The New Old House: Historic + Modern Architecture Combined

Practicing architecture in the history-rich Charleston metro area often has us thinking about how new buildings or additions should interact with historic ones - the coexistence of present and past. Marc Kristal tackles the dialogue in his book, “The New Old House” with eighteen built examples of homes that combine historic and modern architecture. This discussion becomes one of preservation (sometimes with a flexible approach), function, aesthetics, respect and sustainability.

“As reusing an existing structure is one of the “greenest” of building practices, finding effective strategies for so doing contributes to the global drive for sustainability. The preservation of buildings for their larger historic value also means that locations…that are rich in meaning can retain their influence…” Marc Kristal

Well known institutional examples, including Carlo Scarpa’s Museo di Castelvecchio and I.M. Pei’s Grand Louvre addition, tee up the narrative of combining historic and contemporary work. No doubt there exists a sliding scale of what is too precious to alter, preserve vs. repair, how far is too far a departure in terms of style, etc. We lean toward those designs that contrast the original so it is very clear what is historic and what is new, as long as the addition is honest, well-designed, detailed and executed, especially if the addition enables the structure to have another relevant chapter.

As Gil Schafer III offers in the foreword, “Some of the most interesting conversations occur when there are opposing points of view - as long as they are undertaken with intelligence and civility.”

Sketches from Roma

“Traveling - it leaves you speechless then turns you into a storyteller.” Battuta

Professor Rodriguez did a very comprehensive job teaching our History of Architecture classes at Virginia Tech back in the day, but nothing compares to standing in front of or inside these architectural giants and studying by drawing. Here are some of the rough travel sketches, mostly exploring scale, form and massing, from our recent trip to Rome.

Our favorite view within the Piazza Del Popolo is of the (seamingly) twin churches Santa Maria di Montesano (left, 1662-75) and Santa Maria dei Miracoli (right, 1675-79) with the ancient Egyptian obelisk centered and Via del Corso starting between the churches.

Closer view of the Santa Maria di Montesano in the Piazza del Popolo; not shown is the Italian street performer next to me singing ‘Sweet Dreams’ by the Eurythmics.

There is a church every turn you make in Rome. San Giacomo in Augusta was next to our hotel and after walking past it for days, we finally peeked in…speechless. Decided to draw the floor plan to convey the mass, construction and robustness.

Interior of Santa Sabina on Aventine Hill, one of the seven hills of Rome. This sketch was rushed and does not come close to conveying the scale and reverence of this space. May need to sketch this one again.

This gives you an idea of scale of Santa Sabina, if the door was this big.

The Ponte dei Quattro Capi bridge is from 62 BC.

Historic architecture and fabric was the main focus, but finding Richard Meier’s modern Ara Pacis Museum was a highlight.

Rainbow Row | 107 E. Bay St. Renovation [Part 1]

As young architecture students exploring the streets of Charleston, sketch books and (SLR) cameras in hand, Rush and I knew we were walking on hallowed architectural ground. Charleston's best of times and worst of times were visible in her historic structures - some preserved as museums, some renovated for current day functions, and the less lucky, waiting for their day of restoration.  It was, therefore, a humbling moment when one of our wonderful clients asked for our assistance with a renovation to 107 E. Bay Street, one of the 13 historic and connected structures, currently known as Rainbow Row. 

"Excellent examples of early-eighteen-century wharfside construction, the dwellings along East Bay Street provide insight into the mercantile life of Charleston." [Jonathan Poston, The Buildings of Charleston] 

Originally designed and built as stores on the ground level and merchant's living quarters above, these buildings served Charleston's port and directly fronted the Cooper River. (The water's edge at this part of town has since shifted away.) As row houses, they mostly share a party wall in between houses with private access to the residences from the rear alley. Subsequent fires, the effects of the Civil War and the earthquake in 1886, all gave these buildings scars, dark chapters and in some instances a complete rebuild. 

107 East Bay is located at the corner of East Bay and Elliot St. and is the start of the 13 attached structures that is now called, "Rainbow Row"

"In the pre-Revolutionary period this was the site of George Flagg's paint shop, which stocked pigment and oils for the painting of Charleston's houses. After the structure was destroyed in the fire of 1778, Flagg sold the empty lot in 1791 to John Blake." [Jonathan Poston, The Buildings of Charleston] As evidenced in the photo comparison, the building was once had a hipped roof which was altered to have a gable parapet wall. Alterations through the decades are common place as buildings undergo repairs, adapt to new families and functions.  

The entire Rush Dixon Architects studio is humbled to be a part of the team for this next generation of 107 E. Bay which includes the very talented design and construction stewards at C. B. Elrod Construction. We look forward to updating you on construction and design progress. 

1 Elliot St is a brick out-building associated with the property.