San Antonio Public Housing on National Trust’s 11 Most Endangered List

September 24, 2020 Texas Comments (1) 405

I vividly remember when many of the early 1930s federal housing projects became eligible for listing on the National Register in the early 1990s. People made fun of the idea that public housing could be historic, but here we are a quarter-century later and it is no longer unusual. Indeed, a decade ago I was historic preservation consultant for the redevelopment and conservation of the Julia Lathrop Homes in Chicago (1937).

Today the National Trust for Historic Preservation released its list of the 11 Most Endangered Landmarks in the United States, and San Antonio’s Alazan-Apache Courts, started in 1939, were at the top of the list. Kudos go to Sarah Zenaida Gould, PhD, who mounted an exhibit on the project over a year ago and has been a vigorous preservationist with the Westside Preservation Alliance, Museo del Westside, Esperanza Peace and Justice Center and the Coalition for the Woolworth Building.

The San Antonio Housing Authority is threatening the demolition of the last of the federal public housing projects in San Antonio. Indeed, they are on a spree, having planned the demolition of the only surviving building from the Victoria Courts complex (1940) just last week.

I was involved in trying to get National Register eligibility for this one.

I get it. The public housing that was a radical upgrade in the 1930s (indoor plumbing) is now behind the times (air-conditioning). Even in our Lathrop Homes project, we could not save all of the buildings. But several other of the 1930s Chicago projects were demolished completely, like the Ida B. Wells Homes and the Jane Addams Homes (except for one building, soon to be the National Public Housing Museum).

Public housing often gets heavily altered over time, but that is why we have been refining the Secretary of the Interior’s Standards specifically in regard to definitions of integrity at sites of cultural significance. (You can see my work on this from 2015 here, and from my 2018 chapter here.) Even though all of these federal housing projects were designed by an A-list of local architects (it was the Great Depression – they needed jobs) their significance is cultural.

The projects reflected the segregated space of the time. The Alazan-Apache Courts were built on the Westside for Mexican-Americans. At the time, the courts were a dramatic contrast with the tiny, tightly-packed houses of the area. Their recognition by the National Trust also points to another historic inequity: preservation and landmarking on San Antonio’s West Side.

Museo del Westside in Ruben’s ice house, Conservation Society educational grant awardee.

This is part of the Rinconcito de Esperanza, which contains several award-winning historic buildings, the modern adobe Mujer Artes center, and the emergent Museo del Westside. It just became the first historic landmark district on the Westside. That is crazy. A large historic district called Buena Vista is being proposed, but historically the West Side has been overlooked.

I hope that this important National designation brings more attention to the history and culture of San Antonio’s Westside. And of course I hope it helps save the Alazan-Apache Courts.

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Cenotaph Stays for Now

September 23, 2020 Blog, History, Texas Comments (0) 286

The meeting started at 9 AM and ended at 7 PM with a 12-2 vote by the Texas Historical Commission NOT to approve a permit to relocate and restore the Cenotaph in Alamo Plaza. This relocation had been characterized by the City and Alamo Endowment as essential for the success of the entire plan.

The Cenotaph helped celebrate the centennial of Texas Independence, designed in 1936.

That characterization is curious – one would think that the development of the museum – which has a timeline imposed by donor Phil Collins – would be the key element of the plan. Or the closing of the streets. Or even the relocation of the entertainment zone facing the Plaza, which seemed for years to be the key negative motivator for the Alamo Reimagined Plan. But there has been no movement on that issue at all.

The Conservation Society of San Antonio has been primarily focused on the preservation of the Crockett and Woolworth Buildings, as I have blogged about many times. It was interesting to hear the Texas Historical Commission debate the Cenotaph relocation. My first takeaway was: These people know what they are talking about. Laurie Limbacher displayed a razor-sharp knowledge of concrete and armatures, and several other Commissioners made it clear that they understood the Secretary of the Interior’s Standards which discourage relocation unless it is needed to safeguard a structure.

Like Lucy the Margate elephant, threatened by nor’easters.

Which brought everything back to the curious logic of “this must happen first”? THC Chairman John Nau was not buying it. He said the site is too important “to suggest that the entire project depends on granting a single permit.” Were they giving themselves a way out? The project started six years ago and has been fueled entirely by public money so far. It was stated during the meeting that no private fundraising had been done yet, something I wondered about last month.

Meanwhile, the Alamo itself has reopened after nearly half a year, although it and the Cenotaph are still surrounded by barricades.

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Museums in Old Buildings

September 11, 2020 Blog, History, Technology, Texas, Vision and Style Comments (0) 241

For the last five years, the Conservation Society had advocated for the preservation of the Crockett and Woolworth Buildings and their re-use as the new Alamo museum. Without every saying so, the Alamo has favored a new building, partly because they want to reveal where part of the western wall was, which I discussed at length last month here. I ended that blog noting that the Woolworth Building was to be a museum of airplanes a little over 20 years ago.

And why not?

The San Antonio Museum of Art, the Briscoe and almost every other museum in San Antonio is in a historic building. Some, like the McNay and the Witte, have new additions, which is what we proposed for the Woolworth and Crockett.

How are world class museums made? Perhaps you recognize some of these.

The Louvre
The Uffizzi, Florence. The name literally describes what the building used to be.
Another world class museum in Paris. In a former train station.

You can throw in the Prado, the Alhambra and the Hermitage as well. Locally, we have….

San Antonio Museum of Art
McNay Museum

The Alamo museum intends to focus its interpretation on the famed 1836 battle. So, their illustrations have lots of cannons, which, while smaller than airplanes, do need a little space.

Like this one they added last year. The carriage color was meant to show the patina after being out in the sun for a couple years. They then displayed it out in the sun.

Some of the unpublished museum images show the cannons safely indoors and many of the outdoors one will be replicas. In the absence of imagery, perhaps the museum will look like this?

Hmm. What does the outside of this museum look like?

Oh! It’s a historic building! How about this display replete with conquistador astride a horse:

What does this museum look like on the outside?

Kinda looks a lot like the Woolworth Building. Except in both of these cases the column spacing is not as flexible as the Woolworth Building.

Don’t get me started on the City Museum in St. Louis, proof you can do absolutely anything with an historic commercial loft building. It has airplanes and multistory chutes and ladders.

The Alamo is warning that it is do or die time for the Alamo Reimagined Plan. The next hurdle? Texas Historical Commission will decide whether the 1940 Cenotaph can be moved a few hundred feet to the south.

Stay tuned…..

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Efficiency and Excess

September 10, 2020 Blog, History, Technology Comments (0) 225

There is an odd relationship in human nature between efficiency and its seeming polar opposite: excess. I was riding my bike this morning and I was thinking about roads as an example of efficiency and excess.

My favorite bas-relief dedicated to hard roads, c.. 1928

I wasn’t just thinking about the first hard roads in the 1910s and 20s, nor even the ginormous roller-coaster-like interstate interchanges I regularly drive here in San Antonio.

Bedecked with bas-reliefs of our beloved barbed quatrefoil.

No, what I was actually thinking of were ancient MesoAmerican roads, like the stone staircases in Ciudad Perdida where the Tayrona (in the Sierra Nevada de Santa Marta, present-day Colombia) made high wet jungle efficient and interconnected beginning in the 7th century.

Main platforms with many many staircases

Which was efficient but then they just kept building more and more way beyond the point of efficiency. A little further north, I recalled Richard Hansen in Guatemala’s Mirador Basin declaring that the Maya collapsed because they kept building these lime pathways through their jungle, depleting their resources in the process as the paths grew deeper and deeper. I thought he was overstating the case, but I thought differently this morning.

Looking down from the largest pyramid by volume in Central America

Roads are very efficient until they aren’t. Like the paradox of building more roads and traffic getting worse, elements of efficiency in the course of human history can indeed become elements of excess until eventually the muscle memory of the efficiency carries the idea of efficiency along like a legend even as you sit two hours to travel thirty miles.

“All roads lead to Rome” and indeed the Pax Romana was based on the efficiency of trade and movement in the ancient world at a level it would not see again for a millennium. I saw a video recently that charged that the road’s led to Rome’s demise by bringing the barbarian armies in more efficiently. Did they turn to excess? Were they status symbols?

I didn’t have a picture of a Roman road (well, a slide I would have to scan) so we will make do with this 1st century Sun Temple in Roldo, Ossola Valley, Italy.

In Mechanization Takes Command, Siegfried Giedion talked about guns as the first single-stroke combustion engine, and indeed here is a tool we have proliferated beyond proliferation. From efficiency to excess and from utility to status symbol.

Well, how did I get from roads to guns? How did we get from tools to totems? How does efficiency turn into excess?

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Remember all of the Alamo

August 21, 2020 Blog, Economics, History, Interpretation, Texas Comments (0) 535

The north wall of the Alamo

Here are three very nicely designed highrises one after the next. They are the Gibbs Hotel (1909) in a Renaissance/Chicago Commercial style, the Classical 1937 Courthouse and Post Office, and the Deco Gothic verticality of the Emily Morgan hotel (1926). This is in the heart of town just north of the Alamo.

In fact, these three buildings cover the north wall of the fabled mission and fortress. The famous 1836 battle began when Santa Anna successfully stormed the north wall, breaking in roughly between the Courthouse and the Emily Morgan. Commander Lt. Wm. Travis fell but a minute and a half into the battle, also on the north wall, to the left of where the streetlights are in the lower center of the photo.

MOST of the missing footprint of the fort is the north wall.

The chapel, which everyone knows as the Alamo, was the first building preserved by the public west of the Mississippi, in 1883, less than fifty years after the battle. Already this had become the center of town and the large commercial Crockett Block was in place facing the chapel.

Crockett Block, (Alfred Giles, 1882)

The Conservation Society began advocating for the re-use of the Crockett and Woolworth Buildings when the state purchased them nearly five years ago for a new Alamo Museum. This was part of the larger reimagining of the Alamo that began in 2014. Sixteen months ago we presented a concept showing how the buildings could be added onto to make the new museum.

Conservation Society Alamo Museum concept with Crockett and Woolworth buildings

All this is preface to a curious push right now by the Save the Alamo Foundation to garner public support for their Alamo Plan. The most curious aspect of this push is that they don’t have a final design for the plaza. Nor even a preliminary design for the museum. How do you sell that?

1940 WPA mural in Post Office, showing Travis drawing the line in the sand with his sword. This mural is located very close to where he died in the battle.

Well, they are selling the idea that they will reclaim the footprint of the battlefield/mission walls. A portion of where the west wall was is 10 feet under the Crockett and Woolworth buildings. WHERE IT WAS – these buildings have 15 foot basements so there is NO remnant of the wall.

Courthouse and Post Office – you can see the restored mural in the lobby.

But let’s go back to the north wall, where all the action happened. Are they planning to take down the Gibbs Hotel and the Courthouse? No.

Just south of the chapel looking north.

So what are they selling? An invisible museum? It seems they are selling the idea that the famed 1836 battle will – by itself – attract all sorts of tourists. Calmer heads, like CM Roberto Trevino, are arguing that the 110 years of history before the battle need to be interpreted as well. After all, it is the mission era that made the Alamo part of a World Heritage Site.

And the chapel never had a roof nor a campanulate facade.

The Alamo spent 80 years as a mission, 50 as a fort, and 170 as the commercial heart of a growing city.

Thanks to Ron Bauml

The most curious thing of all about the Alamo Plan is not the absence of a design, nor the decision to expose some wall sites rather than others, but the fact that it is driven by an interpretive message that appears to be scripted by a 10-year old boy in 1950.* I visited as a 15-year old and thoroughly enjoyed the tales of heroism and sacrifice. But that is a small demographic.

And that was then.

The 1836 battle is just the starting point for a much richer tale with stories relevant to all peoples and all times. Why don’t they sell that? The more you include, the more money you make – what am I missing here?

*Thanks to Evan Thompson for this quip.

AUGUST 25 UPDATE:

Well, they have a drawing now! The drawing shows the plaza reconstructed as a reenactment of the 1836 battle, with a second story on the Long Barracks, a rebuilt southwest rampart, and lots of cannon and palisades. The drawing, from their Facebook page and in the news, is rendered from a position above the Crockett and Woolworth Buildings, so no news on the museum.

While still clearly aimed at that 10-year-old, it is the first new illustration of the plan in two years, so that is something. The drawing shows reconstruction of the second story of the Long Barracks as well as an earthen rampart at the southwest corner with cannon. I have dealt with the folly of reconstruction in the digital age previously. The drawing also shows lots of living history reenactors, making the whole thing a curiously large investment in a moribund industry.

In a month the Texas Historical Commission will make a decision about moving the Cenotaph, which is a publicly funded portion of the project. No news yet on the museum or other privately funded projects.

FUN FACT: The reason Clara Driscoll insisted on taking down the second story of the Long Barracks in 1913 was that it dominated the plaza and overshadowed the shrine – the same argument for moving the Cenotaph today! So they move the Cenotaph and then overwhelm the Chapel with a reconstructed second story of the Long Barracks???

FUN FACT: Do you know that in 1997 when it closed, the proposal was to turn the Woolworth Building into an aviation museum? True!

If it has room for airplanes, it can handle Alamo artifacts.

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Quantity and Quality

July 31, 2020 Blog, Economics, Texas, Vision and Style Comments (0) 253

The developers of a much-maligned project in River Road have once again been denied permission to build on a vacant area in the historic district. This time they managed to get a feature article written around their failure, morphing from a case to a cause. The subhead calls it an “unpredictable process.”

Being an expert in the field, I don’t find it “unpredictable” but it has a quality that makes it difficult for the average developer. And that quality is literally Quality. Historic Design Review is a qualitative process, and most developers are used only to zoning, which is quantitative.

So what number is this?
And this?
And this?

The first problem is that the qualities of projects like this case – design, landscaping, setbacks, and massing – are overwhelmed by the quantity. The goal seems to be to cram as much building as you can into whatever space you have available. You can add gables and porches and board-and-batten siding but it is still a big hulk. Over the last year, the 23-townhome project has changed design elements that we objected to, like front-loading garages (snout houses) and heavy lot line massing.

They would likely have been approved if they removed one more unit, but after 18 months of carrying costs and redesigns, they probably felt they couldn’t afford to. Curiously, they basically got approval from the Office of Historic Preservation staff, but could not get enough votes from the volunteer Historic and Design Review Commission.

But now that it is a feature article, let’s look at the bigger picture, which is quantity and quality and who is good at what they do.

Starting to see a pattern here….

See, the beauty of historic districts and historic landmarks is that they treat every resource individually. It is not a commodity that can be alienated. It is not a grain that can be graded and put in a grain elevator. There is not a solution from another district or another landmark that can be applied, because that would be a different individual with different needs.

Average developers do not have a good handle on qualitative issues. They are in the business of grading grain and selling it by the container load. Their business model has no room or capital for individuals.

I love your house!

Above-average developers, on the other hand, get the qualitative issues. They may even seek out historic buildings because they know they can get a 45% investment tax credit between the state and federal laws. And they are practiced, so the process is less unpredictable for them. They know the rules but more importantly they know that they have to approach each project with an eye open for its inimitable qualities.

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And here we go again

July 21, 2020 Blog, Global Heritage, History, Sustainability, Technology Comments (0) 284

Well, it is once again time to win the “I canceled it first” race as the headless response to COVID-19 coronavirus spends its fifth month in the fifty random states of America. Here in Texas we are in a severe situation, outgunned only by Florida, Arizona and Southern California.

Pearl Farmers Market Saturday. Masks and social distancing. Ahh, civil society.

Something of this scale has not happened in a century, and a virus this virile and multidextrous has not been seen in modern times. Ebola was tons deadlier, but it killed fast, whereas the novel coronavirus doesn’t even let you know you are spreading it until you have.

Leadership, versed only in the news cycle, has failed badly in response to the longer cycle of the disease. The needless and childish politicization of masks and social distancing has led to the ONLY POSSIBLE OUTCOME it could, and the former USA no longer has the respect of other nations. Pity, perhaps, from a few. Schadenfreude, likely, from the majority.

Recently the Fiesta Commission, in concert with the Mayor, canceled the November Fiesta. Back in March it had been rescheduled from April to November. Now November is gone. The action followed both a spike in cases and hospitalizations, although what it really followed was the news cycle, beginning with an editorial telling the Mayor to do it on Sunday and the cancellation of Austin City Limits and the Texas State Fair. The original decision date was six weeks away.

It is amazing how well things go when you operate with a few basic protocols. Masks. Temperature scans. Sanitizing and hand washing. Over the last ten weeks in my company we have done these things and we have had no spread. Just like Hong Kong and Vietnam and South Korea.

Ho Chi Minh City (Saigon), 2012.

But at the end of the day we are not on lockdown anymore – certain businesses like bars and hotels are being ruined – but you can still hold events, like the farmer’s market where everyone follows the rules and it is pretty much the same density and diversity it was before COVID. We will have to live like this for longer – we could take a cue from the countries that have been doing it for a full generation.

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Think A Minute

June 30, 2020 Blog, Interpretation Comments (0) 363

“Tradition is not worshiping the ashes but preserving the fire.” Mahler

I never mastered German (Ich versuche immer noch) but I always liked the German word for landmark Denkmal because it sounded like a contraction of “Think a minute” or “Think once” and I thought that is what a good landmark did, it made you think about some element of the past and wonder why it was here in the present.

Munich, 1982

If you want more German words for landmarks, check out my “Monuments, Memorials and Erasure” blog from 2017, written during the last bout of iconoclasm. Here we are again. In response to the murder of George Floyd in Minneapolis, hundreds of thousands of people on six continents have protested in the streets against systemic racism, police brutality and the legacy of disenfranchisement.

These protests have defaced or destroyed memorials perceived as celebrating racist hegemony. Indeed, many of them did. Confederate monuments erected a generation or more after the end of the Confederacy were an attempt to solidify Jim Crow. In Bristol, England, they chucked the statue of a slaver into the ocean, and in Richmond at least four Confederate statues have been pulled down by protestors, many after the Governor’s decision to remove the massive 1895 statue of Robert E. Lee, although that is held up in court right now.

Lee never wanted statues or memorial to what became known as “The Lost Cause” and was dead a quarter-century before his image went up in Richmond.

Prior to current decoration.

The National Trust for Historic Preservation came out with a stronger statement than it did during the 2017 iconoclasm, while still leaving the door open to local communities who decide to contextualize their monuments rather than remove them. In any case, they were clear that any symbol or statue designed to stigmatize or terrorize any segment of the population should go. Duh.

That doesn’t stop those uncomfortable with the iconoclasm from driveling out the “you can’t erase history” pablum, as if history texts would somehow vanish with the statues. Besides, in almost every case the statue is to be preserved in a history museum, not valorizing public space.

Like this Northern Wei stele in the Pingyao Museum

Iconoclasm exists across human societies. Buddhist icons scratched out in Angkor for Hindu ones, Jain and Hindu temples smashed to create mosques in the Deccan, and of course the anti-idolatry of Mao’s Red Guards. Heck, even the Orthodox Christians who do icons better than anyone have had periods of iconoclasm in their history.

Shuanglin temple outside of Pingyao. The building was filled with grain during the Cultural Revolution to save these sculptures. That’s Guanyin in the position of royal ease.

My friend Joseph McGill of the Slave Dwelling Project, who has dedicated his life to Black Lives past and present, tends to support keeping monuments and contextualizing them. He worries about the “slippery slope” between tearing down some to tearing down all statues.

The momentum right now has gone from Confederate to Union and plenty of other statues as well, from Francis Scott Key to Teddy Roosevelt to U.S. Grant, Cervantes, Christopher Columbus and even Mount Rushmore. In fact, even the great Augustus St. Gaudens memorial to the 54th Massachusetts (Black Union Soldiers) got tagged in Boston Common because when people are rioting, ALL statues are The Man.

In 1968 student protestors in Chicago clambered up this statue of Union General Logan mostly because it was a statue, a high point, and martial

Christopher Columbus just went down here in San Antonio. Only a couple years older than me, the statue was put up in the late 1950s, and it reminds me of the various statues in public parks in Chicago. These were often placed by various ethnic associations to mark their neighborhood space through the media of national heroes.

Chicago’s Humboldt Park had, in addition to Baron von Humboldt and Fritz Reiner for the Germans, Leif Ericson for the Norwegians and a Miner holding his daughter for the working class in general. The park previously had Thaddeus Koszciusko, but the Poles moved him out to Solidarity Drive on the lakefront in 1980, because by then the neighborhood was Puerto Rican. The Puerto Ricans in turn tried to erect a statue of Pedro Albizu Campos but the park rejected it because Albizu Campos had advocated violence against the government (less successfully than the Confederacy) He ended up across the street on private land.

Here’s the Baron overlooking the Humboldt Park boathouse

We don’t write history with statues, but we do write power relationships with them. The examples in Humboldt Park show how immigrant groups asserted their presence and power. Robert E. Lee in Richmond demonstrated how those in power intimidated a portion of the population.

Preservation is a process that treats each site based on its individual significance. This is why Joe McGill calls for contextualization and this is why the National Trust leaves the final decision to the individual place. We have a recently installed statue of Theodore Roosevelt in San Antonio but they are removing one in New York because it is a very different statue that is clearly problematic. There are statues of people we actually might want to valorize (like Lincoln) that produce a cringe because of the racist way they were composed a century or more ago.

Everyone keeps asking me for a simple answer. Are they going to tear down all the statues of Washington and Jefferson because they were enslavers? No, but that is the wrong question. That is a reductio ad absurdum betraying a fear of understanding our history in a new way.

The questions are simply: Who is this in public space? Why and when was it put here? What does it mean to this community today?

And perhaps you might also ask: How comfortable are we with this as a Denkmal, Mahnmal, Ehrenmal or Gedenkst├Ątte?

UPDATE July 8, 2020

Lonnie Bunch III, Secretary of the Smithsonian, said it best:

“What is crucially important about this is that removing statues is not about erasing history. Removing statues in many ways is about finding a more accurate history, a history that is more in keeping with the best scholarship we have out there. So for me, it is about making sure we don’t forget what those statues symbolize. It’s about pruning them, removing some, contextualizing others and recognizing that there is nothing wrong with a country recognizing that its identity is evolving over time.”

JULY 24 update: Chicago just removed two Columbus statues on the same day!

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AME Church foundation – a discovery and an opportunity

June 12, 2020 Interpretation, Texas Comments (0) 517

Foundation of 1875 St. James AME Church, San Pedro Creek, this month.

The ongoing San Pedro Creek Cultural Park project has already added a lot to San Antonio, with marvelous public artworks, a pleasant walking path, and lovely plantings, all in the name of flood control.

Last week I participated in a panel discussing a very exciting archaeological discovery – the foundations of an 1875 African Methodist Episcopal Church just across from the Alameda Theater.

The design team had know of the site of the church and planned to interpret it, but they did not expect to find the full 40 by 60 foot foundation of the building, and the original 1875 cornerstone. According to newspapers, a “time capsule” celebrating the event was put into the cornerstone!

I participated in the focus group organized by the San Antonio River Authority because the original design for this section created a semicircular amphitheatre stepping down 6 feet from Camaron Street to the creek. This would eliminate all but the front fourth of the foundation, hence the need for the focus group. We are pushing for more.

The 1875 foundation stone is right of center in this image.

In a time when people are marching to redress the injustices done to African-Americans then and now, it is more pressing that we save and interpret this significant historic cultural site in San Antonio. As Everett Fly has said, San Antonio does not have a strong record of preserving African-American history. This remains true in our ongoing efforts to save the Woolworth Building.

View looking north toward foundation with San Pedro Creek and Alameda Theatre/Texas Public Radio to the left.

The AME Church site is a shining opportunity to conserve and commemorate a vital but underrepresented aspect of San Antonio’s cultural inheritance.

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San Antonio and Civil Rights

June 3, 2020 Economics, History, Intangible Heritage, Texas Comments (0) 395

The protests last night (June 2) ended up violent again, as they had on Saturday, both times unusual for San Antonio. As commentator Rick Casey said “We don’t do riots in the streets.” The last significant one was at Municipal Auditorium in 1939. Now he realizes he can’t be so categorical, because we have just doubled our riot total for the last century.

The contrast to other cities remains significant, and the wise words of both Police Chief McManus and Sheriff Salazar have reinforced the sense of community that has always defined San Antonio.

These are the most challenging times I have experienced and the contrast to something that happened three months before and three blocks away from my birth is significant.

On March 16, 1960, seven lunch counters on Alamo and Houston Streets desegregated voluntarily and peacefully, without protest. It happened in the same place as the unrest Saturday night, as Scott Huddleston of the Express-News noted. An amazing college freshman, Mary Andrews, had written the lunch counters asking them to allow blacks to sit and eat.

The sit-in movement had started at a Woolworth’s in North Carolina only a month before. A meeting was held and a sit-in was planned. Then, the community of San Antonio kicked in. Religious and civic leaders got together with the businesses and they integrated a day before the planned sit-in.

Windows were broken here on Saturday.

The story of Mary Andrews is puro San Antonio, which makes the events of the last few days even more disheartening. At the Conservation Society of San Antonio, we have been fighting to save the heart of that peaceful integration – the Woolworth Building – since 2015. This month we will celebrate Juneteenth with testimonials from residents regarding the importance of the Woolworth Building and San Antonio’s unique role in Civil Rights history.

In times of fear and violence, it is even more important to remember the triumphs of peace and community.

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