Completed in 1912, five years after the opening of the Pike Place Market, the Corner Market Building is set like a keystone at the head of its landmark block bordered by First Avenue, Pike Street and Pike Place. The architect, Seattle’s Harlan Thomas, wrapped elegance around the corner with contrasting brickwork, generous arching windows along the top floor, and at the sidewalk, open stalls for selling mostly fresh foodstuffs.
The photographer Frank Shaw dated this, his 2×2 inch slide, April 12, 1975. Joan Paulson disagrees, and in this I join her. April 12th was the Saturday when the nearly week-long “Rain or Shine Public Market Paint-in and Historic Restoration” was fulfilled and celebrated. That morning, before the awards, artists could apply their last brush strokes to their assigned 4×8 foot primed panels, which for the next seven months would serve as both an exhibit and as a construction fence to separate and protect laborers and shoppers from each other.
It was Paulson who put the primed panels and about fifty painters together and, when needed, purchased the art supplies as well. Paulson recalls, “They could start painting on Monday. It rained on Tuesday. Most likely this is Wednesday or Thursday. There’s too much left to do with the panels and too few people for it to be the celebration on Saturday the twelfth.”
As a chronicler of Pike Place Market History, Joan Paulson notes the unique “bottom-up” energies that made protecting the market a people’s project. connecting historic preservation with urban renewal and its federal funding. Appropriately, a force named Friends of the Market fueled the victorious 1971 citizens’ initiative to “Save the Market.” In most of this, U.W. professor of architecture Victor Steinbrueck was never out of the picture, and here (at the top) in Frank Shaw’s slide, Joan Paulson has found him as well. Far right, in the shade of his straw hat, we may detect over his right shoulder, that the “savior of the market” is working on his own contributions to the “Paint-In.” In Jean’s “now” photo, although thirty-nine years later, Joan Paulson stands at the corner holding up a rolled paperin her right hand.
On Saturday April 12, at the high noon lunchtime awards ceremony, Steinbrueck was one of the winners. The judges explained that to this special “paint-in artist we give the whole Market to do with as he pleases for the rest of the day, and Roger Downey (one of the judges) will wash his brushes.” With work completed on the Corner Market Building’s exterior in late November, all the “unique-to-the-market masterpieces” came down, including the surviving half of Steinbrueck’s mural, the part not punctured by a beam during construction.
Anything to add, Paul? Yes Jean, a protracted attention to the Pike Place Public Market in 1975 with a selection of photographs scanned from volume 2 of the 5 volumes of Frank Shaw negatives huddled in 18 inches on a shelf to the side of me in this north end crypt. We will attempt to get our choices up before climbing the steps to join the bears, but we may not. If not we will finish it off after seven or eight hours sleep and a late breakfast. The captions here will be minimal. We will elaborate with them alter, and hope some of you may help. (See above. You can comment.) Joan Paulson is also going study them and she, obviously, is the expert for such content as is in what follows. Thanks again to Mike Veitenhauns, Frank Shaw’s nephew, whom I first met forty-plus years ago at Fairhaven College, he a student and I an artist-in-residence. The Shaw snaps that follow will be arranged in no particular order – unless you notice one.
RETURNING SUNDAY NIGHT JUNE 1, 2014, AROUND MIDNIGHT
And Here Follows, THREE APT LINKS Found and Posted by Ron Edge
I have also added a panorama with the Hotel York, which was replaced by the Corner Market building.
Here is the area shown on the Sanborn map of 1905.
The Sunday Seattle Times article gave a nice overview of the history of the Villa Apartments. It did not mention Capitol Hill Housing’s role in reviving the building. While rooms may no longer rent for $2.50 a week, the Villa Apartments still stands because of the work of Capitol Hill Housing. In the late 1990s, this affordable housing and community building organization purchased the Villa, which had fallen into disrepair. The commercial facades were restored, strong retail tenants were attracted, and a major extension was added on to the back side of the property. The renovation was a key early act in helping transform Pike/Pike from a driving corridor to a destination. In a neighborhood where new studio apartments now rent for more than $2,000 a month, the Villa is an example of CHH’s efforts to strengthen the community and keep rents affordable for regular working people.
A few years ago, in collaboration with the Northwest School, CHH added a mural to the west side of the site. I’ll attach a photo of it. The muralist was Derek Wu working with NW School students.
To celebrate the 10th « European Night of Museums » free and opened until midnight on May 17, many museums have invited artists to set their dreamed world , such as Palais de Tokyo invested by the artist Thomas Hirschhorn with ” Eternal Flame ; Grand Palais with russian artists Ilya and Emilia Kabakov to create a “strange city” for Monumenta . The Cartier Foundation also celebrates thirty years of contemporary art and presented its major artists in the beautiful building of the architect Jean Nouvel.
A l’occasion de la 10eme nuit européenne des musées, ouverts et gratuits jusqu’à minuit le 17 mai, beaucoup de musées ont invité des artistes à installer les décors de leur monde rêvé, tels le Palais Tokyo investi par l’artiste Thomas Hirschhorn avec «Flamme éternelle” et le Grand Palais où les artistes russes Ilya et Emilia Kabakov ont construit une «étrange cité» pour Monumenta. La Fondation Cartier célèbre aussi ses trente ans d’art contemporain et a convié ses artistes majeurs dans le bel immeuble construit par Jean Nouvel.
Famous for its raw decor and for its exhibitions of contemporary art, the Palais de Tokyo becomes the artist Thomas Hirschhorn’s studio . The space is separated by walls of tires, barricades made of objects of consumption, plastered with character posters . Nothing aesthetic in this free space, we experience energy, during the wandering. It is nice to drink a beer and to swing on a tire ; that ‘s all ” the Eternal flame “ Célèbre pour son décor brut et pour ses expositions d’art contemporain, le Palais de Tokyo devient l’atelier de l’artiste Thomas Hirschhorn. L’espace est séparé par des murs de pneus, des barricades faites d’ objets de consommations, placardés de dazibao. L’espace est libre et gratuit, rien d’esthétique, l’expérience est celle de l’énergie, et puis l’on se retrouve à prendre une bière et à faire de la balançoire sur un pneu. C’est «la flamme étenelle»
Monumenta is the 6th edition of Grand Palais which offers its nave to a contemporary artist. This year the couple Ilya and Emilia Kabakov have built their dreamed worlds . Pour l’évènement Monumenta, le Grand Palais offre sa nef à un artiste contemporain. Pour sa 6eme édition , le couple Ilya et Emilia Kabakov, a conçu une coupole et d’autres constructions “d’une autre réalité”.
In the great hall of Cartier Foundation , Marc Newson presents his concept-jet , and Chéri Samba , his large blue painting : ” I like the color ” …
Dans la grande salle de la Fondation Cartier, Marc Newson expose son Concept-Jet alors que Chéri Samba présente son grand tableau bleu intitulé « j’aime la couleur »…
Bodys Isek Kingelez : Project for the third millenium of Kinshasa Bodys Isek Kingelez : Projet pour le 3eme millénaire de Kinshasa
Ron Mueck «In Bed», the man beside the thinking lady is an admirer and doesn’t belong to the oeuvre Ron Muecck “In bed”, l’homme à côté de la femme pensive est un admirateur et ne fait pas partie de l’œuvre
The dome of Pantheon is restored, covered with scaffolds, and a tarpaulin. Soon, the artist JR will recover the dome with portraits of great ordinary women and men. The dôme du Panthéon en restauration a été échafaudé et recouvert d’une bâche. Bientôt l’artiste JR va recouvrir complètement le Panthéon de portraits de tous les grandes femmes et hommes de la rue.
What are now the Villa Apartments were first lifted above the busy intersection of Boren Avenue and Pike Street in 1909 for its then principal tenant, the Hotel Reynolds. That year, a Seattle Times classified promised, “Everything new and up-to-date in every respect. Rooms single or en suite, with private baths, electric lights and gas, rates reasonable.”
In addition to the hotel lobby and its namesake café, the storefronts facing Pike included, far left, a Singer Sewing Machine outlet on the corner with Boren, and on the far right at the alley, a purveyor of Paulhamus Pure Milk promised a “system of rigid cleanliness” beginning with the timely chilling of milk to fifty degrees at the dairy. Next door was the Auction House, and next to Singer was the North Western Quick Shoe Repair Shop, which proposed to fix yours while you wait. The classical entrance at the center of the Pike Street façade supported a tile frieze inscribed with the building name. Fortunately, ‘Lyre Building’ was written there and not ‘Hotel Reynolds,’ for the hotel soon moved out and on.
By 1910 Pike Street was developing into “Auto Row.” That summer the Avondale Hotel moved in and stayed until well into the Great Depression of the 1930s, when rooms rented from $2.50 to $3.00 a week. As late as 1958 rooms could be had for $7.00 a week, and for a dollar more, the by-then-renamed Villa Hotel offered room service. In 1962, taking advantage of Seattle’s Worlds Fair real estate opportunities, the Villa’s rates may well have been inflated for the six-month run of Century 21. After the fair, the hotel became an apartment house, and it is as the Villa Apartments that it survives.
I thought it possible that the architect for this sturdy survivor was Walter Willcox. In 1910 the Hotel Reynolds took possession of the new Willcox-designed Crouley Building on Fourth Avenue, one block north of Yesler Way. Above the sidewalk, the hotel recycled the illuminated sign seen here on Pike. I also noticed that above the windows of both the Lyre and Crouley buildings are similar cream-colored tile keystones that stand out like bakers’ caps. I was wrong. Diana James, the author of Shared Walls, a history of Seattle apartments, nominated William P. White, a prolific designer of built apartments here between about 1902 and 1917. James then discovered that her “hunch” was supported by Michael House, State Architectural Historian, whose on-line essay on White’s career includes the Villa Apartments among his many accomplishments. Thanks again to Diana James.
Anything to add, Paul? Yes Jean and again with Ron Edge’s help. Ron has found six neighborhood links and placed six photographs at the bottom to introduce them. As is our custom, they are often rich with allusions of many sorts, and as is also our way some of these may be have been used in other contexts. We continue to embrace my mother’s lesson learned from her in the late 1940s when she served a term as President of the Spokane Women’s Club, which was a few blocks from our home (actually, the church’s home: a parsonage) on 9th Avenue, one of the many verdant avenues on Spokane’s shaded but rarely shady South Hill. Mom – Cherry was her nickname – advised in all caps, “Repetition is the Mother of All Learning.” To some readers all six of these links will be familiar for they were all “top features” here within the last three years. The Plymouth Pillars printed next are, we hope and expect, treated in one of the six. They stand at the northwest corner of Boren and Pike, and so directly across Boren from our hotel. Following the pillars is a shot I snapped with with the popular and fast emulsion Tri-X 35mm film in the early 1970s. It looks south up Boren across Pike.
In The Seattle Times classifieds for February 7, 1958, the state highway department advertised: “…men wanted…to do design work in connection with the Seattle Freeway… First project is the Lake Washington Ship Canal Bridge.” Later that summer, local contractors Scheumann and Johnson’s low bid was awarded the contract to build the seven piers required to support the steel truss portion of the bridge, and the first concrete was poured on the 24th of September.
At least parts of six of the seven piers can be found in this construction photo by Victor Lygdman, admiringly described in his Times obituary dated March 23, 2010, as the “unofficial Mayor of Wallingford.” Born in 1927, Lygdman became an artist in several media, including watercolors, cartoons, fiction and sculpture. (When my left knee complains, I carry a Lygdman cane, skillfully carved as a snake spiraling the shaft to the handle.)
Jean and I figure that Lygdman recorded the historical view from where the bridge meets the hill near 42nd Street and Pasadena Avenue. [Reminder! We are off by one block. See below, under "anything to add."] Pasadena was a busy commercial street in the Latona neighborhood until 1919, when the Latona Bridge was replaced by the University Bridge. The freeway bridge, with its 2,294 feet of steel trusses crossing the canal, conforms to what was the north-south line of the Latona Bridge, about 125 feet above it.
The I-5 bridge opened to traffic in December 1962, with only 2.2 miles of approaches. On December 18th, Times reporter Marshall Wilson reported on his test drive. “For the time being commuters in both directions may find that it’s quicker traveling their old and accustomed routes.” Wilson added, “The view is better on the freeway route. From high atop the Lake Washington Ship Canal Bridge, the old Aurora Bridge looks almost like a miniature. Even the Space Needle appears to be at eye level.”
After the bridge was painted “Washington Green” with brushes, it sat idle for more than a year waiting for the freeway to catch up. Plans to use it for Century 21 Worlds Fair parking were first approved and then dropped. As historian Genevieve McCoy remarks in her book “Building Washington,” published in 2000, “Today, frustrated motorists crawling across the span could surely advise future fair planners that you don’t need a world’s fair to turn a bridge into a parking lot.”
Anything to add, Paul? Surely Jean, but first we must gathered it up.
Directly below are three picture links to other blog features that relate to our primary subject. The second of these, about the Latona Bridge in its last days, we printed in Pacific only two weeks past. It is still relevant. The third link starts with a feature of the split in the path of Lake Washington Bike Trail and its repeat looks north on the Lake Washington Ship Canal Bridge from the Roanoke Street overpass. The first link we were surprised to discover with our own “key word” search. It’s the same Victor Lygdman snapshot of the bridge supports printed on top, and it appeared first with two other relevant photos by Lygdman as an installment of a series we were running in 2011 called “Seattle Confidential.” The title is apt, for now – if you open the top link – you will find our caption from then, and may compare it to the one near the top here. But this requires another confession – now. The “then” feature this week – on top – is not given good service with its “now.” I may in the call of “team work” claim that WE – Jean and I – made a mistake. But it was really I who was “most” responsible. The “now” should have been taken one block further south where the bridge makes a big change to its center cantilever section. And it should have been taken from the top of the bridge (dangerous), and not from the lower express lane, or beside it with a sleeping bag. ( When we first reflected on this feature, Jean remarked that the Lygdman photo seemed closer and higher to the canal than the prospects I was promoting. And so once more, mea culpa.) You will find some of the evidence for this change in one of the two other Lygdman bridge photos included in the link directly below. It is a snapshot looking due east from the top of the bridge at that same time – 1959/60. Here it is again.
Another revealing photograph – a panorama over Wallingford to the Cascades – by our old friend, Lawton Gowey, looks west from near the south end of the Aurora Bridge. It is dated Jan. 1, 1960 and shows the “stub” of the Ship Canal Bridge when the top lane is a work-in-progress and aside from the concrete piers the cantilever work for the center span has not begun. It is from there – high and open on that south end – that Victor took the photograph that we feature at the very top and directly below. But first here is Lawton’s distant look at one high bridge from another, or near another: the Aurora Bridge. [CLICK to ENLARGE]
MORE TO COME
We have other extras from the neighborhood to insert tomorrow Sunday Morning after a late breakfast.
Above: May Day festivities, like these at Latona School, were once a regular feature on the calender of many Seattle schools. Below: Latona graduates Dorothy Lunde and her youngest sister, Marcella Fetterly, far right, stand beside a moving football formation of Latona students in 1993, with a glimpse of the ship canal bridge to the east.
One of the five men posing beside The Seattle Post-Intelligencer’s office may well be Leigh Hunt, who with his wife Lizzie was the owner of both the newspaper and the house. The latter became the P-I’s temporary quarters after the city’s Great Fire of June 6, 1889, destroyed the paper’s office and plant at the corner of Mill Street (Yesler Way) and Post Avenue (aka Post Alley). Before the sign was even in place, the P-I began publishing, here at the northwest corner of Columbia Street and Fourth Avenue.
In 1886, at age 33, Hunt had given up his presidency of the Agricultural College of Iowa at Ames for the exhilarating, if risky, enterprise of running his own newspaper, The Seattle Post-Intelligencer. The paper had begun in 1873 as the Seattle Gazette, a one-sheet weekly and Seattle’s first newspaper, and carried on with a variety of names and owners. Hunt’s stay lasted little more than six years, ended in bankruptcy triggered by the nation-wide economic panic of 1893.”
Although deep in debt, Hunt’s powers of persuasion soon moved the Great Northern Railroad to help pay his way to Korea, where he founded the Oriental Consolidated Mines and quickly made millions extracting gold. After he returned to Seattle, Hunt opened an office announcing that he was prepared to “meet all his debtors and pay in full.”
Leigh Hunt began the 20th century with a safari to Egypt’s upper Nile “for his health,” but “like the wide-awake American everywhere,” soon developed his trip into a scheme to get richer by growing cotton in the Sudan with British cooperation and the labor of American Negroes. Hunt’s characterization of his plan to give the colonizing blacks opportunities to acquire homes and skills got him no help from the black educator Booker T. Washington, who while in Paris, announced that “I am here merely to study the best known French manual training schools and have no intention of proceeding to Cairo to meet Leigh Hunt.”
In the summer of 1932 the 75-year-old Hunt’s planned visit to Seattle was cancelled when he fell from a twenty-foot ladder while examining a mine near Las Vegas, Nevada, his last hometown. His Seattle Times obituary of October 5, 1933, made claims on him. “It was here that Mr. Hunt entered his business career, which eventually took him all over the world, and it was here that he left the imprint of his genius for organization, promotion and development.” Hunt’s Times obit. is attached immediately below in a context of a few other stories that day.
[CLICK to ENLARGE]
Anything to add, Paul?
The best addition is from Ron Edge. It is the clipping from the P-I’s first issue following the fire. It is an extra you have already encountered – we have embedded it in the story above. We will also include a link from 2012, the feature about the Burnett Home across Fourth Avenue from Hunts, at the northeast corner of 4th and Columbia. Include within its link are other features from the neighborhood, including one on the Meydenbauer Home, which was also on Columbia and near by at its northeast corner with Third Avenue.
While I have not yet found a date for this look into the Latona business district, I think it was recorded, perhaps by a municipal photographer, to show off the closely packed collection of three bridges that in their last days were fittingly called by one name, Latona.
Out-of-frame to the left – about 150 feet east from the center of this bridge – the University Bridge also crossed the narrows into Portage Bay. With an almost obligatory speech by Edmond Meany, the University Bridge was dedicated on July 1, 1919. Meany was by then the oldest and easily most professing of the University of Washington’s history professors. With his wife Lizzie, Edmond also lived, appropriately, on 10th Ave. E. at the north end of the bridge. A living landmark, Meany was a brand name with both the University District’s art deco hotel, the Meany, (since renamed the Deco) and the University’s largest auditorium named for him. Exceptionally, both names were pinned to him before his death in 1935.
The professor had also attended the dedication of the Latona Bridge, exactly twenty-eights years earlier, on July 1, 1891. A boy’s choir from nearby Fremont serenaded the ceremony. (Both Fremont and Latona, north lake neighborhoods, were incorporated into Seattle on April 3, 1891, an annexation that added about seventeen, at the time, remote square miles to Seattle but very few citizens.) Most likely Seattle Pioneer David Denny was also at the ’91 dedication, for it was Denny who built the bridge as part of an agreement with the City Council, which gave him the right of franchise to build his trolley line over the bridge to the newly annexed Latona and the future University District, then still called Brooklyn.
Here (at top) with trolley tracks leading to it, the lift-span trolley bridge is on the right. Curiously, at the subject’s center, the right southbound side of the swing bridge made for vehicles is crowded with them. Perhaps they are headed for the 1919 dedication of the new bridge that was then still variously called the 10th Avenue Bridge, the Eastlake Bridge, and sometimes even the Latona Bridge.
CLICK TO ENLARGE
Anything to add, Paul? Yes Jean and starting with Ron Edge’s selection of four past features from this blog that stay – for the most part – in the neighborhood. In this regard we gently remind readers that we treat our subjects and their parts as like themes in musical compositions, by which we mean that we can use then over and over again, but in different contexts. For instance is the first feature that Ron links below, we will come upon image(s) that appear again in this feature. This “The Latona Bridge” is not so old either. It was first published less than a year ago on June 29. We figure some readers will remember it still.