Skeleton: St. Louis Army Ammunition Plant

Goodfellow Blvd. & Hwy. 70
City of St. Louis, MO
For several years there’s been talk of taking down the Munitions Plant, but the grounds are rumored to be so heavily infested with numerous chemical violations that remediation was an expensive and scary proposition. The City of St. Louis finally selected a developer in 2004, but still the hulking, iconic building sat motionless.

Motionless, until recently. Crews have come in and are methodically stripping the Transite panels off the monolithic shed with the gaping-jaw roof. Removed of its cladding, its bones showing to the world, it now looks like the carcass of the turkeys we carved on Thanksgiving Day.

This building has long been the hulking giant atop the hill, watching the ant-like cars crawl below on Highway 70. One need not be told what the building once was to intuitively understand that it was an important industrial building, devoid of frivolity, intent on humorless production of hardcore seriousness. But stripped of its gunmetal sheathing, the building is now curiously fragile and delicate… an elephant at the ice capades, a rhinoceros ballerina…

To anyone born after World War 2, this building Has Always Been. Its prominent placement at the city’s northern boundary, at the peak of a hill, with its Erector Set roof roaring like a dinosaur makes it impossible to overlook, hard to ignore. Being a government building – a factory dedicated to war accessories – gave it an austerity and mystery that demanded respect and distance. You had to have a pass to get in while it was open, and once it was shuttered you needed a love of danger to risk wallowing in deadly leftover weaponry chemicals to trespass the barbwire-topped chain link fence boundary.

For me, this was a building I always took for granted; it would always be there because we’re too afraid to take it down. So I was content to let others explore it. I was grateful that others took the time to document it.

But upon seeing its metal skeleton exposed to the world, I now wanted to be near it, and to document that the seemingly-impenetrable was, in fact, penetrated, vulnerable and vanishing.

So, through the hole in the fence I went, and the rumors are true: after about 20 minutes, my lips and fingertips were tingling and then numb; shortness of breath and cottonmouth followed close behind. It was the same reaction as from – years ago – traipsing around down inside the River Des Peres, mere days before they posted the yellow warning signs about chemical contamination = illness.

Finally being up close to the naked military manufacturing giant erased its imposing qualities. Instead, the human factor became the dominating theme. People are able to dismantle it piece by piece. Tiny little doors everywhere for people to pass through. Countless ladders and catwalks for people to climb. Hundreds of pendant lights and windows so people could see.

I was most enchanted with the pair of pedestrian entry gates on Goodfellow Blvd (above). It’s proof of a time – way back in the day – when St. Louis had so many public transportation options that more people entered the plant on foot than by car.

Each entry has a tiny little guard station, with a half door option, and an elaborate stair rail system for both safety and function.

It’s a tiny place for an always-on-duty guard to check your ID. Looking at it, I got images of steaming cups of coffee and a hearty “good morning!” to a line of familiar faces.

And the 3 rows dividing the stairs are capped with a special well for other guards to stand in and check IDs while remaining out of the flow of foot traffic. I love the concept of guards – back then – being slim enough to fit within the metal tube “cup holder.”

There is also a guard house at the driveway entry off Goodfellow. As the years went on, I picture the foot-traffic entrances seeing less and less activity, maybe having to let go of some of the guards, as most everyone was now coming to work via automobile. This became a busy spot, thus needing a much bigger cottage to house all those steaming cups of coffee…

Note the old fashioned “keep away” sign…

And, of course, the sternly worded warnings that backed up the feel of the architecture.
This particular area of town was once our city’s most powerful evidence of modern progress. Just down the street from here (at Natural Bridge and Union) stands the now-abandoned General Motors Plant, built of the finest post-WW2 industrial modernism stock. These 2 complexes, along with healthy handfuls of other industrial and executive buildings exemplified the promise of American know-how and manufacturing might. We had just made the world safe from evil, and at the dividing line between city & county, we looked toward a bright future of benevolent superiority.

Contrast what once was to how this same area is today, and take a look at the sign above, tacked onto lumber just inside the fence surrounding the Munitions Plant. What does that actually mean? Is it saying something that I just don’t understand? Or is it just more empty propaganda? Long ago, the government meant something, and now it’s a mockery, and I get the entire timeline right here, at the expired military complex…

I read that thing a number of times, trying to figure out what it was getting at, and then I looked around at the desolation. The litter is literally 4-inches thick along all curbs, the roads haven’t been repaved in long past a decade or so. Every building, business and home reinforces that this part of town is past the point of abandoned.

So, the city found a developer for this site, and this developer put up a sign. It’s a heavy vinyl banner, with plain red vinyl lettering saying there are plenty of opportunities on this site, give us a call. But one of the cords holding one of the ends up on the chain link broke long ago, and it’s folded over, thus unreadable. They have no other signs anywhere else on the property. Nor does the developer even mention this project on its website. Granted, the demolition of the building has only just begun, and guessing from my dizziness, the remediation has yet to happen, which could add another year or more till the land is ready.

I was glad to have finally met this building face to face, and to have absorbed the last remnants of what it was before it disappears completely. But I left with an uncomfortable sense of sadness because something once so omnipresent and powerful – a building and an area – has been reduced to neglected nothingness, its remains sprinkled with a fine powdered sugar of vague promises. And the wind now blows trash through the plant’s skeletal remains… As a show of respect, I hope the building comes down relatively quick, because it’s kind of embarrassing to see it in its underwear.

The St. Louis Post-Dispatch covered this story several days after me.

The Dorsa, "The Ultimate in Mode Moderne"

The Dorsa Building
1007 Washington Avenue, St. Louis MO
The firm of Eames & Young were, essentially, the City of St. Louis’ house architects, and with 2-dozen-plus buildings in a small area, they couldn’t all be spectacular. So, when the Dorsa Company (photo above) took over the building in 1946, no one objected to a face lift. And no one since has regretted the decision.

Even when Washington Avenue was at its shabbiest, The Dorsa was a bright spot so witty and sophisticated that even the thoughtless didn’t think of totally obliterating its essence. All the turn-of-the-century buildings around it sprung back to life, so it was merely a matter of time until the Dorsa was rehabbed. But would new owners restore it to 1902, or leave the Gotham Deco facade be?

The Pyramid Companies bought it, and the 1946 remodel qualifies for Missouri Historic Tax Credits. The upper floors of this building (and 1011 next door) are converting to lofts, and with only a few units remaining while the place is still under construction, it’s a wise move, to say the least. But what would become of the mythical ground floor of the Dorsa?

I say “mythical” because it felt like I needed a Willy Wonka Golden Ticket to experience the mothballed splendor behind the Emerald City facade. Photos of the magical mystery tour produced audible gasping and intense swooning. I longed to go to go inside, where “neon lights will shine for you, Xanadu.”

“And now, open your eyes and see, what we have made is real. We are in Xanadu.”

Paul Hohmann is principal architect for Pryamid Architects, as well as Kubla Khan, because he gave me an expansive Dorsa tour. Days before the blessed event, The Building Collector revealed he had an original, 1946 promotional brochure introducing Dorsa Clothing’s new home at the St. Louis Building Arts Foundation library. Hohman and I had yet to see it when this tour began, so the questions and observations had no answer yet. But it turns out that Hohmann has an instinctive understanding of the place, and an admiration that assures its protection.

After entering from the Washington Avenue entrance , we enter the main sales floor area (photo above). It’s a riot of curvaceous plaster, idiosyncratic offices and alcoves, and a perfect time capsule of an odd moment in retail design.

(Above) The brochure calls the Entree Floor “…the ultimate in mode moderne.” Note that aside from the undulating planters around the base of the columns, all the original features remain intact. Because of construction on the floors above, the entire space is covered in a deep layer of dirt and plaster dust, but Hohmann confirmed that the original terrazzo floor tile is still there and in fine shape.

Even in this dishabille state, I could see a Joan Crawford sales gal peddling accessories to Ladies Who Lunch, a Jean Harlow patron contemplating purchases in the lounge. It looks like a classic Hollywood movie set, a way to be a part of something that never really existed, yet in downtown St. Louis, it does exist!

(Above, looking back towards the entrance) The pair of streamlined, aerodynamic columns are the most awe-inspiring feature of the room. Paul Hohmann is an average-size man, so he (unwittingly) gives you a sense of how colossal the columns are.

Dragging myself away from the The Entree, we come to a hallway featuring a squiggle cut-away in the plaster ceiling (above). All the original neon tube lighting still rests within all the ceiling recesses, and it’s easy to “see” the soft glow it gave to the Dorsa showroom. This type of cut-out, and this form of “moth to flame” lighting reminded me of the fabulous tricks employed by Morris Lapidus at the height of his retail design power.

Sure enough, a book on Lapidus’ work revealed a 1945 kids’ showroom (above) using much the same features that triggered my initial comparison. This has me wondering how much Meyer Loomstein – the architect of the remodel – was influenced by the work of Lapidus.

I’ve yet to take a look at the 6 homes in Ladue, MO credited to Loomstein in the early 1950s, so I’m not sure what architectural style he preferred. But in the mid-1940s, Morris Lapidus was making huge design waves for his retail work in New York City. The Dorsa Clothing Co. president states in the brochure that they “cherished the ideal of design-ingenuity,” and uses the word “drama” a few times, so when Loomstein landed the commission, it’s easy to imagine him looking to Lapidus for inspiration. I also detect the influence of Hollywood art directors like Cedric Gibbons and Carroll Clark, which is an appropriate connection to make for the show room of a women’s clothing manufacturer.

And now we move into The Salon (above), which is where Golden Hollywood deja vu really kicks into overdrive. 2 levels of capriciously careening stairs lead down to a clams-on-the-half shell stage. It is so over-the-top, that my brain can’t even process how fabulous it once was, how utterly alien it must have seemed in 1946. And I’m impressed with Dorsa having the guts to bring this kind of glamour to the St. Louis wholesale garment district.

As I mentally glided down the stairs like a Ziegfeld Follies showgirl, Hohmann points out that the plywood covering the slithering stair banisters (above) are not original. The guts do not reveal any electrical fixtures, so he surmises they may have placed potted plants in them, to add another level of texture.

What seems a random pattern of swoops and swirls to the stage is actually a clever way of providing multiple levels of seating and endless niches to display items. And even though there’s much movement, it’s created by clean lines. When considering some of the exaggerated details of the spaces, this feature becomes the grace note within the dramatic tension.

And this, above, is the money shot, showing the overall effect of The Salon.

We see the brochure a few days later, and I’ll be damned, the brochure artist knew it was, too! And I’ll be damned, Hohmann correctly called the potted plant banister! The mural above the stage is gone. Was it bas relief, a mural painted on the plaster, or a painted canvas attached to the surface? Chipping away at the remains may provide some answers.

The fanciful, wood framed mirrors (above), partially shown in The Salon sketch, are still in place today.

And here is The Stage (above). Once you’re up on it, it’s awfully tiny, but then a model didn’t really need all that much room to spin around in. Again, it’s about glamorous presentation, so drama is created with curves and height and color and….

…movement. As I stared at the pirouetting stage, black & white images of Ginger Rogers & Fred Astaire gliding through the room ran through my head (there’s that Carroll Clark connection).

To stand on the stage and look out into the room (above) only encourages such celluloid fantasies. It’s such a seductive sight, all this Hollywood excess via burgeoning Midwest sophistication. It’s so fantastical that in the 60 years since its birth, no one has had the heart to destroy it. They may not have used it, but they couldn’t remove it. And that brings us to: What will become of this space?

While Pyramid has modernized the upper floors of the building for residential space, they are committed to keeping this retail space as is. It’s such a rare and alluring treasure, that to gut it out for the marketplace would be criminal.

There is approximately 7,000 square feet of space. That’s plenty of open space, plus 3 enclosed offices, a bathroom and a display window facing onto bustling Washington Avenue. The ultra unique fixtures and look of the space calls for a special kind of retail use. Ideas include:

Clothing Designer An independent clothing and accessories designer could carry on the legacy. Or imagine a collective of local designers sharing the space. As it’s divided into separate rooms, 3 different designers would have ample space for their wares, while all would be able to take advantage of the stage. Imagine the fashion show returning as a promotional staple, and imagine the customers flocking to this destination.

Wedding Planner Now that retirement has shuttered Blusteins Bride’s House, the downtown market is wide open for a wedding planner looking for a grand show and work room. All attendant accessories and services for wedding planning would have room for representation, and imagine the bride-to-be trying on gowns and standing for fittings on the stage.

Furniture Store The thought of modern furniture and home accessories scattered throughout the Moderne space is very appealing. There is ample wall space and plenty of niches and surfaces for display, and the possibilities for grouping furniture settings is endless. Plus, there’s a side staging and load-out area in the alley for furniture deliveries.

Supper Club The Entree Floor is ready-made for a bar and restaurant, while the auditorium is begging for multiple levels of intimate tables and chairs overlooking the stage. The stage is just big enough for a cabaret performer or small jazz ensemble. The facade and interior of the building already provides built-in atmosphere, making the marketing of the concept a breeze to execute.

Beauty Spa It’s a no-brainer to imagine a full-service beauty parlor and spa inside the Dorsa. Simply walking in the front door broadcasts beauty and fantasy. There are private rooms for massage, tanning and waxing, and plenty of spaces for hair, make-up and clothing. I’m thinking more the beauty salons of old, rather than today’s Zen centers. But spa owners would know better than I how the Dorsa could work for their intents. Plus, the large group of young ladies living downtown would make this an intriguing prospect.

Though dirty and worn, the retail areas are in great physical shape. Scrubbing, scraping, patching and painting would comprise the bulk of revitalization work. Pyramid is actively seeking a tenant wholly engaged in taking advantage of this extraordinary space. A personal tour of the space certainly gets your imagination working overtime, and check with them to see if a new retail venture would qualify for Missouri Historic Tax Credits. Give them a call if you’re curious.

Last, but not least, is the puffy marshmallow cloud atop the auditorium column (above). This is where drama and whimsy meet, at the corner of Hollywood Boulevard and Washington Avenue.

I noticed a dark magenta peeking through the layers of peeling paint on the ceiling, and a few days later it became clear. Looking at the brochure (and the original envelope it was to be mailed in) showed a brilliant magenta as the Dorsa color, and they simply carried that color from building to brochure. Just imagine that white plaster cloud popping out of a deep hued ceiling, and swoon yet again.

As for the outside of the building, Pyramid is preserving and restoring as much of it as possible. The letters spelling “DORSA” on the front facade were sold to a Chicago antique dealer several years ago. If the budget does not allow for re-purchasing them, exact replicas will return in their place. Some pieces of the terracotta “spider web” to the left of the entrance were found, but trying to recreate that feature is cost-prohibitive. Instead, that well will convert to display windows, which is an added bonus for the future retail tenant.

The dark orange metal window frames on the upper story were installed in the 1980s, but was that the original color? Pyramid research couldn’t locate a good color photo of the 1946 remodel, so they’re defaulting to black frames for the replacement windows. But Hohmann’s heart just isn’t with black frames; it feels like a disservice to the vibrancy of the facade.

And once again, that wondrous, highly-accurate brochure disclosed the facts! Of course the original windows were a red orange, because it perfectly compliments the 2-stories of green tile. The look of relief in Hohmann’s face was touching, and now let’s hope fabrication on the new windows has not yet begun so there’s a fighting chance of banishing the black.

Thanks goes to Paul Hohmann for the tour and his sincere dedication to The Dorsa; Larry Giles for providing a library where treasures like the Dorsa brochure can come to rest; and to Lynn Josse for scanning and enthusiastically sharing the brochure with all of us.

The Gateway Arch

The Arch has been a continually reoccurring theme in my life, lately. I was commissioned to photograph interior pieces of it for CD art work. That’s one of my photos on the cover, above. I even got to sing with Joe Thebeau on the track “Eero Saarinen,” which is about the metaphorical and philosophical meanings of The Arch.

Finn’s Motel Escape Velocity releases on September 19, on Scat Records. They play their first show on August 25th, at Off Broadway, and will continue to tour all parts of the country the rest of the year. I’ll refrain from raving about how absolutely brilliant this record is because you need only listen to tracks available on-line to hear that for yourself.

Then, the other night I went to the Fox Theater for the debut screening of The Gateway Arch: A Reflection of America, a new documentary from Civil Pictures. It’s a professional and lively trek through all the important historical points of Arch conception and execution. Of great interest were current interviews with a few of the men who helped build the structure. We see footage of them inches away from death high above the riverfront, and then watch them chat about this experience as if it’s no bigger deal than buying a Big Gulp. Their presence in this documentary makes it worth the price of admission.

For an hour, I’m thoroughly engrossed in the film; the final triangle piece is inserted, and The Arch is complete and then… the movie’s over! What? How can this be? There’s much more to this story: the controversial revision to Saarinen’s plans for the grounds surrounding the Arch, the development of the museum, and how they finally got around to lighting the sucker at night. Just these 3 topics alone would make for a worthy half hour.

But I realize that when making a documentary time is money, and sticking to an hour probably makes it easier for television stations across the globe to program it. The filmmakers never claimed to be offering up a definitive documentary on The Arch, just a compelling, updated one. This they do deliver. Good job, and the field is still wide open for someone to dig deeper for the entire story…

A few hours before the documentary, I saw this man moving furniture on Lindell Boulevard:

That’s the coolest tattoo ever! If he hadn’t been so busy, I’d have chatted him up for the, er, back-story. But at that moment, I was thrilled with what I figured would be the opening act for the Arch documentary. In retrospect, the documentary was the scholarly footnote to the impassioned, inked headliner.

Rossino’s Italian Restaurant

rossino's italian restaurant st louis mo photo by toby weiss206 North Sarah Street, Central West End
St. Louis, MO
An underground Italian restaurant that was a loosely kept aboveground secret is closing at the end of April. In the middle of a mostly-residential block, in the basement of an apartment building, Rossino’s (under various names) has been in business since the mid-1940s. Originally known for their pizza, over time it became a place for city movers-and-shakers to lunch, lovers to hide away, hardcore regulars to roost and an exquisite jewel to discover.

entrance to rossino's italian restaurant st louis mo photo by toby weissThe freshly painted, off-hand “shack” facade is already at odds with the dense urbanity of the neighborhood. Going down the stairs from street level (above) sets the stage for the time warp about to be entered.

interior of rossino's, st louis mo photo by toby weissThe “lobby” (above) is crammed with antiques both retired and in-use. It’s also relatively well lit because of outside light seeping in. This is the last time you will see any form of blank space, or your feet.

celebrity autographs inside rossino's, st louis mo, photo by toby weissAbruptly, the ceilings lower, as does anyone over 6 feet. You’re bombarded by stuff nailed, propped and stuffed onto every surface, and one has only taken 2 steps away from the lobby. Then, BOOM, you can literally crash into the bar (featuring a signed photo of Tom Cruise’s first wife Mimi Rogers, as well as a less-crazy Tom with Mama Rossino, above). Bumping and stumbling is de rigueur because there are hardly any light bulbs; candlelight is it. You know that moment when you come from bright outdoors into a darker room and your eyes need a few moments to adjust? Underground at Rossino’s, your eyes stay in that suspended moment of disorientation. The wait staff is well-practiced in playing seeing eye-dog, leading the blind through narrow alleys, and politely ignoring the clumsiness and exclamations of those dealing with Alice In Wonderland alternate reality.

interior panorama of rossino's italian restaurant photos by toby weissThis was my maiden voyage to the institution that was retiring. I’d never known of the place, which is shocking considering all the Italian-descent, city-dwelling people in my life. What brought me here was my mother and my friend, Bob Dielman. Both of them are 70-years old, and Rossino’s was a regular hang out for them during the late 50s/early 60s. Back then, the main calling card was, yes, the pizza, but more importantly, they had a 3 o’clock liquor license. When the other places closed, Rossino’s was the place to go for more booze, or to sober up. When they heard of Rossino’s imminent retirement, they wanted to take one last nostalgic trip to relive fond memories and to say goodbye.

Both of them recognized the bar and the main dining room (above). They peered into their past as the hostess walked us right past it, and Mom and Bob slightly freaked. As of the mid-1960s, that bar and dining area was the extent of Rossino’s. Somewhere in the following decades, a wall was knocked down and the restaurant oozed into the rest of the basement. As you proceed, the ceilings get lower, it gets even darker, and the bric-a-brac piles higher.

atmosphere of rossino's italian restaurant april 2006 photo by toby weissAbove is a fair representation of the cozy, netherworld ambience, as interpreted by a non-flash digital camera pushed to maximum capabilities. It was an exercise for me to decipher the menu (which I folded up and stashed in my purse as a keepsake) by candlelight, and my eyes are pretty good. My 70-year old companions? They didn’t even bother reading it; they simply ordered from “ancient” memory: lasagna for Bob, spaghetti and meatballs for Mom.

Both were thrilled that it was just as good as they remembered it. I had the carbonara, and it was truly amazing (both the cream sauce and the bacon perfectly prepared and balanced). Later, when I paid the bill, I was stunned at how cheap our meals and drinks were. It was as if having a 5-star Italian meal in 1962! That’s the moment my heart broke: I had just fallen in love with this glowing ember, an eccentric, sentimental oddball oasis inside a tear in the space/time continuum… and this love affair could only last for 2 weeks. This is how I genuinely felt after 1.5 hours. What about those who’ve felt this way for decades? One would buckle under the weight of their sadness.

rossino's ladies room photo by toby weissSpeaking of buckles, what will become of the very old-school sanitary napkin dispenser (above) in the ladies room? What will become of 60-years worth of memorabilia, antiques and junk that hold up the concrete walls? If there was light, you could stare at just one corner and never see everything hiding there.

interior of rossino's pizzeria, st louis mo, photo by toby weissNeeding to know what was being missed, I finally let the camera flash strobe blindly into the vast darkness, and only later was I able to see what we couldn’t see right in front of our faces. In the shot above, that’s only a 5-foot sqaure piece of Rossino’s Ye Olde Curiosity Shoppe. Multiply that by 10,000 other items that never see the light of day, soaked in warm memories and appetizing aromas… that it will all be dislodged and uprooted is just… heartbreaking, really.

exterior of the late rossino's italian restaurant, central west end st louis, photo by toby weissSecond-generation owner/ manager Nancy Zimmerman has been at the restaurant since her early teens. She now wants to retire. It couldn’t have been an easy decision to make, for not only is her entire life in that basement, but also her family, past and present. The sadness of loyal patrons’ just adds to the hugeness of her decision, and the strength of conviction to do the proper thing. She’s given everyone fair warning and plenty of chances to say a fond farewell. She and her family have contributed something lovely and worthwhile to the history of St. Louis. Thank you.

A Beautiful Home

South Warson Road & Mayview Drive
St. Louis County, MO
Welcome to Mayview, in the Ladue area. We’re going to take a detailed tour of a house that was built in 1950 for Louis Zorensky and his wife Mary.

At the south-facing front entry to the house, it rambles low-slung, like a cross between International Style and late-period Frank Lloyd Wright. The late Mr. Zorensky, along with his brother Milton, developed both Crestwood and Northwest Plaza shopping malls. A neighbor said a friend of St. Louis architect Harris Armstrong supposedly designed the 1.5 story house.

The west end of the house carries on the International Prairie Style, and you get a hint of the hugeness of the gorgeous plot of land this 5, 866 square foot house sits on.

Turn the corner to the north, and the house reveals 2 new surprising elements.

Like the bow of a ship, a rounded window juts off the southwest corner of the house, as if steering a course towards Warson Road.

Heading down the gently sloping hill of the vast backyard and looking up, the north side of the house is a long series of rectangles bisected by a minimalist rotunda!

Rising up on slender white columns and hovering out of the main house like a flying saucer, the glass rotunda is simply breathtaking.

Looking into the airy, light-drenched room, note the ribbon of transom windows at the ceiling line, and a sparse fireplace ringed in rust red marble. This view shows a bedroom entrance (above, right) the front entry and a peek into the living room proper (above, middle) and a door (above, left) that leads into a lounge.

The outside curve of the rotunda provides a flowerbed, and functioning jalousie glass so breezes could waft in. The rotunda room is glorious, or as Claire Nowak-Boyd (who introduced me to the house) said, “I could live in (this) room for the rest of my life and be happy with just that.”

Pulling away from the surprising miracle of the rotunda, the northeast corner of the house has a covered patio, which is the outside extension of the lounge.

Two sides of the lounge are floor to ceiling glass. The wall shared with the rotunda room is flagstone punctuated by another fireplace. The fourth wall is a serious bar set up, which, of course, has a pass-thru window to the kitchen behind it. Seeing this room made me long for a dry double martini with two olives, and some bossa nova on the hi-fi. Past the extra-wide entrance is a better view of the living room. The lounge also has two sets of double doors, one leading to the afore-mentioned patio, and the other leading to the backyard.

Standing on the patio, here’s a detail of the back door leading into a mud room, which leads into the kitchen with its generous bank of windows.

Here’s the east-facing 3-car garage, and the upstairs bedroom story sits atop it. The house just keeps unfolding, adding new dimensions and textures yet never losing the thread. As I discovered and chronicled the house for the first time, I was nearly teary at how perfect it was, and my heart was breaking because of the reason I was here.

This house was days away from being demolished.

Typical story: a family wants a brand new McMansion Monster in an ultra-desirable neighborhood. They are willing to pay $1.5 million (according to St. Louis County records) for this house and grounds just to tear it down and build something brand new.

Michael Allen & Claire were helping a friend who had been given permission by the new owners to salvage all the metal cabinets in the kitchen. The demolition clock was ticking, so they had to work fast, and once the sun set, had to work by flashlight, since the electricity was already disconnected. Michael & Claire let me know I needed to go out and see and document this beautiful place before it became demolition dust.

Claire’s impassioned prose about the house they were salvaging in says it best:

“The lines of the house just work so well with each other and with the landscape around the house. The longer we spent in the house yesterday, the more surprises I discovered–a strange doorknob here, an interesting grain to the wood there, a curve on the edge of the ceiling here, the way the light from the line of six almost-ceiling-height transoms along a hallway moves through that hallway as the sun moves across the sky. There are four bedrooms, quite a few bathrooms. Every bathroom has marble in it, as do a number of windowsills. These are rare kinds of marble, too, cut into precisely streamlined modern shapes. The house even has a mini pond, in the shape of 3/4 of a circle wrapped around the interior corner of the entryway.

Almost everything in the house is big and custom. The steel cabinets we took out were so numerous that you could fill three normal kitchens and maybe have some left over. A former owner of the house was a cabinetmaker, so there are glorious wooden cabinets in many rooms.

One of the saddest details is that someone has saved everything. In each bathroom, there is a sample of the tile for that room in the cabinet. Someone saved rolls of all the weird wallpaper. Keys for odd things (like electrical boxes) are taped to what they open, and meticulously labeled. I found preserved light bulbs for a lighted mirror. Someone was planning for this house to live a long, long time, and to be maintained in its present near-pristine state. Someone left these things when they moved out, assuming that the buyer was going to need them so that each accidentally broken tile could be replaced in the proper, perfectly matching color.

The thing that blows my mind is that this house would not be mansion-ey enough to someone? It is GLORIOUS and I can’t imagine ever living in a place like that. And it’s not even old! It’s not out of style yet! Yes it’s very very 1950s, but the whole house just works so well that I don’t see how anyone could think its design looks old. The house has minor water problems, but I bet they could all be fixed under ten thousand dollars. I don’t know, I mean, I live in a 121 year old house and I really love it but it definitely has all kinds of frumpy “old house” problems–it’s leaky, bent out of shape, and all settled. This house just doesn’t have problems like that. It’s not old!”

Here’s a shot of the house across the street, which is age and style appropriate to the one now gone. I show it because context is important, and because while taking these final pictures of the house, the contractor who is building the new house stopped by. So, I pumped him for some info.

He said the plans for the replacement house are beautiful. It will be about as long as the current house, but will be deeper, taking up some more of the backyard space. When I asked if the new house would be taller, he said not really, just bigger in a more spread out way.

The contractor had no reaction at all when I commented how gorgeous this house they were tearing down is, and he bowed out of our conversation by saying, “The new house will be a beautiful and impressive addition to this neighborhood.”
Maybe, but will it be appropriate? Oh wait, “appropriate” is just so quaint… sorry.

Peering through the front living room window, we see the little pond that Claire spoke of. The entrance to the lounge can be seen on the right, and a partial glimpse into the rotunda room is to the left.

Since this house would be toast by the beginning of March, I tried my best to capture the million little details about this house. My one shot at photographic preservation took place as the sun was setting, which was dramatic, and then I lost the light. But it made me think about how this house changed shape and feel as the light changed throughout a day. Just to imagine the many moods of just the front entry (above) was overwhelming.

After peering in that living room window, I approach the front entry from the south, through the jungle of mature vegetation that had been meticulously planned and attended to for decades. The corner window and expanse of plate glass seen in the middle of this photo was a bedroom.

Here’s the front door. Note that everything is about letting in light, from the square cutouts in the porch roof, to the panes of glass next to the front door that let light into the entry vestibule, to the grid pattern of glass block in the brick wall. Note the 8 different textures in this one space, and what a pleasing whole they made, and this was just the front porch! This was the detailed program of the entire house, constantly unfolding like a rose.

At the entrance of the porch, a look up shows the generous eaves of the second story, which was the bedroom level. Various shapes and sizes of windows punctuated even the stairwell for that level, because it was all about the light, the inside and outside melding.

I was rapidly losing the light and the will to remain at the site because I had just fallen in love with a house that was doomed. I thought about the Zorensky’s and how much they obviously loved their house, imagining their life on these grounds. I was stunned that the new owners were immune to the thousand charms of this house. I was angry about what building would replace it, because no matter how “impressive” it promised to be, it would still pale in comparison. I was deeply sad that something so magnificent was rendered insignificant and was hours away from being dust. Nothing is permanent, and beauty always fades… or in this case, is destroyed.

Phillips 66, Part 1

Chippewa & Macklind, South St. Louis, MO (in use)
For several years, I’ve been fascinated with the bat-wing buildings found during travels. I once mentioned “finding another one,” and my father filled me in that those were formerly Phillips 66 gas stations. It was easy to figure the era of the buildings; there is none more mid-century car-centric than those bat wings.

St. Charles Rock Road, St. John, MO (in use)
Having the Phillips 66 key did not help me track down any solid background information about the buildings. I was pretty much alone in my fascination for them, until my pal Darren Snow discovered my solitary hobby. He went through old St. Louis city and county directories from the early 1960s, and meticulously wrote down all Phillips 66 addresses. Much gas was used tracking down old gas stations.

Lucas & Hunt Road, Velda Village, MO (in use)
A few other like-minded folks were intrigued by my minor obsession, and began reporting back every time they found one. From East St. Louis to Hannibal, from Wisconsin to Indiana, the bat-wings were still out there. When not completely abandoned, they’re in use as some kind of car repair outfit. There’s no escaping the function of this very specific architecture.

North Lindbergh @ Hwy 70, St. Ann, MO (demolished)
I amassed a lot of photos of a lot of remaining 66 Canopies. If I had limitless free time, I’d dig them all up for this narrative. If someone wants to pay me to do something useful with those photos, I’d plow through years of negatives and files. But this being the real world, we’ll stick with a smattering of Bat Wings.

Old Halls Ferry Road, Moline Acres, MO (vacant)
I learned to accept not knowing much of anything about the wings, other than what could be observed from all the specimens found. But it did seem odd that such a widely circulated, corporate-sponsored architecture was so woefully overlooked. Via Internet, I could see someone’s restaurant menu collection, but nothing on Phillips 66’s mid-century look? How absurd.

But everything changed come spring 2005…

The Bat Wings landed on the cover of the Society for Commercial Archeology‘s magazine, with an 8-page article inside! The thrill of digesting writer Cliff Leppke’s detailed info on something that had long puzzled me was a dork’s delight… Gabba gabba we accept you, one of us, one of us!

To take financial advantage of the automobile revolution, Phillips 66 updated the look of their stations twice during the 1950s. Come 1960, they introduced “The New Look” of the “butterfly canopy,” a style they sold to station leaseholders as Harlequin. Designed by architect Clarence Reinhardt, “the canopy was a widely circulated symbol of architectural playfulness, (and) archival records indicate that Reinhardt was particularly inspired by early Los Angeles area drive-ins.”

The wings were designed to point into heavy traffic and convey to motorists a “distinctive look of action, busyness… a spacious, more appealing appearance.” The “propulsion age air flow design” featured an abundance of fluorescent lighting because now more drivers were out at night, plus this safety feature – along with the new vibrant colors – would appeal to women drivers. The populuxe Harlequin 66 became ubiquitous in and around the new suburban frontiers, those post-WW2 cities that rapidly developed just outside a traditional big city’s borders.

Highway 70 service road, Columbia, MO (vacant)
According to sociologists and Madison Avenue, America’s frenzied love affair with the automobile was more like a casual fling. “In 1968, Phillips began testing environmentally attuned ranch-style service stations. According to Phillips marketing engineer Cliff Sousa, ‘people’s attitudes about commercial architecture shifted.’ The gas station became a symbol not of progress but of what was wrong in American life.”

The arrival of the mobile home required taller canopies. The switch from full-service to self-service pumps required wider canopies to shelter consumers from the elements. “Phillips advised dealers to install mansard roofs on New Look stations, to repaint them with dark earthtone colors…” In less than a decade, the Phillips 66 look went from stiletto to earth shoe.

Once the 66 information damn burst, it became easier to find Bat Wing photos from across the nation. Roadside Architecture has a great page of Wings. The Kentucky Heritage Council put them in an Oblong Box category. What also emerges is a reverence for the double bat wing 66, and rightly so. Rock Hill, MO has just such an impressive creature, though the clock is ticking down to “time’s up.” That tale will be illustrated in Part 2.

RELATED: Phillips 66, Part 2

Noah’s Ark

Former Noah’s Ark Restaurant
Hwy 70 & Fifth St. Exit, St. Charles, MO
Upon hearing the news that Noah’s Ark was going to be torn down to make room for an aquatic center , pictures of the remains were required.

The place opened around 1966, and to grade-schoolers Noah’s Ark was Mecca. It had giant fiberglass animals, a killer kids menu, kiddy cocktails to match your folks drink for drink, and the waitresses passed out plenty of cheap plastic, animal-shaped doo-dads to keep the tots distracted until the macaroni and cheese arrived. I’m going on word of mouth about this because, sadly, I never went to Mecca when it was hopping (above, top). I was about the only kid I knew who was cruelly denied the thrill. I simply stared at it longingly from the car as we sped past it on the highway.
Actually, the November 2005 visit (above, bottom) was my first visit. I’m a late bloomer…

The restaurant has been closed since at least 1996, and the animals were herded away from the ark and scattered about the parking lot (above, bottom). While the place has occasionally been used as a Halloween haunted house (4th item down), it sat vacant for years. This is prime real estate, so that it remained untouched for so long is surprising. Maybe sentimentality played a part in it lingering in limbo for so long.

Still hanging at the entrance are some framed photos of the place in its heyday. Sun-faded photos feature Milton Berle as a celebrity guest, parade floats in downtown St. Louis (above, top) and many shots of the cavernous dining room cram packed with diners.

From the makeshift hanging scrapbook, glimpses of the interior show (above, top & bottom) that the leopard print chairs matched the waitresses mini-skirts, which is hubba hubba in a pre-Hooters way. Also note that they were made to wear safari pith helmets, which is way cool.

From this angle, the fading remains of Noah’s Ark looks vaguely similar to Le Corbusier’s Ronchamps

…but actually, a brick gas station pierces the hull like an iceberg (above). The Ark looks as if it crashed ashore to stock up on Twizzlers and Pepsi before the 40 days of rain really kicked in hard.

Even as the gas station invaded, and a hotel ate up the parking lot, the powers that be let most of the Ark’s remains stand undisturbed, including the too-ugly-for-words lamp post (above). There’s a curious magic to the place, and maybe the new tenants could keep the animals; elephants fit in with the aquatic theme, and kids find giraffes therapeutic, right?

Northland Shopping Center Artifacts

Let’s carry the story into 2006, by sharing what I saved from Northland Shopping Center.
Reminder: Should you want it, the entire story is here, and enlarge any photo by clicking on it.

Northland’s main sign (above, left) stood diagonal to the West Florissant and Lucas & Hunt intersection. For decades, it was the community’s bulletin board.
When its demolition date arrived, they obviously didn’t bother to dismantle it; they just crushed and whisked (most of) it away. Broken pieces of the big plastic letters were partially buried in the dirt. The “R” (above, right) was the only letter that remained recognizable. In my backyard, it certainly does look like a haggard “P,” yes.

The Northland Cinema (above, top) was built in 1967. I took the last pictures in Spring 2002, including the pool-side-fabulous lobby (above, bottom left). Darren Snow and I visited on July 2002, and the cinema had been thoroughly demolished, the last of its remains in a few large trash dumpsters nearby. To which D. pulled his pickup alongside so I could climb atop the roof and get into the trash dumpsters, desperate to get a recognizable souvenir. My only “save” was a single, baby blue ceramic tile (above, bottom right) that was once part of the ladies’ restroom sink backsplash. It’s only 1″ square, inconsequential at best, but simply holding it makes me feel way better than any new age crystals they sell.

On that same day, we waded through the forest of fallen light poles (above, left) that once surrounded the Cinema. The metal parking-place reminders that hung around each pole turned out to be rather huge. Darren was the toolbox-wielding hero (above, middle) who patiently cracked decades of rust and snagged us some parking reminders. “A13” is somewhat heavy and bulky (above, right), but that’s what makes it the perfect sunroom muddy-shoe-holder.

The former Baker’s Shoes storefront (above, top left) yielded a few treasures. The original door pulls (above, bottom left) were long-coveted, and once vandals broke a display window, I was able to get in and take the handles, which had been sitting on the vacant countertop (top red arrow in top left picture) for over 2 years. They are gorgeous.

During a summer 2005 visit, Rob Powers was dead-set on having the Baker’s store address (above, bottom middle). Rightly so, because it’s in that smart Lever House font. I dragged a 6 ft. ladder down from the (now easily accessible) Former Kresge. Darren’s magic toolbox had the right size screwdriver. Rob spent a good 15-minutes of cursing under his breath, and finally dislodged (above, bottom right) the Dirty 30. Since he was so diligent, he deserved to keep it.

I also had to take a brick from Baker’s (above, top right). Special Nerd Note about this photo: the Baker’s brick is sitting atop a limestone brick from the old Cross Keys Shopping Center. It was part of the former Kroger grocery store facade.

Baker’s Shoes eventually became Kingsbury Shoes (above, left) and the hanging promenade sign (above, top right) eventually became mine (above, bottom right) after the wrecking ball smashed this section into dust.

From the Former Famous-Barr (above, top left), I dragged off a stone brick (above, top right). A few days later, Brett Reagan (above, middle right) brought along his pickup truck to help me gather more FB stuff, like a chair (above, bottom right) that came from the FB Human Resources office. I figured out its provenance from there being so many of these desk chairs sitting nearby the Employment Office entrance. Plus, after 13.5 years as a Famous-Barr advertising employee, I was overly familiar with the furniture in the areas where folks filled out employment applications.

The FB door pulls (above, middle left) were something I always longed for, and I now had clear access to removing them, but we had no frickin’ tools! While we stood talking inside the building, we kicked at piles of debris and up popped a solo door pull! The sucker (above, bottom left) easily weighs 10 pounds, and is dashing in its modern simplicity.

More FB fixture finds include a fire alarm (above, left) and a tin placard that Michael Allen pulled from an AC unit (above, right) and was so kind as to let me keep.

I waited a couple of weeks for the sign revealed in the FB window (above, left) to become available. So, it’s large but it’s old foam core, so it shouldn’t have been a problem, right? Oh man, it was brittle, large and awkward (above, right) and was the hardest thing to load into Brett’s truck.

The begrudgingly optimistic sign (above, left) that sat inside the former candy store’s vacant display window was eventually scooped up by me as it fluttered by in a post-demolition wind.

The sign died in the above, left windows, and later I got a patch of the ceramic tile (above, right) that covered the display facade.

The exterior stairwells of the Northland Office Building (above, left) were wings of metal, concrete and Mondrian stained glass (above, top right). During demolition, the glass fell to become candy sprinkles on the sidewalk. I oh-so-carefully carried off some really sharp shards (above, bottom right), and they never fail to remind me of so many moments of sunlit abstract beauty in the stairwells.

The ground floor lobby of the Office Building (above, top left & right) was straightforward linear, with its only organic texture being the tile walls. One had to stand right against it to notice how jet-age loopy the rock pattern was. I later learned a deep appreciation for those rock walls only after I got a chunk of it (above, bottom left). Those are halved pebbles of polished granite embedded in a sand base. My little piece has heft and presence, and the “Made In Italy” stamped on the side (above, bottom right) reveals a high price tag, even back in the mid-50s. Which just highlights how Northland developers and architects never skimped on materials. The construction and the finishes were for important permanent buildings, so they figured the cost was worth it. So, cost pro-rated by 50 years, they probably got their money’s worth…

The former Kresges at Northland was my Xanadu, and while I got a few things, I never got the chance to thoroughly dig through the guts in search of authentic Kresge souvenirs. The wrecking ball and rain got to it before I got a final crack at. But I did get to tear off a piece (above, bottom right) of Kresge’s upper level facade (above, top). Those sheets of coral and red enameled metal were screwed on for eternity, and I even lost my best screwdriver in the fray, but I won the fight (above, bottom left) and took away a valid, solid chunk of S.S. Kresge & Co.

On another day, I was happy to just get an original thermostat cover (above, left & right).

But for me, the most-coveted item in the place was the original Coke-Cola clock (above, top left). Forever it hung on the back wall of the upper floor; when Conine said to meet her by the cash registers in 15 minutes, that clock kept me from losing solo toy browsing privileges. At some point, a cat lover permanently altered the clock face, but I still wanted it bad.

Many times I tried to work up the nerve to walk inside as McCrory Furniture staff cleared out the store, and simply ask if I could have the clock. But if they knew it was important to me, they’d want to sell it for some absurd amount, I’d refuse and they’d keep the clock to spite me. That’s how revved up I was about snagging the clock – imaging fights with furniture storeowners.

I kept a vigilant eye, and finally Powers, Snow and I had unrestricted access and a ladder. Despite repeated attempts, we couldn’t budge the giant, heavy clock from the wall, and my heart was breaking. I was so close, the clock is right here in my hands and I can’t have it! Just cruel.

About a week later, Vince Mattina and I found the clock had been carefully removed from the wall, and sitting on the floor not too far from where it hung (above, middle left). It’s way too big to fit into my car, but what about just taking the clock face? The hands (above, middle right) had to be removed in order to free the face plate, and I failed miserably at it, almost snapping off the hands in anger. Vince was far less emotional about it, and methodically removed the hands (“Now, you have to save these, too. It’s the best part.”) without aid of tools. My hero, Vinceman, freed the clock hands and face, helped me cart out the bounty, and even took my picture (above, bottom) with the hard-won prize. It was a triumphant moment of relief and happiness, certainly the biggest mount in my trophy room (above, top right).

The stairwells at Northland (above, right) were always a visual and physical delight. On one visit, one of the canister lights (above, left) had fallen down onto the stairs. The scale of Northland was so large that all ornament on it seemed normal-sized when seen from the sidewalk. But when finally right up on a piece, it was overwhelmingly large. This canister light was monstrous. So huge that I had to pass on carting it off, and I regret not having made the effort. It would have made a unique and durable trash can.


And here’s the last piece of Northland I own (above). I have no idea exactly which store it came from; it peeked out from a pile of debris on the northern lower level, so I scooped it up. This one square foot ceramic glazed tile summarizes the Northland in my mind. That particular shade of blue is so mid-century modern, so cocktail lounge cool, so New Frontier. It’s the big brother to the little sister Northland Cinema tile. If all my Northland artifacts were in book form, this tile would be the cover.
A warm “thank you” to all the people who helped me cart off “chapters” of the Northland story.

Northland Demolition, Part 5

September 24, 2005
The last visit was September 4th, 2005. The entire chronological saga is compiled here. Also, by clicking on them, all photos enlarge for better viewing.
After a 3 week absence, I was shocked to see the tower (above) still standing. But the demolition crew had moved their Porta Potties, so they were ready to get serious about crushing the southern upper level.

Circling around all sides of the tower (above left & right) was an odd sort of Maypole dance.

In preparation for the final crush, the Walgreen’s sign was uncovered (above, left), and capturing this Mondrian-esque sight (above, right) made me nostalgic for when Walgreen’s had a killer liquor department. It was one of my favorite places for last-minute Christmas stocking stuffers. But in the late 1990s, the Mormons reportedly bought the corporation, and they banned the booze.
7 doors north, all the glass was stripped from the former jewelry store, making it easy to take one last lap around the ravaged space (above, left). It also featured a hatchet edge (above, right) where I could stare straight down into the abyss that was once the Famous-Barr building and the entire north wing, upper & lower levels.

Staring up from the lower level, the same jewlery store can be seen on the far left of the above, left picture. One normally only sees neat sections on building blueprints, but from this view, it was a section plan come to life. It’s a fascinating reveal of how the upper & lower levels worked, and how the wide array of facade materials formed a large, modern mosaic. Down at the West Florissant entrance to the Office Building (above, right), I got one of the last shots of the upper & lower level play of the south wing. With the plexiglass walls gone, it becomes a pure, unobstructed view of the basic, geometric building blocks that was the ingenious premise of Northland.
The Rubble Mountain (above) was getting ever taller. Even though the concept of climbing the busted remains of Northland creeped me out, it was too unusual to let a self-timer photo opp pass.
No, I don’t usually spelunk demo sites in a dress. I’d come straight from work. And in my left hand are pieces of the stained glass from the Office Building (far right in the photo) exterior stairwells that were now available. A Scavenger Sidewalk Sale, of sorts.

Here’s a small collage of uncovered signage and tossed toilets. I finally got an unobstructed shot of the Staten Island Cleaners sign (above, top right). When the dry cleaners vacated, a chop suey joint took over the space. It looks as if when they installed their own sign, they simply knocked the Staten Island sign over onto the roof.

October 9th, 2005

2 weeks later, exactly half of the south wing has disappeared (above). And I zoom in on what the demo crew left behind when the closing bell sounded at Friday quitting time.

As sad as it is, there’s also beauty and grace within demolition scenes. Goethe said “architecture is frozen music,” but when its busted pieces are crashing and fluttering about, it thaws to become a sorrowful, minor key symphony. In the case of the Foxmoor storefront (above, left & right), it also felt like an action sequence that came to a halt when the film reel jammed.
Or a giant’s game of Pick-Up Stix (above). The light poles just barely missed falling into the pit. Also note the 4 round green planters near the top center of the photo.
As the crews have methodically dismantled and cleared each space before crushing it, they carefully move these planters out of the way, rather than obliterating them.

It’s so odd, for the crews have to physically move these planters from place to place. But it’s also comical, because the planters now resemble a Greek chorus traveling behind each new wound, pointing and contributing commentary. These planters have become bookmarks, or a perverse version of Where’s Waldo? as I crane to find them somewhere within each frame.

A close-up view (above) reveals about 5 layers of paint over the years, with the original layer being the light blue that dominated the Northland color scheme. Also, I always assumed the planters were made of concrete, but it’s actually a fiberglass & plastic mixture. This makes them relatively light-weight, and easy for the demolition crew to move about like checkers.
Hmmm…would I be able to move one from the site and into my backyard?
The Northland Office Building was wide open and prepped for the big crush…
…with machinery lined up to attack. So I figured I better get inside for some final detail shots before it was gone for good.
Even more stained glass was missing from the external stairwells (above, left), which left beautiful confetti on the sidewalk below.
Coming in through the south-facing main entrance, I’m surprised at how much of the original finishes remain. There’s the simplistic handles of the glass doors against the space-age shaped mosaic tile (above, left) , and the goblet-shaped metal canister lights (above, right) that were prevalent in many commercial spaces during the late 1950s.
Exit the building from the north-facing side (above, left) and head over for the last look at what remains of the south wing’s lower level (above, right).
I finally got to see what material had comprised the black rectangle (above, left), since they were now scattered on the ground. Each panel was metal covered in porcelain enamel (above, right), which surprised me. That material was recently out of favor for facades, with its heyday being the 1930s and ’40s. For the Northland architects to pick that material for use in a purely decorative manner was a nice touch.

Of course I tried to salvage one of the panels, but like everything at Northland, the pieces wind up being much, much larger than they seem from ground level. This single panel was about 3′ x 2′, and way too heavy for me to carry over a long distance. Since the site was completely closed off and torn up, I had to park at the stand-alone Blockbuster up near the Lucas & Hunt/West Florissant intersection and walk a bit to get to the demolition. While it never seemed like a long walk previously, carrying a 35-pound enamel panel would make it feel like a mile. So, I had to leave it behind. I still regret that, but then, where would I have put it?
Considering how fast the crew moves when they’re cleared for take off, I had a feeling this was my last moments with the tower (above). Actually, I was hoping it would be, because I was worn down by the anticipatory dread. But I was torn between wanting to capture parts of its demise, and just returning to see it completely cleared (like the grocery store) so I wouldn’t have to see such a grim sight.

October 16th, 2005
On this day, I turned 40, while Northland only made it a scootch past 50 years old. I hope there’s no symbolism involved here.
And I caught the last gasping remains of the once-mighty-pretty tower (above). While the crew completely cleared everything immediately around it, they left just this last bit standing, almost as if leaving me a birthday present. Thank you…. I think?
But the Office Building still stands in the background (above). Which made sense when I pondered it; the demo crew is very methodical. They won’t crush the Office Building until they’ve completely cleared the last bits of the mall, proper. Environmental Operations, Inc. have been fabulously meticulous throughout this long, hard process.
The Greek chorus (above, left) moves to the southwest, to sing a final farewell to the tower, while trekking directly north of them, I find a sign (above, right) patiently narrating what all this rubble once was.
Looking west at what was the stairwell to the lower level, the still-standing bank can be seen on the left side of the above, left photo.
Once there was a multitude of stainless steel columns, but now we have the Last Mohican (above, right). I tried my best to salvage any piece of the still-vibrant stainless steel, but the sections were either too long or too large to handle by myself, or were jutting out of piles that could have turned into a massively scary game of Jenga if I pulled incorrectly.

Since the bank will remain open for the duration of the demolition and new construction, I shot one of the drive-up ATM kiosks as a future reference point (above). Once everything is demolished, spatial relations change drastically, and it’s difficult to pin-point what was where. By picking something that will remain, it’s easier to find the phantom spot in the future, should I wish to engage in morbid memories. But so far, I just want this to be over with.
Save for the main one, all identifying signs (above, left) still ring the perimeter of the property. I’d love to get my hands one of those Exit signs, but again, they are really huge. I could get someone to help me cart it off, but then where would I put it? Turn it into a coffee table, maybe?

Above, right, standing in what was the lower level, and shooting through, and past, the iron framework. And it’s still a weird, creepy feeling to be standing on what was a solid building just days ago.
This was the southern lower level shipping and receiving garage, which lead to an entire city’s worth of neighborhoods underground. I never realized just how massive this place was until they dismantled it. The dry cleaners/chop suey joint was to the immediate left in the (above) photo, the stairwell to the right. In the last years, one could always smell urine when walking past this spot. Now it has a brief chance to air out…
Here’s the last of Northland’s 3 stairwells (above), which had been sealed off since at least 2002. And again, we see the plaster not so much falling off, but peeling off to hang like a curtain. It truly is an impressive sight. All that weight hung like that for another 2 weeks or so, which points out – yet again – how tightly and strongly this place was built. And which is why it’s taking so long to tear it down.
Which makes me think about the place that will replace Northland. In about 25-30 years from the date it opens, it will be crushed for some other new development, but at that time, demolition will only take about a month or so. Meaning, the advantage to building cheap, flimsy new buildings is the built-in demolition savings in the future. Very clever, that.

From the lower-level pit, I look up for one final goodbye to The Tower, and then had to split for some birthday merriment. But it felt good to spend a little time with a place that has meant so much to me over these 4 decades of life.

October 24th, 2005
At the very north-eastern of the Northland property (see star on map, above), there was an organic, pedestrian-made foot path that took you from the top of the hill down into Northland, just behind the cinema. Many of us walked to Northland back in the day (I know I walked to more than was ever driven to), and many still do; every time I’ve been at the site, easily 20% of the folks I encountered were on foot.
The new developers have acknowledged that path, and made it official by paving it (above, left). Nice touch, truly, because it shows they’ve acknowledged how people in the community have – and will – use the place. Then I get to the top of new sidewalk, and….

(Above, right). What the piss?! Some well intentioned but dunder-headed street department worker decided to cap off the metal guard rail! You can see how fresh it is, and how it violates the freshly laid concrete sidewalk! What were they thinking?!
Oh, they weren’t thinking, obviously.
Build an official pedestrian path, and then block it off…brilliant, just brilliant.

OK, the young can easily hop over it, but what about the old? And even as I photographed this jerk move, 3 little kids were riding their bikes across the Northland lot. They pedaled up the new sidewalk, and confronted the new roadblock. The 2 boys quickly got off their bikes, picked them up and over onto the outer sidewalk. Then they pedaled off, leaving behind the little girl, who couldn’t pick up her bike as easily.
Putting her bike on its side, she pushed it under the rail, then hopped over to pull it out the rest of the way. During the solid minute that she spent overcoming the obstacle, the boys had long-since disappeared, and she had to frantically pedal off to find them.
Either Sansone (the developer) needs to get over there and remove that end cap, or someone in the neighborhood needs to take a chainsaw to it. Either way, fix it!
Northland was a 65+ acre property, very hilly. My father tells of hunting rabbits on that forest-like property back in the 1940s. The original Northland architects worked with that landscape, creating a multi-level structure. The new development will obviously be one level, on flat ground. Looking north (above, left, and note the Greek Chorus in the distance), see that everything has been filled in. The demolition remains were packed down to form a foundation, and fresh dirt caps it off.

Looking west towards the Office Building (above, right) better shows the line of demarcation. I’m standing on the fresh ground near the border of debris. Construction-wise, earth moving is a budget killer. It’s often wiser – both financially and ecologically – to build with the land then to rearrange it (as in the original 1950s construction). But when “recycling” this property, they recycled parts of the building as their in-fill, and only had to pay for enough new dirt to ice over it. That’s a large budget relief. Plus, it’s also cheaper to build single-level dry wall & brick boxes. So, this does highlight why developers are constantly looking to scoop up previously built-up land for their new enterprises: huge savings.OK, I admit that I was slightly annoyed to see the Office Building still standing. It just prolongs my agony, drags all this out far too long. But the medicine ball had been moved into place (above), so they’d be gettin’ busy on the Office any day now.
Here’s a still-life (above) of newly-yanked Office debris. I call it “Mid-Century Electronica.”
Knowing the ball would be swinging, I went back inside the Office Building to find a souvenir. The lobby (above, left) always had the crazy sophisticate marble mosaic tile, and the chunk that fell off the corner (above, right) was laying there for me to cart off.

And as I gathered loot, a fellow scavenger walked in. Earlier in this visit, I’d noted a man (and his pick-up truck) moving about the large piles of building debris on (what remained of) the upper-level Actually, I’ve seen a lot of these types; they’re probably rooting for copper. Since no one has every truly guarded the site (I’ve stared right at Jennings’ cop cars as they drove past me, and just kept going), so why not retrieve anything of monetary value?

On this day, as I photographed from the pit and he surveyed trash piles above, we visually acknowledged one another, and kept going. Later, as I sifted through the dislodged junk inside the Office Building, I heard him walk in, talking on a cell phone. Again, we made eye contact and casually went about our business, which was an oddly comforting form of corpse communion.
And here’s what (finally) became the very final shot of the Northland Office Building.

November 9th, 2005
Almost 3 weeks later, the Office Building is now thoroughly gone (above).
The bank building finally becomes a stand-alone “out lot.” It’s odd that this building survives; it was the last bit to be tacked onto Northland, and then the Last Mohican. But money talks, and this place remains defiantly open.
From the upper-level (above, top), it’s shocking how much space the bank actually took up within the complex. But when viewed (above, bottom) from the northern-most end of the property (I’m standing on the train tracks for this shot), the bank just looks sad and misshapen when divorced of context.

And my physical work at Northland is basically finished. I’m relieved.
There’ll be 2 more posts about it: the memorabilia I carted off; friends old and new who joined me during this odyssey along with commentary and memories from those who loved the place just as much as me. Until that time…
Miniature Memorial To The Northland Office Building
As a kid, I mentally referred to the place as “The Marcus Welby, M.D. building,” and it always reminds me of Flipper.
To keep me occupied while in the waiting room, Conine bought me a Flipper coloring book, which was purchased at Kresges, on our way to her doctor appointment. I colored in about 3 or 4 pages before asking the receptionist if I could have the key to the restroom. I took the coloring book with me (why?!) , and didn’t realize I’d obviously left it in the bathroom until many hours later.
The Gasaway Pharmacy had been on the 1st floor from the very beginning to the very end, and never once remodeled. Their goodbye note is above (click on photo to read a larger version), and note that it was composed on an old-fashioned typewriter.

Northland Demolition Part 4

July 31, 2005
The last visit was July 26th.
northland shopping center demolition photos by Toby Weiss
And with the former Famous Barr building utterly gone and buried in a massive pit (above, right), the demolition crew got busy on the north arm of Northland.
northland shopping center demolition photos by Toby Weiss
(Above, left) In the foreground, we’re looking down into what remains of the Famous-Barr upper basement as we stand on the upper parking lot. And what are the tree roots growing into? I never comprehended the complexity of Northland’s multi-levels until it was dismantled, and I’m still impressed with the designers’ ingenuity.
(Above, right) The former Baker’s Shoes gets a good medicine ball whack before the crew went home for the weekend.

northland center demolition photos by Toby Weiss
Demolition debris can’t help but be poetic in its descent. In person, the flow of the plaster and brick (above) was balletic.
northland shopping center demolition in jennings mo photos by Toby Weiss
It’s hard for me to watch them take this building down, but tearing it down also reveals the older layers I remember, and hidden layers that the public was never meant to see. The southern next door neighbor of the former Kresge’s was obviously an International Shoe at the time the place was built. This wooden construction plaque (above, right) had been buried behind the original drywall.
The former Kresge itself (above, right) revealed a few hidden treasures, and unwillingly gave up a few more pieces for me to cart off. Kresge’s is such a special and mythical place for me (and some others, too), that I will post a separate farewell entry to Northland’s Kresge’s in the near future.

kinney shoes at northland shopping enter photos by Toby Weiss
As we head down to the lower level, a sign (above, left) still recalls what shops were there right around the time Famous Barr vacated in the very early 1990s.
And Northland was obviously shoe shopping mecca with Kinney (above, right) being one of two stores that permanently marked their footware territory in concrete. The clothing store Worth’s had done the same, and it’s always a thrill to find store logos embedded in entry ways. From small towns to large cities, it was assumed that a shop would always be in that location, so it was no problem to pay a little extra for some sidewalk branding art.

northland shopping center demolition photos by toby weiss
To aid in asbestos removal, the demolition crew blasted a hole into the west wall of the top floor of Kresge (above), and by doing so, they revealed the deep aqua blue tile of the original facade. Actually, all shades of light to medium blues, in concert with all that stainless steel, was the dominate color scheme of Northland. Hmm, wonder where my inbred love of a light blue and silver color combo comes from…?
piles of rubble at northland shopping center photo by toby weiss
Here was a sobering moment.
A rubble mountain had sprung up in the middle of the lower level parking lot (above). At peak, it’s easily 25 feet tall, possibly taller, since I’m lousy at judging height. It’s a rather long ascent, and once at the top it does provide fantastic photographic views. Then it hit me:
These are remains I’m standing on.
All the busted up concrete and plaster they pulled out of the Famous Barr pit made this temporary landmass. And suddenly I was creeped out and ashamed to be standing atop it.

nothland medical building demolition photos by toby weiss
Got a good perspective on how the upper and lower levels of Northland come together on the southernmost end (above, left) by standing in the outdoor utility stairwell of the Northland Office Building. The patchwork of blue glass that makes up the exterior walls of its stairwells (above, right) are pretty banged up, with some panes missing, but it’s still breathtakingly beautiful to my eyes.

August 13, 2005
I was going to Northland at least once a week to survey, spelunk and photograph, but it started to weigh heavily upon me. So I let some time slip by, to give myself a break from the emotional burden. But I needed to get back with camera and tools to try and salvage as much of the Kresge as was possible for one girl to cart off. I desperately wanted to find something that said Kresge on it, just to have proof that it really existed.
The moment I got off work on this particular Saturday, the sky erupted into a mad, blazing storm that eventually caused massive wind damage and flash flooding throughout most of the St. Louis area. But I drove on, hoping a storm this wicked would quickly blow over.

northland shopping center grocery store demolition photos by toby weiss
And I wondered if the grocery store would still be there. Pictures I’d taken of it on my last visit are above.
northland shopping center demolition photo by toby weiss
It’s still an incessant downpour when I barge through a “Do Not Enter” gate, only to find this empty void among the debris (above). The grocery store was history, vanished into mud. I had so wanted to rescue one of those obscenely bright glazed tiles, but those had probably been ground into dust about 4 days ago. Now it was part of the oozing paste in the hole that was once a grocery store.
northland shopping center demolition photos by toby weiss
And quickly looking to my right, I see that exactly half of Kresge was sliced off (above, left)!
Now, it’s pouring down rain. I have no rain gear and a digital camera that’s allergic to water. I’m stuck in the car until it stops raining. So, I drive around Jennings and Ferguson for about 30 minutes, wondering who’ll stop the rain?
It never stopped.
In the upper level Aldi’s parking lot, I forlornly stared off into the dreary distance at what was left of Kresge’s (above, right). I couldn’t get to the building and its remains, and even when it stopped raining, it would be a toxic muddy mess. I also contemplated the irony of how Northland was now offically 50 years old, making it eligible for Historic Registry…yeah, whatever.
Water dripped down my windshield and my face; I knew it was over for me and Kresge. This was not how I wanted to say goodbye, but that’s how it ended.
This is all becoming too much of a heartache.

August 21, 2005

I return a week later and immediately notice that the large and elaborate Northland sign that officially greeted everyone at the the Lucas & Hunt/West Florissant intersection had been – literally – smashed into the dirt (above). They hadn’t even bothered to cart away the plastic letters, so what remains of the “R” seen in the foreground is now in the trunk of my car.
northland shopping center demolktion photos by toby weiss
The crew made a broad sweep across the upper parking lot, knocking down rows of light poles (above, left). It looked a bit like a razor had run across a beard, and left a fine layer of broken glass everywhere, like powdered sugar on a lemon bar.
The tower that accents the south arm of Northland (above, right) is still standing tall, but they have prepared the store fronts for the final blow by removing all glass and interior contents.

walgreens at northland shopping center demolition photos by toby weiss
The detritus of demolition has featured many a poignant and/or odd sight (above, left).
And the “opening up” of the former Walgreens (above, right) once again reveals how airy that space had once appeared from the sidewalk. With a footband of blue green tile, topped by panels of smooth stone and bookended by flagstone columns, it was certainly the most sophisticated Walgreens store, materials-wise.

kresges at northland shopping center demolition photos by toby weiss
With heavy heart, I made the trek across the wreckage of the parking lot to where Kresge once stood. On the upper level, it’s northernmost wall still stood (above), reminding me of some ancient ruin as it stood among its fallen parts. I stood for a long while in these remains, but didn’t have the heart to poke around for treasure. I was a bit too numb.
northland shopping center bowling alley demolition photos by toby weiss
So I walked around and down to the lower level. The space that was the Ambassador nightclub was formely a bowling alley, and since they were currently crushing it, long-buried bowling pins (above, left) were scattered among the asbestos-crusted construction shards.
northland shoping center bowling alley demolition ambassador photos by toby weiss
The lower level West arm in the middle of being beaten to the ground (above).

So far, this sections demise has been the most colorful, because these store fronts had retained more of it’s original store fronts, including the coral pink Vitrolite (above).

Here comes another sobering moment.
(Above, left) This area tucked under a “lattice work” stainless steel canopy once housed a popular music store, a cobbler and Worth’s clothing store. To the right of this picture (taken about a month previous) is the lower level Kresge display windows.
(Above, right) Standing in roughly the same position, the tree is still standing and…that’s about it. And here’s exactly where it became too much for me to bear…


As I stood ankle deep in the rubble (above) of what was my beloved Kresge, I literally lost it. I doubled over with stomache pain and cried and wailed with grief. And it surprised me.

I’ve been surverying and photographing Northland since March 2002. Away from the site, the sentimental angle takes over, but while “working the site,” my historical, architectural and photographic eye is in play. I seldom get too too emotional about it because I have documentation work to attend to. But at this very moment, my heart broke into a hundred pieces and tears literally dropped into the dust as I bent over trying to catch my breath. The eternal “goneness” of it all hit me too hard, and at the wrong time. I just lost the strength or the urge to continue on. I just wanted it to be over, because I was tired of smelling, seeing and shooting the corpse. I was numb from attending The Longest Wake.

Maybe ten minutes later, the emotional drama and physical drain subsided and I trudged on. I’d come too far in this self-appointed project to stop now.
And we find Lunch Among the Ruins (above, left), and the Rubble Mountain becoming just as wide as it is tall (above, right).


The lower level of the South arm is also prepped for crushing (above, left & right).
And I marvel yet again at the massing of space and place that is just one of the West Florissant entrances to Northland (below). It literally looks and feels like a section of any downtown city.


September 4, 2005

Oddly enough, the bank (above, left) is still open for business. Obviously, money talks. But how creepy is it for the folks working there?
When we invade the orange plastic fence boundary (above, right)


…to check out the deconstruction details. There is now an unobstructed view from the upper level to the Northland Office Building on the lower level (above, left). And has been their consistent policy, the demolition company places their sign (above, right) on the section that will be crushed next. This tower is the last remaining sign post of the main shopping center. It’s obliteration will be another sore point for me. Not looking forward to it, while also wishing they’d just hurry up and put the horse down…

Where Famous Barr was (above) is now filled in with all its own remains. This area was 3 stories deep. It’s now maybe a half-story deep. And looking across north, it’s just flat ground. It’s depressing. But at least it’s over.

Southernmost lower level “sketch”, above.

The demolition crew was using Office Building as it’s cool zone during the intense heat wave of early August. But now they’ve begun stripping and throwing out the interior of the building, leaving a ring of trash along all sides of its perimeter (above, left). And they’ve begun peeling off the the metal sun screens that gives the building its distinctively modern look (above, right). Paint lines show these panels were once blue green, but I don’t remember that at all. Though the thought of this color in horizontal bands against the white building sounds appealing. Many people mistakenly assume that modern architecture means stark white, and from Le Corbu to Northland, that simply wasn’t the case. Color and texture played a large part in shaping the spaces.

(Above, left) Hauling in the dumpsters also means the medicine ball is coming. I’m positive this is my last moment with Office Building (and a solo entry on it will also be forthcoming). I’m in no hurry to get back to the site because it’s just too large of a brain and heart drain. Almost 3 weeks weeks will pass before I can get back, and this demolition crew is fast and effcient. Everything will be gone by the time I get back. I dread the moment, but I will return.rf