior demolition has compromised the structural integrity of the house. There was no demolition whatsoever to the exterior of the house. The exterior shell is completely intact in both materials and all distinctive design features. It is essentially an unlivable house that has not been occupied or received any maintenance for thirteen years, so it looks as one would expect if they never maintained their own home for such a long period of time. Subsequent owners have done nothing to stabilize or maintain the house-just left it in a neglected condition for over ten years. The house looks the same as it has since the first purchaser completed his interior dismantling around 2006. A series of 1963 post-construction B+ W photographs of the residence as well as color photographs from 2003/2004 at the time when the property first appeared on the market, have been assembled and presented in an attached document accompanying this letter. Summary/Request The 2012 determination that 1 Belvedere Avenue was not historically significant was inadequately supported; even more important, it is out of date and a new evaluation of historic status by the City is required (see, e.g. Valley Advocates v. City ofFresno). I respectfully request that the Planning Commission deny the application for the full demolition permit, based on 1 Belvedere Avenue's significant aesthetics as well its qualifications as an historical resource at the State level. 1 Belvedere Avenue is a historically significant resource designed by master architect Aaron Green. 10 The applicant should be required to evaluate an alternative that preserves and restores the house materially intact with all distinctive characteristics that serve to define its unique and singular architecture, without "adverse changes," but expanded in a manner that sensitively blends alterations/additions with the existing architectural vocabulary. It is understood that the house and property must adapt to new families and current Codes, and all can be accomplished in a skilled, sensitive manner, as suggested in 2012 and supported by City staff and the HPC. The City of Belvedere should be proud that it has within its community a exemplary built work by architect Aaron Green, a mid-century Modern architectural masterpiece distinctively influenced by his mentor, Frank Lloyd Wright-the only one of its kind on the island-rather than being an active participant in the insensitive disregard and demolition of an historic resource. It's not too late to protect the historical significance of both 1 Belvedere Avenue and it's architect Aaron Green. ~~..,_..... £_ ~rk, Architect Attachments: 1) Excerpts from "Aaron G. Green: Organic Architecture beyond Frank Lloyd Wright," publication release September 2017, as it pertains to 1 Belvedere Avenue 2) Exhibition announcement for "Aaron G. Green and California Organic Architecture," January 21 through May 28, 2017 3) Letter from City of Florence, Alabama, dated July 19, 2017 inducting Aaron Green to "Walk of Honor" 4) Marin Independent Journal article, dated July 28, 2017 concerning the approval of the nomination to the National Register of Historic Places for the Aaron Green-designed Marin City Public Housing 5) Document presenting photographs of I Belvedere Avenue-both post-construction B+ W images from 1963 and color images form 2003/2004 at the time it was first put on the market cc: Irene Borba, Director of Planning & Building, City of Belvedere Craig Middleton, Belvedere City Manager Historic Preservation Attorney Susan Brandt-Hawley, Brandt-Hawley Law Group 11 -----Original Message----- From: Alan Hess <£1.Jarih~_s@_gmaiJ&Qm> To: rmarkwick August14,2017 To: City of Belvedere Planning Commission From: Alan Hess RE: August 15, 2007 public hearing regarding regarding Application for Demolition, New House Plans and Variance Requests at One Belvedere Avenue, Belvedere, California To the Commissioners: I join with distinguished experts and historians to strongly urge you to protect the Eldred House by architect Aaron Green, FAIA. It is an excellent example of his work. Furthermore, it represents an extraordinary period of architectural creativity throughout the Bay Area, in Marin County, and especially in the Belvedere/Tiburon area. Marin County residents have always appreciated the special character of this area and its great respect for the natural setting. Fortunately there was a group of extraordinarily talented architects in the mid-twentieth century who were able to translate that desire into remarkably designed buildings. Aaron Green was a leader in this group. This house represents a legacy that should be allowed to continue for future generations. This house enhances the quality and value of Belvedere, establishing its unique character unlike any other place in California. I say this as an architect and architectural historian who has published nineteen books, many on the architecture of twentieth century California. I can say without question that the architecture of Belvedere is a special chapter in this story. Aaron Green played a major role in defining this character of Marin County. As an apprentice and close associate of Frank Loyd Wright, he brought a high level of quality and concept to his architecture; key to this was his creative ability to blend the house with the distinctive natural setting (the trees, views, mountains, and bay) through the use of natural materials, indoor-outdoor spaces, thoughtful siting, and well-crafted detailing. Green's significance was just recently reaffirmed with the approval of his Marin City as a landmark on the National Register of Historic Places. Green's close involvement with Frank Lloyd Wright on the Marin County Civic Center (Green was central in bringing this world-class building to the county) is another example of his significance. I had the honor of curating an exhibit on Green's career this year at the Palos Verdes Art Center; here is the link to the documentation and photographs in that exhibit: http_:[Lc::ii!_[OJJ99r?~IJ,QI9 Unfortunately, Belvedere has already lost many important examples of this remarkably innovative period in architecture. This does not have to continue. Please join with me and other experts in recognizing and protecting the Eldred Houses so that its example can continue to inspire high quality architecture here. Sincerely, Alan Hess Alan Hess architect 4991 Corkwood Lane Irvine, CA 92612 949 551 5343 fil"2D_hess._n~1 RE'CE1Vr1 August 7, 2017 City of Belvec:: ·:::: To Planning Commission Chair Marsha Lasky CC: Planning director Irene Borba I am writing in reference to a proposal to demolish the Eldred residence, which was designed by the great Bay Area master architect Aaron Green. As a writer about architecture and design in the Bay Area for many years, I am very familiar with the work of Aaron Green and have written about it for the San Francisco Chronicle and for CA Modern magazine. As one of the closest associates of Frank Lloyd Wright, the only architect to share an office with Wright that had both men's names on the door, Green was clearly a deeply respected man in his field. His work, while indebted to that of Wright, was also very creative on its own. This can be seen in the Eldred house, with a distinctive roof-line that is so sympathetic to its hillside setting and its prow-shaped forms suggesting the sea. The interior of this house is dreamlike in its combination of openness to the outside and to the view, and in its cave-like warmth. Green's work is historically important in many ways, and one of the ways seen clearly in the Eldred house is how Green bridged the work of Wright and the Bay Area modernists who were so influenced by Wright, including Jack Hillmer, Henrik Bull, Robert Anshen and many others. To compare the work of Green, who worked closely with Wright, and those of the architects who simply were influenced by Wright, can be enlightening. As I wrote about Aaron Green for a profile in the San Francisco Chronicle: SIGNATURE STYLE: Aaron Green I Getting it Wright I Bay Area architect forme ... "For eight years Green ran Wright's West Coast practice as well as his own, the only disciple ever chosen to run one of the Master's offices." And, from that same piece, note that some architects have considered Green even more of a master than Green's master Mr. Wright: "During his 60-plus-year career, Green designed more than 200 homes, often of brick and stone and natural wood, long and low to the ground, with open plans and walls of glass, broad brick chimneys, bravely cantilevered eaves and decks and roofs shaped liked arrowheads. Green also designed public housing, public and commercial buildings, churches and cemeteries. "Green was one of Wright's most creative disciples. "His work is quiet and fine and modest," says architect Daniel Liebermann, who worked with both men. "In some respects I think Aaron's earlier smaller buildings were better than Wright buildings. They were a little more open and a little quieter and a little smoother." In considering the work of Wright, and the Eldred house in particular, please make no mistake: This is a superb house, a great example of Bay Area Modernism, and the work ofa true master architect. Dave Weinstein Freelance writer, photographer 155 Ashbury Ave. El Cerrito, CA 94530 510-524-1737 [email protected] www.davidsweinstein.com Nancy Miller - Secretary From: Rebecca Markwick- Associate Planner Sent Sunday, August 06, 2017 6:14 AM To: Nancy Miller - Secretary Subject: Fwd: Aaron Green house, 1 Belvedere Avenue RECEIVED Will you add this letter to the PC packet too. AUG 0 ~2f117 Thanks! City of Belvedere Sent from my iPhone Begin forwarded message: From: Paul Turner To: City of Belvedere Planning Commission From: Paul V. Turner Date: August 5, 2017 I'm writing in support of the preservation of the Eldred House, at 1 Belvedere Avenue in Belvedere, designed by the architect Aaron Green in 1962. This house is one of the best examples of Green's work, and of Bay Area residential architecture in general. Aaron Green was one of Frank Lloyd Wright's apprentices, and in 1951 Wright chose him to be his Bay Area associate, in charge of Wright's only branch office, in San Francisco. Until Wright's death in 1959, Green worked with him on his many Northern California projects and supervised their construction. He played an especially important role in the creation of the Marin County Civic Center, working with Wright on the project throughout the design of the complex, and then supervising its construction following Wright's death. At the same time, Green developed his own architectural career, producing a large number of important buildings--private houses, public buildings, churches, and other types ofbuildings--works that were at the forefront of architectural design in the Bay Area. The Eldred House represents the finest aspects of Green's work, and of Bay Area architecture of the mid-twentieth century. It has characteristics of Wright's architecture, for example in the prominently projecting roofs and decks, the natural use of materials, and the clear expression of the building's structure. But it's not a copy of Wright's work; it has its own original and innovative character, and overall it epitomizes what's often called Bay Area Regionalist architecture. Its demolition would be a major loss to the architectural heritage of Marin County and the greater San Francisco area. I urge that every effort be made to preserve this important architectural work. Sincerely yours, 1 Paul V. Turner Professor of Architectural History, Emeritus Stanford University 2 From: Randolph C. Henning, Architect [m?iltQ_;_rctJ@I<::b_~m::blte;g,~Qm] Sent: Friday, August 11, 2017 3:53 PM To: 'rmQLkY'li<::k@s;:iJ:yQfQ~J\'~c:l_e;rn_,_Qfg' Cc: '!oorc:l~i@cityQfQel_\'~~r~,Qrg'; ·~mic:lc:llfilQD_@<::it:yQfbety_~der_~,Qrg' Subject: Elred House / 1 Belvedere Avenue / Belvedere, California To: The City of Belvedere Planning Commission Re: August 15, 2007 public hearing regarding Application for Demolition, New House Plans and Variance Requests at One Belvedere Avenue, Belvedere, California I am writing this email to ask that you oppose any application for demolition and, in turn, advocate for and support the preservation of the Eldred house located at 1 Belvedere Avenue in Belvedere, California. The Eldred house was designed by Aaron G. Green, FAIA in 1962. Green (1917-2001) was a highly respected and award winning Bay Area architect for 50 years. The American architect Frank Lloyd Wright thought so much of Green that he named him his Associate Architect to oversee all his West Coast projects from 1951 until (Wright's death in) 1959. Green was instrumental in Wright's participation as the architect in the design of the world famous Marin County Civic Center, one of Wright's many masterworks. Without question, the Eldred house is an important and significant example of Aaron Green's architectural genius, one of the best residential designs in his entire oeuvre as well as a flawless example of how architecture is meant to grace the land it's built upon, not disgrace it. The City of Belvedere should recognize the existence of such an architectural masterpiece as an incredible blessing as well as an honest and proud historical asset. The demolition of such an architectural treasure would be like burning the Mona Lisa or cutting down the majestic redwoods. I have recently written an architectural biography on Aaron Green's architectural life work. It is being published by ORO Editions (Novato, CA) and will be available in the Fall of 2017. The book features the Eldred house as one of Green's masterworks. During one of my many visits to the Bay area I personally visited the Eldred house and came away feeling like I had experienced a natural harmonic conversation between man and nature. To be respectful of your past and responsible for your future you need to act appropriately in the present. SAVE THE ELDRED HOUSE! Randy Henning Randolph C. Henning Member - Taliesin Fellows Board of Directors Author - Aaron G. Green: Organic Architecture Beyond Frank lloyd Wright RANDOLPH C. HENNING, ARCHITECT, INC. 6285 Shallowford Road, Suite 130 Lewisville, NC 27023-8801 (336) 946-2445 rch@rchar9'.llt~_cJ:_q_q_rn_ F i August 14, 2017 City of Belvedere Planning Commission Belvedere City Hall 450 San Rafael Avenue Belvedere, CA 94920 Re: 1 Belvedere Avenue-August 15, 2017 Hearing Concerning Demolition of Existing House and Other Matters Concerning the Property Dear Members of the Planning Commission: This letter is written to urge and support a finding by your Commission to deny the present permit application for complete demolition of the existing Aaron Green-designed house on the subject property. The question of historic significance of a property can be approached from several different perspectives, but I believe this house by Aaron Green stands by virtue of its own unique and special, inherent qualities as a treasure within the Belvedere community worthy of preservation and restoration as part of any future development at 1 Belvedere Avenue. Green's site plan for the property itself represents a masterful stroke of the highest order with respect to its sensitivity to the topography and environment, and the garage and house components of the Green-designed project are each reflective of a masterful level of architectural design. Much of value can be learned by preservation of this significant and laudable work of site planning and architecture by a very significant Boy Area architect. Save for certain brutal interior gutting permitted by the City in recent years, only thereafter to be left abandoned in unfinished state, all of which could be reversed and restored easily, I believe this property would likely qualify as a candidate for listing on the California register of historic places. Please undertake a course of action that will ensure to save this historic house from being lost as a vitally important part of the richness of architectural diversity one finds in Belvedere, Marin County, and the wider Bay Area. Sincerely yours, WJS:th RECEIVED AUG 0 7 ?.017 City of Belvedere City of Belvedere Planning Commission Belvedere City Hall 450 San Rafael Avenue Belvedere, CA 94920 August 7, 2017 RE: August 15, 2007 public hearing regarding Application for Demolition, New House Plans and Variance Requests at One Belvedere Avenue, Belvedere, California Honorable Planning Commissioners: I am writing to you requesting that you reconsider the scheduled demolition of the Master Architect Aaron G Green FAIA designed residence for Roy and Orchid Eldred and their family. I am certain that you are well aware of the nomination of the Aaron Green designed Marin City Project to the Department of the Interior National Register of Historic Places by the State of California Historic Resources Commission. The Historic Resources Evaluation Report prepared by Garavaglia Architecture for the City of Belvedere evaluation of the Eldred House project seemed to have gone unheeded, or am I missing something. The Historic Resources Evaluation report prepared by Garavaglia Architecture for the Marin City project was not. It should be noted that one of the commissioners honored Master Architect Aaron Green design architect, Master Architect John Carl Warneke and Master Landscape architect Lawrence Halpirn each as Master Architects. Hopefully this alone will compel you to question the opinion of the City of Belvedere Historic Preservation Committee and revisit the validity of your decision. It will be greatly appreciated by many including his many Stanford 5th year design students and the untold numbers of apprentices and seasoned staff architects who work for him. This is your decision and yours alone. At the moment this great house is directly in the cross hairs of a bulldozer. I hope that others have written to share to their compelling thoughts with you also. I would like to share with you a celebration of the life of Master Architect Aaron G Green FAIA written by revered Bay Area "Pulitzer Prize" winning San Francisco Examiner Architectural Critic Allan T emko. I felt it was important for you to broadly understand more about the nature of this wonderful man. "Architect Aaron Green Left A Graceful Bay Area Legacy" June 1o, 2001 Aaron Green, the Bay Area's foremost proponent of Frank Lloyd Wright's "organic architecture11 died. 1 Just a week before, he had been awarded the first Gold Medal of the Frank Lloyd Wright Foundation in recognition of a career that dated back more than haH a century in San Francisco, where he set up a joint office for himself and Wright in 1951. Mr. Green participated in several of Wright's famous designs, notably the V. C. Morris Store in Maiden Lane (which was later carefully restored by Mr. Green and renamed Folk Arts International) and the visionary "Butterfly-Wing" Bridge that was never built across the lower bay. Perhaps his most important contributions to Wright's achievement figured in the sweeping horizontal forms, plastic roofs and mighty arches of the Marin County CiVic Center In San Rafael. Officially designated as its associate architect, Mr. Green in some respects was virtually a co-designer of this palace of modem drive-in democracy, overlooking Highway 101. In all, he took part in about 30 Wright designs, built and un-built, in Northern California. That alone would have been a life's work for many architects. But Mr. Green's own Independent practice - clearly discernible from Wright's, although they shared the same principles -- was also remarkably diverse and rich. It ranged from churches and schools to an array of handsome houses and multiple dwellings, which in low-rent housing in Marin City and Hunters Point were considerable achievements of social art. Mr. Green's innovative spirit filled even relatively modest buildings with strong civic meaning. The retractable skylight of the Union City Civic Center, a charming piece of municipal art, opens the whole central hall to warmth and sunlight. And his design methods are beautifully revealed in a series of Roman Catholic parish churches in the East Bay -- St. Stephen's in Walnut Creek, St. Monica's in Moraga, St. Joan of Arc, in San Ramon and, most recently, St. Elizabeth Seton in Pleasanton -- each different from the others. Mr. Green handled all of this work with a buoyant elegance. He was busy in his office until a day or two before his brief final illness, conferring with his staff, and refining details of the Hebrew High School, in Greensboro, N.C., a coed boarding school primarily intended for Jewish students but philosophically open to the world. Mr. Green, who won a national competition for the job, not only master- planned the campus, but also designed all 74 broad-roofed buildings centered around a domed synagogue. Seven classroom buildings and dormitories are under construction, with more to be built on a long-range schedule, and the trustees are committed to Mr. Green's designs. Already his concepts of order and clarity, enriched by landscaping, can be sensed on the wooded site. 2 Some features of the plan are less evident -- for instance, the geothermal energy system, one of the three or four largest in the country. Heat is harnessed by "wells" deep beneath the playing fields, which should provide for the school's energy needs for the foreseeable future. Mr. Green, always open to new building technologies, called such design 11bio technic11 architecture. To him, machines could co-exist with the natural world if human needs were put first. Moreover, the surrounding Tarheel woods offer a further insight into Mr. Green's whole life and thought. Aaron G. Green {his seldom used middle name was simply "Gus") was a Southern boy who retained a trace of a drawl all his life. He was born in Corinth, Miss., on May 4, 1914. Most of his childhood, however, was spent in Alabama, not too far from the hydroelectric dams and powerhouses of the Tennessee Valley Authority, which provided his first impression of functionalist modern architecture. His father had been a painter and his mother appreciated art. Together, they encouraged his ambition to become an artist. After enjoying a privileged youth in Florence, Ala., as a member of the Southern Jewish patriciate, he went North to school. After a stint at the Chicago Academy of Fine Arts, he went to Cooper Union, in New York, then, as now, a stronghold of rationalist design. What changed the course of his life was his decision to join Frank Lloyd Wright at Taliesin in Wisconsin and the Western Taliesin outside Phoenix. He became a full-fledged member of the Wrightian community before he enlisted in the Air Force and served three years as a bombardier in the Pacific. After the war, in a surprising shift, he did not return to Taliesin but went to work in Los Angeles for industrial designer Raymond Loewy, a businessman, as opposed to Wright, the master artist. Mr. Green worked on interior design for department stores and a couple of movie sets, until Wright asked him to join him in San Francisco. Their office, designed by Wright, is now literally a museum piece. Because no San Francisco museum or collector had the sense to acquire the furnishings when the lease ran out in the 1980s, they were transferred, more or less intact, to the Carnegie Museum of Art in Pittsburgh, near Wright's famous house, Fallingwater. The office was a delightful working environment, doubly delightful by candlelight after work, when Mr. Green could enjoy a drink with friends. Occasionally, Wright himself would come -- Taliesin people always called him Mr. Wright, even after he died. There was a wonderful sense of wholeness, of joy, that Mr. Green never lost. 3 A fellow of the American Institute of Architects, Mr. Green received many professional awards and citations, but the honor closest to his heart was a remark by Wright when asked what their relationship was. The master replied, "Aaron is my son. A few final words: Aaron G Green Architect FAIA has a very special designation, FAIA. It represents Fellow of the American Institute of Architects The Following is from the American Institute of Architects Web Site • AIA Fellows are recognized with the AIA's highest membership honor for their exceptional work and contributions to architecture and society. ·The prestige of FAIA after your name is unparalleled and the judging is rigorous. • Architects who have made significant contributions to the profession and society and who exemplify architectural excellence can become a member of the AIA College of Fellows, • Only 3 percent of the AIA members have this distinction. Aaron Green receives this "unparalleled" distinction from his piers for his excellence in design. A prestigious distinction precious few other architects attain. In terms of the residences in particular there is no one best. They were all very special in their own unique way and they all received his complete attention and dedication to design excellence and detail. It was all about the client, their program, their budget, the site location, the site orientation and other unique constraints. My best guess is that the State of California Historic Resources Commission would find this house very compelling which would contradict the City of Belvedere Historic Preservation Committee findings. In my humble opinion the Eldred House is a fine example of his best work. Aaron was proud of them all. Thank you Honorable Planning Commissioners and with sincere appreciation for taking the time to read this very long statement. It is my way of letting Aaron know that he not only could depend on my dedication during his lifetime but well beyond. Sincerely yours, Jan Novie Associate of Aaron Green's for almost 4 decades Personal email: [email protected] Personal phone: (415) 271-3441 4 RECEIVED To: City of Belvedere AUG 07 2017 Planning Commission Belvedere City Hall City of Belvedere 450 San Rafael Avenue Belvedere, CA 94920 From: Craig Eldred Date: August 6, 2017 Subject: Architect Aaron Green FAIA designed "The Eldred House", One Belvedere Ave. I'm writing this letter to express the heartfelt support of all the descendants of Dr. Roy and Mrs. Orchid Eldred for the preservation of architect Aaron Green FAIA designed, ''The Eldred House", at One Belvedere Avenue in Belvedere. Much evidence and documentation is being presented to support architect Aaron Green's status as a master architect and the "Eldred House" as being one of his finest and earliest examples. The evidence speaks for itself. The extended Eldred family has a strong moral and emotional attachment to the house and property resulting in a need to speak our hearts and convey the philosophy that created this house and home. I hope you will indulge me. The creation of this house and what it represents architecturally and philosophically was a very conscious decision on the part of our parent's. My father was a doctor in the Navy during the Korean War. He discovered and fell in love with San Francisco and Northern California. Roy and Orchid moved their family from Minnesota to Marin in 1955 and he joined the Kaiser Permanente Group. He was chief of Urology at the San Francisco Kaiser Hospital for 33 years. Orchid raised the three children and went on to attend UC Berkeley graduating in rhetoric with Phi Beta Kappa honors in 1973. Marin's natural beauty inspired my parent's as it does everyone who lives or visits this region. They were both inspired by the architect Frank Lloyd Wright's philosophy of the natural house. Wright's passing in 1959 put an end to their early dream of having Wright design their house. By the time, they could afford to build they had discovered Aaron Green and began a collaboration to realize their dream home. The building of the Belvedere house occurred concurrently with Green's work on the Marin Civic Center. Roy and Orchid knew from the start that they were creating a work of art. They had picked out an outstanding lot on Belvedere and had enlisted one of Wright's finest apprentices to execute the plans. They had every intention of creating a home for their family and a work of art for posterity. A home that represented their philosophy of how we can build structures to live in harmony with nature. As a boy of thirteen, I played on the undeveloped lot and explored the beach (no houses yet). I saw them cut into the pristine lot and carve out a site for the house to sit. I learned that the house was anchored to bedrock by the massive chimney and fireplace. The anchorage was successful as demonstrated by the 1989 earthquake. The house was finished in 1963/4 and I began my freshman year at Redwood. I dreamed of being an architect for a while. Instead I got a degree in Biochemistry and after two years of graduate study I decided to go into science education. I now teach physics, chemistry, biology, environmental science at Terra Linda High School. This will be my fortieth year in teaching and for twenty years I taught in Alaska, in the Arctic. What does this have to do with the house? This house allows for your imagination to expand and dream. You are exposed to nature from every window. The massive windows in the great room gives you wide open panoramas as if you were in the trees. I am reminded of the story by John Muir of climbing a tree in the middle of a storm to witness the power of the storm. The house and the environment were in resonance and together they became one. It was tangible, you felt elevated and enriched. It was Nature on display and you had a front row seat in the trees. Then in 1973 the house caught fire and major damage was done to the upper floor. It was an historical day as everyone in their boats and Sausalito witnessed the flames and the huge living room windows exploding out. My parents rushed back from their Solinas cottage only to see their dream house in flames from Mt Tamalpais. That could have been the end of the house, however, our parents were not ones to give up. They immediately began plans to rebuild. They rebuilt the same house, with minor changes. One change was to have built in quadrophonic speakers instead of just stereo speakers. This is a testament to the genius of Aaron Green's design and a testimonial to the respect my parents had for him and the house he created. For the next thirty years, my parents enjoyed their home and watched their family grow. Three children, seven grandchildren, and growing number of great grandchildren all got to experience this unique house. In 2003, my mother suddenly passed away after placing my father into an assisted living care, due to Alzheimer's. Shortly before my mother's passing, the house again suffered some damage to the upper-deck, due to a large eucalyptus branch that fell. When I became the executor of the estate, I had to supervise reconstruction of the upper-deck. I was given several choices as to how I could fix the deck. There was only one way to fix it and that was to bring it back to its original design. To cantilever the upper-deck, the entire down stairs ceiling with the radiant heating throughout had to be redone. In my mind, it was the right thing to do, to preserve the original design of my parents and their love of Aaron Green's creation. In late 2003, the house was in fantastic shape as you can see by the photos {in documents submitted by Daniel Ruark) of that time. In 2004, we sold the house. For the first time since its construction, the house had a new steward. Unfortunately, the new owners were not good stewards. Now after 14 years of sitting unoccupied there is an application to demolish the structure. My parents would be horrified and in shock, as I am. They were Belvedere residence for forty years and believed that Aaron Green would eventually be recognized and their house would be preserved. The evidence is mounting that Aaron Green is indeed a Master Architect and that the "Eldred House" is deserving of preservation. My parents loved their privacy. They did not try to advertise or promote their home. In fact, my father planted many trees so that the house became nearly invisible on the site and to block the view of the many houses that have been built on the beach below their home. They wanted the site to look natural from above and below. Showcasing the house for public view from above or below was not in keeping with their philosophy. Their vision was to integrate our buildings with the landscape and not to destroy the landscape to accommodate our buildings. My parents would again be horrified and shocked that the site will undergo massive land reshaping so that a car can drive to the level of the house. That numerous trees, planted by my father, will be felled. Making the landscape fit the design rather than letting the landscape inspire the design. Conquering nature instead of integrating nature conflicts with the philosophy aspired to by my parents and Aaron Green. What if the new owner, like the two previous owners, quits before finishing the project? My parents loved Belvedere and Marin. They wanted their house to be a source of pride for the community. They anticipated that given time Aaron Green's work would gain acclaim, as it has. "The Eldred House" stands elegantly silent and resilient on the site waiting. Dr. Roy and Mrs. Orchid Eldred would know what to do. They would bring it back to health and make it thrive. They would not talk of destruction. The house was destroyed once before and brought back to life and it can happen again. The integrity of the vision can be restored. It can serve as an example of how to build a sustainable future, for a home or for a home planet. I wish to thank all the architects and others who have written letters, books, and taken photographs in support of preserving this heritage. For the architectural legacy and the legacy of the Eldred Family I am urging the planning commission to do the right thing and preserve this masterpiece by Aaron Green. Sincerely yours, Craig Eldred AUG 07 2017 City of Belvedere To: City of Belvedere Planning Commission From: Pam Eldred Hayden Date: August 3, 2017 Subject: August 15, 2017 Public Hearing regarding Application for Demolition, New House Plans and Variance Requests at One Belvedere Avenue, Belvedere, California I appreciate the opportunity given to me to express to you my extreme lament at the possibility that the home at One Belvedere Avenue could be demolished. I believe that it is imperative for the betterment of the community of Belvedere and the greater community at large that there be a more concerned, professional and heartfelt deliberation about this architecturally significant property, designed by one of the Bay Area's most stellar 201h century architects. The Historic Resources Evaluation, prepared by Garavaglia Architecture, should be revisited and considered in light of what is known about both Aaron Green and the significance of the architecture of the existing home at One Belvedere Avenue. The Eldred Residence should be preserved because a renowned architect, Aaron Green, designed it and because the design and high artistic elements of the architecture is exemplary for its time and style. The application for demolition and the building of an entirely new home on the property should be denied. I am writing to you from two perspectives. The first is my personal attachment to my family home. The second, and far more important one is from a public service, planning and architectural historian's point of view. Citizens today have a responsibility to future generations to make informed decisions about preserving and restoring our treasured historic architecture. I was very fortunate to have grown up in the home at One Belvedere Avenue. My parents, Dr. Roy Edward and Orchid M. Eldred, had migrated westward like so many young families, from their childhood homes in the mid-west (Wisconsin and Minnesota respectively), in 1955. Their first home was on Strawberry Point, Mill Valley, overlooking the beautiful Richardson Bay. By the early 1960s, my folks had saved their money so they could afford to purchase a lot on Belvedere's west side and hire an architect who best exemplified their philosophy in life to design and build a home that fit in naturally with the environs of the Bay Area and the wooded hillside of their beloved lot. When I was a young girl of about 10, I remember the excitement my parents expressed when they showed us the plans for our new "dream home". They had disregarded plans from other architects because they were too formal and couldn't grasp the concept that my parents desired to build a home that was at one with nature and complimented and captured the stunning beauty of Belvedere and the San Francisco Bay. They were looking for an inspired architect that was capable of expressing a higher art through architecture. Aaron Green was the architect they chose. My father had been a fan of Frank Lloyd Wright in Wisconsin since his youth and was thrilled about the opportunity to work with a talented and skilled architect who embodied the same philosophy as Mr. Wright. Aaron Green had apprenticed under Frank Lloyd Wright at both of his studio workshops: Taliesin East in Wisconsin and Taliesin West in Arizona. He was also Frank Lloyd Wright's representative on the west coast and ultimately became very successful and renowned for his excellent works throughout the second half of the 20th century and into the 21st. My parents chose the right architect for their aesthetic ideals, family needs and to fit with the Belvedere landscape of their sloping lot. To live in this home was an inspiration for them for the rest of their lives. It was designed to snuggle into the hillside and afforded sweeping views of Mt. Tamalpais to the north, Sausalito to the west and the Golden Gate Bridge and San Francisco to the south. It was neither important to my parents nor Aaron Green to design a building that stood out for others to admire. It was designed with careful consideration of a design and craftsmanship that had a natural intrinsic value, fitting well with the 'indoor outdoor' concept of living as well as fitting in with the natural terrain and landscape. I was a resident at One Belvedere Avenue during my formative years before attending college at Berkeley where I studied architecture then earned a Masters degree in Landscape Architecture. I'm certain that living in this home inspired me to pursue these interests. Experiencing the home through the different seasons and times of day from dusk until dawn over the years gave me a great appreciation of the sensitive insights of the architect, Aaron Green. The warmth of the sun shining through the west facing amber glass panels into the great living room ... the large over hanging brick fireplace with an expansive base at floor level radiating the warmth of thousands of crackling fires ... window placement in all areas allowing for peak-a-boo and sweeping vistas of the surrounding landscape ... the list goes on and on. Aaron Green certainly knew how to design a beautiful home that both fit into the landscape and captured the many varied views of mother nature that the lot afforded. Upon moving to Oregon in the late 1970s, I worked in urban planning and specialized in historic architecture and preservation. Although now retired, I continue to work in this field and am currently the Vice President of the Bosco Milligan Foundation, Architectural Heritage Center in Portland Oregon. I have reviewed as much documentation in City files about the unfortunate ownership/stewardship pattern of individuals after the house was sold, when my parents passed away in 2004. I understand that there will be testimony by architects and persons very close to the works of Aaron Green, who will submit documentation and evidence that unequivocally supports the important stature of Aaron Green as an architect equal to other "Master Architects" and of the architectural significance of the home at One Belvedere Avenue for preservation. To lose this architecturally important building through demolition or incompatible remodel would be a travesty to the legacy of Belvedere's architectural history and the rich and varied cultural fabric that is Belvedere Island and the City. 2 I have a few comments about the procedures and process by which the architectural merits of the Eldred Residence were judged in 2012 by the Historic Preservation Commission and the Planning Commission. I listened to the audiotape of the Historic Preservation Committee meeting on July 23, 2012, which was disturbing to say the least. Although they were well meaning, I was very surprised to understand that this hearing body made negative judgments about the merits of the Eldred Residence as a historically significant work of architecture, designed by architect Aaron Green, which were neither based in fact nor expertise. The Historic Resources Evaluation Report, prepared by Garavaglia Architecture, was submitted to the City and stated that the Eldred Residence was historically significant and eligible for the California Register of Historic Resources. The Planning Commission ignored this report and relied on the Historic Preservation Committee to make a determination of architectural and historic significance. The Historic Preservation Committee also ignored the professional recommendations of the City's hired consultant. The Historic Preservation Committee recommended to the Planning Commission that the Aaron Green was neither a significant or 'Master' architect and the home was not of architectural significance. The name 'Historic Preservation Committee' is a contradiction in terms as it relates to this case. Why the City paid good money to hire a qualified expert to make a professional assessment and recommendation about a historically significant work of architecture, only to dismiss it surreptitiously is beyond common sense. It is certainly not good public service or in the best interest of the public at large. I encourage any Planning Commission or City Council members to listen carefully to this audio recording. I would hope that individuals appointed to this commission in the future have greater qualifications for important decision-making. A bungled recommendation to the Planning Commission by the Historic Preservation Committee led to a staff report outlining these findings to the Planning Commission. I can only wonder at the Planning Manager's disbelief that the City's consultant report was ignored ... The record of the Planning Commission on November 20, 2012 reads: "As discussed in the August 21, 2012 staff report the City has determined that the house is not of architectural or historical significance. A Historic Resources Evaluation was prepared by Garavaglia Architecture and concluded that the residence is an historic resource. Subsequent to this evaluation the Historic Preservation Committee reviewed the residence and Garavaglia's evaluation and determined that the findings could not be made to support recognition of the property as an historic resource." I respect the efforts of volunteer commissioners in our communities. However, I firmly believe in this instance that both the Historic Preservation Committee and the Planning Commission are culpable and were remiss and erroneous in their findings. This unfortunately has this led to an application by the current property owner to demolish the Aaron Green designed home, which should be preserved as a significant architectural landmark building in the City of Belvedere and the State of California. 3 The current property owner has submitted their plans for demolishing the Eldred Residence to build a larger and more invasive home on the landscape, needing variances for both a larger than allowed retaining wall and greater floor area of an additional 2,383 square feet. It is totally understandable that people wish to build new big beautiful homes of their own in stunning settings. The house should fit the lot and visa versa. I have reviewed the proposed house plans. They show an attached garage to the house, unlike the detached carport of the original house. This will necessitate a precipitously steeply sloping driveway down to the house for an elevation change of no less than forty feet. It will also require massive cuts, the exporting of soil and filling the front yard with stepped retaining walls in order to accomplish the desire to bring cars directly down to the residence. I would estimate that no less than 17 large dump trucks, removing 167 cubic yards of soil from the property and this will likely need to be staged from the narrow street above, not from within the property. The Preliminary Grading Plan shows that the entire front third of the property will be entirely cut and extensively re-graded for the purposes of building this driveway. All of the existing trees in this third of the property, roughly one-quarter acre, will be completely removed and filled with stepped retaining walls. There are other less-impactful alternatives to such massive land movement and landscape destruction. This proposal is the total antithesis of the sensitive design concepts used by Aaron Green to finesse a very beautiful and livable residence into the existing landscape. Aaron Green's philosophy of design directly correlated with his mentor and friend, Frank Lloyd Wright, who is considered one of the world's premier architects of all time. The fact is, the Eldred Residence should not be demolished and the proposed plans should not be approved. The fact that the One Belvedere Avenue home is a significant work of historic architecture, designed by a masterful and renown architect, should negate any approval of demolition or building of another structure. Sensitive modification approved through a thoughtful process is certainly understandable. The current application for demolition was made based on the premise, perpetuated by the City, that the existing building on the property has no merit historically or architecturally. Unfortunately this premise was initiated by faulty deliberations of an unqualified set of individuals and then used by the Planning Commission in their approval process in 2012. It is hoped that all proceedings by the Historic Preservation Committee and the Planning Commission from 2012 be discounted when considering this new application to demolish the Eldred Residence. The Historic Evaluation Report prepared by City consultants should be heeded as well as any new evidence submitted to City representatives in this application review process regarding the historic significance of both the architect Aaron Green and the Eldred Residence. It will be clear to all that this building, which is eligible for the California Register of Historic Places, should not be demolished. 4 1 Belvedere Avenue Designed by Architect Aaron Green, 1962/63 Entry approach, 1963. East Elevation, 1963. 1 Living/Dining Area, looking South, 1963. Dining/Living/Music Area, looking North, 1963. 2 Dining Area, looking Southwest, 1963, with pass-through to Kitchen Entry, Stair, light lantern, 1963 3 East Exterior Elevation, 2003/2004 Living/Music area, looking Southeast, 2003/2004 4 Living/Dining area looking Southeast, 2003/2004 Living/Music area, looking Southeast, 2003/2004 5 Architect Aaron Green, standing at the Carport/Entry balcony of 1 Belvedere Avenue, 1963 The Eldred family in their Aaron Green-designed home, 1 Belvedere Avenue, circa late 1990s 6 CALIFORNIA ORGANIC ARCHITECTURE AARON G. GREEN, FAIA (1917-2001) GREEN AND FRANK LLOYD WRIGHT !MAGES CURATOR PVAC SPECIAL EVENT PRESS January 21 - May 28, 2017 Curated by Alan Hess Special event: April 8 Special event: featuring Heidi Duckier Dance Theatre (archive) Palos Verdes Art Center is pleased to announce Aaron G. Green and California Organic Architecture, opening January 21, 2017. The exhibition features rare photographs and original architectural renderings and plans from the noted architect's office, as well as period shelter magazines spotlighting Green's work. The exhibition will remain on view at PVAC through May 28, 2017. Architect Aaron G. Green (1917-2001) FAIA, was one of Organic Architecture's most talented proponents. Inspired by the complex patterns, rugged textures and varied forms of nature, Organic Modernism offered an alternative to the sharp-edged glass box Modernism known as the International Style. Though he worked primarily in the San Francisco Bay Area, Green launched his career in Los Angeles after World War 11 when the region's creative energy flourished. Green's long independent practice produced Organic designs for custom homes, public housing, churches, schools, and internment facilities. He was widely published in House Beautiful and Architectural Digest. But his additional role as Frank Lloyd Wright's associate in their joint San Francisco office also placed him at the forefront of some of America's most visionary architecture during the fruitful final decade of Wright's life. The graceful Butterfly Wing bridge to cross southern San Francisco Bay was never built, but the equally visionary Marin County Civic Center was; Wright entrusted Green to see it to completion after Wright's death. This is the first exhibit of Aaron G. Green's work to be presented in Southern California. Alan Hess, Curator Palos Verdes Art Center would like to thank The Aaron G. Green Archive, Allan Green, and Jan Novie for loaning invaluable objects, and The Huntington Library, San Marino, California for providing rare photography by Maynard L. Parker to make this exhibition possible. This exhibition is supported, in part, by the Los Angeles County Board of Supervisors through the Los Angeles County Arts Commission Marin City's Golden Gate Village historical tag draws cheers, concern Housing project's nomination could affect future upgrades By Mark Prado, Marin Independent Journal Friday, July 28, 2017 Marin City's Golden Gate Village public housing complex is on the road to gaining national historic status after a state agency commission voted unanimously Friday to make that nomination. A crowd of about 75 people erupted in applause as the eight-member state Historical Resources Commission voted one by one for the designation. "We did it! We did it!" shouted a woman inside the San Rafael City Council chambers, where the commission met Friday morning. The vote for the nomination came despite concerns from the Marin Housing Authority. Officials there said they were not opposed to the nomination, but wanted additional details and more involvement in the process. If the federal designation is given, it could have an effect on how the housing authority manages the property. The agency is looking at the possibility of a rebuild to bring in higher-priced rental units and commercial space to help subsidize low-income housing in a public-private partnership. The historic preservation effort began in 2015 when resident Royce McLemore hired San Francisco-based Garavaglia Architecture Inc. to conduct a "historic resource evaluation" of the 296-unit Golden Gate Village. That the 57-year-old complex was designed by Frank Lloyd Wright protege Aaron Green, and had the involvement of American landscape architect Lawrence Halprin and architect John Carl Warnecke, helped solidify the nomination. "Ilhink this is a remarkable place," Commissioner Luis Hayes told the crowd. "I recognize the care and the design.._of the three master designers who produced this wonderful place." Commissioner Alberto Bertoli lauded the design. "This project represents a very high quality design for public housing," he said. "This is very representative of what public housing ought to be." Commissioner Rick Moss noted the design and social aspect of Golden Gate Village. "When we look at the aesthetic ... it's exemplary," said Moss, noting the housing was an attempt to right wrongs that black workers faced after World War II. "I think it's an example of something that should be saved. It's also an important statement for what our nation could be." A new estimate puts repairing and upgrading Golden Gate Village at $63 million - $47 million more than previous projections. The housing authority's sole source of income to make improvements is $500 ,000 in annual money received from the U.S. Department of Housing and Urban Development. "We respect the decision, but we do not agree with it," said Lewis Jordan, who heads the housing authority, after the hearing. He said his department is reviewing next steps in regard to the nomination, adding feasibility work on redevelopment at Golden Gate Village will continue. Supervisor Kate Sears, whose district takes in Marin City, was not at the nomination hearing because of a conflict with a Golden Gate Bridge district meeting. But she did submit a letter to state commissioners asking for a continuation of the matter. "It would be a cruel irony if a historic status designation for Golden Gate Village makes it even more difficult or even impossible to make the improvements that must be made to turn what are now substandard buildings into beautiful apartments - without losing the original vision of the architect," she wrote. The nomination now goes to the National Park Service in Washington, D.C. for final review and possible listing by the "keeper" of the National Register of Historic Places. The park service makes a listing decision within 45 days. "There are opportunities to do deferred maintenance with that status," McLemore said after the vote. "There are millions of dollars available to infuse to Golden Gate Village. Maybe now the housing authority will treat us as equals and partners as it should be." CITY OF FLORENCE, LABAMA Office of the Mayor July 19, 2017 Mr. Robert Whitten 21 7 East Irvine A venue Florence, AL 35630 Dear Robert: On behalf of the City of Florence Walk of Honor Selection Committee (WOH), I am pleased to inform you that because of your nomination, Aaron Green has been selected as one of three 2017 Inductees for the Walk of Honor. The WOH Committee whole-heartedly agreed that he was most deserving of this honor for his accomplishments as an internationally recognized architect. As an Inductee, a bronze plaque recognizing him will be placed on one of the monuments of the Walk for permanent display. This is a means to give honor and perpetuate the name and achievement of deserving individuals, either current or former citizens, through a form of civic recognition. There will be a dedication ceremony for the Inductees that is tentatively set for Thursday, October 26. We will be finalizing the plans for the ceremony as we make contact with all of the families involved and formal invitations will be sent. We kindly ask for your help with the following information. I) Do you know of any family members or friends that we could contact about this honor? We will need a list of names and addresses in which to send the invitation to the ceremony. 2) The picture you submitted with the nomination works fine so we are set to go with the plaque. As a note, neither the press nor the public have been notified of the selections. A public announcement will be made once the details have been worked out for the dedication ceremony. POST OFFICE Box 98 + FLORENCE, AL .35631-0098 TELEl'IIONE (256) 760-6400 + www.florenceal.org + FAX (256) 760-6388 We are very excited to be able to recognize Mr. Green and the other Inductees. Please let me know if you have any questions or if we can help you in any way. Sandra Morgan in my office will be coordinating the event, and you may contact her at [email protected], or feel free to call her at 256-760-6408. Again, thank you for this nomination and we look forward to the upcoming induction ceremony. Sincerely, Mayor sm Enclosure City of Florence, Alabama Walk of Honor River Heritage Park, Hightower Place ORGANIC BEYOND ARCHITECTURE FRANKLLOYD WRIGHT AARON G.GREEN “Leave a place better than you found it.” This old adage was the the freedom to use whatever tools, materials, elements, ideas, goal of Aaron Green throughout his life and work as an archi- and forms were appropriate for the building, client, site, and tect. Aaron G. Green: Organic Architecture Beyond Frank Lloyd budget, while contributing his uniquely artistic abilities to each Wright is the account of a man who strove to make buildings project. In doing so, his works are masterful examples of organ- that enhanced their sites and did not strip the natural beauty ic architecture, not merely knock-offs in Wrightian style. of the place. He realized that architecture is the combination In Aaron G. Green: Organic Architecture Beyond Frank Lloyd of the natural with the human-made to create a space with Wright the reader experiences Aaron’s life and range of work the kind of sacred reverence and nostalgic stirring of the word AARON G. GREEN throughout his esteemed career: from residential and com- home. Aaron didn’t just build places one could go to but places mercial projects such as churches, schools, libraries, shopping one wanted to be in. centers, office buildings, and apartment buildings, to govern- ORGANIC ARCHITECTURE Taught and inspired by the work of Frank Lloyd Wright, ment projects including civic centers and large-scale housing Randolph C. Henning, a practicing architect living Aaron learned the styling and philosophy of one of the world’s developments. Highlighting some of his many influential and BEYOND FRANK LLOYD WRIGHT Aaron G. Green (1917–2001) never shied away from in Lewisville, North Carolina, is the author of The greatest architects—organic architecture. Whereas many who memorable works with never before seen images and beautiful professing his debt to his mentor, Frank Lloyd Wright. Architecture of Alfred Browning Parker, Frank Lloyd studied under Wright—or who have simply studied his work drawings and plans, this book is the comprehensive collection “Everything I know about architecture, I know from Wright’s Taliesin, and At Taliesin, along with numerous BY RANDOLPH C. HENNING Frank Lloyd Wright. There is no question about it.” articles published in a variety of architectural journals. detached from his teaching—have tried to imitate his style, of his work, a written and visual tribute to his remarkable ca- Green produced more than 300 creative works of He graduated from the University of Florida in 1976 Aaron understood the philosophy of Wright that gave him reer, and a dedication to the practice of organic architecture. architecture, all of which were based upon an unusually and earned his Master of Architecture degree in 1980 strong understanding of and keen respect for Wright’s from the Graduate School of Architecture and Urban practiced principles of organic architecture, a “form- Planning at the University of Wisconsin-Milwaukee. and-function-are-one” philosophy, but also demon- strated Green’s own creative genius. Green spent almost two years under Wright’s tutelage as an apprentice in the Taliesin Fellowship and had a unique if not singularly extraordinary relationship with Wright. Green obviously had gained both Wright’s respect and trust as a worthy protégé when, in 1951, Wright asked Green to open a joint office where Green could act as Wright’s West Coast represen- tative. Their San Francisco office opened in Septem- ber 1951, with Green doing his own projects while assisting Wright on approximately forty projects until Allan Wright Green is Aaron Green’s son. He has Wright’s death in 1959. degrees in fine art and design, and has worked as a From the beginning, when Green opened his own graphic designer and art director for clients all over the practice in Los Angeles in 1948, to his death in 2001, world, including several projects with his father. Allan the quantity of his work varied largely while the quality retired after 43 years in the wine business in Mendocino of his work varied little. While certainly influenced by County when he sold his winery, Greenwood Ridge the power of Wright’s work and words, he saw his role Vineyards, in 2016. as an evolutionist, not a revolutionist, seeking his own individual expression on the path of organic archi- tecture that Wright had paved. He desired to respect Wright’s philosophy but not imitate Wright’s architec- ture; to transcend Wright’s work with original works of his own based upon the site, client, and time. He saw organic architecture as a simple and direct act of reconciliation—physically reconciling an architecture that respected and expressed an understanding of the HENNING RANDOLPH C. immediate site, the needs of the client, the climate, and the logical and natural use of materials. Green also taught as lecturer/critic in the Department of Architecture at Stanford University for fifteen years. In 1968, recognized for design excellence, Green be- came a member of the College of Fellows in the Amer- Jan Novie joined Aaron Green’s firm in 1965. This was ican Institute of Architects. His work was frequently a critical and extraordinary turning point in his life, $75.00 published in national magazines and received several leading to a lifetime career in organic architecture with ISBN: 978-1-939621-37-5 prestigious national design awards. Aaron Green as his mentor. After Green’s passing, Jan 5 7 5 0 0 became president of the firm. In addition, Jan serves as Aaron G. Green was one of the most prolific, profi- an advisor to the Taliesin Fellows Board of Directors cient, and creative disciples of Frank Lloyd Wright in and serves on the Frank Lloyd Wright Foundation the practice of organic architecture. This book presents Board of Advisors. 9 7 8 1 9 3 9 6 2 1 3 7 5 an overview of Green’s creative lifework. TABLE OF CONTENTS 2 Foreword, by Alan Hess 4 Preface, by Bruce Brooks Pfeiffer 9 Introduction, by Jan Novie 10 Aaron Green: His Life 23 Aaron Green: His Work 25 Mitchell Residence 34 Chapel of the Light 44 Reif Residence 208 Santa Cruz Medical Plaza 54 Paul Residence 230 Lilienthal Residence 60 Aaron Green Residence 232 Ives Dental Office 296 Bridge Townhouses 236 Oriental Gardens Shopping Center 304 City of Sausalito Library 244 Weir Office Building 310 Wagner Residence 316 St. Stephen Catholic Church 326 Skylawn Memorial Park 64 Bartholomew Residence 78 Hughes Residence 88 Dukes Residence 250 Ohta Residence 105 Granger and Mitchell Residence 266 Lum Yip Kee, Ltd. Office Building Art direction and design: Allan Wright Green 340 Union City Civic Center Edited by Jan Novie and Allan Wright Green 112 Hicks Residence 270 Woelffel Youth Center 350 McAndrews Residence Text by Randolph C. Henning 120 Nine Oaks 278 Newark Community Center Managing Editor: Jake Anderson 356 Haber Residence 136 Chapel of the Chimes 360 St. Elizabeth Seton Catholic Church 10 9 8 7 6 5 4 3 2 1 First Edition 144 Marin City 368 Mueller Residence Publishers of Architecture, Art and Design Library of Congress data available upon request. 154 Anderson Residence Gordon Goff: Publisher 374 Allan Green Residence ISBN: 978-1-939621-37-5 174 Lee Residence www.oroeditions.com 384 American Hebrew Academy Color Separations and Printing: ORO Group Ltd. 184 Lennert Residence [email protected] 400 Project Timeline Printed in China. 188 Paulsen Residence Published by ORO Editions 426 Complete List of Projects International Distribution: www.oroeditions.com/distribution 196 Eldred Residence Copyright © 2017 Allan Wright Green. 432 Essay on Organic Architecture ORO Editions makes a continuous effort to minimize the overall car- All rights reserved. No part of this book may be reproduced, stored in bon footprint of its publications. As part of this goal, ORO Editions, 438 Notes a retrieval system, or transmitted in any form or by any means, includ- in association with Global ReLeaf, arranges to plant trees to replace 440 ing electronic, mechanical, photocopying of microfilming, recording, or Photography Credits those used in the manufacturing of the paper produced for its books. otherwise (except that copying permitted by Sections 107 and 108 of 441 Selected Bibliography Global ReLeaf is an international campaign run by American Forests, the U.S. Copyright Law and except by reviewers for the public press) one of the world’s oldest nonprofit conservation organizations. Global 443 Acknowledgments without written permission from the publisher. ReLeaf is American Forests’ education and action program that helps You must not circulate this book in any other binding or individuals, organizations, agencies, and corporations improve the local cover and you must impose this same condition on any acquirer. and global environment by planting and caring for trees. ELDRED RESIDENCE Green designed two different residential schemes for The 2,700-square-foot built version is a more compact Dr. Roy Edward Eldred (1923–2004), a urologist, his wife Orchid rectilinear two-story plan, based on an eight-foot-square module. The Marcella (1926–2003), and their three children. The site was a steeply primary axis of the linear home ran parallel to the contours of the site sloping waterfront site overlooking Richardson Bay in Belvedere, allowing the entire opus to nestle naturally into the hill. Green also California. The first scheme in plan resembled a two-story solar recognized the site’s paramount feature by orienting all the rooms hemicycle, however, instead of predominantly facing south for the along the west so that they would open out to the incredibly breath- best solar exposure it faced west to take full advantage of the views taking views. After entering the home at its upper level from a bridge of Richardson Bay and the entire stretch of the Sausalito shoreline off an elevated street, the home dramatically opens up as a large beyond. While distinctively unique in Green’s portfolio, the design volume with exposed wood beams and roof decking framing sweeping grew too large and proved to be cost prohibitive. views of the Bay beyond. The principle living spaces are located on The curvilinear plan on the left and following on pages 198-199 had to be scrapped in favor of a more simple rectilinear concept. Above, Aaron Green looks down at the completed residence from the balcony of the carport, c. 1965. 197 ELDRED RESIDENCE this upper level, and are organized as a single open space, masterfully delineated by its architecture, that provides areas for living, dining, and music. A large masonry fireplace serves this open room while anchoring the structure to the hillside. An interior, partially enclosed kitchen and work area divide the larger open living area from a small- er private study behind. Exterior decks at the north and south ends of the plan stretch the home’s primary north south axis, and a third deck, forty feet long, is located along the majority of the west side. The lower level contains all four bedrooms and three bathrooms. All the bedrooms open out to the west onto an expansive wood deck. Wood was the predominant material employed by Green for the house, exterior walls (horizontal redwood boards with vertical redwood battens), and roof (red cedar shingles). The low, sloped roof 202 203 ELDRED RESIDENCE 204 205 ELDRED RESIDENCE provides sheltering overhangs to protect from the summer heat and inclement weather. Built-in cabinetry, furnishings, and custom lights were seamlessly incorporated. 207 AARON GREEN AND THE SAN FRANCISCO OFFICE Around 1950 Wright had a good deal of business in the over the years; he said Wright once told him, "No other San Francisco area: projects that were in design or under architect has ever done that, they're always trying to get construction, and communication with potential clients. work away from me:'3 Walter Olds, Wright's former Taliesin apprentice who had Green's devotion to Wright is seen in a letter he wrote settled in the Bay Area, was helping Wright with construc to him shortly after their meeting at Taliesin West: "Your tion supervision, but Olds also had a job in an architectural thought of my acting as representative with a branch office office and wasn't able to give enough attention to Wright's in San Francisco is a sudden bombshell, and of course, I projects.1 Wright needed a full-time associate in San Fran would be extremely honored. Such an idea precludes my cisco, and he offered the position to Aaron Green. carrying on an office or work of my own, but there is no Aaron G. Green, born and raised in Mississippi, had decision for me to make, your work being so much more studied art and architecture at Cooper Union in New York important than my own. My activities would then be solely and had become enamored of Wright's work.2 After con concerned with taking care of your construction and secur vincing a resident of his hometown to commission a house ing additional jobs for you wherever possible with proper from Wright, and getting experience in construction, Green dignity. I can think of nothing of more importance or plea in 1939 was accepted into the Taliesin Fellowship (fig. 83). sure. The only reservation I would make to the above is that In the last two years of the Second World War he served I wish to build a house for myself and family, concurrently."4 as a bombardier in the Pacific, then settled in Los Angeles, Actually, Green did get commissions for himself in the fol worked in the design firm of Raymond Loewy, and opened lowing years, but he sought them mainly when he was not his own office. He later recalled the day that transformed fully occupied with Wright's work, which always took pre his career, as he was traveling through Arizona in early cedence for him. 1951: "I went out to Taliesin and had lunch with the Wrights. Seeking a location for Wright's San Francisco office, As I was leaving, I told [Mr. Wright] I had decided to move Green discovered a suitable vacant space at 319 Grant my office ... to San Francisco. That's when he said, 'Well, Avenue-close to Union Square, the V. C. Morris shop, and I'm glad to hear that, because I've got quite a bit of work the entrance to Chinatown-an office that Wright happened there that needs taking care of better than it is. Why don't to be familiar with. It had been the architectural office of we jointly open an office?"' Green recalled that the proposal Fred Langhorst, a former Taliesin Fellow, and had been was so unexpected that he nearly fainted. When asked why used by Wes Peters when he was in San Francisco working Wright offered the position to him, Green said he thought on the planning and construction of the Morris shop. Green it was because he had brought a number of clients to Wright later recalled that when he mentioned this office to Wright, who was in San Francisco at the time, Wright said, "Well, let's go see Fred's old office"; it was on the second floor of the building, and Green was concerned that the eighty-four year-old Wright might have trouble climbing the stairs, but Wright said, "If you can do it, I can do it."5 When he saw the office, which was being rented for $125 a month, Wright said, "Let's take it;' according to Green, who added that Wright liked the building because it resembled a Chicago office building.6 The fac;:ade of this structure, designed by the San Francisco firm of MacDon Fig. 83. Wright and Aaron Green at Taliesin, Spring ald and Applegarth and constructed in 1909, does have Green, Wis., 1940. the simplicity and clarity of some of the best of the early 98 DOMESTIC DESIGNS OF THE 19SOS other side, looking out to Grant Avenue. In the back was a private office or consulting room, separated from the draft ing room by the other partition wall of redwood and glass, and two smaller rooms. The design was an ingenious solu tion to the problem of creating three spaces that needed privacy (reception area, consulting office, and drafting room) in a constricted space with windows on only one side. The slatted walls with translucent glass allowed all three rooms to have natural light as well as visual privacy. And the 60- and 120-degree geometry formed by the two parti tion walls-reminiscent of the hexagonal geometry of the Hanna and Bazett houses-created a dynamic sequence of spaces, as well as facilitating circulation from the reception area directly into the consulting office or the drafting room. Lower ceilings over some of the areas created a further modulation of space typical of Wright's work (figs. 86-88). Green enlisted the help of Paul Bradley, another for mer Taliesin apprentice who was working in an architec tural office in San Francisco, and the two of them began constructing the new office, doing most of the work them selves over the next couple of months. In one of his reports to Wright, Green wrote, "San Francisco does love you, Mr. Wright. We find a very cooperative and friendly spirit most everywhere we go to get materials and arrange for things. Most everything we have purchased has been at 'whole sale' or with good discount, purely on the basis that this is Fig. 84. 319 Grant Avenue, San Francisco (MacDonald and Apple your office. One of my prime objectives shall be to continue garth, architects, 1909). Wright's office was on the second floor. that good will and develop it as far as possible."8 At the beginning of September 1951 Green reported to Wright that the office was almost complete, and that his Chicago office buildings (fig. 84). Its composition of nine wife, jean Haber Green, who was a physician but also an square windows, forming a larger square with'in a frame, is artist, was weaving a curtain that Wright had specified. in fact reminiscent, on a reduced scale, of Wright's own Green also was acquiring "decorative objects" for the office Luxfer Prism project of 1895. from the House of Ming, a shop in Chinatown-where Wright described to Green his ideas for the layout of Wright had earlier spent $5,000, according to Herb Caen's the office; Green drew up a floor plan and sent it to Wright, newspaper column.9 who made revisions and returned it (fig. 85). 7 The main com At the same time that Green was remodeling the office ponents of the design were two partition walls or screens, on Grant Avenue, he was beginning to deal with Wright's made of vertical slats of redwood plywood, separated by clients and projects in the Bay Area and elsewhere in strips of translucent glass, one of the walls placed at a Northern California. These included the Walker House in 60-degree angle to the front of the building. This angled Carmel, revised plans for the Morrises' Seacliff, the Buehler wall formed a reception room on one side-adjacent to the House in Orinda, the Mathews House in Atherton, and the entry from the stairway-with the drafting room on the Butterfly Bridge for the San Francisco Bay. AARON GREEN AND THE SAN FRANCISCO OFFICE 99 r·J?.. o r o { ! 1) !. .I. y 0 ii ; ~ A .N f F- ~ II c. ~ <. 0 b !:. Ii. Ii c. ·~ 0 f r c I F K A N t( L l 0 y D w ~ G ,.. /li A ·F. 0 ll c.. c. II. .. ! II f,. !. :P ll. ?. { ; ,. ,. r I V ~ Wright's establishment of an office in San Francisco quickly made local news. In August, when it was still under construction, Herb Caen mentioned it in his column: "Frank Lloyd Wright, the most noted U. S. architect, is about to open his first branch office-and it'll be in S. F., on Grant Ave., because he loves our town:no In December, Wright came to the city and held a press conference at the office, to announce his new presence in San Francisco and to pro mote his "Usonian Automatic House," a design that he said could be constructed cheaply using only unskilled labor. A story in the San Francisco Chronicle described the archi tect's presentation: He settled down on an upholstered footstool in the spartanly appointed offices and exposed the needle for which he is almost as famous as he is for his architecture. At eighty-two [he was actually eighty four], his voice and manner have quieted, but the barbs are just as sharp. He firmly believes, he said, that America is the only nation in history that pro ceeded directly from barbarism to degeneracy.... There is no originality in America, he complained, the whole country is contaminated with a desire for imitation .... He went on to censure American insti tutions-government, schools, industry, politics that produce "the soul-less species that inhabit this :ms ~ti$" i>C.vwoov ovuc,:;..i.s fir<. 01< :~sowvorJ, G.'-1d' !lr<:::,u, / 1 \~-'2'* $T.Ui/4~ country:' ... He had some caustic remarks about union labor in the building industry also. "We can never develop healthy architecture in this country as long as we depend on our craftsmen to build our buildings,'' he said. "Union labor has killed off any legitimate apprentice system ... and kept the cost of labor too high." Bypassing union labor, he said, is one of the primary achievements in his plans for the new low-cost homes [the Usonian Automatic]. The owner builds his house himself.11 GR.A.NT Fig. 85. Plan for the second-floor office, 319 Grant Avenue, 1951. Plan drawn by Aaron Green and revised by Wright, with his notes. Drawing 5226.002, FLW Archive. AARON GREEN AND THE SAN FRANCISCO OFFICE 101 ; : i / -· ~.::· .- -.:: g5_Grant Avenue office, drafting room, as reinstalled at the Heinz Architectural Center, Pittsburgh, 1990s. Photograph: Peter Harholdt. Fig. 87. Grant Avenue office, reception area, as reinstalled in Pitts Fig. 88. Grant Avenue office, private office, as reinstalled in Pitts burgh, 1990s. Photograph: Patrick j. Mahoney. burgh, 1990s. Photograph: Patrick j. Mahoney. After Wright's departure from San Francisco, Green 1940 she had built the Pauson House, in Arizona, which wrote him a letter that reveals the almost worshipful way had been destroyed by fire in 1943.13 Rose was a painter, in which his most ardent followers regarded him: "We hope and Jeannette a ceramicist. When Wright decided to create you felt your trip here was successful. ... I must say with red tiles, inscribed with his initials, to be affixed to a select deep sincerity, that each time we are privileged to be with number of his buildings, he asked Jeannette to fabricate you, we are amazed that any human being can be so won them. Wright provided a drawing of what he wanted; Jean derful. This renewed association with you and your work nette formed the tiles; Aaron Green inscribed the initials amounts to as close a spiritual rebirth as I can expect to FLLW-into each one; and Jeannette produced the "Taliesin have .... Some people's happiness seems to depend upon red" glazed surface that Wright specified (fig. 89).14 Among having a 'mission' in life. My psychological need for such is the Bay Area buildings that Wright designated as worthy of assuaged to a great extent by any activity which furthers bearing the tiles were the Hanna and Berger houses and your work:'12 the V. C. Morris shop; following the architect's death, the When Green used the pronoun "we" ("each time we Marin County Civic Center also received one of them. are privileged to be with you"), he was no doubt speaking In his letter to Wright following his appearance in San for all of his family members in the Bay Area, who were Francisco, Green described the many inquiries he was close to Wright. His wife's mother, Jeannette Pauson Haber, receiving as a result of the coverage of Wright's visit and lived at 2510 Jackson Street in San Francisco, with her sis the opening of his new office: "[There have been] many ter, Rose Pauson, who was a former client of Wright's-in phone calls, personal calls, and letters ... some cranks, but AARON GREEN AND THE SAN FRANCISCO OFFICE 103 business was booming: "Golly, there must be a lot of rich people in our town. Last Fri., Architect Frank Lloyd Wright's office here was so crowded with localites who want him to design a house for them that it looked like the $2 show win dow at Tanforan [a racetrack just south of San Francisco]. And Mr. Wright, Frankly, comes high:m With an office in San Francisco, Wright began visiting the city more frequently (fig. 90). From the opening of the office in 1951 until his death in 1959, Wright usually came to the city several times a year-to meet with clients, inspect building sites, confer with Green, hold press conferences, give lectures, or attend social affairs. In a visit at the end of April 1953 he engaged in nearly all these activities. On his arrival he held a news conference at the Grant Avenue office, in which he promoted his Butterfly Bridge, as well as Fig. 89. Ceramic tile with Wright's initials, at the Hanna calling for a true American culture ("We do have a civiliza House. Photograph: author, 2014. tion, of a sort. A way of life, anyway. But a culture is a way of making that way of life beautiful"). The next morning, he a few individuals sufficiently interested and sincere to the had three meetings, in different locations in the city; then extent that they might carry through with a Usonian Auto lunch with a client; at five o'clock a reception at the Press matic:' He described his conversations with two people and Union League Club on Post Street; at six o'clock a lav who seemed promising as clients, a Mr. Weinstein and a ish dinner in his honor at the St. Francis Hotel; and at eight Mr. Clark, and said he had advised them to write to Wright.15 o'clock the forum at the San Francisco Museum of Art in This became the pattern for Green. Potential clients which he presented his bridge design to an overflow audi would write or phone him, or come into the Grant Avenue ence. The dinner, whose invited guests included Wright's office; he would decide if they seemed like good prospects longtime friend the architect Erich Mendelsohn, was hosted and then put them in touch with Wright. When Bay Area by Joseph S. Thompson, a prominent local businessman and residents wrote first to Wright, he usually told them to con internationally known advocate of the economic theories tact Green to arrange an interview at the Grant Avenue of Henry George-theories that had strongly influenced office. Green reported regularly to Wright about these Wright's own economic and political thinking.18 meetings. In a typical letter, in 1952, he described an inter Despite Wright's advanced age, his visits to San Fran view with a potential client and his wife, who "spoke to me cisco continued to be filled with this kind of intense daily in the office about having you design a house for them and schedule. And he often moved back and forth between the have subsequently written to you. [But] after about an city and other places in the Bay Area, either for on-site hour discussion with them, my impression was such that I meetings with clients or to give talks, as he did at Stanford hesitate to recommend them as clients. I do not feel that University in 1954, and in 1957 at the University of Califor they are capable of sensitive appreciation in the way that is nia at Berkeley, where he gave a lecture and led a seminar necessary to do a good job of one of your houses .... Sev for architects.19 eral other prospective clients, unfortunately in the lower One of Wright's favorite activities in San Francisco cost bracket, but with the proper attitude, are looking for was shopping-especially for the Asian art objects he con property before writing you:'16 sidered more compatible with his architecture than most According to an item in Herb Caen's column in 1953- Western art. He found them in Chinatown shops such as the no doubt exaggerated for effect-Wright's San Francisco House of Ming, and the City of Hankow Tassel Company- 104 DOMESTIC DESIGNS OF THE 19505 whose owner, according to Aaron Green, got to know Wright and his taste in art, and "would call me and say, 'Do you think Frank Lloyd Wright would like this?"'20 The archi tect's most notable acquisition from this shop occurred in 1954, when Green informed him of a shipment of twelve Chinese ceramic relief panels, representing traditional the ater performances; they had been damaged in shipment to San Francisco and the store was offering them at a bargain price. Wright sent Wes Peters, with a pickup truck, to fetch them and bring them to Taliesin West, where one of the Fellows, Ling Po, worked on restoring them; Wright incor porated them into the concrete and stone walls of the Taliesin buildings, marking "transition" spots in the com pound.21 Thus, one of the most distinctive decorative fea tures atTaliesin West ca me from China byway of Chinatown in San Francisco. Another of Wright's favorite shops in San Francisco was Gump's, which also specialized in Asian art. The archi tect developed a mutually beneficial relationship with the Gump family; after making a purchase in 1946 he wrote a note to one of the Gump sons, saying, "You boys are in a position to help the architectural situation a lot. My best to your father." And on another of Wright's visits to the store, he signed its guest register and wrote (no doubt referring to an object he had bought, for installation at Taliesin Fig. 90. Wright in the Grant Avenue office. He holds the January 1951 issue of Architectural Forum, with photographs of his recent works. West), "To Mr. Gump, a Western pioneer who will be built into the history of culture in our 'West."'22 When Wright died, in April 1959, Aaron Green was Monaghan became less interested in collecting Wrighti overseeing preparations for construction of the Marin ana, the San Francisco office was acquired in 1993 by the County Civic Center, a project that occupied most of his Heinz Architectural Center at the Carnegie Museum of Art attention for the next several years. But Green was also in Pittsburgh and installed there; in 2004 the Carnegie building up his own architectural practice, and he produced Museum decided to sell it, and it was purchased by Jim San a sizable body of work over the next four decades, before doro, of the Buffalo Transportation Museum, with the his death in 2001. He expanded the Grant Avenue office he intention of installing it there, but Sandoro's plans changed had shared with Wright by adding space on the third and and the office is currently in storage in Buffalo, with its fourth floors, but in 1988 he felt compelled to move to a future uncertain.24 different address because the Grant Avenue building had From 1951 to 1988 there were two constructed works been sold and the new owners greatly increased the office by Frank Lloyd Wright in the city of San Francisco: the V. C. rent.23 The second-floor interior that Wright had designed Morris shop and the architect's own office at 319 Grant then began a strange odyssey. Green dismantled it and Avenue. Now there is only the shop. One may hope that sold it to Thomas Monaghan's National Center for the someday the office will be brought back to the city for Study of Frank Lloyd Wright, in Ann Arbor, Michigan; when which Wright designed it. AARON GREEN AND THE SAN FRANCISCO OFFICE 105 JOHN H. HOWE, ARCHITECT ------FROM TALIESIN APPRENTICE TO MASTER OF ORGANIC DESIGN JANE KING HESSION AND TIM QUIGLEY FOREWORD BY BRUCE BROOKS PFEIFFER . . . · ...... ·.. After weathering five years with Olgivanna Lloyd Wrigh t in cha.rge of the Fellowship, .1111 llllJlljJ!I enduring her "interference" and "outbursts;' to quote apprentice Carl Book, the Howes left Taliesin in the autumn ofl964, bound for San Francisco and a new life.' As with Wright's sudden death five and a half years before, many in the Fellowship were unprepared for the news, given that John had been an apprentice for thirty-two years and Lu a highly regarded member of the community for over a dozen. For Lu, this move represented the return to a normal existence after thirteen years as part of a larger community. The Taliesin Fellowship was one she had married into rather than sought out. For Howe, the move was both momentous and bittersweet. He had joined the Fellowship when he was just nineteen years old, directly from high school. He had spent virtually his entire adult life there, rising to a position ofconsiderab le authority and tremendous respect. Now fifty-one years old, he was leaving all that behind for an uncharted future in a place half a continent away, one with which he was unfamiliar. Nevertheless, an adventure was at hand. "We were [our] own bosses, at last," recalled Lu. John and Lu Howe enjoyed the freedom of life away "It was like a second honeymoon ... a fun time."2 And before long, the Howes were relishing from the tense atmosphere at Taliesin during their three years 1n San Francisco. though Howe was bittersweet the experience. Howe was eager to see what the outside world was like.' After all, he had about having left his lifes work He recalled that living spent time away from the Fellowship only sporadically, either in the confines of the Federal atop Russian Hill was an exhilarating experience. Correctional Institution at Sandstone, Minnesota, when supervising the occasional project, or on seasonal treks between the two Taliesins. In San Francisco, Howe reported to client William Palmer, "We are enjoying life here tremendously. It is like living in Hong Kong, for we are surrounded by Chinese families and ocean-going ships pass the foot of our hill. We hear fog horns all night."' Later Howe recollected, "It was great, to live right on top ofRussian -.... Hill.... It was the center of the universe! ['We had] panoramic views of San Francisco Bay - from the Golden Gate Bridge to the Bay Bridge."5 Although San Francisco was new to them, they had contacts in the Bay Area, notably Howe's sister Betty and her husband, Paul Mobley, residing in Berkeley, plus Aaron Green and other former Taliesin apprentices. They found an apartment at 1655 Jones Street, near the center of downtown. Donald Brown, a friend and longtime Taliesin apprentice, lived in a unit beneath them.• Best of all, they both had secured architectural employment at Aaron Green Associ ates, a short cable car ride down the hill. Green's Wright-designed office interior provided a somewhat familiar setting, even though its address, 319 Grant Street, was in the heart of the business district-a far cry from the remote settings ofthe Taliesins? Howe joined the drafting room staff of eight or so, while Lu resumed a role familiar to her: she typed specifications, helped the office run smoothly, and offered her dry wit and good spirit. They enjoyed the pleasure of walking to work, downhill all the way. AARO N GREEN ASSOCIATES Howe and Green had become friends in 1940 when the latter joined the Taliesin Fellowship. They were split apart by the war years, when Green enlisted in the military during his arraign ment for draft resistance; he served overseas as a bombardier. Their friendship resumed in the 1950s, when Green was the local architect assisting on Wright's northern California commissions. Green, whom Howe trusted, felt bad about Howe's unhappy situation at Taliesin and was pleased to be able to employ the Howes, though he did so only after securing Mrs. Wright's approval.• Green had come to the Fellowship from his native Alabama. He supervised construction of the Wright-designed Stanley and Mildred Rosenbaum House, Florence, Alabama (1939), and Florida Southern College's E. T. Roux Library, Lakeland, Florida (1941). In the Taliesin studio, he produced the Detroit Auto Workers' Cooperative Homestead drawings in 1941, though the project remained unexecuted. After he returned from service in the Army Air Forces, he married Jean Haber, niece ofWright client Rose Pauson, and began a successful architectural practice in Los Angeles, specializing in residences designed in the Wrightian, organic manner! He relocated north to the Bay Area in the early 1950s, when his wife inherited a large estate in Los Altos, south of San Francisco.•0 Green's role as Frank Lloyd Wright's West Coast representative furthered his career and benefited both men. Most likely, a commission like the Marin County Civic Center would have gone to neither architect without the promised involvement of the other. Green also taught in the architecture school at Stanford University in Palo Alto, where he led design studio classes as an adjunct faculty member. Consequently, his office was staffed with two sorts ofemployees: bright young men plucked from Stanford and those from Taliesin who had migrated west.11 The younger men in Green's office welcomed their distinguished older colleague from Tal.iesin. To enhance their skills, he gave them all "Jack Howe Perspective Lessons:• recalled Jan Novie, head of Aaron Green Associates.u He particularly impressed them with his calm, professional demeanor and no-nonsense approach in the office. They respected his insistence on being treated like a regular guy despite bis vaunted credentials. They also liked the fact (tl1ough it surprised them) that he focused on present projects rather tllan on past accomplish ments." This, of course, was a lesson Howe had learned from Wright: tile current project was the most important Aaron Green Associates doubled as Wright's West Coast Field Office. San Francisco, Califomia, 1951. Wright's design of the reception area is signature organic architecture: the drafting studio was one floor above in the downtown office building. THE FREEDOM OF CALIFORNIA Aaron Green and Frank Lloyd Wright in 1957. after Wright had given a lecture to arcrutecture students at tM University of California. Berkeley. Green. a former Talrefo apprentice. acted as Wright's West Coast representative and assisted on many of his California projects. As might be expected, Green was the firm's unquestioned design leader. Officially, Howe's role was much as it bad been at Taliesin: to produce bis unsurpassed renderings of schematic designs and to develop them through construction drawings. Together, Green and Howe forged a harmonious professional relationship during the three years they worked together, not un like the one Wright and Howe had developed over nearly three decades. Several of Howe's San Francisco officemates remember him saying, "Green is just like Mr. Wright," referring to Green's outsized, outgoing personality. They also recalled that "it was magic" when they Howe and Green-were together.14 CALIFORNIA PROJECTS Among the most compellingdrawings Howe did while in California are those for the Santa Clara County Peace Officers Association. This nonprofit group was dedicated to serving the educational, training, and recreational needs of the county's law enforcement community. Having acquired an undeveloped forty-two-acre tract in Cupertino, the group hired Green to design three distinct and ambitious projects for their campus. The renderings for the smallest of these, the Association Building, demonstrates a residential feel and an unmistakable Howe design sensibility. The Woelffel Youth Center, which featured a dining hall seating five hundred, was planned to be nearly twice as large as the Association Building. The proposed Police Officers Training Academy was larger still, containing a Library, a lecture hall, and a dormitory with 120 beds, among other features.15 Despite the lush presentation drawings, none of the structures were built, perhaps because of the ambitious nature of the program. THE FREEDOM OF CALIFORNIA ...... -- T H E WOE l F F E l YOUTH CENTER lb SANTA CLARA COUNT y PEACE OFFICERS -~~?7 - . . v.. ~,,... ~ . T H E W O E L F F E L YOUTH R ~ SANTA c LARA COUNTY p EA C E OFFICERS ASSOCIATION AAJt:ON G GR E E ,.. • A I A • AJt:CH l l EC J THE FREEDOM OF CALIFORNIA ~ SANTA C LA RA COUNTY PE AC E OFF I CERS ASSOCIATION AARON G GREE N A I A ARC HI T E C Opposite top An aerial view of the Woelffel Youth Above This presentation perspective gf the Association Center facility. the Santa Clara County Peace Omcers Building of the Santa Clara Peace O fficers Association, Association, Santa Clara, California (1966), designed by Aaron Green Associates, demonstrates Howe·s abilities. by Aaron G reen Associates on a rural site in today's The framing of the drawing {particularly the handling Silicon Valley. Howe's d>ree renderings for these unbuilt of the redwoods) and the foreground vegetation are projects are among his finest. deftly rendered. Opposite bottom Howe's rendering of the automotive entry to the Woelffel Youth Center shows the organic architecture of Aaron Green Associates cascading down the hillside of the undulating site. THE FREEDOM OF CALIFORNIA T 1-l E A u 5 A L T 0 L R. A R. y FOa.. TKE C:lTY 0 .. A A fl.. O I< G G Fl. E E N A I . A . T E C T -- --- · -:::~~. ----...... _ T 0 W N P P.OJEC T THE FREEDOM OF CALIFORNIA Opposite top The Sausalito Library. a waterfront project designed by Aaron Green Associates in 1965 In Sausalito. California. was not built. Opposite bottom The Town House Project for Mrs. ~ Arthur F. Bridge. Tiburon. California (1965). was rendered by f:lowe to show its siting along the shore of San Francisco Bay. with Angel Island 1n the background. This Aaron Green Associates project was never built. r-1 despite the seductive rendering. Right Yum Kip Lee Office Building. Honolulu. Hawaii (1966. unexecuted). as rendered by Howe. Aaron Green Associates had a diversified practice with residential commissions and a variety of other building types during Howes tenure (1964-67). ~--=:::r Q Another unbuilt project for which Howe prepared the presentation drawings was the Sausalito Library (1965). Intended for a prominent waterfront site, it was designed as a simple gabled form, with a glass infill wall to capture the stunning east-facing views across the bay. The Town House Project for Mrs. Arthur F. Bridge in Tiburon, California (1965), was another unbuilt project for which Howe contributed his rendering talents to the design presentation. Howe's colored pencil plans and aerial perspectives illustrate the strong geometry and sensitive scale of the Green design along the bay.16 Howe worked on one executed residence for Green during his three years in the office. This was for a dynamic physician, Dr. Victor Ohta and his wife, Virginia, who also commissioned a medical clinic, the Santa Cruz Medical Center, from Green, though it was never built. With a sensational ten-acre wilderness site, the Ohtas wrote an eloquent request to Green, character izing the sort of environment in which they hoped to live. Mentioning views, intimacy, and sun patterns, they declared, "We want to feel glorious in the kitchen."" THE FREEDOM OF CALIFORNIA , ..· j -.. 'l \;·· ... • riations rtom a ba~~c T1i•nc;ulor. '~ lined r«touglrsg.": I h\•me of disc p ft •• ·e frce·ffo,, Ille 3 re eio\ · . , 1his hou~e • . . How it lo r;1 c.as11 ) ·hapc~ lhat will n of 1hc ~ilc. ~11;0 lhc n:uunl contours .,...... · - 00 ,. 0 " , ia i> 10 n lo J) , , TH E FR EED OM OF CALIFORNIA Opposite Howe's aerial perspe<:tive of the Victor and The Victor and Virginia Ohta House, Soquel, California (1966), sits among redwoods on a Virginia Ohta House. Soquel. California. published ridge overlooking Monterey Bay, deftly wedded to its isolated site. The spacious 3,800-square in House Beautiful (October 1965). The text described foot house of Arizona sandstone, teak, redwood, and glass features several juxtaposed, what the Ohtas requested in terms ofdesign char intersecting axes with multiple glass prows thrusting out from an anchoring stone fireplace. acteristics and how Aaron Green Associates' design met those expectations. Each prow is further extended by a deck or terrace so that outdoor living spaces could also capture the views. Green designed exactly the sort of dwelling the couple requested: sun Above left The Ohta House. Soquel. California (1966). filled, with a kitchen totally integrated with the other gathering spaces. Outside, an intricate has a characteristic Wrightian fireplace as the core redwood and stone trellis frames a free-form swimming pool, linked to the kitchen and dining element of the plan. as well as intimate areas that comple areas through floor-to-ceiling glass walls. A Japanese garden completes the tranquil setting. ment the vaulted ceilings. Sadly, the Ohta House was the site of a gruesome tragedy, which claimed the family's lives, Above right The Ohta House has an expansive kitchen just a few years after its completion." that opens to the living and dining areas of the house The largest commission Howe saw realized during his time with Green's office was the and captures views of Monterey Bay In the distance. Newark Community Centl;r (1966). The Parks Department of the city ofNewark on the south Natural materials of redwood and stone complete the eastern shore of San Francisco Bay envisioned creating a large community center that would organic design. be set within an expansive city park. Neighborhood concern over the size of the endeavor resulted in the decidedly residential character given to the structures. The center is one story with a low, hipped roof that .minimizes its perceived size. Green designed a U-shaped plan that includes an array of gathering spaces clustered around a courtyard. A pergola that provides shading for walkways links the discrete elements. A freestanding park pavilion, which com pleted the scheme, acts as the gateway to the athletic fields beyond. Designed by Howe, the pavilion has a cantilevered roofline and intricate, triangular geometry in plan that is reminiscent of a number ofWright's Usonian houses.19 For the community center, Howe produced the kind of stunning presentation drawings that were his trademark, all rendered in colored penci.l: plans, exterior perspectives, an intimate THE FREEDOM OF CALIFORNIA VINl!O:!llV:J :!O W0033ll:! 3H.l •. A"•"'" """"'"''t> •• '- o J.:>~.LIH 'j lJV ov· 1· voN3 3lJ 9 'O NO\J'lf/V "' , N 'lj o :1 , , v '.) • ")! 'l2 "Ms N :1 o A ..J.. I'.) o 11 3 .L N :r ::> A.L 1 wn ~ ~ o :> )Ill v M 3 N 3 Hl I . I ~ ...... •o•"Y• a • • ~'IOo .,.,,:> o o , , ,,,,. ,..~.:f "'"'! 111J)lM :t N 3 Hl. \;o " '""""'• -' ~, ~.. ·,s· ...... ~,,~ ..:"""', ·f:...... ~ Opposite top Newark Community Center. Newark. California (t966). as rendered by Howe for Aaron Green Associates. Howe produced most of the working drawings for this majot civic commission. Opposite bottom Howe produced all four of the presentation perspective drawings for the Newark Community Center. This view of the courtyard. framed by the trellis above, accurately conveyed the sense of the domestic scale of the executed building. Above Howe designed the Park Pavilion. a freestanding structure by the athletic fields within the park at the Newark Community Center. The pointed prow and extreme ends to the projecting hip roof ovethangs are characteristic features of his designs. THE FREEDOM OF CALIFORNIA