Utah Preservation Magazine - Building on the Past Volume 2, 1998

UTAH PRESERVATION

VOLCJME 2

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Ogden Egyptian Center

An Ancient Atntosphere Awaits Modern litahns

By Margaret Marti

Building of the Vernal Utah Temple

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By Roger P. Jackson

Nine Mile Canyon

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Archaeologiccrl Eeast~reat Risk

By Layne Miller

The Julia Budge Nibley House

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Reviving L( Logan Latzdmnr-k

By T h a d Box

Preserving the Bonds Between Land and Community Bluffl A Role Model for Rziral Conservation ............................

By Liza Doran, Gene Foushee, Ellen Meloy, Deborah Westfall, Jenepher Stowell

Salt Lake Hardware Building

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Relzab by the Railyard

By Judy Reese

Hotels Revisited

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Retracing a I919 Utah Road Trip

By Roger V . Roper

Conservation of Capitol Dome Murals

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By Elizabeth Provost, Susan I-Iolt, Wilson Martin

"Barn in Utah" - Photo Essay

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Intages of the Agrarian Lundscape

Golden Spike

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On-ground Evidence Depicts Final Rush to Prontontoly

By Bruce Povvell

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Utah Preservation Marketplace .............................

Interview with Jack Goodman

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LJtah Division of State History Director ...................................................................Max J . Evans -sociate Director ..............................................W i n G. Martin itor Utnh Preseruutio~z.......................................Roger V. Koper

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President ..............................Celeste Gleave'WHA Imninistrative V.P. .................. Sandra L. Hudson eelance Editor .................................'reresa Zundel eelance Editor Northern IJtah .. Beverly Bradley Freelance Designer ..............................Jay Harhvell .clarmrr. Evrry cl'f,,i,rrlma lxcn made s, maurr thr nccul-ncy c~I'1hcinformation in thir *h State llisturicl~lSoeicl\: 'The I'uhlinher\ IIV FYVl<'S'I;ZR. In trmissiuns.

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Designed by the Ogden architectural firm of Hodgson & McClenahan, the theater is Utah's best example of the exotic Egyptian Revival style.

Margaret Marti fever it were true that the whole is greater than the sum of its parts, it applies to today's Ogden Egyptian Center. The building is more spectacular than even its most ardent supporters dreamed it would be. There was a time when they recognized they would be moving mountains if only the facade were restored. Or the hideous pink walls painted. Or the atmospheric ceiling were lighted again. But these people moved more than mountains. They moved volunteers, construction companies, organizations, governments - all in the same &tion until the Ogden Egyptian Center became reality.

"I think I fully reali~Rd what we had accomplished at the Egyptian while I was attending Utah Musical Theatre's 'Secret Garden'last summer,"says Bernard Allen, an Ogden attorney who served as president and 10%-time board member of the Egyptian Theater

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Foundation and as a member of the Ogden City Landmarks Commission. "That performance brought it home. We had our nine and twelve year-old daughters with us. They were like butterflies fitting about the beautiful theater, enchanted with the whole atmosphere and experience. The performance was top quality. The theater was nearly full that evening, yet it was beautiful, intimate, the sound was great, everything was perfect. At the end of the performance, my daughters leaped to their feet, part of the standing ovation."

Allen knows well how far the project had to come. During his tenure in the late 1980s, the Egyptian Theater was a forlorn piece of Washington Boulevard real estate where people would break in, sleep, and occasionally set fires. The mortgage payment was met by the sale of Egyptian Theater t-shirts sold from the trunk of Allen's car. The taxes simply went unpaid. Even so, for him the early vision was always "yes, the building was going to be saved." The plan then was to make it once again an operable movie theater. "Perhaps we erred in thinking too small," he reflects now. Simply saving the building was a monumental accomplishment. Although it had been named to the National

UTAH PRESERVATION Register of Historic Places in 1978, it was closed December 1984 for health violations. Its owner offered it for sale vvllile he procured the permits for demolition. "We'll do whatever it takes to preserve the theater," said Van Summerill,

who works at Weber State [Jniversity and is a former doornlan, projectionist a i d assistant manager at the theater. In fact, he was to say it over and over during the next few years as he became theater's most dedicated volunteel; historian, preservationist and spokc:p > 4 erson.

"I think Ifu1& In his first lettcr to the editor of a local newspaper, callrealized what we had ing- elr the organization or Friends of the Egyptian, accomfilished at the Suinmerill said: "...the Ogden and Paramount (originall) Egyptian while Alllambra) thcuters were destro)ed in the name of progress. T h e sites of both was attending Utah structures rein.clin as parking lots today. T h e 1890 Orpheu~n Musical Theatre's Theatre (originall) the Grand Opera house) came to a n 'Secret Garden,' undignified demise a short time ,@o...ilnd is a parking lot as last S U ? ~ W ~ Y - "well. T h e threat of [the Egyptian] ending up a pile of rubble ...is a very real possibility. I cannot nor will not permit this to happen."

A miracle was needed to save the historic movie Iiouse. T h e building's ott-ner, who had been cooperating with volunteers' efforts to clean nlld rehahili~dtethe building, found a buyer who wanted to save the facade but make the auditorium into an office building. T h e Friends had 15 days to respond and they needed about $300,000. Althougl~the buyer didn't materialize, the threat was enough for the Friends to keep alive an active public awareness campaign. Summerill's opinion that the building was "as strong as a

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UTAH PRESERVATION battleship and is readily restorable" was supported by a feasibility study commissioned by a local citizens group. They estimated more than $1million was needed to restore the Egyptian as a site for stage productions and movies.

In 1988, again threatened with only days before the owner was expected to receive his demolition permit, a coalition of private groups and donors purchased the Egyptian Theater through the Weber County Heritage Foundation for an undisclosed amount in excess of $200,000. The first payment of $100,000 was met but finding the money for the second endangered the deal, and new estimates were that restoration would cost $2 million. Nonetheless, the theater had been saved from the wrecking ball by a spirited, tenacious few who refused to allow it to end up in the county landfii.

Adopting the attitude that the public needed to know "those people were not going to go away," the Egyptian Theater Foundation (a restructured Friends of the Egyptian) organized volunteers to clean up and restore the facade. The deteriorating marquee was removed, the roof repaired and plywood store fronts were painted with Egyptian images.

Looking back over one's shoulder, it may well have been the failure of the $2 million bond election in October 1989 that preserved the theater. Until then, the

focus had been on raising monies to I and locks were replaced.

It was White who moved the project to restore the theater. In a separate ballot item, funding was sought to make a cona larger scale. His second goal was to ference center at Union Station. Out of raise grant and gift money to sustain the the failed election evolved the combinabuilding, a job that consumed him for the tion of theater and center to become what next eight years. Today when anyone explains. the complex route the center it is today. For one thing, the bond election attracted statewide attentook to existence, White is credtion to the building. About this ited with having the vision and time, the Utah Heritage "We'll do the energy to make it happen.

Foundation was able to point to "We'd put on our neckties and the successfuI restoration of the whatever meet with anybody who'd lisSalt Lake City and County ten," he says. But it was the Building, making it easier to it takes to appropriation of $200,000 from imagine a restored Egyptian. the 1991 Utah Legislature that U H F placed the Egyptian on its opened opportunities for the preserve the "endangered" list which gave foundation. With that money, 99 the project critical credibility the existing debt was paid and and support. Equally important, the foundation purchased adjathe failure of the bond election cent property. Headlines in made the Egyptian a cause for Rob White July 1991 read "Theater foundation and Diana Ellis. Together, they devoted repays loan, buys lot." most of their next eight years to making This same legislature established a the dream a reality. county option tax on prepared food -the The day after the failed bond election, "restaurant tax" - which would net businessman White became president of Weber County an estimated $800,000 the foundation. Faced by a community annually. The downtown conference that believed the building would have to center concept resurfaced when county be tom down. White's first move was to commissioner and former legislator pay the back taxes, getting the Egyptian Lowell Peterson suggested making the off the deadbeat status. "He taught us two projects one, to be supported with how to be a good neighbor," Allen says. half the annual revenue of the new tax.

White saw to it the sidewalk was shov"The conference center idea laid the eled, broken windows were boarded up, groundwork for the partnership that

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The attached conference center complements the architecture of the historic theater and provides much needed convention meeting space.

Sanders Herman Architec[s

2668 Grant Avenue Ogden, Utah 84401 (801) 621-7301 fax (801) 621-1091 email: sharch@ns.cyber-west.com

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oused in a renovated bottling works in downtown Ogden, Sanders Herman Architects has quietly produced buildings noteworthy for their sensitivity to their unique circumstances and challenges. The breadth of SHA's work-art centers, homes, offices, schools, stores, courthouses, churches --is in part a reflection of the firm's recogtuzed ability to find the essential issues of any project and create a wholly unique set of solutions for it.

Founded in 1976 by president Michael Sanders, SHA has compiled an impressive body of architectural preservation work, including the recently completed Egyptian Center in Ogden. This $22 million conference center and movie palace restoration, designed in association with Fentress Bradbum of Denver, has been recognized with state, national and international awards. The result, in the words of one awards jury, "is a wonderful restoration with harmonious restraint exercised in the addition while still exhibiting the art modeme periods spirit of fantasy."

The Utah Trunk Factory, winner of a 1997 Utah Heritage Foundation Honor Award, was a long neglected building located in the heart of Ogden's 25th Street Historic District. The heavily damaged fabric of this small commercial building was carefully stitched together with new elements to make it a whole and integral piece of the historic street wall. The interior was adapted to reflect the traditional planning of side-by-side retail bays, yet expressed in contemporaty materials and detailing.

SHA has also led the preservation efforts on 25th Nicholas Market, Ogden's Old Post Office Building, and the rehabilitation and expansion of the historic David and Bertha Eccles Mansion, home to the k l e s Art Center. SHA is also the architect for the $17 million renovation of the Val A. Browning Center for the Performing Arts on the campus of Weber State University, to be completed in early 1999. Currently, SHA is providing architectural studies for the proposed Intermodal Transportation Center feasibility plan, a cornerstone to Ogden's gateway district and a link between the city's many exceptional historic railroad buildings.

SHA's approach to preservation mirrors its environmental approach to all the design work it performs: careful attention to the impact their buildings have on the natural and manmade environment. "Preservation not only maintains critical pieces in the urban landscape," according to Bob Herman, "it is also the easiest and most cost effective approach to environmentalism. By saving buildings, you are reducing expense and waste associated with starting from scratch." This approach not only fuels Sanders and Herman's preservation advocacy, but has also been employed on new buildings like the Ogden Nature Center, which is built almost entirely of redwood and fir timbers salvaged from the trestles of the historic LucinIGreat Salt Lake cutoff west of Ogden, "We are very patient, which helps us find the most appropriate set of responses for very challenging projects," says Mike Sanders. "Where some designers may see one idea, we make the effort to find many."

It is this effort that makes the designs of SHA uniquely suited to the special needs of each and every project.

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The Utah Trunk Factory, built in 1915, was restored in 1995.

UTAH PRESERVATION

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built it," White explains.

Coincidentally, Weber State University was exploring possibilities for a performing arts center. T h e Egyptian Theater Foundation formally joined in an active coalition with Ogden City, Weber County and WSU, establishing the hasis for today's governing board. The groups, along with the Ogden-Weher Chamber of Commerce, became the partners who built the Ogden Egyptian Center, a circumstance deemed unique by outside observers who witness preservation projects across the country. T h e Ogden Egyptian Center was cited as "a classic example of a public and private project" by Richard Moe, president of the National Trust for Historic Preservation, during his visit in 1995.

But not everyone supported this cooperative plan. Opposition to using the restaurant tax ran loud and high.

Volumes were being written in the Ogden Standard Examiner - news stories, f~ill-pagecolumns of editorials, letters and more letters to the editor.

"The pyramids took a little while, too,"

ommodate live performan

White said in his own public letter, where he assured readers that the Egyptian was not going to be torn down and identified the reasons why.

What had been merely a vision became a blueprint, complete with projected operating costs being weighed against revenues. Design and construction teams were named: Ogden's Sanders Herman Architects directed the team of Denver-based C.W. Fentress J.H. Bradburn, the center's architects; Conrad Schmitt Studios of New Berlin, Wisconsin, the restoration experts; and Ogden's Big D Construction team led by Rob Moore.

In an effort to make the Egyptian the city's centerpiece and its spiritual heart, a fund drive for $6.2 million in private funds was launched with Diana Ellis and White at the helm.

"Neither of us had ever done anything like that before," Ellis says. "We began certain we could do it, and when it got tough, we knew we could not let go. So many people were working together to see it through; so many were 'believers."' By this time, Ellis was president

of the Egyptian Theater Foundation, a position she held throughout the process of huilding the center.

The keystone in the drive for private money came in a $2 million challenge grant from the George S. and Delores Dore Eccles Foundation.

Announcing the support on a February day in the foyer of the tsttered, unheated Egyptian Theater, Spencer Eccles gave the Ogden community until Pioneer Day, July 24, to raise a matching $1 million, all for a project which had been declared folly and a few years earlier had been receiving no donations. Eccles said he anticipated the convention center would help return the city to "its glory days" he recalled from his youth.

Fortunately, times change and the goal was exceeded by some $200,000, representing gifts from about 400 people.

To pay the public's bill, a divided Weber County Commission voted to bond for funding, bypassing a public vote. Although their decision guaranteed that the center would be built, opposition once again surfaced. This

UTAH PRESERVATION

time 10 citizens filed a lawsuit calling for a referendum. The matter was tossed out by Judge Mike Lyon after a few months, during which the cost of construction rose from $16 million to $20 million. In this election year, as in others before and after, political careers were being staked-and sometimes lost-on positions surrounding the conference center.

As 1994 ended, the demolition of buildings to provide space for the center was making news. "This is a very unusual owner," said Moore, indicating the steering committee representing public and private interests with whom he worked in clearing all deci-

sions. White, Ellis and Summerill joined with the engineering and architectural teams, city staff and council members, county commissioners, Weber State University and the Chamber's OgdenWeber administrators to guide the process of restoring the historic theater, reviewing all preservation considerations with the Ogden City Landmarks Commission and the Utah Division of State History. "You know you have succeeded when, in the end, everyone wants to take credit for it," says Ann Millner of Weber State, who skillfully facilitated the endless meetings among "owners."

The team's job was to assure the functionality of the historical building in today's high-tech world.

Simultaneously, a magnificent conference center was being wedged between the theater and the stately, still-empty Eccles building. Simply storing materials beside two busy city streets added to the difficulties. One of their major tasks - as if saving the theater were not enough - was to assure that the conference center neither dominated the

smaller, historic building nor appeared to be a garnish added to it.

"By its very nature, the members of the community-based project team had multiple agendas. It was my job to tag the issues and determine who needed to be in the room to work through the problems. Nearly everything became an evolutionary process.

I think we succeeded wonderfully in retaining the integrity of the historical theater as well as meeting the diverse needs of the users." The result - and there's no call to be modest about it now - is that the $23 million center weaves the old and new together in a seamless and rational manner to make a new downtown.

It's no surprise that the Egyptian's themes echo in the new structure, especially in the asymmetrical, curvilinear design of the multi-tone sandcolored walls. What is a surprise, and was quite deliberate on the part of the architects, is the blatantly borrowed Art Deco lines and colors from other prominent local buildings such a s Ogden High School, the U.S. Forest Sewice Building and the Municipal Building. The exterior of strong horizontal bands of limestone and brickwork blend easily and graciously with the theater and the urban landscape.

By the end of 1997, the center was responsible for a new spirit in downtown Ogden. The schedule included everything from Ballet West to corporate conferences and high school proms. Allen reflects what others have felt in telling about his U M T experience: "We spilled out onto the late night streets of Ogden with more than 600 culturally enriched citizens.

The brilliant and beautiful theater glistened in the night, replacing what once was a dark and dreary stretch of downtown Ogden. I felt so proud of my town and an immense gratification for everyone who had contributed to the completion of this project." *:

Margaret Marti is a wordsmith by profession and a preservationist by heart. She serves on the Egyptian Theater Foundation and is a member of the Weher County Historical Foundation.

Colorful terra cotta details accent the facade and interior.

Hansen QualityStone Quarries: 6600rQualily comes Natllrally''

Hansen Quality Stone Quarries 8809 South 700 West

Sandy, UT 84070 (801) 255-2911 Fax: (801) 562.9597

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ontinuing the tradition of "art beyond craft" begun by his grandfather in 1935, Wes Hansen, owner of Hansen Quality Stone Quarries , likes to say that "our quality comes naturally." Hansen Quality Stone Quanies does its own quanying from eight Utah sites, including the original Pioneer Quarry. Choice cuts of

stone include red, buff and pink sandstone from southern Utah, two gray and tan sandstones from eastern Utah, Manti limestone and Utah granite. Among the many buildings for which Hansen has provided the stone are the Salt Lake LDS Temple annex and chapel; the restoration of the Cathedral of the Madeleine; the Hogle Zoo; the Devereaux Mansion; St. Mark's Cathedral: 14

GTE Headquarters, Dallas, TX; the Little Red Courthouse, Dallas TX; the John Moran Eye Center; and the Deaf and Blind School in Colorado Springs.

Hansen's work on the Salt Lake CityCounty Building restoration spans a period of more than 17 years. The range of masonry work has included structural corrections, reconstructive cosmetics, duplication of ornament and imaginative interpretive work. Burtch Beall, architect on the project for many years, says of Wes Hansen and his shop, "Wes has become a creative artist in areas where stone detail was so eroded that there was no way to reconstruct an image of its appearance, and sculptural interpretation was essential. The building was originally designed and constructed by artists who produced images interpretively. Wes was able to make composites that restored life to the structure, by what amounts to an artist's study of the styles and sculptural detail."

Both a skilled artist and a dedicated craftsman, Wes Hansen unequivocally stands behind his stone and his stonework.

During its 65 years of quarrying, fabricating and carving, Hansen Quality Stone Quarries has consistently placed the needs of its customers first.

Roger P. Jackson, AIA FFKR ArchitecturelPlanningIZnterior Design

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n the early morning hours of November 2,1997, President Gordon B. Hinckley dedicated the LDS Church's 51st operating temple and the 10th temple in the State of Utah.

This temple is like no other. It is the first temple to be built from an existing structure. The popularity of this building and its new use was attested by the steady stream of over 120,000 visitors to the building during the two-week open house, and by more than 20,000 I participants in the eleven dedication sessions. As he placed the mortar to the corner stone and then read the dedicatory prayer, President Hinckley completed

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BUILDING HISTORY A N D DESCRIPTION Formal LDS colonization efforts in the Ashley Valley began in 1877. For the next several years, these hardy settlers suffered from the harshness of the climate and meager harvests but eventually prospered, and their communities grew. Their numbers were large enough within ten years to justify formation of their own stake (an LDS ecclesiastical unit roughly equivalent to a diocese). Soon after, they started planning for the construction of a tabernacle building. A "tabernacle" is loosely defined as an assembly building providing a place of worship large enough to accommodate all the'church members in a given locality, which usually included several towns and communities for many miles around.

Tabernacles were generally built near the center of town and were large and prominent buildings, serving community and civic functions in addition to their religious uses.

Construction began for the Uintah Stake Tabernacle in the fall of 1899. A building lot had been purchased and building materials had started to be collected. The native sandstone for the foundation and decorative trim on the building was quarried from the hills in North Steinaker Draw, just a few miles north of town. The rough stones were hauled to the site on open wagons, then cut, shaped, and dressed on the site.

Sand and gravel used in the cement and mortar were taken

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Vernal Temple

Noyes Building Renovation

Vernal, Utah

Snow College

Rice Stadium Expansion

Salt Lake Hardware Building

Salt Lake City, Utah

University of Utah Salt Lake C i t y , U t a h 84101

I 3 2 P i e r p o n c A v e n u e , S u i t e 200 801.521.6186 Fax: 801.539.191 6

HE A T H Engineering Company MechanicalIElectrical Consultants 377 W. 800 N. SALT LAKE CITY, UT 84103 (801) 322-0487 FAX (801) 322-0490

HEATH ENGINEERING COMPANY, MechanicaVElectrical Consultants Providing quality Consulting and Design Services for 50 Years.

SERVING: Architects, Building Owners, Institutions, Utilities, Governmental Agencies, and the Contracting communities.

SPECIALIZING IN MECHANICAL AND ELECTRICAL DESIGN SERVICES FOR: Libraries Event Centers Churches Laboratory Facilities Historical Restorations Hospitals Auditoriums and Theaters Jails and Prisons Retail Establishments Performing Arts Facilities Schools Industrial Buildings College and University Facilities Housing Complexes TelecommunicationFacilities Office Buildings Heath Engineering Company is proud to have participated in the design of the krnal, Utah Temple.

D e s ~ g n

Joseph Smith Memorial Building

Salt Lake City, Utah

Gardner Hall Renovation & Concert Hall

University of Utah

Website: www.ffkr.com

U T A H PRESERVATION from a stream bed near Jensen, a 32 mile round trip with teams and wagon.

The excavation for the foundations was done by horse-drawn slip scrapers.

The brick for the building was made by local brick builders from native clays and fired in kilns. Lumber for the building was cut in the Uinta Mountains and hauled to a local saw mill, where it was milled into rough framing members and finish trim. The doors and windows were shipped in, probably from the mills in Salt Lake City. Though there was no electricity in Vernal at the time, the building was originally wired for electric lights by a Vernal resident (who was not a church member) who did much of the work himself. The interior finish work of plastering, painting, and finish carpentry took over a year to complete.

Though a builder was'hired, much of the labor was furnished on a donated basis by the local people, sometimes by assignment from their local church leaders. but most often volunteered.

Funds for the project were paid by the stake and were collected from local church members and the larger community. On the eve of the scheduled dedication, all the funds were secured except about $1,800. Then Church President Joseph F. Smith said if the locals would raise their portion, the church would donate the remainder.

The necessary funds were collected in a matter of hours, and the building was dedicated debt-free on August 24th, 1907. The total cost for the project was about $37,000. President Smith commented at the dedication ceremonies that he would not be surprised "if a temple was built here someday."

The Uintah Stake Tabernacle was modest in both detail and construction.

It was built of a simple hand-made brick with rusticated stone base, window heads and sills, and arches at the entrance doors and the upper-level window heads. A simple octagonal tower with a painted metal dome sat just above the entrance porch on the west end of the gabled roof. The building exterior lacked much of the detailing seen on many of the other tabernacles built by the church; it is simple and direct in character, consistent with the thrift and economies of its humble pioneer builders. The interior was as simple and unassuming as the exterior, with painted wood trim (grained to look like the oak doors), a traditional raised

rostrum, and a horseshoe gallery on the two sides and rear of the space.

The building is the most prominent structure in Vernal and is considered the finest building in all of eastern Utah. It was much loved by the residents of Ashley Valley, primarily because it had become an important part of many family histories. Many people have stories from their families about great grandfather so-and-so who had worked on some part of the building. These stories, passed down from generation to generation, are part of a tremendous legacy of faith and sacrifice related to this revered building.

Over time, the ecclesiastical uses of the tabernacles were replaced by newer multi-use "stake center" buildings.

These facilities functioned as meeting houses for several regular ward units and as multi-ward, or stake, meeting halls and the necessary administrative space. This pattern was repeated in Vernal. By about 1948, the tabernacle could no longer accommodate the crowds for the regular stake conferences, so a new stake center was built next to the tabernacle on the same block. From then until about 1984, the building was used only on an intermittent basis for an assortment of church and community functions: concerts, community theater, graduation ceremonies, lectures, town meetings, etc. However, the building never again fit into the regular program of the church.

Seismic stabilization required anchoring rebar to the un-reinforced masonry walls then covering with four inches of concrete.

U T A H PRESERVATION

Celestial Room, Vernal Utah Temple of The Church of Jesus Christ of Latter-day Saints.

SAVE T H E TABERNACLE In 1984,the LDS Church announced that it would close the building. At about the same time, the city building official closed it for public safety reasons: lack of toilet facilities (visitors were required to go next door to use facilities in the stake center), exiting deficiencies, no access for the disabled, etc. Thus began a period of worry and hand-wringing regarding the uncertain future of the building. The local preservation community formed a "Save the Tabernacle" committee and began looking for alternate uses for the building and possible sources for funding.

One of the uses actually proposed was

the conversion to a smaller temple building. In 1989, a formal preservation study was prepared by Cooper/Roberts Architects that outlined both necessary and desirable restoration tasks for the continued use of the building. In the back of peoples' minds, however, was the lingering fear that the building would eventually be tom down.

THE BIG ANNOUNCEMENT In February of 1994, at a local stake conference of the church, a letter was read from the LDS church's First Presidency stating that the decision had been made to convert the building to a

temple, preserving and restoring the exterior of the building but changing the interior. One of the stated objectives of the project was to preserve the original aspect of the historic structure as a memorial to the faithf~~l people who built it with much sacrifice.

T H E DESIGN PROCESS FFKR's involvement began only days before, when FFKR partner Jeff Fisher and I were invited to meet with project managers for the Temples and Special Projects Division (T&SP) of the LDS Church. This was the same

Syn. replacement, rehabilitation, revival, renewal,

McCullough Engineering and Contracting

Vernal Utah Temple

Fair Park Grand

McCullough Engineering and Contracting 1567 EAST STRATFORD AVE. SALT LAKE CITY, UT 84 106 PHONE (801) 466-4949 FAX (801) 466-4989

UTAH PRESERVATION project management team we had worked for on the remodel of the Hotel Utah building (now the Joseph Smith Memorial Building). The success of that project and the great working relationship we developed with T & S P enabled them to recommend to their management that we should do this project. Traditionally, temple projects within range of the Wasatch F r o n t are done by the church's own architectural and engineering staffs (e.g. the Bountiful and the Timpanogos temples), so we were especially pleased with the opportunity and the tremendous trust placed in us. We were told of the project and invited to participate. We were given a few snapshots of the building and a preliminary plan, prepared by church architects, showing the anticipated configuration. I n this plan, a significant portion of the building facilities were shown entirely underground with only a small entrance area expressed.

One of our first tasks was to secure the necessary preliminary investigative studies: a geotechnical and soils report, a survey of the site boundaries and topography, hazardous materials, etc. Since there were no available drawings of the original building, we contracted with Tim Maxwell, an

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experienced historical architect with i n This situation gave us the whom we had also worked on the opportunity to re-examine the preJoseph Smith Memorial Building, to liminary design.

Alternative prepare a set of "as-is" documents of schemes were generated that placed the building. A particular emphasis of the new section entirely above grade the drawings was the existing strucand introduced natural light into the ture and the decorative elements. We building that before had been entirerealized that we were going to change ly underground.

Allen Erekson, the tabernacle architect with T&SP, sugPresident Smith gested we place the new porbuilding forever, and that this tion of the building half commented at the underground and integrate would be the only documentation of the building into a perimeter dedication fence structure. If the fence the original building. We also sent had elements of solid wall someone from that he and open fencing, the visual our office with a emphasis would be placed camera who took on the old building and not about 400 phonot be on the new building. The retographs.

This design allowed us to take ~ ~ r ~ " ki f ae advantage d of a large window documentation, drawings and opening on the east side of temple was built the building that had long ph ot ogr a ph s , was invaluable in ago been bricked over. This providing us the heye some~ay."window is in a large stair basis for the used by all patrons as they work to continue. go through the temple.

One of the major discoveries of T h e need to re-design also this phase was the presence of allowed us to reconfigure the interigroundwater at about fourteen feet o r spaces of the building. T h e tembelow grade. If the original plan was ple ceremony itself is very "procesfollowed, the addition to the building sional" in nature - it teaches of the would be partially in the water and progress of mankind through variwould require expensive waterproofous stages of life and our progress through this life and through the eternities. Our primary focus in the design of the building was the personal experience of the individual patron visiting the temple. We wanted the architecture of the building to reinforce this concept of progression by arranging the rooms in sequence and splitting the ordinance rooms into two stages. Another feature of this is that each room is slightly elevated above the previous room so participants in the temple will have the physical sensation of rising upwards as they move from one room to the next.

People often ask us if it was difficult to fit all the programmatic requirements into the existing building. The response is "yes," but the restrictions and constraints imposed on us by the size and configuration of the old building have, in a way, freed us up and allowed us to be more creative. There were many instances of give and take with the

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U T A H PRESERVATION Temple Department. Their other projects are built from the ground up and they have the opportunity to do things the way they want to by building on the successes and lessons learned in prior temples. Many of these "formulas" and usual ways of doing things needed to be re-thought as we stretched and squeezed the necessary functions into the shell of an existing building.

T h e original plans for the temple called for retaining and refurbishing the existing tower on the tabernacle.

We had earlier proposed using a flying angel Moroni weather vane for the top of the tower (similar to the Nauvoo temple) but it was decided by the design committee to leave the tower without a n angel. (There are several temples with no angels and

The Good Shepherd window, salvaged from the Hollywood California Chapel, found a fitting home in the Vernal Temple.

several with angels facing west, instead of the traditional east.) At the ground breaking ceremony President Hinckley, sitting on the temporary podium in the parking lot, noticed that the spire on the adjacent stake center looked higher than the tower on the tabernacle. ( H e was right: nine feet!) We were asked to develop several options to have the temple tower taller than the stake center spire. We showed several schemes cutting down the spire, a few schemes with free-standing towers, and several showing modifications to the existing temple and tower. T h e option selected added a new larger tower on the east side of the building with the traditional standing angel Moroni facing east.

President Hinckley commented that this placed the emphasis appropriately-on the east end of the temple, and left the other building alone.

This work was added to the project by change order.

T h e construction contract for the building was awarded by a lowest bid process to McCullough Engineering and Contracting of Salt Lake City, with a majority of the subcontracts being awarded to Wasatch Front companies. Many of the tradesmen and women were from the Ashley Valley.

Because of the age and construction of the original building, it was necessary to reinforce the building against the forces of wind and earthquake.

This was done by the process of removing the inner wythe, o r layer, of brick (the walls were four wythes thick), drilling and epoxying dowels and rebar into the remaining brick, and building back with four inches of shotcrete, or sprayed on concrete. With additional reinforcing around window and door openings, this provides a very stiff structure. T h e walls were then insulated and finished on the inside, with no significant increase in wall thickness.

INTERIOR FINISHES Detailing of the interior door and window wood trim was made to match the details in the original building. T h e interior design for the building was provided by designers on staff in Temples and Special

Projects. Lawrence Wyse and Greg Hill selected paint colors, carpets, furnishings, decorative light fixtures, and artwork for the building. T h e furnishings were selected to specifically relate to the original building and many are reproductions of antique pieces. T h e extensive stencil painting throughout the building was done by Daniel Peterson, who also did the decorative painting in the Governor's Mansion, the Cathedral of the Madeleine, and the work for us in the Joseph Smith Memorial Building.

Daniel generated over twenty different patterns for the major spaces throughout the building.

There are several pieces of a r t glass in the building. T h e most prominent is the "Good Shepherd" piece in the grand stairway. This piece was originally in the building bought by the church in 1939 for the Hollywood California Ward.

I n one of many subsequent remodel projects, the stained glass was removed, restored, and placed in storage. When the opportunity presented itself to open up the old east window, we were told of the window and had the opportunity to use it if we wanted. It is a beautiful piece showing Christ as a shepherd holding one of several sheep.

This piece was the right shape, generally, but not the right size, so additional glass was added in the frame around it to fill the old window opening. All the stained glass was designed and executed

by Willie Littig of Salt Lake City.

T h e entire building has a feel of compatibility with the age and time of the original building. With modern building technology, we tried to preserve the hand-made feel of this great pioneer building. Our specific intent was to not do anything that would detract from the simple elegance of the original building, but a t the same time create a space conducive to the building's new role. *:.

Roger P. Jackson is a senior associate at FFKR Architecture / Planning / Interior Design, Salt Lake City.

He was project architect for the Vernal Temple, the Joseph Smith Memorial BuildinglHotel Utah remodel, and the new East High School.

KeyBank o

KEYBANK OF UTAH KeyBank Tower 50 S. Main St. Salt Lake City, UT 84144 (801) 535.4 000 (801) 535.1 146

1'

Caro

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restoration of landmark buildings, the organization has been a major provider of financing to rehabilitate commercial buildings such as the Pauline-Downs Apartment Complex in Salt Lake City and the Marion Hotel in Ogden. Through a combination of construction financing, tax-credit partnerships, and long-term financing, KeyBank continues to play a significant role in restoration programs throughout Utah communities.

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delivery channels," Ms. Davenport explains, "including KeyBank branches, ATMs, telebanking, and PCs. We will provide real-time access to Key accounts and continue to broaden our services to provide one-stop-shopping to meet customers changing financial services needs. We continue our push to integrate our services to enable our customers to manage their finances when it's convenient to them-whether that be at 2:00 in the afternoon, or 2:00 in the morning."

Carol Davenport serves on several boards including: the Economic Development Corp of Utah; Salt Lake City Area Chamber of Commerce; Young President's Organization, Utah Chapter; Utah Symphony Board of Directors; Utah Arthritis Foundation; and Utah Bankers Association. She is also a member of the Rotary Club of Salt Lake City.

ARCHAEOLOGICAL TREASURE AT RISK Luy~ylzeMilleline Mile Canyon is attracting tourists in increasing numbers. Each summer, people from all over U t a h and, indeed, from around the world visit there. T h e past fivc years have been very trying a s a group of dedicated people h a s worked to preserve this treasure.

Nine Mile Canyon is one of those r a r e spots where history and prehistorq- corue together in grand fashion. Add easy access, promotion by the local county officials and la rapidly increasing visitation and ~ O L Ihave a f o r m ~ ~ for trouble. Rock a r t styles and archaeological evidence indicate the canyon h a s been used a s home a s well a s a thoroughfare by Indians and other settlers for thousands of years. Researchers have found Barrier C a n y o n , Desert Archaic, Rasketmaker, F r e m o n t and U t e Indian rock a r t styles ill the canyon alongside axle grease signatures made by historic freighters.

T h e clilfs a r c home to hundreds of Indian ruins, and the valley floor is still home to hard working ranchers growing their crops on the land ~ r s e dby prehistoric Indians for their corn, hems and squash gardens.

A Bureau or L a n d Management (BLM) archaeologist h a s esti~natedthere are, conservatively, 10,000 archaeological sites in Nine Mile Canyon. Carbon County, using small mat.ching grants from the Division of State History, h a s been inventorying the canyon's historic and prehistoric resources, spending ten days each year with ten to 20

volunteers. T h e survey h a s covered only four miles in nine y e a r s and h a s documented more than 800 sites in the 40 mile canyon.

Local residents a r e concerned t h a t the canyon may be loved to death and that it is sometimes abused by those not aware of the valuable resources it contains. T h e E L M estimates between 100 and 300 cars visit the canyon each day. O n Easter this past spring, over 600 c a r s visited t h e canyon just on Saturday alone.

Five years ago a group of us went to the BLM to find out w h a t it would take to build a public toilet in the canyon. We were greeted by a list of "have to's" and "can'ts" and were told we would also have to pay for the requested facility. N o t being easily deterred, we plunged ahead a s if we kne\v w h a t we were doing.

Five years and $70,000 later, \vork h a s been co~npleted on a picnic facility which contains the t\vo toilets and a pavilion with covered picnic tables. A small amphitheater is also planned. T h e site contains a historic cahin and work is under\vay to restore it.

Rock Art Site Etic uette A

& F. \.I_.

7%4llgroups and indivzduals who visit rock art sizes need to r - ~ a l itlzcrt ~ e an) I rb1t i ~ n oizclrrr7grr v the wch and the ovcmll site. Rock art expert Cluy Johii~unliaa deveiopuil u llrt oj do's oiid do117's after E.:nan)) years of studying rock art and rock art sites:

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% Minimlze thc number of vehicles going to the site.

Do not apply any substance including liquid, powder, plastic, cloth, paper, or even strong floodlights, to or over rock art.

Stay on existing roads.

Do not pioneer vehicle trails or parking areas.

Do not camp or build fires within one quarter mile of rock art.

Do not disturb lithics, firep~ts,rock arrangements, or other artifacts and site feature\.

At rock art sites. stay on trails where they exlst. Do not d~sturbrocks, vegetation, or microb~ot~c ?oil crust.

Do not hike or climb above rock art panels.

Do not allow pets, children, or careless assoc~atesto behave improperly around the rock art.

Follow the rules of the 5ite landowner or public land manager where they are more restrictive than above.

Use binoculars to study, and telephoto lenses or freehand sketches to record panels and panel details. Study the panel as an integral part of the slte.

Be constantly aware of the effects of your actions at rock art sites. Make your beha\ ior a model. Speak out when needed to prevent damage to rock art.

Where posable, stay at least 10 feet from the rock art.

Do not attempt to remove graffiti, chalking, lichen or bird droppings from rock art.

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W ~ Z F T I N MILE)' E CANYON?

N o one really knows how Nine Mile Canyon got its name, given that it's forty miles long. One version redits the nine-member Miles family - seven daughters plus the parents - who reportedly lived in the canyon in the early years. Another more plausible explanation relies on an 1869 John Wesley Powell report. Powell noted that a member of his crew "did a 9-mile triangulation along what was named Nine Mile Creek," one of the creeks running through the canyon.

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UTAH PRESERVATION Why is all this necessary? Three words: impacts, impacts, impacts.

Toilet paper blossoms are springing up everywhere. Illegal excavations are still taking place on some archaeological sites, and visitors continue to camp in the green alfalfa fields owned by locals.

Local county and travel bureau officials have agreed not to further promote the canyon until there are facilities to help alleviate the impacts. A new canyon brochure will educate and introduce visitors to what makes the canyon special. It is not a 'promotional' piece, nor is it a

Local residents are concerned that the canyon may be "loved to death."

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guide to the canyon. T h e r e are already several guides for the canyon and this new brochure is an attempt to educate and help visitors under-

stand why this is such a special place.

T h e canyon was probably abandoned by about 1100 A.D. Historic U t e Indians left their petroglyphs on the canyon walls, and modern farmers moved in during the late 1800s.

By 1905 a freight route had been established by a group of "Buffalo soldiers," Black soldiers sent to live a t F o r t Duchesne when the Utes were gathered and sent to the U t e Reservation at the Uintah Basin.

Things changed little in the canyon until rock art became a favorite study of many, and word spread on how easy it was to access the phenomenal number of petroglyphs and pictographs in the canyon.

To discuss the problems facing Nine Mile Canyon, the Nine Mile Canyon A board of Coalition was formed. directors, representing archaeologists, historians, landowners, and BLM management, works to direct the future of the coalition. Public memberships are available.

T h e group faces all of the growing pains normally encountered in such groups: lack of funding, too much work and not enough time to do what we should do.

Priorities include signing selected rock a r t and archaeological sites, providing turnouts for those exploring the canyon, developing water for the picnic facility and simply maintaining order and a working relationship among the board members.

T h e issues a r e complicated and sometimes explosive, but we are winning and accomplishing what we set out to do.

With the help of the Utah Travel Council, Carbon County, Utah Statewide Archaeological Society, Utah Rock A r t Research Association, Carbon County Travel Bureau and even the student council from Sally Mauro Elementary School in Helper, we have all joined to help the coalition reach its goals.

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Trained volunteers, under the direction of professional archaeologists, have contributed over 18,000 hours documenting rock art panels and other sites in the canyon.

Layne Miller is a journalist and photographer and currently selves as board chairman of the Carbon County Travel Bureau. He has a long-held interest in Nine Mile Canyon and Americnn Indian culture.

Thad Box

W

hen my wife Jenny and I decided to move back to Logan, Utah, we searched for an historic house in the Center Street Historic District. We had restored the Rafael Bermudez House, a Territorial adobe home in Mesilla, New Mexico, and we like the feel of old houses.

We also knew that historic districts protected the neighborhood and enhanced property values. We envisioned buying a Victorian house along Center Street. We ended up with an "Arts and Crafts" house built in 1915 by Charles Nibley, Presiding Bishop of the L D S Church, for his third . ..-I.~ . ~1 plural wife, Julia.

T h e "Julia House," as we call it, is a hipped-roof villa in the Spanish motif. It is architecturally significant because it represents the change from the Victorian and classical styles to the Arts and Crafts, Prairie School and period revival styles in Utah after the turn of the century.

The American Arts and Crafts movement was as much a social movement as a change in style. Its rejection of Victorian standards went beyond architecture, involving art, literature, economics and lifestyle. It is often called the 'Ragtime' period and emphasized simplicity, symmetry, and utility in design and lifestyle. That such a house was built by the presiding bishop of the normally conservative church is a story waiting to be told.

Buildings by Howard Pope and Harold Burton, the architects thought responsible for the Julia House, show a familiarity with and influence from the Chicago School and Frank Lloyd Wright.

These young architects took the lead in introducing new and innovative forms in LDS Church buildings. The Park First Ward Meetinghouse (demolished) and the Alberta Temple, both Pope and Burton buildings, show a direct lineage to Wright's Unity Temple. The unusual and beautiful Garland Meeting House is an other example of their influence on the design of LDS churches.

In the Julia House the architects combined the symmetry of the Prairie tradition with suggestions of Spanish style to create a unique "Western" house with Chicago School basics. Windows and french doors with a minimum of coverings were used to let the occupants enjoy the mountain light and fresh air.

Our ob-iectiveis to use the house as our home. We want to live in the living room, eat in the dining room, and use the house fully.

We do not want a museum or a "showroom" for visitors only.

While we want modern conveniences, we strive to return and maintain the house as an historically accurate representation of

UTAH PRESERVATION its ti~neperiod. We want it to be a coinmunity asset.

We did considerable research on the time period, the architects, the original owners, and later occupants to give us an understanding of the house. We inter-viebved Nibley descendants and collected early pictures of the house.

We also interviewed people who have known the I ~ o u s e in its past lives.

Barbara Ann I-Iowell was especially helpful. She moved into the Julia House n~ithher father, Scott Budge, as a yo~uiiggirl, lived in the house until she married, and visited her mother here until the house was sold in 1960.

We then tried 1-0 ~uidei-st-andwhat

had happened to the house in past remodels. We removed all of the carpets and window coverings the second day we owned the house. We removed false ceilings, closets that had plugged hallways and the butler pantry, and all Victorian and 1960's items that had been added in earlier remodels. We then had Torn Graham of JfICH Architects map the house as it was and put the data on computer.

Jim Allwein, a contractor who specializes in old houses, and his crew stal-led ~vorking in J a n u a r y 1995.

Walls and ceilings were repaired and finished with sand finish plaster similar to the period. All door jambs, window

trim, and moldings were either salvaged or selected to match the original.

T h e original birch doors were found storcd in the haseinent. They were stripped of paint and refinislied.

Original \\ indon s, found behind sheet rock of a n earlier I-einodel, were salvaged and used on the north wall.

We had no record of the original kitchen counter or floors. We selected handmade Tal~laveratile for the \balls and traditional Saltillo sun dried tile for the floor - rather than the Italian or Ail-rerican tile often found in Arts and Crafts houses - to help bring the architects Spanish motif indoors. T h e kitchen counters are of concrete

The paired front porches add dimension to the facade and offer pleasant transitional space to the outdoors. The exterior of the house has changed little since construction, as evidenced by this c . 1 9 2 0 ~photo.

UTAH PRESERVATION

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Nas the ultimate goal.

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poured in place - a technique rccommended in some of Stickley's Craftsmail houses. Most of the design is mine; the craftsmanship is J i m Allwein's.

T h e cabinetry, bookshelves a n d mantle a r e of quartersawn oak and were made by Glenn Leonard of Fine Woodworks in Richmond, U t a h .

Glenn used the techniques and style of Gustav Stickley to re-create t h e artistry and feel of the Craftsman period.

T h e Victorian lighting fixtures, which had been added later, were removed and replaced with authentic antiques o r reproductions froin the period.

Hardware was mostly salvaged from the original job.

We m a y eventually remove the remodels from upstairs and replace them with period materials, but foinow we w a n t to catch o u r breath and live in the house.

Tlzad Box write.? in Logan's Center Street Historic Ijistrict. In past lives he has been n ra~zche~; adobe mason, radio s t a t i o ~manage^; resenrclz scientist, professor arzrl dean. He 1zcl.s 1-elzabilitated two historic nclobe lzozoes in aVIessilla,N e w wlzere he handled tlze Izistoric preseruatio~z portfolio as pa?? oj" lzis dzcties on tlze tow92 cozctzcil.

PRESERVING THE BONDSBETWEEN LANDAND COMMUNITY BLUFF:A ROLEMODELFOR RURALCONSERVATION istory runs deep in Bluff. Utah, and people care about it.

Our cultures are diverse and the landscape is stunning.

This small cornlnztnity of about 290 people has mrcintuined rural values for the past century. Bluff is zcniqzte and the need to preserve its rich natut-a1 and cultzcral heritage is urgent. -- Bluff Land Trust Initiative In 1995, aftcr nineteen years of community initiative, the Bluff Historic District was listed on the National Register of Historic Places. A t first glance Bluff's stately Victorian-style homcs, dating to the early century, speak of the town's pioneer heritage. However, the historic district reaches farther back in time to include Navajo, Ute, and Ancestral Puebloan (Anasazi) landmarks and signs of the earliest hunter-gatherers in the region. Here on the banks of the San Juan River, humans and landscape have shaped one another for 10,000 years.

Bluff City's historv is much more recent. 'li-ail-worn IClor~nonpioneers founded the settlement in remote southeastern IJtah in 1880. Their arduous winter trek--the Hole-in-theRock expedition--through almost impassable slickrock wilderness is legendary. T h e fledgling town prospered only after it abandoned farming in favor of livestock raising. Substantial sandstone houses reflect that turn-of-the-century prosperity and givc thc town a sense of perlnanence borrowed from the surrounding bluffs where the stone was quarried. These hous-

es anchor the Rluff Historic District, which also encompasses Cemetery Hill, Cow and Calf canyons, and the bluffs themselves.

T h e historic district is not only the heart of a deeper history, it is but one piece of a much larger cultural landscape that endows Blufl with its singular sense of place. Deborah Westfall, chairpcrson of the Bluff City Historic Preservation Association (BCHPA) and co-owner of Abajo Archaeology, says, "Historic preservation needs a broader perspective. It is not enough to simply preserve buildings as museum pieces.

Bluff's historic resources are linked to significant landscapc features - canyons, farms, and the river - that have shaped traditional land-use patterns. Bluff's cultural landscape ernbodies the contributions of an entire communitJ, of people to its history."

Recognizing that the town might easily lose lands of critical value to the community topography, BCHPA, a non-profit organization that helped shepherd the town to National Register status, has launched the Bluff Land Trust Initiative.

Bluff typifies one of many southern Utah towns that are experiencing the strains of increasing tourism and residential and commercial growth, pressures which threaten the very amenities - open space, rural values, wild country - that draw people to the area in the first place. Like many of her neighbors, Liza Doran, a B C H P A trustee and local business

UTAH PRESERVATION

In addition to the community based consewation efforts in Bluff, individual homeowners have restored many of the turn-of-the-century houses.

owner, worried that such threats could quickly change Bluff's unique rural flavor. "After the creation of the historic district, we all had a false sense of security that certain key elements of the landscape would always be there," she said. "But they won't always be there, and it's too late to save them after the fact."

The land trust idea appealed to BCHPA for several reasons. It meant that the group could purchase and hold easements, a vital tool for defining land use and encouraging sensitive development. Nearly all of the properties would remain in private ownership, with compensation for development rights as well as tax breaks and other benefits for the landowners. In short, the land trust alternative allowed landowner and community to together preserve private prqperty rights and Bluff's key open spaces. Such admirable goals do not come cheap.

For the past three years, BCHPA has faced the daunting task of raising funds for its project.

Cooperative efforts blessed the Bluff Land Trust Initiative with early success. Jenepher Stowell, a BCHPA trustee, has used conservation easements to preserve her property in a small slickrock canyon on the town's north edge. Preservation of the Bluff Great House, an 11th-century Anasazi pueblo and kiva with a cultural associ-

ation with New Mexico's Chaco Canyon, came from the Southwest Heritage Foundation, a group dedicated to archaeological preservation, research, and education. Over the past several years, portions of Cemetery Hill had been preserved by joint efforts of BCHPA, Southwest Heritage Foundation, San Juan Historical Commission, San Juan Foundation, and other groups. In 1997, a final piece of the hill was purchased and placed into a cemetery district, with help from a challenge grant from Utah's Eccles Foundation and a fundraising campaign led by Bluff's pioneer descendants.

BCHPA is now working with four other landowners who have chosen open-space protection rather than highintensity development. Specific properties include a historic, working farm; a redrock canyon with exceptional archaeological sites and recreational potential; a nature preserve on the San Juan River; and communitv access to a historic pond and trail to adjacent public land.

The 120-acre Curtis Jones Farm, one of the last working farms in Bluff, spreads along the San Juan River, growing alfalfa hay and melons for a local market economy. A descendant of one of Bluff's pioneer families, Jones has farmed the land for over 30 years.

He has entered a partnership with

another farmer, who hopes to purchase the agricultural operations, and BCHPA, which would hold the farm's development rights in trust. Easements would ensure that the farm remains in agricultural use in perpetuity.

The Jones Farm exemplifies a landhuman relationship in this river valley that dates back to the 19th-century Mormon settlement and beyond. The farm is also a threatened species: According to the American Farmland Trust, poorly planned development destroys 50 acres of prime U.S. farmland every hour of every day. Says BCHPA trustee Gene Foushee, "In a community established for agriculture, don't you think it's important to preserve at least one farm?"

BCHPA is working with the Guymon family of Blanding, Utah, to protect Cottonwood Wash, a major tributary canyon that drains the desert highlands north of town. Animal and plant communities typical of canyon and stream habitats flourish here. A Navajo and Puebloan presence is apparent in rock art and remnants of dwellings, granaries, and prehistoric roads. Much of the adjacent cliffs and mesas are public land, with a rich potential for recreation. The Guymons have offered BCHPA the option to purchase the development rights on 280 acres, which would be placed under a conservation easement for recreation, culturdhistoric preservation, and agriculture.

The Howe property, an important gateway to Cottonwood Wash, lies between the Wash and the Great House-Cemetery Hill tracts. The land includes sandstone bluffs, floodvlain habitat, and a historic artesian-fed pond and wetland. BCHPA is trying to raise funds for pond and wetlands conservation, agriculture, and public access trails. Limited development with affordable housing is being investigated as one means to fund the land purchase.

Many in Bluff think of the San Juan River as their town's lifeblood. No one recognizes this fact as well as Jim and Luanne Hook, outfitters and owners of Bluff's Recapture Lodge. They have set aside nearly a hundred acres of their property as the Bluff Nature Preserve, with easements to protect its integrity as a riparian ecosystem. The Hooks plan to reclaim critical habitat for endangered native species and other

UTAH PRESERVATION floodplain creatures. T h e preserve would include foot trails and interpretive sites and the opportunity for residents and visitors to enjoy glimpses of waterfowl and wildlife.

While the trust properties a r e individually diverse, together they combine the best of Bluff's multicultural heritage and open lands. B C H P A believes that such land uses nourish a local economy largely dependent on tourism, recreation, the arts, and small businesses. Carol Brinkerhoff, a planner with the U t a h Division of Travel Development, wrote t h a t Bluff's land trust can help the community "preservc those characteristics that make a place a honze for residents and different from anyplace else for visitors."

B C H P A h a s communit) support f o r t h e preservation of the J o n e s F a r m , Cottonnlood Wash, river pre-

serve, a n d pond wetlands, but it urgently needs a broader base of donations. Those contributions tnust come from U t a h n s and others who treasure southeastern Utah's unique cultural geography. Unless money can be raised for three of the properties before their options expire, they will likely be sold for commercial and residential development. A successful fundraising campaign would reinforce l a n d o w n e r - c o m ~ n u n t ypartnerships a n d represent a victory for threatened desert ecosystems, fragile archaeological sites, and a continuing agricultural legacy.

Writer, naturalist, and R C H P A trustee Ellen Meloy said, "It is not hard for any town to identify its most cherished places. We all know them.

T h e y embody the very character of a community -- its history a n d its human a s well a s ~vildlifeinhabitants.

Everyone who remembers such places also remembers w h a t happened to them. T h e y disappeared. When they did, something about the town itself changed. Bluff is not resistant to change. We want to reach forward a s well a s back."

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This article is a joint effr~lpt of tlze B C H P A trustees: Liacr: Doran, Geize Foushee, Ellen Melny, Deborah Westfall, and Jenepher Stowell.

Anyone who loves lzistory and 2-ztral southeastern U t a h can help the Bluff land trust project.

Please request information 01- send donations (they are t a x deductible) to the Blzcjjf C i t y Histoi-ic Preservation Association, P O BOX 76, B l ~ f f UT , 84512 (43,5-672-2208 or 435-672-2291).

Preservation of the Curtis Jones Farm on the eastern edge of town is a current priority. It is part of the long-term effort to retain the character of the community while adapting to new development.

Smith-Hyatt Architects

Smith-Hyatt Architects 845 South Main Street Bountiful, UT 84010 (801) 298-1666

FAX: (801) 298-1677

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believe strongly in the value of our profession and the kinds of services we offer," states Kim Hyatt, co-owner of Smith-Hyatt Architects. "I don't believe in just turning over a handful of drawings to an owner, and then wishing him or her good luck. The services we provide include planning, design, creation of construction documents and construction

administration. We want to assist the owners through the entire process, until they occupy - - their building, and even beyond."

"Utah has a very good tradition of preserving history," Hyatt adds, "and we're proud to be a part of it. I, personally, have always loved old things, starting with my childhood stamp collection. One of my

favorite preservation projects was the restoration of a 100-year-old log house in Torrey, Utah. I get just as excited about projects like this as I do about a $10 rnillion renovation, because even though it is on a smaller scale, it requires just as much thought. Also, we truly enjoy working directly with the owners who will occupy the building."

Smith-Hyatt's dedication to preservation is evidenced strongly in their pastproject list, which includes work on such historic buildings as the Ogden Municipal Building, the Isaac Chase House in Salt Lake City's Liberty Park, the Ogden Union Station, the Van Fleet Hotel in Farmington and the Great Basin Environmental Education Center at Snow College.

"Awareness of the value of historical buildings is growing," Hyatt explains, and new historic districts are being created in larger cities all the time. With the tax credits available for restoration, it can cost far less than some might imagine. And whether a client is restoring a historical property or starting from scratch with a brand new building project, we are here to see them through it every step of the way."

An award winning rehaf$litation h a \\

REHABBY THE RAILYARD Judy Reese The historic Salt Lake Hardware Building is one of the true landmark buildings of Salt Lake City. Its size alone is impressive: five stories tall with each floor spanning more than one acre.

Its history is also important, linked closely with the early 20th century development of Salt Lake's transportation and industrial district. After years of marginal use and minimal maintenance, the building regained its original prominence in 1996 upon completion of an award-winning rehabilitation by SLHNET Investments and Gastronomy, Inc. Though this huge structure presented many challenges, the completed project was well worth the effort and has contributed greatly to the vitality of downtown Salt Lake's Westside.

The Salt Lake Hardware Building was constructed in 1908-09,just as the railroads were coming into

their heyday and as the city was emerging as a commercial and industrial center. The building, located at 155 N. 400 West, relied heavily on the nearby Union Pacific and Rio Grande railroads for transportation of goods throughout the Intermountain region.

Billed as "The largest hardware store in America," the warehouse originally consisted of 20 large rooms and, at 225,000 square feet, had a combined floor space of over six acres. Over two million bricks were used in the construction of this massive warehouse, along with more than two million board feet of lumber.

The amount of Oregon fir used for the project was so massive that a mill was actually set up on-site to mill the lumber.

The building was also unique in that it had many conveniences that were rare for this time period, including three electric elevators, one of which was designed to handle a large dray. The Hardware Building was also one of the first to run wires in lead conduit to minimize the risk of electrical fire, and to utilize a fire sprinkling system, whose water was stored in the water tower on top of the building. "The building has tremendous character," states John Williams, one of the principals of Gastronomy, Inc. However, because of its massive size, restoration presented a myriad of challenges.

ATRIUM In order to make the interior space more desirable to potential users, and because the floor size is 45,000 square feet, the development team constructed an atrium and skylights to bring natural

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One ut trro harrlware chutes was \a,ed, prorarling

American Heritage Window Rebuilders Innovative Restoration and mermal Upgrading American Heritage Window Rebuilders 46 East Herbert Ave. Salt Lake City, UT 841 11 (801) 359-6639

American Heritage Window Rebuilders is a ten-year-old business committed to the preservation of the wood sash window. That commitment is not just blind, antiquarian devotion either. "We've developed a process for restoring wood windows so they not only work again but are also quite cost effective," notes proprietor Phil Kearns. "Plus, by restoring the original windows, we help preserve the historic quality of the building."

American Heritage craftsmen have over 60

years of collective experience. They still practice the fine art of wood joinery, using solid stock and mortise-and-tenon joints when malung repairs or fabricating new window components. "We combine handcrafted restoration with our unique weatherstripping system to give you the best of both worlds-- the quality and character of the original wood window plus very good energy performance." Respectful of tradition but innovative as well, these craftsmen also fabricate an original-style storm and screen sash that outperforms most new windows.

American Heritage Window Rebuilders' projects include the Vernal LDS Temple, the Governor's Mansion, the old Washington County Courthouse, the Rio Grande Depot, and numerous historic homes. Knowledgeable contractors and homeowners understand the economic and aesthetic value of window restoration; it's something they can't get in a cheap, new window that wasn't built to last.

I Changing the Face of Salt Lake City 1

rn FORD MOTOR BUILDING - Our Next Proiect

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FIRE STATION NO. 8

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Market Street Broiler

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NEW YORK BUILDING

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Market Street GrillIOyster Bar: Commercial Offices, The N e w Yorker*

Baci Trattoria, Club Baci: Cafe Pierpont, FFKR ArchitectsIDesigners, Commercial Offices

P R O P E R T I E S

48 M a r k e t Street

239-2427

*A private club for members

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U T A H PRESERVATION light into the center of the building.

Although a wide open, unobstructed atrium was originally planned, it was decided to retain the exposed Oregon fir columns and beams and the original brick wall in the center of the building as elements of the atrium. Several brick-arched openings were also created within the atrium to match others already in the building and to make the atrium "flow" from one side of the brick wall to the other.

While the hished result was aesthetically pleasing, the open atrium was a costly decision because of the smoke evacuation svstem that needed to be installed to facilitate these open comdors as iire exit comdors.

SEISMIC Structural modifications were necessary for the building to meet seismic code requirements. To prevent the brick from shearing on the east and west elevations, epoxy over fiberglass mesh was utilized which allowed the brick to remain exposed beneath the mesh material.

Steel straps were used to reinforce all vertical columns, the signature water tower on top of the building was reinforced with steel angles, and the southeast corner of the building was excavated and underpinned for additional foundation support. Seismic strengthening was also achieved through the process of leveling the floors, which, due to settling,

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were uneven in some areas by as much as five inches. Rebar was drilled into walls and anchored to the original flooring, then concrete was poured over the top to reinforce the exterior of the building and tie it into the floors.

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of the building facades, the effect on the exterior of the building was also minimal.

Thoughtful placement of the mechanical equipment and air handlers on the roof was necessary in order to avoid blocking the drains, which are located in the center of the building. Since all of the ROOFTOP MECHANICAL building facades are visible to the public, EQUIPMENT the rooftop equipment could not just be By far the biggest pushed to one side. Reducing challenge was build"The building the visualimpact of the system ing a new energy was a big priority, and to do so efficient, environthe rooftop units were reduced has tremendous in height and moved toward mentally fi-iendly the center of the building mechanical svstem - to and placing it on the reduce site line exposure. The character," states curb walls on which the sir roof without the benefit of a parapet handlers were placed were also wall to screen the John Williams, lowered. equipment.

The WINDOWS 45,000-square-foot One Of the floor plates required Refurbishment of the original windows on the east side a complex distribution system effective principals of was an additional rehabilitato alllocations on the tion challenge.

Wherever possifloor.

Ductwork ble, original frames were maintained, repaired and repainted. options were limited, however, because of The painted sandstone and the desire to keep the historic ceiling beams concrete headers and sills were water and joists exposed and to retain much cleaned and painted, and window panes ceding h a t as possible. A system with and sashes were refurbished. New douindirectldirect evaporative cooling humidifible-insulated, energy-efficient windows cation was selected, as it minimized the designed to match the original windows impact. Because no louvers penetrated any were used as replacements on the south and west elevations. The new windows also provided sound insulation from the Company salesmen lined up adjacent viaduct and the rail yard. in front of the massive

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ADDITIONAL REFURBISHMENT To keep the feel of an industrial building, the development team tried to utilize materials that had an industrial "feel." For example a city storm sewer grating was turned on its side and given a powder-coated finish for the atrium railing, then topped with a hickory handrail. Energy efficient fluorescent bulbs were used to blend with the decor, and ductwork and cable trays were left exposed along the ceiling.

One of the most striking features of the Hardware Building renovation was the retention of the large spiral parts chute. The chute was added to the building in 1938 and was designed to allow boxes to be sent from the upper floors to the shipping area on the main floor. One of the two original chutes was cleaned, painted and left in the atrium. A freight elevator, no longer functional, was repainted and

UTAH PRESERVATION v

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also used as a design element.

Another freight elevator was refurbished and is now used as the freight elevator for the building.

More challenges awaited in the tin ceiling used in the original office areas. Useable portions of the ceiling were water-cleaned and painted, and new matching tin was located to replace sections which had deteriorated beyond repair.

Other refurbishing projects included cleaning the interior brick and timbers and the exterior brick facade using a chemical-based water wash, and refurbishing the south loading dock and corrugated metal canopy. Additionally, the door openings where overhead garage doors had been located were replicated to match the original openings.

Throughout this renovation project, the ongoing objective was to

restore this magnificent building using materials and finish details t h a t complemented the original structure, yet allowed Gastronomy to bring the building up to current standards and become economically viable once again. I t was a constant challenge to satisfy the conflicting demands of retaining the original characteristics of the building while at the same time meet modern code requirements. However, virtually all of the character defining features of the building have been retained. All windows match the original windows, all facades remain a s they were and almost all of the exposed and industrial elements remain intact. Where necessary, new materials have been utilized that blend in with the original materials of the building.

The efforts have been worthwhile.

T h e Salt Lake Hardware Building has received a tremendous reception from the community and has been recognized by both the American Institute of Architects and the Utah Heritage Foundation.

"The Salt L a k e H a r d w a r e Building is now a Class-A office building in a historical shell," says Jeff Gochnour, project director. "It h a s the charm of the old historic structure with all of the amenities of a brand new structure." .:*

Judy Reese has worked for Gastronomy, Inc., for over 19 years. In her position as administrative director, Ms. Reese has assisted with both the Salt Lake Hardware Building Project and the current Ford MotorlEZMCO Building Renovation.

chitectural Design West, Inc. have been designed to repli-

7 cate the historic Daly Mine Architectural Design West, Inc. Salt Lake Office: 533 So. 700 E Salt Lake City, UT 84102 (801) 539-8221 Park City Office: 2064 Prospector Ave Park City, UT (435) 655-9337

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rchitectural Design West, a fullservice architectural firm, blends the grace and charm of the past with the efficiency and technology of the future. Two houses under construction on Treasure Hill above Park City's historic district are prime examples of the firm's ingenuity and dedication to the preservation ethic. The Hill and Sweeney residences, though new,

and the boarding house where miners once lived.

Project architect Richard Pittam explains, "There are no shooting ranges or swimming pools. These homes have been designed to look like they were built 150 years ago and then renovated." An underground tunnel/road provides access to the homes, leaving the landscape undisturbed.

The firm's historic preservation projects include the Park City train depot, the Union Pacific train depot in Logan, and the Old Rock Church in Providence. With offices in Logan, Salt Lake City and Park City, Architectural Design West provides clients with the sensitivity to detail and flexibility vital to both historic rehabilitation and new construction projects.

Mont L. Cmland, S ~ ~ l p t ~ r - - ~ r e s eOur r v iHeritage n~ in Bronze "See that ye holdJast the heritage we leave you, yen and reach yorir children its v~11ue"--S1'r Frflnci~Drake

heroes of a bygone era - and are prized by collectors throughout the Western United States.

Mont accepts private commissions from individuals and organintions to help them preserve their stories in bronze. He offer\ free lectures to groups about the history that inspired his heritage sculptures.

For more information about Mont's heritage bronzes and availability for private commissions please phone Mont at his studio in Sandy, Utah, at (801) 942-4436.

"The Rescue" stands as a monument to the courage and faith of those who helped save the ill-fated Willie and Martin Handcart Companies in 1856. It depicts Stephen W. Taylor, David P. Kimball, George W. Grant and C. Allen Huntington as they carried members of the Martin Handcart Company across the ice-choked Sweetwater River near Devil's Gate, Wyoming, that cold November day. Crosland's bronzes capture the "spirit" of his favorite subjects--the pioneers and

ving Lighting Pmbk

Alfa Lite 380 E. 1700 So. Salt Lake City, UT (801) 487-3451 l(800) 388-5456 Fax (801) 487-7992

Alfa Lite houses the unusual, the original, the old, the one-of-a-kind, as well as an engaging selection of Cappo di Monte, Cordey, Lennox and Aladdin lampscrystal and brass fixtures from years gone by. More contemporary offerings can also be found. Alfa Lite's diversified services include brass polishing, ceramic mending, and reviving finishes of corroded metals, in addition to simple lamp repairs. They provide the artisan's hand in the repair and restoration of customers valued pieces, whether historic or not, with the skills and the means to give new life to broken or seemingly useless items. Alfa Lite recovers existing lampshade frames as well as manufactures baroque, leather and fringed shades. Shades can be pleated, shirred, laminated, stretched, or hand-sewn in a square, hex, oval, rectangle, or round shape to best complement a lamp From the beginning Alfa Lite has pioneered with technique. Now, they lead the way with texture and color.

Customers delight in the possibilities of Alfa Lite's parts rooms. Here they find replacement glass and chimneys; bases, columns, sockets, swivels, plugs and wire; harps, necks, and nipples; oil lamp wicks,

Aladdin components, candle covers, bobesches, student shades, crystal pendants. In an old coin display case, customers find a comprehensive array of finials to secure lampshade to lamp.

After operating the decorating studio Design & Decor for several years, Barbara Gardner created Alfa Lite in the 1960s because she saw few options for lighting needs-specifically lampshades-locally.

Lighting soon took over and became her focus, at times involving members of her family in the manufacture, repairs and administration of the work. Gloria Gardner Murdock began a full-time involvement in 1987.

"Alfa Lite has become a place people bring their houseguests for a visit, much like they might take them to a museum," says Murdock. It's not uncommon for those houseguests to return on their next visit to Salt Lake canying a cherished relic for Alfa Lite's imaginative and skillful restoration.

Roger V. Roper

"W eight-c~linkrHollier c(li-.. . was stocked with pirui.skns,

tools, and einer*geizc:lloi~i'fjtgeui- generally, wzd the thieee of zu stni-ted fir the tlzousand-milt. ride, nlost rd flie road new to us, and (111three etzfl~rrsedwit17 the spirit of adzjentfrre." I11 October 1919, the Hotel fifonthlv published an account ol' this round-trip automobile trek from Salt Lahe C i 6 to the Grand Canyon. Automobiles were ne\\f:~ngled and capricious at the time. Roads were even Inore unpredictable. Still the hotel :uld tourism industries saw the potential boon1 automobile travel would generate. I Jpbeat accounts of successfi~ljournejs were needed to boost die new industry.

Hotel industiy insiders took on this assignment. John \\'illy, publisher of the John Willy Hotel L)itactoty and The Hotel Monthly, his son Jhight Willy, and <;eorge Kelf, manager of Salt Lake City's premier eshhlishment, Hotel Utah, set out on the automobile adventure in Relf's Hollier motor car. Excerpts ft-om their eleven-da) trek offer a glimpse of LJtah's hotel suld travel conditions of the period. Surprisingly, many of the same facilities they encountered are still standing today, almost 80 years later.

SPRTNGVILLE 1919: "At Springz~ille,a b o u t j i . ~iniles ) soz~flz($Salt Lake City, we nrvt and dined with the vetei-agz caterer George Hap-$pison, knozefn thr-otcghozrt this secztiott as B e ~ f i t e a kH ( ~ ~ r i s o nHe . keeps th.e

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Kearns Hotel c.1990 prior to rehab.

Iicln*zson Ifotel, which he built thirty-nine years ago, with twelve t-oojns, has kept it ever- since, and made a wide repz~tntionfor lzis cooking, in prrrrticzilar ofbeefsteak. . . . Hotel Ifnrrisotz is Awzet-icatz pluiz, $3.00 tr, r l ~ y. . .

"The noon-day menzc on the duy of our call was: Choice of beef stealz or roast lr~mh;corn on cob, nzashed potatoes, string beans, sliced tomatoes, cczntcrloz~pe,tecr of- coffee, bread and butter. The old

UTAH PRESERVATION gentleman greets his guests, and is pleased when they come with the healthy appetite."

1998: Though the Harrison Hotel has been demolished, its chief competition from 1919, the Kearns Hotel, has been admirably restored. In 1990, Craig Lott and partners purchased the vacant building that had served most recently as a bus depot. Despite the dingy paint and unflattering remodelings, they glimpsed the potential of the c.1890 Victorian hotel. And once they stripped the paint from the brick, exposing the warm red tones with yellow-brick accents, people in town started to take notice and drive by to check on its progress.

The Kearns Hotel reopened as a bed & breakfast in 1992. The following year, the Utah Heritage Foundation recognized the project with an award of merit as a n exemplary restoration project. The hotel currently operates as the Victorian Inn, and though it doesn't serve a beefsteak meal at noontime, it does

provide a breakfast to satisfy even the most "healthy appetite."

MARYSVALE

1919: "As we were coming out of the Marysvale Canyon of the Sevier River, about five miles north of Marysvale, we experienced engine trouble that brought our car to a dead stop ... . After a wait of an hour. a keen hoking, athletic young fellow came along and quickly diagnosed the trouble, and towed us into Marysvale.

He would accept nothing for his service, for, he said, quietly, 'It is a c o u r t e ~of the road.' ' A s it was getting dark, we all put up at the Grand Hotel. . . . The hotel accommodations at Marysvale could be improved.

A t the time of our visit the house was crowded. We were assigned three in a room, with two beds and two towels for three persons. The dinner was beans and pork, steak, potatoes, bread and butter, pear preserves, cake. For breakfast we had the saltiest bacon we have ever tasted. The landlord came to us at the table and said the breakfast would only costfify

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cents, as he was unable to serve eggs."

1998: Had the 1919 travelers arrived earlier in the evening they may have found more pleasing accommodations at the nearby Pines Hotel. It touted itself as "The popular and up-to-date hotel of Marysvale" in advertisements of the day. Today it is one of the most pleasant bed & breakfasts in the state.

It is set back from the highway in a grove of overarching cottonwoods, with beckoning lawns and shady front porches.

Randy and Katie Moore have restored the c.1882 hotel (reputedly the oldest in Utah) to a level of comfort and quality that would please even the most critical traveler. When they purchased it in 1994, the hotel had been virtually unoccupied for years.

First they sought the advice of preservation architect Kim Hyatt, then they rolled up their sleeves and got busy reversing decades of neglect and decline. Friends and family pitched in. Though the work was grimy, everyone fell in love with the project. "We would fall into

An award-winning rehabilitation brought the Kearns Hotel back to life. It is now The Victorian Inn, an acclaimed bed-and-breakfast just off Springville's Main Street at 94 W. 200 South.

Inset: The Pines Hotel, c.1912. Above: The roof and upper windows of the two-story section were modified after a c.1920~fire.

Randy (wearing hat) and Katie Moore spent untold hours restoring the hotel and became rehab experts in the process.

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U T A H PRESERVATION KANAB

Early automobile travelers, such as these in 1921, found pleasant accommodations at the old Hotel Highway. The hotel has since been demolished.

bed exhausted at night," Katie recalls, "but wake up in the morning ready to get going again. That was a sign we were doing the right thing."

After 15 months of upgrading, they opened Moore's Old Pine Inn in October 1995. The success of their new venture surprised even themselves. "We figured it would take a few years to reach the level of business we started getting in our first full year." Their trepidation at "taking the plunge" and leaving their careers and home in Davis County

quickly subsided. Now you couldn't drag them back to the Wasatch Front.

The road trip continued through Panguitch, where dare-devil cowboys attempted to ride a saddled buffalo at the Garfield County Fair ($500 prize money!), and spectacular Bryce Canyon.

Trying to push on to Kanab in the waning light, the weary travelers queried a taciturn local along the way, "What is the next town?"

"There ain't any," he replied, then, after a pause, "till you get to Kanab."

1919: "We found excellent accommodations in the little Hotel Highway, kept by W S . Rust, and very soon were eating a dinner of beefsteak, corn on cob, baked potatoes, tomatoes, good bread and butter, peach preserves, cake, coffee, tea, or milk; the meal cooked by the landlord's wife and served by his young daughters; as appetixing and delicious a meal as we have ever eaten. There was also a clean bath tub available, and although the water was not running just when needed (the supply comingfrom central plant at intervals) we were notified when the hot water was on.... A bell was rung when time to get up, and a second bell when breakfast was ready. The charge for dinner, lodging, and breakfast was only $2.50 per person."

1998: The "little Hotel Highway" and its delectable meals are long gone, but an even older hotel in Kanab has survived. Located just off the main road, the Cole Hotel has re-emerged from years of neglect under the careful nurturing of Arthur and Alice Brown.

The Browns, who live in California, have spent the last several years restoring the long-neglected structure as a part-time residence.

The Italianate style "hotel" was actually constructed as a home in 1884 for

Kanab's old Cole Hotel (54 S. Main), now just a residence, is re-emerging from decades of decline.

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UTAH

PRESERVATION

Above: The Bradshaw Hotel, located at 85 S. Main in Hurricane, was restored in the early 1990s to serve as a museum. (West elevation) Below: The house c.1909, just before the Bradshaw family started taking in hotel guests. (SW corner)

polygamist William D. Johnson and his four wives. The twelve-room house.

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1889. Turn-of-the-century proprietor Mrs. Eleanor A. McAllister is noted in local histories as "a very considerate and hospitable hostess [who] served splendid meals."

After tr-aversing- through - the Knibab National Forest to the North Kim ($the (;rand Cutzyon, the travel el*^ returned to Kanah. They were towed the last 30 miles because there was "something radically wwng with tlze car" (neither tlze fi15t nor tlze last tnechatzical pl-oblem they would encozmte-r). Il'lze next duy, cEfer extensive repairs, they set out fot- Hurricane, 7.5 miles to tlze west. The rocrds were ahy.smal. They

UTAH PRESERVATION had to pull themselves out by rope a halfdozen times and in some places used shovels and brush to build a solid road base.

HURRICANE 1919: "At Hummcanewe stopped at the little Bradshaw Hotel, secured two clean rooms, and ate a hearty evening meal, the menu, except for the canned salmon, all of native foods: cottage fried potatoes, melon, a big dish of sliced peaches and cream, grapes, honey, native black currant sauce, very good bread, butter, tea, milk. There were no locks to doors or windows. We fetched our o m water for the lavatory. After a good night's rest, with doors and windows open, the landlady gave us a good breakfast of oatmeal and cream, boiled eggs, toast, honey, stewed native figs and black currants, melon, coffee. Roses were in bloom in the little garden back of the hotel, and the orchard trees were laden with peaches, plums, apples, and otherfruits, ours for the picking. When asked for the bill, she said it was 'six-bits each for lodging, and fmcr-bits for meals;' that is, 75 cents and 50 cents respectively."

1998: In 1990, a handful of determined local residents saved the Bradshaw Hotel from becoming a "training exercise" for the fire department. The building was boarded up and vacant at the time. Most in town didn't know or didn't care that the building was Hurricane's Grst permanent home, constructed in 1906 for Ira E. and Marion Hinton Bradshaw, when the town was just getting established.

The Bradshaws offered their home for school and church purposes in the early days, then opened the town's first hotel there in 1910. It's an irreplaceable part of the town's history.

Promising to do something with the sony old building, local preservationists won a stay of demolition. They quickly set to work reversing unsympathetic remodelings and raising funds for a thorough rehabilitation. Within a year the house was looking as good as new (even better say some) and was being put to use as a visitor information center and museum. It was listed on the National Register of Historic Places in 1991 and is currently one of the showpieces of the community.

Afer several more adventures and misadventures with the vehicle and the roads, the travelers returned to Salt Lake City eleven days after their departure.

SALT LAKE CITY 1919: "We returned to Salt Lake City about six o'clock in the evening, and com-

pleted the most interesting journey we have ever made. The porcelain tub bath in Hotel Utah was refreshing indeed; and the evening meal in Hotel Utah with the Relf family differed from any we had sat down to in the last eleven days, for the reason that chicken was served. We recalled that not since we had left S a b Lake had chicken been served at any meal."

1998: Hotel Utah closed its doors in 1988, much to the consternation of many Utahns (no more hard rolls for which the hotel's restaurants had been renowned).

But the LDS Church, owner of the hotel since its completion in 1911, resolved to keep the building. Though it wasn't viable as a hotel, it could be put to productive use.

Local architect FFKR oversaw a multiyear rehabilitation that included converting several floors of hotel rooms to ofice-type space (desks with computers for genealogical research), restoring the grand lobby and "public" rooms on the main levels, and re-installing two roof-top restaurants. The terra cotta exterior was also refurbished and preserved.

The newly renovated structure was renamed the Joseph Smith Memorial Building (in honor of the founder and fwst president of the LDS Church). It reopened in 1993 to rave reviews and gar-

nered a prestigious Heritage Award from the Utah Heritage Foundation.

In keeping with tradition, the building's restaurants continue serving the popular hard rolls.

CONCLUSION "Utah has come to the front splendidly with good roads. ... Of the 800 miles we traveled over in Utah [not counting 200 in Arizona], only fifteen could be classified as bad road.. .In a thousand miles of automobile travel, leisurely made, and taking up eleven days and ten nights, we found comfortable sleeping quarters in all but one place, and only two meals that were not satisfactory: and we did not miss a meal." Fine praise indeed for the fledgling automobile travel industry in the early 20th century.

Today's travelers can follow the same roads and even visit some of the same hostelries the first generation of automobile adventurers enjoyed. They're now off the beaten path though -just where you may want to be as the 20th century accelerates toward the 21st. .:* Roger Roper is the historic preservation coordinator for the Utah State Historic Preservation Office.

tah [c.192O's) provided wt telers uam thelr return ta

Regency Royale: ArchitecVDesigner Shomom

Regency Royale ArchitectlDesigner Showroom 331 So. Rio Grande #I01

Salt Lake City, UT 84101 (801) 575-6525 FAX: (801) 575-6141

egency Royale is a specialty floor covering showroom, which is deliberately tructured to be a resource for the design pmfessional in the community," explains Kathleen Wagstaff-Emery, president of Regency Royale. W e are extremely interested in restoration work and have the resources, with the manufacturers we work with, to do extensive archival research. When replicating a historical piece, we will go to any lengths to

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see that the match is as exact as possible, even to the extent of hiring someone to examine antique rug fibers at their bases to determine their true original dye colors." Kathleen has been with Regency since its inception in 1983 and is passionate about history. "It is crucial that we work to preserve our craftsmanship and our history," she emphasizes, "so that our children and their children will know who we were."

Regency Royale has overseen the re-creation of handmade rugs for the Gold Room at the State Capitol Building, the Governor's Mansion, Kingsbury Hall and various special projects for the LDS Church.

Regency's offerings extend far beyond all styles and types of area rugs, with an inviting showroom featuring extensive selections of wallto wall broadloom including those of Axminster and Wilton construction. Regency Royale has maintained strong relationshps with the U.S. tufted carpet manufacturers, which enables the design pmfessional to be creative and stiU effective in developing a carpet type for the project at hand while remaining in budget V e are pleased to provide design resources here in Salt Lake City that effectively rival those available in cities more famous for style and fashion, such as New York, San Francisco and London," notes Kathleen. "We are dedicated to the creation process and are eager to be involved in projects of all scopes and sizes." For an amazing array and selection of quality floor covering options, Regency Royale is an excellent choice.

Mission Statement To aid the professional designer andlor architect by providing the finest and most diversified flooring materials available throughout the world with emphasis on preserving the past, handling the challenges of the present and preparing for the future.

Simantov Oriental Rug Gallery

Sirnantov Oriental Rug Gallery 341 South Main Suite 101 Salt Lake City, Utah 8411 1 "Customer Parking in Rear"

(801) 359-6000 (801) 888-RUGS

tep into Si~nantov Oriental Rug Gallery and you step into a world rich with luxurious beauty. The graceful columns and lofty ceilings of Simantov's lovingly restored historic building shelter more than 8,000 breathlakingly beautiful rugs, each chosen for outstanding craftsliianship and durability.

FAX: (801) 363-3203

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"We offer only handmade I-ugs," explains Eddie Simantov, co-owner of the business. "Many, in fact pl-obably 30-4056 of our rugs, feature our own designs and color combinations. I travel to India, Pakistan, Nepal, China and Turkey to order and select the rugs. We also offer antique rugs from Iran and Navajo Ainerican Indian r ~ ~ g s . "

Simantov Rugs is a family business, started in 1977 by Eddie. his brother. and his grandfather. "We're one of the largest rug stores in the West," notes Simantov, "and we are proud to provide a full range of rug care and repair services as well as a wide selection of quality rugs. When cleaned and cared for properly, a rug can last forever."

Many of the antique Persian rugs Simantov stocks are over 100 years old.

"We rarely find them in perfect condition, so we must restore them. Most people don't realize you can I-epail. rugs. Our Master Weaver, Harnid Bashir. has more than 30 years experience. When the restoration has been completed the repair is virtually invisible". As for cleaning the rugs. Simantov explains that conventional caipet cleaning methods just won't do.

"These are very dense rugs?" he notes.

"Dirt gecs ground into the foundation of the rug. Withoi~tproperly relnoving the silt you will not have a clean rug. From a typical 9 x 12 ft. lug we will remove at least one pound of silt with our special silt removing equipment". For fabulous rug selection and top-notch rug clue options, treat yourself to a visit to Simantov Oriental Rug Gallery.

Eaton-Mahoney Associates:

h h i l e c t u ~Planning, , Interior Design

Eaton-Mahoney Associates Architecture Planning Interior Design

460 South 400 East Salt Lake City, UT

8411 I (801) 363-1511 Fax: (801) 363-1560

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erving Salt Lake City for more than 16 years, Eaton-Mahoney Associates is a full-service architectural firm, specializing in commercial and education related projects, as well as preservation-based projects such as ecclesiastical building and theatre design and restoration. "Churches of many different denominations and theatres serve as gathering and celebrating places. They require a different set of design functions than an

Committed to the preservation ethic, Eaton-Mahoney has enjoyed a long-time association with the Utah Heritage Foundation and other community organizations that promote and educate schoolchildren about architecture and preservation. "We believe in celebrating things done well in the past and applying them to the present," continues Mahoney. "Our aim is to create beautiful, functional buildings using sustainable architecture principles. This not only saves energy, but also results in structures that are truly built to last. Our past is filled with examples of this kind of building."

Eaton-Mahoney has been involved in projects ranging from the Salt Lake International Airport expansions to the renovation of Kingsbury Hall, and continues to participate in smaller projects as

office space might," explains Don Mahoney, current president of the Salt Lake Chapter of the American Institue of Architects, and co-owner of EatonMahoney. "People involved in designing churches and theatres are often more focused on the art, design and self-expression opportunities available. They want the building to be rich with meaning, and to say something about who they are and what they believe to be important."

I well.

"We've progressed to a nice blend of large and small projects over the years,"

says Mahoney. "We help each owner think about what their real needs are and how to communicate those ideas.

Communication is the key, the most important catalyst that allows a successful project to happen. Developing conceptual ideas in the presence of the owner is a tremendous and welcome opportunity."

To understand each other - that is integral to meeting owners' needs.

Gamer Village: Shopping, Dining, History -

Gardner Village 1100 W. 7800 S. West Jordan, UT

%llage. The mill is listed on the National Historic Register of Historic Places and received the 1987 Utah Heritage Award for * r most improved com. bu11d1ng. . . mercial While visiting Gardner Village, explore the numerous specialty retail shops, including a quilt and white shop, The hlstorlc mill at Gardner Village now house6 toy store. garden shop, hibald's Reslauranl and Countrv Furniture B GtH -paper shop and much, ardner Village contains the out- ) much more. Explore the museum or dine in the restored Archibald's Restaurant where the lines of the once bustling early food is as timeless as old Archibald himelf.

Utah mill industry and history.

Admire the beautifully kept grounds and What remains today is a cluster of specialjoin in one of the frequent on-site events, ty shops and a museum located in restored celebrations, and festivals. cabins, houses, and buildings nestled adjaVintage architecture, antique fixtures, red cent to the Gardner Mill. brick paths and bridges over a pond create a Built in 1877 bv Archibald Gardner. Utah relaxmg and enjoyable atmosphere for shoppioneer and millbuilder, the mill has been phg, dining, and discovering some of Utah's restored and converted into Archibald's most colorful history.

Restaurant and Country Furniture & Gifts, which serves as the focal point of Gardner

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SWCA Inc. Environmental Consultants

SWCA Inc. Environmental Consultants

56 West 400 South Suite 201 Salt Lake City, UT 84101 (801) 322-4307 (800) 828-7991 FAX: (801) 322-4308 ernail: jwelch@swcaslc.com

WCA INC. offers a wide range of environmental services from 10 offices located in the Southwest and Intermountain West. Their purpose is to help clients accomplish their project goals while meeting regulatory requirements in the most cost-effective way possible.

Utah's vibrant economy, rising population, upcoming Olympic Games, and other considerations generate a need for construc-

tion, development and infrastructure projects. At the same time, increasingly complex laws and regulations create additional burdens on developers and landowners. How can development projects move forward with the presence of wetlands, wildlife habitats, threatened and endangered species, or archaeological and historic sites? SWCA has been helping developers and landowners address such concerns for more than 16 years. They offer a strategy that supports their clients' goals and objectives. They provide clear, professional leadership through the regulatory maze. They facilitate focused, effective efforts for project resolution with the outcome of increased project marketability and profit. For more information, please call Jim Welch at (801) 322-4307 or (800) 828-799 1.

Elizabeth Provost, Susan Holt, Wilson Martin The Utah State Capitol, completed in 1916, has been the pride of Utah citizens ever since its dedication. Sixty thousand visitors marvel at its monumental elegance each year. However, after over eight decades of constant use and exposure to the harsh Utah climate, many features of this building are in need of repair. In 1996, a major conservation project was completed on the murals in the dome area. These murals were added to the

Art conservator Elizabeth Provost examines the murals up close.

building under the federal government's Works Progress Administration in the 1930's. This program helped out-of-work artists during the depression by commissioning them to do work for the government. Many improvements were made in public buildings through this program.

The dome "Seagulls" was painted by William Slater. The upper friezes and lower murals were designed by Lee Greene Richards, who was influenced by a San Francisco artist and muralist John MacQuarrie. These murals were then painted by local artists Gordon H. Cope, Waldo P. Midgley, and H a n y Rasmussen. The murals and friezes were originally painted at the fairgrounds then transported to the State Capitol building where they were cut and mounted to fit the curves of the walls. They are mounted with water-soluble paste and large tacks.

Initial observations made by art conservator Elizabeth Provost, with the aid of flood lights and binoculars, revealed water damage throughout the dome area and murals. T h e water had also damaged the plaster and moldings above and below the friezes and murals. When water came into contact with the plaster and metal mesh located behind the murals it created many problems, including rust and decaying plaster. The seeping mixture of dissolving materials also caused the paint pigments to fade and the brittle yellowed varnish to bloom and fail completely in some areas. The failing plaster formed bulging pockets behind the murals

UTAH PRESERVATION the substrata base, remove and replace wire mcsh, replace plaster, and reinstall the murals. Ilowever, because of the high cost of this procedure, a repair-in-place policy was implemented.

1he overall goal was to repair water damage on the surface of the murals and to clean and preserve them without changing the characteristics of the original artwork. T h i s was accornplished with the following steps: First, the surfaces were cleaned, using naphtha, a solvent with a very fast evaporative rate. All areas which could be reached were cleaned and carefully blended into the surrounding areas.

Second, all bloomed varnish was removed, mid the discolored varnish w a s lightened. I t w a s suggested, although not implemented a t this time, that all of the varnish be r e n ~ o v e dand the murals be re-varnished n i t h a more flexible, non-yellowing varnish.

Third, the murals needed to be attached where they were loose. T h e loose a r e a s \xrere filled with plaster board and fix-all, then re-attached with water-soluble glue.

Fourth, a process was used to draw out a s milch of the natural pigment colors on damaged areas a s possible. T h i s helped to minimize t h e amount of touch up paint needed.

Fifth, the remaining discolored areas were touched up using oil based paint, mixed with a removable varnish. This touch-up was applied with alternating coats of varnish to build up the surface areas of missing varnish. r

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CONCLUSION Much needs to be done in order to ensure the longterm preservation of lhese murnls and the State Capitol itself. This project dealt with only the most significant problems with the murals. During your next visit, take a closer look at these marvclous artistic worlcs.

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and friezes. Only small areas of plaster wall behind the murals could be fixed from the front; other parts could not bc repaired without removing the murals completely and rebuilding the walls. This procedure would be costly and was not undertaken a t this time.

REMEDIES T h e first objective was to stop the water. This was accomplished with a new dome covering and repairs to windows above the murals.

T h e second objective would norlnally be to remove the murals, repair

Elizabeth Provost is a% ~ i r conservator t living in Salt Luke City, l l t ~ t h .

Szisatz Halt is r~ pl-eservation consultant living in Suit Lake City, litah.

Wilso~zMartin is Deputy Strrte Historic Yre.ssvoatiotz Officer with tlze Division c?f' Stirte Histoq.

Sure, we offer you a lot. Like advice, help, and even grants for your preservation projects. A great collection of historical photos (more than half a million) for you to browse and use.

Publications full of discovery and insight. A library packed with microfilm, photos, and manuscripts-and expert research assistance to help you get intimate with the past.

We've got activities for school children, programs for prehistory buffs, a fascinating exhibit, and a one-of-a-kind bookshop.

But just as important is what you can offer. When you join the Historical Society, you become an important voice for preserving the past. Join us. Together, we'll move history forward.

Yes, I want to be a driving force for Utah history. Enter my one-year membership in the category checked. As a member, I'll receive Historical Society periodicals, including Utah Preservation and Utah Historical Quarterly.

Mail to:

Address

Membership Secretary Utah State Historical Society 300 Rio Grande Salt Lake City, Utah 84101

State

Please enclose a check or money order. Or call (801) 533-3525 to charge your membership.

Name

rn

Zip Individual $20.00

0 Student $15.00 0 Senior (65+) $1 5.00

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Institutional $20.00

0 Patron $50.00

0

Sponsor $250.00

Contributing $25.00

0 Business $100.00

Benefactor $350.00

Sustaining $35.00

0 Centennial $100.00

Life $500.00

.

COOPERIROBERTS ARCHITECTS 700 NORTH 200 WEST

SALT LAKE CITY, UTAH 84103

TEL: (801) 355-5915

A Utah leader in historic building restoration and renovation design for 22 years, CooperRoberts Architects has recently moved into one of its own projects: the former 24th Ward Meetinghouse at 700 N. 200 West in Salt Lake City. Built in 1907 and designed by Young & Sons Architects, the picturesque Victorian Romanesque structure was a significant work of architect Joseph Don Carlos Young, a son of Brigham Young. The striking brick edifice has been upgraded for re-use by Paulsen Engineering & Construction. The goal of principal architects Wallace N. Cooper 2 and Allen D. Roberts has been to carefully restore and renovate the building, extending its lifetime and reinforcing its role as a visual landmark in the Capitol Hill neighborhood. Adesign priority has been the preservation and enhancement of the building's interior and exterior character-defining features.

With over 25 years of experience each, both Mr. Cooper & Mr. Roberts are career specialists in the preservation and restoration of historic buildings. Cooper/Roberts Architects was the first firm in Utah established to specialize in historic building architecture. During its 22 years it has completed over 200 restorations of buildings listed on the National

FAX: (801) 355-9885

Register of Historic Places. The firm also has completed more than a score of "tax act" projects resulting in tax credits for its clients in compliance with "The Secretary of the Interior's Standards for Rehabilitation."

Recent major projects of the firm include a feasibility study for the historic Promised Valley Playhouse in Salt Lake City, the restoration of the historic Logan Tabernacle for the Church of Jesus Christ of Latter-day Saints and the conversion of the 1918 Coh~mbusSchool to a multiple-use civic center for South Salt Lake City. The latter project entails renovating a 44,000 square-foot, Spanish Colonial Revival building into a senior citizens center, police and public safety dispatch station and civic auditorium. CooperIRoberrs also designed the recently completed $1.5 million restoration/renovation of the historic Commercial Club Building, a landmark in Salt Lake City's Exchange Place Historic District, and recently received the commission to expand and re-image the exterior of the visitor center at Bryce Canyon National Park.

CooperIRoberts has received numerous local and national awards for the excellence of its restoration/renovation projects.

The firm's experienced 14-member staff provides a wide range of services for existing and new buildings including feasibility and cost analysis studies, planning and programming.

glass re-created by Sandy Stewart for the Parley-Willlams Mansion located on

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SlDtLiGHlS B TRANSOMS DOOR INSERTS

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CABINET DOOR INSERTS

-:-SKYLIGHTS 9 ROOM DIVIDERS

TURN YOUR HOME INTO i9 MiSNSIONI

The mission of the Utah Heritage Foundation is to preserve, protect, and promote Utah's historic built environment through public awareness, advocacy, and active preservation. Founded in 1966, U H F is a statewide non-profit organization supported mainly by membership and private resources.

U H F fulfills its mission through a wide range of programs and activities.

PUBLIC AWARENESS a Annual Historic Homes Tour of privately-owned historic buildings.

Regular tours of Salt Lake City landmarks.

School programs & tours about Utah's historic architecture & history. a Annual Heritage Awards recognizing exemplary preservation statewide. a Special events, workshops, publications.

ADVOCACY U H F advocates preservation-oriented public policies by drafting legislation, testifying before legislative committees, and lobbying for the passage of bills which protect Utah's historic resources.

ACTIVE PRESERVATION Revolving Fund Loan Programs provide low-interest loans to rehabilitate historic residential and small commercial properties. Call (801) 533-0858 for information on programs, services, or membership.

Direct Importer

Sales and Service

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215 South Edison Street (I45 East), Downtown Salt Lake City

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Utah Heritage Foundation P.O. Box 28 Salt Lake City, U T 841 10-0028

Home-Tech, Inc. General Contracting Renovation, Restoration, Remodeling

Home-Tech, Inc. General Contracting Renovation Restoration Remodeling

P.O. Box 526396 Salt Lake City, UT 84152-6396

(801) 484-9360 Fax (801) 461-0110 www.home-renovation.com

State Stone Corporation, Inc.

State Stone Corporation, Inc. 4640 S. 300 W. Salt Lake City, UT

(801 262.9323 Fax (801) 262-1625

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f you have enjoyed the beauties of City Creek Park, lingered on one of the arched stone bridges, rested for a moment on one of the lovely stone benches or strolled along the carefully constructed stone-paved footpaths, then you have experienced firsthand the expertise

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THE NAME THAT MEANS QUALITY

of State Stone's artisans and craftsmen.

Keith MacKay, owner of the 46-yearsstrong business, is committed to stonework of the hiehest caliber. "We u own or lease many of our own quames, and we know the quality of our stone from the minute it comes out of the mountainside. We quarry sandstone in both red and buff colors, travertine, roilite and ooletic limestone. We also import stone from I

across the United States and from Mexico and Italy."

MacKay's projects are numerous and impressive, including work on the Sheraton Palace Hotel in San Francisco, the Governor's Mansion, retaining walls for Bryce and Zion national parks, and restoration work on three historic LDS temples in St. George, Manti and Vernal.

His client list features such celebrities as Barbara Walters, Harrison Ford, Don Johnson and Tom Cruise.

Along with major projects, State Stone tackles smaller jobs. "We do it all," says MacKay. "We have a fabricating shop right in Salt Lake. We also have a sawing and fabricating plant in Torrey, Utah. We have crews for any size job. We do fireplaces, countertops, entryways, floors, waterfalls, fountains and pools, to name a few."

With headquarters in Salt Lake City, State Stone offers a retail store, a stone yard, fabricating, hand carving, and a full complement of design and restoration services. Notes MacKay, "We've been at this 46 years, and we're proud to provide our customers the best quality service and widest selection of stone available."

UTAH PRESERVATION

IMAGES OF THE AGRARIAN LANDSCAPE Everybody loves barns. We are drawn by their rustic architectural character and warmed by the rural sentiments they evoke. But at the same time we are saddened by their decay and the passing of the pastoral lifestyle they represent.

Artists and photographers in particular find barns alluring.

Capitalizing on this natural attraction, Utah Preservation sponsored the "Barn in Utah" photo contest in the fall of 1997. The response was overwhelming. Over 350 photos were submitted of barns from all over the state of Utah.

Selection of the winning photographs fell to a team of experts: Borge Andersen, professional photographer and owner of Borge B. Anderson & Associates photo lab; Dr. Peter L. Goss, professor of architectural history at the University of Utah and chair of the Utah Board of State History; Gary B. Peterson, professional photographer, writer, and cultural geographer; and

Barbara Richards, who teaches photography at the University of Utah.

The judges selected twelve "winning" photographs, which are featured here with captions from the photographers. In addition, the judges chose eight honorable mention entries. These will be displayed along with the winners in a traveling exhibit that will be installed at various locations in Utah throughout 1998.

These locations include the Utah State Historical Society in Salt Lake City and four communities selected to host the Smithsonian's popular exhibit "Barn Again!: Celebrating an American Icon." The four host towns are Heber City, Ephraim, Monticello, and Wellsville. More information about the "Barn Again" exhibit is available through the Utah Humanities Council at (801) 359-9670, which sponsored the exhibit.

This is an English-style barn, with the main opening centrally-spaced on the side rather than on the gable end as in the more typical Intermountain-style barn. The main building has three bays, with stalls and feed troughs located in the lean-to behind. The wide spacing of the logs is unusual, although there are three or four other barns similar to this one remaining in Paragonah. The construction date might be as early as the 1870s.

UTAH PRESERVATION

The "CB" Barn was built around 1875 of red pine by Andreas Burgener, Swiss immigrant ancestor of current owner Richard Tatton. The barn is of mortise and tenon construction and is located at 102 W. 100 North in Midway. It received recognition from the national Barn Again!

Program in 1995, is designated as a Century Farm by the State of Utah, is on the National Register of Historic Places, and has received commendation from the Civic Beautification program for the last forty vears.

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UTAH PRESERVATION

T h e original barn \\.as built in the earl!, 1900s by the McPolin f a ~ ~ i i land y sold in 1920 1-0t11e Osguthorpe family. Its beauty and prominent location in the miiin to Par-I< entx-ance corridor ( R o ~ ~ 224) te City had made it illto a landmarli of the coinmunit).. T h e city- purchased the land and buildings fro111 the Osgut-hol-pes in 1990 after it had fallet~into disuse mid disrepair. A n extensive and ongoing restoration and beautification program has resulted in the visual feast. captured h) the phol-ograph and elljoyed by many tliou-

I have travelled throughout CJt:ali fix many years and have talien many pictures of its history and its beauty. I do this because it is my hobby and I enjoy it. Whenever I came to a srtinll countr?. town, T elljoyed iiriving away from its h1:aill Street, where much of the ear1.y life iii Utah would become visible.

When I entered Scipio, first settled in 1859, and drove east off hlain Street for a short. dis

ownel; but, alas, it is no longer able to perform as it once did.

UTAH PRESERVATION

This unique turn-of-the-century barn was designed to have no center supports. It has been remodeled inside to feature three floors. Its past includes being used as a cattle barn and for raising turkeys and chickens. It is presently used to store hay on the bottom floor, as a spacious workshop and storage area in the center, and as an entertainment area for parties and dances on the top floor.

This post-and-beam barn, constructed c.1900, is one of the few remnants of Fruita's agricultural history. Small farms and orchards established a foothold in this stark red-rock country during the late 19th and early 20th centuries before Capitol Reef National Park was created. This barn symbolizes a level of success that eluded many of Fruita's settlers.

UTAH PRESERVATION

According to members of the Kerr family, this barn was built about 1920 for David A. Kerr. His son, John B. Kerr, was the second owner. Lewis S. Kerr, a second cousin to John B.. has owned this barn for some twenty years and is the owner at the present time.

Lewis owned the barn when the picture was taken. The barn is located at 321 S. 300 West in Wellsville. It is still in use at the present time, primarily to store hay and house newborn calves. u

This barn has long been a landmark for travelers.

Built in 1901, the barn was originally a working facility housing both milk cows and horses used to bring in the hay for feed.

T h e Buehner family acquired the ranch in 1950.

They now provide sleigh rides in the winter along with private stabling of horses. I consider the barn a living reminder of Utah's past and applaud the owners for preserving it as I have chosen to do on film.

UTAH PRESERVATION

Designed to accommodate the unique needs of a rural farmer, this magnificent structure, built around 1930, during the Great Depression reveals the craftsmanship with which it has withstood nearly seventy years of heavy snow, driving winds, and extremes of temperature. Below the tons of protected hay remains a partial concrete basement once used for milking dairy cows. Still faithfully embraced by the Wasatch Mountains along Highway 6 on the southern edge of Spring Lake, this structure persists to cast its shadow on a quickly changing landscape.

The central section of this barn is actually a granary. It is made of hand-hewn logs and was built around the turn of the century. The flanking wings were added later, giving it the appearance of one of the typical barn types found in this area.

UTAH PRESERVATION

This barn was built by Lavinius Olsen more than 100 years ago.

H e kept his cows on the left side and his horses on the right side of the barn. Hay was kept in the middle section and was placed in the barn with a Jackson Fork.

Kx for Dr. Pierce's Barn Problems A

Main barn structure leaning precariously due t o i t s age and the removal of diagonal braces.

B Shed r o d addition on the verge of collapse and rafters separating from main barn.

C

Thrust from rafters pushing o u t side wall.

D End wall buckling.

Solution 1

Shed roof removed by crane in two wedge- shaped pieces so walls could be worked on safeiy.

2 Vertical posts straightened with a 'come-along' and knee braces reinstalled where missing t o prevent racking.

3 Additional poles 'sistered' t o existing vertical posts for strengthening.

4

Walls straightened and reinforced.

5 Roof sections reinstalled and roof repaired.

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Located just off the highway south of Logan, "Dr. Pierce's Barn" is one of Utah's most recognized and beloved landmarks. But for a while in 1997, the turnof-the-century structure, which had started to tilt and buckle, seemed destined to be a former landmark.

Driving by became like a death watch. Had it survived the latest snowstorm or wind gust? Something should be done, everyone agreed, but what?

A group of residents, mostly farmers, came to the rescue. They devised a plan using volunteer labor, a few donated materials, and a heavy dose of farmer know-how. It worked. Within a matter of weeks the barn was standing straight and tall again. Thanks to their community-spirited volunteerism and donations from Utah Power and Anderson Lumber, Dr. Pierce's Barn will be a Cache Valley landmark for many years to come.

ON-GROUND EVIDENCE DEPICTSFINAL RUSHTO PROMONTORY Bruce Powell ocated on 2,735 acres of land at Promontory Summit, Golden Spike National Historic Site was established in 1965 to commemorate the completion of the nation's first transcontinental railroad. While the number of visitors to this revered Utah site has been growing, many are unaware that it also has a vast array of historic railroad construction features that date back to 1869. These remnants of a prior era in Utah's history are visible and accessible for visitors to linger and study this historic landscape.

The herculean task of constructing the first transcontinental railroad was completed on May 10, 1869. This historic event is tremendously significant in our nation's history.

It helped bind the nation together physically and spiritually following the Civil War. It also led to

vast settlement and changes to the American West.

The driving of the golden spike was also a pivotal event in Utah's history, marking a significant turning point for the early Mormon settlers. In short, the coming of the railroad ended Utah's pioneer era and brought a commercial and social cohesiveness to the state's widely spread communities.

To this day, the symbolism of the golden spike is omnipresent in northern Utah. It is particularly important for numerous residents whose ancestors had first-hand involvement with the construction and early years of transcontinental railroad operations. For nearby Ogden, a city that became "Junction City" after 1869, for both Utah and the Intermountain West, the beginning and perpetuation of crosscountry rail travel is particularly significant.

Being a unit of the National Park System, Golden Spike National Historic Site receives over 60,000 visitors each year and hosts a number of events and celebrations. Visitors have means to learn about and appreciate golden spike and railroading history.

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UTAH PRESERVATION

Regular programs at the Historic Site include replica steam locomotive demonstrations, trailside talks by park rangers, films on golden spike history, viewing of the last spike site, a regular schedule of re-enactment programs, interpretive auto tours along the historic rail route, and hiking and biking trails. Visitors learn about the massive construction effort undertaken in the I860s, the historic May 10th Golden Spike Ceremony, and the many results and impacts that ensued with a crosscountry rail link.

In addition to being a place for visitor use and historic appreciation of the nation's first transcontinental railroad, Golden Spike National Historic Site also has a strong preservation mandate. National Park Service policy stipulates that conserving historic and cultural resources is given emphasis equal to providing services, facilities, and programs for park visitors.

The historic resources at Golden Spike National Historic Site are vast.

However, they are obvious only to visitors who take time to explore the outlying lands in the historic site's boundaries. While most visitor activities and programs take place on the 160 acres around the spot where the last spike was driven, many interesting railroad

construction features are visible at other parts of the historic site.

Perhaps the most important and striking landscape features are the original 1869 railroad grades built by the Union Pacific and Central Pacific Railroad companies. None of the original track remains; it was pulled out in 1942 for use in the war effort. Yet the remaining rail bed is very well preserved for being over 129 years old.

Extending both east and west of the Last Spike Site, the historic site contains a 15-mile section of the parallel historic transcontinental railroad grades. This section bisects the Promontory Mountains and is one of the most spectacular and best preserved sections along the original route.

The Union Pacific grade is of particular interest. Coming in from the east to the Last Spike Site, this grade was used only for the first six months of operation. When the junction point between the two railroad companies was moved from Promontory Summit to Ogden in 1870, the Central Pacific grade was subsequently used. Their grade was considered superior because of its better design and condition; its construction was not rushed as much as was the construction of the Union Pacific grade, which had a number of

hastily constructed trestles.

To the west of the Last Spike Site, the Union Pacific grade was never completed and therefore never used. It tells the story of an abrupt stop to the construction process on April 8, 1869, when it was decided that Promontorv would be the meeting point between the two railroad companies. Along this stretch of grade, visitors can see partially constructed grade, culverts, and cuts.

Besides being a primary historic feature at the historic site, the railroad grades at Promontory are also historically significant in a larger context.

From Omaha, Nebraska, to Sacramento, California, the entire 1,776 miles of the 1863-1869 transcontinental railroad construction project received in 1968 a National Historic Civil Engineering Landmark Citation by the American Society of Civil Engineers. In short, the well-preserved rail bed at Promontory pays respect to the overall construction job that was accomplished and the overcoming of tremendous obstacles such the Sierra Nevada Mountains.

As it meanders up and over the Promontory Mountains, the railroad grades make a number of spectacular cuts straight through long sections of

U T A H PRESERVATION limestone outcroppings. Drill marks made by hand-hammered iron rods can be seen at some locations. Remarkably similar to their 1869 appearance, these cuts tell the story of a rudimentary construction process of blasting powder and arduous hand labor by Chinese, Irish, and Mormon crews. Cuts on the Union Pacific grade to the west of the Last Spike Site were not fully completed; they show the stair-step cutting process used to allow a number of crews to work simultaneously in cutting through the hard rock.

Equally impressive is the grading work that was done. A tremendous amount of material was moved to form the rail beds. Many borrow pits can be identified at intervals along the rail grades. Some even look as if fill material was just recently scraped away.

Perhaps most impressive is the Big Fill site.

Adjacent to the Big Fill is the Big Trestle site. It spans a ravine that is over 400 feet wide and 85 feet deep. It was constructed hurriedly and was noted as being extremely unstable during its six months of use. A few other smaller trestle sites can also be seen in the historic

verts in the historic site tell a story about site. At the east end of the historic site, changes in style and construction techtwo historic Southern Pacific trestles are nology for building needed railroad SUPstill standing; one is believed to have been port features. built in the 1880's, while another dates to Additionally, during the final months 1938. of construction in early 1869, a large Along the historic grade at number of railroad workers would Promontory, discerning visitors will be have been living in close proximity to able to locate 17 historic culverts. These construction project sites. Railroad features were constructed to effiworkers would have likely cient water drainage at wash locations. built simple, temporary While some culverts Besides structures for shelter and warmth. Structures thought date to 1869, a number were built at var- prh'laly historicfiatare to have been in existence ious times between include pit dwellings cov1869 to 1938. at the ~ k tsite, ~ ered ~ byi tents, ~ stone wall structures, and even caves.

During this 69-year period when the Because of the large col~ a i rolled n ~ through the railroad grades at lection of historic features and its mark on the landPromontory, the railPmmOntO l y are scape, Chlden Spike road was continually maintained and National Historic Site has upgraded.

For been classified as a cultural example, it is hist01.icalbs@ifiCant landscape. Park Service staff are now in the process believed that a numin a larger context. of further researching this ber of additional culverts were installed landscape to more fully understand the significance in 1916. Others were of the numerous interrelated historic lengthened at this same time, apparently features Present at the historic site. because the grade was widened. The culGolden snikp -r----National Historic Site has a vast amount of 1869 historic resources that maintain much of their original integrity. Other historic resources document the subsequent decades of Promontory's active rail operations. As a result, the historic site still maintains an atmosphere that reminds us of an earlier time in Utah's history.

The site will continue to be a place for public use and appreciation. Visitor enjoyment can be greatly enhanced by seeing evidence and the actual remains of this historic period. The historic site is, in essence, an outdoor museum of historic features that document a transition of railroad maintenance and construction technology used during the 69 years that trains passed through Promontory. One only has to plan a little more time when visiting Promontory to walk or drive along the historic transcontinental rail bed to see and fully appreciate the magnificence of the historic Promontory landscape.

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Bruce Powell i s superintendent of the Golden Spike National Historic Site.

The "stalr-step" cutting process was used for excavations along the Union Pacific grade In 1869.

UTAH PRESERVATION

National Park Service architect Sayre Hutchinson directs placement of the rebuilt culvert.

HISTORIC RAILROAD CULVERT WORK COMPLETED

Bmce Powell Employees at the Golden Spike National Historic Site recently completed a week-long job of replacing a wooden extension on a historic 1869 stone culvert. This work project is part of a much larger array of cultural resource preservation activities being undertaken to maintain the rich historic and archeological resources in the Golden Spike National Historic Site.

Culvert CP-685.7 is mainly a stone culvert, constructed by the Central Pacific Railroad in 1868 or 1869 when the transcontinental railroad was being completed. It is located 685.7 miles from Sacramento; from Promontory, it is about four miles west of the Last Spike Site. In 1916, there is evidence that the Southern Pacific Railroad decided to widen the railroad grade in a number of places.

A t culvert CP-685.7, a wooden box extension was placed on the north side to accommodate the widened rail bed.

T h e stone portion of Culvert CP685.7 is in good condition, but the wooden extension had been deteriorating over the last two decades, according to park inventory records.

A recent assessment found that it would be impossible to preserve or rehabilitate any of the original redwood on the box-shaped extension on Culvert CP-685.7. Practically all wood had completely rotted over its 80-year life.

T h e culvert is located in an active wash area, and there is still a need to allow run-off water to flow under the historic railroad grade. In keeping

with historic preservation standards, park officials decided to replace the culvert in kind - with similar materials and a n identical design. T h e original box culvert extension was carefully documented and photographed prior to its excavation and removal.

Planning and preparation for this project was three months in the making.

Redwood planking was obtained from a local source, and nails were obtained that approximate those used in 1916.

The new box extension was carefully assembled and then mounted into place with minimal earth disturbance. While it is clearly marked with a 1996 date so as not to confuse visitors, the new culvert extension maintains the historic charactor and integrity of the railroad grade.

Though Goodman's subjects are usually from Salt Lake City or along the Wasatch Front, buildings in rural Utah, such as the Panguitch Social Hall, also catch his eye on occasion.

INTERVIEW WITH JACK GOODMAN hat would Sunday mornings be without the newspaper, and what would the Sunday Salt Lake Tribune be without Jack Goodman's musings on things architectural? His "City View" column has been a weekend favorite with readers since it debuted in 1984. It's architecture, history, reminiscence, and personal opinion rolled into one. And it's always illustrated with a made-to-order drawing by Goodman's own hand. Over 600 columns and he's still out there sketching.

Goodman's column has generated a heightened awareness of Utah's built environment. People who wouldn't otherwise care about architecture, let alone historic preservation, read his column. And just maybe they start to pay a little more attention to the buildings around them and the quality of their communities.

Jack Goodman, born in Brooklyn in 1913, has lived and worked in Salt Lake City since the end of World War 11. His passion and formal training is in art, though he has spent most of his career in journalism. In addition to writing for the New York Post and the Salt Lake Tribune, his articles have appeared in the New York Emes, Newsweek, and the Saturday Post, and he has worked in radio and television.

Utah Preservation recently interviewed Mr. Goodman to learn more about the making of his opinions and articles.

litah Preservation: When did you first become interested in architecture?

Jack Goodman: I think it was back when I was about 14 years

old. A couple of high school buddies and I used to walk all over Brooklyn looking for old Dutch houses or buildings that didn't look like the buildings in our own neighborhood. I think one of my first watercolors was of an old Dutch farmstead in Prospect Park. I knew nothing about how buildings were produced, and I don't think I even knew that there were such people as architects until almost college. Though I sketched some buildings as part of my art training, I usually drew people. And, I have to admit, I was always more interested in ships than buildings.

UP: What led to your starting to write the "City View" column in the Salt Lake Tribune?

JG: Well, it was almost accidental. I'd retired from any steady work, though I was still freelancing a bit, and was walking down the street one day, it must be 12 or 15 years ago, and I encountered Jack Gallivan; I think he had retired as publisher of the Tribune by then. Anyway, Jack said, "You know, every newspaper nowadays, every big newspaper, seems to have an architectural critic columnist." I said, "So why don't you get yourself an architectural column." H e says, "That's the trouble. We can't find anyone to write it. Architects are like doctors." (Which I had never known.) "They consider themselves professionals who will not criticize or talk about another architect." Then Jack looked at me and said, "Hey, you went to art school.

Do you know anything about architecture?" I said, "In a vague, amateurish way." H e said, "Why don't you do it?"

UTAH PRESERVATION I

And I got a funny notion. I said, "I'll tell you what, if you let me illustrate it 1'11 try it."

UP: How do you select subjects for your column?

JG: I come down to the Historical Society and ask, "What's going on?"

I also go up to the Heritage Foundation, which has annual or semi-annual tours and find out what they're going to be looking at and try to anticipate that. Most of the time, or at least in the earlier years, I'd drive up one street or down another and, "Gee, there's a handsome house or a decrepit house or that's an oddity of an Italianate style." It's a very hit-and-miss column. I'm not very scientifically minded. The Tribune never tells me what to write. In the beginning I only did specific buildings, but lately I think I've tended to push a little bit toward things such as city planning and zoning.

UP: How do you go about actually drawing and writing about your subject buildings?

JG: I always do the drawings freehand, though I do use a T-square at the start to make sure my vertical

I

lines are vertical. Usually I start with a JG: I'd hate to see them tear down light lead pencil, sketch the building, Brigham Young's Lion House and then I go over it with a ballpoint pen.

Beehive House. They're almost the You can't shade too well with a ballpoint only buildings here that remind me of pen, so I finish it with a lithographic some of the historic buildings in New pencil or china-marking crayon. The York or Brooklyn. I also like the whole thing takes me about an hour.

Kearns Building [on Salt Lake's Main In good weather I work from the tailgate Street] and all the old campus buildof my car. I was very partial to Jeep ings up at the 17, you know,, on the cirWagoneers, though they don't make them cle. It's a pretty darn good campus. any more. The reason I liked them "I was UP: What do you hope to was their tailgate accomplish with your articame down flat and cles? surprised at had a kind of upholstery on it; you JG: The general goal is to could sit on that. I what we thought get people to look at buildings now have a Ford and think about them and Explorer. I can sit maybe to explain a little bit on it but it's not too WaS worthy about style and what archicomfortable. tecture is. I don't really have of presemation an axe to grind except trying I still use an old typewriter. Maybe to keep the city alive downI'll switch to a town and stop spreading out ~ntit!

1began to into the hinterland. And I computer someday, but why think maybe people have change if it's work9 9 become more aware over the learn more about it. years. I don't think it's me ing? Then I just send everything off exactly. I think people have in a manila envelope. I've only had one been reading editorials or pieces about drawing- lost in the mail. growth in the suburbs and disasters in downtown neighborhoods. I think that UP: Do you have a favorite building has gotten them to thinking more of in Utah, one you would be especially buildings and city planning. disappointed to see demolished?

guess I

UP: Do you consider yourself a preservationist?

JG: Yeah, I guess so; I've never used the term. But I really think there are many, many handsome, well-built buildings that should not be torn down. When I first got here I remember being somehow shocked that, "Gee, they're trying to save such and such a building on Main Street; it's only a hundred years old." All of downtown Brooklyn or Brooklyn Heights dates to about 1800. I guess I was surprised at what we thought was worthy of preservation until I began to learn more about it.

UP: That's probably true of about everyone. We're just lucky to have you around to enlighten us.

Jack Goodman sketches most of his subjects from the tailgate of his car.

Anniversary Inn's Emanuel Kahn Mansion in 1992, the Anniversary Inn purchased the Emanuel Kahn mansion. The home, which had already been standing for over one century, was originally the home of Emanuel Kahn, a Jewish emigrant from Germany. Emanuel Kahn arrived in Utah in 1867 entered into partnership with his older brother Samuel, in a grocery business. Not only was the Kahn Brothers Store one of the the first Jewish owned establishments in Utah, but was also one of the largest and most important, and it played a very significant role in the economic development of the intermountain area.

Victorian architectural style which is somewhat similar to the architecture of Monheim's crowning achievement, the Salt Lake City and County Building. Alterations to the exterior of the Kahn mansion are minimal. Most noticeable, though hidden by trees, is the single frame edition on the southwest

BeforeSteven Baird owned the Emanuel Kahn Home, it was sub-divided for apartment use. Still, the original architectural features of the interior remained. Staircases, several fireplaces, ornamental plaster and wood trim and most original wails were largely intact. Outside, the large carriage house was removed; however, even today, the authentic wrought imn fence and huge trees continue to stand around the home.

Fmm 1972 to present, the Kahn Mansion was a registered Utah State Historicalsite. In 1973 however, there had been discussion of possible purchase by the city with the intent to demolish the home to improve the approach fmm South Temple and K Streets onto 7th E. The demolishion of Emanuel Kahn's home did not occur obviously; and today, after only four months of restoration in 1993 by the Anniversary inn, the Kahn Mansion remains one of Utah's most beautiful homes built over 100 Yews Visit the now famous Anniversary inn for that perfect honeymoon, anniversary or special occasion.

Enjoy one of our 45 themed suites at the Historic Kahn Mansion or Salt Lake City Jail Building. Tours every Tuesday and Thursday at 2:30-3:30.

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INDEX OF ADVERTISERS ................................... 68

Abstract Cleaning Services

......................,. 10

70

Heath Engineering Company

...........................13

., . . .36

Hills House Antique Gallery

............................ 7 0

Ace Hadwaod Floors .....................................

Alfa-Lite. Inc..............................

Hansen Quality Building Stone

Allen & Bailey Engineers ..................................... 69

Historical Arts and Casting. Inc............................ 68

...............................35

HomelT~h,h..................................................... 53

Architectural Design West

American Heritage Window Rebuilders Anniversary Inn

Hydro.Tech. Inc...............................................

.............32

........................................

.68

Intermountain Glass Company

Bonneville International

..................

73

.........................7 0

Kayenta Realty .......................................................

AWS Architectural Woodwork and Specialties ..... 69

1

KeyBank

69

9

.....................................................19

BNA Consulting Engineers .............................. 37

Leslie A . Stoker Architecture and Planning ..........69

Capitol Theatre ............................... Back Cover

Lewis. Wolcott & Dombush .............................

71

................................16

.........................................

69

McCullough Engineering

.............................

69

Mont Crossland Sculptor ................................ 35

Cooper-Roberts Architects ......................... . ....... 5 1

The Old Salt City Jail Restaurant.............................68

Daghlian Oriental Rug .......................................

52

Regency Royale ..................................................

Eaton Mahoney Associates ...................................

46

Sanders Herman Architects

Clark's Quality Roofing

Construction Control Corp

Excel Glass Art. Inc................................................. 52

44

................................ 6

Sirnantov Rug Gallery ............................................ 45

13

Smith-Hyatt Architects .................................... 29

Fomey's Furniture .......................................... 70

State Stone ............................................................... 54

Gardner Village ...................................................... 47

SWCA, Inc.

FFKR Architects

Gastronomy

............................................

.................................................32

..,...............................................47

Wooden MattRestmition

..................,.........70

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