Ivar’s Century 21 fish and chips bar – or stand with Hamburgers! – was nestled to the north side of the Monorail terminal. It opened directly onto the southwest corner of the carni’ part of the fair called the Breezeway. Here below – and again – is Ron Edge’s superimposition of a recent space shot of Seattle Center over the 1962 Century 21 map, which both names and numbers its primary parts – but not Ivar’s, as such. DOUBLE CLICK this for your hide-and-seek. (Clue: No. 63)
A recent space shot of Seattle Center superimposed on a 1962 map of Century 21, numbering and naming its parts. (Constructed by and courtesy of Ron Edge)
A chummy note from the boss to his staff as they prepared for the fair.
Looking south to the full Needle soaring above Ivar's Century 21 Fish Bar (with hamburgers and shakes).
The bar with a breeze, designed by architect Howard A. Kinney, using bamboo trellises and fitted exposed timbers with both modern and rustic properties - somewhat like the Polynesian Restaurant on Pier 52.
Jean's repeat from this year's Bumbershoot reveals that the "Next 50 Pavilion" is the latest holder on Ivar's footprint. The futurism of this "next 50" years included lots of minimalism, recognizing that we are wearing out the planet and so the Center and Seattle too. Next 50 has none of the forward thrust of Century 21. In this light the decision to put another ticketed glass museum nearby rather than, for instance, the Native American Center promoted by a different cadre of regional sensitives, suggests a "oh what the hell - lets sink with the glass and enjoy the colors along the way - the the money too" fatalism. The use of Seattle Center for a Native American center may have well been without cash register and ticket takers. Appropriately too, for the meadow was once used for native potlatches, those rituals of being admired and thanked for giving gifts and not for selling tickets or trinkets.
Architect Kinney's artistic wife Ginny, decorated much of the bars' interior with collages she constructed from driftwood, shells and other beach desiderata like sand-worn glass. After the fair her panels were installed in the main house at the cattle ranch Ivar then owned near Ilwaco on the Long Beach peninsula. This subject is from Ivar on the farm. Later the panels were moved back to Seattle and some of them are still decorating a hallway at Ivar's Salmon House, as shown next/below.
Some of Ginney Kinney's driftwood collages sharing a Salmon House wall with Native American portraits shared by the University of Washington's Special Collections.
Ivar’s mid-20th century band-wagoning with what’s modern was most flirtatiously expressed for the Ford Edsel – although Ivar never purchased one, nor did many others. (CLICK to ENLARGE)