Downtown Fort Worth is a lively urban place that includes a central plaza, shops and restaurants, movie houses, theaters, a concert hall, and a public library. At the head of Main Street is the 1895 Tarrant County Courthouse, which resembles the state capitol in Austin, but with a clock tower instead of a dome. The downtown architecture is a mixture of styles: the Renaissance Revival courthouse, Sullivanesque office blocks from the early 1900s, Art Deco buildings from the 1930s, and modern towers from the 1980s (notably two glass hulks by Paul Rudolph). Most of the commercial construction tracked recurring oil booms. “When we get some money we like to build,” Edward Bass tells me. Bass is the motive force behind Sundance Square, the development company that is responsible for the revival of Fort Worth. There are different models for successful downtown renewal: an activist civic leader (Mayor Joe Reilly in Charleston), a take-charge business improvement district (Center City District in Philadelphia), a thriving real-estate market (Washington, D.C.). In Fort Worth, it’s a benevolent developer. Sundance Square owns about 30 city blocks in downtown (currently about half built-up), and has been developing them since the mid 1980s. This sort of long-term stewardship is unusual. Bass had read Jane Jacobs and William H. Whyte, and he took their teaching to heart. The result is commercial development that is pedestrian-oriented, lively at sidewalk level, and—most unusual—small in size. “We wanted lots of buildings, not a few big buildings,” say Bass. The tallest new office building is 16 stories, and most are much lower than that. Unlike most American cities, which have “exciting” skylines, Fort Worth is more like a downtown of the 1940s—human scale. The architecture is like that, too. David M. Schwarz Architects is responsible for all Sundance Square’s commercial buildings, as well as the expanded central library, the new concert hall, and some of the county buildings. Normally that would produce mind-numbing uniformity, but Schwarz is a cheerful eclectic with a scenographic bent, so the result is a pragmatic mix of historic buildings, restored landmarks, invented landmarks, repurposed old buildings, and new buildings in a variety of styles: Beaux-Arts classical, Art Deco, Art Moderne, Viennese Secession. Schwarz has described his firm’s goal: “to make places for people, created out of a fabric that was familiar and easy to understand.” In Fort Worth, he succeeded.
WORTH EVERY PENNY | WITOLD RYBCZYNSKI