Louisville West Main Street

By Dennis Carmichael, FASLA

EDAW, Inc.

We all know what a streetscape is - a neat, orderly mix of pavers and street trees all in a row. Add the three "B's" of landscape architecture - benches, bollards, and banners - and stir: instant streetscape. While this approach is quite appropriate in many locations, it can lead to the opposite of the intended effect of revitalization for urban districts. Instead of identity, charm, and character, what can follow is a bland homogeneity. Some streetscapes become formulaic and become indistinguishable from others.

There is nothing intrinsically wrong with a formulaic approach except that an opportunity is lost to celebrate unique qualities of place. It was just such an opportunity presented to EDAW in 1991 when they were commissioned by the Louisville Development Authority to develop a streetscape plan for the West Main Street district in downtown Louisville, Kentucky.

The finished streetscape shows the subtle pattern of the ironspot brick bands running across the sidewalk from the base of the cast iron columns. For each cast iron column, an iron spot brick band emanates from the base of the column and courses across the brick sidewalk. Each ironspot brick band is exactly the width of the column from which it extends and thus becomes a "shadow" of each column.

The neighborhood at the time had all the symptoms of urban neglect - vacant storefronts, empty upper floors, derelict sidewalks, and four lanes of traffic that raced through the district on the way out of town (because there was no reason to pause or stop).

The neighborhood, however, was a diamond in the rough. Lining the three block area, encompassing some 1,800 linear feet, was the second largest, continuous set of cast iron buildings in America. This collection of architecture, though dilapidated and vacant, was noteworthy for its light cast iron structure, expansive glass fronts, high floor-to-ceiling heights, and richness of detail. In addition, one of the pioneers in the district was the Kentucky Science Museum, a vital attraction housed within two adjacent cast iron buildings that hosted thousands of families and school children annually.

Celebrating Cast Iron Architecture

Ft. Nelson Park contains a perimeter fence which is adorned with fleur de lis finials, the symbol of Louisville. Located near the masonry buildings, several cut limestone seating elements recall details of the adjacent architecture.

It was the city's concept to leverage the architectural resource and the Science Museum into a Cultural District, with a series of attractions, educational facilities, housing, and retail. The master plan created by EDAW was the first step in that effort.

The second step was the implementation of a streetscape program to signal the confidence of the city in this district and to stimulate private investments. The city apportioned $2.4 million in 1992 to construct the streetscape and EDAW turned from planning to design.

At intersections, the sidewalk is "bumped out", eliminating parking and providing a seating node. The neighborhood encompasses 1,800 linear feet and has the second largest, continuous set of cast iron buildings in America.

Led by myself and Laura Wiberg, the team saw an opportunity to reinforce the qualities of place, rather than overlay a cosmetic makeover. The team engaged a week-long charette in Louisville, using the Science Museum as a clearinghouse. This ad hoc studio was the scene of dozens of interviews and meetings that week as well as late-night drawing sessions. During these meetings, we learned of the rich history of the street as a place of commerce, manufacturing, and residence.

In its heyday in the late nineteenth century, West Main Street was the prime trade center for the region as it lay on the high ground above the Ohio River wharves. Visits to libraries, historical centers, and museums bore numerous books with extensive photographs and images of eras past. It soon became apparent that the special character and events of West Main Street merited interpretation. Specifically, the cast iron architecture was revealed as more than regionally important, but nationally important and the designers came to the conclusion that the landscape architecture should be subservient to the architecture. In fact, the streetscape should be designed to help the viewer "read" the architecture.

The EDAW team decided that, rather than impose a regular rhythm of streetscape elements, that the plan should reflect the staccato rhythm of the architecture. Thus, the strategic framework was formed for the West Main streetscape.

With this in mind, the design team set out with our first task: to "map" the cast iron buildings. It was common knowledge that many of the buildings were constructed with cast iron columns on the front of structural brick piers, but no one had ever bothered to check each building, column by column, on the three block stretch of West Main Street. So the design team did just that, using magnets as our cast iron indicators. Much to everyone's surprise - some buildings that appeared to be cast iron, were masonry; and vice versa. Years of wear and decades of paint made the columns look alike. One building in particular, featured both masonry and cast iron columns.

With this information, the Landscape Architects recorded the pattern of cast iron columns on a building-by-building basis on the base survey. What it revealed was an idiosyncratic rhythm with no symmetry or regular repetition. The EDAW team decided that, rather than impose a regular rhythm of streetscape elements, that the plan should reflect the staccato rhythm of the architecture. Thus, the strategic framework was formed for the West Main streetscape: not regularized, but rationalized to the context.

Ft. Nelson Park is a pocket park at Seventh and Main that epitomizes the qualities of a nineteenth century Victorian garden, complete with a cast iron fountain salvaged from the Louisville World's Exposition.

How was this strategy applied to the pedestrian environment? The fundamental pattern was to reveal the architecture in the sidewalks through paving, trees, and site furnishings. For each cast iron column, an iron spot brick band emanates from the base of the column and courses across the brick sidewalk. Each ironspot brick band is exactly the width of the column from which it extends and thus becomes a " shadow" of each column. The ironspot bricks are the same color as the field brick of the sidewalk, and thus the pattern is quite subtle. However, in the morning and evening, the light reflects off the iron flecks in the brick band and sparkles in the raking light. The effect is magical at these times.

Ironwood Trees

Street trees were part of the menu for improvements to the streetscape, and, ironically, were the most controversial element. While the city, merchants, and others wanted trees for shade, air quality, and beauty, there was a strong sentiment from historians to preclude trees, since historically the street had been bereft of street trees. The design team struck a compromise that all could agree upon: place street trees at the party walls of each cast iron building, in an alignment with the endwall column. In this way, the building's elevation would not be blocked by vegetation, but framed for view.

The amenities at the site included cast iron period streetlamps by Visko; cast iron benches by Stewart Ironworks; a cast iron pylon street clock by Verdin Company; and cast iron planters and ash urns by Canterbury International.

The location of the street trees further helped define the extent of the attached structures - building by building. This actually becomes quite instructive in some rows of buildings which appear to be one long façade, but are in fact three or more individual structures. In the spirit of the project, ironwood trees were specified as the trees to define cast iron buildings, and these are positioned at curbside across from each cast iron building party wall.

EDAW worked with a public artist, Jack Mackie of Seattle, to create a unique treatment for the ironwood trees. Instead of a standard tree grate and tree guard, Mackie salvaged a coal cover from the existing sidewalk (used as a manhole cover for underground vaults to store coal used to fire the furnaces in the nineteenth century) and used its form to create a customized tree grate. The original foundry from the nineteenth century still existed and gladly reused their mold to a different product.

For tree guards, Mackie combined the history of the street with a common vernacular artwork - the walking stick. He conceived a series of walking sticks carved to illustrate historic uses of a given building, rendered in cast iron, and aggregated in threes to form a tree guard. Thus, at 600 West Main, the site of the former Louisville Hotel, one tree guard features a carving of a harried businessman hurrying to his hotel, while the adjacent one features a bed. In this way, the most mundane of streetscape elements contributes to the overall story.

Enhancing the Design

The remainder of the streetscape palette reflects cast iron materials to celebrate the cast iron architecture. These include:

• Streetlights - A cast iron period lamp by Visko.

• Benches - A cast iron piece by Stewart Ironworks.

• Street Clock - A cast iron pylon by Verdin Company.

• Planters/Ash Urns - Cast iron by Canterbury International.

Ft. Nelson Park is a Victorian garden that features an historic cast iron fountain. The water feature was salvaged and used in order to retain the historic context of the site. In the spirit of the project, ironwood trees were specified to define cast iron buildings and positioned at curbside across from each cast iron building party wall.

But what of the masonry buildings? These too were significant, richly-detailed, and comprised 20% of the streetwall. For these buildings, the Landscape Architects chose a pattern that was distinct from the linear pattern of the cast iron elements. For masonry buildings, clusters of three evergreen elms are positioned in front of the building. These clusters feature a limestone seating elements by Mackie that are interpretations of some of the carved friezes and cornices of the architecture. Thus, even the masonry architecture is celebrated, but in a different pattern and medium. In one such cluster, part of the story of the streetscape is revealed in a poetic way. Engraved in the limestone seat is the phrase "When trees are three, the building is masonry".

Other features in the streetscape add to the richness of the environment:

• Welcome Mats - Cast stone address markers at each building entry that reflect the nineteenth century use, tenant, or business.

• Bus Shelter - A standard-issue bus shelter was removed and replaced with a new one with cast iron columns taken from the mold of a building next door. The back glass of the shelter features etchings about the cast iron architecture.

• Coal Cover Collection - All of the old coal covers from the pre-construction period were salvaged and the five unique types are set into one reach of the sidewalk, as a special gallery of urban street art.

• Louisville City History Maps - Cast stone replicas of the growth of the city from its inception in 1781 to the mid-nineteenth century, set upon the site of the founding of the city at Seventh Street and Main.

• Ft. Nelson Park - A pocket park at Seventh and Main that epitomizes the qualities of a nineteenth century Victorian garden, complete with a cast iron fountain salvaged from the Louisville World's Exposition.

Artist-designed tree guards and tree grates help to blend the trees into the surrounding design.

Taken together, these features of the streetscape tell a compelling story of a street and neighborhood with a wealth of history. Public reaction has been enormously favorable. The project has earned critical acclaim and several awards. But, most importantly, people have returned to West Main Street. Dozens of designers, architects, engineers, and media firms have chosen the address for their offices. Over a dozen eateries, from coffee shops to sidewalk cafes to white tablecloth restaurants have opened. Residential units and lofts are emerging as a use for upper floors.

The turning point for West Main Street was when the H&B Company, makers of Louisville Slugger baseball bats, decided to return to its home town and chose West Main for its factory and museum. This facility attracts tens of thousands per year to witness the making of bats for America's favorite past time. In the spirit of all the public art associated with West Main Street, the H&B Company decided to erect a 140' tall steel version of its iconic product, leaning casually against its building.

An aerial view of the three-block long streetscape (above) shows the widened sidewalks and irregular pattern of the tree planting which relates directly to the architecture. The streetscape design celebrates the cast iron architecture at the site, noteworthy for its light cast iron structure, expansive glass fronts, high floor-to-ceiling heights and richness of detail.

With over $40 million in reinvestment, Louisville's West Main Street is not only a popular success, it is a financial one as well, demonstrating that good design does not cost more, but in fact, earns more. It also proves that place-specific design adds value to urban districts in ways that are measurable both aesthetically and economically. Finally, the West Main streetscape proves that using a narrative, rather than a formulaic, approach to the landscape yields a richer, more authentic result.