In 2006 I wrote a blog called “The Fallacy of Primacy” focused on the idea that the “first” to discover something was not necessarily historically important. The Vikings got to North America and the Chinese maybe got to Peru before the Spanish, but it doesn’t matter. They didn’t affect the trajectory of history like those who came later. In addition to the fallacy of “firsts” and “discoveries,” there is also the problem of category and context.
This is San Pedro Springs Park in San Antonio, sometimes claimed as the second oldest park in the United States after Boston Common, since it was set aside as public land by King Philip V of Spain in 1729.
That fact is not true in two ways. First, there are older public lands in places like St.. Augustine so San Pedro Springs Park is more like 10th oldest. Second, there is no context for public parks until the 1830s – the category of a city park simply did not exist. If you look it up, San Pedro Springs Park is the oldest city park in Texas, dated not 1729 but 1852.
The urban park as a type begins no earlier than 1827 when they start redesigning St. James Park in London. The oldest “parks” in U.S. cities are more like the squares in Savannah, which were open space but not parks. There was no context for “park” as a place of recreation and relaxation outdoors. If you wanted that, you went to a cemetery.
So here is the oldest city park in the U.S., Boston Common, and you can see that it is also a cemetery. When it was created in 1634 it could be used for celebrations, militia drills, burials, and yes, even picnics and sport. Interestingly, the design of “parks” in the 19th century begins with the design of the first rural cemetery at Mount Auburn outside Boston in 1831. It then inspires the first generation of park designers.
So, we have a whole new context emerging in the second quarter of the 19th century. Parks. By the end of the 19th century, Boston has its Emerald Necklace of Parks, New York has the massive Central Park, Chicago has a boulevard and park system stretching 30 miles and even Los Angeles had the 575 acre Elysian Park. Parks, like museums, were an idea less than century old.
We have a similar movement in the current century to create urban linear parks from old railroads or other rights-of-way. Think New York’s High Line, Chicago’s 606, or San Antonio’s San Pedro Creek Culture Park. Rails or canals to trails is also roughly a century old, and getting more and more elaborate.
When you ask whether something is first, or oldest or original, you are in fact asking a present day question about how a place is perceived and categorized. It is kind of like the difference between fact (to aléthes) and truth (alétheia) in Greek. A fact – to aléthes – is that San Pedro Springs Park became a public space in 1729. Alétheia is truth in the sense of a body of truth, like urban parks were started in the 1830s and 40s. Boston Common is the oldest park – to aléthes – but it is also a collection of other ideas about public space between 1634 and 1834 – Alétheia.
FUN FACTS: A San Antonio native, Robert Hammond, was behind the High Line in New York! Also, another San Antonian, Elizabeth Barlow Rogers, founded the Central Park Conservancy!
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.
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.
You can throw in the Prado, the Alhambra and the Hermitage as well. Locally, we have….
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.
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.
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.
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.
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.
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.
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.
Earlier in the shutdown/pause/lockdown I wrote a blog that argued that the virus would NOT cause urban planners to rethink their propensity for density. My evidence was basically every pandemic in history, with a fun side trip to the history of telegraphy and telephony.
There was a hint at the end of that blog about how the viral pandemic is actually accelerating previous trends in urban planning. The pandemic has slowed traffic dramatically, encouraging a tendency to eliminate cars from center cities. Many towns and cities around the world are planning on closing streets to traffic in order to encourage biking, walking and outdoor dining as areas move to reopen and adjust to the new abnormal. Turns out it is TONS safer to eat outside than inside.
The historian in me says that our cities and our dense human activities have survived a hundred plagues and only come back denser and busier. The historian in me also says beware of those who says “everything will change – these are unprecedented times” because they always say that. They said it after World War I definitively, and even more definitively after World War II and the atom bomb. They said it during plagues and pogroms, during fires and famines and today is always different from yesterday and that itself is the same old story.
Sure, there are paradigm shifts and we may be experiencing one. But the COVID-19 pandemic will not cause that shift. Such events only accelerate trends already underway (closing streets to cars) or illuminate factors that would play out with or without the current crisis (collapse of US hegemony).
I still hear – from respectable professionals – that pandemics change planning. That is partly true. Chicago had typhoid and cholera outbreaks in the 1860s that caused it to raise the entire city in order to build a sewer system.
Paris’s famed rebuilding under Baron Hausmann was cited as an example of city planning driven by pandemic, although in addition to sewage and some hospitals with fresh air, there was a social control/military aspect to the slum clearance as well. Wide boulevards are better for the army.
I would venture that major epidemiological crises are more likely to influence infrastructure than super structure and thus be somewhat invisible. They also influence social practices, and indeed our current pandemic has rewritten many social norms, but again this is not something you can necessarily see in the larger built environment.
But what WILL change?
Leaving the macro level of urban planning, we have seen changes at the micro level. You already have plastic sheeting at the checkout counters of grocery stores and we have seen everything from shower curtains to cubicle-sized sneeze guards going up at restaurants.
UV carpets may sanitize your shoes and mounted temperature scans have already spread way beyond their original habitat, the Chinese airport of two decades ago.
HVAC systems may well be overhauled, and sanitation procedures will be much more extensive for a while. Anyplace you sit still inside for long periods, like airplanes or restaurants are more susceptible to viral load than places you wander through, like museums.
If anything, like the closing of streets to automobile traffic, there will be a tendency to offer less-dense public spaces, while maintaining urban density. There will be renewed interest in public parks, beaches and open spaces which are lower risk for viral spread.
We may well see changes as elements of our architectural landscape that encourage clustering of people for extended periods become endangered, like churches and theaters. Churches and theaters have always been more difficult to preserve due to their large spaces and relatively high costs. Now they have the added problem of people emitting nanodroplets.
With all the working and learning and teaching from home in the last two months we may start to see changes in interior architecture more than anywhere else. The open floor plan office beloved by designers for more than 50 years may give way to private offices or at least much more substantial barriers between workspaces.
Our own office at the Conservation Society is in fact the opposite, which allows us to maintain distance because in our converted 19th century mansion, everyone has an office with a door and no one is within 15 feet of anyone else.
With everyone living and working and doing almost everything from home, there have been spate of articles (like this one) on demand for better home office furniture, home gyms, more clearly defined spaces both within and without, and decluttering services.
People spent more time in their homes in the last two months than ever before, and that will ultimately have an impact on interior design. The open floor plan made possible by central heating and popular by Frank Lloyd Wright may retreat a bit in the coming years as commutes shift from highway to hallway.
The pandemic caused the global economy to calve like an Antarctic ice sheet and expose massive inequalities. Like The Economist, I worry that one policy result of the pandemic will be a renewed isolationism from the teetering old nation states, fostering a decline in productivity, innovation and the promise of a just society. (It will also make it more expensive and difficult for people to collect the photos I have displayed in this blog!)
Here’s hoping we learn a few lessons, if not from history then from our own everyday within the new abnormal.
I am helping the City of San Antonio with a virtual tour of the Spanish Governor’s Palace, which is both the only remaining residential structure of the 18th century city and a fascinating document of how historic preservation was practiced 90 years ago.
When you look at this building, you may think of the Palace of the Governors in Santa Fe, New Mexico, and that was a big inspiration. The Santa Fe building was restored right about the time that Adina de Zavala started lobbying for the preservation of this San Antonio building in 1915. By 1930 the city had purchased and restored it and the Conservation Society was operating it.
The building is a rare and singular survivor, but it was never really a palace, and while one Spanish Governor did visit San Antonio in 1720, the building dates to 1722 as the comandancia, or home and office of the military commander of the presidio garrison.
Restored by architect Harvey Smith, he took numerous liberties we would not countenance 90 years later. Despite finding no evidence, he built a fountain and a walled back garden that even he knew never existed because it would convey a romantic sense of refined 18th century life.
This romantic vision of “The Spanish Governor’s Palace” cause Smith to add two rooms that never existed, and interpret other rooms with these elaborate plaques that described a courtly life that also didn’t exist. Each interpretive plaque is then explained by a contemporary plaque below explaining Smith’s romantic embellishments!
Old telephone poles became ceiling beams and old flagstone sidewalks became floors in the restored “Palace” and the whole was filled with period furnishings. The century that the building spent as a tinsmith shop, pawn shop, hide dealer, clothing store and saloon was not interpreted.
This was an era of nostalgic appropriation of historical styles, from the Spanish Colonial to the Georgian, Tudor and Renaissance Revival. This was the time when architect R.H.H. Hugman proposed “The Shops of Aragon and Romula” that would become the San Antonio River Walk.
It was a different aesthetic and a different goal for preservation. Smith did lots of research, but there was precious little to go on for an 18th century building that had been changed a hundred times. No international guidelines for preservation existed yet (they would come in 1932.)
A similar approach was taken by O’Neil Ford when he restored La Villita in 1939-41. There was so little documentary or forensic evidence about the vernacular buildings he was restoring that he simply tried to create “a mood.” Like Smith, he added lots of walls to enhance that mood.
I suppose the goal was to really demonstrate the importance of the historic building by giving it a more glamorous pedigree. There was one reference to a fandango or party in the salon of the Governor’s Palace, so like the 1930s Riverwalk tile mural by Ethel Wilson Harris, a singular incident became a chronic intepretation.
What is really fascinating about the Governor’s Palace – and other sites “restored” in the 1930s is that those acts of poetic license are now themselves historic, and they have added another layer of history.
To me history – basically the same word as “story” – is made richer by more layers of interpretation, by more stories. The primary story you get from the Spanish Governor’s Palace is a sense of 18th century life on the Spanish frontier. But you also learn about the civic life of the 1920s that sought to bolster civic pride with romantic tales of civic origin.
This is the “Child’s Bedroom” that Smith invented out of whole cloth in 1930. His impulse was to illustrate the luxury and gentility of the “Governor’s” lives with some creative construction. Like Adina de Zavala or the Conservation Society at the time, they wanted to glorify their forbears.
My favorite room is the Commander’s Office, not only because it reveals the original rubble stone construction, but because it also reveals the true nature of the building. The Commander used this space to command, but much more to sell household goods and necessities to his soldiers and the general public. Business was so brisk that he added a storeroom behind in the late 18th century, although if you go there today you see religious artifacts and other antiques in vitrine displays.
In the 21st century we understand heritage conservation as more than an architectural design problem, and are careful to find evidence for both the stories we tell and the physical fabric we restore – or choose not to. If somehow this last residential building of the Spanish city had survived until today, it might look very different. It would tell the stories of the presidio commanders with a little less embellishment, focusing perhaps on how the 19th century shops and saloons were a continuation of the comandancia rather than a rejection of it. It would perhaps be called the Presidio Captain’s Residence and it would be without its 1930 additions.
I like telling both stories – the true story of the presidio and its capitans, along with the equally true story of 1920s San Antonians puffing their chests and inflating their history just a bit.
In the last couple of days I have heard or seen several people comment that due to the COVID-19 pandemic urban planners might rethink their approach to density. Cities are of course being hit the worst, and public transit and dense living conditions are ideal for viral spread. Will this cause them to rethink? History says no.
Ancient cities like Rome regularly fell prey to plaques whether viral or bacterial, and they just went right back to building insulae, stadia and other dense forms. The Justinian Plaque (bacterial) killed as much as 40% of Constantinople’s population in two years and recurred intermittently for two centuries, but the built form did not alter significantly. The Plague of Athens (possibly viral) hit in the middle of the Peloponnesian Wars and took out Pericles, causing political repercussions but not architectural ones.
Medieval and Renaissance Paris and London were beset by the Black Death, and still built dense cities. Milan was hit by plague as late as 1630 but they are still building up.
But now we have the internet, and telephones and email and Zoom so we don’t need the density we needed a few hundred years ago, right?
Wrong. Time for another history lesson.
In 1842 a painter named Samuel F.B. Morse invented the telegraph, and all of the prognosticators saw a future of dispersed people, in touch with nature, able to communicate over long distances with no need to congregate together. The urban haters had their technological solution. Cities were OVER.
Except they weren’t. They were getting denser. We even added telephones but a decade after that there were skyscrapers and then more skyscrapers and electric streetcars and subways. The opportunity to work from anywhere did not translate into people working from anywhere. We are social creatures, after all. What are you craving right now, this minute? More Zoom meetings or more face-to-face contact?
That doesn’t mean the dream and the ideal of the sylvan suburban landscape went away. It started with the AJDs in the 1840s (Alexander Jackson Davis and Andrew Jackson Downing) and continued a century layer with Frank Lloyd Wright. Wright disliked cities and his planning ethos was decidedly suburban. His 1930s Broadacre City embodied the low-slung suburban dream, as did his Usonian automatic houses.
Even though he didn’t like skyscrapers he designed one just a few years after the Spanish flu pandemic. He also drew up a mile-high skyscraper in his final decade of life, just to show he was best.
Density is more efficient, uses less energy and also fulfills another ideal which goes back to before the crowded Roman insulae. People like to be around other people. They are more productive around other people. The Black Deaths which killed a quarter or a third of medieval urban populations eventually led to better sanitary systems, but they did not lead to a rethinking of density. Indeed, the Justinian and later plaques significantly affected the countryside as well. Here is a not-so-short list of epidemics through history.
Dense urban forms were also prone to fire for much of their existence, as Chicago and San Francisco can relate, along with London and Rome itself. Each rebuilt as dense as it was or more so – the 1871 Chicago Fire paved the way for the first skyscrapers just over a decade later. The Great Fire of London (1666) resulted not in a newly planned place but the same place except in brick and stone instead of wood. In the 19th century Paris famously cleared its slums and built boulevards, but that was more defense minded than sanitary.
People like cities, and they are economically efficient. You can do a lot of work on the email and by telephone, but you will be geometrically more productive face-to-face. Plus, take a look at the current pandemic beyond the United States to places that are REALLY dense, like Hong Kong.
Right at the doorstep to China and they didn’t even have to do a lockdown against the virus. Restaurants have remained open. Then again, they have been practicing for almost 20 years.
So, I don’t think COVID-19 is going to affect how we build our cities.
UPDATE: As I was writing this, Milan, in the wake of COVID-19, just announced a plan to make even more of the city car-free. Paris is saying the same. The planning trends pre-pandemic seem to be accelerating rather than turning.
UPDATE: More North American cities are planning to close streets to automobile traffic as well, even car-centric San Antonio!
AUGUST UPDATE: Yes, we are still in the thick of it five months later! And now some researchers at Johns Hopkins have added contemporary evidence to the historic evidence I presented above. It turns out that in a study of 913 counties across the USA, dense or sprawling developments had no effect on COVID-19 infection rate, although sprawl areas had a higher death rate.
Turns out we tend to confuse density with crowding. Crowding anywhere produces more infections. Crowding can happen in dense or rural areas. The counterintuitive fact of higher morbidity in rural areas was explained by researchers through a stronger use of antiviral protocols in urban areas, and poorer access to healthcare in rural areas.
SEPTEMBER UPDATE: Six months later. Hong Kong has had less than 100 COVID deaths. It’s not about the density.
His younger contemporaries Mies van der Rohe, Walter Gropius and Le Corbusier got there first, but Frank Lloyd Wright, the most influential American architect in history, finally made the UNESCO World Heritage List. As a Board Member of the Frank Lloyd Wright .Building Conservancy, I am very pleased that the long-awaiting recognition came today in Baku, Azerbaijan. A total of eight works were included, including Unity Temple in Oak Park and Robie House in Chicago.
The inscription of Wright’s work took almost 20 years, twice as long as the effort that saw the San Antonio Missions inscribed four years ago. Two buildings originally proposed, the Price Tower in Bartlesville, OK and the Marin County Courthouse in California were dropped as the nomination was extensively revised.
The selected sites do reflect Wright’s genius, from his pre-World War I Prairie period that gave us the incomparable Unity Temple and Robie House, through his California textile block houses (represented by the Hollyhock or Barnsdale House) and his mid-century Usonian style that began with the Jacobs I house in Madison Wisconsin.
The inscription also includes both of Wright’s sprawling “schools” – Taliesin in Wisconsin and Taliesin West in Arizona, where his apprentices learned for over 20 years.
And of course, Wright’s famous “comeback” building, Fallingwater, is included, where he ditched the idea that he was a 19th century architect and cemented his reputation with a building that not only balances above a waterfall and integrates with the landscape, but becomes a landscape. Wright loved nature and his gift was not simple integrating buildings with nature, but allowing buildings to be inspired by nature, designed by nature, so that they elevated and improved the landscapes they occupied.
Wright’s early apprentice Barry Byrne said Wright only needed to sketch plans and elevations, because he could think in three dimensions. When Ken Burns did that documentary on Wright, even his needling adversary Philip Johnson admitted that Wright could imagine space in a way few mortals can.
The recognition is long overdue, but well deserved. For decades I have said that Unity Temple is one of the best buildings in the world. I lived less than a block from it for a dozen years and my children grew up with it. There is no question in my mind that it belongs in the company of the Taj Mahal and Angkor Wat.
Shortly after moving to San Antonio in 2016, I encountered this house just a couple blocks from my apartment. Immediately I was struck by the appearance of a full-on Wrightian Prairie House in the heart of San Antonio.
I posted it on Instagram and was immediately informed that this was the Lawrence T. Wright (no relation) house by George Willis. After a day or two I realized Willis’ name had appeared in my book The Architecture of Barry Byrne: Bringing the Prairie School to Europe. Willis had been a draftsman nearly four years when Byrne arrived in Frank Lloyd Wright’s Oak Park Studio in 1902.
Willis practiced a few years in California with Myron Hunt and a few more in Dallas before relocating to San Antonio in 1911. Willis is probably best known for his 1928 Milam Building, known as the first fully air-conditioned office building in America. By this time he had adopted the streamlined revival styles of the 1920s, decorating the upper levels of the building’s 21 stories with Spanish Revival terra-cotta.
Willis arrived in San Antonio as a Wrightian, and his houses show the influence up until 1919 or so. Many are attributed to Atlee Ayres, in whose office Willis worked until 1916. Here are a few of the ones we have found:
A couple of years ago I stumbled across this one in Beacon Hill, and I promise you it IS by George Willis and from the same period, c. 1915, even though we haven’t found documentary evidence.
There are a number of other Prairie Style houses that could be from Willis’ time under Ayres or immediately afterwards – here are a few candidates:
By 1919 George Willis has departed from Modernist Prairie style for the revival styles that would dominate the 1920s, as seen in the house below on West Woodlawn in Beacon Hill. A recent article in the Express-News claims that this is the first Spanish Colonial house in San Antonio, and one of the first built with air conditioning.
Willis was a major San Antonio figure by this time, collaborating with Atlee Ayres and Emmett Jackson on such major projects as the Municipal Auditorium and 1926 addition to the Bexar County Courthouse.
Willis worked on the Sunken Garden Theater WPA Project in 1937 with Harvey Smith and Charles Boelhauwe. He continued practicing in San Antonio until his death in 1960 and has left a significant architectural legacy throughout the city.
MAY 2020 UPDATE: A couple of Willis’ postwar works:
A week ago the Texas Historical Commission voted unanimously to designate the Woolworth Building in San Antonio as a State Antiquities Landmark. While no landmark designation can absolutely prevent demolition, this status is significant. More importantly, unlike the earlier designations (National Register and City) this nomination included a detailed discussion of the civil rights history of the site.
The big week began on Tuesday, when the San Antonio Conservation Society, joined by the Coalition for the Woolworth Building, released a compromise plan that would wall off Alamo Plaza and expose the location of the mission’s west wall – while preserving the Crockett and Woolworth Buildings. The event got good coverage in print and television and even radio!
One of the ironies of the decades-old attempt to reveal the site of the western wall is that the northern wall – beneath the Post Office and Gibbs Building – was more significant in the 1836 battle. This is where Santa Anna broke through and this is where commanding officer Lt. Col. Travis fell.
No remains of the western wall survive – not only were the walls destroyed after the 1836 battle, but the Crockett Block buildings have full basements, which eliminates any remnant of 17th century foundations (unless the Franciscans were sinking 14-foot deep footings).
Our plan preserves the Crockett and Woolworth Buildings while adding a large 4-story addition to the rear to achieve the stated goal of a 130,000 square foot museum. We also carve an arcade through the buildings to reveal where the wall was. This provides a “teaser” for the exhibits inside, which can include in the Woolworth site both the Castañeda and Treviño houses along the wall, as well as the Woolworth lunch counter site.
Unlike the Conservation Society’s earlier position, the fences and walls enclosing the plaza are illustrated in this plan. Moreover, the Palace theater facade is removed to allow for a grand entrance to the new museum. This displeases some preservationists.
The Alamo management (the buildings have been owned by the Texas General Land Office since 2015) dismissed our effort to share a vision that includes BOTH a new museum and enclosed plaza AND preserved landmarks. As I said to a reporter following the press conference – you can walk along the line of the wall and when you reach the Woolworth interior, you can turn right and learn about the battle, then turn left and learn about the lunch counter integration.
We have been advocating for the Woolworth Building since 2015 and it was a rewarding week thanks to the efforts of the Coalition for the Woolworth Building, who participated in both the press conference and the trip to Austin for State Antiquities Landmark designation!
Paper or plastic?
For years we have been offered this choice at the supermarket checkout, and it annoys me. Why can’t I have both? I sometimes reply “Some of each,” which confuses people. But I actually have some need for plastic and some for paper. I’m NOT one or the other.
Our “polarized” 2019 world has been caused by many such false choices – politically and otherwise – between categories that seem to exclude each other. But they don’t. Making the categories more extreme (i.e., you are either Communist or Fascist) makes the duality seem real. It’s not.
Let’s leave the hoary hoardings of the politicalifragilistic to one side and remain in our expertise: architectural history and preservation. 13 years ago in this blog I celebrated a debate which I witnessed several times between modernist Paul Byard and classicist Steven Semes (who is a good friend) on the appropriate way to design additions to historic buildings. Byard, who has since passed away, advocated modernist additions while Semes has written a book arguing for contextual additions. The debate was AWESOME because each speaker was so convincing you actually suspended your own bias and wandered back and forth between the camps.
The debate and the dichotomy struck me yesterday as I visited the San Antonio Museum of Art, a late Victorian building with two contemporary additions.
One satisfies the contextualists, and one uses contemporary materials to distinguish itself from the original. Both defer to the original building in scale, massing and setback. If you are sensitive to brick color and the patina of time, both read clearly as additions. I like them BOTH.
SAMA has both MODERNIST and CONTEXTUAL additions. Or perhaps I should say SAMA has BOTH Modernist AND Contextual additions.
BOTH AND is the actual dynamic state of the world. The binaries and categories we use to make sense of this world are intellectual constructs that negate a major physical reality: Time.
A thing now does not equal a thing ten years from now. This is manifest at the quantum level but it is also true up here in the everyday. Styles change, technologies change, and materials age, each at their own rate.
There are continuities, of course, and indeed the task of heritage conservation is about maintaining continuities amid change. To do that job, you need to see things as they are, not as you would have them be. You need to understand BOTH now AND then.
The dynamic nature of experience and existence belies clumsy categorizations. We, and our work, are always in the process of becoming.
I explained this better in my 2012 blog: Categories are your Frenemies.