AIA-CKC Home Tour: Mary Herd Jackson on tailoring a 1932 Cape Cod to its new owners

Home-Tour-2016-LogoOn Saturday, June 11, the Central Kentucky Chapter of the American Institute of Architects (AIA-CKC) will host its annual Home Tour and this year, we’re excited to be presenting media sponsors. The AIA-CKC Home Tour includes eight houses across Louisville, from Crescent Hill to Old Louisville to Norton Commons—you can view a full list here.

Home Tour tickets for all eight houses and an After Party Downtown at the Marketplace on Fourth cost $15 in advance via Eventbrite and $20 at the door of any house on the tour (cash only). Proceeds will benefit Habitat for Humanity. You can also share the Home Tour with your friends on Facebook. At the After Party Broken Sidewalk will be moderating a panel discussion on residential architecture in Louisville.

Leading up to the Home Tour, we’ll be highlighting each of the architects and their houses in exclusive interviews. Architect Mary Herd Jackson has completed the renovation of a circa 1932 Cape Cod–style house formerly belonging to another architect, Ed Krebs. The result is the Fritschner Residence, 1932 Lowell Avenue (map) in Strathmoor Manor.

The transformation, a collaboration with Krebs for the new owners, helped create a home tailored to the lifestyles of the clients and their family dog, Jack. Lyn Mabry of Living Spaces by Lyn served as the interior designer.


(Ted Wathen / Quadrant Photography)
(Ted Wathen / Quadrant Photography)

Broken Sidewalk: Why should I come tour the Fritschner Residence?
Mary Herd Jackson: Baby boomers are aging, emptying the nest, and planning for the future. Choosing a great neighborhood is a priority. These owners scored a charming (and nearly irreplicable) stone cape cod on a large corner lot. They just needed to adapt the house for their use to accommodate frequent family guests upstairs and to create comfortable first-floor living for themselves. Their goals—keep what is beautiful and add what is lacking—apply to many home renovation projects.

What were the owner’s priorities for the project?
When the owners purchased 1932 Lowell Avenue from architect Ed Krebs, they discussed the feasibility of a first floor master suite and outdoor room. Ed provided programming and schematic design services.

In the programming phase, he discovered which spouse watches TV, the size of their previous closet and bathroom, and the central role of Jack, the family dog. These details were meshed with the desire for a quiet retreat for reading, dressing, and relaxing.

The goals of the outdoor room, in this case a screened porch, included connecting both the master suite and the current rear door to the garden while providing some privacy from the side street. Ed translated the owners wish list to a schematic design which is essentially what was built. During design development, I rotated the roof ridge and box bay 90 degrees. During construction, Great Houses suggested a modification of the porch roof.

(Ted Wathen / Quadrant Photography)
(Ted Wathen / Quadrant Photography)

What concepts or specific elements inspired the design? Which design elements are true to the house’s past? Which design elements are breaks from the past?
In designing an addition to a significant building, the architect often wants to repeat (forms, shapes, details, “vocabulary”), relate (size, scale, surroundings), and complement (material, texture, function.) For an historic building (circa 1932), the goal is to support, not dominate, the existing building.

In this case, we repeated two roof forms, the 9:12 gable and the shed roof (existing dormer and new screen porch.) Double hung windows in the original 6/6 pattern face the garden while smaller six-lite awning windows face the neighbor. The ceiling height, nine feet, was matched in the addition except for the bedroom where we used attic space to bump the height to ten feet. Two new, uncased arches duplicate those in the original house. A box bay window creates a cozy alcove as recommended in Sarah Susanka’s The Not So Big House.

I like to joke that “roofs and closets keep me in business” but the truth is attractive roof lines for additions can be challenging. Sometimes a “simple room addition” is not so simple to figure out but the result can be elegant and an asset to the whole.

It is no shame for an addition to read as an addition. That is, in fact, the goal for most historic properties. In this project, lower roof height, smaller massing, and a less impressive material (board and batten compared to stone) combine to make the addition complement the original rather than to compete with it.

The house before renovation. (Courtesy Mary Herd Jackson)
Neighbor side showing rear addition. (Courtesy Mary Herd Jackson)

What was the strategy for outdoor space?
The outdoor space was designed and installed by the owners, past and present. The wood fence provides a border between public and private spaces. Lakeside Drive, the side street, is heavily used by pedestrians. A combination of shrubbery and trees provides privacy and shade.

The outdoor room was designed by the architects as intentionally as any enclosed space. Function, connectivity, and sunlight are some of the factors considered. The sloped ceiling increases the sense of space and air movement. Its stained bead board compliments the natural stone of the original house.

(Courtesy Mary Herd Jackson)
Winter view from Lakeside Drive. (Courtesy Mary Herd Jackson)

What was a splurge in this project? Where did you find savings?
Designed with the owners’ budget in mind, the modest scope provided the main savings. We did not build for future owners (whirlpool tub, first floor laundry, oversized closets) but for these owners. (In my experience, someone else usually likes the clients’ choices when it comes time to sell.)

In order to decide about several specific details, we got individual costs on a skylight, second window in the current den, solar light tunnel, steam shower, and heated tile floor for the master bath. Of these options, only the heated floor was selected. This is a splurge they enjoy for several months each year. They also upgraded the bedroom flooring from carpet to hardwood (more pet friendly).

Though part of the base bid, a wet bar on the screen porch, may be considered a splurge. With hot and cold water and a mini fridge, it accommodates beverages and flower arranging.

Good construction techniques are not a splurge. We specified excellent insulation, windows, and cement fiber siding. All of these contribute to longer life, lower maintenance, and less energy use.

What is one of the owner’s contributions to the design? 
There are several thing the owners visualized: the cupola, the cane-front cabinet doors, and a rough finished concrete texture for the porch floor. These suggestions were very successfully implemented.

The exterior siding color was chosen in an unusual way. It was installed in its primed condition and the neighbors were so complimentary of the color that the owners decided to make the finish coat the same color. The contrasting batten color was their decision as well.

[Top image by Ted Wathen / Quadrant Photography.]

The evolution of the barren fields at the the ReSurfaced site can help inform its future

(Branden Klayko / Broken Sidewalk)

The first weekend of the newest round of the vacant-lot-reclaiming ReSurfaced project has come and gone. (Tell us what you thought of it in the comments below!) But while you’re sipping craft beer, admiring the colorfully lit shipping container design, or musing on how to revitalize Phoenix Hill, it’s worth putting some thought on how ReSurfaced’s Liberty Build site and surroundings came to be the barren fields dividing Nulu and Phoenix Hill.*

The ReSurfaced site, and its surrounding context, in 1905. (Courtesy KYVL)
The ReSurfaced site, and its surrounding context, in 1905. (Courtesy KYVL)

While there’s a lot of historic architecture remaining in the area, this stretch of Phoenix Hill at Liberty Street and Shelby Street would have looked very different a century ago. This would have been a robust residential neighborhood of mostly brick houses, corner stores, some industry, and quite a few horse stables. And it would have been very dense.

Back in 1905, the ReSurfaced corner was occupied by two three-story corner buildings with residences above a saloon, eight shotgun houses, a bowling alley, three two-story homes, and the Val. Blatz Paint & Varnish Company. That company was housed in a complex of structures, the largest being a three-story brick building on Shelby Street.

The area around ReSurfaced over the years. (Courtesy NETR Historic Aerials; Montage by Broken Sidewalk)
The area around ReSurfaced over the years. (Courtesy NETR Historic Aerials; Montage by Broken Sidewalk)

Over the decades, the block gradually shifted from from residential to industrial. The houses on Liberty Street—then called Green Street before it was renamed in the patriotic fervor of World War II—were torn down for parking lots and warehouses as the varnish company grew and transportation trends changed.

While much of the neighborhood remained intact through the 1970s, a large chunk had already been removed by 1939 when the city razed half a dozen city blocks for the Clarksdale Homes. Clarksdale was the city’s first housing project, built in a barracks style that came to dominate such schemes. The original buildings had flat roofs that were later modified with pitched roofs, adding a domestic feel to the otherwise institutional complex.

Clarksdale’s 58 structures were originally built as segregated white-only housing, according to Wikipedia, but by the 1960s white flight had taken its toll and the housing became majority black.

With that white flight came disinvestment in the neighborhood. Often disinvestment has the side effect of helping to preserve the built fabric of a place. It’s the same reason we still have the beautiful structures along West Main Street—they were so forgotten that no one thought it worth the money to tear them down. Many historic buildings remained in place, including that old varnish factory.

Urban Renewal cleared what private investment didn’t, making way for the Clarksdale Homes, Dosker Manor, and an interchange for Interstate 65. All told, nearly a dozen city blocks were leveled for those projects.

Largely written off, this part of town began to cater to the population that remained and became home to organizations that worked to provide social services, including many homeless shelters and spaces for addiction recovery. While the largest, Wayside Christian Mission, relocated off East Market, many of these institutions still remain today.

82-resurfaced-liberty-build-louisville-tactical-urbanism
A before and after at the ReSurfaced site. (Courtesy Louisville Downtown Partnership)

And their presence has complicated ReSurfaced slightly—or perhaps highlighted a topic for discussion that such tactical urbanism projects are meant to do.

Recently, the Jeff Street Baptist Community’s Reverend Cindy Weber publicly decried alcohol at the pop-up venue and the congregation voted unanimously to oppose its sale. The Jeff Street Baptist Community is located across the street from ReSurfaced at 800 East Liberty Street and, among other things, serves recovering alcoholics. (Find more at Insider Lou, Biz First, WDRB, WLKY, or the C-J.)

City Collaborative, the driving force behind ReSurfaced, has since met with the community leaders and is working to find a compromise. It noted that several members of the congregation were among the volunteers that helped built the pop-up. As activity spills off East Market into the surrounding blocks, the old and new histories of the area will need to find balance.

The ReSurfaced site in 1993. (Courtesy Google Earth)
The ReSurfaced site in 1993. (Courtesy Google Earth)

Back to the 1970s. Eventually, the Phoenix Hill neighborhood began to erode, especially along this edge condition created by the disparate urbanisms of the housing project and the neighborhood. The barracks layout of the Clarksdale Homes failed in its anti-urban form, serving to create a barrier that had the effect of casting stigma on the houses and the entire neighborhood.

The old industrial buildings on the ReSurfaced site comprising the varnish company remained for some time, clearly visible in the above 1993 aerial view, but by this time, the there were no residences on the block.

21-resurfaced-liberty-build-louisville-tactical-urbanism
The ReSurfaced site in 2002. (Courtesy Google Earth)

By 2002, not much had changed. The Clarksdale housing projects were still standing, but nearing their end—they would be demolished in 2004–2005 to make way for the HOPE VI development of Liberty Green.

These were the days well before Nulu—Gill Holland’s Green Building didn’t open until 2008 and much of what we consider the heart of Nulu followed after that. And we’re just now seeing development begin to edge off of the East Market strip that’s been growing for the past decade.

But along with the demolition of the projects came demolition of the remaining structures along Shelby Street. Not that there was much remaining. It was at this point that the last of the varnish factory was torn down. It’s loading dock, sunk into the ground along Liberty, can still be seen today. Later, a small storefront to the north and a two-story commercial building a block south would also go.

The master plan for Liberty Green indicating privately developed portions in rust, left, and a detail view of the eastern portion along Shelby Street that remains unbuilt, right. (Courtesy AU Associated)
The master plan for Liberty Green indicating privately developed portions in rust, left, and a detail view of the eastern portion along Shelby Street that remains unbuilt, right. (Courtesy AU Associated)

Liberty Green’s mixed-use, mixed-income model based on the tenets of New Urbanism brought significant change to what was once barracks housing. But some areas slated for private development like the eastern edge along Shelby Street have been slow to materialize.

The Louisville Metro Housing Authority built dozens of traditionally designed apartment buildings and houses on the western and central portions of the site. A number of market-rate townhouses and apartments were also built along the Hancock Street corridor. But the eastern section along Shelby Street today remains unbuilt.

Aerial view of the vacant Liberty Green blocks with the ReSurfaced site indicated in red. (Courtesy Google)
Aerial view of the vacant Liberty Green blocks with the ReSurfaced site indicated in red. (Courtesy Google)

Compounding the problem, those vacant lots serve as a sort of slap in the face to the neighborhood. Their central alleys and parking lots that new housing would eventually be built around were constructed early on, but along the perimeter no sidewalks have existed for over a decade.

Since around 2005, both sides of Shelby between Jefferson and Liberty (and the east side till Muhammad Ali Boulevard) have been flat vacant land or parking lots. And now ReSurfaced has stepped in to add activity once again to the long-quiet site.

An aerial view of the ReSurfaced site under construction. (Forest Giant / Courtesy ReSurfaced)
An aerial view of the ReSurfaced site under construction. (Forest Giant / Courtesy ReSurfaced)

Today, however, ReSurfaced is exploring ways to bridge the gap created by this vacant land and repair the tattered urban fabric separating Nulu and Phoenix Hill. ReSurfaced opens up again this weekend and again later this fall as it continues on its 18-month schedule, and it’s inviting the community to confront these issues that have shaped the area over the past century head on.

Share your thoughts on ReSurfaced, the surrounding urban fabric today, and how we might improve the city here in the comments below. And stop by ReSurfaced this weekend to inspect the situation for yourself. And if you’ve got any additional history to share, please do so in the comments. This account only begins to scratch the surface of the long and complicated history of this part of town.


* While Nulu was once part of Phoenix Hill—as is the block across from Slugger Field—it has taken on its own identity as a place distinct from Phoenix Hill, which stretches south and east all the way to Broadway and Baxter Avenue. We do not consider nor describe the two as the same neighborhood.

AIA-CKC Home Tour: Emily Fisher brings a 1950s ranch back to its mid-century roots

Home-Tour-2016-LogoOn Saturday, June 11, the Central Kentucky Chapter of the American Institute of Architects (AIA-CKC) will host its annual Home Tour and this year, we’re excited to be presenting media sponsors. The AIA-CKC Home Tour includes eight houses across Louisville, from Crescent Hill to Old Louisville to Norton Commons—you can view a full list here.

(Courtesy Rock Paper Hammer)
(Courtesy Rock Paper Hammer)

Home Tour tickets for all eight houses and an After Party Downtown at the Marketplace on Fourth cost $15 in advance via Eventbrite and $20 at the door of any house on the tour (cash only). Proceeds will benefit Habitat for Humanity. You can also share the Home Tour with your friends on Facebook. At the After Party Broken Sidewalk will be moderating a panel discussion on residential architecture in Louisville.

Leading up to the Home Tour, we’ll be highlighting each of the architects and their houses in exclusive interviews. You might expect to see the Abeln House, 729 Middle Way (map) in the Cherokee Gardens neighborhood, on the pages of Dwell. Architect Emily Fisher of Rock Paper Hammer peeled back decades of changes to this 1950s home by architect Werner Louis Feibes, revealing its classic mid century–design details, adding a clerestory and new sloped roof to unite the garage and entry.


(Courtesy Rock Paper Hammer)
(Courtesy Rock Paper Hammer)

Broken Sidewalk: What is the physical context of the Abeln House?
Emily Fisher: This house is the only one of modern style in the neighborhood—it’s surrounded by more traditional homes. It’s on a sloping lot that backs up to Cherokee Park.

What were the owner’s priorities for the project?
To stay true to the original character of the home, while improving functionality and curb appeal.

What concepts or specific elements inspired part of the design?
The design was inspired a great deal by the original architect’s drawings from 1953 and the four-foot joist bays that created a rhythm throughout the house. This pattern had been lost with subsequent additions and we returned to it with our new entry addition. Also the horizontal bands of windows informed the new clerestory windows above the entry.

An original rendering of the house. (Courtesy Rock Paper Hammer)
An original rendering of the house. (Courtesy Rock Paper Hammer)

What is the heart of this home?
The heart of this home is the living room with its original tile fireplace, built-in seating, and wall of glass with backyard views. Since this was all original, however, we can’t take any credit for it!

What was a splurge in this project? Where did you find savings?
A splurge was the cumaru wood siding and deck. The natural wood siding adds color and texture to the front of the house and also provides a welcome warmth to balance the clean, modern form. These were important factors to the homeowners when they made the decision for this upgrade, in addition to wanting a unique look at the entry.

We found savings by only using the wood siding at the entry where it is most visible, and elsewhere using HardiBoard. Along with the higher price tag of natural wood comes increased maintenance so we did explore some fake “wood” options, but it was ultimately decided that the real wood was worth it. The limited area not only kept the cost lower but will also keep maintenance more manageable.

(Courtesy Rock Paper Hammer)
(Courtesy Rock Paper Hammer)

Which design elements are true to the house’s past? / Which design elements are breaks from the past?
The new flat roof is the most prominent feature that is true to the home’s original design. When the current homeowners moved to Louisville they recognized and appreciated the design origins of this particular house from the time they lived in California.

While a flat roof is relatively unique in this area, it was widely used in the first California suburban ranch houses that began in the 1950s and 1960s and still remain popular today. 729 Middle Way shares many of the defining features of these ranch houses, also called Eichler homes (after the developer), such as:

  • Modern, one-story wood and glass, architect-designed subdivision homes (unique to the postwar suburban building boom of the 1950s and ’60s) that emphasize casual indoor-outdoor living.
  • They often had flat or shallow-pitched roofs, exposed beams, and expanses of plate glass.
  • Garages often faced the street, while living areas opened toward the rear.
  • A signature feature was running materials both inside and out (like the brick for a fireplace) to reinforce the idea that house and site were extensions of each other.
The house before renovation. (Courtesy Rock Paper Hammer)
The house before renovation. (Courtesy Rock Paper Hammer)

The non-original roof that we removed consisted of a single slope “shed” roof that sat on top of the original flat roof. Part of it looked okay from the street but around back the vertical end created an unsightly wall on top of the house. Also the roof transitions at the entry and garage were awkward.

Newer design elements that compliment it include the sloped roof and clerestory windows at entry, and the new cable railing at the rear balcony.

(Courtesy Rock Paper Hammer)
(Courtesy Rock Paper Hammer)
(Courtesy Rock Paper Hammer)
(Courtesy Rock Paper Hammer)

What is your favorite moment in the house?
My favorite moment is inside the new entry when you can tell you are in a new space but you can’t tell where the old ends and the new begins, as it seamlessly flows into the original living area. The new clerestory windows above repeat the pattern of the original clerestory windows, now interior, below them. The wood ceiling echoes the natural redwood that is used throughout the interior of the house.

What is one of the owner’s contributions to the design?
The wood siding (see splurge above) was the owner’s idea, and it totally makes the project!

What was the strategy for outdoor space or landscape?
The beautiful backyard and terrace area did not have a good connection to the main living level of the house as they were separated by a full flight of stairs and a solid railing along the upper balcony. We created a new mid-level deck that bridges the two floors, and added a transparent cable railing system that helps connect the upper balcony with the terrace below.

Were there any local vendors or products that you used?
The Door Store and Windows for Marvin windows and french doors, Schultze Glass for the irregular shaped windows, Cunningham Overhead Door for the new glass garage door, Emser tile for porcelain tile at the entry.

As steel structure goes up, scaffolding coming down at 111 Whiskey Row

111 Whiskey Row. (Branden Klayko / Broken Sidewalk)

Those giant diagonal supports propping up the burned-out facades of 111 Whiskey Row on West Main Street have become a familiar site, either as a beacon of hope at the tenacity of the developers to preserve the stories Whiskey Row Block, an odd feat of engineering, or a major traffic headache. But with recent progress building a new steel structure inside the brick walls of the three old bourbon warehouses, the scaffolding is beginning to come down.

The new internal steel skeleton at 111 Whiskey Row. (Branden Klayko / Broken Sidewalk)
The new internal steel skeleton at 111 Whiskey Row. (Branden Klayko / Broken Sidewalk)

Take a look at these photos, taken last Thursday, showing the easternmost limestone facade scaffold free for the first time since last year’s devastating fire. The facade has been fixed up and a steel structure installed holding the facade and brick party walls in place.

The same process is in the works for two other facades along Main Street and the three building’s corresponding facades along Washington Street to the north. On Thursday afternoon, crews could be seen laying brick at the top of the Washington Street facades.

Construction at 111 Whiskey Row. (Branden Klayko / Broken Sidewalk)
Construction at 111 Whiskey Row. (Branden Klayko / Broken Sidewalk)

Todd Blue’s surface level parking lot where the guts of two other buildings were demolished in what’s commonly referred to as a facadectomy is serving as a staging ground for construction. The lot is filled with salvaged bricks and new steel awaiting installation.

Also of interest if you’re following Whiskey Row is a recent report on bourbon’s history in shaping Louisville by the Courier-Journal‘s Bailey Loosemore. That history notes that bourbon has always been part of Louisville since its founding in 1778. Loosemore reports that by 1832, Main Street already housed 15 to 20 distillery offices storing barrels and offering samples to potential customers. That number grew to some 50 offices Downtown at its peak, earning Main Street the moniker Whiskey Row.

While prohibition and changing transportation trends largely put an end to the row, Loosemore reports, in recent years Downtown Louisville has seen quite a resurgence with five new distilleries set to open by 2018.

Metro Louisville asks artists for ideas to blend transportation and public art

By all accounts, Louisville today is a car city. More than 80 percent of residents get around by automobile and residents drive some 7 billion miles every year. But that’s beginning to slowly change as the city looks toward a multimodal future where walking, biking, transit, and private automobiles are all welcome users of our streets.

With the Move Louisville plan still undergoing public comment and progress continuing on our urban bike network, Metro Louisville and the city’s Commission on Public Art (COPA) are looking to advance the discussion around transportation with the help of local and national artists.

Meet ART moves LOUISVILLE (AmL)

An installation from the Connect / Disconnect exhibition in 2015. (Branden Klayko / Broken Sidewalk)
An installation from the Connect / Disconnect exhibition in 2015. (Branden Klayko / Broken Sidewalk)

“One of the key needs of a healthy, vibrant and functional community is ease of mobility,” the city wrote in its AmL brief. “Streets, sidewalks, transit, bike paths and trails all form a network that allow us to get where we need to go.”

With a hefty $100,000 budget, ART moves LOUISVILLE is looking for up to five artists or designers to create site-specific works, from installations to performances, that explore new ideas around transportation, mobility, and public space in Louisville. The city has listed the following goals for the AmL project:

  • Imagine a multi-modal Louisville
  • Activate target corridors and activity nodes
  • Present engagement and value for pedestrians and cyclists
  • Break down barriers to our usage of public transportation
  • Invite dialog and interaction in our public spaces
  • Create arts experiences that appeal to a broad audience

ART moves LOUISVILLE builds off of last year’s public art exhibition, Connect|Disconnect: A Public Art Experience, at Tenth Street and the Ohio River. That showing explored the notion of trails as places for public art. AmL is the second in a three-year series of exhibitions as part of the Louisville Public Art Master Plan, developed by New York–based Creative Time in 2009.

The Fran Huettig Public Art Project

An installation from the Connect / Disconnect exhibition in 2015. (Branden Klayko / Broken Sidewalk)
An installation from the Connect / Disconnect exhibition in 2015. (Branden Klayko / Broken Sidewalk)

Additionally, Metro Louisville is launching the Fran Huettig Public Art Project, which will bring long-term public art to the Russell neighborhood over the next five years. The city is “inviting artists to develop and implement a community-engaged public art project in the Russell neighborhood in the fall of 2016,” a project brief states.

“From the turn of the century to the 1960s, Russell was a well-established neighborhood known as ‘Louisville’s Harlem’,” the project brief states, noting that the neighborhood is home to “America’s first library open to African-Americans, the offices of The Louisville Defender publication, and Central High School (once Louisville’s African American High School).”

The project is “an opportunity for artists to work with community members as well as the Louisville Metro department of Safe and Healthy Neighborhoods initiatives including One Love Louisville, a comprehensive strategy to reduce overdose, suicide and homicide rates; and Zones of Hope, a strategy for transforming a culture of violence into a culture of hope.” The city will select up to three artists or teams to work on the project, with a budget of $20,000.

An installation from the Connect / Disconnect exhibition in 2015. (Branden Klayko / Broken Sidewalk)
An installation from the Connect / Disconnect exhibition in 2015. (Branden Klayko / Broken Sidewalk)

The city says projects should consider these goals:

  • Interpret and express the unique identity of the Russell neighborhood
  • Work in collaboration with community members to capture and develop a visual expression referencing the past, present and future of Russell
  • Invite dialog and interaction in a public space
  • Create public art that appeals to a broad audience

“Despite suffering recurrent disinvestment following an epic flood in the 1930s and failed urban renewal efforts in the 1960s, Russell’s strong and distinctive neighborhood identity remains,” the project brief states. “Russell’s central location, major corridors, and recent transformative civic and private investments make this community a catalyst for significant change throughout Louisville.”

The Fran Huettig Public Art Project is the first of five privately funded public art projects to be commissioned in west Louisville over the next five years in collaboration with the Fund for the Arts. The program honors “the late Fran Huettig, a supporter of public art and long-time employee of the Fund for the Arts.”

Apply by June 9

An installation from the Connect / Disconnect exhibition in 2015. (Branden Klayko / Broken Sidewalk)
An installation from the Connect / Disconnect exhibition in 2015. (Branden Klayko / Broken Sidewalk)

If you are an artist you know would like to be considered, you’ve got to ask fast—the deadline for submitting a Request for Information (RFI) to the city is this Thursday, June 9. A panel of experts will select up to five artists and dole out budgets for the ART moves LOUISVILLE exhibition and up to three artists for the Fran Huettig Public Art Project.

For more information on both art opportunities and how to submit an RFI, visit the city’s website here.

In Construction: Louisville’s Omni Hotel now airborne as columns rise into sky

(Branden Klayko / Broken Sidewalk)

It’s been well over a month since we checked in with construction at the Omni Louisville Hotel in Downtown Louisville, and in that time the 30-story tower has risen off the ground. These things go fast when there’s minimal ground or subterranean work like an underground parking garage. So expect some dramatic concrete work to quickly rise up this summer.

The construction site as of last Thursday was distinctly vertical, resembling a sort of concrete hair growing upward from the former Water Company Block bound by Second Street, Liberty Street, Third Street, and Muhammad Ali Boulevard. Many columns will hold up the second floor ballroom space, which will have distinctly fewer columns. To bridge the enormous ballroom spaces and support the roof, a large steel structure will eventually be installed. Meanwhile, the L-shaped tower will continue to rise around the ballrooms.

(Branden Klayko / Broken Sidewalk)
(Branden Klayko / Broken Sidewalk)

The more than $300 million Omni Louisville Hotel includes 600 hotel rooms, 225 apartments, two convention ballrooms, and a mix of retail that includes a coffee shop, speakeasy with a bowling alley, restaurants, and an urban market. An enormous above ground parking garage will also be built on the site of the old Water Company Headquarters on Third Street, but so far its construction has been slower to start. (You can check out all the apartment buildings comprising Louisville’s current urban apartment boom here.)

The structure was designed by the hospitality division of Texas-based HKS Architects and interiors are the work of Dallas’ waldrop + nichols studio. Birmingham, Ala.–based Brasfield & Gorrie is serving as the project’s general contractor. Check out the latest interior and exterior renderings of the project from our coverage of the project’s ceremonial groundbreaking on January 29.

A newsletter from Omni sent to the Courier-Journal and Business First reports that construction progress is moving along on schedule to make its spring 2018 grand opening. That newsletter described what’s clearly visible on the site: that work on the structure’s auger-cast foundation is progressing and vertical support columns are rising off the ground. Omni Project Manager Jeremy Dawkins said construction activity will pick up this month as the tower conspicuously rises into the sky.

The construction newsletter went on to note that the project will require over two million linear feet of wire and half a million feet of conduit, according to Evelyn Strange, president of Louisville-based Advanced Electrical Systems (AES).

If you see anything noteworthy at the Omni Louisville Hotel Site or anywhere else around town, drop a note in our tipline or to tips@brokensidewalk.com.

Preservation Focus: Theaters: Rialto Theater

Rialto auditorium showing its ornately tiled proscenium arch circa 1921. (Courtesy UL Archives)

(Editor’s Note: Preservation Month 2016 might be over, but we’re continuing our Focus on Preservation series highlighting some of the most storied theaters of Louisville.)

Rialto Theater
616 South Fourth Street
Architect: Joseph & Joseph Architects
Opened: May 12, 1921
Closed: July 30, 1968
Demolished: 1969

The gleaming white Rialto Theater circa 1945. (Courtesy UL Archives - Reference)
The gleaming white Rialto Theater circa 1945. (Courtesy UL Archives – Reference)
A drawing of the Rialto Theater by Joseph & Joseph Architects. (Courtesy UL Archives - Reference)
A drawing of the Rialto Theater by Joseph & Joseph Architects. (Courtesy UL Archives – Reference)

Built in 1920 by Joseph & Joseph Architects, Louisville’s Rialto Theater was among the most grand ever built in the city. The Capitol Theater in New York City inspired the Rialto Theater, and both functioned as motion picture houses until their respective demolitions. Located on the former site of Cunningham’s Restaurant at 616 South Fourth Street, the Rialto opened to the public on May 12, 1921, and boasted some of the finest architecture in Louisville’s history.

(Above photos courtesy UL Archives except where noted — Reference, ReferenceReference, Reference, Reference, Reference, Reference.)

The Rialto would have stood out from Fourth Street’s older buildings because of its gleaming white-glazed terra cotta facade. Terra cotta was a defining material choice for structures built of the era, but the Rialto’s tile was top quality, being sourced from Rookwood Pottery in Cincinnati. Other terra cotta facades still exist to this day—namely, on the Brown Hotel and the Mercury Ballroom (originally the Wright-Taylor Building) situated across the street from the Rialto. (The Seelbach Hotel’s basement Rathskeller is also clad in Rookwood tile.)

Unlike the Capitol Theater, the Rialto featured intricate bas-relief panels between the windows and wrapped along the top of the building, with massive corbels jutted below the roofline. A prominent vertical marquee juts up from the Rialto facade and a recessed entry was flanked by two retail stores.

(Above images courtesy Cinema Treasures and the UL Archives as noted — Reference, Reference, Reference, Reference, Reference, Reference.)

Detail of the Rialto's grand marble stair. (Courtesy UL Archives)
Detail of the Rialto’s grand marble stair. (Courtesy UL Archives – Reference)

Upon entering the grand lobby via a vestibule, guests were greeted by chandeliers made of Bohemian crystal, tall brass torchères, and a stunning 26-step marble staircase that led to a grand promenade upstairs. Diamond-shaped marble tile lines the floor and intricate plasterwork and handpainted murals created a visual delight on the ceilings and walls.

With 3,500 seats, the Rialto is easily one of the most grand ever built in the city. And with a cost of one million dollars ($11,906,600 when adjusted for inflation) the Rialto Theater was one of the costliest projects in Louisville at the time.

The enormous auditorium was intricately detailed with a prominent balcony wrapping around the stage. The tiled proscenium arch must have been a sight to behold. The stage was surrounded by blue silk damask walls decorated in gold arabesques.

The Rialto Theater and a changing Fourth Street near the end of its life. (Courtesy UL Archives / Via Historic Lou / Weebly)
The Rialto Theater and a changing Fourth Street near the end of its life. (Courtesy UL Archives; Via Historic Lou / Weebly)
The Rialto under demolition. (Courtesy Old Lou Guide)
The Rialto under demolition. (Courtesy Old Lou Guide)

According to John E. Kleber’s The Encyclopedia of Louisville, the very first program at the Rialto featured a thirty-piece symphony orchestra and a screening of The Witching Hour—a silent film about the assassination of Kentucky Governor William Goebel in 1900.

The Rialto closed on July 30, 1968. A year later, it was demolished for a parking lot. Today, a large parking garage occupies the grand theater’s site.

The Rialto Theater as a parking lot. (Courtesy Old Lou Guide)
The Rialto Theater as a parking lot. (Courtesy Old Lou Guide)

[Top image of the Rialto auditorium showing its ornately tiled proscenium arch circa 1921 courtesy UL Archives – Reference.]

AIA-CKC Home Tour: Jeff Rawlins retrofits an innovative ’30s design for outdoor living

Home-Tour-2016-LogoOn Saturday, June 11, the Central Kentucky Chapter of the American Institute of Architects (AIA-CKC) will host its annual Home Tour and this year, we’re excited to be presenting media sponsors. The AIA-CKC Home Tour includes eight houses across Louisville, from Crescent Hill to Old Louisville to Norton Commons—you can view a full list here.

A detail at the Gilbert House front door. (Courtesy Architectural Artisans)
A detail at the Gilbert House front door. (Courtesy Architectural Artisans)

Home Tour tickets for all eight houses and an After Party Downtown at the Marketplace on Fourth cost $15 in advance via Eventbrite and $20 at the door of any house on the tour (cash only). Proceeds will benefit Habitat for Humanity. You can also share the Home Tour with your friends on Facebook. At the After Party Broken Sidewalk will be moderating a panel discussion on residential architecture in Louisville.

Leading up to the Home Tour, we’ll be highlighting each of the architects and their houses in exclusive interviews. Architect Jeff Rawlins of Architectural Artisans has updated the innovative circa 1937 Gilbert House, 1224 Larue Avenue (map) in the Prestonia neighborhood, with a new screened-in porch, swimming pool, and a reconfigured garage to create an overall composition that respects the house’s original modern design.


A new swimming pool and screened-in porch at the Gilbert House. (Courtesy Architectural Artisans)
A new swimming pool and screened-in porch at the Gilbert House. (Courtesy Architectural Artisans)

Broken Sidewalk: Why should I come tour this house?
Jeff Rawlins: You should come tour this house because it’s a rare opportunity to see and walk through a metal-panel house. Constructed in 1937 by R.F. Niemeier from a prefabricated kit, this model house was as much a glimpse into the future of houses as products, as it was a case study for creating durable economical living environments. Now almost 80 years later there is a slight nostalgia in the technology, but the spaces are still cozy and comfortable.

A 1937 article about the house in the Courier-Journal. (Courtesy Architectural Artisans)
A 1937 article about the house in the Courier-Journal. (Courtesy Architectural Artisans)

Can you explain the historical aspects of the house?
Metal panel houses are odd even by today’s standards. As mentioned in a 1937 article, various metal and glass house designs were explored at the Chicago world’s fair in the late 1800s after the Chicago fire. What I find interesting is the fact that this house was designed and marketed as a product complete and furnished for $7,650 in an era shortly after Henry Ford launched factory automobile production. Innovation and mass production had taken hold and there were individuals in Louisville willing to explore and vet new ideas.

Which design elements are true to the house’s past? Which design elements are breaks from the past?
The massing and scale of spaces are true to the house’s past. The colors and materials complement the house. The detailing of the fence, garage facade, and porch break from the past as they are not prefabricated systems.

The back of the house before renovation. (Courtesy Architectural Artisans)
The back of the house before renovation. (Courtesy Architectural Artisans)

What were the owner’s priorities for the project?
The owner’s goal was to create outdoor spaces that complement the house and expand its livability. So instead of having a single open rear yard, the owner requested a variety of spaces that could accommodate a variety of different functions and activities depending on the climate, mood, or the social nature of those in the space. Specific items included a screened area with evening light, a heated and lighted pool, a fire pit with lounge seating, and some yard space for the dog to play.

The new backyard at the Gilbert House from the driveway. (Courtesy Architectural Artisans)
The new backyard at the Gilbert House from the driveway. (Courtesy Architectural Artisans)

What concepts or specific elements inspired part of the design?
Obviously the modern design of the house drove the aesthetics of the project. It was important to create a harmonious design that was respectful of the scale and materials of the existing house. The goal was to create a timeless environment that could have been created in 1937, 1960, or 2010.

To keep cost down the screened-in porch was created with darkly painted wood. A cast stone was used for the flooring and patio to give the project a sense of permanence. And the dark siding on the garage facade was purposely milled to a small 3-inch lap to contrast with the larger house siding, be outside today’s conventional construction pallet, and relate more closely to the fencing.

A view through the screened-in porch. (Courtesy Architectural Artisans)
A view through the screened-in porch. (Courtesy Architectural Artisans)

What was a splurge in this project?
In a sense this project is the splurge. The modest metal house provided shelter and the necessities for living for almost 80 years. It is my opinion, though, that this project is the most important component when working with prefabricated housing. Houses that are well connected to the environment and context around them are simply more livable.

(Courtesy Architectural Artisans)
(Courtesy Architectural Artisans)

What was the strategy for outdoor space or landscape?
The strategy for the exterior spaces was to create a series of spaces with minimally defined edges. One example is the screen porch, which is defined by the roof and screen but the house siding and stone deck run seamlessly through the space. Another example are the two long, generous steps at the end of the pool that intentionally define a threshold between the pool space and the yard space.

Another strategy was to use landscape materials to help reinforce the modern design, like the strong perimeter hedge or the delicate row of succulents planted between the porch and the pool.

Why so many people die walking on our streets explained in three graphs

A still from ProPublica‘s interactive graph. (Courtesy ProPublica)
A still from ProPublica‘s interactive graph. (Courtesy ProPublica)

streetsblog-logo-02Speed kills, especially on city streets teeming with pedestrians and cyclists.

The investigative news nonprofit ProPublica has produced an interactive graph that deftly conveys how just a few miles per hour can spell the difference between life and death when a person is struck by a motorist. ProPublica’s Lena Groeger used data from the AAA Safety Foundation to chart the plummeting likelihood of survival as motorist speed increases.

The average pedestrian struck by a driver traveling at 20 mph has a 93 percent chance of surviving. For a 70-year-old, the chances are somewhat lower but still a robust 87 percent.

As Groeger puts it:

Once cars reach a certain speed (just above 20 mph), they rapidly become more deadly. According to [AAA’s Brian] Tefft’s data, a person is about 70 percent more likely to be killed if they’re struck by a vehicle traveling at 30 mph versus 25 mph.

In collisions at 30 miles per hour, about one in five pedestrians will not survive. For older pedestrians, the odds are significantly worse:

(Courtesy ProPublica)
(Courtesy ProPublica)

The risk of death continues to rise dramatically as speeds exceed 30 mph. At 40 mph, most older pedestrians will not survive:

(Courtesy ProPublica)
(Courtesy ProPublica)

In addition to much higher survival rates in the event of a collision, driving at slower speeds reduces stopping distances, making it easier for drivers to avoid hitting people in the first place.

speed-fatality-rate-chart-02These graphs are a compelling visualization of the data that undergirds campaigns like “20’s Plenty” in the U.K., where residents have demanded 20mph streets to protect the most vulnerable. As of last fall, more than 14 million people in the U.K. lived on streets with 20 mph speed limits, according to 20’s Plenty founder Rod King, and the campaign is now focused on extending the 20mph limit to most streets in the country:

[Editor’s Note: This article has been cross-published from our partner, Streetsblog.]