Spring 2014

Volume 3 Issue 1

$4.99 Spring 2014

Serving Contracting Firms and the Arizona Community…

• Phoenix’s Heritage Square: the Nixon/Vietnam Link • Every Home is a Trailer: A-Arid State House Movers • Follow the Money: Mid-Century Modern Banks • Home Sweet Bethany (Road) Home • Commercial Signs: A Glowing Preservation Movement

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Arizona Contractor & Community

Publisher William Horner Billy@arizcc.com

Editor Douglas Towne Douglas@arizcc.com

Columnists Paul Beaulieu John Bueker Roberta Graham Eric Jay Toll

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Contributing Writers Lee Addis J.J.M. Czep Jennifer Giralo Bradford Knights Rich Pawelko Donna Reiner

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To serve Arizona Construction Firms and Community Then & Now…

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Volume.3 Issue 1 Spring 2014

CONTENTS 8.

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Editors’s Column: Commercial Signs: A Glowing Preservation Movement - Douglas Towne Construction Around Arizona - William Horner Industry Highlights Gravel Guru: The William Fisher Story J.J.M. Czep Arcosanti: Arizona’s Cutting-Edge Community Jennifer Giralo Arizona’s New Double-Barrel War Memorial: An Interview with Secretary of State Ken Bennett William Horner Everything Has Meaning: Design Elements of Arizona’s World War II Memorial - Rich Pawelko Ringing True: Bells from the USS Arizona Reconstructing the Past: The Preservation of Heritage Square - Douglas Towne In It For the Long Haul: A-Arid State House Movers - Roberta Graham Follow the Money: Phoenix Mid-Century Modern Branch Banks - Donna Reiner Break-Through Fencing: Allstate Rent a Fence Home Sweet Bethany Home - John Bueker Concrete Results: Phoenix Mid-Century Banks William Horner Construction Site Security - Bradford Knights Digging Through the Archives: Ajax Contracting - William Horner Construction Marketplace Bid Results - Bidjudge ACC Advertisers Index Front Cover The Burgess Carriage House is moved from ��� East Taylor Street to Historic Heritage Square to serve as the park’s headquarters. Inset photo shows dignitaries when the Rosson House was named the city’s first Protocol House, a special designation that allows city receptions to occur there. See story on page ��.

Commercial Signs: A Glowing Preservation Movement Douglas Towne

C

Images courtesy of author

alamity was miraculously turned into opportunity in the wake of the violent demise of Mesa’s most famous denizen. A powerful wind gust in 2011 leveled the “Diving Lady,” a well-known neon sign that featured a shapely blonde aquanaut who performed an immaculate swan dive in three animated movements. Rose, as she was known in some circles, finished her dive in the pool symbolized by the lighting of a single strand of blue tubing.

Since 1960, the 78-foot-tall roadside display had attracted overheated tourists into the cool confines of the adjacent Starlite Motel along U.S. Highway 60.

News stories carried photos and video of the crushed sign lying in the parking lot of the Starlite Motel and generated a surprising public outcry.

This was somewhat unexpected since for many years such

oversized advertisements were considered by many to be garish roadside blights. When the motel’s owner, Bob Patel, indicated he couldn’t afford to restore the sign, collectors inquired about purchasing salvageable parts for display. It seemed the Diving Lady’s performance had ended after 51 years….

Individuals determined to refurbishing the sign banded together to create the Mesa Historic Society.

Led by Vic Linoff, the newly formed preservation group became the driving force that boosted awareness of the sign’s beloved landmark status. They raised $120,000 through grants, private donations, and in-kind services to return the swimsuit-attired damsel to her pedestal overlooking the city. The triumphant relighting ceremony took place in April 2013, attended by dignitaries, including Mesa Mayor Scott Smith.

The Diving Lady was just one of many eye-catching signs used by Valley businesses before the advent of sign ordinances which limited size and design. Such advertisements were prominent along preinterstate highways such as U.S. 60 (Main Street) in Mesa where there was stiff competition to have the biggest, brightest, most appealing thematic sign to attract customers.

This was especially important with touristoriented businesses where consumers had little or no pre-existing knowledge (pre-Yelp) of the quality of an establishment’s meals or overnight accommodations.

Commercial signage changed from neon to less glamorous plastic-backlit illumination and became more standardized in the 1970s.

Across: Blakely Service Station at Roosevelt Street and Central Avenue, 1959. Left: A.J. Bayless Market, 1959. Above: Velda Rose Motel postcard, 1965. Top right: The Diving Lady at the Starlite Motel, 1994.

Arizona Contractor & Community

Although grandfathered neon signs erected before restrictive regulations were allowed to remain in place, they went out of style and were considered dated advertisements. With their fragile glass tubing, neon signs were also expensive to maintain, and they often advertised marginally profitable businesses in challenging neighborhoods. Over time, the few surviving neon signs were further hindered by ordinances that did not allow their temporary removal for repairs.

This was a nationwide problem; but some enlightened (pun intended) communities led a paradigm shift in the perception of historical neon signs. Vintage signs have been restored and relit, thanks to preservation projects such as the Living Urban Museum of Electronic and Neon Signs (LUMENS) in Los Angeles, the National Park Service’s Route 66 Corridor, Save Our Signs in Tennessee, and Historic Landmark Signs in Tucson. The latter city proactively approved a program in 2011 which encourages the maintenance, restoration, and reuse of vintage signs. To increase the public’s awareness of these important pieces of commercial folk art, advocates published Tucson the Neon Pueblo: A Guide to Tucson’s Midcentury Vintage Advertising. Four orphaned Tucson signs have since been refurbished and redisplayed along West Drachman Street in a partnership with Pima Community College.

Phoenix enthusiasts are mimicking the progressive strides Tucson has made in protecting its sign heritage. Alison King, who advocates midcentury architecture through her organization, Modern Phoenix, recently created the volunteer Postwar Architecture task force of Greater Phoenix. The task force promotes, protects, and preserves our midcentury architectural heritage - including signs - so future generations can appreciate the Valley’s exceptional built environment. The group seeks to inspire Phoenix, and the rest of the state, to update their sign ordinances to reflect maintenance necessities and recognize the tourism value of historic signs.

The task force is documenting unique midcentury signs that help communicate the story of businesses and neighborhoods. The inventory includes signs’ condition and threat level and those that are stored with the intention of eventually being redisplayed. This preemptive sign preservation strategy will hopefully allow private advertisements that have become community landmarks, like the Diving Lady, to keep illuminating our common history.

Left: Statgecoach Motel, 4311 E. Van Buren Street, 1951.

Top right: Tucson’s Neon Guide.

Ten

Construction Around Arizona

Images courtesy of author

Top: The crew members of Keystone Concrete Company pouring the 18-inch curb.

Bottom: Workers of the Specialty Roofing Company topping off the 314,384 square-foot warehouse. Continued on page 14.

Twelve

Construction Around Arizona

Ryan Finishing West Phoenix Commercial Projects A

Five Case backhoes from Beecroft LLC carefully place the onsite dry utilities.

Images courtesy of Ryan Companies

t the southeast corner of 67�� Avenue and Interstate 10 in Phoenix, Ryan Companies is completing two separate projects, the Living Spaces Distribution Center and Estrella Vista Commerce Park.

The occupy date is estimated to be mid-February 2014.

The Living Spaces Distribution Center will be located on a 24-acre site and consists of 122,850 squarefeet of showroom area and 314,384 square-feet of warehouse space. The furniture company that has 11 stores in southern California recently expanded to Arizona last summer when it opened up a store in North Scottsdale. The company estimated that the current expansion will bring 150 jobs to the Valley. The Estrella Vista Commerce Park will be located on an adjacent 75-acre site.

Fourteen

Lee Addis

Image courtesy of Dustin Krugel, ADOT Statewide Public Information Officer

Construction Around Arizona

Improvements Started on Arizona Strip Interstate

U

.S. Interstate 15 running between Utah and Nevada cuts through the extreme northwest part of Arizona. This 29-mile section is, however, seldom used by motorists from the Grand Canyon State. The route is a major cross-country transportation corridor servicing annually 1.4 million commercial vehicles. To update the bridges along Interstate 15 in this remote part of the state, known as the Arizona Strip, the Arizona Department of Transportation (ADOT) began improvements on January 6, 2014. Resurfacing and repairs to girders on the southbound lanes are taking place on Bridges Number 2, 3, and 7 (Milepost 13, 15, and 22 respectively). The contractor

Sixteen

for the $2.8 million project is Vastco Inc. Later this spring, ADOT will begin work on a second project completely rebuilding bridge Number 6 (located at Milepost 16).

The work will include widening the roadway and replacing the bridge’s superstructure including girders, deck, and railings. The cost of the project is $27 million, and is largely funded by a U.S. Department of Transportation grant.

The contractors for this project are Pulice Construction from Arizona, and Wadsworth Construction from Utah. The contract was awarded at an ADOT board meeting on January 17, 2014. Until the project is completed in 2015, traffic will be

reduced to one lane in each direction for the duration of the construction work. ADOT urges drivers to plan accordingly, allow extra time during construction, and to slow down in work zones.

The Arizona stretch of Interstate 15 had the highest cost per mile out of any rural freeway in the U.S. when it opened in 1973. The expensive construction is due to the interstate running through the Virgin River Gorge located between St. George, Utah and Littlefield, Arizona.

The windy interstate road crosses the Virgin River several times and is a stunningly beautiful but challenging drive.

The high cost of Interstate 15 construction continues today with

the $29.8 million that ADOT is currently investing in this road. This is in addition to $11.6 million spent in 2012 repaving between Mileposts 13 -29 and $15 million scheduled to be spent repaving between Mileposts 1-13 in 2015. Eventually all eight of the bridges along this 29-mile corridor will need to be rehabilitated to serve the growing volume of traffic with a cost estimated at up to $250 million. For that reason, ADOT has been working closely with Nevada and Utah, along with the Federal Highway Administration, to find funding for the Interstate 15 corridor.

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Construction Around Arizona

Marathoners Protected by Trafficade Team

O

ver 24,000 exhausted distance runners from all over the world had Phoenix-based Trafficade Work Zone Services to thank for a smooth race in the 11th Annual P.F. Chang’s Rock N’ Roll Marathon. The company provided traffic control services for what is described as Arizona’s

largest single urban traffic control event. Trafficade had an exclusive contract with the cities of Phoenix, Scottsdale and Tempe who hosted the January 19th event. The 26.2mile marathon course and the 13.1mile half-marathon course required 42.2 miles of traffic control through

the three cities and also provided traffic control on Loop 202 and I-10.

“It went really well,” according to CEO Jeff Johnson. The company has handled portions of this event for several years now.

Almost 20,000 traffic control devices were set up prior to the

event. It took about 70 trucks and 100 personnel to control the traffic and all equipment was removed within 24 hours after the last contestant crossed the finish line.

Despite the stress of correctly setting up all the traffic control devices, at least the Trafficade team could enjoy local bands and cheerleaders motivating runners along every mile of the course.

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Eighteen

By Eric Jay Toll

W

hoever carries the keys to new buildings at Hardison Downey Construction is probably sighing in relief from all they turned over recently to satisfied clients. The company has completed work on four unique projects in the Valley.

ASU’s Manzanita Hall Hardison Downey Construction finished a $50 million renovation of the 15-story Manzanita Hall, including its famous copper exterior.

The “Manzy” dormitory was originally built in 1967. Although it looks similar on the exterior to the original design, the interior has been completely updated. The firm gutted the building and subsequently rebuilt it into a state-of-the art facility with dormitory rooms for 816 students along with a fitness center, and basketball and volleyball courts.

The refurbished building has been awarded LEED certification.

Designed by Studio Ma with Solomon Cordwell Buenz, Manzanita Hall is owned by American Campus

Communities. The renovated co-ed dormitory will house the College of Liberal Arts and Sciences Residential Community.

Roosevelt Point The mixed-use community built by Hardison Downey Construction is located along Roosevelt Street between 3rd and 4th Streets near downtown Phoenix. Adjacent to the First Friday artist’s hangout, Roosevelt Row, the development features 326 apartments ranging from studio to four bedrooms, in a pair of seven- and eight-story towers. In addition, there are two clubhouses, tanning and fitness facilities, two swimming pools, study lounges, computer labs, and an almost 160,000 square-foot parking garage. The building is owned by Concord Eastridge and EdR; Ayers Saint Gross Architects designed the complex. For more information, see the Summer 2012 issue of ACC magazine, page 11.

Images courtesy of author

Construction Around Arizona

Hardison Downey Completes Quartet of Projects

Phoenix Collegiate Academy High School At 12th Street and Broadway Road in Phoenix, Hardison Downey Construction finished construction of the Phoenix Collegiate Academy High School, a free public charter

school for 5th through 12th graders.

The 20,000 square-foot facility was designed by Steven Brenden Architect and includes classrooms, science and computer labs, a library, student commons area, and administrative space housing staff offices, workrooms, and conference rooms. The school was honored with the 2012 Arizona Charter School of the Year award.

Parsons Center for Health & Wellness The former Channel 12 studios and offices at 1101 North Central Avenue were completely rebuilt to serve the Southwest Center for HIV/AIDS in the Parsons Center for Health & Wellness. The facility operates side-by-side with Maricopa County Integrated Health Services and Avella. The 1950s building has been renovated to include clinic areas, pharmacy, conference rooms. Holly Street Studio designed the project. For more information, see the Fall 2013 issue of ACC magazine, page 18.

Top: Construction of ASU’s Manzanita Hall, 1967. Bottom: Female model displaying a new sign for the new Channel 12 building in the mid 1950s.

Twenty

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T

he Garfield Commons Apartment Homes is a historic preservation/adaptive reuse project in which Adolfson & Peterson Construction (A&P) served as the General Contractor. The structure was originally built in 1960 as a Catholic nursing home called the Little Sisters of the Poor Home for the Aged. The structure had been vacant for 20 years and, after a complete renovation, is now an affordable housing project with half of the units dedicated to U.S. veterans. “The building needed to be completely renewed and modernized, including using the latest energy efficiency techniques and building systems,” says Michael Schroeder, Director of Marketing for A&P. “Additionally, the building is on both the National and State Historic Registers, so careful attention to historic renovation guidelines was imperative. The once dilapidated building is now a rejuvenated Phoenix property benefiting the community.”

The renovation work, which cost $8.6 million, took a little over a year, running from November 2012 to December 2013. Desco Arizona Affordable Housing is the developer, Biltform Architecture designed the renovation, and Butler Housing Company is the broker. Major subcontractors included Haydon Electric, CHS Plumbing, KC Air Conditioning, Pete King Drywall, Brienholt Contracting, and America Roofing.

The Garfield Commons Apartment Homes project consists of 100 affordable residential units.

After construction began, Desco Arizona Affordable Housing dedicated half of the units to U.S. veterans in the local community. The development team worked closely with the State of Arizona’s

Twenty two

Department of Housing and Department of Veteran’s Services to ensure a positive and safe housing atmosphere. The units dedicated to former military personnel will serve younger, male and female veterans to improve their quality of life. The remainder of the units will serve local populations with special needs to provide nice housing.

Schroeder indicated the most difficult aspect of the adaptive reuse project was to overcome three distinct challenges: ● creative financing through the use of tax credits, ● meeting the strict State historic renovation sustainability requirements, ● re-purposing a dilapidated building that had been vacant for more than 20 years.

Butler Housing led the historic registration efforts, helping the property become one of the youngest buildings on both National

and Arizona Registers of Historic Places. This assignation triggered additional critical and complex financial structuring. Through efforts in developing this highly complex project, once again Garfield Commons Apartment Homes is positively impacting the neighborhood.

“The heart of the project is the chapel, with both religious and spiritual aspects,” Schroeder says.

“We made sure that nothing detracted from the property’s focal point, creating an inviting environment for various activities to draw people to this special space.

A&P worked with the entire team to re-use existing building materials as much as possible, keeping material costs low and maintaining the property’s integrity.”

The Garfield Commons Apartment Homes project successfully combines historic renovation with modern technologies, including sustainable and energy efficient components.

One interesting energy efficiency aspect of this project is the roof renovation. Due to the historic renovation and tax credit regulations, A&P had to meet strict construction guidelines, including re-using as many of the original materials as possible. The original roof tile was Ludowici tile, a terrazzo tile which is no longer manufactured, and there is only one known crate of tile remaining in existence. A&P worked with a specialty roof subcontractor, America Roofing, for roof repair, renovation, and preservation.

“We worked on the roof in sections, where we removed each tile by hand, stored the tiles in a protected location, repaired and renovated the roof structure, and then re-tiled the roof by hand with the original tile,” Schroeder says.

“An impressive aspect of the roof repairs is that we were able to salvage 90 percent of the original tile, keeping the material costs as low as possible while meeting historic renovation guidelines.”

Top: Recently completed Garfield Commons Apartment Homes.

Bottom: Construction of Little Sisters of the Poor Home for the Aged by P. W. Womack, 1960.

Images courtesy of author

Construction Around Arizona

Vets Benefit from A&P Building Renovation

Industry Highlights Underground Organization: AZUCA a specialized group of businesses.

Changes with the Times.

Over the years those needs will change along with the services the Trade associations are formed association offers to its members. As with the intent to serve the needs of recently as 1975, things were much

different for the construction industry in Arizona including client interaction, business practices, and meeting regulations.

From our inception and through our name changes as the Underground Contractors Association of Arizona in 1975, to the Utility and Transportation Contractors Association of Arizona in 1995, to the National Utility Contractors Association of Arizona in 2002 and now the Arizona Utility Contractors Association, it is our goal to continue to progress and be a valuable resource for the utility contracting community in Arizona.

For current listings of training and events that affects the Arizona utility industry, we invite you to visit our website at www.wedigaz.org.

AZBIZCON: Southern AZ Largest Construction Expo.

The Alliance of Construction Trades (ACT) will sponsor the seventh annual Southern Arizona’s Largest Construction and Business Expo (AZBIZCON) on May 21, 2014 at the Hotel Tucson from 2:00 PM to 6:00 PM. The Expo features outside displays of heavy equipment, trucks,

vans, cranes, forklifts, rental equipment companies, etc. and inside over 100 exhibitors showcasing materials suppliers, bidding technology, lien & bonding companies, banking organizations, marketing strategists, telecommunication equipment, and much more.

Jim Kuliesh, President and CEO of ACT, said AZBIZCON is open to all firms in the construction industry and commercial business owners and developers seeking to locate specialty contractors, business services, material and equipment suppliers.

For exhibitor or attendee information go to www.azbizcon.com or www.actaz.net call ACT at 520-6243002 or email subs@actaz.net.

1999, has been in the commercial building industry since 1981. As a native Tucsonan he has always been an active member of the community.

He has served as Director of the Big Brothers/Big Sisters Association, been a member of BOMA and has ABA welcomes Rob Caylor as the served on the Board of Directors for Tucson Country Club. He has been 2014 President. an active member on the ABA's The Arizona Builders’ Alliance, Board of Directors since 2008 and a a statewide construction trade member of the ABA since 2003. association, formed as an alliance of the Associated Builders & Contractors (ABC) welcomed Rob Caylor as the 2014 ABA President.

Rob Caylor, President of Robert Caylor Construction Company since

Gravel Guru: the William Fisher Story by: J.J.M. Czep

T

here are few in the Arizona construction field who do not know the name Eugene “Gene” William Fisher and speak fondly of him. He is a celebrity among contractors. Born on December 26, 1928 in Dickinson, North Dakota, the man said to have nine lives lost his battle with cancer on December 17, 2013 at the age of 84.

Fisher left behind a grand legacy. In a recent interview, Fisher’s family told of his hardworking ideals, his family business, his daring approaches to construction, and more than one close scrape with death.

He began his career in the construction business at the tender age of ten by driving the first trucks for Fisher Sand & Gravel. Seeing such

a young boy piloting these beasts was a harbinger of things to come. Fisher’s love of gravel continued throughout his lifetime, as he excavated over 850 gravel pits in his career.

Mining gravel, however, was not his only contribution to construction. Despite his modest high school education, Fisher possessed an ability to invent equipment, surpassing more formally educated engineers.

Fisher sought out ever more economical and innovative means of mining and preparing rock for construction; the Fisher Air Separator is just one example. Offering a solution to a limited water supply and as an alternative means of aggregate separation that create more pollution, the Fisher Air Separator has been used in seven countries. This reverse cyclone system forces air to spin dry and separate different grain sizes of gravel. This process results in a limited waste of water and more readily captures fine grains. That this celebrated piece of machinery was devised by a man whose first love was gravel and construction is no wonder.

Fisher, however, did not stop after inventing the air separator funnel. In the late 1960s he also devised an ingenious system of stackable

conveyors. Though more expensive to build, Fisher’s boxed-in conveyor systems surpassed other methods in time and in ease of transport.

The erector set-like systems allowed miners to easily move from one location to another.

Fisher proudly served our country in the U.S. Army during the Korean Conflict from 1951-1953.

Even in the darkness of war, Fisher’s mind was alight with ideas to make the job less difficult.

When large flat-bed trucks were the only option for hauling men and supplies through rough terrain, Gene considered the problems and devised a solution. Fisher used castoff shipping containers to create walls on the sides of the trucks to prevent soldiers and supplies from falling off. This simple bit of ingenuity earned Fisher military honors.

the shore in his clothing. He elected to strip to his skivvies for the journey to dry land. One can only image his wife, Sheila’s, response to her dirty, water-logged, pant-less husband arriving home on Easter Sunday.

Fisher’s passion was gravel, but he loved his family and co-workers. With great pride, the Fisher family has grown professionally and personally over the years. Children have grown up in the company and employees bring in new generations of workers. Fisher’s heart and soul drove the business to where it is today. He was a firm but fair man in his relationships. In closing, Fisher’s personality can be summed up in one of his famous sayings. “I don’t know why people think I work so hard. I only ask anyone to put in half-a-day’s work. There are 24 hours in a day, I only ask for 12.”

Images courtesy of Fisher Industries

Always dreaming up new ideas, Fisher often outwitted more highly educated engineers and planners to earn business for his company. When faced with a problem, such as how to safely build-up a levee, and stay within stringent government restrictions, Fisher applied his conveyor system yet again. Placing an excavator on the bottom of the levee trench and mounting a conveyor to the top allowed additions to be filled in levels. This system allowed not only for easier construction, but ensured worker safety by never lowering anyone to the levee floor.

The safety of co-workers was always imperative in Fisher’s mind, though some might say he forgot to include himself in this careful planning. In his early years working in the gravel

pits, Fisher worked as hard as any adult on the team. On an occasion when he was alone in the yard shoveling gravel, a pile shifted, burying the young Fisher to his neck in rock. Every time he wiggled, he got buried deeper in the gravel and he was forced to wait for rescue.

On another occasion many years later, Fisher worked a few extra hours on a quiet Easter morning. Driving a heavy tractor across a narrow drive between a pair of wash ditches, he lost traction. Slipping over the edge into the ditch, the machine sank to the bottom with Fisher inside. Allowing the water to slowly fill the cab was the only way to equalize the pressure to open the door and escape. Biding his time, Fisher finally pushed open the door and swam to the surface. Standing atop the cab though, he was still thigh deep in wash water. Exhausted and feeling his years, Fisher felt he could not swim to

Jennifer Giralo

L

anguage influences culture more than we acknowledge. Sustainability has become a huge buzzword impacting almost every business, school, and nonprofit. Everyone is looking for ways to become more socially and economically responsible. There are numerous tips available to lower your power bill or instructions on how to make your own household cleaning supplies, but sustainability is more of a lifestyle than a buzzword. My recent tour of Arcosanti, located 70 miles north of Phoenix just off Interstate 17, reflected this reality.

Arcosanti is an experimental community located near Cordes Junction along the Agua Fria River that was started in 1970 by the late ItalianAmerican architect and visionary Paolo Soleri.

The community’s goal is to reuse resources while minimizing the use of land, raw materials, and energy. Fifteen acres are used for housing and employment needs while 860 acres are used for gardening, orchards, and natural areas. Arcosanti hosts over 35,000 tourists per year according to its website and is projected to expand to 5,000 residents. The community, however, has grown

Images courtesy of Jennifer Giralo

Arcosanti: Arizona’s Cutting-Edge Community

only modestly in 45 years and has a population of around 100 people, primarily students and volunteers.

The community’s basis is arcology, a mixture of architecture and ecology that was devised by Soleri. Arcosanti serves as a laboratory investigating sustainable designs for mechanical, electrical, and plumbing systems. For example, its ecologically-aware architecture creates passive solar designs that minimize cooling and heating requirements. It’s also a minimal-use sustainable community that attempts to create what it needs and uses these objects to their full-potential. When an object’s lifecycle is seen full-circle, it becomes more valuable and isn’t simply tossed out with the garbage. Such minimalistic living has been correlated with a happier, more simple life.

Though Arcosanti is an extreme example of a reduced carbon footprint, the project also aims to utilize land in a way that creates a renewed sense of community. Soleri believed that severe urban sprawl was a cause of poverty, crime, and detrimental environmental effects. By having integrated community life, Soleri hoped to build social connections, minimize ecological destruction, and become less automobile dependent. Ironically, this sustainable community is located just outside of Phoenix, a metropolitan area characterized by urban sprawl that could benefit from new ways of development pioneered at Arcosanti.

I had studied sustainability, I recycled, and I even brought those large totes to the grocery store to save a plastic bag or two. Living sustainability is a completely different atmosphere, however, and you could feel it at Arcosanti. Though it is not practical to adopt all of their ideologies immediately, Arcosanti gives us hope that maybe we can rethink the three R’s: reduce, reuse, and redesign. For more information on workshops and tours, see www.arcosanti.org

Arizona Contractor & Community

Arizona’s New Double-Barrel War Memorial: An Interview with Secretary of State Ken Bennett William Horner

A

CC: How did you locate the guns from the USS Arizona and the USS Missouri for the memorial?

Bennett: The whole thing started with a gentleman who worked in the House of Representatives when I was a state senator. John Thomas is an attorney and a fellow World War II history buff. About three years ago John came to my office after he ran across an article about the one remaining gun barrel still in the Navy's possession from the battleship, USS Arizona [BB-39]. The gun barrel was not on the battleship at the time it was sunk at Pearl Harbor, those were all gone. Eight barrels are still on the sunken ship. The aft four were actually used as coastal gun batteries on the western shore of Oahu, but were later cut up and melted down.

The barrel we acquired was taken off the ship

Thirty

before the USS Arizona was sunk.

ACC: Why did the Navy take the gun barrel off the USS Arizona?

Bennett: The Navy rotated the gun barrels periodically after so many shells had been shot.

Inside, there is a re-filed inner lining that would deteriorate and actually start to protrude out of the barrel. At the Guns to Salute the Fallen Memorial you can see how the inner lining has a re-filing pattern that sticks out about 1/2 inch from the barrel. The gun barrel was being relined in 1941 when the USS Arizona was sunk. The Navy subsequently mounted it on another battleship, USS Nevada that was used at the D-Day invasion in 1944. In 1946, after salvaging the gun barrels, the USS Nevada was used in the atomic bomb testing at Bikini Atoll [and was later sunk during naval gunfire practice in 1948.]

ACC: So where had the barrel been all this time?

Bennett: The barrel had probably been sitting in northern Virginia for 60 years out in a grass field rusting away until John Thomas learned about it.

So John asked me to take the lead on seeing if we could obtain it from the Navy. I called the Navy, which is a major chore in itself trying to figure out who to talk with. We finally contacted the Director of the Department of Inactive Ships. I introduced myself and said that I hear you have the one remaining gun barrel from the USS Arizona. Would you loan it or give it to us? We've got one of the anchors and the signal mast from the battleship. We'll put the gun barrel next to them. We would later find out that an effort was made 20 or 30 years ago to obtain this gun barrel. In fact, John McCain was involved in that attempt.

Japanese surrendered on September 2, 1945.

The latter was barrel #387, in gun turret #2. I said that we'll restore them both and we'll put them out here as the ‘Bookends of the War.’ He liked that idea and responded, ‘Ooh, you're thinking big now, I like big thinking. I think I can make this happen!’ Those were his exact words.

So I don't know if McCain and the group that tried 20 years ago were just asking for too little.

Of course I joke that ‘Now we know why the federal government has a $17 trillion national debt. Because if you ask for one of something, the answer's no, but if you ask for two, we can do that!’ So, that started the process. We signed some documents saying that we'd take good care of the gun barrels and clean them up. Then we started raising money to pay a company to

Images courtesy of Scott Cancelosi

ACC: The same gun barrel?

Bennett: Yes, and for whatever reason that effort was not successful 20 years ago. But this time we caught the guy [Robin Staton], I don't know, well actually it's kind of a cute story. I said ‘Would you give us this barrel, or loan it to us or whatever?’ He responded that he wasn’t sure if he wanted to get rid of the Navy’s last USS Arizona barrel, that's pretty special you know.

Instead he offered one of the seven they had from the battleship USS Missouri [BB-63]. And I reminded him that I was calling from Arizona, and then somehow the thought occurred to me to ask him for both barrels representing the beginning and the end of the war. The last barrel from the USS Arizona would represent the Pearl Harbor attack [and the start of the war] and a barrel from the USS Missouri on which the

Right: Ken Bennett takes a turn at operating the crane.

Arizona Contractor & Community

pick them up. One barrel [from the USS Arizona] was in a base called Dahlgren Naval Support Facility [near Dahlgren, Virginia] and another one [from the USS Missouri] was in a place called St. Julien's Creek Naval Annex [near Portsmouth, Virginia]. So we hired Lockwood Transportation to load them on big long trucks.

ACC: There were no taxes used for this, it was all donations?

Bennett: Yes, all private contributions. And it’s bizarre the kinds of donations that started happening. The BNSF [Burlington Northern Santa Fe] Railroad agreed to bring them across the country for free. That was probably a $45,000 invoice that they contributed. BNSF brought them in on a brand new locomotive pulling a couple flat beds. We had a little ceremony out here west of the capitol at which several hundred people showed up.

ACC: That was in April?

Bennett: April 11th or 12th. All these veterans attended, so I go out to introduce myself to some of them and one guy, Jack Brock, tells me, ‘Well, I have some history with this barrel. I was a young sailor on the Missouri the day the Japanese came on to surrender.’ I said ‘That is amazing!’ Brock responded, ‘No, it gets even better. I was a gunner's mate in gun turret #2. I have fired that barrel a thousand times.’ Brock lives in Lake Havasu or Bullhead City or something like that, and he had heard that the barrels were going to be pulling into town that day and so he showed up.

ACC: How bizarre is that?

Bennett: Isn't that something!?

ACC: How did these guys hear about the project?

Bennett: I started talking to every VFW and American Legion group I could. The word spread around the state that we were working on this World War II memorial. The Arizona Department of Veteran Services has a fund from private contributions and helped us out at the beginning to come up with the first $200,000. This was used to pay the company back East to transport the gun barrels to the BNSF railcars.

ACC: How did you get the word out to the local contractors for donations to the project?

Bennett: We just started calling a few of them.

And then other companies would call us including Empire Hauling, Precision Heavy Haul, all of the companies that are listed in the program. One of the big things that really got us going was the Phoenix Rotary 100. My media consulting guy here in the Secretary's office is a member. They were celebrating their 100th year as a club. So he invited me to speak to them about two years ago. I talked about the project and there were several former military guys in the club. They were looking for some projects to participate in to be a part of their centennial celebration and they embraced the project, helping us raise $100,000. They also connected us with a club member who is a professional fund raiser and a local retired general, Dave Woellner. General Woellner was a B-17 pilot who was shot down

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Mobile sandblasting unit set up to help with the restoration of the gun barrels.

Images courtesy of Scott Cancelosi

over Germany and survived in a POW camp for two years. Now he is retired here in Arizona. He got all fired up about the project and would go around to veterans groups with me and talk it up.

We raised probably $700,000 in either cash or in kind contributions. I would speak at a club and some guy would be sitting in the audience would say, ‘Oh I have a landscaping company, I want to do the landscaping’ and...

ACC: Really?

Bennett: Yes, it just spread like wildfire.

ACC: What about any major obstacles with the city?

Bennett: No, the City of Phoenix embraced the project as did the Department of Public Safety.

Frankly, the biggest obstacles were with our own state agencies that are in charge of the mall area.

They wanted proof of insurance for all these groups that wanted to work for us for free.

ACC: Big government got in the way, didn't it?

Bennett: Yes, so it was a little disappointing that our biggest obstacles were internal to the state.

Other state agencies have certain ways of doing things.

ACC: Have you ever visited the Pearl Harbor Memorial in Hawaii?

Bennett: Oh sure, I visited the USS Arizona as a teenage boy and again with my wife about three weeks before the December 7th ceremony. I had some meetings in Hawaii and we went by Pearl Harbor and were able to see the USS Arizona Memorial again and we also toured the USS

Missouri.

ACC: Does the state have any future plans for additional World War II displays?

Bennett: Not that I know of.

ACC: You have to get a B-17 in here!

Bennett: [Laughs] Well, you need to go out and look at the memorial when you're finished. This is kind of important. As we got to working on putting a gun barrel in between where the anchor and signal mast already were, we discovered that there's an official memorial in [Wesley Bolin Memorial] plaza for every other U.S. war except World War II. We think that happened because

when they got an anchor 40 years ago and the signal mast 20 years ago and placed those two artifacts in the plaza, people thought it was our World War II memorial. But it was never really acknowledged as a World War II memorial. So the architect that was working with us to display the barrels came up with a wonderful idea.

ACC: Do you have the architect’s name?

Bennett: The architect, Rich Pawelco, is with the DLR Group. He thought that instead of just displaying the two gun barrels, to move them 405 inches apart with each inch representing 1,000 American lives lost in the war. You'll see a white

sidewalk out of one inch granite bricks laid on edge. And then in between the gun barrels, he suggested constructing nine steel pillars [representing the nine minutes it took the USS Arizona to sink] that come out of the ground and bow out of the top, like the hull of a ship. And on the sides of those nine blue pillars, hang a stainless steel name plate for each of the almost 2,000 Arizonans who were killed in the war. In the sunlight when the wind blows, it appears like slight waves in water. It's just gorgeous.

ACC: Wow! Bennett: And so, what kind of started out as a

Images courtesy of Scott Cancelosi

simple project was finally dedicated on December 7th, 2013. There are only nine survivors still living from the USS Arizona and we had three of them here for the ceremony.

ACC: So John Thomas was the catalyst and you were the driving force in the project?

Bennett: Yes, I guess so. It was John's idea to see if we could acquire the barrel. DLR’s architects came up with the idea to “honor the fallen,” so it kind of turned into what we now call "Guns to Salute the Fallen." So that's the name of the memorial. Instead of just displaying the gun barrels, we used them to honor the men and

women who were killed in World War II from Arizona.

ACC: Anything else you'd like to add about the project?

Bennett: It was one of the most enjoyable things that I've ever worked on in my whole life but it probably drove my staff crazy.

ACC: Did you get to play your guitar during the project?

Bennett: A lot of times when I visited the VFWs, American Legions, and the Veteran’s Hall of Fame ceremony that we have each year in the state, I performed a patriotic tune called "Morning

Breaks on Arlington." It is a poem written by U.S. Senator Warren Hatch from Utah decades ago in honor of his brother who was killed in World War II. Years later, a friend of Warren’s who was in the music business made a song out of it. I heard it on a CD that my sister gave me for my birthday five or ten years ago and learned it. I didn't do anything musically at the dedication ceremony on December 7th though.

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Everything Has Meaning: Design Elements of Arizona’s New World War II Memorial Rich Pawelko, DLR Group

 The overall length of the USS Arizona (600 feet) is represented from the anchor to a flagpole denoting its stern and flying the ship’s flag. A limestone marker at the base of the flagpole commemorates the ship’s stern.  The overall length of the USS Missouri (872.2 feet) is represented from the anchor to a flagpole denoting its stern and flying the ship’s coat of arms. A limestone marker at

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











the base of the flagpole commemorates the ship’s stern.

The 14-inch gun barrel from the USS Arizona represents the beginning of World War II, the front bookend.

The 16-inch gun barrel from the USS Missouri represents the end of World War II, the back bookend.

The articulation of steel pylons symbolically represents the silhouette outline of the structural support profile for the USS Arizona. These steel pylons provide the sculptural framework for the nine individual commemoratives comprising the memorial.

The west end commemorative denotes significant facts about the USS Arizona and the beginning of World War II. On the opposite side, the financial benefactors are recognized.

The east end commemorative denotes the significant facts about the USS Missouri and the end of World War II. On the opposite side, the financial benefactors are recognized.

The seven remaining commemoratives honor the 1,902 men and women from Arizona who lost their lives during World War II. Their names are inscribed on stainless steel, dog tag placards and are arranged by either the battles fought during the war or by county of the fallen warriors.

They are freely suspended to allow for

movement by the wind, creating glistening and rippling reflections of light.  The nine commemoratives (representing the minutes it took the USS Arizona to sink) are placed on a black granite platform.  A limestone horizontal marker connects the two canyons, 417 inches in length and divided into one-inch increments. Each inch marker represents the loss of 1000 lives and signifies the 417,000 soldiers who died during World War II. The color and material palette is simple, yet symbolic to historic events. The Mediterranean Blue color matched the exterior color scheme of the USS Arizona. The stainless steel name placards are akin to the stainless steel dog tags military personnel wore for identification. The granite base signifies strength and elegance accorded to this memorial. The limestone is a contrast to the granite signifying the lives lost.

We have honored the fallen men and women with this World War II memorial for generations to come.

Images courtesy of Scott Cancelosi

W

orld War II began with an attack on Pearl Harbor and ended in Tokyo Bay. The two most striking reminders of these historic moments in time are the sinking of the USS Arizona and the Japanese surrender aboard the USS Missouri. As a tribute to fallen Arizonans of World War II, gun barrels from both of these battleships were placed in Wesley Bolin Memorial Plaza near the existing USS Arizona’s anchor and mast as a dedicated memorial for the war.

A 14-inch gun barrel from the USS Arizona and a 16-inch barrel from the USS Missouri will serve as two visible bookends between the memorial tributes which honor the 1,902 fallen Arizona men and women. This memorial will encourage the public to reflect and admire the strength, courage and the cost of human lives it took to defend our nation during World War II. The Guns to Salute the Fallen Memorial contains the following design elements:

A, B, C, D & E

G

F

Images courtesy of The DLR Group

H

A - USS ARIZONA AND USS MISSOURI CANNON’S B - (9) 12’ TALL MONUMENT PIERS C - BLACK GRANITE BASE AT CANNONS AND PIERS D - 417” LONG LIMESTONE PATH

F - MONUMENT MARKER INDICATING THE BOW OF THE USS ARIZONA AND MISSOURI G - 20’ TALL FLAG POLE 608’ FROM POINT F INDICATING THE STERN OF THE USS ARIZONA H - 15’ TALL FLAG POLE 887’ FROM POINT F INDICATING THE STERN OF THE USS MISSOURI

First National Bank at the Downtown Phoenix Branch receives a ship bell from the USS Arizona. Transported from the State Fair Grounds by the Air National Guard, 1964.

Ringing True: Bells from the USS Arizona

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Images courtesy of author

fter the battleship USS Arizona (BB-39) was completed at the Brooklyn Navy Yard in 1916, the ship was outfitted with two identical bronze bells cast that year by E.A. Williams & Son of Jersey City, New Jersey. The bells had a 34-inch diameter and weighed 1,252 pounds. One bell was mounted on the foremast, and the other on the mainmast. The principal function of these bells was as a navigational aid when the ship was at anchor in fog or when it was aground. The bells also marked the passage of time, signaled an alarm, and were for ceremonial use.

In late-1940, while the USS Arizona was in overhaul at Puget Sound Navy Yard at Bremerton, Washington, the bell on the foremast was removed to lighten the ship. After the battleship was sunk on December 7, 1941, the remaining bell on the mainmast was salvaged when the mainmast was removed in August 1942.

The bell from the foremast that was in storage at Puget Sound Navy Yard was moved to Tucson and loaned to the University of Arizona in July 1946. The bell was eventually placed in the clock tower of the Student Memorial Center.

The ship’s second bell was relocated to a naval storage yard in Norfolk, Virginia. The bell was subsequently exhibited at the Arizona State Fairgrounds in Phoenix in 1954 for several years.

Later, it was displayed at the First National Bank of Phoenix (now part of the ASU downtown campus at 411 North Central Avenue) in the bank’s Arizona History Room. In 1965, the bell was returned to Pearl Harbor and, on Memorial Day 1966, it was officially unveiled at the USS Arizona Memorial. To protect the bell from the elements, it was redisplayed inside the USS Arizona Memorial Visitor Center in 1993.

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Reconstructing the Past: The Preservation of Heritage Square Douglas Towne

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s evidenced by the 5,000 undead souls that congregate there every Halloween, Heritage Square is full of life. The urban park that preserves ten mostly Territorial-era buildings in downtown Phoenix and is renowned for its staid, Victorian ambiance has a wicked alter ego. Heritage Square lets loose its wild side by hosting hip festivals, the most popular of which is the apocalyptic Zombie Walk, whose participants leave a trail of fake blood and indelible memories in their wake. And there’s nothing demure either about the fare offered in the square’s restaurants that are located in century-old bungalows and even a former machine shop. Gourmands habitually return to this downtown dining destination to savor tea and artful Japanese delicacies at Nobuo at Teeter House, the conviviality of the British pub, the Rose & Crown, and the wood-roasted charms of Pizzeria Bianco which serves the nation’s best pizza according to Bon Appetite and Vogue.

The park was originally conceived in the early

1970s to preserve the Rosson House, the city’s iconic Victorian mansion turned museum. The grand painted lady remains the centerpiece of Heritage Square, but the park’s vision was expanded to save seven adjacent properties and move two period structures onsite. The preservation of these stately structures was hardly traditional, however. The last intact block of the original Phoenix townsite platted in 1870 survived largely because of in-kind materials and services provided by local construction companies and one mayor’s advocacy and political connections. President Nixon and the Paris Peace negotiations that ended America’s involvement in the Vietnam War are even part of the Heritage Square legacy.

Politics and the Rosson House were intertwined from the start. Dr. Roland Lee Rosson, an assistant surgeon with the U.S. Army, moved to the Arizona Territory in 1875. After leaving the military in 1879, he married Flora Murray and they purchased Block 14 of the original Phoenix townsite from her sister, Margaret A. Richardson. In 1895 the couple had an Eastlake-Queen Anne Style Victorian mansion

built, then one of the city’s most luxurious homes. Designed by noted architect, A.P. Petit, the home’s architecture included an Asian moon gate, Italianate hooded windows, and a French octagonal tower.

“The impressive Victorian mansion undoubtedly aided the political career of Dr. Rosson, who became the 11th mayor of Phoenix in 1895,” Donna Reiner, President of the Rosson House-Heritage Square Board of Directors says.

“The house featured conveniences that were rare for the time, including electrical lights, cold and hot water, an upstairs bathroom, and a telephone. One of its most unique features is a speaking tube to communicate between floors.

Blowing into it causes a whistling sound signaling the opposite floor that someone is calling.”

The mansion apparently caused financial difficulties for the Rossons, as they owned the house for only two years. During this period, they rented the Rosson House for two winters to Whitelaw Reid, the longtime editor of the New York Tribune and the 1892 Republican vice presidential nominee. Reid temporarily moved to Phoenix to help alleviate his respiratory

Historic Heritage Square in the early 1980s. The Rosson House Museum is in the foreground with the Lath House behind it and the Burgess Carriage House to the right.

Richard Nixon Appearance with Barry Goldwater at the Trunk N Tusk Club, 1968.

problems and his correspondence from this period provides details of the home’s original layout.

Three families, the Goldbergs, Higleys, and Gammels, successively owned and remodeled the Rosson House. By the late 1940s, however, downtown Phoenix was becoming a less desirable neighborhood for upscale residences so the single-family dwelling was subdivided into multiple rooms to rent. Over the years, the home further declined from a respectable boarding house to a flophouse frequented by nearby skid row itinerants. An urban renewal initiative proposed in the early 1970s sought to raze the neighborhood to create a parking lot for the new Phoenix Convention Center. The plan was abandoned though, helped by the Rosson House’s listing on the National Register of Historic Places in 1971, and Mayor John Driggs’ support of the historical property. The shabby and deteriorating Victorian mansion was spared.

“As a youth, every Sunday I walked by the Rosson House on my way to worship at the adjacent Phoenix First Ward Church of Jesus Christ of Latter-day Saints,” John Driggs, the 86-year-old former Phoenix mayor says. “During my time as mayor, I would drive by the beautiful, but dilapidated, Victorian residence and think that we needed to save it. I moved forward with my vision without realizing the far-reaching factors that would come into play.”

“I was approached by President Richard Nixon’s White House to aid in their negotiations with the North Vietnamese delegation in Paris,” Driggs recalls. “Peace talks had bogged down during the early 1970s and one barrier to progress was considered to be that the U.S. Conference of Mayors had adopted an official anti-war position in 1971. Because of this stance, the President’s negotiators thought the North Vietnamese assumed the American public was also overwhelmingly anti-war because the

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mayors were considered the closest elected officials to the people.”

“President Nixon’s chief deputy, John Erlichman, contacted me asking if I would try to change the mayors’ position on the Vietnam War because I was one of the few Republican big city mayors,” Driggs says. “At our 1972 conference in New Orleans, I put forth the Driggs Resolution unsure of its outcome. When I asked if there were any comments on the resolution, Mayor Richard Daley of Chicago rose to his feet. He was a very influential person but rarely spoke publicly.”

“In the name of God, stand behind the President,” a red-faced Daley said according to an Associated Press wire account. “No one would work harder against a Republican president than me. But maybe I’m old-fashioned or behind the times. The question is whether we are going to stand behind the President in foreign affairs,” Daley concluded. The Driggs Resolution was subsequently approved.

The City of Phoenix was eventually able to acquire the Rosson House using a $200,000 Housing and Urban Development (HUD) grant in

Below left: Aerial view looking north of Historic Heritage Square, 1981.

Below right: Former Phoenix Mayor John Driggs poses in front of the restored Rosson House, late-1970s.

Discover Historic Heritage Square in a New Book Local authors share the story of the urban park that preserved the last intact residential block of Phoenix’s original townsite New to Arcadia Publishing’s admired Images of America series is Historic Heritage Square from local authors Donna Reiner, PhD, John Jacquemart, and Douglas Towne. ● Includes rare images, many of which appear courtesy of the Rosson House-Heritage Square Foundation and Guild. ● Documents the intriguing connection between the park’s preservation and the Paris Peace talks that led to America’s withdrawal from the Vietnam War. ● The Introduction is by former Phoenix Mayor John Driggs who was the driving force behind the park’s creation.

Available at area bookstores, independent retailers, and online retailers, or through Arcadia Publishing at 888-313-2665.

Below: The Burgess Carriage House travels east on Monroe Street en route from 130 East Taylor Street to its new home at Heritage Square. In the background is the Hyatt Regency Hotel.

Bottom right: Restoration work on the StevensHaustgen House which is currently part of the park’s Hands-On Heritage House.

O'Brien (from San Francisco), Gardner Denver Company, Hinkley Lighting, J.B. Rogers Air Conditioning, J.H. Welsh Plumbing, J.H. Welsh & Son Contracting, M.F. Thomas Painting, M.M. Sundt, National Paint, Nelson-Holland, O'Malley Glass & Millwork, Ora Hopper & Son, Papago Plating Company, Pete King Corporation, Phil Stone Building Products, Pioneer Paint & Varnish Company, Porter Construction, Riddle Painting, Safeguard Security System, Service Supply Company, Southwest Forest Industries, Speros Construction, Standard Glass, Superior Metal Products, Truly Nolen Exterminating, Universal Roofer & Builders, Inc., and William Insulation.

Heritage Square opened in May 1980 after four years of refurbishing the historic buildings and the construction of the adjacent, open-air Lath House designed by Frankeburger. The park expanded in 1996 with the addition of the Arizona Science Center and the former Phoenix Museum of History, and was renamed Heritage and Science Park.

Juxtaposed against a backdrop of the city’s modern skyline, the square’s Victorian ambiance provides a unique urban setting where the past and present ignite imagination. “Heritage Square is fine-spun and funky, traditional and trendy,” Michelle Reid, Executive Director of the Rosson House Museum says. “The combination of heritage and science and rustic restaurants, neatly wrapped in a turn-of-the century framework, creates a masterpiece for visitors in downtown Phoenix. Everyone comes away with a different reason to appreciate the park.”

Images courtesy of author

1974. “For the dedication of the nearby Phoenix Civic Plaza in 1974, Samuel Mardian, Jr. [the former Phoenix mayor who served from 19601964] suggested we should invite President Nixon,” Driggs recalls. “The President however, sent his daughter, Julie Nixon Eisenhower to represent him. Mardian, who claims that the Driggs Resolution was the real reason the city got the HUD grant, told me Nixon had said to him, ‘I’ll do something else for Mayor Driggs by making sure he gets the HUD grant.’”

“Of the HUD funds, we used $20,000 for condemnation of the Rosson House lot and $180,000 to relocate the 19 people who were living in the home,” Driggs says. “The other parcels [that would become part of Heritage Square] were acquired using Community Development Block Grant funds until the city owned the entire block.” Architect Robert Frankeberger became the chief advisor to the park which was named Heritage Square.

Rehabilitating the park’s aging structures began in 1976 with materials and services largely donated by local companies and construction firms. The Rosson House, in particular, had been considerably altered by unsympathetic renovations. The partial list of firms that worked on the square include: Action Scaffolding, American Fence, Angels Hardware, Arizona Sash, B.J. Jarrett Hardware Company, Blakely Lumber, Camelback Contractors, Cannon & Wendt Electric, Capitol Lumber, Climate Control, Inc., Deer-O Paints, Entz-White, Frank Walters Painting, Fred Kueffner Construction, Fuller

Arizona Contractor & Community

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In It For the Long Haul: A-Arid State House Movers

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Roberta Graham

-Arid State House Movers & Enterprises, Inc. has been a family business for 60 years. Three generations of the Dean family have moved structures along highways, up hills, and through cities in Arizona long after most of their competitors left the business. The Deans have moved more than a few historic buildings, including the Thomas House, now at Heritage Square, from its original location at 1�� Avenue and Sherman Street in 1985.

Roy Dean Jr., took over from his late father, Roy Sr., who started out as a machinist serving the cotton growers in Buckeye in 1947. Working out of a Quonset hut and open shed adjacent to the family home on a 30-acre parcel, the elder Mr. Dean tended to cotton gins and farm equipment in the southwest Valley.

In 1953, one of Dean’s customers asked him if he could figure out a way to relocate a small building on his farm. Roy Sr. used telephone poles and a tractor to drag the structure to its new site. Soon word got out that Roy Dean could move buildings, and the work flooded in.

Roy Dean Jr. recounted the early days during a recent interview at his family home and business center in Buckeye:

A-Arid Company under the license of the Hugh Hager House Movers Company, early 1960s.

Standing L-R: Roy Dean Sr., Clay, Calvin Kembro, and Ron Eshenbaugh.

The truck shown here was a 1943 Sterling originally a tank receiver truck during WW2.

This particular truck has a 1090 cu. In. gasoline motor and is still in use today.

Well, that was his first house moving job, and of course, I grew up in it. When I was 12 years old, in the summer when I got out of school, he’d send me out on a house moving crew. I drove back flag. You used to always have to have an escort in front and back. They would put me in the back flag car with a flag out the window.

I’d drive the tool truck, and I was only 12.

A lot of times we were out of town in Tucson or Yuma or someplace and they’d take a pillow out of the motel and put it in that truck so I could sit up higher, so I would look taller because I was a little short guy. The foreman on the job would tell me, “Now if a cop stops us don’t get out of the truck. Just stay back there because he’ll come and talk to me.”

Image courtesy of author

Arizona Contractor & Community

Backside of 930 East Coronado Phoenix, 1966.

I drove sometimes 100 miles. We’d pull houses back in them days and we’d pull them 100’s of miles. We pulled a whole bunch of buildings from Davis Monthan Air Force Base in Tucson to Showlow and Snowflake – barracks buildings, clear across the state. Back in the late 1950s we moved several of the Army barracks, two-story.

We used to buy barracks buildings at the auction sale.

Back in them days we packed a sleeping bag and a few cans of beans. We would go until it got dark, we’d find a place and pull over and we’d just sleep right there – start us a little camp fire, cook some supper, and next morning we’d head out again. That’s how we did it.

For a young kid, 12 years old, I thought I was really bad ass, best thing in the world.

I brought my boys up the same way.

Moving the Thomas House, 1985.

I moved one down in Tucson made out of adobe. The walls were a foot thick. My Dad told me, “I bid it for more than I ever

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Images courtesy of A Arid

The Deans have worked all over the state, and aren’t afraid to tackle big, high-profile jobs.

They’ve moved prominent historic homes in Tempe, Prescott, and Flagstaff and a two-story wood-frame Victorian house, built in 1889, for their hometown of Buckeye. Roy mentioned a few other unusual projects.

Moving the Thomas House, 1985.

bid a job in my life and they told me to go ahead and do it. I have no idea how you’re going to move that thing.” We moved that house and didn’t chip one brick and it weighed a 180 tons.

We moved the original Holsum bakery off of Central [Avenue] to Pioneer [Living History] Village [north of Phoenix]. I pulled it for four days. Of course in Phoenix we had to pull at night and so we’d pull out at midnight and move until five or six in the morning or until we got to a point where we could park it. It took four days to make that pull and I was a nervous wreck. That was one of the most trying deals.

We bought this one building, moved it here, and then sold it to some people in Wickenburg. We couldn’t pull it up the road to where they wanted it to go because it was too narrow. So we jumped off and pulled it three miles up the Hassayampa River, in that sand, and man that was a job.

“Deanville,” as Roy Dean calls his base of operations in Buckeye, is a place of chaotic splendor for lovers of odd, old stuff. It looks like the back lot of a movie studio overlaid with flotsam from an improbable natural disaster.

Salvaged buildings up on cribbing, rows of vintage vehicles, farm implements, and assorted curiosities line the impromptu dirt roads on the property. One of his gas station buildings (he has more than one) was used in the Charlie Sheen movie Terminal Velocity. The Deans moved the station and pumps to the desired location, set it all up, and moved it all back again after the shoot.

But most of their efforts over the years have been for less well-financed clients.

We used to buy and sell buildings. My Dad would buy a couple old houses, bring them here and remodel them in the backyard. He had a couple carpenters and a painter, we’d put new windows and doors in, all the electrical redone. We’d sell them mostly to Mexican families – a lot of them were field workers. They’d buy a lot somewhere and they’d come in here and pick out a house. We moved half the houses

in Cashion in there – and Avondale, Allenville.

He would sell them on time because they didn’t have the money to pay for it.

We’d move it in and set it on pier blocks.

it up and carried it over and put it on the sidewalk so that we could go on through.

Roy Dean now shares the business with his sons, Wyatt and Seth. But things have changed – the jobs are scarcer and the hauls are shorter.

Moving the Thomas House to Heritage Square, 1985.

They’d hook up the sewer and move right in. They’d pay him $50 a month until they got it paid for. At one time he probably had close to a 100 houses that people were paying him for. We supplied houses for low-income people at a reasonable rate and at a price they could get into.

The problem now-a-days is that by the time you do asbestos abatement and everything it just costs too much money.

Roy easily recalled moving the Thomas House with his father. It was an unusual project.

We were doing a job in Prescott at the time and two of the city [of Phoenix] guys came up there to Prescott and approached us about coming down and moving this building. They had hired a mover from Flagstaff to come down and he had no experience with moving brick houses. They had actually two houses they had wanted to move, and he had started to pick one up and it crumbled on him.

So we went down and I looked at it. The first thing I told the guy – I asked them if they had any more bricks anywhere and they said, well, they had saved bricks from the other house and they were the same vintage.

So, I went to their storage yard and I got the bricks. Then I had to match the old mortar because the old mortar is different than the new – not as good. The old mortar wasn’t sticky at all. It was just like they were stacked up there on sand.

So I had to figure out a mixture to get the mortar to be about the same and then

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lay them all back in to get it moved. I created a method to put them back up in there and put a board across to hold them up and then my beam under my board to get it moved.

If I remember right, that house weighed about 130 tons when it was loaded.

We had to take it a special route. The way the road was built we had come out on Central Avenue headed south and then we had to turn around and make a U-turn because there was an island there. That was a challenge. It took us about an hour and a half to make that U-turn.

We had to do some special shoring to save the porch because it was too wide to go down the road. We made it narrower by putting props on the porch and taking the columns off so the porch overhung the different things that we had to go across.

We went up beside the bus station. The road measured wide enough at the bottom but the palm trees that were planted along there grew leaning in towards the road – the eaves wouldn’t go between the palm trees.

So, I had these two guys go up on the roof.

They hung onto the edge of roof and they put their feet against the palms trees and they pushed them over and walked along the edge of the roof holding the palm trees over while we went through.

We got down a little ways and there was a car parked in the road. They had no parking signs all along there but he parked there anyway. We had the power company and the telephone company and everyone else with us, and that car was in the road, and we couldn’t get it out of the way, so all the crews got together and we just picked

Back in the late ‘70s, we had four crews, we moved one house every working day, on average, for three years straight, somewhere in Arizona…now there are just a couple house movers still active in Arizona.

The rules and regulations make it cost too much.

Right now we have one sitting on my steel – the old original railroad depot from Avondale. It’s sitting in storage over there, in Avondale. We moved seven cabins up in Christopher Creek about four years ago, up on the side of a hill. It took us all summer.

Roy was pleased to hear the Thomas House is now used by crowds of happy bar patrons of the Pizzaria Bianco next door, but he admitted, “It’s a funny thing…I never went back to Heritage Square and walked around to see what they did to it.”

The Thomas House in Heritage Square, 2013.

Images courtesy of A Arid

The Thomas House moving crew, 1985.

B

anks - it seems that many of us have a love/hate relationship with them. Why? Could it be those debit cards, credit cards, mortgages, foreclosures, bailouts, exorbitant fees, and/or hidden fees? As an aside, most of the populace is probably unaware that this century’s complaints regarding banking practices are not that much different from nineteenth and twentieth century grievances. Still most of us, thank goodness, have not resorted to “banking” under our mattress.

But more applicable things to consider for our commercial archeology purposes are the buildings themselves. Architecturally speaking, banks have often been one of the iconic buildings in a

community. The massive exterior design evoked a sense of strength, though financially, this was not always true. The interior had a barrier between the customers and the tellers, and at least one vault. This formulaic concept stood firm from our country’s earliest beginnings through the middle of the twentieth century. It was no different in Phoenix, Arizona. But the end of World War II brought new ideas in conjunction with architectural design and materials to the forefront in this country. These Ideas had been fermenting in Europe

since the 1910s.

Customer relations in this new era signaled a changing view of the once fortified bank building. The foundation of new bank design that dominated post-World War II America focused on concepts such as service, interior functional arrangement, visual expression, and merchandising. These ideas were quite familiar to department store design

Guaranty Bank Building with its unique hyperbolic-paraboloid roof structure located at 18th Street and Camelback Road, 1967.

ers, and now bankers recognized them as necessary to better serve their expanding customer base and actively lure new customers.

Designs were a popular topic of discussion in banking journals from the late 1940s through the 1960s but there was no consensus as to what motif was best. One proposed option was uniform, “cookie cutter” buildings. Fortunately for Phoenix, that did not happen. In the Valley of the Sun the stage was set for young and creative architects who led the way with exciting design changes that built upon many of these options.

Amazingly, the heads of three major Arizona banks (Valley National Bank, First National Bank, and Arizona Bank) and two savings and loan associations (Western Savings and First Federal Savings) whose headquarters were based in Phoenix each embarked on an expansion of their institutions to meet the needs of the city’s rapidly growing population. This growth left a remarkable legacy of modern commercial architecture that residents still enjoy today.

Without the need to “brand” their bank with the same conservative style or design for each branch, the heads of these major financial institutions methodically sought architects and architectural firms who would ultimately create a distinctive building for each branch that might complement its location or, at best, make it stand out from its surroundings.

Valley National Bank, 44th St. and Camelback, 1969.

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Artist Jay Datus painting a mural, 1965.

The number of branch banks built within the ever increasing Phoenix city limits between 1950 and 1975, well over 100 for just the five mentioned financial institutions, reflects the city’s urban expansion. The primary locations were on or near prominent corners of arterial streets such as McDowell, Camelback, Thomas, and Indian School Roads, and Van Buren Street (all running east/west) and Central Avenue, 19th Avenue, 7th Street, 7th Avenue, 16th Street, 24th Street (all running north/south). These locations prioritized automobile access, responded to the rapid city of Phoenix annexation program, and occasionally anticipated that growth.

Most of the extant branch bank structures built during this period were one-story high with a flat roof and free standing. Typically of masonry construction, specific building materials included concrete, large glass windows, steel, and brick with items such as native rock used as part of the exterior ornamentation. Because of the position of the building in relation to the street, the bank might have the entrance on the backside as that would be facing the parking lot, or have two entrances, making it easier for customers to park and quickly enter the building, but still appeal to the business customer who might walk from their office. Generally the structures did not fill the entire parcel; the remainder of the lot consisted of parking and some landscaping.

First Security Bank Building on Central Ave, 1967.

Interior of The Arizona Bank, 16th St. & Bethany Home Rd. with furnishings by the PBSW Office Equipment & Supply Co., 1963.

Scottsdale Savings & Loan, 10 N. Scottsdale Road, 1959.

Arizona Contractor & Community

Images courtesy of Markow Photography

Interior of bank building on 1�� Avenue and Adams Street, 1967.

The Arizona Bank, Tempe, 1965. Top inset: Rendering of The Arizona Bank, Pierson, Miller, Ware & Associates Architects, 1964.

Guaranty Bank Scottsdale branch at dusk, 1963.

First National Bank, 24th and Washington Streets, 1967.

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Drive-In at First National Bank at Tempe Center Plaza, 1960.

are allowed inside, it is definitely worthwhile to view Henry’s interior design.

As is common for many mid-century modern buildings, it is difficult to apply one set of stylistic labels to most of these Phoenix branch banks.

Sometimes the architects combined elements of the day and other times one can see influences of one particular architectural master. The buildings are definitely mid-century modern and no two in Phoenix are exactly alike. Two branches from one banking institution might be called twins, although the differences are subtle.

The extant, custom designed buildings in Phoenix are indeed a pleasure to see. While many of these buildings still serve as banks, some have new lives as restaurants, offices, and stores.

Nevertheless, recognition of their importance and subsequent preservation of these particular mid-century modern buildings in Phoenix has

Images courtesy of Markow Photography

Interior designs provided a friendly atmosphere. Some included commissioned art work, a defining feature for certain banks, an openness of the interior, color on the walls, coordinated furniture and carpeting, and lots of natural light. The days of the teller cages had long since passed. Instead of long counters, customers might find curving ones. Bank managers were no longer unseen, but were visibly located in offices near the lobby. Large windows often allowed the public to see in and the customers to see out.

Innovations in Phoenix included geometric shapes of the building or design which often carried over into the interior design, orientation of the bank with respect to the streets, adaptation to the desert climate through the use of window sun shades and shapes, and the use of lights. One unique novelty was unusual locations. Phoenix boasted having the first fly-in branch bank in 1956 located at Sky Harbor Airport, complete with a large Jay Datus mural entitled “Flight of the Aviatrix.” Publicity shots showed small private airplanes parked near the bank. However, this particular innovation did not become very popular in other parts of the country nor did it last long in Phoenix.

Several of these branch banks stand out from the rest with one in particular, the “mushroom” bank, special to many Phoenicians.

Originally a Valley National Bank branch, it proved to be the most expensive to build. But when viewing the building inside and out, anyone should recognize its merits. The architect, Frank Henry, worked for the local firm of Weaver and Drover. Valley National Bank used the firm to design a number of their branches and in doing so had proved that “banks can be beautiful.”

While Henry’s design shows the influence of Frank Lloyd Wright with its dendriform-like mushrooms, it also demonstrates how cognizant the architects of the time were of the Phoenix environment. Truly a work of art, from the architect’s placement of the rock in the wall to the inclusion of sculptures outside and a proposed sculpture park on the grounds, this branch bank still outshines its neighbors (at one point there were two other financial institutions across the street). The security guards are used to people taking photos of the exterior as the details are so intriguing. Although no pictures

been problematic. Some owners have painted what have always been white buildings nondescript shades of brown. The result is now they look like their neighbors rather than initially standing out from all the rest on the strength of their whiteness. Others have been boarded up for years languishing in the hot desert sun, waiting patiently for visionaries to find a new use for them. These are the ones that cause the most concern, as many empty branch buildings have been replaced by generic cookie cutter buildings.

Yes, Phoenix has sprawl. But these remaining branch banks from the mid-century modern era stand as a monument to when unique design was important to the business.

Donna Reiner currently serves on the board of directors for the Arizona Preservation Foundation.

I

t was over 50 years ago when Earle T. Dougherty had the idea of creating chain link sections that could be quickly and easily installed and removed. A system that now is used everywhere in different forms of fence types, but all with the same easy up, easy down idea.

In 1946 Smith Pipe and Steel opened a fence company known as Smith Fence Company that was managed by Mr. Earle T. Dougherty. At that time, they provided only permanent fencing.

While managing Smith Fence Company, Mr. Dougherty realized that competit ion for sales not only came down to price, but also, who could be

Fifty eight

the quickest to provide the security of a fence to the customer. He knew he had to come up with an idea that would allow him the ability to provide that service to his customers. So he invented what was first called the “Fence Structure” and was granted Patent #2,709,073 on May 24, 1955. Today it is commonly called a ‘Fence Panel.’

With these new temporary fence panels, he now had the ability to quickly install a temporary fence for his customers while the permanent fence was being installed. These panels provided the immediate security that his customers required and gave him an edge over his competition. He could tell his customers ‘Sure, we can have a fence up today if needed!’ This is a phrase that his grandchildren, David and Deanna Dougherty, still recall today.

The “Fence Panel” became such a profitable asset to the business that management decided to change the company name to “Panelink Fence Company.” In the early years, Panelink provided both permanent and temporary fence. Soon the high demand from customers that wanted to “rent” a temporary fence to secure their construction sites became evident. So much so, that permanent fence was eliminated all together and management decided to concentrate on turning the temporary fence idea into a new industry known today as “Temporary Rental Fence.”

The next step was to expand the industry.

In the early 1980’s Duayne Dougherty, son of Earle Dougherty, along with his wife Shirley and their teenagers, David and Deanna, started another company in Denver, Colorado, and changed the name to Allstate Rent a Fence. The

in the company’s history. So much so that they decided to sell the Denver location as well. Now Allstate Rent A Fence is only located in Phoenix.

They are a strong family business that is now working on their fourth generation. Today Deanna’s sons, Jacob and Matthew McCammon, have also joined the work force. They too are required to start learning at entry level positions and work their way up so they will understand all aspects of every job that is required to run a successful family business that will continue to grow and be passed along to future generations.

If you were to read the many books about running a successful family business you, will learn that it is not easy and most do not survive even one succession. This is one thing that Duayne, Shirley, David, Deanna, Jacob and Matthew have trouble understanding. To their family it is simply about trust, respect and love for each other, which, to them just seems to come naturally. With these principles, they are confident that Allstate Rent a Fence will continue to grow and be passed on to future generations.

Images courtesy of Allstate Rent a Fence

family worked together from the ground up and within a few years, the company became the main supplier of rental fence in Denver and surrounding areas. After a few years, a new Denver manager was hired and the entire family moved again, this time to Houston, Texas to expand Allstate Rent a Fence further.

David and Deanna began working full time learning how to run a family business successfully. Sales in Houston continued to increase and they became a very strong team that truly enjoyed working together. After a few years, David and Deanna took over the management of the Houston office. Duayne and Shirley moved back to Phoenix to purchase all three of the Allstate Rent a Fence companies from the previous owners. Shortly thereafter, the company had the opportunity to sell the Houston office allowing David and Deanna to move back to work in the Phoenix office.

With the entire family now working at the Phoenix Allstate Rent a Fence office, sales took off and they experienced some of the best years

Arizona Contractor & Community

A

Summit Builders constructing Children’s Hospital at 20th Avenue and Bethany Home Road, 1962.

Children’s Hospital at 20th Avenue and Bethany Home Road, Phoenix, 1962.

Sixty

century ago, the Phoenix area emerged as a popular destination for sufferers of tuberculosis (TB). With its clean, dry air and exceptionally warm climate, the Valley was thought to offer a genuine healing environment for victims of the dreaded affliction, and so tuberculosis sanitariums mushroomed throughout the Valley, particularly in the fledgling communities of Sunnyslope and Scottsdale.

One such tuberculosis facility was built around the turn of the century in the general area of what we now know as 15th Avenue, miles north of what was then the outer edge of Phoenix proper. This was the Bethany Home, a Christian TB sanitarium that was the only significant structure standing for miles around. With no other meaningful point of reference available, the remote and dusty road adjoining the sanitarium was affixed with the name Bethany Home Road.

According to the New Testament, Bethany was the village near Jerusalem where Jesus restored Lazarus to life, and it seems likely the home’s founders drew inspiration from this life-affirming biblical tale when naming their sanitarium. But nobody really knows for sure.

From such humble beginnings would ultimately grow a vibrant and robust city thoroughfare that was destined to play a significant role in the socio-cultural evolution of mid-century Phoenix. The development along Bethany Home Road was greatly accelerated during this period by the process of suburbanization that was rapidly and decisively transforming both the landscape and the cultural dynamics of the entire Phoenix area. Nowhere were these changes more spectacular than along the two-mile segment of Bethany Home Road from 19th Avenue west to 35th Avenue.

The mid-century jewel on West Bethany Home was the magnificent Chris-Town Center, opened in 1961, a Phoenix shopping institution that I previously wistfully recalled in the magazine (Summer 2012, pp. 24-26). But there were many remarkable buildings and businesses constructed during this era on West Bethany that also are recalled fondly by long-time residents.

Proceeding down Bethany in a westward direction from the mall, we immediately encounter the storied 300 Bowl, an iconic Phoenix structure. Built in 1959-60, the bowling alley has endured the years admirably and

remains in remarkably good condition. The building’s dramatic, vaulting three-point roof-line epitomized the emerging Space Age, Googie style of the early 1960s that would so strongly influence the interior design of Chris-Town next door. The Ripple Dining Room and Cocktail Lounge located inside 300 Bowl was a popular uptown night spot.

Kitty corner across 19th Avenue stood the Chris-Town Auto Wash, which opened in 1964 and sported arguably the coolest business sign in Phoenix history, a Model-T Ford dangling precariously at the end of a giant clothespin.

Remarkably, a car wash still stands on that corner, many ownership changes later, and long after the wonderful clothespin sign was removed.

On the north side of Bethany Home at 20th Avenue, the $1 million Osteopathic Children’s Hospital was built, which opened in the summer of 1962. Designed by architects Norman J. Hammill & Associates, with Summit Construction Company the general contractor, the 42,000 square-foot hospital featured 110 beds. The facility was originally intended for the treatment of children and teenagers, incorporating a “Disneyesque” design into the three-story structure. The facility would become Phoenix Baptist Hospital several years later. The original building has long since been incorporated into the site’s greatly expanded medical complex and teaching hospital.

Traveling further west, approaching the Black Canyon Freeway on the north side of Bethany Home, we come to the splendid Bethany West Theatre at 23rd Avenue. Built by E.L. Farmer Construction Company, general contractor, the Bethany West opened on April 25, 1962 with a showing of the latest Elvis Presley film, Follow That Dream. Advertisements in the Arizona Republic that week encouraged local residents to "follow that dream to Arizona's newest and most luxurious theatre," and so it was. The Bethany was a glorious example of a 1960s single-screen, shoebox-shaped luxury movie theatre. It was possessed of a grace and beauty

Images courtesy of author

300 Bowl and the Ripple Room at 20th Avenue and Bethany Home Road, 1962.

Patrons waiting to see Tarzan movie at the Bethany Theatre, 1962.

Arizona Contractor & Community

Premiere of Follow That Dream at the Bethany Theatre, 1962.

that all but disappeared with the advent of the mundane multiplex cinemas in the following decade.

The Bethany Theatre, as it simply became known, boasted 1,218 luxury seats, a balcony, uniformed ushers, and a towering 70 mm screen that was enclosed within two sets of curtains. At the beginning of each show, a huge pair of red curtains parted backwards from the middle, followed by a second curtain raised upwards to expose the screen. Such dramatic flourishes before a film presentation have largely been consigned to movie theatre oblivion, along with double features and Bugs Bunny cartoons.

This was also a time when films showed at the same theatre for very extensive periods, far longer than the two or three weeks with which we are now commonly accustomed. In fact, some of the major films of the day had such long runs at the Bethany that the theatre marquee was actually painted with an advertisement for the film. When the blockbuster film Grand Prix debuted in 1966, the marquee advertisement graced the front of the Bethany Theatre for almost a year.

Interestingly, the demise of the Bethany Theatre is in some dispute. A long-popular narrative suggests that the beginning of the end came with an engagement of the film Earthquake, a mid-1970s disaster flick that was enhanced by a theatre-rattling technology of the day called “Sensurround.” According to this theory, the structural integrity of the Bethany was seriously compromised by the film and never recovered. Some locals scoff at this “urban myth” however, and maintain that the theatre simply became victim to the changing economics of the movie house industry, which was rapidly abandoning the single-theatre

Images courtesy of author

Employees at the new Bethany Theatre, 1962.

model. In any case, for a few years after it closed down, the theatre’s sign optimistically read “Closed for Renovations,” until the building was demolished in the late 1980s. The space is now inhabited by a strip mall called Bethany Marketplace.

Sir Gooney Golf was one of those wonderful, whimsical Phoenix miniature golf courses that came and went in

Arizona Contractor & Community

Grand opening of Freeway Plaza, 1959.

the 1960s and 1970s. Located directly west of the Bethany Theatre, near the Black Canyon Freeway, Sir Gooney did business for over a decade before the local miniature golf craze began to lose its momentum. The most distinctive feature of this course was a large orange T-Rex dinosaur that towered over one of the holes and was plainly visible to drivers cruising by on the expressway.

Crossing over the freeway to the west side of the Black Canyon, beyond the Kalor Medical Building which still stands at 2610, we encounter two highly influential Bethany Home Road shopping centers that appeared around the same time in the late 1950s.

Freeway Plaza, an enclosed shopping mall situated on the northeast corner of 27th Avenue and Bethany, distinctly foreshadowed the development of malls like Chris-Town. This shopping center has gone through numerous incarnations over the years and still exists in some form. What’s largely forgotten, however, is that the original concept and configuration of Freeway Plaza was absolutely groundbreaking for its time and significantly prefigured the direction of the Phoenix shopping scene.

Sixteen different merchants were housed at Freeway Plaza under a single roof, all accessible

from an enclosed, air-conditioned concourse.

Built by H&J Construction Company of Phoenix, the building was constructed on eight acres at a cost of $2.5 million. Freeway Plaza offered 55,000 square feet of space, 30,000 of which were occupied by an El Rancho Supermarket. Other businesses in the original line-up included a T.G. & Y. five-and-dime, Frank’s Rexall Drugs, Kiamy’s Shoes, Sun Valley Bakery, Lester’s Jewelers, Judie Iris Dress Shop, Orange Julius, and The Kamera Korner.

Designed by Phoenix architect Frank Fazio, Freeway Plaza was the first Arizona shopping center to use tilt-slab reinforced concrete walls in its construction. There were a total of 54 such walls installed in the center, each weighing between 12 and 18 tons. The cement work was done by Arizona Sand and Rock Company, while the structural steel was erected by Pioneer Steel and Manufacturing Company.

The design of Freeway Plaza was carefully planned and based on a five-year study of shopping centers throughout the West conducted by Joe Cartlidge, vice president of C&H Development Company. Cartlidge said at the time that “Freeway Plaza has adopted the finest points I found in the many shopping centers I visited.”

The center opened on July 8, 1959 with a four-day grand opening celebration.

Ten years later, the “Freeway Plaza” name would be dropped, as a Low-Cost Market took over the space once occupied by El Rancho, and a Tang’s Imports emporium occupied much of the remaining retail area. From this point forward, the shopping center was never really a mall again.

But by then, the idea of a self-enclosed, airconditioned shopping center had taken flight throughout the Phoenix area.

The El Rancho at Freeway Plaza received some stiff competition from a popular supermarket located directly across the street.

Foodarama, which opened its doors around the same time as Freeway Plaza, was operated by the Dong family, already long-time grocers in the Phoenix area. Foodarama was notable for its discount prices, which drew customers from as far away as Blythe, California.

The building is still standing and currently houses a Savers thrift store.

Front of the T.G & Y. Store on the grand opening of Freeway Plaza , 1959.

Arizona Contractor & Community

West Plaza Shopping Center at 35th Avenue and Bethany Home Road, 1958.

Finally, arriving at 35th Avenue, we come to West Plaza on the northeast corner. This shopping center was destined to become one of the most ambitious Phoenix retail centers of its day. Yet, the initial plan called for a much more modest project than what ultimately took shape.

West Plaza was not originally intended to be a plaza at all.

A.J. Bayless acquired the 40-acre site in 1956 with the intention of constructing a retail center comprised of just three buildings: an A.J Bayless grocery store, a Ryan-Evans drug store, and a Valley National Bank branch. Mr. Bayless chose shrewdly. "A.J. Bayless bought up some of the best corners in Arizona," recalls Fred Homes, who worked on the construction of West Plaza as a teenager. "He was able to foresee how Phoenix was going to go and plan accordingly. He really was 'Your Hometown Grocer.'"

As work neared completion in the fall of 1958, the location of the new shopping center West Plaza Shopping Center, 1962.

Sixty six

was becoming increasingly attractive to both local businesses and national chains. Demand for space dramatically increased, and so plans for the center were significantly expanded. As the development took shape, the mall was named West Plaza Center after a nearby Hallcraft Homes subdivision. Maddock and Associates of Scottsdale served as the architects and engineers on the project, with the building overseen by Homes and Son Construction Company.

What ultimately emerged was one of the largest shopping malls in Arizona, a 32-store plaza boasting the largest parking area of any shopping center in the Southwest, including Chris-Town.

West Plaza’s walkways were enclosed within a woven weatherproof mesh supported by a metal lattice framework that allowed patrons to enjoy open air shopping while shielded from both inclement weather and the glaring Phoenix sun.

In addition to the Bayless and Ryan-Evans anchors, West Plaza’s grand opening in October

1959 featured a T.G. & Y., W.T. Grant department store, Tony’s Shoe Repair, Zale Jewelry, L.L. Smith Hardware, and a local mecca for youngsters, Gordon’s Hobby Lobby. Featuring model rockets and airplanes, collectible coins, kite kits, and much more, Hobby Lobby would long shine as one of the most popular merchants at West Plaza. The mall had a great run, but after entering a steady decline in the 1990s, it was demolished in 2000 to make way for a new shopping center dominated by a Wal-Mart supercenter.

So let’s see. That’s Chris-Town Mall, 300 Bowl, Chris-Town Auto Wash, Osteopathic Children’s Hospital, The Bethany West Theatre, Sir Gooney Golf, Kalor Medical Building, Freeway Plaza, Foodarama, and West Plaza, all standing together on West Bethany Home in mid-century Phoenix. That’s a lot of history for a mere twomile stretch of road.

Valley National Bank, 19�� St. and McDowell, 1957.

Right: Valley National Bank groundbreaking at Indian School Rd. and 2ⁿ� Ave. Carl Bimson at the wheel of equipment by Arizona Sand & Rock Company, 1956.

D

onna Reiner’s “Follow the Money: MidCentury Banks in Phoenix” (see pages 52-57) focuses on the stunning final product of teamwork between bank owners, architects, and contracting firms. Arizona Contractor and Community magazine also

Crew members of the Henry C. Beck Company pouring concrete at the Guaranty Bank Building on Central Avenue.

wanted to feature some vintage construction images that illustrate the hard work and craftsmanship that went into the creation of these banks. The images in this photo essay explore four of the many banks built throughout the state after World War II.

Valley National Bank at McDowell Road and 19th Street: Mardian Construction Company built this branch bank that was designed by the architectural firm of Weaver & Drover. The bank’s exterior walls combined Norman brick and glass panels. The bank opened on March 4, 1957 and cost $250,000.

Valley National Bank at Indian School Road and 2nd Avenue: The P.W. Womack Construction Company built this branch bank that cost $375,000 and was finished after ten months of work in March 1957.

Influenced by its location near the Phoenix Indian School, the architectural firm of Weaver & Drover incorporated precast concrete columns that suggested stylized totem poles. The native stone exterior facing recalls edifices on the Navajo Nation at Window Rock. The stained glass mural inside, dividing the work and tellers' areas, also has a stylized Native American pattern. The mural is 60 feet long and 8 feet high and was designed and built by the Flemish Glazenier in Scottsdale. Stonework was done by Melluzzo.

This was the largest Valley National Bank building, with the exception of the main office in downtown Phoenix.

Guaranty Bank Building at 3550 North Central Avenue: When it was completed in 1960, this 18-story office building became the city’s tallest structure, taking that title away from the Hotel Westward Ho which opened in 1929. Only five years later in 1965, the title would be claimed by the Phoenix Corporate Center, a 26-story office building at 3000 North Central Avenue. The Guaranty Bank Building was constructed for developer David H.

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Bank of Douglas before construction addition, 1957.

Murdock and cost $6 million. It was designed in the International style by architect Charles G. Polacek. The structure took more than a year to build and featured reinforced concrete columns and floors along with a basement and subbasement for foundation strength. The east and west non-bearing curtain walls were precast stone with porcelain enamel spandrels; the north and south walls were glass with the porcelain spandrels. Four elevators and two stairwells were located in a smoke-proof shaft at the building's

Bank of Douglas during construction, 1960.

center. The top floor was originally designed for use as a private club. The building was renamed the Meridian Bank Tower and the exterior was remodeled in the late 1980s.

Bank of Douglas at Monroe Street and 2nd Avenue: Built in 1946-47, this bank was originally planned as a six-story reinforced concrete building. Increased construction costs, however, necessitated the substitution of a light steel frame and a wood roof over the second floor

except for the area of the banking lobby. After purchasing the building in 1959, developer David Murdock commissioned architect Charles G. Polacek to design an eight-story addition. The remodeling work in the existing building had to be done at night and on weekends for minimal disturbance to tenants. Much credit for remodeling under difficult conditions goes to Roy Kite, vice-president of the Henry C. Beck Construction Company which was the general contractor.

Images courtesy of Markow Photography

Promotional shot of women polishing the new sign for the Guaranty Bank on Central Avenue.

Arizona Contractor & Community

Y T I R U C E S E T I S CONSTRUCTION a police perspective Officer Bradford knights, Peoria police department

H

ome construction is picking up in Arizona which is good news for the economy because of increased taxpayer revenue, employment, and community growth. As a Peoria Police Officer, I would like to address why it is important for companies to care about construction site security and recommend some tips and resources for securing your project.

An important reason to secure your construction site is financial. Stolen or vandalized items cost money and raise your company’s insurance rates as well as those in the community by linking these thefts with the zip code where they occur. Looted or damaged items are also useless in your ultimate mission of efficiently and cost-effectively constructing your project.

Finally, leaving a site unsecured attracts criminal opportunists to your site, and the community in which you are selling homes.

Here are some things you can do to secure your construction site:

● Photograph all valuable equipment and ● Construction site offices and equipment maintain them in a safe location. storage areas should have alarm systems.

● Record or document all valuable property and/or equipment.

Websites such as and www.knowyourstuff.org www.whatyouown.org or apps such as suresafe-home inventory and home inventory lite can also be used. Here are some examples of what to document:  Computers, laptops, copiers, and office equipment.  Power tools, generators, and heavy equipment (tractors, trailers, and vehicles).  Delivered appliances and air conditioning units .

● Construction site offices and equipment areas should be well lit.

● Establish a daily check-in and check-out ● Security personnel should monitor the system for company-owned tools. Conduct construction site during non-work hours regular inventory checks of all equipment. and/or days. ● Access to the construction site during non- ● GPS devices should be placed on all large work times should be restricted and only be equipment, generators, and trailers to allowed with authorization from the builder. facilitate tracking these items if they are Police should be able to verify authorized stolen. people found on the property by contacting the company representative. ● Consider using portable alarm systems for items such as appliances or air conditioning ● Access to the construction site should be units. restricted by fencing with gates locked during non-work times. At a minimum, trailers and ● Site managers should sign up for equipment storage areas should be fenced. www.crimereports.com and www.nixle.com Fences should be inspected for damage to learn what is happening in their regularly. community.

● “No Trespassing” signs should be prominently ● Identify a person to represent the company in displayed on the fencing and at all entry points. working with the police department. This person should always be available for contact ● Keys to access points, buildings, structures, and will represent the company in any and storage containers should be accounted criminal legal proceedings. for and restricted to limited personnel.

● The policy on employee theft should be thoroughly communicated to all employees.

Employees should be trained to recognize and report all criminal behavior. ● Employee parking should be designated and monitored to help prevent the theft of personal equipment.

● All employees and sub-contractors should be encouraged to mark their equipment with ● Mark or engrave all assets on the construction identification numbers such as their driver’s site with an identifiable number and company license number. logo. Larger equipment should be marked in two prominent locations and in a hidden ● Video surveillance cameras should monitor all place. job site entry points.

Seventy

The Peoria Police Department offers a Crime Shield Program that helps protect your residence, construction site, or business. We do this by providing information on how the site may be vulnerable and what steps you can take to protect your property. The department also provides a checklist to build a strong defense to deter criminals and help recover valuables if stolen. There is even a construction specific checklist for builders in our community.

After providing you this information, the Peoria Police Department offers a free site assessment service. If criteria are met, the department will certify your residence, construction site, or business as a Crime Shield Property. You will be given signs and stickers letting criminals know that your property is being defended.

If your company is working in areas other than Peoria, you are encouraged to contact the appropriate police agency to see what programs they offer to help proactively fight crime on your construction site.

Jim Krumtum and Burt Guinn, 1950s.

Krumtum laying gutterformed asphalt with a Power Curber machine in Phoenix on Monroe Street, 1965.

M

y construction curiosity was aroused after discovering sidewalk stamps with the name, “AJAX” pressed in concrete around the Valley. A consultation with my concrete informant, Lonnie Lattimore, helped illuminate both the history of Ajax Contracting and its connection with another local company I had been researching, Krumtum Contracting. I recently had the opportunity to learn about these two Arizona construction firms from Joe Guinn.

for Jim and met others in the business such as John Lattimore and Bill Pulice.

What was your father’s background?

Burt was raised in south Texas where, along with his older brother, they ran Holland cable scrapers. His brother would run the tractor-half of the machine while Burt would ride on the tail end working the cable system with the power take off. The scraper would motor along and it was Burt’s job to use the cables to lift the can up and down.

How were Ajax Contracting and Krumtum When was Ajax formed?

Contracting connected?

Burt worked for Krumtum Contracting for about My uncle was Jim Krumtum who came to Arizona five years before starting his own company, B&G in the mid-1940s. My father, Burt Guinn, worked Contracting. The company was short lived and, in 1957, Burt formed Ajax Contracting.

Images courtesy of author

Huber-Warco Maintainer, a typical machine used in the early days of building parking lots, early 1950s.

Burt Guinn as a teen, 1940s.

Arizona Contractor & Community

Ajax paving the Southwest Tire Company parking lot with a Layton box, 1964.

Where did the Ajax name come from?

The name would be one of the first entries in the phonebook.

What sort of work did Ajax do?

Ajax did it all from the initial ground breaking including foundations, underground utilities, grading, paving, and concrete curbs.

Why did Ajax use the color orange?

It was easy to work with and good for safety purposes.

What companies did Ajax work for?

Ajax had contracts with Chanen, TGK/McCarthy, Mardian, and A.P. Tell. On subdivision projects, they worked for Hallcraft, Del E. Webb, and John F. Long. During the mid-century housing boom, Ajax operated 16 crews on subdivisions. Long also had construction equipment and would hire out various operators to complete the projects including Sanner Contracting, John W. Lattimore, and Bentson Contracting.

Joe Guinn at S&S Paving, 2013.

Seventy four

Wasn’t there camaraderie between companies in those days?

In the early days Burt Guinn became good friends with other construction owners like Duke Francis Sr. of C&F Equipment Company, Bob Briscoe of Briscoe & Bell, Bailey Sanner of Sanner Contracting, and Ray Stevens. During this time period, it was common for companies and crews help each other on big projects. With Sanner Contracting on a tight schedule building in Sun City, Bailey Sanner would often call on Ajax to help pave streets or loan out operators.

When did you start with Ajax?

At the age of eight, I received my first paycheck for $6.50 for two weeks of work in 1959. That year, there was an operator’s strike that lasted three months which resulted in several jobs being shut down. In 1975, Ajax cut ties with the operator’s union and continued working in Wickenburg, Tucson, Lukeville, and Kayenta.

What happened to Ajax?

In 1978, when we were building a Wickenburg subdivision, my father decided to let me take

command of the company.

Burt retired in 1979 and Ajax continued until the company was purchased in 1992.

What are you doing these days?

I still kept operating Ajax’s sand and gravel plant which was a wise investment. In the late 1960s, heavy precipitation washed away most of the aggregate supplies of the current materials plants which created a big demand for ABC and other aggregates. Concurrently, Ajax purchased a 25-acre parcel near 51st Avenue and the Salt River. Along with screening our own material, the firm also shipped supplies out-of-state by rail car. The plant operated for almost 25 years before closing in 2006. After many years working for the family business, I moved to Hunter Contracting and worked on water treatment plants. Currently I’m the chief estimator at S&S Paving and Construction Company.

Joe with his father, Burt, in the basket of a hot air balloon. This high flying activity is one of Joe’s favorite pastimes.

Arizona Contractor & Community

Countywide Overlay South 1/28/2014 Southern Arizona Paving $1,654,944.00

(CMAR) Val Vista Water Transmission Rehab 2/7/2014 Sundt Companies $14,000,000.00

Costco Drive Reconstruction 1/14/2014 Southern Arizona Paving $684,263.00

Eastmark Community - Great Park Phase II 1/29/2014 AR Mays $2,199,760.00

Payson-Show Low Hwy 2/7/2014 Sunland Asphalt $2,905,000.00

Higley Groves West Rehab 1/16/2014 Sunland Asphalt $1,065,000.00

Road Recovery FY2014 Mill & Overlay 1/30/2014 Granite $3,202,602.00

Cordes Junction-Flagstaff Hwy 2/7/2014 Fann Contracting $6,419,259.00

WWTP Phase I Improvements 1/16/2014 SunWestern $1,542,482.00

Papago Street Waterline 1/31/2014 DPE Construction $193,391.00

Central Ave & Western Ave Water & Sewer 2/10/2014 SDB Contracting $2,880,813.00

City of Coolidge 1/17/2014 Combs $1,184,858.00

(CMAR) Desert Shadows Middle School 1/31/2014 Chasse Building Team $3,400,000.00

Wastewater Improvements Rittenhouse 2/11/2014 Standard $1,880,715.00

Tucson-Oracle Jct-Globe Hwy 1/17/2014 Ashton Company $3,234,766.00

(DESIGN BUILD) Padilla Park Silver King 2/3/2014 ForeSite $1,000,000.00

Sweetwater Lift Station 1/22/2014 Hunter Contracting $1,298,448.00

(DESIGN BUILD) Island Plant Tertiary Filter 2/4/2014 Hunter Contracting $2,000,000.00

McDowell Rd Bridge Widening 1/24/2014 CS Construction $2,005,261.00

Centennial Elementary Flowing Wells 2/5/2014 Clear Contracting $302,439.00

Allstate Rent a Fence 602-233-1433 www.allstatefenceaz.com

35

EYE SITE 855-466-8433 www.goeyesite.com

19

Red Mountain Machinery 480-899-3800 www.redmountain.com

IBC

Anderson Law Firm 480-292-6021 www.theandersonlawfirmaz.com

24

First Step Contracting 480-705-9136 www.firststepcontracting.com

39

Reuter Fabrication 602-415-0449 www.reuterequipment.com

62

Apache Rentals 602-272-7368 www.apacherentals.com

21

Forklift Exchange 602-454-9808 www.forkliftexchange.com

71

4 & 28

GenTech 800-625-8324 www.gentechusa.com

28

Road Machinery Prescott/Flagstaff: 928-848-6074 Phoenix West of I-17: 520-308-6039 South of the 202: 602-885-4702 North of the 202: 602-757-9461 Tucson: 520-403-9972 www.roadmachinery.com

HEM 800-385-8555

27

18

Hertz Gilbert 480-507-1680 Tucson 520-573-1344 Phoenix 602-269-5931 Hertzequip.com

43

Shanes Grading & Paving 602-992-2201 www.shanesgradingandpavingservice.com Sunland Asphalt 800-540-4413 www.sunlandasphalt.com

21

44

Sunstate Equipment Co. 888-456-4560 www.sunstateequip.com

76

Integrity Automotive/Diesel 520-744-9710 www.integrityautorepairs.com 520-531-0119 www.integritydieselrepairs.com

Tempe Crane 480-967-0026 www.tempecrane.com

18

Titan Rentals Flagstaff: 928-526-5991 Phoenix: 602-269-3221 Tucson: 520-623-5848 Titanrents.com

7

Trafficade Phoenix: 602-431-0911 Tucson: 520-624-0465 Prescott: 928-759-0094

23 & 27

21

Arizona Desert Broom s 480-279-4433 www.azdesertbrooms-sweeping.com Arizona Hi-Lift 602-462-1315 www.azhilift.com

51

Arizona Materials 602-278-4444 www.arizonamaterials.net

77

Arnold Machinery 801-972-4000 www.arnoldmachiery.com

64

Atlas Copco 623-780-0200 www.atlascopco.us/phoenix

26

51

Iron Planet 602-295-9645 www.ironplanet.com

49

AZBEX 480-709-4190 www.azbex.com

35

JCB 602-761-5225 www.flaskaJCB.com

5

Bidadoo Auctions 877-243-2366 www.bidadoo.com

16

15

BidJudge 602-456-2493 www.bidjudge.com

Liberty GMC 866-212-3229 www.libertygmcaz.com

IFC

MDI Rock 602-569-8722 www.mdirock.com

71

Truck Works 602-233-3713 www.truckworksinc.com

25

Branco Machinery 480-892-5657 www.brancomachinery.com

67

Metro Engineering & Survey 623-466-6640 www.metroaz.net

21

CORE Construction 602-494-0800 www.coreconstruction.com

11

Metro Traffic Control 623-879-0610 www.metrotrafficcontrol.net

21

TSR Phoenix: 602-253-3311 Tucson: 520-352-3311 www.tsraz.com

44

BT & Assosiates 623-388-8770 www.bta-eng.com

67

Direct Sales LLC 602-930-8415 www.directsalesllc.com

23

Motley Design Group 602-254-5599 www.motleydesigngroup.com

57

United Rentals Gen. 602-267-3898 www.unitedrentals.com/Power-HVAC Vermeer Sales Southwest 480-785-4800 www.vermeersouthwest.com

71

Ditchwitch/Doosan 602-437-0351 www.ditchwitchaz.com

37

New Western Rentals 623-847-3594 www.newwesternrentals.com

3

Drake 480-607-3999 www.drakeus.com

34

O'Brien Concrete Pumping 602-278-8926 www.obrienpumping.com

23

Williams Scotsman 800-782-1500 www.willscot.com

62

ECCO Heavy Equipment Rentals 602-276-2040 www.eccoequipment.com

15

Pacwest Rentals 480-832-0855 www.pacwesttrading.com

BC

Woudenberg Properties 480-620-8555 www.woudenbergprops.com

17

Empire Sales Center 520-582-2050 www.empirecat.com/eloy

33

RDO 877-90 RDOIC www.rdoic.com

13

WSM Auctioneers 623-936-3300 www.wsmauctioneers.com

19

PRSRT STD U.S. Postage PAID Phoenix, AZ Permit No. 3418

Heavy Construction Equipment Rentals and Sales

480.832.0855

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