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Sense and the city: A Charlottesville developer chooses preservation with a retro-modern twist

The concept of urban placemaking surfaced in the 1960s, when writer and activist Jane Jacobs successfully led the fight to block a planned highway through New York’s Greenwich Village, and urban planner William “Holly” Whyte began the Street Life Project, documenting how built environments shaped the way people behave and interact. Today, Jacobs’ The Death and Life of Great American Cities and Whyte’s The Social Life of Small Urban Spaces are required reading for architects, landscape designers, and planners—and their pioneering work has established the baseline idea that development is more about people’s everyday lives than it is about simply putting up buildings.

Shannon Worrell’s Tenth Street Warehouses project, at the threshold of Charlottesville’s 10th and Page neighborhood, is an exercise in urban placemaking. The pocket of thoughtfully designed commercial and residential spaces is comprised of the historic Coca-Cola bottling facility, a handful of new apartments designed by Wolf Ackerman, Peloton Station restaurant and bicycle repair shop, and a thoroughly modern new Mudhouse coffee shop.

Shannon Worrell has used her new development to create a more open, walkable space between West Main and 10th Street. Here, she sits outside Mudhouse Coffee Roasters, a commercial tenant. Photo: Stephen Barling

If you’re headed west along Main Street and turn right onto 10th Street, you will immediately see the Coke warehouse—with its patinaed red brick and black metal casement windows—and after about 40 paces you will enter an open space that provides relief from the claustrophobic corridor between the monolithic façades of the Flats and Standard apartment complexes. You may also sense that you are in a deliberately composed setting, alive with pedestrians and cyclists, folks enjoying a sandwich and a beer on the patio at Peloton, and people coming and going at the shops, small businesses, and studio apartments of the Coke building.

As the local population continues to grow, Charlottesville is molting its big-town shell and emerging as a small city, creating an imperative for more spaces like the Tenth Street Warehouses. We must commend the developers of Six Hundred West Main Street for preserving the Blue Moon Diner and the building next door. Likewise, kudos to the Quirk hotel designers, at West Main and Fifth streets, for sparing two adjacent 1920s streetfront homes. As a whole, the streetscape between Tavern & Grocery restaurant and Seventh Street presents many pleasant places, including the street-facing dining area outside Public Fish & Oyster and Oakhart Social.

The view from Tenth Street shows anchor tenant Peloton Station, Mudhouse, and the low-rise that contains a handful of modern apartments by Wolf Ackerman architects. The taller building in the background is The Standard, which is not part of the Tenth Street Station development. Photo: Stephen Barling

The Tenth Street Warehouses represent an opportunity for more than commodious living. It is a connector between Main Street and the Westhaven public housing and 10th and Page neighborhoods, both of which absorbed African Americans displaced by the city’s shameful demolition of Vinegar Hill in the 1960s. Worrell is fully cognizant of this history, and also aware that the neighborhood is threatened with gentrification. It could be argued that Worrell’s project contributes to that. But by creating a cohesive, modestly scaled development, she is announcing her commitment not to wall off one of the city’s less affluent communities. On the contrary, she hopes that the Tenth Street Warehouses will act as “soft, connective tissue” between the neighborhood and West Main Street and the university.

We spoke with Worrell, a former poet and musician, about this and much more.—Joe Bargmann

Abode: How did the Tenth Street Warehouses project begin?

Shannon Worrell: You can trace it back to about 20 years ago, when I bought the Coke bottling factory building. That was the company’s original facility in Charlottesville, but they outgrew it and built another one, which is now Kardinal Hall, over on Preston Avenue. The first building became a shirt manufacturing place—maybe not what you’d call a “factory” but certainly bigger than a tailor shop. Since I’ve owned it, it’s been a commercial and residential space, with big lofts and a few smaller spaces tucked in on the ground floor.

How much work have you done to the building?

A lot of the original details were preserved in a renovation by the previous owner, and I’ve continued that idea to this day. The space has been updated—it has to be useful—but I’ve been adamant about keeping all of the amazing old materials intact. It was a large, industrial space, and I’ve stayed true to that spirit and aesthetic. If anything, I’ve opened it up more rather than breaking it up into a bunch of smaller spaces.

What other elements have you added over the years to make what is now the Tenth Street Warehouses?

I bought the building and some land adjacent to what most people remember as the old C’ville Classic Cars shop. It was built around 1930, and for many years it was a machine shop where car parts were made. But it’s always been industrial and automotive.

The transformation into the space that is now Peloton Station and the Mudhouse is night and day. What was your vision in the beginning?

The first thing was just to save the building. There had been a lot of deferred maintenance. There was literally water rushing through it and the roof was falling in, and there were environmental issues because of the industrial use. So, I addressed and mitigated those issues. I was attached to those big, slanted, sort of Art Deco windows and the shape of the building, so I decided to revive it.

What option did you have?

None that I was willing to consider. I could have done what’s going on all over the city, and especially up on Main Street, which is to knock down the old building, put in parking on the ground floor, and then build up as many stories as the city would allow. But I live in that neighborhood, and I’ve been watching the changes over the years, and there’s no way I was going big. I can’t say it was the greatest financial decision [laughs].

I’m sure! And I can appreciate the aesthetic choice, but why was preserving that building so important to you?

I remember when I was a kid, there were all these great old quirky buildings. There are just a few that remain, including a couple on Main Street, that remind me of my childhood. The big box housing developments on West Main Street change the whole scale and feeling of midtown. On the positive side, there are more pedestrians and The Corner is truly being connected to West Main and downtown. The downside is that some of these buildings look out of place in the original cityscape—more suburban and homogeneous in their design and material use. We saw an opportunity to make a project that was more architecturally unusual, while showcasing the old car dealership storefront. The Standard looms over us in a way that urges us to want to create something visually appealing in the shadow of its backside. We are working with them, Westhaven, and The Charlottesville Mural Project to create a park behind the apartment building.

How do you compensate for or counteract that?

We’re looking at our options right now. I’m working on getting a big mural painted that will break up some of that visual monotony of the back of the Standard.

Part of your goal is to improve the way the space looks, but there’s also a practical side to how you’re designing and programming it, right?

I like to describe the Tenth Street Warehouses property as connective tissue. When the classic car shop was in the Peloton building, there were a lot of fences in the space between it and the Coke building. I mean, a whole series of chain link fences were breaking up the space. I had them taken out. It’s important to my commercial tenants and the people from the neighborhood to be able to walk down from, or up to, Main Street.

Playing devil’s advocate, could someone call your project simple gentrification?

That’s fair, to an extent. I have been called a gentrifier. But at the same time, I’ve also deliberately sought out people’s point of view. I suppose I need to do more of that—have a stronger connection with my neighbors. But they’d have to admit that the space is now more walkable and open, a more pleasant place to engage with others. I like to think of it as kinder, gentler gentrification, if there is such a thing [laughs]. I want people to understand my point of view. I could have cleared the land and put up the biggest possible building, in order to make more money in the near term. I’m committed to a different approach. I have an open mind and an open heart. I have to run a business and make money, but I’m confident that if I do the right thing, that will happen in time. That sounds utopian and naïve, but time will tell and I’m just going to keep trying.

What’s going to happen with that lot on the other side of Tenth Street? It would be nice if you could have something there that continued in the vein of the warehouses.

Well, the university owns that land, and right now it’s used as parking for faculty and hospital staff. I think I’m like a lot of people from the neighborhood who have a love-hate relationship with the university. It obviously employs and educates and enlightens a lot of people, and it provides all of us with lots of wonderful diversions and resources. But people also see UVA as a gentrifier that’s encroaching on the city.

But the story isn’t so simple, is it?

No, of course not. And I think [UVA president] Jim Ryan is really interested in having more of a dialogue with the community and enhancing UVA’s relationship with the city. What happens with the land that’s now a parking lot? I don’t know. I guess it could end up being student housing.

Have you spoken with anyone at the university about that parcel?

No, I haven’t. But I hope to. And generally speaking, because of president Ryan and also the aftermath of August 12, I think the university is more sensitive to how it interacts with the city. It’s certainly more sensitive than an out-of-town developer who really has no community connection.

It seems to me that it would be beneficial for the city to leverage some of the talent from the School of Architecture—architects, landscape architects, planners…

That kind of integration would be really great. There are some amazing people in this community who are either at the university now or who have come out of it. I have had professors and students work up plans for sites in the past, but nothing ever seems to get off the page. There’s so much capital here—creative, intellectual, financial—that it would be great to be put it all together to solve some problems. The biggest problem now is affordable housing. It would be interesting to see what could happen if we all put our energy into addressing that.

What connection to the university do you see there?

There’s some student housing on grounds, but a lot of them need to live off campus. I think the relationship between student housing and affordable housing is contentious. We need to talk about that and make sure everyone has a seat at the table. I’m not saying I know how to make that happen. I’m sitting here in my utopian bubble! [laughs] But I am a developer, I have a stake in this, and I like to think I’m conscientious. I’m aware of the housing redevelopment process—I’m part of it in some small way. I do some volunteering for the public housing association president, and I’ve been talking to Habitat for Humanity about some housing initiatives. I’m trying to find a way forward and make a difference. I want to figure out the best way to do that.

What drives you to keep going along that path?

The creative part is what inspires me, and my desire to use that creativity for people in the community. There are a lot of things we could have done with the Tenth Street Warehouses space. We chose to create what you see now.

The apartments above Peloton Station and Mudhouse, designed by Wolf Ackerman, are very modern. How does that style mesh with the other buildings, which are industrial and from different eras?

The Coke building has very large, loft-style apartments. Their size and scale is dictated by the building itself—industrial space with really high ceilings, lots of windows, and wide-plank wood floors. I wanted the new apartments to be similar—with a warehouse-industrial feel and high ceilings—but the architects were like, “Man, there’s a lot of red brick in this town, and I don’t think we want to go there.” I agreed. We were looking at Scandinavian architecture, very spare, and also Japanese. So we coined the term Scandinese industrial. [laughs] It doesn’t mean anything on its face, but it became our shorthand way of talking about the style we were going for. It’s an extension of the industrial history of the site but also contemporary.

There’s a rawness to the whole site. Would you say that the Tenth Street Warehouses are still a work in progress?

Definitely. My tenants all understand that, too. We want to hear from people in the community —we welcome their opinions with open arms—about how the space can work for them and be meaningful to them. There will be changes. I think we’re really just getting started.

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City vision

Former Charlottesville mayor Maurice Cox, now Detroit’s director of planning and development, talks about managing growth, recovering from a crisis, and the power of telling the right story.

There was a time when Maurice Cox couldn’t escape being recognized in Charlottesville. In August 2012, almost a decade after he served as mayor, he sat with a reporter at a restaurant on the Downtown Mall, on the eve of his departure to New Orleans to become dean of community engagement at Tulane University School of Architecture.

“The Honorable Maurice Cox!” a passerby yelled, and Cox responded with a wave and a smile. “Once a mayor, always a mayor here,” he said. “I’m going to miss that.”

More recently, the man who served as Charlottesville’s mayor from 2002 to 2004 again joined a reporter for lunch on the mall. No one called out to him, and Cox enjoyed a bacon cheeseburger in quiet anonymity. But if brilliant city planners commanded the cultural pull of movie stars, the paparazzi would have been swarming.

Now the director of planning and development in Detroit, Cox was in town for final reviews of students’ work at the UVA School of Architecture, where he was an assistant professor from 1993 to 2012. Cox, who received his degree in architecture from New York’s Cooper Union in 1983, has also been design director at the National Endowment for the Arts, spent six years teaching architecture in Florence, Italy, as part of Syracuse University’s Italian program, and, while in New Orleans, was director of Tulane City Center. Architect Magazine has noted that Cox “is considered to be a phenomenon within urban planning circles: smart, passionate, and inspiring.”

Given all of this, and Cox’s record as a public official in Charlottesville, we were eager to get his take on how our city has evolved—and dealt with adversity—since he left.

He knows dire situations. He arrived in New Orleans while the city was still reeling, albeit years later, from Hurricane Katrina. And he answered the call in Detroit in the wake of its historic population decline and declaration of bankruptcy.

Cox also faced a major crisis when he was in office in Charlottesville. In fact, if he and a group of fellow activists hadn’t stepped up, the city may have become a town in Albemarle County as part of a “reversion” movement. But Cox not only prevailed in the face of that existential threat, he laid the groundwork for Charlottesville to develop a dense urban core, become navigable on foot and by bicycle (his trademark form of transportation to this day), and combat sprawl and displacement of city residents.

The latter is still a challenge, and some of his projects (like his quest for a trolley along Main Street) never came through. But to the extent that Charlottesville exudes a sense of “urbanity” (his word) it can be traced back to Cox.

A skilled multitasker, the pin-thin former mayor, dressed in a slim gray suit and bright green shirt on a sunny day in May, managed to share his views of Charlottesville while also polishing off that fist-sized cheeseburger.

C-VILLE Weekly: Among the issues you faced as city councilor and mayor was reversion—the idea that Charlottesville would revert back to being part of Albemarle County. Why do you consider that a crisis moment?

Maurice Cox: It was ultimately an excuse to sprawl. We recognized that moment and saw an opportunity to think about how we grow in our own footprint.

The city needed to replenish its tax base. Housing, middle-class housing, was just nonexistent. So, reversion was a way of annexing effectively all of the commercial property that is the sprawl of Route 29. But it wasn’t going to address the sprawl, per se, or create urbanity—to have Charlottesville grow up.

We started looking at our commercial corridors and zoning ordinances, and we said, You know what? Let’s throw the sucker out if it’s not going to produce the kind of city we want, and look strategically at where we can absorb density.

The density you speak of is arriving on West Main Street now. Is that what you envisioned?

At the time, the goal was to give West Main Street enough density to support transit and a vibrant public realm. So, yes, the emerging density is consistent with what we had envisioned. But the goal was also to promote a density sensitive to its immediate context. Any misgivings I have today pertain to the scale of the development and the architecture of many of the new buildings.

In his time on council, Cox pushed for more density on West Main (pictured at left in 2011). Now, much of that development has materialized, but Cox has misgivings over the scale and architecture of some of the new buildings. Photos: Steve Trumbull (left); Skyclad Aerial (right).

For example?

The architecture developing towards the university hospital end of West Main appears to be of good quality and scaled for pedestrian use. The new construction beginning to intermingle with the existing buildings between the Amtrak station and Ridge McIntire Road also looks extremely promising—in large part because there was enough historical context for the architects to respond to. That end seems to be producing what I call “gentle density,” which is sensitive to its context and pedestrian in scale.

On the other hand, The Standard and The Flats are completely generic, architecturally dated, and insensitive to the scale of the neighborhoods to the north and south, Fifeville and Westhaven. The monolithic nature of The Standard effectively—and intentionally, I believe—creates a wall denying residents of Westhaven pedestrian access to West Main, and should never have been allowed to happen. The Flats student housing, which was supposed to transition down to the single-family neighborhood of Fifeville, according to the zoning, does the opposite, growing taller towards the neighborhood.

This happened because special density variances were granted, and I’m sure the council that approved the exception wishes today that they had followed their own rules. Just proves that it’s possible to get the density right and the form and the scale completely wrong.

The most obvious recent crisis the city has faced was brought on by the Unite the Right rally and its fallout. What is your opinion of how the city has handled that?

It was an enormous opportunity. But the statues are still standing, which suggests that we haven’t dealt with the crisis.

But it’s part of a larger issue that Charlottesville has dealt with for many, many years. Monticello, anyone?

It’s fascinating, because during the ’90s, the first thing Monticello had to address was the relationship between Sally Hemings and Thomas Jefferson. At first, they didn’t embrace this, but the evidence was so compelling that they had to acknowledge it. And it’s become a part of the incremental recasting of Monticello as a plantation, as opposed to a presidential retreat.

It is incremental, as you say.

On my way here, I walked past the memorial being built about UVA and its relationship to slavery. That’s another incremental step—the university coming to grips with that legacy. But the bigger issue right now is the city itself. And I think that until the city constructs another narrative, it is going to be known for that day in August.

In Detroit, the popular press wrote the narrative for 50 years. And it’s only through the force of a collective will that a new narrative is starting to emerge. I can take some ownership of that, but it does require a kind of collective courage. Individual courage, no, because you don’t do these things alone.

I presume that the narrative for Detroit is that the comeback is real. But people have heard that story before. Why is it different now?

When I arrived [in 2015], the city had just gone through bankruptcy. Without having gotten rid of that debt, I don’t think we would be able to attract the investment that’s being attracted now. We have an administration that can actually perform the duties expected of government, like getting lights to come on at night, picking up trash, demolishing burnt-down houses, getting emergency vehicles to arrive. That’s been the precursor to my being able to engage residents in a conversation about the future, because the present was being tended to.

We’ve had hundreds of meetings with residents. We’re listening, and we’re talking about the character of their neighborhoods, and what the future should look like. It’s a very empowering experience, for anyone who was normally preoccupied with the basics, to have enough mental space to talk about the future, and have some hope.

So what else could Charlottesville do?

You think about what other generations did, how they used civil disobedience. They got arrested for things they believed in. This notion that the courts, the Virginia courts, would cart our city council off to jail if they defied the order that the monuments could not be removed—I’d be curious to test that. I think it would be a national story. It’d be an international story.

There are other cities that removed the statues, and they did not face the legal impediments that Charlottesville has faced. But you don’t deal with these issues by soft-pedaling. That’s where civil disobedience comes in. I’m afraid that ultimately that’s what it’s going to take. Every day [the statues] sit there on the plaza is a reminder of unfinished business.

Let’s return to the issue of development in Charlottesville. Is what you’re seeing now a fulfillment of your ideas? Where do you think we stand?

We clearly made the argument that there are places that could and should absorb higher density that would create a kind of context for a pedestrian-oriented development with character. And so, the density is landing in the right places, but the character is questionable.

There’s also the challenge of unintended consequences. When you create the density that could potentially support transit and walkability, you make something of value that can create displacement, which has happened. The question is, how do you offset the fact that you created something of value? The answer is generally in the realm of affordable housing.

In Detroit, the city has made a commitment to 20 percent affordable housing in any development that receives public resources, and a commitment to retain 10,000 units of federally regulated housing. That includes Section 8 housing like Friendship Court in Charlottesville. Affordable housing has to be grafted onto the market-rate housing.

You invest in the public realm, and you protect the existing inventory of affordable housing so that people don’t get displaced. You do one without the other, then you’re going to get displacement, and that seems to be the challenge that Charlottesville faces. Put in the density and investment in the public realm, but also don’t forget to put in the policies and mechanisms for robust pushback in the area of affordability.

What we’re talking about for Detroit is a growth strategy. It stems from the basic notions that everyone who stuck it out with the city through thick and thin deserves to benefit from the opportunity that growth presents, and that the city should follow public policy that assures it’ll happen.

We were talking earlier about sprawl. Have you noticed the development along Route 29, out Fifth Street Extended, along Route 20?

Yeah, there’s a lot of it.

What does that signal? For most people those places are not affordable.

It’s all feeding off of the success of the urban core and the proximity to a thriving urban center. It’s a symptom of the city’s success that the county sprawl may be a little more tidy, but the quality is really, really low. Maybe in 50 years we’ll look back and [the new developments] will have provided the massive amounts of affordable housing that we need—that’s what it’s going to become, because quality has not been a factor in its development.

There is also the issue of public transportation. What are your observations about that in Charlottesville?

It’s still a fundamentally car-dependent region that’s not pushing hard enough on the alternative transit options. This is where the governmental structure inhibits the kind of regional cooperation that you need for transit. There’ve been fits and starts, but mostly fits and stalls.

That’s not unlike other areas that have a divide between the city and county. We always said, ‘Well, let’s try to jumpstart a pedestrian-oriented, transit-oriented core.’ And that’s where a streetcar down Main Street was a very viable scenario. It would have been an important demonstration that we can weave other modes of transportation into this small city.

Maurice Cox in 2006. Photo: Jen Farielo

Is it really any different in Detroit?

There’s a similar reluctance to embrace alternative modes of transportation in Detroit, the Motor City. But we’re pushing hard by making protected bike lanes a part of all the street improvements. Detroit is wonderfully flat and the streets are wonderfully wide, and you can get a lot of different modes of transportation in them. Detroit laid more protected bike lanes, which are the ones up against the curb with a buffer, than any city in America last year.

What else is Detroit doing to support alternative transportation?

We’ve identified 30 different areas where we can make Main Streets, slow the traffic down, integrate more modes of transportation, and create a public ground. We call them micro-districts. What we’re going for is not unlike the ambiance here on the mall, where you can shop and recreate within a 20-minute walk of your house.

Charlottesville is a great example to consider, because the mall is only eight blocks long. This is about as far as you are probably willing to walk for a couple of restaurants and your favorite coffee. And so, most of the micro-districts we are conceiving of in Detroit are no more than six, eight blocks long. But can you create that kind of mixed-use, retail Main Street in every single one of the neighborhoods? We think you can in some, and that’s more or less what’s happening.

It also involves increasing density, but it’s much more gentle density than even what we’re seeing here. Most of the buildings are three or four stories, maximum six, and we’re conferring with the public to set the tone and address the question of quality. We’re not just letting the market do what it wants to do, which is to be kind of status quo and mediocre. We want excellence. We’re pushing publicly commissioned work to an extreme, and then asking the private sector, can you top it?

Given the sheer size of Detroit— 139 square miles, as opposed to Charlottesville’s 10.4 square miles —is there an acknowledgment that some parts, and perhaps even some very large parts, are going
to have to be fallow?

Or that some parts are going to have to wait, which is what interests me about Detroit. It’s a laboratory for slow, sustainable urban growth. We’re experimenting with what it’s like to create an urban environment where you can walk and bike, but at the same time, we recognize that the same set of tools won’t work in neighborhoods that have lost significant populations.

We are now getting to those neighborhoods where you have to have a different maintenance strategy for vacant land. It might be a reforestation effort. It might be intersecting reforestation with commercial nurseries, tree nurseries. We are testing that idea. It might be hundreds of flowering meadows, and we have a place where we’re testing that idea, too. We acknowledge that you’re going to have to shift to a landscape-based strategy in areas that feel more rural, so it would be a mistake to try to force them to be urban.

You get that cross-section of neighborhood types in Detroit to explore. It’s a wicked problem. Every day we attempt to address it. I see why no other city in America that went through extreme population decline has succeeded. But we do have an appetite for experimentation. We acknowledge that one size doesn’t fit all. And so, the exact opposite of uniformity is what’s going on in Detroit.

Speaking of empty space, was City Yards an issue when you were mayor? How would you deal with it, with the benefit of hindsight?

I think with City Yards and a few other places near downtown, you could afford to do some unconventional experimentation. I don’t think it’s about high-density development. It’s probably about landscape as a framework. Yeah, I think it’s too valuable to stay fallow, but it’s too big and difficult to use a conventional set of tools. And there’s no shortage of fantastic landscape thinkers right here in Charlottesville. A very intentional bridge has to be made between city government and the academy, and it can be figured out.

Of the problems that you saw and addressed when you were here, which ones still exist, and how should they be handled?

These things can’t be approached in the abstract. Racism exists. Where does it exist? Does it exist in our housing policy? Does it exist in the economic opportunity given to entrepreneurs? It has to be grafted onto something real. So getting together for a kumbaya conversation about racism, while it may temporarily make you feel good, produces very little lasting impact. When you say we’re going to address the displacement of people by changing our housing policy, that’s tangible. When you say we’re going to build a cultural center to make sure that the history and the legacy of urban renewal is forever understood, like the Jefferson Center, that’s a tangible example of addressing an issue.

Even an effort to have minority businesses on the mall would be a good start. In Detroit, we have a program that matches entrepreneurs to real estate opportunities—and everything from business planning to getting the bricks and mortar—to open up a shop. Sixty-five percent of the people who receive grants are women, 70 percent are people of color. That’s a direct answer to, will economic opportunity on these Main Streets that we’re creating look and feel like the communities they exist in?

Where does your experience in architecture come in?

The power of design is its ability to convene people around a project, not an abstraction, and that is one of the reasons why design is so engaging even for the laypeople. At the end of it, there’s something standing there that’s a built environment, that’s a natural environment as a result of your hours and hours and hours of meeting. I think those are tangible ways to address issues of equity and inclusion. That’s been a mainstay. At least it’s been a mainstay in my career to use the imperative to build, to shape, as a way to have a larger conversation about what kind of community we want, who belongs in it, and how do we all get access to it.

In Detroit, we do it by culturally tagging infrastructure that is unifying the city. The Joe Louis Greenway, which unites dozens of neighborhoods, was purposefully named so that for the next hundred years people will think of this iconic sports figure as someone who unites the city. Or we do a park, and we bring a renowned African American artist, Hubert Massey, to work in the infrastructure of art, in this case a 160 foot-long mosaic tile wall that turns into a community build with kids and adults. It’s also in a park named after Ella Fitzgerald, another cultural icon. And so, these are ways to bring in a creative impulse that tells people…that this belongs to them.

So, you’re still commuting by bicycle in Detroit, as you did here?

I am. I live a commutable distance from work. I’ve always insisted on biking, and hiking and walking, ever since Charlottesville. I can see the city with all of my senses, and it helps you pay attention to detail and to the feel and the character of a place. It’s my way of doing some research even in the most banal act of going from home to work.

Do you think Detroit will ultimately be a success story?

Well, in some ways it already is. Let’s not forget that it’s also the largest African American city in America. So when a black city builds more protected bike lanes than a city like Portland, that in and of itself is newsworthy, and what does that mean? I’m always mindful that it’s not like we’re just doing this in any city. We’re doing this in the blackest city in America. Majority African-American cities have long been equated with dysfunctionality, corruption, and poverty. We have a chance to defy that stereotype and write a different narrative about a progressive, exploratory, inclusive, African American-majority city.

We are mindful that it’s a narrative that is very, very powerful. And that’s what I mean by Charlottesville has to find a way to snatch back its public narrative. Detroit did it with an onslaught of positive, affirming, forward-looking, progressive stories.

All of a sudden people feel like we’ve cured something. But we still have poverty. We still struggle with vacant land and home abandonment. But the counter-narrative is so compelling that people are not writing exclusively about Detroit’s decay and decline. I’ve seen that happen in a matter of four or five years, so I know that Charlottesville can do that.

It’s not going to happen just by the passage of time. People are not just going to forget, and I think that’s the issue: What willful actions can your public leaders and civic leaders take to snatch back the narrative of Charlottesville?


Highway blues: losing the battle for McIntire Park

When Maurice Cox was elected to the City Council in 2000, debate over the proposed road then known as the Meadowcreek Parkway had ground on for decades. The road, eventually christened the John W. Warner Parkway, is now a reality, but it looks the way it does (“a beautiful parkway rather than a highway,” as Cox puts it) in large part because of efforts by Cox and other local activists.

After decades of debate, the John W. Warner Parkway, which connects East Rio Road to McIntire Road at the U.S. 250 Bypass, finally opened in January 2015. Photo: Skyclad Aerial

The parkway, first proposed in the 1960s, aimed to connect East Rio Road with McIntire Road, easing traffic on Rio and Park Street, and providing more direct entry into the city of Charlottesville from suburban northern Albemarle County neighborhoods.

“I was convinced then and still believe today that the Meadowcreek Parkway was Charlottesville’s greatest gift to Albemarle County,” Cox says. “Charlottesville sacrificed the city’s largest park, McIntire Park, in order to relieve traffic pressures from the county’s out-of-control growth along 29 North.”

Plans were coalescing by the time Cox was elected, but opponents, who challenged the then-prevalent idea that building more roads would ease traffic on existing ones, had laid out a set of demands for keeping it circumscribed. Among other concerns, they sought to ban truck traffic, limit speeds, and reduce the number of travel lanes from four to two.

“We never had the votes to kill the darn thing,” says Cox, “so instead I spent eight years of my political career trying to ‘defang’ a four-lane divided highway, aimed straight through the heart of downtown.”

Cox fought successfully for design restrictions that kept its interchange with the U.S. 250 Bypass relatively compact and its footprint narrow, so future leaders wouldn’t easily be able to widen it.

“Being a designer, I figured if you couldn’t kill it then perhaps I could use the power of design to resize the threat and remake it into one of the best two-lane parkways Virginia has built in a generation.”

But he adds, “we shouldn’t forget that we lost out on a great opportunity to gift to the next generations a world-class McIntire Park.”

Categories
Knife & Fork

Don’t call it salami (because the proper name is charcuterie)

Making charcuterie is an art, and the best meat artists in town can be found at J.M. Stock Provisions. “You have to receive the animal, break it down, use just the right balance of fat and lean, get the perfect matrix of textures, and chop, grind, and cook for hours,” says Alex Import, general manager. “A chef might say, ‘Why do all that when you can buy it from someone else?’ There’s nothing wrong with that mentality.” Likewise, there’s nothing wrong with JM Stock’s smoky, salty meats.

CLOCKWISE FROM TOP LEFT

Pepperoni

Three parts lean beef, one part fatty pork. Coarse, medium, and fine grinds. “You have to add the meat very carefully to keep your textures somewhat separate,” Import says. “That variation, and the flecks of pork fat, are what make this look pretty.” Seasoned with coriander, black pepper, and a “secret” mix of chilis, then hickory-smoked.

Stock ham

Pork from the hind leg, brined for five to 10 days in water with salt, sugar, coriander, mustard seed, black peppercorns, bay laurel, and chilis, then hickory-smoked. “We leave on the thick pork cap,” Import says. “It melts in your mouth, and if you make a panini with it, the flavor really stands out.”

Mortadella

The masterpiece of the meat case. Lean pork ground several times, then mixed with ice to promote emulsification and a “pillowy texture.” Chunks of blanched pork-jowl fat, pistachios, garlic, mace, coriander, and other spices are added before the mixture is encased in a natural beef skin. Finished by lengthy poaching at low temperature.

Surryano ham

An “import” to JM Stock made by Edwards Virginia Smokehouse, in Surry, Virginia. Heritage pork cuts are hand-rubbed with a proprietary mix of ingredients, hickory-smoked for seven days, and aged for more than 400 days. Sliced paper thin. Delicious with blanched asparagus or sweet melon.

Paté de campagna

Import calls it “fancy meatloaf.” No bread or flour added, so it’s gluten free. Fat and lean pork hand-chopped with offal (jowl, heart, liver). Seasoned with black pepper, dried ginger, mace, nutmeg, clove, and coriander. Super-rich. Good on its own or with crostini, cornichons, and coarse mustard.

J.M. Stock Provisions, 709 W. Main St, 244-2480, stockprovisions.com

Shout out

Import says that JM Stock’s charcuterie wouldn’t be nearly as good if it weren’t made from Patterson’s Register Berkshires, heritage hogs from Autumn Olive Farms, near Waynesboro. autumnolivefarms.com

Categories
News

Divide revives

West Main passersby were alarmed last week to see yellow caution tape stretched in front of Parallel 38 and Gus’ Custom Tailoring, and a sign declaring Continental Divide “unfit for human habitation or occupation.” Despite that dire warning, the problem (a collapsed ceiling) should be repaired and the restaurant up and running again next week, owners say.

Building owner Blake Hurt says no one was hurt when the false ceiling collapsed, dropping drywall into the popular southwestern eatery. When a city inspector checked the ceiling, he also noticed a few other issues with the building that resulted in the temporary shuttering of the other businesses. Among the problems: a groundhog hole under the foundation.

“It certainly got our attention,” says Hurt. “It’s an old building.”

He had a structural engineer inspect the building and says all the issues have been addressed.

Parallel 38 has been granted permission for re-occupancy, according to Neighborhood Development director Alex Ikefuna. Gus’ Custom Tailoring also is open.

The “unfit” sign in Continental Divide’s door has been replaced with a “What the heck haiku” that reads, “Hey y’all. We’re okay. Ceiling fell but not the sky. Don’t fret! Back real soon.”

Divide owner Duffy Pappas says the ceiling is being replaced and a re-opening is in sight. “We’re hoping for the end of next week.”

 

Soon the sign at Continental Divide will say “Get in here.”

 

Continental Divide’s ceiling repair is underway. Staff photo
Categories
News

Sex, drugs and rock ’n’ roll: New apartment complex promises at least one of those

Next fall, residents of a new housing complex on West Main Street might have 99 problems, but their apartment won’t be one of them—or at least, that’s the verbiage that was handed out on keychains at Six Hundred West Main’s metaphorical groundbreaking ceremony last week.

Despite pouring rain, about 40 people and a bulldog named Butch came out to the future site of the swanky apartment complex set to open behind the Blue Moon Diner in 2019.

More reminiscent of a concert than a press conference, the event featured black graphic tees that nodded to the desire for backstage passes and edgy, apartment-branded posters that were up for grabs at a merch table about 20 feet in front of the stage, where developer Jeff Levien, designer Ivy Naté and architect Jeff Dreyfus shared some words about their project.

“We’re sort of reclaiming West Main Street for the rest of the city,” said Dreyfus.

The group made it clear that the apartments aren’t for UVA students, and Naté said one reason Charlottesville needs such a space, which will have its own art gallery, is because it lacks “curated design” for its non-student population.

Rental costs aren’t established yet, per Levien, who also declined to comment on how much the project cost. Levien and Naté, who are married and moved to Charlottesville from New York City about five years ago, have tag-teamed on a number of developments, but this will be their first in the city.

This one will feature modern design elements such as perforated metals and glass, according to the architect, a principal of local firm Bushman Dreyfus Architects, who couldn’t help but mention Thomas Jefferson: “That’s what he would be using today,” Dreyfus said.

A rock ’n’ roll theme has dominated the marketing for West Main’s newest digs. “Is it a little rock ’n’ roll?” asks Naté. “Definitely. But it’s where rock ’n’ roll goes to kick back.”

The quote appears in a folder that was handed to reporters, which features a photo of Naté and Levien at the Blue Moon bar. Levien, sitting on a barstool and pouring an inordinate amount of either sugar or cream into a cup of coffee, stares longingly at his wife, who’s positioned on the countertop sucking back a shot of Jack Daniel’s while wearing aviator sunglasses, studded jeans and platform boots.

Levien credits Naté with the theme.

“She’s much cooler than I am,” he says, a gray beanie on his head that he claims his wife made him wear. As Butch, the pair’s dog, sniffs his leg, the developer says hints of the rock ’n’ roll lifestyle will be carried into the apartment design, with dark bathrooms, dark kitchens, chandeliers and the art gallery.

For what Levien called the “proverbial shovel in the ground,” folks who’ve had a hand in bringing Six Hundred West Main to life put on black hard hats but ditched the golden shovels often used during such a ceremony. Instead, with a giant stencil and a few aerosol cans of paint, they permanently sprayed the apartment’s logo onto the pavement, as “Kansas City” by The New Basement Tapes played over a loudspeaker.

For perhaps the first time in Charlottesville’s history, an apartment complex comes with its own Spotify playlist. Give it a listen at spoti.fi/2poxUPO.

Between now and the grand opening, the Six Hundred West Main team will do 600 hours of community service.

“I think being of service is a true example of good teamwork,” says Levien. “I could go on and on, but this isn’t an Oscars speech.”

Multiple other recently developed or under-construction apartments and hotels dot West Main.

Since the 2010 census, Charlottesville has grown 13 percent, more than any other Virginia city, according to Chris Engel, the city’s director of economic development. And the city has set aside $31 million for a West Main Street facelift.

“People are coming to Charlottesville like they’re going to other big cities,” says Engel says. “The point of cities is multiplicity of choice.”

The skinny

Looking for a place to live? Six Hundred West Main offers:

  • 65,000 square feet of residential space
  • 53 rental residences
  • 6 floors
  • Studios, one- and two-bedroom units
  • Private terraces
  • 8-foot windows
  • High ceilings
  • Meditative courtyard
  • Outdoor fireplace
  • A private art gallery with resident lounge
  • Parking and bike storage
  • Bikeshare
  • 4,700 square feet of retail
Outdoor firesplace. Courtesy 600 West Main

Categories
Arts

Shared history: A portal to the past runs through West Main Street

From 1988 to 1992, two recent UVA graduates, Chris Farina and Reid Oechslin, set out with a camera, 16mm film, little money and no lighting equipment, to interview residents of Charlottesville’s West Main Street. They wanted to learn more about their newly adopted hometown by inquiring into the lives and histories of the people tethered to this stretch of land.

Under the production company name Roadside Films they had already made one film together, Route 40, about the residents of Pulaski Highway in Baltimore, near Farina’s childhood home. Back then, UVA didn’t have filmmaking classes, so Farina and Oechslin took film criticism and fell in love with the medium. Farina says, “We were basically self-taught and [Oechslin] was the one who had the capacity to learn how to use the camera and editing table.”

In West Main Street, “The people, themselves, they tell the story,” says Farina. The film—which premiered in 1995 at Vinegar Hill Theatre, where Oechslin was the manager—features Jefferson School teacher Rebecca McGinness, funeral director and civil rights activist George Ferguson, teacher Sonny Sampson, Greek immigrant and entrepreneur Pete Stratos, Barrett Early Learning Center Director Cindy Stratton and barber Milton Via, among others.

West Main Street
Vinegar Hill Theatre
April 27, 7pm

At the time, “A bunch were older residents, so in a way it was capturing the 20th century through their perspectives,” says Farina. McGinness was born in 1892 and was about 98 when they interviewed her. Ferguson was born in 1911 and grew up on Main Street. And Stratos, the owner of the Chili Shoppe restaurant, “was almost the classic immigrant story,” Farina says.

Barber Milton Via is one of the fixtures of West Main Street featured in the film. Courtesy photo

While their intent was to represent the everyday lives of their subjects, it was impossible to tell the story of West Main Street without talking about the destruction of the historically black neighborhood Vinegar Hill. “The beauty of it was, it wasn’t our agenda going in,” says Farina. “Our agenda was to listen to these people who had lived here for a long time who really contributed to the community.”

As a result, the film documents both the shared humanity of the black and white residents and the prejudices that directly affected black residents. Ferguson, the funeral director, was the head of the local chapter of the NAACP when the public schools were desegregated, and his daughter was a member of the first integrated class. In the film, he speaks not only of his identity as a black man, but as a funeral director, too. “We talked to him about his perspective on death and he spoke from his real sense of faith,” Farina says.

Similarly, McGinness—who taught at the Jefferson School from 1915 to 1960—“one of the matriarchs of the black community,” Farina says, “talks about why she got into teaching…expressing the importance of a teacher to a community.” Teacher Sampson recounts the devastation of Vinegar Hill, where his uncle owned a business, and also reminisces about growing up in Fifeville, where he picked and sold peaches for his grandmother.

Farina doesn’t want the film to be politicized for its documentation of some painful aspects of Charlottesville’s past. “In many ways I feel like our films were kind of anthropological,” he says. “Here’s a community that people drive by and walk by. Stop and think about it.”

More than two decades later, Farina has digitized the film and will screen it again at Vinegar Hill Theatre on Friday. The original impetus for his desire to share it with a new audience was the commercial and residential development that has drastically changed the cityscape. “I just feel we’re racing ahead and not looking back,” he says, adding that we’re more concerned with who’s coming than with who lives here. “Mrs. McGinness remembers when the streets were dirt and you had to close the windows ’cause of the dust,” says Farina. “So you can say that change has always been part of things. I just don’t feel like the people who live here get as much respect as the money that’s being made.”

The events of August 11 and 12 gave him even more reason to digitize and share the film. He remembers the integrated audience at the premiere in 1995. Now, he says, Charlottesville is segregated. “That’s one of our problems in this town.” But the film doesn’t preach, he says. “I genuinely have a real affection for the subjects in the film,” says Farina. “If the affection I feel is shared with the audience, then it’s going to be successful and that’s kind of the real purpose.”

Categories
News

In brief: Monolithic tendencies, hysterical society and more

Monolith on West Main

What wasn’t quite clear from renderings of The Standard, the deluxe student apartments now under construction across from The Flats on West Main Street, was just how massive and Soviet Bloc-looking the 499-space parking garage is.

This is what The Standard will look like in a year or so. Mitchell/Matthews

Good news: It’s going to be covered by the building and won’t be a stand-alone monstrosity.

According to Chris Engel, the city’s director of economic development, the “parking being built is solely to support the building,” which has 189 units and commercial and retail on the first of its six floors.

Developer Landmark Properties, based in Athens, Georgia, is “redefining the college living experience,” according to its website. The complex is shooting for a fall 2018 move-in.

The Standard garage back in July. Staff photo

“It’s kind of an eyesore,” says Flats resident William Rule. The construction noise, too, has been a problem, he says.

Mel Walker, owner of Mel’s Cafe, is not perturbed about the construction down the street or the upcoming influx of students. “They’ve got to eat somewhere,” he says.

 

 

 


CPD’s August 12 bill

Photo Eze Amos

Charlottesville police spent nearly $70,000 for the Unite the Right rally, including almost $44K on overtime and a $565 pizza tab from Papa John’s. The bill includes $3,300 for Albemarle sheriff’s deputies, $2,400 for jailers and $750 for the services of clinical psychologist Jeffrey Fracher. The city spent $33,000 for the July 8 KKK rally.


“Solidarity Cville rebukes the ‘Concert for Charlottesville’ as a show of false unity.”—Statement dropped about the same time the Dave Matthews-led concert was beginning September 24.


Art installation erased

A group of residents worked through the wee hours September 24 to transform the Free Speech Wall to the Solidarity Wall. Little more than an hour later, a man erased their efforts.

Where’s the gas?

Charlottesville’s first Sheetz opens September 28 on the Corner. The petroleum-less convenience store is a new concept for Sheetz and the fourth it’s opened in the middle of a college town. It features USB phone charger ports every three feet, and is open 24/7, which means rush hour around 2am on weekends.

Historical Society under fire

Steven Meeks. Photo Eze Amos

For years the tenure of Steven Meeks as president of the Albemarle Charlottesville Historical Society has brought grumblings from former board members and a loss of half its dues-paying membership. Now the city is citing leadership and transparency issues in its proposal to up the rent for the McIntire Building, where the nonprofit is housed, from $182 a month to $750, according to Chris Suarez in the Daily Progress.

 

 

 

Accused murderer arrested

Huissuan Stinnie, the 18-year-old on the lam since being accused of the September 11 murder of New York man Shawn Evan Davis on South First Street, was arrested in Fluvanna September 25. He faces charges of second-degree murder and use of a firearm in commission of a felony.


Store it in style

Lifelong mountain biker and Charlottesville resident Eric Pearson was frustrated by the hassle of having to back his car out of his garage each time he pedaled home and needed to hang his bicycle back on the hook over his workbench, so he committed to buying an outdoor storage container for his two-wheeler.

“I quickly discovered that no elegant product existed,” he says, and decided to build a device for those who also wanted an aesthetically pleasing way to keep their bikes from becoming one of the 1.5 million stolen in the country each year. Thus, the Alpen Bike Capsule was born.

Courtesy Alpen

Each slim silver cylinder uses an integrated Bluetooth lock to provide secure access, is waterproof, lightweight, durable and bolts to any surface. While Pearson says his capsules look great outside any home or apartment, or on the back of an RV, we think it looks like it came straight off a Star Wars set—and we’re okay with that.

The product should hit the market by mid-2018, he says. And though it’ll set customers back about $1,000, Pearson says early orderers can expect significant discounts.

Categories
News

In brief: Rogue crosswalks, alt-white hot spot and more

Where the sidewalk ends

A young man in cargo shorts and a gray T-shirt sprints across an unofficial crosswalk between Donut Connection and the Standard on West Main Street. He pauses to let a silver car speed in front of him and then darts to the closed sidewalk on the other side to dodge a CAT bus. There, he waits at a bus stop.

Two major construction projects—the Standard and Marriott’s Draftsman Hotel (part of the hotel chain’s Autograph collection)—within two blocks of each other on West Main Street have caused a mess of traffic cones, bike lane merges, detours and closed sidewalks.

Shipping containers are repurposed as pedestrian walkways on construction-heavy West Main. Staff photo

So here are some tips to ensure that you, too, won’t get steamrolled by a bus while playing human Frogger across the streetscape.

  • Outside of the now-closed Starr Hill Restaurant and Brewery, a sidewalk-closed sign directs walkers to take a detour across the street. It also warns that the bike lane closes here and cyclists will merge with traffic.
  • As you continue walking past businesses such as World of Beer and Donut Connection, you’ll see a makeshift crosswalk that offers a path to a bus stop on the other side of the street, though that sidewalk is technically closed. City spokesperson Miriam Dickler says the city is looking into this and suspects a private citizen created this “crosswalk.” If so, crews will paint over it soon.
  • If you don’t cross and you continue moving forward, outside of the Draftsman Hotel you’ll notice another sidewalk surprise. A ramp leads you through a tunnel of hollow shipping containers and down an exit ramp. Get through here and you’re in the clear.

 

 

Pop-up crosswalk on West Main is just one of the pedestrian perils awaiting. Staff photo

 

 

 

 


Yet another one

The Patriot Movement of Greenville, South Carolina, has decided to support the August 12 alt-right rally with a 1Team1Fight Unity family day at Darden Towe Park. Organizer Chevy Love sends a mixed message that she’ll be there for brothers and sisters in Lee Park, but she says she does “not stand for racism” and would not “promote an event that has anything to do with hate groups,” according to the Daily Progress.

Dubious distinction

The Anti-Defamation League labeled local Jason Kessler a “white supremacist” July 18 in its list of key figures, “From Alt Right to Alt Lite: Naming the Hate.” Kessler responded on Twitter that ADL is a “Jewish supremacist group.”


“If you want to defend the South and Western civilization from the Jew and his dark-skinned allies, be at Charlottesville on 12 August.”Michael Hill, League of the South president, on Twitter


Most dramatic escape

Matthew Carver. ACPD

Matthew Carver, 26, who made news a couple of weeks ago for a Crozet carjacking, kicked the window out of a moving patrol car while shackled and handcuffed on Route 20 en route to the local jail around 7:20pm July 21. He was on the lam for about 14 hours before being recaptured in Mill Creek.

 

 

Kiosk botch

The auto pay kiosk for Albemarle County taxes went on the fritz and dinged 152 on-time payments made before the June 15 deadline as late, and sent notices with late payment fees. Those have been corrected, reports the Daily Progress, but workers processing the county’s lock box payments also entered the wrong dates, making a similar number of tax-paying citizens late.

Homicide victim ID’d

Two weeks after Albemarle County’s first homicide of the year on July 4, police identified the victim July 20 as Marvin Joel Rivera-Guevara, 24. He was found in Moores Creek, and police held off releasing his name until it was confirmed by the state medical examiner’s office, but a GoFundMe account identified him in trying to raise $10,000 to send his body back to El Salvador.


Pipeline nears project approval

The Federal Energy Regulatory Commission released its final environmental impact statement for the Atlantic Coast Pipeline July 21, which said the proposed 600-mile, $5.5 billion natural gas pipeline will have a “less than significant” impact on the environment.

“The [final environmental impact statement] paints a terrifying picture of a bleak future,” says Ernie Reed, president of the anti-pipeline group Friends of Nelson.

According to Reed, the ACP will eliminate almost 5,000 acres of interior forest habitat and destroy 200 acres of national forests and nearly 2,000 waterbody crossings along its path from West Virginia to North Carolina. “And all this to give Dominion and Duke Energy enough gas to burn our way into hell,” he adds.

Dominion Energy and Duke Energy are the major companies backing the ACP.

“Over the last three years, we’ve taken unprecedented steps to protect environmental resources and minimize impacts on landowners,” says Leslie Hartz, Dominion Energy’s vice president of engineering and construction. She says her team has made more than 300 route adjustments to avoid environmentally sensitive areas. “In many areas of the project, we’ve adopted some of the most protective construction methods that have ever been used by the industry.”

FERC could approve pipeline plans as early as this fall.

Categories
News

West Grounds: More student apartments in Midtown

Another unremarkably named structure will soon be joining The Flats and The Uncommon student housing on West Main: The Standard.

Located across the street from The Flats on the site of the soon-to-be demolished Republic Plaza, the six-story, 70′ structure has already raised concerns about turning West Main into a canyon and about how the building will loom over Westhaven public housing across the tracks to the north.

Charlottesville native Scott Peyton is one of those perturbed about the canyon effect and disappointed The Standard was granted a special use permit for 70′, which, thanks to a rezoning earlier this year, is now a by-right use on the western end of the downtown/UVA connector.

“The special use permit should only be granted if there’s some benefit to the public,” he says.

The Standard will sit on 2.5 acres, and plans call for 189 apartments and a 499-space parking garage. The first floor will have commercial and retail tenants.

That it is the third apartment building targeting students on West Main is another concern for Peyton. “It’s shortsighted to enter that narrow a population on West Main,” he says. “They’re essentially university dorms.”

And with underage drinking an issue at UVA and elsewhere, he finds it worrisome that The Flats houses World of Beer on its first floor, while The Uncommon will feature a Hardywood microbrewery on its street level.

Blake Hurt, who built Republic Plaza in 1989 and is leasing the land for The Standard to developer Landmark Properties, takes a more benign view of the influx of students on West Main, which he says would be a problem if they were plopped in the middle of the Venable neighborhood. “West Main is in many ways separate from the surrounding neighborhoods,” he says.

He wants to capture the liveliness on the Corner and on the Downtown Mall, and he says, “That means you’ve got to have residents.” Those residents will bring restaurants and businesses to an area that for a long time has been “a dead zone,” he says.

Hurt believes West Main is the best place for high-density development and he pooh-poohs the notion that The Standard will create a canyon across the street from the 101′  Flats. “Is there a canyon on the mall?” he asks. The Standard is “six stories, not 12,” he says. “This is not a Monticello Hotel. Does that intimidate you?”

The Standard is being built by Landmark Properties out of Athens, Georgia, a company that builds luxury student housing with amenities such as infinity pools, fitness centers and granite counter-topped kitchens.

“The demand for student housing and low interest rates made the project attractive,” says Hurt.

Landmark Properties currently has $800 million in student housing projects under construction, according to its website. It created The Retreat brand, and is now building Retreats in Blacksburg and Harrisonburg.

The company has donated $665,777 to the Charlottesville Affordable Housing Fund, which likely means it will not be renting affordable units in The Standard. Multiple calls to Landmark VP Jason Doornbos were not returned.

Architect John Matthews says the building permit was issued in November, and the target is occupancy by late summer/early fall 2018.

Meanwhile, Republic Plaza is coming down. Does that mean an implosion in our futures?

“I think it’s far less dramatic,” says Hurt. “I think they have a machine that’s going to claw it down.”

republicPlaza
Republic Plaza is coming down. Staff photo
republicDemolition
Unfortunately, there will not be an explosion to take down the building. Staff photo
Categories
News

Heartbreak hotel: An unwanted vision of West Main?

C-VILLE took an in-depth look at the 3,700 hotel rooms for rent in Charlottesville and Albemarle in May, but with the August 29 announcement of a $26 million loan secured for another hotel on West Main Street, those looking for a place to stay in town can now count on another 150 chances to do so.

As part of Marriott’s Autograph Collection Hotels, this 10-story luxury boutique hotel will be adjacent to the University of Virginia Medical Center, and will include a “premium” restaurant, as well as 3,000 square feet of meeting space and a gym, according to the Washington, D.C.-based developers Carr City Centers. It will offer 70 full-time jobs to people in the area.

The name of the hotel has not yet been announced, but it was previously referred to as the Sycamore House Hotel by the city and developer, and will be built where the current Sycamore House Studio Art Shop, which has closed, sat at 1108 W. Main St.

In May, the owner of the art shop, John Bartelt, told C-VILLE that he refused to sell his property to UVA for years, for fear that West Main would become pedestrian unfriendly, with deserted office buildings every evening after 5pm. But when the hotel developers closed on his property for $4 million, he said, “having a hotel there is better than what it could have been.”

Last summer he said that although altering the West Main streetscape from its historic roots isn’t preferred, it’s inevitable. He’s not alone in thinking that.

City Councilor Bob Fenwick says he doesn’t oppose development, especially when it’s by-right and council has no say over it. But for structures like those popping up on West Main, which require a special use permit issued by the city, he says it’s a different story.

“They’re no longer special,” he says, and tries to put a number on the many e-mails he receives from locals complaining about the “ugly boxes” with “punch-out windows” being constructed around town. “We just want good architecture,” Fenwick says, and uses the UVA Child Development and Rehabilitation Center as an example of good work. “I don’t think we’re doing the best we can do.”

But Carr City Centers President Austin Flajser says the luxury hotel will provide a positive financial impact for Charlottesville, and it “enhances the city’s vision of creating a more vibrant West Main Street.”

And West Main’s newest digs are bound to silence some squawkers because the boutique hotel will have plenty of its own parking—three out of 10 floors, to be exact.

Construction is slated to begin this fall, and the hotel is expected to open in the last quarter of 2017.