At its December 4 meeting, the Landmarks Preservation Board (LPB) nominated two modern buildings for landmark consideration — the former Community Psychiatric Clinic in Eastlake and (by unanimous vote) the Stoneway Electric Building in Fremont. Historic Seattle strongly supports designation of both properties — the designation hearing is scheduled for January 15, 2020.
In 2001, Historic Seattle and Docomomo US/WEWA produced a popular modern architecture tour (repeated in 2004) of the Eastlake neighborhood which contains an eclectic mix of building types and styles including a collection of small scale, mid-century commercial buildings designed by some of Seattle’s most prominent architects from the era.
One of these buildings, the former Community Psychiatric Clinic building (or CPC, located at 2009 Minor Ave E), was designed by the firm of Kirk, Wallace, McKinley & Associates and was completed in 1962. It is an important and distinctive work of Paul Kirk, one of the most well-regarded architects in the Pacific Northwest. The owners of the CPC, now the Bush Roed & Hitchings building, submitted the landmark nomination application to determine its historic status as part of their due diligence in potentially selling the property. Kirk’s own firm’s architecture office is located adjacent to the south. We believe that the office, too, is landmark-eligible (it is not slated for demolition at this point and the property has a different owner).
The Community Psychiatric Clinic as it appeared in 1975. Courtesy of the Seattle Municipal Archives.
The other modern commercial building nominated on December 4 is the Stoneway Electric Building (originally Golden Rule Dairy) located at 3665 Stone Way N. Built in 1945-1946 for Golden Rule Dairy, the building has been a fixture in in the Fremont neighborhood for more than 70 years. The modern style building is restrained in its design, reflecting a time when the nation was emerging from the aftermath of World War II. The building is a good example of the style and stands out on a major street that is experiencing rapid change. The landmark nomination was submitted by a developer interested in purchasing the property for redevelopment.
The Stoneway Electric Building.
Historic Seattle encourages you to support designation of these two historic modern buildings. Learn more about each property’s history and significance in the landmark nomination reports and emailyour comments to Landmarks Preservation Board Coordinator Erin Doherty.
An interview with Shannon Welles and Earnie Ashwood, Showbox employees and founding members of Friends of The Showbox.
What is Friends of The Showbox (FOTS) and how
were you inspired to organize this group?
describe Friends of The Showbox as a grassroots community coalition of people
dedicated to saving The Showbox. For me, establishing the group came from
wanting to get the employees of The Showbox connected to a greater community of
people working to save the venue. It also came from wanting to unite individuals
and connect them with groups like Friends of the Market and Historic Seattle to
get all parties working together.
Also, I was in grad school
when the news about the threat to The Showbox broke. I was taking a public
policy class, and I felt like I could help organize people who had energy but
didn’t know where to put it. Like the employees, many people wanted to help but
didn’t know how.
is a coalition of people who love The Showbox and have gathered for the sole
interest of preserving both the use and the cultural heritage of the building.
Tell us about yourself, your connection to
Seattle, and how you came to be a part of The Showbox.
has been the driving force in my life since I was a kid. I started working at a
music store when I was 16, and I moved to Seattle because of the music scene. Seattle
was my music mecca. I would not have come here were it not for the music.
moved to Seattle to pursue music as a full-time career. I started working at The
Showbox, and it quickly became a second home for me. My relationship with The
Showbox has dramatically evolved because of the culture of community that
What is your earliest memory of The Showbox?
went to my first concert at The Showbox (Gillian Welch)
about two weeks after I moved here in 2001. Not long after that, I started
working there. I’ve now worked at The Showbox for 17 years and I can’t imagine
my life, or Seattle, without it.
EA: One of
my earliest memories was meeting the security manager of The Showbox for a job
interview at Pike Place Market. It was very simple, he asked me, “Are you
compassionate? Do you have the ability to listen? And can you make this more
than being about yourself, and flexing power?”
He proceeded to explain that
the culture of The Showbox is about more than standard security. It’s about
providing a safe space for people to connect and enjoy music. The interview
introduced me to the spirit of service to the people that IS The Showbox.
the heart of the community’s love for The Showbox is our relationship to music,
to memory, and to each other through music. These relationships should not be
dismissed as nostalgia. It’s so much deeper than that.”
The above quote is from Friends of The
Showbox’s website. Explain how love of The Showbox is about more than people’s nostalgia
for a bygone time in their lives.
those are my words so that’s a lot of it! But I also think music is often just dismissed
solely as entertainment, without consideration of any other role it has in
society. I’ve done some reading about music as a social force, so I see it differently.
It’s old, old function in human
relationships is in ceremony, and bringing people together. We build
relationships through music.
EA: To me,
The Showbox is a shining example of diversity, both in music and in
demographic. And as a musician in this city, when small shows pop up at The
Showbox you pay attention because that’s where Seattle music really gets to
shine. You see so much pride among the musicians performing and within the
people who work there. People take this in as a beautiful Seattle event, and a
sense of power of connection comes through that space.
Do you personally feel connected to The
Showbox’s history? If so, how?
SW:If you’re speaking about the legacy of bands that have played there, I got to be part of many of them, so I feel really connected to that space. Then 5 years ago, for The Showbox’s 75th anniversary, I worked with the GM at the time to put together a celebration of The Showbox. I helped by digging through archives to gather old photographs, I did research, and I read the HistoryLink article. As a result, I became very familiar with The Showbox’s history.
EA: I feel
connected to the history in two distinct ways, as a musician and as an
employee.As an employee, finding a new family through work makes
me feel like a part of its history as a place where people connect. As a
musician, it’s always been a dream to play at The Showbox and I got that opportunity
in January of 2017. The opportunity to share my music on that stage changed my
perspective about what was possible within myself. This venue represents
opportunity for musicians like me.
Assuming this is the first time you’ve been
involved in the landmarking process, what are some of the big takeaways you’ve
learned thus far?
read a lot to figure out what it is and how you explain it to someone else. One
disappointing thing that I’ve discovered is that landmarking doesn’t
necessarily save a place, that it doesn’t protect use. I also learned that the landmarking
criteria heavily focuses on the things that you can see and touch, and not
necessarily what it means to a community. When you’re trying to make the case
for cultural significance, it’s hard if many of the ideas that they have about
landmarks are about material space. I know that there have been articles
written about equity, and who gets to save what spaces, and what do we value in
terms of landmarks process. I think there’s room for improvement and change, to
strengthen the rules so that we can save spaces with cultural significance when
an owner might have an offer of millions of dollars that involves demolition.
EA: One of the biggest things I’ve come away with is that you can’t assume that other people have the same knowledge you have about a place you care about. And perhaps more importantly, the way you approach educating someone really determines how effectively you can accomplish the goals you’re trying to get across. For example, one of the landmark board members didn’t have a good understanding of the accessibility of The Showbox and the wide demographic that we serve. At first, I got almost angry, “How could they not know this!?” Then I realized I could share my knowledge and use that information as a positive point for why this place should be preserved. It’s not all about being prepared with what you have to say, but also to show up and listen, and address concerns to be effective for the movement.
What is one of the more significant ways you’ve
seen The Showbox foster community? How would you describe its role in the
context of Seattle as a whole?
SW: I see
it most among the employees because that’s how I am in the space. The employee
base is a unit. But I also see relationships forming there, people make friends
there, romances form. In the context of Seattle as a whole, it provides space
for people to gather. If you’re in a place where there are 1,000 other people
who love that band that you also love, and you’re all singing the songs
together and jumping up and down together on that floor, there’s a sense of
belonging. If you go someplace like a bar you may be talking together with your
friends, but you don’t feel like you’re having some sort of communal
EA: Live music
tends to break down barriers, it allows people from different backgrounds and
different beliefs to come together. It gives them a space to let that go and
just enjoy what’s in front of them, in the moment, with fellow human beings.
For example, one of my favorite bands came to play at The Showbox, about a year
ago. I was working security and noticed someone wearing a Trump t-shirt and another
in a Black Lives Matter shirt. In our political climate that can lead to some
very uncomfortable feelings. As security we must be mindful of situations like
that. The moment the band started to play, those two got next to each other in
the same area and it felt like some type of showdown could go down. Instead we saw
the two of them wrap their arms around each other and start belting out the
songs together. That is representative of the way this place allows for community
to set aside differences and come together.
How would Seattle’s music scene change if The
Showbox were to be torn down?
one of just two venues of that capacity here and in terms of how bands move
through the Pacific Northwest we’re an important small-to-midsized venue. There
are bands that are too big for the Crocodile but too small to fill places like
the Moore or the Paramount. You need the venues that are in between and without
them I think a lot of bands will just skip Seattle. It would be terrible for
Seattle because of what the place means for people in Seattle. Artists who are
young and coming up dream of playing there and want to see their name on the
marquee. There would be this hole where that used to be. The place is an icon. If
you destroy this icon, it’s going to crush the spirit of the musicians in
Seattle. The greater touring musicians in this country know The Showbox and
want to play there. It will destroy one of the best places to play in the
Pacific Northwest and will have effects that people aren’t thinking about now.
I think it will affect the greater ecosystem of music in the PNW.
Showbox is unique not only because of its culture of community but also in
terms of its capacity. The average bar here has a capacity from 100-150, then
you have places like the Crocodile around 300, and places like Nuemo’s with a
capacity of 600-700. This is where The Showbox is really special, it’s a very
approachable space that fits 1,100 to 1,200. From there it jumps up from 1,800
to 1,900 at places like Showbox SODO. If you were to lose The Showbox, you’re
looking at a jump from about 600 to 1,800. That gap leaves musicians in a very
tough spot and limits options for how you can present your music. The unique
size of The Showbox is one of the reasons it draws musicians from around the
world to Seattle.
I mention the Neptune is the
only other place of its size in Seattle.
EA: And I
love the Neptune, but it’s different. To me, The Showbox represents a
home-grown identity and a home-grown goal. It is unique because of its location
in the heart of Seattle, and because of its rich history with artists like Duke
Ellington, Soundgarden, and Lady Gaga having played there.
Please share some specifics on how The Showbox
impacts Pike Place Market and the local neighborhood.
connected. The bands that come through get off their buses and ask, “Where can
I go eat in the Market?” They go over and explore, The Showbox employees go
over there, people who work at the Market come to shows. Many of the businesses
in the Market already consider us part of the Market because they give us
discounts that employees at the Market get! We get a lot of people coming in
from the Market during the day asking, “What is this place?” or, “We want to see
the show, do you have tickets?”
a strong relationship between The Showbox and the Market, a natural, symbiotic,
heartwarming connection between both the people who visit the Market and The
Showbox, and the people who work in both places. The Pike Place Market itself
is about human connection. It’s about face to face interaction, and service to
the people. That same spirit is very much what The Showbox is about.
How has The Showbox influenced your other life
have a good understanding of what it’s like to live in Seattle and have no
money and to do something for years because you love it. From being part of
that community for so long, and having that be my lived experience, I can
advocate for people who have that experience also.
Whether you work as a tattoo
artist, or a photographer, or audio tech — you’re part of the creative
community. There has to be a place for the creative community. Seattle is not
going to be a great place to be if you don’t have any artists or musicians. And
we’re supposed to be “The City of Music,” it’s ridiculous that we’re being
driven out! I see my path forward
supporting the arts, we need all the support we can get and that’s where I’m
going to focus my energies next.
fight to save The Showbox has changed my perspective about what a community of
people coming together can do. I’m not just talking about the Showbox
community, or the people of Seattle, I’m talking about the countless people
around the world who have shown support for what this fight is really about,
which to me, is the concept of profit vs. culture.
The Showbox has provided me
with a lot of direction in life. Not only direction, but also the support
behind the direction to execute. It has broadened my perspective of what I’m
capable of and caused me to question what’s really important to me. These are
the reasons I’m fighting so hard to save this place.
The italicized text above is paraphrased, not directly
quoted. The meaning has been preserved.
If you’re reading this, you’re probably somewhat familiar with the City Landmarks Preservation Ordinance. You may know that landmarking is generally a two-part process — the first step is a nomination; then, if the nomination meets certain criteria and receives enough votes, it goes on to designation consideration. (Psst… if you want to know more about Landmarking, join our March 9 Advocacy Workshop 2: Landmark Nomination).
But, do you know how nominations are initiated in the first place? Nominations come from a range of sources. They can be a requirement triggered by a permit application or submitted by property owners, consultants, or organizations like Historic Seattle (to name a few examples). Perhaps most inspiring of all are those that come from citizen advocates.Meet Dr. Ruth Fruland and Cynthia Mejia-Giudici, the team who recently presented a nomination for the Shearwater Community School/Decatur Annex (7725 43rd Ave NE) in the Wedgwood neighborhood. What inspired these two women to nominate this place?
The Shearwater Community School/Decatur Annex
If you think this building lacks the beauty you might envision in a landmark, you are not alone. However, a place does not necessarily need to possess remarkable architecture to qualify as a city landmark. What it does require is to: 1) be over 25 years old, 2) possess integrity or the ability to convey its significance, and 3) meet at least one of the six criteria for designation outlined in the Seattle Landmarks Preservation Ordinance. Ruth and Cynthia’s Decatur Annex nomination focused on the cultural and historic significance of the place, which is too rich and complex to do justice in this short piece. To get a better idea of the scope of that significance, read their landmark nomination and explore related blog posts in Wedgwood in Seattle History.
To summarize, the Shearwater Community Center, now called Decatur Annex, is the last remaining building from the Navy’s Shearwater Housing Project, which was built in 1945-46. The Seattle Housing Authority (SHA) was contracted by the Navy to build the housing project (which included the community center) for military families at Sand Point NAS. The Shearwater Housing Project was unique in that it strategically and successfully implemented racially-integrated housing during a time when discriminatory housing policies were systemically enforced both at the federal level as well as in Seattle in the form of neighborhood covenants, exclusionary redlining, and “sundown” laws. The onset of WWII prompted the Navy to establish a policy of racial and gender integration of its service. The Shearwater Housing Project was the Navy’s first integrated housing project under this new policy, which happened to coincide with the equalitarian vision of Seattleite Jesse Epstein, a lawyer who created the SHA to qualify for federal funds for low-income housing under the Wagner-Seagull Act of 1937.
According to Dr. Fruland’s nomination, “The Shearwater Administration and Community Center embodies a fascinating, but under-reported history, not only of the Navy’s new policy of racial integration, but also of how it leveraged Seattle Housing Authority’s integration policies under Jesse Epstein (and vice versa). One might say his appointment as the first Executive Director of the SHA in 1939 was ‘just in time.'”
There is much more to the Shearwater story, but the question still begs: how did these citizen advocates come to spotlight this significant piece of history? The answer is history, education, and – in part – geology!
With a PhD in Education Science and Technology and a background in geology, Wedgwood neighborhood resident Dr. Fruland’ s interests lie both in education and in “the passage of time and its effects on things.” Her inclination to preserve the Decatur Annex was initially sparked by a postcard she received in the mail from the Seattle Public Schools (SPS) regarding demolition of the annex. SPS, which now owns the property, redeveloped most of the former housing lot into a large new public elementary school and is seeking approval to demolish the annex for “outdoor education use.”
That same postcard landed in the mailbox of another Wedgwood resident, Cynthia Mejia-Giudici, an oral historian and special education teacher at nearby Roosevelt High School. Cynthia lived in Shearwater housing as a child, and her Filipino family has lived in Wedgwood since 1956. She was driven to preserve the Decatur Annex not only because she remembers it vividly from personal experience, but also to honor and represent its broader meaning in a larger cultural context, and to raise awareness about the historic ties the Wedgwood neighborhood has to the former Navy base, now Magnuson Park. Cynthia is “passionate about honoring the multi-cultural community that Sand Point created with the Housing Project, and about paying tribute to the US Navy.” To quote Ruth’s words in their nomination, “It is Cynthia who knows the feeling and meaning of racial discrimination, and the true significance of Decatur Annex in Seattle’s history.” Again, Cynthia’s family’s story and the significance of the community that formed at Shearwater warrants much more space than this piece allows. Read more about Cynthia’s story here.
On January 2, 2019 the Shearwater Community Center/ Decatur Annex came before the Landmarks Preservation Board (LPB) for designation determination. Landmark designation requires a majority vote among the 10 seated LPB members. So, although 4 of the 6 LPB members present voted in favor of landmarking, the annex failed to receive the requisite 6 votes required for designation and The Decatur Annex will likely be demolished in the coming months. Ruth and Cynthia are now working to hold SPS accountable to promises made for a plaque or statue to honor the significance of Shearwater – a significance many SPS representatives denied in their public comments opposing designation.
Cynthia and Ruth at the Landmarks Preservation Board meeting at Seattle City Hall, January 2, 2019. Courtesy of Wedgwood in Seattle History
Despite this outcome, Ruth and Cynthia’s passion and important work on this nomination calls attention to significant and perhaps lesser known pieces of Seattle’s collective history. Their work also closely relates to Beyond Integrity, an emerging local movement in preservation that seeks to shift emphasis from architectural integrity toward cultural significance to ensure the places we honor as historic landmarks tell a complete and inclusive story. We commend Dr. Fruland and Cynthia Mejia-Giudici for their outstanding grassroots advocacy and for furthering the conversation about whose history we preserve.
There’s no shortage of preservation advocacy issues happening. Here’s the latest:
Spud – Next Modern Landmark? Sullivan House – Next Capitol Hill Landmark or Tear-down?
The February 7th Seattle Landmarks Preservation Board (LPB) meeting should shape up to be a pretty interesting one with a ca. 1898 house and a 1959 Modern commercial building up for consideration by the Board.
The Spud Fish & Chips Building (6860 East Green Lake Way N) is an excellent example of a mid-century Modern commercial building with elements of the Googie-style. The iconic design of this legacy business is one of the few remaining intact buildings of this style in Seattle. This property is also threatened with demolition and redevelopment. Historic Seattle will be supporting the nomination of the Spud Fish & Chips building.
The Patrick J. and Joanna Sullivan House (1632 15th Avenue at E. Olive Street) on Capitol Hill will be up for landmark designation. Historic Seattle supports the designation of this significant property because the house embodies the distinctive characteristics of the Queen Anne style; represents an outstanding work of the architecture firm of Josenhans and Allen; sits prominently at the southeast corner of 15th Ave and E Olive Way, presenting a striking contract to surrounding buildings; and is associated with a prominent businessman from the late 19th and early 20th century.
Currently threatened because it’s for sale for $2.2M, we hope to see the property designated and sold to someone who intends to restore the structure, which actually houses five-units.
You may download the nomination reports for both properties on the Seattle Historic Preservation Program’s website, under “Current Nominations.”
We encourage you to support the nomination of the Spud building and the designation of the P.J. and Joanna Sullivan House. You may submit written comments via e-mail to Erin Doherty, Landmarks Preservation Board Coordinator, at firstname.lastname@example.org, by Monday, February 5th or attend the public meeting on Wednesday, February 7th at 3:30 p.m. and provide comments. The meeting will be held in Seattle City Hall (600 4th Avenue, Floor L2) in the Boards & Commissions Room L2-80.
No Controls on Two Designated Landmarks
In the past two months, the Seattle Landmarks Preservation Board placed no controls on two designated Seattle Landmarks—the Galbraith House on Capitol Hill (17th and Howell) and the Wayne Apartments in Belltown. Demolition of the Galbraith House began in early January. The Wayne Apartments building is for sale. With no controls, we expect it will also be demolished unless a sympathetic buyer surfaces. Historic Seattle is very disappointed with this outcome for both historic properties. It has been rare for the Board to place no controls on a designated landmark. And now, in the span of two months, this has happened twice. We know these must have been difficult decisions for the Board and City staff. What’s not helping is the current, over-inflated market value of properties in Seattle and the demolition-by-neglect by owners who let their properties deteriorate so the cost of rehabilitation is much higher than if the properties had been maintained over the years. If a developer or property owner can show no “reasonable economic use” for a designated property, then the death knell will surely sound for the landmark. We hope to learn from these recent examples and work with the City to seek stronger protections for designated landmarks. We do not want this be the new normal for designated landmarks.
At its January 18 meeting, the Seattle Landmarks Preservation Board voted unanimously to designate Belltown’s iconic Mama’s Mexican Kitchen building (2234 Second Avenue) as a Seattle Landmark. David Peterson of NK Architects, who prepared the landmark nomination on behalf of the property owner, gave a presentation about the building’s history and design. He stated that it was “typical” of the low-scale commercial structures in the neighborhood from the early 20th century and didn’t rise to the level of landmark status. However, the Department of Neighborhood’s (DON’s) Historic Resources Survey describes the Bell Street storefront as “one of downtown’s most intact examples of an auto repair garage.”
The owner’s consultant next addressed changes to the building’s three facades and interior spaces, arguing that when taken together, the alterations have impacted the overall physical integrity. Jack McCullough, the owner’s legal counsel, argued against designation, downplaying any significance and focusing on integrity issues. McCullough made the statement that “the bar for integrity needs to be higher” for these more utilitarian buildings.
After several questions from the Board, public comments were taken. Historic Seattle joined representatives from various community groups including Friends of Historic Belltown (FOHB), Belltown Community Council, and Project Belltown. Everyone in attendance spoke in support of designation with the overall consensus that Belltown doesn’t have a lot of high-style buildings, but more humble buildings for “the common man” that embody the neighborhood’s heritage.
Steve Hall, a community organizer and spokesman for FOHB, said that Mama’s is already an unofficial landmark, “If you say, ‘Meet me at Mama’s,’ kind of like the pig at the Market, it’s just one of those places that is known in the community, and important to the community character.” He also stated that it’s “not a contest” – for example, it doesn’t have to be the best and most intact example – and the structure needs to be looked at in its entirety.
Historic Seattle’s Eugenia Woo addressed McCullough’s assertion about a higher bar for integrity, making the point that the Landmarks Ordinance does not have different levels of integrity for high-style versus vernacular buildings and that the Mama’s building should not be held to a higher standard.
The Board then deliberated for over 30 minutes before making a motion and voting 6-0 to approve the designation, based on Criterion D and F. Board Chair Jeffrey Murdock clarified that the language in the designation standards does not require a property to be “exceptional;” Criterion D states that a property needs to embody “the distinctive visible characteristics of an architectural style, or period, or a method of construction.” Steven Treffers, a newly-appointed Board member, said that the Mama’s building “tells a story about a community, period of development,” adding that it retains a “remarkable degree of integrity” to convey the qualities and characteristics of a 1920s auto building.
FOHB said that the Board’s vote comes at a critical time for Belltown as it “faces stupefying change, as Amazon and other tech businesses continue their meteoric transformation of the South Lake Union area.” Hall wishes these types of advocacy efforts weren’t so adversarial: “I would like it if developers would see these iconic and historic buildings as an asset, too, which is great for their business, rather than a liability to be dealt with.”
The community group refers to this decision as the “Mama’s Superbowl” since its designation would represent the second landmarked building on the key block at the corner of Second and Bell. The Wayne Apartments, situated to the south, was recently designated a City landmark.
The property owner, Minglian Realty LLC of Vancouver, BC, acquired the site in 2015 with plans to construct an eight-story apartment building. We do not know if Minglian Realty has a “Plan B” since the building is now designated.
The next step is for the Board staff to negotiate a Controls and Incentives Agreement with the property owner that defines how historic features should be preserved, along with preservation incentives (i.e., special tax valuation and zoning/building code relief). The Board designated the building exterior; no interior spaces and/or features were included in the designation.
Even though Mama’s is designated as a landmark, it doesn’t guarantee that it won’t get altered and/or demolished. Although it’s a complicated process, the owner can still tear down a landmark if they can demonstrate that operating it within the constraints of the landmark designation does not deprive them of “reasonable economic use” of the property.
Photos: East and north facades of the Mama’s Mexican Kitchen Building; and happy members of Friends of Historic Belltown after the designation hearing (images courtesy of Friends of Historic Belltown)
On Wednesday, December 7, 2016, the Seattle Landmarks Preservation Board voted unanimously to nominate the iconic Mama’s Mexican Kitchen building at 2234 Second Avenue (in Belltown) as a Seattle Landmark. The nomination was submitted by the property owner/developer, who has plans to redevelop the property. Preservation advocates call these types of nominations “anti-nominations,” in which the owner tries to make the case that the property does not meet the designation standards of the Landmarks Preservation Ordinance, and/or does not possess integrity or the ability to convey significance.
The developer’s attorney, Jack McCullough, started out by arguing that it was a “run-of-the-mill” structure that didn’t deserve to be protected. David Peterson from NK Architects, who prepared the landmark nomination, highlighted the building’s supposedly poor condition and physical alterations – including the 1950s aluminum storefront on the center bay, signage over the transom windows, and other infill along the north facade – that compromised the overall integrity. Referencing the neighborhood historic context statement, he stated that the Mama’s building was a “simple, utilitarian” structure and not significant enough to meet Standard D of the Landmarks Preservation Ordinance, (a property “embodies the distinctive visible characteristics of an architectural style, or period, or a method of construction.”)
Historic Seattle joined representatives from various community groups – including Friends of Historic Belltown, Belltown Community Council, and Project Belltown – to offer public comments in support of the nomination. Friends of Historic Belltown noted that “Belltown doesn’t have many fancy buildings, but rather that the community’s history is with working buildings for ‘the common man,’ and that the Mama’s building embodied that history.”
David Levinson, a Belltown Community Council member and longtime resident, described how the restaurant served as a community gathering place for decades, including Belltown’s labor union members who met there regularly.
The Board demonstrated support for moving the nomination forward to the designation phase, noting that the building may meet several standards and still remains largely intact. Deb Barker said that the portions that haven’t been altered (NE and E alley façades) make it “crystal clear” what the building was. Julianne Patterson stated that the alley facade has “almost perfect integrity,” and she mentioned the idea of “intangible heritage” and how the building is tied to its association with Mama’s Restaurant, even though the restaurant is no longer there.
Friends of Historic Belltown say they “feel a bit bad for the developers, who had been working with the community to design a proposed development that fit in with the neighborhood,” adding that they did not take into consideration the building’s historic value before purchasing the property. “It’s like buying property with a wetland and eagle’s nest on it — you can’t simply bulldoze it just because you didn’t know those features have public values that are protected by law.”
A designation hearing for the Mama’s building will be scheduled in January or February 2017. Friends of Historic Belltown are “elated that the Board saw things the same way we do” and are “looking forward to the next round — the Mama’s Superbowl – to establish our second Landmarked building on ‘the block.’” The Wayne Apartments, built in 1890 and located adjacent (south) of Mama’s, was recently designated a Seattle landmark.
Images: Seattle Landmarks Preservation Board votes to nominate the Mama’s Mexican Kitchen Building, photo: Steve Hall; “Preserve the Mama’s Building” poster, Friends of Historic Belltown
From a news release issued by the Seattle Department of Neighborhoods:
Mayor Edward Murray is looking for four new members to serve on the Landmarks Preservation Board in the following positions: Historian, Structural Engineer, Finance, and Real Estate.
The 12-member Landmarks Preservation Board makes recommendations to the Seattle City Council for landmark designation and reviews proposed physical alterations to designated features of landmark properties.
The Board is composed of two architects; two historians; one structural engineer; one representative each from the fields of urban planning, real estate, and finance; a Get Engaged member (a position for adults ages 18-29), and three members at-large. All appointments are made by the Mayor, subject to City Council confirmation.
Board meetings are held on the first and third Wednesdays of each month at 3:30 p.m. The Architect and Historian board members also serve on the Board’s Architectural Review Committee (ARC). In general, Board members must commit approximately 10 hours per month to Landmark Board business.
Interested applicants must be Seattle residents, and Board members serve without compensation. Those interested in being considered should send a letter of interest and resume by Friday, June 10. Electronic submissions are preferred, if possible.
Please email your letter and resume to:Erin.Doherty@seattle.gov (reference the Landmarks Preservation Board in the subject line)
To submit a paper copy, please address: Erin Doherty, Landmarks Preservation Board Coordinator, Seattle Department of Neighborhoods, PO Box 94649, Seattle, WA 98124-4649. For more information, contact Erin Doherty at (206) 684-0380.
The City of Seattle is committed to promoting diversity in the city’s boards and commissions. Women, persons with disabilities, sexual and gender minorities, young persons, senior citizens, persons of color, and immigrants are encouraged to apply.