|
|
Past Letters
from the President:
I’ve just returned from a couple of weeks in
Southern Germany and Austria, with a side trip to Prague. Of course, I
visited and photographed historic buildings wherever I went. In
Vienna, a highlight was the Secession Building where exhibits, true to the
Secession’s founding principles, are still selected by a majority vote of its
artist-members. I bought a book that mapped out other examples of Jugendstil
in its various phases, and I understand the tourist information offices offer
a pamphlet along the same lines. What a pleasure to find bars, bookshops,
residences, businesses, and public buildings in use, mostly for their
original purposes, and well kept. Prague
has a potential to become another magnet for travelers with an interest in
the early stages of modernism. A museum devoted to Alphonse Mucha, with both
on-premise and a satellite gift store, is much publicized. One hotel
advertises itself as an Art Nouveau landmark, with little in its interior to
support the claim, however. A couple of hotel-restaurants on Wenceslas Square
and the wonderful Municipal House nearby receive brief notice among the sea
of Baroque, Neo-Baroque, and Medieval landmarks. But the alert pedestrian can
find inspired examples of Czech Jugendstil storefronts, apartment houses,
theaters, and restaurants in the Nové Město (New Town) section on
streets outside the tourist zones. Some have been ill-treated over time, many
only need a good cleaning to shine like the jewels they once were. While
the Secession Building contains an illustrated account of its history,
including a scene of much of the building in ruin attributed to a fire set by
departing German soldiers at the end of World War II, plaques on the many
ancient churches, abbeys, palaces, and public buildings in Germany that were
hard-hit by Allied bombing merely mention that the buildings were damaged
during the war, without identifying extent or perpetrators. They go on to
give the years when rebuilding was done (mostly in the 1960s). While this
downplaying of epic destruction and massive reconstruction diplomatically
encourages both American tourism and German cultural identity, it obscures
the prodigious accomplishments of design and craftsmanship in the post-war
restorations. Who were these individuals who figured out how to put these
exquisite cathedrals and palaces back together? How did they solve the
structural issues the ancient builders had overcome but not documented? And
what stories there must be about training stonecutters, masons, stained glass
craftsmen, and the like! This is a story that deserves attention. —Merry Ovnick Registration for our “Architecture Inside and
Outside” event, featuring three ultra examples of Spanish Colonial Revival
architecture in Santa Barbara, filled up immediately—not surprising, as these
are celebrated gems. We all enjoy touring mansions, iconic structures, and
innovatively designed masterpieces. While these may be landmarks in the
history of architecture, they shed only limited light on the history of their
times. Great works of architecture may tell us about the architect and a few
individual clients or their circles, but it is the vernacular houses, stores,
office buildings, and schools that can inform us about the visions, limits,
and possibilities available to most people of the times. Yet it is the
palatial and the distinctive structures that tend to be preserved, not the
tract houses and shopping rows. Selective survival and the attention we give
to elite and exemplary structures tend to skew our concept of the past. Rows
and rows of 1940s stucco boxes that constituted war-worker and immediate
post-war housing tracts of several hundred houses each, with very little
variation in plan or trim, tell us about wartime material shortages and
restrictions for a generation whose imagination had been stunted by the
depression and molded to conformity by wartime indoctrination. But no one
wants to preserve these rows of look-alike houses as historical monuments.
Nor should they. I grew up in such a tract and recently returned to the block
where I lived to find that all but two of the 20 houses had been converted
into two-story behemoths with varying whiffs of aesthetic sensitivity. It is
right that later owners should adapt these houses to meet their needs and
fill their visions. But the physical record of the 1940s past has
disappeared. Happily,
the record of the historical built environment has been preserved in
scattered photo collections. Take a look at the Los Angeles Public Library’s
online selection from its 2.5 million historic photos (www.lapl.org), or at
USC’s newly accessible collection (http://digarc.usc.edu). Regional
libraries, such as Long Beach and Santa Monica, have their own collections.
Everyone’s past is there, safe and sound, for virtual touring. Every spring, the national organization with
which we’re affiliated, the Society of Architectural Historians, holds its
annual conference—an opportunity for academics and practitioners in architectural
history to present the most recent research to their peers. In addition to
the conference sessions, SAH conferences include many half-day and a few
all-day architectural tours in and around the city where the conference is
taking place. In April 1998, Los Angeles was the site of SAH’s 50th Annual
Meeting. It was held at the Biltmore Hotel in Los Angeles. More than 600
people attended the event, which was marked by interesting papers, good
tours, a memorable cocktail party in the Bradbury Building, and—the
highlight—a dinner and exclusive evening at the newly opened Getty Center.
Some 75 volunteers, including local university students, librarians, museum
professionals, city planners, and three members of the current SAH/SCC board,
staffed the registration tables and the slide projectors in the paper
sessions at the conference. Last year the SAH Annual
Meeting was in Pittsburgh. In 2008, it will be in Cincinnati. And in April
2009, the 62nd Annual Meeting will take place in Pasadena. Once again, there
will be a need for many local volunteers. This time, skill in operating slide
projectors is no longer needed, as all sessions will use PowerPoint
projectors—technology has come a long way in 10 years! Those volunteers who
put in six hours of service will get to attend the conference at no charge (a
value of $270 for registration fee, along with $115 membership to the
national organization). What an opportunity to
discover the most current scholarship in architectural history and meet the
nation’s (and the world’s) leading authors and researchers! We all want to
roll out the red-carpet hospitality that will make this conference as
memorable as the last one held in Southern California. If you’re interested
in volunteering, and have some experience operating PowerPoint projectors,
save your spot on the volunteer roster now. Contact me at
merry.ovnick@csun.edu. You can check out the national organization and its
upcoming Cincinnati event at www.sah.org. Merry
Ovnick This year, SAH/SCC mounted its first fund-raising
campaign in the institutional memory of the organization. Because we had
never held a funding campaign, we had no way of guessing the outcome in
advance. The Crossroads Challenge campaign sought $25,000 to preserve the
organization’s solvency and meet the challenges of the electronic era of
communication. The goal has just been reached and gifts are still coming in,
expanding the possibilities of how we can best meet members’ expectations and
fulfill our mission of educating the public about architectural design and
the built environment of Southern California.
The members of the executive and advisory boards
have been deeply touched by the support received from the following donors to
the Crossroads Challenge campaign to date: Chris
Ackerman Jay
Bacon Chris
Beach Don
Bensen Richard
P. Bloch Bill
Bowling Ann
Burckle Pamela
Burton Dr.
& Mrs. W. Garrett Capune Arline
Chambers Carole
Dougherty Stephanie
Enright Frederick
Fisher Lambert
Giessinger Joy
& Gordon Gilliam Lisa
Gimmy & Claus Best Raymond
Girvigian, FAIA Gwynne
Gloege Marilyn
Goudzewaar Elizabeth
Harris Judy
Horton John
R. Hribar Virginia
Jansen Mar
Jennings & Howard Toboco Diane
Kanner David
Keitel Marilyn
Kellogg Maryann
Kuk Katherine
Lain Larry
Layne Alan
Lieb William
& Rhoda Lo Jan
Martin Christy
Johnson McAvoy Judy
McKee Le
Roy Misuraca Douglas
M. Moreland Catherine
Myler Ronald
Nestor, AIA James
Newland Mark
Nichols Cricket
& Robert Oldham Hugh
Oliver & Noel Osheroff Anne
S. Otterson Helen
T. Park Lanna
Pian Ron
Rector John
August Reed Victor
Regnier Susan
Rifkin Richard
Roether Claire
Rogger Arthur
Rosenstein Richard
Cayia Rowe Steven
Saute Marilyn
Schmitt James
M. Schwentker III Alan
Sieroty Paul
Siman Carol
Ann Smith Nancy
Smith Michael
R. Somin Richard
& Claudia Starzak Michael
Stull John
C. Terrell Tichenor & Thorp Architects, Inc. Kenneth
Turan & Patricia Williams Daniel
Visnich Lori
& John Warnke Eric
H. Warren Ted
Wells Allyne
Winderman Dr.
Robert Winter Joyce
Zaitlin In
this post-holiday season for sending thank-you notes, our sincere thanks. We
look forward to a new year of events and gatherings where we hope to see all
of our current members and to meet many new faces. Happy New Year! Merry
Ovnick President SAH/SCC
is in the midst of its Crossroads Challenge fund-raiser. In addition to those
donors recognized in the last issue of SAH/SCC
News, we would like to thank the following for their generous donations: Chris
Ackerman Jay
Bacon Chris
Beach Don
Bensen Richard
P. Bloch Ann
Burckle Dr.
& Mrs. W. Garrett Capune Arline
Chambers Carole
Dougherty Stephanie
Enright Frederick
Fisher Raymond
Girvigian Marilyn
Goudzwaard John
R. Hribar Mar
Diane
Kanner Marilyn
Kellogg Maryann
Kuk Katherine
Lain Larry
Layne Alan
Lieb William
& Rhoda Lo Jan
Martin Catherine
Meyler James
Newland Cricket
& Robert Helen
T. Park Lanna
Pian Ron
Rector Victor
Regnier Susan
Rifkin Richard
Roether Arthur
Rosenstein Marilyn
Schmitt Alan
Sieroty Paul
Siman Michael
R. Somin Michael
Stull Allyne
Winderman We
are rapidly approaching our goal and would appreciate all help to make it by
the end of the year. * * * A
happy post-script to our 2006 Members’ Celebration, a Preservation Summit
held at the historic (but deteriorating) Lummis House: The City of Los
Angeles Department of Recreation & Parks recently completed reroofing and
fumigating the structures—badly needed first steps toward saving this
architecturally and historically significant landmark! Hurrah! * * * In other good news, we
are happy to introduce Dennis Whelan, the newest member of the SAH/SCC
Executive Board. He is a —Merry Ovnick To serve our mission of raising public awareness
and appreciation for Southern California architecture, SAH/SCC offers
informative talks and tours and publishes this bimonthly newsletter. We
believe we can extend our mission to a wider audience by the addition of an
e-newsletter and by enhancing our web site, www.sahscc.org,
while also exploring publishing projects, collaboration with educators, and
other ideas. To provide a solid basis for our organization and the means to
launch new endeavors, SAH/SCC launched a Crossroads fundraising
campaign—first with our Life Members in June, then among our Patron Members
in July, and to our regular members in August. Our goal is to raise $25,000. We’re already more than
three-fourths of the way to our goal, with $19,600 received to date, thanks
to a generous response from the following Life and Patron members: Bill
Bowling Pamela
Burton Lambert
Giessinger Gordon
& Joy Gilliam Lisa
Gimmy & Claus Best Gwynne
Gloege Elizabeth
Harris Christy
Johnson McAvoy Judith
McKee Le
Roy Misuraca Douglas
M. Moreland Ronald
Nestor, AIA Mark
Nichols Anne
Otterson John
August Reed Richard
Cayia Rowe James
M. Schwentker III Nancy
Smith Tichenor
& Thorp Architects Daniel
Visnich Eric
H. Warren John & Lori Warnke Dr. Robert Winter Joyce Zaitlin Anonymous Encouraged by this
outpouring of support from loyal members like you, we have already taken the
first steps toward carrying out new ideas for improving SAH/SCC. With warm
appreciation to those who have already contributed so generously, we look
forward to gifts from other members to put us over the $25,000 target in the
coming weeks. We’ll keep you posted! —Merry
Ovnick You may have participated in our May 19th tour,
“A Block in Board
member The
next stage was to find homes illustrating the tour’s concepts and
whose owners would be willing to open their homes for the tour. It’s normal
for two out of three to be unwilling or unable to do so. Once the houses are
secured, the tour coordinators need to research them. Sometimes they will
also research particularly significant houses that can only be seen from the
outside. This may involve checking original building permits, which, in
historically-minded cities such as Although
some of our tours in the past may have had very simple brochures or were sent
to a graphic designer, we’ve discovered that board member Sian Winship has
great talent and professional expertise in creating imaginative and
attractive tour guides, and the “Block in A
couple of months before a tour, the board reviews the budget and determines how
many reservations are needed to cover costs, how much can be spent on
refreshments, brochures, etc. Board members are pressed into service as
docents and calls are placed to members who might be available to augment the
docent force. These valued volunteers are furnished with as much information
as possible, to prepare for the Big Day. After
all these months of planning, the day itself finds board members toting
tables, Styrofoam cups, and trays of goodies. Arline Chambers, our able
administrative assistant, can usually be counted on to check in guests.
Guests arrive—familiar friends and new faces. The months of planning the
little details—what kind of cardstock for the brochure covers? Who’s making
tour maps? What to do about a street-repair project in front of one of the
tour houses? Do we have enough hospital booties to protect the floors?—are
eclipsed by what we’re all really there for: a focus on architectural history
in our region in the company of others who share these interests. “A Block in
—Merry Ovnick Survey
Says Many thanks to all of those who took the time to
respond to the Member Survey that was sent out by e-mail and also posted in
this column in the March/April SAH/SCC News. Every organization, whose
membership is based on shared interests, should from time to time canvass its
members and reassess its mission. It’s especially important for an
organization that has been operational for a long time, as ours has. Survey
respondents, though short of representing a majority, reported that what they
like most about SAH/SCC is our tours and on-site lectures, especially because
of the intimate scale of the events and the access they provide to special
places. They voiced a preference for modernism, a focus reflected in our
tours throughout the past several years. Our newsletter remains an important
benefit of membership to some, but not to all respondents. They were also
divided on the utility of our website and on the idea of taking the
newsletter online. Some reported that, although they rarely attended SAH/SCC
events, they found it gratifying to know that such events are being made
available to carry out our mission “to inform and educate a wider public
about architectural history, function, and delights.” Sian
Winship deserves beaucoup kudos for designing and tabulating the survey, as
do those members who participated. Without a definite record—only our
institutional memory—we’re estimating that SAH/SCC is 42 years old at
present. As SAH/SCC approaches the half-century mark, the board is eager to
act on members’ helpful ideas and suggestions for events and forums for
exploring important concepts. We look forward to recruiting new board members
and volunteers who can provide the kind of events and content that our
members have come to expect—and to take the organization forward. If YOU have
ideas and comments you would like to share as we plan for the future, please
contact me at 818.363.9326 or Merry Ovnick SAH/SCC faces a double
challenge: (a) a financial shortfall between membership dues and the cost of
putting out our bi-monthly newsletter, and (b) a small and overextended board
in need of the time, energy, and new ideas that can continue to carry out our
mission, including tours and lecture events. To guide us as we tackle these
issues, we recently fielded an e-survey of our membership. If we do not have
your current e-mail address, you may have missed the survey and we would like
to hear from you. Please consider some or all of the following questions and
provide us with your answers (by question number) in one of the following
ways: § By mail at: SAH/SCC, § By e-mail to: merry.ovnick@csun.edu § By telephone to:
818-363-9326 (leave message on recorder) SAH/SCC Survey In our quest to improve
the SAH/SCC membership experience, we occasionally ask our members to give us
feedback about the organization. Please take a few minutes to answer these 11
brief questions. All responses will be kept private and confidential.
Responses will not be shared with any individual attribution. 1) What SAH/SCC events
have you attended in the past year (e.g., Rodney Walker Tour, Wallace Neff
Tour, Modern Patrons/Ellwood, Pre-Fab, Members Celebration, Free
Booksignings, Robert Winter Gala Fundraiser)? 2) What did you
like/dislike about the events you attended? 3) Which SAH/SCC activity
do you VALUE MOST (e.g., newsletter, local tours, travel tours, lectures, web
site, booksignings, Members Celebration)? Why? 4) Which SAH/SCC activity
do VALUE LEAST (e.g., newsletter, local tours, travel tours, lectures, web
site, booksignings, Members Celebration)? Why? 5) What do you think the
SAH/SCC does better/differently from other organizations interested in
architectural events and education? 6) How can the SAH/SCC
improve? 7) What kinds of events,
tours, and lectures would you like to see in 2007? Be specific (e.g.,
architect, location, styles, buildings, local tours, travel tours, etc.). 8) What do you find most valuable
in the newsletter? a) Advance notice of SAH/SCC events b) Calendar listings of local events c) Presidents letter d) Book reviews e) Resources f) Other (please specify) 9) Why is this the most
valuable aspect of the newsletter to you? 10) Would an online
version of the newsletter be of interest to you? Why or Why Not? 11) Do you access www.sahscc.org? If so, what do you do
during a typical visit? We appreciate your candor
and your ongoing support for SAH/SCC. Thanks! If you are interested in
volunteering for events and or/board positions, please contact us. --Merry Ovnick Pasadenans and architectural historians in
general are astir about Pasadena City Councils unanimous decision to grant a
demolition permit to Fuller Theological Seminary for the Herkimer Arms
(1912), the only apartment house designed by Greene & Greene. The
religious school wants to replace it with a modern chapel. Neutra scholar Barbara
Lamprecht, in an open letter to the seminary, has pointed out that this
commission saw the Greene brothers experimenting successfully with the new
technology and aesthetic of sprayed Gunite, employing built-in trundle beds
and kitchen cabinetry with a modernists eye to functional efficiency, and integrating
an apartment house into the scale of a residential neighborhood. Architect and former
SAH/SCC President Ted Wells emphasizes the significance of Herkimer Arms to
understanding Charles and Henry Greenes body of work. This structure
illustrates their post-Arts & Crafts period of innovation. Fuller
Theological Seminary could well use a nearby underutilized church as its
chapel and save Herkimer Arms within the context of its original
neighborhood. Another possibility is to
move Herkimer Arms, also known as the Parker A. Earle Apartments, to a new
location-an empty or potentially vacant lot elsewhere in The search is on for a
prospective new location in a compatible neighborhood setting before the
clock runs out. The city granted a 12-month stay on the demolition permit,
until November 2007. If anyone knows of a Merry Ovnick Historians interpret the significance of events relative
to the contexts in which they occur. A diplomatic maneuver can be understood
only in relation to the preceding series of threats, escalations, security
concerns, trade rivalries, etc. And the historians knowledge of the maneuvers
outcome-how it turned out, what it led to-is likewise essential to his
interpretation. So it is most frustrating that classical, jazz, and oldies
radio programs rarely identify the contexts of the selections they play. It
would make Mozarts late music more meaningful to set it against the French
Revolutions impact on Austrians, Wagners against the rising industrial
societys nouveaux riches and the concert hall market. Likewise, the
state of race relations at the time of Louis Armstrongs early jazz and his
fame at the time of his late music made a difference in his work; the
listener would have a deeper appreciation of the music if told where it fell
in Armstrongs chronology. So much more glaring,
then, are the omissions of architects names as well as context and chronology
in press accounts of architecture. Whether a house under discussion was built
in 1950 as an avant-garde experiment or in 2000 as an expression of a
long-accepted style is important. We admire it relative to the technology and
material available at the time and to the context of what was socially
acceptable. But too often an article in the Sunday Real Estate section, the
Thursday Home section, or the daily Business section of the Los Angeles Times suppresses the name
of the architect, even well-known architects. And are local newspapers in the
region better or worse in this regard? While Mozart and Haydn rose to the
challenge of writing within the sonata form, an architect is challenged not
only by currently stylish forms, but also by building codes, the need to
serve living functions, and clients who may insist on unattractive or
nonfunctional features unless redirected. Architectural history,
the interpretation of significance in the built environment throughout the
course of time, demands the markers of dates and names, along with reference
to the context in which structures were planned and built. The architect of a
building worth discussing or picturing in the newspaper is due
acknowledgement. We want to know who was responsible for the design and its
aesthetic and functional properties. The more we see articles on that same
architects other works, the more we can appreciate how he creatively
overcomes the challenges of his times. Merry Ovnick Last week, I attended the annual conference of
the Pacific Coast Branch of the American Historical Association in Isnt that strange? While you and I may be
enthralled by historic architecture for a variety of reasons-we like to
imagine occupying these spaces; we enjoy the aesthetics of an art form that
is not only visual but tactile and spatial; we appreciate an art challenged
by utility, code, and clients-the serious student of history can find
architecture a particularly useful tool in his or her efforts to uncover and
comprehend a past era. Just think of a few ways such tools can be used. The
architecture of a specific place and period can reveal much about individual
affluence, social aspirations, and economic environment. For example, the
brave words from financial institutions, government figures, and chambers of
commerce after the 1929 market crash about how it was only an adjustment to
an overheated economy, were only words. The historian cannot tell from words
alone whether this talk was merely stimulatory ballyhoo. But the quantity and
quality of new office and civic buildings started between 1929 and 1931 in
cities such as Another tool of the historian is following the
development of technology, building practices, and new materials employed in
construction across time understanding the limits and the opportunities of
the past. The choice of stylistic references by client and architect endows a
building with a set of meanings that is rich to those in the know, but only
vaguely familiar to the less informed, reinforcing class-education
distinctions. A 1900s bank building employing classical columns, quoins,
dentils, and pediments speaks of timeless continuity. A few touches of
Mannerist deployment of those elements may call to mind innovation and
daring-within-propriety that may characterize the investment policies of that
bank. And when classical elements are incorporated into an otherwise
high-functionalist skyscraper, such as In a war or post-war suburb of cookie-cutter
tract houses, individualization began at once, and is an historians measure
of social variety in an era too easily dismissed as conformist. And the
concept of designing buildings and sets of buildings with motives of social
control-so well illustrated by the redevelopment projects on LAs Bunker
Hill-is another rich field for historians to explore. Our built environment
is a veritable pop-up book of history, a rich and tangible field for
historical research, which historians have only begun to mine. Merry
Ovnick Interim
President SAH/SCC made plans for a special event this
summer to recognize Dr. Robert W. Winter with an Exceptional Achievement
award. We also looked forward to hosting a book-signing for his latest book, The Architecture of Entertainment: L.A. in
the Twenties (with Alexander Vertikoff; published by Gibbs Smith). Dr.
Winter, along with the late David Gebhard, has guided two generations of
Angelenos and countless visitors to the thousands of But plans must be
flexible. Bungalow Bob underwent a six-hour heart surgery in May. He is now
at home recovering on schedule, but it will be a while before we can
reschedule the events that will formally honor him. In the meantime, in the
hospital, he finished another book, At
Home in the Heartland, on architecture in the Merry Ovnick Fathers
& Sons As we approach Fathers Day (and Mothers Day), the
recent passing of Albert C. Martin Jr., the second in the century-old
architectural dynasty established by and bearing the name of his father, A.C.
Martin, draws our attention to fathers and sons in architecture. The DWP
building (1964) and St. Basils church (1974) from Al Martins time at the
firms helm are as iconic expressions of his era as Los Angeles City Hall
(1928) and St. Vincents (1925) were for his fathers long tenure. David Martin
and Chris Martin have been free to approach projects from the firms base
without the restrictive shadow suffered by Lloyd Wright and Dion Neutra,
whose practices were channeled by clients expectations of work in their
famous fathers molds. Case Study (#16, #17, and
#18) architect Rodney Walkers son Craig (the SAH/SCC board member behind our
upcoming tour, see page 1), chose not to follow his fathers profession. But
this past April, he and his wife moved into their new home, a living tribute
to his father. In his own words: I wanted to
use the proceeds from [an inheritance] to somehow further my fathers legacy
We decided to build our own version of the home on a lot we purchased in the We located
the original plans for Case Study House #16 and took them to a local
architect. Although we wanted to stay as faithful as possible to the original
design, we decided to upgrade the house and give it a more contemporary look.
We added a master bedroom suite on a lower floor, and expanded the kitchen.
We used smooth stucco instead of the original brick and combed plywood
exterior. Some of the changes were dictated by todays fire codes, earthquake
codes, and energy requirements. I installed many smart home features,
including programmable lighting, audio, thermostats, etc. [The
resulting] custom house does not conform to the Case Study goal of affordable
housing. However, it is a beautiful modern house that brings with it all the
benefits of mid-century modern living. The spaces flow logically, and are
interconnected with nature and the outdoors at every point. The house has a
two-story atrium with folding glass doors that, when open, create a large
indoor-outdoor space with the terrace outside. The entry to the house is an
eleven-foot-tall loggia with a glass roof and built-in planters. This is the
hub of the house from which all other rooms branch out. My favorite part of
the house is the 800-square-foot covered roof garden on top of the house,
with its own fireplace, barbeque area, and media center. As we begin
to live in the house, we are in awe of the thought my father put into the
layout of the house. [Building this Rodney-Walker-designed house, and perhaps
another to follow, is] our way of continuing the legacy of mid-century modern
architecture and the legacy of my father. Happy Fathers Day (and Mothers Day, too),
everyone! Merry Ovnick Wallace Neff
(1895-1982) made a successful career of designing homes in period revival
styles evoking Spanish haciendas, Old California ranchos, Italian villas, What is it that makes
us seek to surround ourselves with fantasy pasts? Does disillusionment with
our own times drive us to create illusions of a once-upon-a-time when life
was somehow easier, more genuine, more rewarding? In truth, life - even for
the wealthy - in 17th-century Perhaps period revival
houses represent a quiet respite or a refuge from the relentlessly
competitive pace and cacophony of modern life with its priorities on
efficiency and the bottom line at the expense of human fulfillment and
sociability. Neffs houses provide the neat solution: not replicas of
domiciles from actual history, but contemporary spaces planned to facilitate
gracious living, social hospitality, and aesthetic delight by merely alluding
to a past remote enough to have acquired the patina of romantic myths. Neffs
houses, which were arranged for efficient 20th-century meal-serving, storage,
heating and lighting, air flow, and maintenance, are still as livable in the
21st century. Nostalgia combines well in Neffs work with practical attention
to modern functionalism. Nostalgia alone is not enough to sustain a
non-profit organization, however. And so, reluctantly, we must say good-bye
to the SAH/SCC membership rates of many years standing. Annual membership
rates will go up to $45 for regular members, $125 for patrons, and $650 for
life members, effective April 1st. Renew now and save. Merry Ovnick Do people really make and keep New Years resolutions?
The counterpart of a New Years resolution for a non-profit organization is
the mission statement. SAH/SCC last revised its mission statement in 1996 to
read: The Society
of Architectural Historians (SAH) is a [national] nonprofit organization
based in The leading
priorities of the Society of Architectural Historians/Southern California
Chapter (SAH/SCC) are to inform and educate a wider public about
architectural history, function, and delights. SAH/SCCs local, national and
international tours offer opportunities to meet esteemed architects, look
behind the scenes at historic buildings and learn more about architectural
heritage. Other activities include book discussions, lectures, symposia and
other educational programs. Of
particular value to members is the SAH/SCC Newsletter, which features the
most comprehensive calendar of art, design, and architectural events in the
area. An
SAH/SCC Web Site also provides information on upcoming events. SAH/SCC also
supports preservation activities which help to minimize adverse impacts upon
significant buildings, landscapes, urban areas and documents. Today, SAH/SCC has 123 life members, 34 patron
members, and 328 regular members. Including libraries, press, etc. SAH/SCC News has a circulation of 848.
Take a look at this issue and at our web site, www.sahscc.org. How are we doing at keeping
our New Years resolutions, our mission statement? What do YOU, as a member,
think SAH/SCC ought to be doing? Should we make a new set of
resolutions this year, revise our mission? Your feedback is welcome: e-mail info@sahscc.org or leave a message at
1-800-9SAHSCC Best wishes for a happy and healthy New Year to
all! Merry
Ovnick P.S.
If you would like to learn more about the national organization with which we
are affiliated, check their web site at www.sah.org
Royal Street in the French Quarter. Prytania in
the Garden District. On each visit to And then I felt guilty for focusing on my
favorites, chosen on the bases of history and aesthetic appeal. In the Ninth
Ward, far removed from the tourist haunts, thousands of flats and shotgun houses
were destroyed or irretrievably damaged. Most were rentals and their owners
will be glad to pocket insurance or eminent domain money. If the federal
government gets its act together, large parcels may be put together and new
housing, strip malls, schools, and gas stations with no particular regional
references-just efficient and profitable developments-may replace what was
lost. While we can build better, cleaner buildings for those former residents
who return-and for the immigrants who move to Primo Levi, writing of his experience in a Nazi
concentration camp, observed that even the poorest beggar in normal society could
look at the frayed cuff of his coat, the meager contents of his pocket-an old
handkerchief, a photo-and know who he was and that he had a continuity from
yesterday to today. But, said Levi, when the camp authorities took away
everything-ones clothes, ones hair, even ones name-the senses of
self-identity and continuity were shattered. A tiny, rented shotgun house (so-called because
the rooms are set enfilade so that
a shot passing from front to back would go through every room), where one knew
every inch of the interior, in a neighborhood of shabby but familiar
landmarks peopled by familiar faces-those things gave meaning to the people
who lived in them. The disruption to personal lives and patterns-even if
eventually the refugees may be relocated to more spacious, healthier
surroundings-represents an immeasurable loss, multiplied by the many
thousands of persons displaced by these storms and levee failures. It’s nice to know that my favorite |
