Do you ever wonder about the history of the computer or smartphone you’re using to read our tour announcements? Please join us on Wednesday, July 25 for a tour exploring the long history of computing from ancient adding machines to mid-century punch cards and mainframes and more.
The System Source Computer Museum in Hunt Valley features a remarkable collection of artifacts including the Altair 8800, on which a young Bill Gates learned to code; an accurate replica of an Enigma cypher machine used by the German navy in 1942; and even an original iPhone which turned eleven years old last month. You can check out the museum’s collection on their website but, even in our digital age, the screen is no substitute for exploring history in person.
You can also find us leading a walking tour around Federal Hill on Sunday, July 22 for our ongoing Monumental City tours. We hope you are staying cool this summer and can stay tuned as we line up our fall tours, talks, and events.
Thank you to everyone who joined us at the historic Fox Building last night to celebrate and honor this year’s preservation award recipients.
From the rehabilitation of the historic house on Walrad Street in Irvington (a project that one member of our review committee compared to a phoenix rising from the ashes) to the meticulous repairs at Homewood House and Krieger Hall on the Johns Hopkins University campus—our 2018 award recipients varied widely. The awards showcase how preservation can include everything from a meticulous restoration of the grand library at Baltimore City College to the remarkable rehabilitation at the SNF Parkway Theater that almost freezes in time the building’s worn but still magnificent interior.
Please read on for the list of award recipients or take a look at the full slideshow for before and after photos of all of the projects. Thank you again to everyone who participated last night, volunteered for the event and on our awards review committee, and to all of our generous sponsors.
2018 Preservation Awards
Restoration & Rehabilitation Awards
127 North Lakewood Avenue
Matthew Lesko and Anita Pilch
847 Park Avenue
Jubilee Baltimore, Edgemont Builders, Zeskind’s Hardware and Millwork
1625 Saint Paul Street
Inner Harbor Homes, Richard Wagner, Edgemont Builders, Thomas Foulkes LLC
1809 Barclay Street
Adam Kutcher, Trace Architects, Edgemont Builders, Zeskind’s Hardware and Millwork
1909 Bank Street
2309 Eutaw Place
PenCor Properties, L & L Building Blocks
3342 East Baltimore Street
G&G Homes, O’Connell & Associates
4107 Walrad Street
MLR Development Corp.
Baltimore City College Library, 3220 The Alameda
Baltimore City College, Baltimore City Public Schools, JRS Architects, Inc., KES Engineering, Inc.
Callow Avenue Redevelopment Project, 2214-2229 Callow Avenue
Druid Heights Community Development Corp., SM+P Architects, Zeskind’s Hardware and Millwork
Johns Hopkins University Homewood Museum Roof Drainage Improvements
Johns Hopkins University Homewood House Museum, Lewis Contractors
Johns Hopkins University Krieger Hall
Johns Hopkins Facilities and Real Estate Division, Simpson Gumpertz & Heger, The Whiting-Turner Contracting Company
SNF Parkway Theatre
Maryland Film Festival, Ziger Snead Architects, Acoustical Design Collaborative, Flux Studio, Gower Thompson, James Posey Associates, Post Typography Graphic Design, Seawall Development, Southway Builders
Adaptive Reuse & Compatible Design Awards
21 South Calvert Street
Edgemont Builders, Seto Architects, Charles Belfoure
1100 Cathedral Street
SM+P Architects, Baltimore Fabrication, David Buckley, DoublEdge Design, LLC, JC Porter Construction, Majer Metal Works
3501 Clipper Road
Baltimore Center Stage, 700 North Calvert Street
Baltimore Center Stage, Cho Benn Holback, A Quinn Evans Company, The Whiting-Turner Contracting Company, DoublEdge Design LLC, James Posey and Assoc., Inc., KCP Photographer LLC, Pentagram, Simpson Gumpertz and Heger
Independence Place, 4103 Old York Road
Marian House, Gant Brunnett Architects, Southway Builders, ACW, Inc., Adcorp Signs, Inc., Anderson Fire Protection, Bay Country Professional Concrete, Belsinger Sign Works, Inc., Business Flooring, Inc., C. A. Grimmel, Inc., C. L. McCoy Framing Co., Inc., Carpentry & Hardware Services, Inc., Carter Paving & Excavating, Inc., Chaudron Glass & Mirror Co, Inc., Choice Stairways, Inc., Clean Air Heating & Air Conditioning, Clearview Home Remodeling, Colonial Sash & Door, Inc., Cotten Construction Company, CR Services, Design House Kitchens and Appliances, Francisco Gonzalez Perez, GEDCO, Glass and Screen Hospital, HDL Construction, Inc., Hostetter Supply Co., Inc., Ironshore Contracting LLC, J. W. Draperies, Inc., Long Fence, Madison Mechanical Contracting, Millstone Corporation, Milton Electric Company, Inc., Order Green Supply, Otis Elevator Company, Palencia Construction LLC, POS Construction, Inc., Retro Environmental, Inc., Robey Stucco, Rose Restoration, Select Floors, Inc., T.W. Perry, Vynal Industries, Wells & Associates, Inc., Western Cary Building Products
Sagamore Pendry Hotel at the Rec Pier, 1715 Thames Street
1715 Thames Street LLC, Sagamore Development, Beatty Harvey Coco Architects LLP, Mahan Rykiel Associates, Patrick Sutton Interiors, The Whiting-Turner Contracting Company, Vanderweil Engineering, WBCM
Heritage Preservation Awards
Flickering Treasures: Rediscovering Baltimore’s Forgotten Movie Theaters
Commitment to Baltimore’s Historic Buildings and Communities
2018 Preservation Awards Sponsors
GLB Concrete Construction
Hord Coplan Macht
Station Arts Homes
The Whiting-Turner Contracting Company
Zeskind’s Hardware & Millwork
Brennan and Company Architects
Gant Brunnett Architects
Roland Park Place
Ziger Snead Architects
You may have seen the news in the Baltimore Brew or the Baltimore Fishbowl—a local developer is seeking to demolish two of Woodberry's early nineteenth century mill workers' houses to make way for a new apartment building known as Woodberry Station Apartments. This is just one of several major changes under consideration for the neighborhood. The new owners of Clipper Mill are considering a major development for the Tractor Building—a WWI-era machine shop that has housed a parking lot for the last several years.
If you thought garment manufacturing in Baltimore was a thing of the past, think again! Fashions Unlimited has been making sportswear for companies like Fila, Nike, and Champion in its South Baltimore factory since 1976 and is still going strong today. We hope you can join us on the morning of June 26 for a tour of their factory with owner Phil Spector. We also hope you’ll join us this Saturday, June 9, as we head out the old Eastern Avenue Trolley line to take a tour of the Heritage Society of Essex and Middle River Museum and its rich collection of information on this part of Baltimore County.
Tomorrow night, June 7, we are pleased to partner with the Greater Hampden Heritage Alliance and the Mid-Atlantic Regional Moving Image Archive as they host a special showing of WJZ-TV archives capturing 50 years of Baltimore on film. Tomorrow’s event is at the Picker House at Mill No. 1 on Falls Road.
Jim Dilts, a former Baltimore Heritage board member and longtime advocate for local history and architecture, passed away on Tuesday, May 8. Jim had an enormous influence on his adopted hometown of Baltimore. In his quiet way, he helped many of us learn about and appreciate the art and architecture around us. There have been lovely tributes to Jim over the last few days, notably by fellow journalist Mark Reutter and former Baltimore Heritage board president Fred B. Shoken.
It seems right to pay tribute to a writer and historian by using his own words. Fortunately, Jim stopped by our office back in December for a recorded oral history with Baltimore Heritage board members Sue Talbott and Barbara Weeks. Sue and Barbara are leading our efforts to gather information about the history of preservation in Baltimore and the experiences of people who have led the fight to save historic places.
In his interview this winter, Jim talked about everything from fighting highway plans to creating movies about Broadway tap dancers. As you’ll discover in the excerpts below, Jim’s intellect, understanding, and sheer joy in living, working, fighting, and just being part of our city clearly come through. He will be missed.
On how he started covering urban issues for his Baltimore Sun column “The Changing City”:
“[In the late 1960s] there was a great interest in urban studies, they were called. People don’t talk about that any more, that term. All these books were being written by people talking about how everybody was moving to the city. That was then, urban areas, not necessarily within the city, but urban areas… I think the Ford Foundation sponsored this seminar, whatever you want to call it, at Northwestern, which is where I went to school. So I got my editor at the Sunday Sun to send me to this thing. It was three months or something like that… We listened to all of these urban experts, and again went around Chicago and looked at things. So then when I came back, I decided I ought to do something, since they had paid for it. So I started this column called ‘The Changing City.’”
On covering and fighting against highways in Fell’s Point and West Baltimore:
“Jane Jacobs inspired me because she got me interested in these highways. And a lot of the stuff I wrote in “The Changing City” column was about expressways, and that was when the road was going through Fell’s Point. It was going through Leakin Park, it was going through West Baltimore. It was coming to the Franklin-Mulberry corridor and through downtown and through Fell’s Point. Tom Ward and Lu Fisher and a lot of other people were involved in the fight in Fells Point.”
But, you know, if you’re going to run [a highway] through the middle of a neighborhood, there’s not much mitigation you can do. I mean, you demolish our houses and put a multi-laned highway through there.
There were a lot of interesting groups involved in this fight, the expressway fight. I used to call them the Urban Mafia. We would meet in church basements and stuff like that. There were guys… from CORE, the archdiocese, from a lot of different groups, and they would know different things, and we would all trade secrets and stuff like that, and then I would write about it. I tell you, when I was writing these articles about the expressway in Baltimore, I was around there until like 2:00, 3:00 in the morning, writing this stuff. I was on fire. I was on fire. There was nothing like it.”
On writing books about Baltimore architecture:
“Well, you know, everybody thinks that, in your profession, if you’re a teacher, you think education is the answer. If you’re a health worker, you think better health is the way to solve society’s problems. And they’re all right, you know. If you’re a writer, you think, well, you know, put it down, and at some point, it’s going to be useful to somebody. So I’m a writer. I was very happy to be able to do these books. I talked about the guide to Baltimore architecture. And then the next one was Baltimore’s Cast Iron Buildings. I did it with Kitty Black, who is really a wonderful person… she was the person who really sort of had my back and was a support for this project.”
On the tap dance film “Jazz Hoofer”:
“One of the people who was considered the greatest tap dancer produced by the modern jazz movement was from Baltimore. His name was Baby Laurence. He was in Baltimore, and he was not doing well because there wasn’t a great market for tap dancers at the time. This was in the sixties. You know, for a while on Broadway, every Broadway musical had a tap dancer …Then when Agnes de Mille did Oklahoma, that was the end of that—that was ballet, and that was the end of this tap dance routine in these Broadway musicals… So these guys were essentially out of work.
Baby Laurence, all he’d ever done since he was a child was sing and be in show business and be a tap dancer. He called me up at the paper and sort of announced his presence in Baltimore and the fact that he wasn’t doing too well, and maybe I’d like to do something about it. I said okay.
We met, and at that time, the Left Bank Jazz Society was going big in Baltimore. They gave us some gigs where he could dance. I think this was the only time this ever happened to me, but I despaired of being able to describe in words what he was doing with his feet. I just could not do it. It was way beyond me. So I thought the only way we’re going to do this is we’ve got to make a film of him. So that’s what we did.”
On working to reopen the Peale Museum:
“[My involvement] started with the history of the Peale Museum itself [and] is long and involved. The history of the restoration effort is somewhat knotty. But we’ve been at this for about ten years now, and my own feeling was that the building was empty. It was not being used. It was the city’s municipal museum and that something should be done with it. That was my motivation.
[About] five years ago, we re-organized legally as the Peale Center for Baltimore History and Architecture. The city owns the building. We got a dollar-a-year lease, a long-term lease from the city with the proviso that we restore the building within a certain amount of time.
So we’re about, I guess, halfway through [renovations] now. The goal is to reopen by 2020. The construction is going on now in the building. There’s a new roof on it, and the exterior, all the doors and windows and so forth, which had been falling apart are now being restored.
So our mission now in my mind is to—we want to reinvent the urban museum of the twenty-first century, and this is difficult. We have to combine, find a way to relate the two-hundred-year history of the building and make this accessible to people in the digital age who are now not using these things and not picking up a book so much and not so much looking at traditional museum exhibits.”