Future of Mechanic hinges on its design

Of all the arguments for designating Baltimore's Morris A. Mechanic Theatre a city landmark, one of the strongest comes from the owner itself.

Others have reasoned that the 1967 building is a laudable symbol of its times, an inspired work of modern design by an architect of international stature. Those are valid points.

But the owner has filed plans with the city indicating what it might do to the vacant building in Charles Center if it's not protected by landmark status and, in doing so, it demonstrated exactly why it needs to be protected.

Baltimore's Commission for Historical and Architectural Preservation is scheduled to meet tomorrow afternoon to decide whether to add the Mechanic Theatre to the city's landmark list, an act that would give the panel legal authority to review and approve any changes to the exterior.

The owner, a group called One West Baltimore Street Associates, doesn't want to tear down the building that served as downtown Baltimore's performing arts center for more than 30 years.

It wants to convert it from an arts center to a mixed-use complex containing retail space and a 10-story residential tower. The group has already torn out the theater's seats and other interior portions. One suggested name is "Mechanic Supercenter."

The drawings on file with the city indicate that the owner wants to add so much to the building to accommodate the new uses that little would be visible of the original structure.

In effect, the theater would be enveloped on all sides by new construction, including the housing tower on the east and a new glass entrance and shopping level on the west, facing Hopkins Plaza.

Based on the renderings, the theater would be barely recognizable underneath. All that appears to be visible of the original building are angled walls on the north and south sides, where the seating was inside, and two piers that staked out the theater's main entrance.

Built by Baltimore businessman Morris Mechanic, the 1,600-seat theater was designed by John M. Johansen of Connecticut to be the sculptural centerpiece of the 33-acre Charles Center renewal area. It was seen by many as a symbol of the city's rejuvenation, but it also sparked controversy.

The building is a prime example of the architectural movement known as "New Brutalism" because of its rough concrete surface and free-form shapes. Johansen called it "functional expressionism" because he designed the exterior to express what was going on inside. The design received numerous awards and accolades in architectural circles.

Others have been less complementary. A theater critic once said seeing a play there was like watching a performance in a storm drain. The theater closed in 2004 after the more traditional France-Merrick Performing Arts Center opened on Eutaw Street. Mechanic's estate sold it the following year for $6 million.

The Mechanic is controlled by the principals of Arrow Parking, which operates the garage beneath the theater, and David S. Brown Enterprises, a developer based in Baltimore County. Their architect is J.T. Fishman & Associates of Owings Mills.

Arthur Adler, vice president of Brown Enterprises, referred questions about the Mechanic to Benjamin Greenwald of Arrow. Greenwald declined to discuss the project except to say that design work is at a preliminary stage.

The owner has made it clear that it isn't in favor of the landmark designation - that could limit what it does with the property - but it has agreed not to proceed with further demolition of the building until the public hearing is held, according to city officials.

Even if the design is preliminary, it shows an attitude toward the building that is entirely different from the former owners'.

The current owner isn't a theater operator that wants to restore the building, the way the Hippodrome was brought back to life on Eutaw Street. It proposes to adapt it for new uses, and that means extensive modifications, inside and out. Under Fishman's plan, the Mechanic would no longer be the building Johansen designed - or anything close to it.

In some ways, the idea of adding so much to the building could be worse than tearing it down and starting over. It changes the original creation beyond recognition, under the guise of preserving its memory.

But how much change is too much? Could the additions be limited so more of Johansen's work is recognizable?

Is that even an appropriate goal? If Johansen designed the exterior to express the theater inside, and the building no longer functions as a theater, is it more honest to retain the original exterior or come up with a new one?

There are urban design and land-use issues to consider as well. Is it wrong to make the building something other than an arts center? The theater was conceived as a relatively low-rise object on a plaza, surrounded by taller office buildings and hotels, to help keep downtown alive after dark. It permits an attractive view from Hopkins Plaza through to the Art Deco tower at 10 Light St. With a 10-story tower added to the Charles Street side, the view of 10 Light St. would be lost. Yet downtown could benefit greatly from the activity generated by a residential tower at Charles and Baltimore streets.

That's where the preservation commission, and the idea of landmark designation, comes in.

Adding the Mechanic to the city's landmark list doesn't mean the building couldn't be adapted for new uses. That may, in fact, be the best way to save it. Many city landmarks have been modified with the commission's blessing.

At the same time, this building is prominent enough and steeped enough in Baltimore history that any plans to alter it should receive careful scrutiny and full public discussion, no matter who owns it.

The preservation commission provides a forum for such review. Ideally, it has the power to make something good happen, and to prevent something bad. That additional layer of oversight is one of the best reasons for adding the Mechanic Theatre to Baltimore's landmark list.

Related topic galleries: Culture, Morris A. Mechanic Theatre, Architecture

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