I took this picture in the United States.
For several years I have been working on a problem: the “Diversity Deficit” in the National Register of Historic Places. 95% or more of our historic sites have as their primary significance the story of a male of European descent. You can see some of this year’s blogs on the topic here and here. Continue Reading
When I spoke to the National Tribal Preservation Conference two days ago, my host Bambi Kraus of the National Association of Tribal Preservation Officers introduced my talk by noting that the Tribal Historic Preservation Officers should “be themselves” and offer alternatives to the “Western” approach to historic preservation. Continue Reading
Two weeks ago I spoke during the meeting of the Advisory Council on Historic Preservation regarding the Future of the National Register of Historic Places, which will be 50 years old next year. I detailed some of the shortcomings that have emerged over that time, including a startling “Diversity Deficit.”
Less than 5% of the buildings listed on the National Register evoke the nation’s diverse history – the rest chronicle white men, who are much less than half the country. I also detailed many of the challenges in preservation practice that we inherited from an architect-driven 1960s practice, one that has a tendency to focus too much on the formal.
The photo is one of may favorite examples, from St. Nicholas Avenue in Hamilton Heights, New York, the building lacks architectural integrity. But Ralph Ellison wrote Invisible Man there in 1947, a book more relevant than ever today. The building is authentic but does not have integrity. The problem is not the building but our practice – we adopted the architectural concept of “integrity” in 1966 instead of the international concept of “authenticity.” Continue Reading
This is the time of year new World Heritage sites are inscribed by UNESCO. The total number passed 1000 last year, after over 40 years of the program. As I have noted before, the United States has not taken advantage of World Heritage status in many years, partly due to a political funding dispute. Absurdly, the U.S. has refused to pay its UNESCO dues for many years, so even though we can arguably afford to take care of our sites, at World Heritage level, we are deadbeats. Continue Reading
Lockport, Illinois, part of the I & M Canal National Heritage Corridor
The first of two blogs on my plan to transform the statutory and philanthropic foundations of heritage conservation. Today we deal with the statutory in the United States…
As I prepare to move on from Global Heritage Fund after three years, I am committed more than ever to the transformation of the field of heritage conservation. In the distant past, heritage conservation was a curatorial activity that sanctioned and even encouraged the removal of physical – and intangible – artifacts from our economic everyday in order to conserve them as if under a bell jar. But, as I demonstrated in my dissertation, that approach began to die as historic preservation (in the U.S.) and heritage conservation (everywhere else) were infused with community-based activism and organization in the 1960s. I had the good fortune of coming into the field during the creation of the first heritage area in the U.S. 32 years ago. Continue Reading
This is the building in Harlem New York where Ralph Ellison wrote Invisible Man. There have been extensive alterations, some of which were there in 1947 when he wrote the book.
This week Ray Bradbury’s classic book Fahrenheit 451 was occupying our living room couch because my daughter was reading it as a high school assignment. As I did, as many of us did. It is a classic about the need for books, for culture, in the face of dystopia. At the same time, the author’s home for over 50 years was being demolished a few hundred miles to the south, in Los Angeles, by the prize-winning architect Thom Mayne. You can see the demolition and read about it here. People are so upset that Mayne himself said it was “a bummer,” and you know how hard it is to crack an architect’s ego.
But the larger and more interesting question is: How do we preserve the legacy, the memory, the significance of a literary landmark? The issue is at the heart of many of our current debates about the National Register of Historic Places and the Secretary of the Interior’s Standards, both of which are geared toward architecture and are not always ideally suited to the preservation of memory, of culture, of the rich loam that nourishes books like Fahrenheit 451 and all of the students who have read it for the last half-century. Here are a few examples I have used to illustrate literary landmarks over the years, and each of them betrays an architectural modesty, if not monstrosity. They are significant not because of their form, but because of what happened there. Continue Reading
San Antonio is a beautiful town
This is the title of a presentation I did for the Office of Historic Preservation, Centro San Antonio and over a hundred luncheon attendees in San Antonio last week. I went through four thematic reasons WHY we save things: Identity – Community – Economy – Education.
I then detailed the HOW, which includes National Register designation and local landmark status and so forth. I focused on my mantra, which readers of this blog are familiar with: Preservation Is Not A Set of Rules But A Process. Continue Reading
It has been six years since I wrote about stepwells, those amazing structures found throughout the Indian subcontinent. Communal water sources, stepwells range from simple community structures to elaborate complexes replete with stunning architectural detail. When I wrote six years ago I described the Adalaj stepwell in Ahmedabad, but I only included a single image, so I am remedying that here. Continue Reading
Thanks to my dear friend Lisa Yun Lee I had the opportunity to tour three of Theaster Gates’ urban building projects on the South Side of Chicago yesterday. Gates has degrees in urban planning and ceramics, and is described as a social practice installation artist. He preserves old buildings in a creative repurposing for the local community. His work is not standard preservation, but I think that is a good thing. The first project I saw was the Stony Island Arts Bank, a 1923 Classical bank I watched deteriorate for decades. He saved it. Continue Reading