Building Seattle; 100 Years Of Distinctive Architecture; From Schools To Skyscrapers, Designs Define A Century Of Change In Seattle

As the century closes I have given myself a daunting task for this last column: What are the works of architecture that have defined this place, this urban region that has emerged around Seattle over 10 decades? What pieces of design mark points in this century with distinction, with a sensibility that adds to the quality of our beautiful natural setting?

From one perspective, the list might be long. Many homes have been designed to display a relationship to natural forces: topography, light, water, views and rain. Many institutions have buildings that speak to our advancements in arts, education, medicine and technology. And our varied neighborhoods are filled with quiet but commendable examples of design that are responsive to their environmental and historical context.

On the other hand, the list might be short. Quick, what buildings can you name as uniquely memorable, that thoroughly engage you emotionally or spiritually? Which buildings belong to this place and nowhere else?

Any list, of course, is risky. Good things will, inevitably, be left off and people will disagree over what is included.

I have attempted to look back at what we have been given since the turn of the last century, in the way of enduring treasures. The closer these come to the present, of course, the test of endurance becomes weaker. But even so, a number of recent works of design suggest a new level of complexity, quality and liveliness that we have perhaps not seen previously. So I have included them here, as well.

I offer this list in an approximate chronological order. But it is worth noting that a number of buildings that were originally designed for one use have been given new life through recent renovations. That is, itself, a hallmark of our region - that we value our heritage enough to want to keep it with us into the future.

The early decades

As this century opened, we gained two important works of architecture that remain with us as icons of our collective values. The first pieces of Pike Place Market were built beginning in 1907. Seventy years later, the Market was almost completely re-done, brought back as a living, dynamic, ever-changing piece of architecture that embodies our respect for "messy democracy" and individual initiative. We have at least two architects to directly thank for this: the late Victor Steinbrueck who championed its preservation and George Bartholick who carefully guided its reconstruction.

The first decade also gave us the marvelous, acropolis-like landmark atop Queen Anne Hill - Queen Anne High School. In 1985, the building was skillfully adapted to residential use by the Bumgardner Architects. It is one of the first examples of converting older public buildings for new uses.

In 1911, the City Light Steam Plant began to define the east edge of Lake Union. This structure - with its row of oversized stacks - is absolutely magnificent. And its current use by a company devoted to the cutting edge of medical research is a tribute to how we can combine technology with history. Architects Daly Associates and NBBJ collaborated on the renovation work that was completed in the mid 1990s.

A few years later, the Smith Tower was erected, having been designed by Gaggin and Gaggin architects. While its ridiculously elongated shape and pyramidal cap are well-known, it is the decorative carvings in the lobby and the vertigo-inducing glass elevators that are its best features. The experience of entering and going up into the tower is a thrilling adventure - something that can hardly be said about most of the towers in succeeding decades.

In 1918, local architect Marcus Priteca designed the gorgeous Pantages Theatre in Tacoma. This structure still sings with energy and life, marking a vibrant cultural district. Its renovation in the early '80s by R.F. McCann architects brought new energy into that city. Similarly, the exuberant, larger-than-life Union Station in Tacoma was designed in 1911 by Reed and Stem. Its adaptive reuse as federal courts by Merritt/Pardini in 1994 set the stage for the current rebirth of Tacoma's downtown.

The 1920s gave us several striking buildings. The 5th Avenue Theatre designed by R.C. Reamer is today still an active venue for performances. The elaborate interior, fashioned after the Emperor's Palace in Bejing (and also restored by McCann in the '80s), makes attending a performance there an exhilarating experience.

The same decade gave us the Olympic Hotel, designed by the firms of George Post and Bebb and Gould. In the early '80s, NBBJ architects gave the building a glamorous ambience it never had. It continues to serve the city as an elegant, entirely romantic stage set for well-dressed men and women to make dramatic entrances.

While the end of the '20s brought on the Depression, it also brought us a spate of outstanding buildings. The Seattle Tower (a k a Northern Life Tower), designed by Albertson, Richardson and Wilson, still stands as an exceptionally fine piece of high-rise design. Its gracefully sculpted form, with a top inspired by Mount Rainier, perfectly fits this place.

A number of residential buildings - popularly known as Anhalt Buildings - on Capitol Hill, designed and built by Fred Anhalt, are still revered and valued today. Too bad few architects or builders involved in denser housing now can claim this kind of refined finesse. Most folks would love to be near these gracious buildings. The Loveless Building - built in 1931 - is of this same, urbane and gentile quality. These are buildings that warm the heart as they provide a useful function.

The icon of the city

During the Depression and the subsequent war years, the region did not produce much that stands out today. There are certainly a number of structures that today serve as fine "background" buildings. But it was not until the 1960s that architecture regained a prominent role. Perhaps the defining moment was the erection of the Space Needle - a globally recognized symbol of the city and the region. Actually more an enormous piece of kitsch than true architecture, it nonetheless reflects our rather goofy, light-hearted perspective on life. John Graham Architects gave us this icon. Adding a vertical laser beam, as recently proposed, is as superfluous as it is loony.

The 1970s were also barren times for fine architecture, beyond the scale of houses. An exception was the Weyerhaeuser Headquarters in Federal Way, designed by Skidmore, Owings and Merrill and completed in 1971. No suburban office buildings since then have eclipsed its drama and visual tension with the surrounding terrain. I am also personally fond of the Federal Building by Bassetti Architects, for its corduroy exterior and brick-lined public spaces.

The most significant accomplishment of the '70s was the regeneration of Pioneer Square, with its amazing collection of masonry buildings built in the years following the big fire. This movement was led largely by architects such as Ralph Anderson, some of whom invested their own money in the renovation and restoration of structures. Seattle became a national model for its enlightened preservation of older buildings.

Perhaps the most stunning piece of individual urban architecture of the late 1970s is the Pike and Virginia Building. Designed by the firm of Olson/Walker, it set in motion the idea that downtown can be good place to live. Its design still looks fresh and shows how a completely contemporary building can fit comfortably into a historic context - a feat that most designers still cannot master.

The 1970s also gave us a peculiar and lovable piece of urban archaeology: Gasworks Park. Brilliantly designed by landscape architect Richard Haag, the place is a monument to our working-class roots. That it is used by so many people and for so many events is suggestive of a collective attitude within the city that values and celebrates our industrial past.

The 1980s saw an unprecedented building boom in this region. We also began to become more comfortable living in denser urban conditions, with residential forms and neighborhood amenities that were more complex and sophisticated. Bumgardner architects designed Waterfront Place, with its vertically stacked arrangement of shops, parking, office and residences. The firm also designed the nearby Watermark Tower, an elegant mixed-use building that retains the delicate terra cotta facade of the structure that had previously occupied the site. Together, these two projects formed the centerpiece of a wholly new urban neighborhood.

The Broadway Market on Capitol Hill, designed by Cardwell/Thomas, demonstrated the virtues of mixing uses in neighborhoods. The variety of stores, cafÀes and theaters contained within the shell of the retail block that anchored that location still presents a lively, quirky, center for the neighborhood. The attached housing quietly faces the adjacent residential neighborhood.

One neighborhood project that was not mixed-use, but was nevertheless supremely elegant, was Merrill Court - also on Capitol Hill - designed by Ibsen Nelson Architects. This well-proportioned and expertly detailed building demonstrated that the refinements found in Anhalt buildings could be translated to contemporary times.

One of the most interesting trends started in the '80s was Larry's Markets. Architect Don Carlson brilliantly reinvented the urban supermarket, with new buildings in a number of locations in the region. Other grocery stores have been busy replicating or enlarging on the original idea, such that we now expect much more from our supermarkets in the way of urban design.

Finally, surely the best high-rise office building to emerge from the 1980s was Two Union Square. With its sinuous metal skin, subtle maritime references, an ingenious, multilevel, public space, this building clearly belongs in Seattle. NBBJ architects, thankfully, did not borrow from the trite, stylistic forms that were popular elsewhere in the country during that era.

We have seen in the 1990s a number of very fine new buildings, although a span of 10 years is, perhaps, too short to tell if these will stand the test of time. But the following buildings offer great promise in this regard, for different reasons:

Cascade Court on First Hill, by GGLO architects, for showing that lower-income housing - contrary to popular belief - can be a good neighbor.

Bailey-Boushay House in the Madison Valley, by Bumgardner Architects, for demonstrating that an institution can be designed thoughtfully enough to serve as a graceful anchor to a neighborhood and provide dignity for its residents.

Garfield Community Center, designed by Miller/Hull architects, for creating a spirited and sophisticated landmark for the Central Area neighborhood.

The Frye Art Museum, for its astonishingly elegant forms and fine detailing, and for giving an older, little-known cultural institution a massive injection of new energy.

The Bellevue Regional Library in downtown Bellevue, by Zimmer Gunsul Frasca Architects, for starting a trend back to libraries having a sense of permanence, artistry and civic import.

The Charlotte Martin Children's Theatre at Seattle Center, by McKinley/Gordon architects, for a rich complexity that does not talk down to its youthful users and audiences.

REI, by Mithun Architects, for showing that we can house hard-core commerce within buildings that reflect environmental responsibility.

Benaroya Hall, designed by LMN Architects, for dramatically raising the level of expectations for public buildings.

And finally, the St. Ignatius Chapel at Seattle University, by Steven Holl, for being one of the few buildings in this city that is entirely ethereal and absolutely magical.

So there you have it: 32 splendid works of architecture over 100 years. All are not only exceptional examples of design, but have helped make-up our collective soul. They illustrate our values, our aspirations, our sense of ourselves as citizens of this region. They are also the legacy that we leave the next generation.

We are fortunate to have them all.

Mark Hinshaw is director of urban design for LMN Architects and a regular contributor to The Seattle Times.