Victor Shaw House
Name and location of the property:
The property known as the Victor Shaw House is located at 2400 Mecklenburg
Avenue in Charlotte, North Carolina.
Name and address of the current owner(s)
of the property:
current owner of the Victor Shaw House is:
Annette Mauney Randall, Ph.D.
2400 Mecklenburg Avenue
Charlotte, NC 28205
Representative photographs of the property:
Click here to view
representative photographs of the property.
A map depicting the location of the
property: This report contains a map depicting the location of the
property. The UTM coordinate for the property is: 17
5. Current deed book reference to the
property: The most recent deed to the Victor Shaw House can be
found in Mecklenburg County Deed Book 4947, page 688. The Tax
Identification Number for the property is 095-05-544.
A brief historical sketch of the property:
This report contains a brief historical sketch of the property prepared by
A brief architectural description of the
property: This report contains a brief architectural description
of the property prepared by Lara Ramsey.
Documentation of why and in what ways the
property meets the criteria for designation set forth in N.C.G.S.
Special significance in terms of its
history, architecture, and/or cultural
importance. The Charlotte-Mecklenburg Historic Landmarks
Commission judges that the Victor Shaw House possesses special
significance in terms of Charlotte-Mecklenburg. The Commission bases its
judgment on the following considerations:
The Victor Shaw House was the residence of
Victor Shaw, who was mayor of the city of Charlotte from 1949 to 1953.
Victor Shaw and family moved into the house at 2400 Mecklenburg Avenue in
1944, just a few years before Shaw became mayor, and lived there during
his two terms of office.
Shaw campaigned on a platform that stressed
progress and development (appropriate themes for a booming post-war
Charlotte), and his administration saw the completion of Independence
Boulevard, construction of a new central administration building at Morris
Field and, most importantly, plans for a new municipal auditorium and
Within the first year of his first term, Shaw
had secured a $3 million bond to finance the Charlotte Coliseum and Ovens
Auditorium. Shaw also assembled the Coliseum Committee, which was
headed by J. B. Ivey Co. Vice-President David Ovens. With Shaw’s backing,
the Committee chose a site along the newly-completed Independence
Boulevard, selecting A.G. Odell Associates to design both buildings.
Although the coliseum and auditorium would not be completed until two
years after he left office, Victor Shaw was able during his administration
to procure the money and the plans for the complex.
Integrity of design, workmanship,
materials, feeling, and association.
Commission contends that the architectural description prepared by Lara
Ramsey demonstrates that the Victor Shaw House meets this criterion.
Ad Valorem Tax Appraisal: The
Commission is aware that designation would allow the owner to apply for an
automatic deferral of 50% of the Ad Valorem taxes on all or any portion of
the property that becomes a designated “historic landmark.” The current
appraised value of the Victor Shaw House is $671,300.00—$318,800.00 for
the building, $352,400 for the land, and $100.00 for additional features.
of preparation of this report:
Prepared by: Lara Ramsey
2436 North Albany Avenue, Apt. 1
Chicago, IL 60647
Statement of Significance
The Victor Shaw House, constructed
c.1928, is a property that possesses local historic significance as the
home of Victor Shaw, mayor of the city of Charlotte from 1949 to 1953.
When Shaw was sworn in as mayor in early 1949, the city was undergoing a
period of rapid economic and physical expansion. Charlotte’s
government had been attempting in the years after World War II to deal
with the city’s ever-increasing demand for housing, infrastructure for
new suburban neighborhoods, and an improved and expanded system of roads.
In his two terms as mayor, Shaw helped to continue programs begun by his
predecessor, H. Herbert Baxter, that were designed to address these issues.
Shaw continued with plans to extend the newly-opened Independence
Boulevard west and pushed forward with the construction of a new
administration building at Morris Field. In addition to continuing
the work begun by Baxter’s administration, Shaw also developed several of
his own programs, including a $10,000 beautification project for Old
By far the most important tasks
undertaken during Victor Shaw’s administration was funding and planning
for the Charlotte Coliseum (now Cricket Arena) and Ovens Auditorium.
Shaw had his sights on building a municipal auditorium—a project that
Herbert Baxter had tried and failed to get off the ground—from the first
day of his campaign for mayor. Shaw appointed a special commission
to oversee the selection of a design and site for the coliseum and
auditorium, and succeeded in pushing through a $3 million bond referendum
to fund the construction of the complex. Although, due to a series
of complications, the buildings were not completed until two years after
Shaw had left office, his administration was credited with getting the
ball rolling on the project.
During his two terms as mayor of
Charlotte, Victor Shaw and his family called the brick Colonial Revival
residence at 2400 Mecklenburg Avenue home. Located on a spacious lot
in the Club Acres section of Plaza-Midwood, the house was constructed c.
1928 by Duke Power engineer James W. Knowlton. The simple but
impressive house is typical of the types of houses built for upper class
Charlotteans who were just beginning to move into the neighborhood in the
1920s and 1930s. With its sweeping, two-and-one-half-acre lot (one
of the few not to be further subdivided into smaller plots), simple
detailing, elaborate entrances and elegant public rooms for entertaining,
the house was an ideal residence for Mayor Shaw, who owned the property
from 1944 to 1954.
Historical Background Statement
The years following World War II
were filled with rapid economic and physical expansion in Charlotte and
other cities across the United States. The challenges facing
Charlotte’s city government in the post-war era generally revolved around
the ever-increasing demand for housing, and the emergence of the
automobile as the dominant form of transportation within the city and
across the country. The tasks of providing the infrastructure for the
expanding neighborhoods and improving and adding to the system of roads
within the city were complex, and for the first time, Charlotte’s
government began to address seriously how to control and direct the city’s
growth. In addition to dealing with housing and transportation
problems, city officials were also pushing for a number of civic projects
aimed to build Charlotte’s reputation as a modern urban center.
When Victor Shaw was inaugurated
as mayor of Charlotte in April 1949, all of these issues were at the
forefront of the city’s politics. Independence Boulevard, begun
under the administration of Shaw’s predecessor Herbert Baxter, was
partially opened in the same month the new mayor took office.
The city had just completed a ten-square-mile annexation in January (the
first in a line of annexations that would push the limits of the city ever
outward and sharply increase its population). The Charlotte Planning
Board’s recently completed Master Plan Outline for Charlotte, North
Carolina, the second master plan of the city’s history, recommended
extending municipal water and sewer lines into the newly annexed area, as
well as widening and extending the city’s roads and creating more parking
options. The plan also called for a series of civic projects that
“aimed at enhancing the current growth” of the city, including a new
administration building at Morris Field (Douglas Airport) and a civic
Victor Shaw had never held an elected office before
becoming Charlotte’s mayor. Although a relative newcomer to the
city’s political arena, Shaw was no stranger to the city itself, or to its
people. A third generation Charlottean, Shaw was born January 20,
1888, in a small house on East 7th Street. His
grandfather, Robert Shaw, moved to Charlotte from New Jersey and worked as
a tanner and saddler. Robert’s son William was born in the
city in 1848, and joined the Charlotte Artillery Company at the beginning
of the Civil War, at the tender age of 13.
In 1869, William married Mary Elizabeth Presson, and the couple had ten
children, one of which was Victor Shaw.
Following in the family tradition, William Shaw opened
his own tannery just north of where Brookshire Boulevard rises over North
Tryon Street today. Victor grew up helping his father shape the
leather for saddles and horse collars. He attended Major Baird’s
School for boys on N. College Street through the sixth grade, and received
no further formal education.
During World War I, Shaw served as an Air Corps lieutenant in France; by
the time he returned to Charlotte, his father had switched from selling
saddles for horses to selling tires for automobiles. Victor settled
into working at Shaw Tire, then located at the corner of 6th
and College Streets, helping to build the company into one of the largest
tire distributors in the city.
In 1920, Shaw married Elsie Aileene Babbitt, a young nurse from
Franklinville, N.Y. who had come to teach nursing at Presbyterian Hospital.
The couple had two children, Victor, Jr. and Elsie Babbitt.
Victor Shaw was not only a native to Charlotte and a
successful businessman; he was also an active citizen within the city.
Soon after he returned from World War I, Shaw became the second commander
of Charlotte’s American Legion Post 9. In 1938, he was appointed
chairman of the Mecklenburg Civil Service Commission by State Supreme
Court Justice William H. Bobbitt, who was resident judge of the county
Superior Court at the time. Shaw held the post for two years. Shaw
was also an active member of several fraternal organizations in Charlotte.
Even with his family history and
business acumen, Shaw was a surprising opponent for veteran politician and
three-term incumbent mayor Herbert H. Baxter. Shaw ran on a platform
of continued progress for Charlotte—in a statement made at the beginning
of his campaign, Shaw claimed that “the next two years will be of
paramount importance to the advancement of Charlotte and the well-being of
its citizenry,” and stressed that “our forward progress must be
This platform was not markedly different from Baxter’s; yet Shaw racked up
over twice the number of votes cast for Baxter in the city’s primary.
With Shaw as the only mayoral candidate on the municipal ballot, the
official election was only a formality.
The new mayor was an interesting
character, known for his distinguished but slightly unusual manner of
dress and his efficient manner of speaking. Shaw, in his early 60s during
his term as mayor, struck a handsome figure, with his head of thick, wavy,
white hair and immaculate suits. Dick Young, a journalist at the
Charlotte News and a longtime friend of Shaw’s, recalled “He
looked like a million dollars, always.”
Shaw always wore custom-tailored suits with checked vests and brightly
colored bow ties. He was also known to wear gray spats to the office
Although generally gregarious and quite fond of telling anecdotes, Shaw
was also known for the brevity of his speeches as mayor. His
inaugural speech was, the Charlotte News noted “the shortest on
Dick Young recalled “He wasn’t really much of a speaker when he became
mayor, but . . . it wasn’t long before he became very effective—and people
remembered him because he told good stories and sat down.”
As mayor, Shaw continued or
expanded upon many programs that had been set forth by Baxter’s
administration. Most of these government projects were long-term and
ongoing, and many would later be passed on to succeeding administrations.
In February 1950, the full length of Independence Boulevard (from
Monroe Road to East Morehead Street) was opened to traffic; within weeks
of the opening of this new cross-town boulevard, surveys began on possible
routes for a southwest extension that would link up to Wilkinson
The building of Independence was just the biggest and most impressive of a
number of programs—large and small—designed to improve Charlotte’s system
of roads. During Shaw’s time as mayor, the city put a significant
amount of money toward paving and repaving streets, putting in sidewalks,
increasing parking, and widening some existing roads.
Another issue at the top of the City Council’s list was extending water
and sewer lines into the newly-annexed portions of the city. Mayor
Shaw also continued the development of Morris Field, a former World War
Two airfield, which had been
returned to the city through Baxter’s efforts.
During Shaw’s tenure as mayor, construction of a new administration
building for the fledgling airport was begun.
In addition to these grander schemes, Mayor Shaw
also had a few smaller pet projects that he worked—with varying degrees of
success—to realize. Shaw took a personal interest in the Old Settlers’
Cemetery downtown, which was beginning to show signs of neglect. As
Dr. Dan Morrill recounts in the Survey and Research Report for the
property, “The first order of business was to determine ownership of the
property, which was discovered to be that of the city. Mayor Shaw then
persuaded the City Council to spend over $10,000 to do landscaping, lay
cement walkways, install electric lights and put in a fountain. The
beautification project was completed in early 1953 . . .”
Shaw, who had a fascination with elephants, also tried to convince the
council of the pressing need for a municipal zoo. Shaw was never
able to sway the council on the idea, and the closest the mayor got to
getting his elephant was the elephant’s ear that an amused citizen sent to
him. The mayor kept the ear in his office at City Hall for the rest
of his term.
Charlotte Coliseum and Ovens Auditorium
By far the most important tasks
undertaken by Victor Shaw during his time as mayor were the funding and
planning of the Charlotte Coliseum (now Cricket Arena) and Ovens
Auditorium. In a way, this project was also a continuation of the
Baxter administration. In 1947, a proposal for a municipal
auditorium and coliseum was put before the City Council, and a $2.5
million bond referendum was set for October 28th. Baxter argued that the
construction of these buildings was essential for the future growth of
Charlotte. The mayor had very specific ideas about how the project
should play out. He asserted that two buildings—one for sports
events, the other for cultural events—were necessary, and that a single
multi-purpose structure would prove inadequate. Baxter was also
convinced that the buildings should be constructed as a complex, on a site
that would provide parking and easy access.
Unfortunately, Baxter had no plans or even a location to show to the
citizens of Charlotte before the referendum. There seemed to be too
much uncertainty surrounding the project, and the bond issue was defeated.
Almost two years later, Victor
Shaw picked up the call for a municipal auditorium and coliseum during his
campaign for mayor. In fact, the project became one of the most
important issues on his platform. An article in the April 4, 1949,
edition of the Charlotte Observer listed answers of the three
mayoral candidates to questions about issues ranging from rent control to
slum clearance. Shaw replied only to the questions concerning a bond
referendum for a municipal auditorium.
Almost immediately after his inauguration, Shaw began weighing the options
for the auditorium. Initially, Shaw—a longtime Shriner—entered into
negotiations with the organization to place a 3500-seat auditorium within
its Oasis Temple on South Tryon Street. The plan was fraught with
problems—the city would have to provide elevators, utilities and
maintenance of the entire building, and would be forced to hand over title
to the building if they failed to do so. When the story broke in
September 1949, many Charlotteans were justifiably upset, and Shaw quickly
abandoned the plan.
Shaw switched tactics, asking the
City Council to appoint a special commission to select an appropriate
location, as well as the architect and designs for the buildings.
Shaw appointed David Ovens, Vice-President and General manager of J. B.
Ivey Co. and President of the Charlotte Community Concert Association, to head
the committee. The group went to work searching for an appropriate
location and designer for the complex. In May 1950, the committee
selected A.G. Odell and Associates to design the two buildings.
With mayor Shaw’s support, the committee finally found an ideal parcel
with 1000 feet of frontage along the newly-constructed Independence
Boulevard. The lot was large enough for both buildings, with room
left over for parking. Its position along the eastern end of
Independence also assured that traffic congestion would not be a problem.
With both an architect and a
location, the City Council set a $3 million bond referendum (approximately
$2.5 million of which would go toward building the coliseum and
auditorium) for October 14th. This time the bond issue passed; and
the council moved forward, purchasing the parcel on Independence and
appointing a Coliseum Authority to oversee the construction and (eventual)
running of the facilities.
Unfortunately, the project soon encountered several snags, including
several delays in construction due to steel shortages and a subsequent
federal ban on amusement buildings. By the time these restrictions
were lifted, the City Council discovered that estimates for the project
far exceeded the amount of money available from the first bond referendum.
By the time a second bond for $1 million was proposed for June 1953,
Victor Shaw had left office.
Construction began soon after the second bond passed, and the complex
opened to the public in 1955.
Although the Charlotte Coliseum
and Ovens Auditorium were completed a full two years after Victor Shaw’s
term as mayor ended, plans for the complex solidified under his
administration. The $3 million bond passed during Shaw’s first term
ensured that the project would eventually be realized. The selection
of a site along Independence Boulevard, on the outskirts of the city,
helped to draw business and people out of the center city along the new
cross-town road, and the designs developed by A.G. Odell would help to put
Charlotte on the map as a truly modern city. The planning of the
coliseum and auditorium established Victor Shaw as a progressive leader of
The Victor Shaw House
During his two terms as mayor,
Victor Shaw and his family called the two-story Georgian Revival house at
2400 Mecklenburg Avenue home. The house stands in the Club Acres
section of Plaza-Midwood, near the Charlotte Country Club. Organized
by a group of prominent Charlotte businessmen in 1910, the country club
was the city’s first golf course. Hoping to capitalize on the new
club, F. M. Laxton (one of the shareholders in the country club),
developer Paul Chatham, banker Word Wood, and Duke Executive W. S. Lee
formed the Mecklenburg Realty Company and began laying out Club acres, a
new subdivision just to the west of the golf course.
Mecklenburg, Matheson, and Belvedere Avenues were quickly platted within
the subdivision, but buyers were few and far between. The reasons
for Club Acres’s glacial development were shared by the other subdivisions
that made up Plaza-Midwood—the neighborhood was far from downtown; it was
further hemmed in by the Seaboard Air Line Railroad, which ran at grade
along Central Avenue and caused frequent delays for commuters; and its
small trolley line was separate from the Southern Public Utilities Company
line that ran downtown, requiring passengers to transfer between the two
lines in order to get to and from the center city.
In order to attract buyers, the
Mecklenburg Realty Company was forced in 1919 to rescind the original deed
restriction for the subdivision that stipulated lots were to be no smaller
than one acre—developers in other Plaza-Midwood subdivisions used similar
measure to help sell lots.
With the arrival of the
automobile, the problems of distance and trolley lines that had plagued
Club Acres and the rest of Plaza-Midwood in their early years became
largely irrelevant. During the 1920s and 30s, the neighborhood began
to attract members of the upper class, who could afford the latest form of
transportation. As historian Thomas Hanchett observes in his history
In the late 1920s and 1930s
Mecklenburg and Belvedere avenues belatedly began to attract members of
the city's leadership circle. Among them were cotton processor A. L. Boyle
who built a Colonial Revival house designed by William Peeps at 2415
Mecklenburg (1928), Carolina Trust Company vice-president Benjamin J.
Smith at 2448 Mecklenburg (1928), lawyer Robert E. Wellons at 2300
Mecklenburg (1932), WBT radio program director Charles Crutchfield at 2331
Mecklenburg (1943), and real estate leader William Tate at 2826 Belvedere
The Victor Shaw House was constructed on lot #26,
located at the intersection of Matheson and Mecklenburg Avenues and one of
the original parcels offered by Mecklenburg Realty Company. George
Stephens, an early developer of Myers Park, and his wife Sophie,
originally owned the lot. In 1928, the lot was sold to James W.
Knowlton, a Duke Power engineer, and his wife Marie Wheeler.
The Knowltons were quite familiar with the neighborhood—the family had
been living just down the street at 2320 Mecklenburg Avenue. Their
modest frame house had been built in 1918, and was among the first houses
in the subdivision.
According to a long-time resident of Club Acres, Knowlton hired the J.A.
Jones Construction Company to build the two-story, brick, Colonial Revival
Victor Shaw purchased the house from James Knowlton
in August 1944.
The stately residence, set back far from the street on its sprawling lot,
was an ideal home for Shaw, his wife, and their two children. The
family stayed in the home through Shaw’s two mayoral terms, and sold the
house to real estate attorney Robert A. Wellons and his wife in 1954, one
year after Shaw left office. The house had three subsequent owners before
being sold to its current owner, Annette Mauney Randall (and her husband
John Dainotto) in early 1985.
The Victor Shaw House is located
at 2400 Mecklenburg Avenue in the Plaza-Midwood Neighborhood of
Charlotte. The house sits on a 2.588-acre lot on the south side of
Mecklenburg Avenue, facing north onto the street. Set approximately
in the middle of the lot, the house is reached by a gravel drive that runs
along the western side of the property, curving around to the rear double
garage. The parcel is relatively flat, with a slight downward slope
running southwest along the east edge of the back yard. A small
fishpond is located in the backyard, on the eastern edge of the property
near the house. The pond dates back to the construction of the
Colonial Revival residences abound
in Plaza-Midwood and other Charlotte neighborhoods—the style was popular
across the United States in the late nineteenth and early twentieth
centuries—and the Victor Shaw house is a typical example of the kinds of
Colonial Revival houses built in the 1920s and 30s. The house
consists of a side-gable main building flanked by two smaller, side-gable
wings. The main section of the house is two stories tall and
approximately three bays wide. The one-story wing on the west side
of this center section is approximately one bay wide, while the
corresponding east wing is one-and-one-half stories tall and approximately
two bays wide. These east and west sections are roughly one bay deep, and
the center section of the house is approximately two bays deep. The
resulting footprint for the entire structure is narrow and irregular.
To the west of the house sits a one-and-one-half story garage. The
front-gable structure is clad in the same brick used on the house, and is
joined to it by a one-story connector sheathed in siding. Two
paneled garage doors take up most of the south wall of the garage; a small
apartment occupies the attic space above.
The exterior walls and some
load-bearing interior walls of the house are constructed of 17” structural
clay tiles. These tiles, while commonly used in early twentieth
century commercial construction, are rarely found in Charlotte’s
residences. The exterior of the house is clad in red face brick laid
in common bond, with a simple soldier stringcourse running along the north
and south elevations of the main section and east wing of the house. Grey
slate tiles cover the roof of the house and the garage. A corbelled
brick chimney rises from the east gable of the main section of the house,
matched by a false chimney on the west gable to give an appearance of
symmetry. On the façade (north elevation) of the main section of the
house, a simple cornice ornamented with a row of dentils runs underneath
Windows in a variety of shapes and
sizes regularly punctuate the exterior elevations of the house. The
majority are six-over-six, double hung windows covered with exterior
storms. Most of these windows are unadorned, with only simple brick
soldier-courses serving as decorative lintels. On the main house,
the windows are regularly and symmetrically placed along the first and
second floors of the north and south elevations; the windows on the first
floor of the east and west wings are surrounded with large, rounded
arches. The walls between the arch and the window are covered with stucco.
These rounded arch surrounds are an unusual feature, and one not seen on
most Colonial Revival designs. The first floor window on the north
elevation of the garage and the large second-floor window on the south
elevation of the main house are more conventional examples of rounded arch
windows. The attic levels on the east and west elevations of the
main house are marked with quarter-circle windows on each side of the
chimneys, and half-circle, louvered windows are located under the gables
of the east and west wings. Gabled dormer windows pierce the
roofline on the north and south elevations of the west wing, the north
elevation of the east wing, and the center bay of the center section’s
Large, elaborately ornamented
entrances dominate both the north (façade) and south elevations of the
main house. Each entrance is centered along the first floor of the
elevation. The entrance on the façade is slightly more ornate, with
its swan’s neck pediment and rounded finial. Small wood pendants
accent the dentiled cornice just below the pediment. Two fluted
pilasters flank the doorway, rising to simply molded columns. The
paneled wood door is protected by a simple screen door, and topped with a
leaded glass transom. Two glass lanterns sit on either side of the
entrance. The south elevation entrance features a fan light with
radiating panes set under a basket weave arch. The doorway is
centered underneath the fanlight, and has the same paneled wood door seen
on the façade entrance. Flanking the doorway are sidelights, each
with four glass panes.
Both the north and south entrances
open into the main stair hall of the house. The half-turn staircase
dominated the narrow room, with the first run of the stair hugging the
east wall. The curtail step at the base of the staircase supports
the curved newel post. Below the simple wood handrail, twisted
wrought iron balusters alternate with smooth iron rails marked with a
center diamond. A chair rail located approximately three feet from floor
runs along the walls of the room, and wide dentil moldings mark the
meeting of walls and ceiling. A small arched doorway located at the
north end of the west wall of the stair hall leads through a short hall
and into a small, unadorned breakfast room. Passing through a
doorway on the west wall of the breakfast room, one enters into the
kitchen. Located in the small west wing of the house, the kitchen
features a secondary staircase that runs behind the north wall of the
room. A simple wood door separates the stairwell from the kitchen. A
doorway on the south wall of the breakfast room leads into the dining
room, which can also be reached through a wide entrance located at the
south end of the stair hall’s west wall. The room features the same
chair rail and dentil molding seen in the hall. Wide oak boards
cover the floor of the dining room.
To the east of the stair hall is
the large parlor, which stretches from the front (north) to back (south)
wall of the main house. Again, the oak flooring, dentil molding, and
chair rail are present in the room, and simple rectangular panels outlined
with simple molding mark the walls above the chair rail. One of the
two fireplaces in the house is centered along the east wall of the room; a
wood mantel, simply decorated with low-relief festoons and urns, surrounds
the firebox. At the north end of this same wall, a doorway leads
into a small study, which takes up the east wing of the house. The
second fireplace is located in the southwest corner of this room.
The second run of the main
staircase leads to the second floor of the house. A carpeted center
hallway runs east to west along center of this floor, with a series of
bedrooms leading off from the hall. The east end of the floor, which
takes up the upper story of the east wing, houses the master bedroom and
bathroom. A second bedroom and bathroom are located on the north
side of the hall, in the center of the main house. Another bedroom
is across the hall, on the south side of the house. The door to the
kitchen staircase is located at the west end of the hall, along its north
wall. The hallway terminates at the west side of the house with a
small room located in the attic of the east wing. These rooms
generally lack the elaborate detailing seen in the public rooms on the
first floor of the house.
Another flight of stairs leads up
to the expansive attic space of the main portion of the house. A
wood door pierced by fifteen rectangular glass panes leads into the
unfinished attic space. From this space, one can see the structural
clay tiles that make up the exterior walls of the house.
The Shaw House has changed only
slightly since its construction in the early 1920s. The most
substantial alteration to the house occurred in 1960, when Joseph Wright
(its third owner) added onto the rear of the east wing in order to extend
the study (referred to as a “den” in the building permit) and make room
for the master bathroom.
A one-story, screened in porch was also added to the back of the east
wing. A set of sliding glass doors was installed along the south wall of
the master bedroom to provide access to the flat roof of the porch.
Despite these changes, the Victor Shaw House has retained its
architectural integrity, and appears much as it did over 80 years ago.