Eugene/Architecture/Alphabet: S

 
The Shedd (photos by Brian Davies unless noted otherwise).

This is the next in my Eugene/Architecture/Alphabet series of blog posts, the focus of each being a landmark building here in Eugene. Many of these will be familiar to most who live here but there are likely to be a few buildings that are less so. My selection criteria for each will be threefold:

1. The building must be of architectural interest, local importance, or historically significant.
2. The building must be extant so you or I can visit it in person.
3. Each building’s name will begin with a particular letter of the alphabet, and I must select one (and only one) for each of the twenty-six letters. This is easier said than done for some letters, whereas for other characters there is a surfeit of worthy candidates (so I’ll be discriminating and explain my choice in those instances).

This entry’s selection begins with the letter S, for which my choice is The Shedd. I could have picked the Schaefers Building, or the Shelton McMurphey Johnson House, or the Smeede Hotel, and perhaps I should have selected one of these, all of which are listed on the National Register of Historic Places. Nevertheless, I chose The Shedd, primarily because of my firm’s (Robertson/Sherwood/ Architects) history with and ongoing work for the John G. Shedd Institute for the Arts. The current efforts, led by RSA principal Scott Stolarczyk, AIA, CDT, LEED AP BD+C, will further enhance the facility’s ability to support the Institute’s culturally diverse performance and educational programs.

 

Original construction drawing by F. Manson White, Architect (1926).

The Shedd
What is now The Shedd has been a downtown landmark since its initial construction in 1926 for the First Baptist Church of Eugene. Designed by Portland architect F. Manson White in a Georgian Revival (a.k.a. Neo-Georgian) style, the 1926 building is notable for its brick and cast stone detailing, the grand scale of its pedimented portico facing Broadway, its simple massing, and its large sanctuary. The 1960 addition, designed by the firm of Hayslip, Tuft, Hewlett & Jamison (also of Portland) in the manner of the International Style, features similarly plain massing but a different inventory of spaces (classrooms, recital hall, etc.).
 
In 2000, The Shedd LLC, led by Jim and Ginevra Ralph, sought a suitable venue for the Oregon Festival of American Music (OFAM). The First Baptist Church property emerged as a promising candidate when the church decided to sell to facilitate its own growth elsewhere. The potential inherent in the church’s sanctuary as a performance hall, and the historic significance of the site, combined with its central location, made it an attractive option for The Shedd's vision. The Ralph’s decision to purchase and adaptively reuse the church was a civic-minded act, one that has contributed to the vitality of downtown as Eugene’s center of the performing arts community, while abetting the City of Eugene’s goal of compact urban growth.
 
RSA prepared a facility assessment prior to the purchase of the property, Though the two buildings presented myriad challenges—such as barriers to accessibility, the presence of asbestos, the absence of energy-efficient MEP systems, seismic risks, and the need to optimally separate acoustically sensitive functions—our report highlighted the church’s potential for adaptive reuse.
 
Upon officially moving into the former church in July 2002, Jim and Ginevra initiated a series of renovations designed by Scott to enhance the facility's offerings. The Jaqua Concert Hall, with its seating capacity of approximately 700, became a focal point for performances, known for its acoustics and historic ambiance. In addition to the concert hall, further renovations resulted in the Sheffer Recital Hall (an intimate 175-seat venue) and the Laraway Wing (featuring improved classrooms). Recent renovations have further solidified the institute's reputation as a center for music in Eugene.

 

Jaqua Concert Hall.

Warren Court

The architectural contrast between the church's Georgian Revival style and the modernist design of the 1960 addition posed a unique challenge. Whereas the original building emphasizes the solidity of its masonry forms with punched windows and traditional detailing, the 1960 building subverts this approach by expressing its brick walls as independent planes and including large areas of curtainwall glass. The original orange color of the brick on the addition contrasted with the older building’s red brick. In many ways, the 1960 building tried to appear very much like a neighbor rather than an addition to the church.

 

The original appearance of the 1960 Addition's Broadway facade (photo by me).

The two formed an incongruous pair. White designed the older structure in a style that revives an earlier fashion imported from 18th century England, which in turn was a revival of Classical Greek and Roman architecture. Hayslip, Tuft, Hewlett & Jamison designed the newer building during a period when the favored mode was to reject history, there being some irony now because the mid-20th century modernist vocabulary is itself a historic style. The probability of an awkward and unsympathetic melding of architectural philosophies was great; many unfortunate examples exist all over the country.
 
What saved First Baptist Church from architectural ignominy was the architects’ decision to organize the complex about a courtyard. The courtyard is an architectural device that at once separates the buildings and unifies the complex, albeit a device that was necessitated by building code considerations. Stylistically, the buildings were free to be aesthetically distinct, creating a dialogue between past and present.
 
Fast forward to today. The Broadway façade of the Laraway Wing now features a classically detailed cornice, complete with dentils, a frieze, and an architrave of similar proportions to that of the 1926 building. Additionally, the brick is stained to match more closely that of its older counterpart. Some may criticize the decision to blur the lines between old and new(er), citing a loss of architectural integrity. On the other hand, any loss of authenticity is offset by the more cohesive aesthetic, in my opinion a worthwhile tradeoff.  

 

Jaqua Concert Hall balcony.

The continuing evolution of The Shedd Institute includes a new north addition, now under construction. The addition and associated renovation will provide a new “Nils Clubhouse” meeting space, as well as expanded ticketing facilities. The improvements will enhance the visitor experience and further integrate the institute more deeply into the fabric of downtown Eugene.
 
The Shedd stands as a testament to the delicate balance between preservation and progress. Its transformation from a religious landmark to a cultural institution reflects a commitment to honoring heritage while meeting the evolving needs of the community. Robertson/Sherwood/Architects is a proud partner of the John G. Shedd Institute for the Arts and honored to have contributed toward its success.