Old West Lafayette PART I, South of State Street

The early 20th century rectory for University Lutheran Church. Soon to be demolished for "The Rise" 16 story development.

              West Lafayette has spent much of its history in the shadow of Lafayette and Purdue University. The town struggled to grow through the mid-19th century as Lafayette boomed across the river. The boom time for West Lafayette occurred in the early 20th century. If Lafayette's old city is defined by the Italianate, then West Lafayette's old city is defined by the sturdy 1910's bungalow.

 

            Even so, West Lafayette's history reaches back into the mid-19th century. Remnants and relics of its pre-bungalow years survive to this day. While much of the pre-1900 city has been demolished, those that survive stand in a proud testimony to the fact that West Lafayette is much older than it initially appears. The neighborhood south of State Street contains many of these relics. This neighborhood was in the immediate vicinity of what would become downtown West Lafayette, where many of these early residents worked and played.

The Hodges-Kent House, built 1892 and plaqued by the Wabash Valley Trust.

          However, over the years much of this neighborhood has been replaced with large apartment complexes in an attempt to house the always growing student population of a sprawling Purdue University.

A lone survivor in a changing cityscape

Intact Italianate on Salisbury street.

      
          What remains continues to be under threat of both insensitive renovations and demolition. While West Lafayette has made significant progress for historic preservation efforts in the past year or so (New Chauncey historic district, Morris School project, Grand View Cemetery Grave Keeper's house, etc.), it has in many ways ceded the neighborhood south of State street to be demolished for future development. Part of the West Lafayette city council's compromise for approving the new 16 story tower at State and Chauncey Avenue was that historic preservationists would abandon the neighborhood south of State street, with West Lafayette city council member Peter Bunder stating in regards to the 16 story project.

“This is hard for me, because most of my constituents do not want this,” “But I made a deal. This was my deal with my colleagues on this council: If you help me protect New Chauncey (neighborhood) by approving the land use plan and the historic preservation districts, I will not pay attention at all to what you build south of State Street. You could build – I think I said at the time of the Grant Street apartments – Trump Towers on that side of State Street, and I won’t care" (source)

    However, this stance is inconsistent with the philosophy of West Lafayette's redevelopment commission. After the city made public their plans to save the historic grave keeper's house at Grand View Cemetery, Larry Oates, president of the redevelopment commission, stated that

“To be able to preserve something like this (the Grave Keeper's house) really shows that not only is the community looking to the future with projects like (the $120 million) State Street project and building new (things) that we don’t forget our roots, and we will protect those things that are valuable to the citizens in this community,” (source)

       The question then becomes, what makes the bungalows and the 1903 Grave Keeper's house more valuable than historic homes dating from the 1860's-1890's? Especially such historic homes located in the heart of downtown West Lafayette? How many neighborhoods in West Lafayette can boast Italianate and gothic revival houses?

A modest Italianate on Grant street

Doric columns and corbels on the porch cornice survive

Heavily defaced Italianate houses on Pierce street await their fates

           Without action by the city council and owners in the neighborhood, this rare glimpse into 19th century West Lafayette will soon be gone, a lost opportunity to couple high-density projects and historic preservation.

Much to our surprise, a brick Italianate house (a rarity for West-Lafayette) survives on Pierce street

Much of the structure's original stonework and details survive, despite an insensitive early 20th century addition on the front facade.

        This post is part of a series on West Lafayette's old city. This series focuses on the architecture of West Lafayette outside of Purdue, and so will not feature Purdue's architecture 

Echoes of the Italian Renaissance

The Italian Renaissance echoes in Lafayette's historic buildings

        How is the Italian Renaissance related to Lafayette? Would you guess that a much of our old city's architecture is inspired by the Italian renaissance? This Italian Renaissance architecture would come to be known as "Italianate."

        Italianate architecture came into existence in England in the early 19th century. It was inspired by a desire to break from the rigid formalism that dominated 18th and early 19th century English architecture. Italianate was considered flowing, whimsical, and romantic. The architectural styles of the 16th century Italian renaissance (and by extension, the ancient Roman world) were combined with picturesque aesthetics, producing a "Neo-renaissance" style. 

       Italianate was imported to the United States where it found immense popularity between the 1850's and 1880's. This period of time also represents an era of growth and expansion in Lafayette. While many Italianate structures in Lafayette have been demolished through the years, many have survived. Italianate structures still dominate Lafayette's old city.

So you may be asking, "well, what makes a house Italianate?" 

The key features of an Italianate house are

1) Low hipped or flat roof
2) Deep overhanging eaves

3) Rows of decorative brackets, or corbels.

4) 2 or 3 stories, rarely 1 story

5) Tall windows

6) An occasional square cupola or tower

oldhouseweb.com

Italianate originates in renaissance Italy-Photo from Themedicifamily.com

603 North 5^th St. is an excellent example of the Italianate style in Lafayette

               Italianate is not only the dominant architectural style for residential structures in the old city, it is also the dominant style of commercial buildings. Its simple flat roof and heavy cornice made it an attractive alternative to more elaborate styles such as Second Empire while still remaining more attractive than the simpler canal-era styles.

Italianate at 3rd and Columbia

Italianates at 8th and Main

Italianates near 10th and Main

         While there are several examples of vernacular Italianate architecture in the old city, there are also outstanding examples of the style that deserve special attention.

         The Coleman-Stallard & Schuh Building at Columbia and 3rd street is a grand example of the Italianate style. It was designed by Elias Max, the same architect who would go on to design our grand courthouse. No expense was spared when the Coleman-Stallard & Schuh building was constructed in 1872. An extremely ornate and heavy cornice crowns three floors of a rusticated stone facade. The structure has a circular window in the center of the cornice that once framed a clock. The interior is arguably one of the grandest interior commercial spaces in the old city. 

The Coleman-Stallard & Schuh Building

The Coleman-Stallard & Schuh Building Lobby

        The Coleman-Stallard & Schuh Building is protected by a local historic district. This helps to ensure that this building will last for generations. Other Italianate structures in our old city haven't  been as fortunate. In the absence of protective districts, Italianate structures in our old city can be torn down or stripped of their architectural details. A good example of this vulnerability can be seen in the brick Italianate that used to stand at the corner of Columbia and 11th street.

          So next time you pass one of Lafayette's old Italianate beauties, take a moment to thank the Italian renaissance for the inspiration to build these structures, and think about what steps you and our community can take to ensure that these buildings survive for future generations to enjoy. Not every town can hear the echoes of the Italian Renaissance and its old buildings. 

Ooh La La in Lala

While Lafayette's namesake is rooted in the Marquis De Lafayette, one of the most famous French figures in American culture and French history, the city itself lacks any substantial French roots. Prior to the establishment of Lafayette and the state of Indiana, the little outpost of Fort Ouiatenon held a substantial French community of 14 or so permanent families in the 18th century, though it still paled in comparison to the small French city of Vincennes just down the Wabash. However, by the time of the Battle of Tippecanoe the French residents of Fort Ouiatenon had fled to Vincennes and settlements west of the Mississippi in Spanish holdings. The last remnant of the French met the torch when American forces lit Ouiatenon ablaze to discourage natives from returning. It would be several decades of the world turning upside down, empires falling and wars between American settlers and Tecumseh led natives before William Digby would wander into the area in an abandoned patch of half-cultivated wilderness to establish the city of Lafayette in 1825. Lafayette was named not in honor of the region's French heritage, but because the revolutionary war hero, Marquis De Lafayette was on tour in the nation at the time. Whether or not William Digby was even aware that the area was ever under French control is up for debate.

"We established Ouiatenon, not La Fayette!"

Yet, French influence would eventually return to Lafayette in the form of architecture. Americans eagerly mimicked and transformed the latest architectural fashions coming out of England and France. One that took a particular strong hold in the United States and Lafayette by extension was the glorious Second-Empire style. The style, in stark contrast to the austere Greek revival or whimsical Gothic revival, expressed power, wealth, and a powerful appetite for the grandiose architecture of the old world. The Second-Empire style is named for the Second Empire of France, which was the Imperial Bonapartist regime of Napoleon III from 1852 to 1870, between the Second Republic and the Third Republic, in France. Napoleon III was responsible for the reconstruction of Paris in the 19th century that produced its familiar form today, in part by reviving the Mansard roof which was developed during the 1600’s Renaissance by Francois Mansart.


The style is undoubtedly recognizable by one feature; the mansard roof. Architecture.about.com defines the mansard roof as a roof that has two slopes on each of the four sides. The lower slope is so steep that it can look like a vertical wall with dormers. The upper slope has a low pitch and is not easily seen from the ground. A mansard roof has no gables.

Source formfronts.com

Between the 1860's and 1880's, the Second Empire style took off in the bustling and emerging city of Lafayette. Stores, houses, schools, and public buildings alike were thrown up in the grand French style. Was it inspired by the French roots of the region? Unlikely, yet it unwittingly gave a respectful nod to the French world, and by extension, the long since passed French town that preceded Lafayette. The Lafayette residents of the Second-Empire period were likely more inclined by the "cutting edge" look of the Second-Empire style than any reference to what they perceived as a long gone people, if they knew they were there at all.

Lafayette today has an unusually large number of Second Empire structures still standing for a Midwest city. Their popularity dramatically fell in the 20th century and the opulent structures frequently met their end with the wrecking ball. While possessing many Second Empire structures, Lafayette itself suffered several dramatic losses of important Second-Empire buildings in the city.


One of the most famous symbols of both Lafayette history and nostalgia is also one of the best surviving examples of the Second Empire style in Lafayette. The McCord Candies shop at Main and Sixth Street has survived to this day since its construction in 1867. Although it has experienced some alterations to the store front, it remains surprisingly intact despite the alterations and destruction of its neighbors. The tall steep Mansard roof and extravagant architecture make this structure seem more at home in Montreal or a French village than an Indiana town. The McCord's building is protected as part of the Main Street protective district.

Ball Building

Another example, just across the street, stands as a colorful alternative to the more uniform McCord's building. The Ball Building was constructed in 1867, the same year as McCord's. While both are Second-Empire, they reflect two very different approaches to the style within the United States. While the McCord's building is more pure to the French style, the Ball Building is a more colorful, Americanized version of the style.

Just further east on Main Street one can find a "secret" second-empire behind a much larger and more imposing Italianate commercial building at Main and 8th. The "secret" second-empire is very modest in comparison to its more grand counterparts, and looks as if it hopped right out of a backstreet in a modest Quebec neighborhood.

Ce n'est pas mal!

Another one that is a very unique take on the Second-Empire style is the lovely building that houses Kathy's Kandies. The structure is a very rare example of the "1-story" second empire, with the second floor receding into a mansard roof. The general rule of thumb for Second Empire is that there is always a floor separating the ground floor and the Mansard roof floor, but the builder of this whimsical structure took their own direction in its design.



The structure used to be part of a longer stretch of "1 story" second-empires reaching all the way down to a 2-story Second Empire, which, as the photo below makes evident, had already been defaced by the early 20th century.




One by one the Second-Empires fell, until historic preservation came to the rescue of the last remaining "1-story second-empire" that would become Kathy's Kandies.



However, even this old Second Empire was in such rough condition that very little of the original facade remained. This makes it appear as a more modern structure, save for a few details like this original pressed tin ceiling. Unlike the Greek Revival, the Second Empire has to be subject to more dramatic alterations to lose its characteristic style and architectural contribution. This makes it recognizable even after considerable abuse.

    The commercial core of Lafayette itself, while still possessing many historic Second-Empire structures, has experienced significant losses through the years. One example is the St. Nicholas Hotel, a grand hotel that used to stand near Main and 2nd street where the Chase Bank Plaza is today.



The loss of Second Empire architecture in Lafayette was just one symptom of both reckless demolition and poor urban planning that plagued the country in the mid and late 20th century, the damage of which we are still recovering from as a community today. Historic preservation during this period was only beginning to develop, and Main Street was not yet a protected district. Had the district been given protection following World War II, much more of our prized historic architecture would be standing today.

Early Second-Empire structures to meet the wrecking ball included the grandiose bank that stood at the Southwest corner of 3rd and Columbia. Yet, this demolition is different, as the structure was replaced not with a modernist box or a parking lot, but rather a stately neoclassical vault-style bank in the early 20th century.




I can't pick! I love them both!

Other demolitions didn't have such lovely replacements. One such loss exists in the Capitol Hotel. The Capitol Hotel used to stand at South and 2nd street before it was demolished in the mid-20th century after the construction of the South and Columbia Street bridges.



Second Empire was also gained some modest popularity as a housing style in Lafayette, though it never came close to the popularity of Italianate. Examples of this include more opulent structures such as the Ball Mansion, Fitzgerald House and Ward house, though more modest examples exist in middle class homes, apartment structures, and duplexes across the city.


Ball Mansion



Ward House at 1116 Columbia


Left-corner of New York and Seventh-Right-Corner of Tippecanoe and 7th

The Second Empire style has suffered losses in the past, and may suffer more in the future if the community does not act quickly. One of the finest examples of Second Empire in the city, the Fitzgerald House at 717 Columbia, is on Wabash Valley Trust's endangered list. Despite some recent renovation work, the future is still uncertain for this landmark. Open windows expose the interior to the elements, which spells bad news for our historic buildings. Furthermore, the two historic homes located behind the Fitzgerald house were recently demolished by the Central Presbyterian Church, a testimony to the lack of protection in this historic neighborhood. Many of our second-Empire structures remain unprotected to this day due to a severe lack of historic protection in Lafayette's old city.

While Lafayette's French architecture only unwittingly nods to the region's old French heritage, it remains one of downtown Lafayette's key features. The style has been adapted across the city for many different purposes, though unfortunately many of those examples have been lost. The preservation of our remaining Second-Empire buildings is essential to the preservation of the city's historic urban fabric and by extension, our identity as a city and who we are as a people.

Protecting our Neighborhoods

"The primary strength of a local designation is that it can be tailored to specific community needs and provides greater protection for local resources."
City of Prescott, Arizona, Master Plan, 1997

Lafayette's historic neighborhoods are essential to our identity as a city. Passing through the 20th century relatively unscathed by "urban renewal" and demolition, Lafayette sits as an architectural treasure on the Wabash. Surprisingly, many of these very intact and historic neighborhoods remain unprotected to this day. Protection through the establishment of local protective districts is essential to preserving our city's historic character and identity.

While Lafayette's old city boasts many historic districts that have been placed on the National Register of Historic Places, very few of these districts have any real protection. The National Register of Historic Places makes this very clear stating "Under federal law, owners of private property listed in the National Register are free to maintain, manage, or dispose of their property as they choose, provided that there is no Federal involvement." Essentially, Lafayette's historic city is is grossly underprotected, leaving our historic core vulnerable to demolition, defacement, and decay. Without our historic neighborhoods, Lafayette would quickly lose what makes it, well, Lafayette.

Left- Nationally recognized historic districts, Right- Actual protected historic districts

Filling in the Gaps

Filling in the Gaps

Urban flow in old Lafayette

          We've all had that moment when we were walking through an old part of town, enjoying the line of shops or the row of houses when suddenly there was a huge empty space. A gap in the flow. A hole in the fabric. Aside from being visually unpleasant, it also discourages you from walking any further.

Though still in use, these empty spaces stand in stark contrast with the historic fabric of the old city

      Despite being remarkably intact for a city its size, Lafayette has many areas where historic buildings have been demolished, leaving empty gaps or spaces. In many cases, reconstruction of the structures that stood there is not feasible nor practical. How do we as a community restore the lost urban fabric of yesterday while moving forward? How do we fill in the gaps without damaging the historical integrity of our old city? The answer; infill. Infill is defined by the National League of Cities as new development that is sited on vacant or undeveloped land within an existing neighborhood.

New infill in historic Lockerbie Square in downtown Indianapolis

Good infill needs to respect the form, style, and fabric of our old city.

FORM  

    Creating new structures that are harmonious with our historic fabric doesn't necessarily require copying historic styles. New structures in historic neighborhoods can respect their surroundings by following the shape and form of the historic buildings around them. Roger Trancik stated in his book, Finding Lost Space: Theories of Urban Design, that infill should "respect the existing silhouette of buildings and landscapes" and "respect existing rhythms of facades and spatial elements" (pg. 229).

This new house in Indianapolis is clearly new but respects the historic houses around it

  This house in Indianapolis was constructed on an empty lot (presumably where a historic building had once stood many years ago) close to many 19th-century houses. While the house is clearly modern, it doesn't distract or conflict with the older buildings around it, but it doesn't copy them either. Compare the new house with the old structure in the left of the photo. If you just focus on the shape, they are remarkably similar. Both have a projecting overhang of similar size, the same window and door proportions and materials. 

The end product is a new structure that respects and contributes to the neighborhood while meeting the needs and tastes of a 21st century family. As a growing and important city, this is exactly the kind of structure Lafayette's old city needs. 

                                             

STYLE

 While form is important, style is also crucial in redeveloping the empty pockets of our old city. The style of an infill project can make or break its contribution to the neighborhood around it. As stated before, new buildings don't need to copy the styles of yesterday in order to contribute to our historic urban fabric, they simply need to respect the styles around them the same way they need to respect the form. Diane Suchman proclaimed in Developing Successful Infill Housing  that "In the best communities, all the buildings are well-behaved and respect the prevailing style and character of their neighbors." (pg. 59)

Image from styleweekly.com

    Here is an example of infill that has the density and relationship with the street that COULD have made it good infill if it weren't for the conflicting style. Do you think this structure respects its neighbors? Instead of trying to use a style that respected the historic neighborhood around it, this structure was designed to conflict with it. The result? A structure that disrupts the historic flow of the street and distracts from the old architecture around it. In old Lafayette neighborhoods already suffering from lost historic buildings, a design such as this could do more damage than good!

Photo courtesy of Bobbie Lutes Photography

 In this example, we have the recently completed Lafayette Community Bank. The new structure is only a block away from our iconic courthouse, placing it in the very oldest part of town. The structure's style is clearly traditional but doesn't copy the old buildings around it. Its windows honor many of the historic windows downtown, and its heavy cornice (trim) follow the style of downtown, yet it doesn't pass as a 19th century building. A style like this doesn't distract from the historic architecture downtown but instead quietly contributes to the reconstruction of the old city's historic fabric. 

   FABRIC 

 While style and form are important, the fabric of the neighborhood is more important in planning long-term infill projects. The fabric of a neighborhood is the consistent development, the distribution of that development, and the consistent form and size of the structures within the neighborhood. For example, the urban fabric of downtown is multi-story commercial structures that are built up to the sidewalk while the fabric of St. Mary's is single family homes built in close proximity to each other. So, when constructing new infill projects, we have to ask ourselves "is this appropriate to the urban fabric?" 

Respecting the urban fabric, you're doing it wrong (photo from gopixdatabase.com) 

  The image above is an example of new development that does not respect the fabric of a neighborhood. Not only is this not harmonious with the built environment, it's also historically inaccurate. New structures in neighborhoods need to respect the density and developmental type of structure (is it commercial? Residential? Industrial? Etc.).

After photo courtesy of Bobbie Lutes Photography

 The before image above is an example of development disrespecting the fabric of an old Lafayette neighborhood. The Midwest Rentals in the historic Centennial neighborhood violated the urban fabric of a historic residential neighborhood by putting an industrial compound in the center of a residential street. Not only did this complex lower property values in the neighborhood, it also damaged the historic fabric of the street. The new row houses that are replacing the crumbling Midwest Rentals respect the historic residential neighborhood (which contains many row houses already) and again, contribute to the historic fabric of the old city. 

 As downtown continues to be revived and rejuvenation makes its way through more of the old city, we need to keep these principles in mind when we fill in the gaps. We want new buildings in the old city to respect and contribute to our city's historic fabric, not destroy or disrupt it. However, such policies of good design are difficult to have in neighborhoods lacking historic protections. In order to push for good design, we need to first get our historic neighborhoods protected. What point is there in building new structures to respect our historic urban fabric if that fabric keeps getting destroyed?