Table Of Content“
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Architecture
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Supporters
Ix Foreword
Introduction: Architecture in Kansas City
xii Introduction: Public Art in Kansas City
Downtown
52 Westside
62 Old Northeast
AMERICAN InsTITUTE OF ArcuiTécts Guioe To Kansas Ciry Arcuimecrure & Pusuic Art UP. East Side
©) 2000 American Institute oF Arcuitects/KANsas Ciry
90 Midtown
ALL Richs ReseRveD. No PART OF THE CONTENT OF THIS BOOK MAY’ BE REPRODUCED
WITHOUT WRITTEN PERMISSION OF THE PUBLISHERS, AMERICAN INSTITUTE OF -
a
Arcuimecrs/KANSAS City AND HIGHWATER EDITIONS, A DIVISION OF JANE MoBLEy 114 Brush Creek & Country Club
Associates,
144 Northwest
THE AMERICAN InstTTUTE oF ARCHITECTS, THE AIA/KC, Jane MoBtey AssocuTes ano
INDIVIDUALS CONNECTED WITH THIS PUBLICATION ASSUME NO LEGAL RESPONSIBILTY fon THE
COMPLETENESS OR ACCURACY OF LISTINGS HEREIN OR ANY LEGAL RESPONSIBILITY FOR IHE 154 Northeast
APPRECIATION OR DEPRECIATION IN VALUE OF ANY BUILDINGS OR PROPERTIES LISTED IN THIS
BOOK BY ANY REASONOF SUCH INCLUSION.
162 Southeast
COVER: ANEAGLE SCULPTED py Louis Sant-GaUbeus GUARDS THE ENTRANCE OF THE NEW
YoRK Lire Burning (1890), Kansas Cry’s riest “SKYSCRAPER,” HOME 10 THE 174 Southwest
MULTINATIONAL ENERGY COMPANY UTIUCoRP UNITED. PHoroGRaPH By Bran FiNcy,
Back Cover: |y 1994, HeucopteR INSTALLED R.M. FisHER’S Sky Starions 194 Independence, Missouri
CPFpOHMOMTIOSGSfRSIAOPNHEDCrOUARSTES1PYAROTF TOHFE MKuAnNisciapsatCAinryr’sComOmnies-sPieonR.cent-For-ART PROGRAM. 206 Kansas City, Kansas
Th—CcHOiNs5SeaT8RU080C0arTKIONwedasoMAeDPAERTWEPRSO,KSaSanINsBaDLsE.OTTHCHEiRRtOySUGwDHHeOsGiEAcNLnESROOCVUEANSLTUEgERR,AONUTMRSANCYFO.RMOMMOUFNTIHOTEUYRCiiSTAyDREOCSFHIIGTKNEACNTAsUNARDsE 220 People’s Choice Awards
222. Contributors
PRINTED BYay Rictar0nson PRINTING, Ic. rN THE UNITED Starts oF AMERICA 224 Suggested Further Reading
LBRARY OF Congress Giro Nunaer: 00 103973
ISBN 1-888903.06.4 226 Index: Architecture & Public Art
233
Index: Architects & Artists
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THIS GUIDE WOULD NOT HAVE BEEN POSSIBLE WITHOUT GENEROUS Economic Development Corporation of Kansas City, Missouri
CONTRIBUTIONS FROM THESE ORGANIZATIONS AND INDIVIDUALS: Shughart Thomson & Kilroy, P.c.
Construction SpecificationsInstitute/Kansas City Chapter
Bratton Corporation
PRINCIPAL SUPPORTERS
Ochsner, Hare & Hare
Wee ae es se
Otis Elevator
William T. li oundation
RNC Enterprises, Inc.
AIA/Kansas City
The Hall Family Foundation
Hallmark Corporation Foundation
AIA/KANSAS City MEMBERS:
DST Realty, Inc.
ASAIArchitects
Turner Construction Company
BNIM Architects
The Arts Council of Metropolitan Kansas City
CDF?Architecture
Capital Electric Construction Company,Inc.
Devine Deflon Yaeger,Inc.
Johnson Controls, Inc.
Gould Evans Goodman Associates
The Builders’ Association
HNTB Corporation
Ellerbe Becket
Mr. Richard L. Farnan
FRIENDS IN THE DESIGN AND CONSTRUCTION COMMUNITY
Gastinger Walker Harden Architects, Inc.
Ammon Painting Company
HOK Sport, Event and Venue Architecture
Mr. J. Philip Kirk Jr.
TK Architects, Inc.
Mark One Electric Company,Inc.
Wiedeman Architects Inc.
Midwest Titan Incorporated
Bucher, Willis and Ratcliff Consulting Engineers and Architects
Associated General Contractors Inc./Kansas City Chapter
John Lawrence Daw and Associates Architects
CNAInsurance Companiesand Victor O. Schinnerer & Company
Peckham Guyton Albers & Viets, Inc.
Overland Park Development Corporation
Peters and Associates
Linda Ervin Young Fund of the Kansas City Architectural Foundation
Piper-Wind Architects
A. Zahner Company
Shaughnessy Fickel & Scott Architects
A.L. Huber Construction, Inc.
Shaw Hofstra + Associates
Carthage Marble Corporation
Susan Richards Johnson and Associates, Inc.
DiCarlo Construction Company
Warner-Nease-Bost Architects
JE Dunn Construction Company
Junk Architects, P.C.
KC Heritage Construction Co.
Dean Graves Architect
KONE Incorporated
Mr. Richard D. McDermott
Lockton Companies
e
Western Fireproofing Company of Kansas City, Inc. C
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Greater Kansas City, Missouri, Chapter 100 ofthe
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National Association of Womenin Construction S
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VI
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G Y r c h i t e c t u r e i n K a n s a s C i t y
IN 1979. THE KANSAS City CHAPTER OF THE AMERICAN INSTITUTE OF produced an abundance of outstanding examples of architecture
Architects (AIA/KC) publishedits first guidebook to the architecture most of which speak to a maturing of the art and practice of the
of our city. In the two decades that have followed Kansas City has architectural profession in Kansas City. Additionally, Kansas Citys
seen the addition of many outstanding buildings and the loss of One-Percent-for-Art Program, given new impetus in the 1980s, has
several old ones. For this reason alone, a new guidebook for Kansas provided a bodyof public art that enhances manyofthose examples
City architecture would be warranted. The year ofthis publication, of recent architecture. The private sector also has recognized the
however, brings two additional compelling reasons to overview the value of public art and many privately developed projects carry that
built assets of our city. The new millennium provides a time to both commitmentwith them.
look to the future as well as review the past, and the year 2000 also
marksthe 150th anniversary of the founding of the City of Kansas Because the size of the book necessarily had to be limited, the
Guidebook Committee invited a jury of Kansas City architectural
City, Missouri.
professionals to assist in evaluating new projects, as well as editing
To this end the Kansas City Chapter of The American Institute of entries from the 1979 book. KansasCity architects weresolicited to
Architects has joined together with the Design Center of Kansas City provide examples of their works since 1979 to be considered for
to publish this celebration of Kansas City architecture. The intent of inclusion in the new book. Scores of projects were offered
this book is to give the reader a representative visual image of for consideration and the jury selected more than 300 examples to
Metropolitan Kansas City through its exceptional buildings, urban be included.
design, and contemporary environmental public art. The material in
The result is a guidebook that is not complete, but one the
this guide was drawn from many sources and all entries have been
committee believes offers a comprehensive look at the history and
carefully deliberated by an editorial committee made up of
development of the role of architecture in Kansas City’s built
distinguished architects, educators and historians.
environment. To keep the size of the book manageable, the
The reader will find — arranged in 12 geographic districts — committee excluded monuments, fountains and otherfree-standing
structures in favor of focusing on buildings that actually contain and
examples of the work of some of the area's finest architects and
support human activity. Also not represented here are the myriad
artists, as well as a numberofentries by individuals of world renown.
parks and boulevards that so splendidly define much ofthe area’s
Atthe beginning of each geographic area is a guide map, along
with an introduction to the overall significance ofthe area. All entries civic infrastructure. Those deserve a volumeoftheir own.
can also be found in the index,listed by architect/artist, as well as
This project has been a laboroflove for everyone involved with it.
by project name.
Long hours, passionate debate, and much objective thought, respect
and delight have goneinto this guidebook. Weinvite youto use and
These geographic areas were defined primarily to assist the userin
enjoyit.
efficientuse of time to schedule andvisit the subjects ofthis book. As
it happens, the geographic divisions tend to parallel closely the
Tom Bean, AIA
patterns of growth and development in Kansas City and recognize
President,
AIA/KC 2000
the individual styles of Kansas City, Missouri; Independence, e
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Missouri; Kansas City, Kansas; and Johnson County, Kansas. t c
Bryan Gross, AIA uc e
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Chairman, r h
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The content of the new guidebook was based on the 1979 AIA/KC A
Guidebook Committee
edition, with the recognition that the years since then have
,
x
X
LIKE MANY CITIES | NTHE UNITED STATES, KANSAS CiTY HAD A PUBLIC ART such as Claes Oldenburg and Coosje van Bruggen’s Shuttlecocks.
ordinance on the books long before 1991, when city officials set These giantfiberglass sculptures redefined the neoclassical facade
aside a mandated one percent from construction costs of municipal and lawn of the Nelson-Atkins Museum of Art when they were
buildings in order to commission art. Also similar to other cities’ acquired through the Sosland Family for the museum in 1994.
efforts, this action was not taken lightly. On the contrary, it provoked
heated debate. Some citizens believed that Kansas City’s long- Sky Stations, Shuttlecocks and other works of public art pushed
previously held standardsfor taste and appropriateness farther than
standing tradition of civic-minded patrons privately commissioning or
ever before in Kansas City. The rewards, as evidenced by the
purchasing art to adorn the city’s urban spaces, splendid parks, and
reproductions of these colossal sculptures on everything from
public places — like the venerated J.C. Nichols’ Country Club Plaza
telephone book covers, to television news backdrops, to national
— was a sufficient responseto the demandfor public art.
publications and media spots, have themselves beenlargerthanlife.
To the credit of numerous dedicated community leaders, patrons, and
Public art in Kansas City has come a remarkably long waysince the
an expansive arts community, today, almost a decade after the
publication of an architectural guidebook in 1979. Since then,
implementation of Kansas City’s One-Percent-for-Art Program, both
patrons and artists alike have taken seriously the task of
private and public commissions flourish in Kansas City. Together,
commissioning and creating art that seeks a meaningful
these publicly and privately supported efforts have forged
relationship to architecture, site, and finally, community. The 2000
an extraordinary vision for public art in Kansas City,
guidebook would be remissif it excluded an exciting developmentin
distinguishable from any other city, and worthy of the national
the region’s built environment: the large number of art works
attention it has received.
created over the last two decades that cohabit with ‘architecture.
For example, Jonathan Borofsky’s Walking Man can be spotted on
The public art works included in this publication were intentionally
top of the COMBuilding on the Johnson County Community College
limited to those works commissioned from contemporary artists
working in relationship to architecture and site. In making these campus, and Dale Eldreds realization of Frank Lloyd Wright's vision
from
of a Light Steeple can be seen atnightstreaming heavenward
selections, the jury of Kansas City architectural professionals who
Christian Church on Main Street.
the Community
evaluated the book’s contenttook into consideration both the context
ofthis publication and the numerous publications that already exist
Such works became far more than enhancements to buildings. They
fo attest to the rich tradition of fountains, monuments, and
became expressions of the region's creative energy, embedded in the
traditional sculpture in Kansas City. In addition, in order to
consciousnessof the community, and crucial to the spirit ofthis place,
encourage driving tours of the city’s architecture and public art, only
our Kansas City.
those works located outdoors are featured.
These stipulations aside, the public works featured in this Blair Sands
Public Art Administrator,
publication are a testament to the expanding vision of the Kansas
Municipal Art Commission,
City community. A monumental public work, R.M. Fisher's Sky City of Kansas City, Missouri
Stations, commissioned by the city’s One-Percent-for-Art Program
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and installed by helicopter in 1994, made an indelible mark on
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Kansas City’s skyscape. Other works included here are easily
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recognized as someof the best work of nationally renownedartists,
xii
OWNTOWNKANSASCity, MISSOURI, ENCOMPASSES
an area extending from the Missouri River to
31st Street and east from State Line Road to Troost
Avenue.
During the late 1860s, this area began to interest
merchants and residents when Kersey Coates, a real
estate speculator, began investing in and developing
the land around whatis now 10th Street. South of the
original center of commerce,the Riverfront District, the
Coates Addition was platted. The new development
attracted wealthy families to build mansions on the
bluffs overlooking the river, a neighborhood that came
to be known as Quality Hill. The Coates Hotel was built
in 1891 and encouraged growth along Broadway.
Around the same time,the property east of Quality Hill
along Ninth Street was developing. It became known
as “The Junction,” the busiest financial, social and
cultural district in the city. Major Samuel D. Vaughn
hired Asa Beebe Cross, a prominent Kansas City
architect, to design “Vaughn's Diamond,” a flatiron
building at the convergence of Ninth, Main and
Delawarestreets.
During the 1870s and 1880s, construction of new
buildings in downtown Kansas City, Missouri,
increased, though most of the land in the city
nicknamed “Gully Town” was marked by high bluffs
3
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Downtown
a a : _
and deep ravines. Over time, the bluffs were cut down more than
60 feet to accommodate zealous commercial and residential
builders. In the 1880s, Kansas City’s population more than
doubled and the city stretched to 13 square miles. Imposing is 1ST
3% % pane
structures such as the New England Building and the New York Life Zmz% & °\é oust
- ay ee é , 62
Building, the city’s first high-rise, were designed by prestigious
architectural firms and constructed during this time. eo 35 A 31 \Q \\ssoue® ig ig
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After the city graded and paved Grand Avenue, a project that INDEPENDENCE AVE S a
+-29/35/70 e g US24 Hi
involved cutting out 30 to 40feetof hilltop, the Central Business 7m
District experienced a huge building boom. Many steel-frame fSao a lie 36 DMIRAL BLVD
skyscrapers were built, including the 14-story office building at §E| Sganeg 52E] § om 1198 20 35 37 52 5i8 61
f| See 2 T/ 42
10th Street and Grand Avenue, and the Scarritt Building. New ; 4 ae: Baia
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45
construction yielded three of the country’s most prized Art Deco
“READ 8 23 11TH 40 46
skyscrapers and continued through the 1930s in spite of the
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Great Depression.
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Following World War II, Quality Hill began to decline and many
single-family dwellings disappeared from the area. Though the 60 CROssto)
Central Business District has remained the center of business in 5TH TRUMA\
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15TH
Kansas City, Missouri, and has seen the construction of many new 2 5- =uw 16TH
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buildings, the migration away from the heart of the city in the £ ae 65 a
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1950s continued as suburbs began to offer the same services. @ 17TH w
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Recently, government incentives have encouragedrestoration and z-3 18TH z] 3] 3] 6] @ 3] sl a] ef Bg
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businesses andresidents to move to historic downtown.
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Extending fromthe Missouri River to Fifth Street. the H River M canbe described
as the birthplace of Kansas City. Thelocation of one of the most accessible river landingsites
the area became the first commercial center in Kansas City and is the site of the presentCity
Market. Over the years, Kansas Citians such as Wild Bill Hickok Wyatt Earp, Tom Pendergast
Ie
and William Rockhill Nelson owned businesses in the district
DELAWARE StREET, SECOND TO FIFTH
STREETS. This is one of the few
remaining commercial streetscapes
from late 19th century downtown
Kansas City. In the beginning,
Delaware developed a bit more
slowly than Main Street, but
eventually became the hub of
business exchange for decades.
Cry MARKET, FIFTH AND WALNUT Streets, 1940, Freoerick C. Gunn; RENOVATION, 1991, Many structures display fine
Duncan Arcuirects, INc. Located near the site where fur trader Francois Chouteau built architectural form and details such
the first KansasCity trading post, the City Market has been an open-air market since as Romanesque arches, intricate
the 1850s. Built in 1939 as part of Kansas City’s “Ten-Year Plan” to create jobs and cornice brickwork, cast-iron
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renovated in 1991, these buff-colored buildings support a Saturday farmers’ market, columnsand stained glass.
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a Sundayarts and crafts market and many shops, restaurants and community events.
HorTON’s Oyster And CHop House, e
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507 Watnut Street, 1879,
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ARCHITECT UNKNOWN. Located in the e d
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River Market area, this restaurant
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enjoyed huge popularity with early
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Kansas City businessmen. Its a
p
peaked roof, pressed metal
entablature, checkerboard brick,
and multi-paned windows enliven
its facade.
Paciric House Horet, 407 Detaware Street, 1860, Resuitr 1868, Asa
BeeBe Cross; RENOVATION, 1999. Designed by one of KansasCity’s
early architects, this building features a cast-iron arcade. Considered
the city’s finest hotel until the late 1880s, the hotel's guests included
T
Jesse James. Union Army troops occupied thehotel during the Civil War
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and it was the site where General Thomas Ewing issued the infamous
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Order No. 11, banishing more than 20,000 Confederate sympathizers
from their homes and the city.
N
Downtown
E Quaury Hitt, 12-btock powntown AREA WEST OF
J BROADWAY AND MAIN. STREET, 1856-1929.
REDEVELOPMENT, 1988, PGAV Arcuitects. Quality
Hill, a fashionable neighborhood nearthe Central
Business District, was developed in the late 19th
century on land originally owned by Kersey Coates.
Prominent citizens built large residences here but
the development of the meat-packing industry
railroads and stockyards in the West Bottoms
reduced the desirability of the residential
neighborhood. By the end of World War Il, the area
needed renewal and many of the original
residences were removed and replaced by large
office and apartment structures. As time wore on,
downtown deterioration and lack of adequate
housing did little to attract new residents and
visitors to the Central Business District.
In March 1986, McCormack Baron and Associates of
St. Louis and PGAV Architects introduced the $40
million Quality Hill RedevelopmentProject. Phase |
of the project provided nearly 250 new and
renovated housing units in 11 historic buildings and
more than 11,000 square feetof infill townhouses.
The project immediately won public acclaim and
emphasized how careful rehabilitation can
dramatically change and revive the urban core.
After Quality Hill was accepted as an historic district
on the National Register in 1978, it became
possible to rehabilitate this area and,in the process,
help the effort for downtown revitalization. The
design utilizes historic materials, massing and
forms, consistent streetscaping and landscaping.
