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Owls Club (circa 1902)
"Tucson, Arizona"
BEFORE:
Owl's Club 1986
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In 1986, Robert Boucher was
asked to assist in the restoration of Henry
Trost's owl's club in Tucson, Arizona. Originally
a club for Tucson bachelors (the early movers and
shakers of territorial Tucson), it had once
sported one of the most intricate facades in the
Southwest, resplendent with a riot of geometric
ornament, celtic weaves, abstract murals of native
plants and an owl in the port hole as mascot of
the club. The original facade had been cast in
plaster, and by 1986 the building was a wreck,
gutted, and stripped of its facade and
balconies. |
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A search throughout the historical
societies of Arizona and Texas yielded photographs of
the original building and its facade. From this
information Robert Boucher was able to rectify the
perspective of the photos in order to recreate the
patterns of the facade in exact scale. These patterns,
depending on their sculptural nature, were either
carved in wood, plaster, turned on a massive lathe or
modeled in wax or plastilina. After mold making, they
were cast in calcium silica aluminate, an ancient
casting stone once used by the ancient Egyptians,
chosen for its extreme durability and fidelity to
detail. Finally, the casts were patinaed by
hand. |
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AFTER:
Owl's Club 1987
The recreated facade was completed in 1987. In the
same year, Robert Boucher was the recipient of the Arizona Governor's Award for Historic
Preservation. |
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OWL'S CLUB BAY WINDOW |
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 1986
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 1987
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OWL'S CLUB RENOVATION
 The plaster that had covered port
holes and the balcony is being scaled off to reveal the details of the original
facade mounting points and dimensions.
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RECREATION PROCESS
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Meanwhile, the original glass
plate negatives found in the historical society are made into high contrast
slides which are rectified to correct forshortened prospective and then broken
into quadrants that represent specific areas on the building. These slides are
then projected onto an actual scale map of the facade upon an easel in order to
facilitate scaling and sketching of the representative components in the
facade.
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CREATING THE CELTIC WEAVING IN THE SPANDRELS SURROUNDING THE PORT
HOLE
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Portion of original glass plate
negative |
Detail of the spandrel pattern carved
in MDF and awaiting mold-making |
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RECREATION OF THE SULLIVANESQUE
TILES CLADDING THE BALCONY & THE BASE OF THE BAY WINDOW
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 The original tile from the bay window
is determined through the photograph to be identical to the missing tiles that
had veneered the balcony at the facade. Although no longer appropriate to
restoration, the existing plaster of paris tile is used as a basis to
corroborate scale from the photos and serve as a model for a new pattern
sculpted in plastilina and MDF.

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 Corner detail of the original tile
 Corner detail of the recreated pattern
The recreated pattern awaiting
mold-making. |
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CREATING THE COLUMN PATTERNS ON A TURN
OF THE CENTURY PATTERN MAKERS LATHE
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Preparing the mahogany lamination for
turning in the lathe |
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 Finished column base
COLUMN AND MURAL DETAILS WITH
PLASTILINA MODELING APPLIED |
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ADDITIONAL PATTERNS |
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 Arch
Molding
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 Desert
Corinthian
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 Sullivanesque
tile
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 Laminating
the urethane mold
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 Finial
base
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FINIS 1987
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CREDITS: DON COX,
ARTIST/SCULPTOR TODD HOYER, LATHE TURNER BILL BENNINATI,
MASON/INSTALLATION COLLIER CRAFT, ARCHITECTS |
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