m ON THE COVER: BODIE HISTORIC STATE PARK; BODIE, CALIFORNIA. 2012. PHOTO BY BENJAMIN STINNETT, MASTER'S CANDIDATE, 2014. .JlSJ--{p Journa{ 2013 Journal of the Associated Students for Historic Preservation at the University of Oregon Copyright © 2013 Associated Students for Historic Preservation Historic Preservation Program School of Architecture and Allied Arts 5233 University of Oregon Eugene, OR 97403. 541.346.2982 The ASHP Journal is published annually by the Associated Students for Historic Preservation with support from the Historic Preservation Program, the School of Architecture and Allied Arts (A&AA), and the Associated Students of the University of Oregon (ASUO). The ASHP Journal provides a forum in which to convey views and information, as well as promote spirited debate within the field of historic preservation at the focal, state, and National levels. ASHP welcomes original, unpublished journal submissions of 2000 words or less from students, alumni, faculty, and professionals in historic preservation and related fields throughout the country. For more information about the Associated Students for Historic Preservation, as well as submission deadlines and guidelines, please visit http://www.uoregon.edu/~ashpl ASIIP Journal SI EDITOR'S NOTE 2013 331 Spirit of Respect and Affection: The Twon Plan- 61 ANNOUNCEMENTS ning and Design Behind Gilchrist, Oregon 141 A Prairie Mentor: Tracy Schwartz The Architectural Influence of William Gray Purcell in 381 The Concrete Around the Pacific Northwest You: Brutalist Architecture Emily Sakariassen in Eugene David Casteel 181 Problems of Historical Interpretation in Relation 401 Velonis' Better Hous- to Authenticity of Place ing: An Artifact Analysis John Arnold Sarah R. Lester 201 Shelters Among the 45 I Adobe Construction: Trees: Change and the Abundance and Utility in Associated Students for Historic Preservation Logging Bunkhouse Form the Southwest United States in the Pacific Northwest Anna Kindt Noah Kerr PRESIDENT SOI The Rebirth of Santa Sarah R. Lester I lester@uoregon.edu 241 Sense of Place - The Barbara through Planning Shared Purpose of Historic Policy Preservation and Local David Espinosa History Museums: How VICE PRESIDENT Antonjia Krizanac I antonija@uoregon.edu Collaboration Can Enable 541 Beyond a Mentalist A Wide-reaching Commu- Model of Material Culture nity Preservation Ethic Marston H. Morgan Helen Blackmore SECRETARY Tracy Schwartz I tracy@uoregon.edu 571 Condition Assess- 271 The California Bunga- ment: Cornet Bay Kitchen low: How California's Cli- Shelter; Deception Pass mate Shaped the Bungalow TREASURER State Park, WA. Helen Blackmore I hnb@uoregon.edu House Type John Arnold, Chris Evanne St. Charles Laswell, and Benjamin Stinnett 31 I Defining Style: Pacific EDITOR-IN-CHIEF Chris Laswell I laswell@uoregon.edu Northwest Regionalism Image: (1935-1950) Comstock Barn; Coupeville, Brandon J. Grik WA. 2013. Photo by Chris Laswell 4 ASHP JOURNAL I 2013 Editor's Note Dear Reader, The 2013 ASHP Journal marks 25 years since the Associated Students for Historic Preservation at the University of Oregon banded together to form ASHP. For over two decades the ASHP Journal has provided a forum for its members, and for students, professionals, and the public to engage and discuss current topics facing the preservation community. As editor for the 2013 Journal, I have been able to access the outstanding scholarship of my fellow students. This year, I have selected twelve exceptional papers, and one condition assess­ ment to share with you. I am proud of each of our thirteen contributors for their continued commitment to excellence that is demonstrated throughout their research and documentation. Our contributors present unique insight and provocative opinions about Historic Preservation's past and future. This is what has made the ASHP Journal what it is today: a fitting testament to the vibrance of undergraduate and graduate research, at the University of Oregon and across the globe. And so, I hope you enjoy engaging with the brilliant young minds of these authors just as much as I have. This journal would not have been possible without the incredible dedication and enthusiasm of this year's ASHP Journal staff. My most heartfelt thanks goes out to them and to everyone who made this journal possible. I would also like to thank Professor Kingston Heath, Director of the Historic Preservation Program at the University of Oregon, Shannon Sardell, Director of the Pa­ cific Northwest Preservation Field School, and the Associated Students for Historic Preservation for their continued support of the ASHP Journal. Chris Laswell, Class of 2013 Ed tor-In-Chief 2013 I ASHP JOURNAL 5 .Announceinenta INSIDE ASHP Rededicates the Normal Gate Preservation Week Preservation For Kids Pacific Northwest Preservation Field School Papers Delivered 20 13 Graduates DID YOU KNOW? The ASHP symbol is based on a stained glass window motif designed by the Povey Bros. Glass Co., a stained glass stu- dio that was active in C: 0 Portland, OR. from bl) .0..). 1888 to 1928. The 0 '- historic stained glass 0 windows that original- ly hung inside Johnson 0) > C: Hall on the University ~ of Oregon Campus 0 "' included this motif in .c " the design. Today, the C: 0 windows are installed 0... . <( in Lawrence Hall, on c.... 0 the second floor near ""'' the Willcox Hearth. .... 0 0 u 0) .b..l. ) 0 0.. C: 0 Preservation, Collaboration, REGARDLESS OF THE SIZE OR SCOPE of and Normal Gate the project, preservation efforts are often Q .. .c the most successful when they involve 0.. "' Re-Rededication .... collaboration. This was certainly the case bl) 0 when students, faculty, staff, and com- 0 BY TRACY SCHWARTZ .c munity members came together in the 0.. 6 ASHP JOURNAL I 2013 _ ___....... Announcements spring of 2013 to erect and rededi- cate the University of Oregon's Nor- mal Gate. The wrought iron struc- ture was originally constructed in 1885 in remembrance of the Uni- versity of Oregon's Normal School, "Careful research was done to reposition the and was placed behind Villard Hall. Normal Gate in the right place and facing the During construction of Robinson right direction." Theater in the 1940s, the base of the Gate was buried as a way to help preserve and protect it for the fu - ture. Horace Robinson, who helped to design and construct the theater that bears his name, insisted on leaving four feet of the top exposed for people to view. But even though the gate was preserved in place, it fell into disrepair over the years. Nevertheless, the Normal Gate was brought back to life in 2005 when the Associated Stu- dents for Historic Preservation (ASHP), Campus Operations, fac- ulty members, and wrought-irons craftsman Martin Gabbert, un- earthed, repaired, and rededicated the structure on University Day. At the ceremony, the newly visible Normal Gate and multiple speakers reminded the campus communi- ty of its history. Mr. Robinson told Mr. Gabbert, Chris Bell, and ASHP students pose in front of the rededicated Norma l Gate the crowd about the vines that once covered the Gate, earning it the gate in a way that preserved the his- Campus Operations, and Mr. Gab- nickname "Nooky Gate" for a brief toric fabric and appearance, but also bert. Cookies, chips and Coca-Cola period of time. provided enough support to keep were provided, and it was a won - Flash forward to 2013, the Gate upright for many years to derful event that not only taught where ASHP members came to- come. On March 11th, 2013, ASHP everyone something about the rich gether, once again, with Mr. Gab- members, faculty, staff, and the history of the University of Oregon, bert, Campus Operations, and staff community gathered around the but also reminded those involved members to repair and rededicate Normal Gate to hear the history of that with a little bit of preservation, the Gate. Careful research was done the Gate from Chris Bell, who had and a whole lot of collaboration, to reposition the Normal Gate in been one of the ASHP members this type of project will thrive. O the right place and facing the right working on the Gate in 2005, and direction. Great efforts were also the preservation process from Dea- made to structurally stabilize the ton Lowe and Tim King, both with 2013 I ASHP JOURNAL 7 Announcements I PRESERVATION WEEKI Professor Emeritus Guides Historic Tour of UO Campus EVERY YEAR, ONE SPECIFIC WEEK is set aside to promote, educate, and encourage preservation in the United States. This year Preservation Week took place from April 21 to 27 and the Associated Students for Historic Preservation (ASHP) decided to join in on the effort. So, we organized our own series of events and educational opportunities. The Hearth, a cafe located in Lawrence Hall, was transformed for the week in its decor. Its walls were overlaid with posters outlining the historic preservation internships that had been completed through the years by the graduate students. This colorful and educational Professor Emeritus Don Pe ting discusses the history of the University of Oregon Campus display allowed persons from to a tour group. multiple disciplines within the At the Preservation Week Dinner, This opportunity provided a unique Architecture & Allied Arts and guests were able to learn about the perspective to the stewardship beyond to glean an understanding Pacific Northwest Preservation of the community's historic and of the diverse field of historic Field School from its Director, cultural resources. preservation. Shannon Sardell. After a time reserved for socializing and dining, Multiple people contributed to this ASHP started its scheduled events she took us through the workings endeavor and ASHP would like to with a historic walk about the of the field school, including thank Don Peting, Shannon Sardell, University of Oregon campus led its planning stages, its various and Heather Kliever, who gave their by Professor Emeritus Don Peting. logistical challenges, and the time and knowledge for the main He elaborated on the rich history projects completed to date. events. Also, for their planning and of the campus plan, the intricacies organizational efforts, thank you to of Lawrence Hall's evolution, and Our final Preservation Week event Tracy Schwartz, Helen Blackmore, the characteristics of the Second was a tour of the Lane County Chris Laswell, and Emily Empire buildings. Among the Historical Museum, given by Sakariassen. Your contributions attendees were those in their last Registrar Heather Kliever. Students made it a memorable week! t] term at UO who, for the first time, were given a behind the scenes were learning about the campus' glimpse at the workings of the history and about the buildings museum through its collections Sarah R. Lester they walked past everyday. and property holdings. PRESIDENT, ASHP 8 ASHP JOURNAL I 2013 Announcements IK NOW YOUR HOME I Program Introduces Fourth Graders to Historic Preservation BY HELEN BLACKMORE STUDENTS FROM WITHIN the be discussed will include: With the creation of teacher packet, Historic Preservation and Arts and Neoclassical, International, and each property will be discussed at Administration programs at the two farmstead types-pioneer and length along with corresponding University of Oregon are developing orchard-based. activities, and field trip options. a teachers packet aligned with the The packet will enable teachers to fourth grade curriculum. The goal Initially, the team designed the discuss the history of the various is to enable teachers to discuss program with the intention of architectural styles during class, architectural rhetoric through designating UO students in charge with each class outline lying in lessons on historic building style of facilitating classroom lessons to accordance with the Oregon and design. The program, which is fourth graders. However, the team Boardof Education Standards. The being called, "Know Your Home:' soon discovered that there were packet will include a lesson plan for will consist of seven three-part more schools in the area than they the discussion of the Queen Anne lesson plans that are designed to had originally anticipated. Thus, style, which is represented by the educate teachers about the heritage the teacher packet became the most Shelton McMurphey Johnson (SMJ) and preservation of historic viable option. Selene Hutchinson House, located at 303 Willamette Eugene homes. The program is researched precedent studies for Street in Eugene, Oregon. It will to be aligned with fourth grade like programs in the area, and found be available online, and users will curriculum standards that are that architectural and local history have the option to print and then applied to individual lessons within is an area of study that the City of distribute to area schools. the packet. Eugene seems to be developing for grade schools. The Know Your Home program The Know Your Home program could not have been developed is innovative because it seeks to without the help of Savannah make students in the fourth grade Bradley, whose research on fourth aware of the architectural history grade curriculum goals enabled of Eugene. The program covers further production by Helen a range of architectural styles "The goal is to Blackmore and Chelsea Kaufman. and building types that can be enable teachers to Kaufman should also be recognized observed throughout Eugene, or in for researching local organizations, the surrounding area. Residential discuss architectural societies, and libraries. For more architectural styles to be discussed rhetoric through information about the Know Your will include: Georgian, Queen Anne, Tudor, Craftsman Bungalow, lessons on historic Home program, please contact Helen Blackmore via email at hnb@ and Mid-Century Modern. building style and uoregon.edu. Ell Commercial architectural styles to design." 2013 I ASHP JOURNAL 9 Announcements I PAST, PRESENT, & FUTURE I The Pacific Northwest Preservation Field School BY SHANNON SARDELL WHAT DO FRENCHGLEN, OREGON, States Fish and Wildlife Malheur the Malheur Wildlife Refuge, Refuge, one week was spent working Deception Pass State Park in on replacing the sill logs, re- Washington, and the Comstock glazing windows, and reinstalling Barn within the Ebey's Landing deteriorated flooring. Students also National Historical Reserve have got the opportunity to work with in common? The Pacific Northwest Refuge volunteer archaeologists Preservation Field School spent and tour several Native American time at all four sites in the last two sites. years of its programming. Agencies within the Field School partnership The Master craftspersons included sponsored and hosted staff, students Amy McAuley of Oculus Fine and interested individuals from far Carpentry as well as Sterling and wide in one week hands-on Holdorf, Donald Houk, and sessions. Murray Boatwright from the Preservation Crew at Channel Summer 2012: Island's National Park. Scott Swensen, the preservation specialist The Frenchglen Hotel was from Ebey's Landing National constructed in 1924 and added to Historical Reserve, was the Master in 1938 and served as overnight UO Student Benjamin Stinnett docu- craftsperson for the week at the Sod accommodations for business ments a historic structure at Sod House House Ranch. travelers and the then, new, Ranch outdoor tourist industry. It is removal, exposed rafter repair, and Summer 2013: located approximately 60 miles shingle installation; and counter south of Burns in the community flashing where building additions Located at the heart of Ebey's of Frenchglen, OR, population: 11. abutted the original structure. Landing National Historical The Pacific Northwest Preservation Reserve on Whidbey Island, Field School spent two weeks Sod House Ranch Office Building WA., the historic Comstock Barn working on the Hotel, owned by is a box-constructed, two-room commands the attention of both Oregon State Parks and Recreation building dating to the late 1880s visitors and locals. The barn was Department who also sponsored and was on the northern most site constructed in 1935 using recycled the Field Schools involvement of the Peter French ranch holdings. materials from several historic on this site and provided all of It is part of a larger complex buildings that are located within the construction materials. The of ranch buildings, barns, and neighboring Fort Casey State Park. hands-on projects included siding stockades that has been worked on . Farmers had originally designated removal, replacement, and painting; by preservation students from the the barn for sheep, but in later years site manufactured siding for University of Oregon in the past repurposed it for squash storage. replacement of a modified profile with the assistance of John Platz The Pacific Northwest Field School type; wood window preservation of Pilgrims Progress Preservation spent two weeks working on the and rehabilitation; porch roof Services. Hosted by the United Comstock Barn, which remains 10 ASHP JOURNAL I 2013 Announcements under private ownership. This - Clockwise from left: 1.) Field School also marked the first time in participants and craftspersons preserve historic wood sashes, 2.) A nineteen years that the Field School participant straps into a harness in worked on a privately owned preparation for roof work, 3. ) Retired historic resource. Ebey's Landing UO Professor of Architecture Don Pe- National Historical Reserve and ting lectures a group ofp articipants the National Park Service provided all of the construction materials and sponsored the Field School's involvement. Hands-on activities consisted of wood window preservation and rehabilitation, floor joist repair and installation, epoxy repair, and shingle installation. Constructed in the rustic style by the Civilian Conservation Corps (CCC) in the 1930s, the post-and- beam Cornet Bay Picnic Shelter is one of many CCC-built structures located within Deception Pass State Park, WA. It features typical log reassembling the structure, profound influence on the writing repointing and applying new stone of Fisher from the mid 1920s construction details with Saddle notched native Douglas-fir logs masonry, and installing shingles. through the 1960's. Projects and sawn ends. Locally quarried will include work on the 1910 Summer 2014: sawn log homestead cabin of the field stones of basalt and granite are used for the campstove, chimney, The 20th annual Pacific Northwest Fisher family, window and door and floor of the shelter. Unlike the Preservation Field School will rehabilitation, and structural be hosted by the Bureau of reinforcement. Three, one week other similarly constructed picnic shelters throughout the park, the Land Management, Idaho State sessions will be offered: Cornet Bay Picnic Shelter was in Historical Society, and the Idaho • August 31- September 6, 2014 desperate need of intervention Heritage Trust at the Vardis Fisher • September 7 - September 13, 2014 after sitting in shambles directly boyhood home in Swan Valley near • September 14 - September 20, 2014 on the soil grade for approximately Idaho Falls, Idaho. With a strong Come experience the field of seven years. Consequently, wood emphasis on Cultural Landscapes, historic preservation while learning members and stone masonry had the upcoming field school has a about the literary and contextual been severely damaged. Hosted significant and long history that history of some of the roughest, by Washington State Parks and reveals the hard life of homesteaders wildest regions remaining in the Recreation, two weeks were spent at the turn of the 20th century. Pacific Northwest! 0 peeling, notching, and cutting logs; The property also illustrates the http:! /hp. uoregon. edu!fieldschoo/s/pn w 201 3 I ASHP JOURNAL 11 Announcements Talking Shop Presentations and Papers Delivered by UofO APRIL Students, Faculty, and Staff Dr. Lauren Allsopp, Adj unct UofO Instructor Presenter, "R.M.S. Titanic Revisited: Curating an Icon:' Presentation on Artifact Conservation, Cottage Grove, OR, April 12, 2013. SEPTEMBER JUNE Dr. Kingston Wm. Heath, Director of UofO Historic Dr. Lauren Allsopp Preservation Program and Professor of Historic Preservation Presenter, "Sunkist Building Strategy, Rehabilitation and Paper Presenter, "The Croatia Conservation Field School:' Material Analysis:' Arizona Historic Preservation Conference, Preservation Education: Sharing Best Practices and Finding Mesa, AZ, June 14, 2013. Common Ground. International Conference by Roger Williams University School of Architecture, Art, and Historic Preservation. Providence, RI. September 8-9, 2012. John D.M. Arnold, UofO MS in Historic Preservation ' 13 OCTOBER Student Presenter, Association for Preservation Technology Shannon Sardell, (APT) Annual Conference (Fully funded). New York, NY. Director of Pacific Northwest Preservation Field School and Adjunct UofO Instructor October 11-15, 2013. Holly Borth, Historic Preservation Consul tant and UofO MS Presenter, "Theory to Practice: How the Pacific Northwest in Historic Preservation ' 12 Preservation Field School took theory and made a collaborative, teaching and learning experience:' Association Presenter, "Linn County Survey:' Marion Dean Ross Chapter for Preservation Technology International Conference. Charleston, SC. October 2, 2012. meeting. Salem, OR. October 18-20, 2013. Dr. Kingston Wm. Heath Liz Carter, Preservation Consultant, Adjunct UofO Instructor Organizing Committee and Session Chair, International Association for the Study of Vernacular Environments (IASTE), Presenter, "Searching for the Charles and Melinda Applegate Portland, OR. October 4-7, 2012. Cabin and Blacksmith Shop in Yoncalla:' Marion Dean Ross Chapter meeting. Salem, OR. October 18-20, 2013. Dr. Kingston Wm. Heath Don Peting, UofO Associate Professor Emeritus of Session Chair and Paper Presenter, "History in a House: The Architecture and Adjunct Instructor of Historic Preservation African-American Presence in Virginia City, Montana's Coggswell-Taylor House:' American Folklore Society Annual Presenter, "Mahlon Harlow, Willamette Valley Pioneer: His Meeting. New Orleans, LA. October 25, 2012. Influence and Legac/' Marion Dean Ross Chapter meeting. Salem, OR. October 18-20, 2013. Helen Blackmore, UofO Master's Candidate in Historic Preservation ' 14 MARCH Student Presenter, "The Shared Purpose of Historic Preservation and Local History Museums: How collaboration can enable a Jobie R. Hill, UofO MS in Historic Preservation ' 13 wide reaching community preservation ethic:' 2013 National Trust for Historic Preservation Conference. Indianapolis, IN. Student Presenter, 2013 Alliance for Historic Landscape October 29-November 2, 2013. Preservation Annual Conference (Fully funded). Lynchburg, Virginia. March 20-24, 2013 12 ASHP JOURNAL I 2013 -- Announcements IAWARDSI Christopher S. Bell, Adjunct UofO Instructor UO-Tom & Carol Williams fund recipient for $20,000 towards undergraduate course development. Dr. Rick Minor, Adjunct UofO Instructor Co-recipient of the 2012 National Preservation Honor Award from the National Trust for Historic Preservation for collaboration in restoration of the Oswego Iron Furnace in Lake Oswego, Oregon. Antonija Krizanac, UofO Master's Candidate in Historic Preservation ' 14 2012-2013 UO Graduate School Promising Scholar Award (one year tuition remission, one year stipend, and two terms of a GTF appointment in year two). Helen Blackmore, UofO Master's Candidate in Historic Preservation '14 2013-2014 Laurel Award Internship, Jordan Schnitzer Museum of Art (one year tuition remission). IC ONGRATULATIONS GRADUATES! I John D. M. Arnold (MS awarded Spring 2013) Ph.D. Program in Industrial History & Archaeology at Michigan Tech Anna M. Borthwick (MS awarded Spring 2013) Multimedia Intern at WWII Valor in the Pacific National Monument (Honolulu, HI) Kenneth J. Gunn (MS awarded Spring 2013) Historic Preservation Consultant, Gunn Historic Preservation Consulting (Portland, OR) Historic Preservation Specialist, Oregon State Historic Preservation Office (Salem, OR) Ashley N. Gramlich (MS awarded Winter 2013) Stacey R. Henderson (MS awarded Spring 2013) Historic Preservation Specialist, FFA Architecture & Interiors, Inc. (Portland, OR) Jobie R. Hill (MS awarded Spring 2013) Architectural Historian, Historic American Buildings Survey (Washington, D.C.) John P. Hill (MS awarded Spring 2013) Kathryn Sears Ore (MS awarded Fall 2012) Review and Compliance Officer, Montana State Historic Preservation Office (Helena, MT) Lesley A. Pollard (MS awarded Winter 2013) Lauren E. Rieke (MS awarded Spring 2013) Historic Preservation Specialist, Rosin Preservation (Kansas City, MO) Larissa T. Rudnicki (MS awarded Winter 2013) Historic Resources Specialist, Oregon Department Of Transportation (Salem, OR) Evanne S. St. Charles (MS awarded Spring 2013) Survey LA Intern, Architectural Resources Group, Inc. (Pasadena, CA) 2013 I ASHP JOURNAL 13 A Prairie Mentor: The Architectural Influence of William Gray Purcell in the Pacific Northwest BY EMILY SAKARIASSEN In February of 1901 American architect Frank Lloyd Sullivan kept their offices high in the building's tower. Purcell was Wright penned an article for Ladies Home Journal called "A Home also was also influenced by his visits to the 1893 World's Columbia in a Prairie Town:' In it, Wright promoted an organic design Exposition where he saw Sullivan's Transportation Building, an where space functioned in a unified whole and form grew from organic design that stood in stark contrast to the neoclassical its natural setting. architecture that served as a central theme of the fair. The exterior recognizes the influence of the prairie, is Purcell brought these experiences with him to Cornell firmly and broadly associated with the site, and makes University College of Architecture in 1899. Here Purcell focused on studies of Renaissance and Roman architecture and he soon a feature of its quiet level. The low terraces and broad developed his distaste for the recycling of classical forms. After eaves are designed to accentuate that quiet level and graduating from Cornell four years later, Purcell returned home to complete the harmonious relationship. 1 Oak Park and sought work as a draftsman with a Chicago firm. He met George Elmslie at a party in July 1903. Elmslie was impressed It was an architecture perfectly suited for the progressive by the young Purcell's enthusiasm for progressive forms, and the spirit that attended the turn of the century. Its pioneers advocated two struck an instant friendship. Purcell was hired by Elmslie as an a challenge to the traditional mode of design and spurred new apprentice in Louis H. Sullivan's office in the Auditorium Building ideologies. Prairie School architecture, as it would come to be where Frank Lloyd Wright had been employed for several years known, had as its mentor Chicago School architect Louis H. before he began "boot-legging" commissions of his own. Purcell, Sullivan, who championed the cause for a uniquely American who had spent his lifetime studying and admiring the works of architecture, and whose axiom "form follows function" would the Chicago School around him, had a strong understanding of become a battle cry.2 Among the most prolific of Prairie School Sullivan's philosophy and became personally acquainted with architects was the partnership of William Gray Purcell, George the master. He worked at the firm for only five months, however, Feick, and George Grant Elmslie. Though the firm would dissolve before Sullivan and his colleagues began losing commissions, completely by 1922, the final designs of William Gray Purcell's forcing him to leave in search of new work experiences. He found career would contribute something significant to the history of new opportunity on the West Coast in the architectural firms of Oregon architecture. Designs for Georgian Place, the Woerner John Galen Howard in San Francisco, where he adopted a respect House, the Third Church of Christ Scientist, and the Bell House, for the Shingle style, and ofBebb and Mendel in Seattle. In January trace the adaptation and evolution of a progressive architecture of 1906, Purcell's father encouraged him to take a grand tour of into the Modernist era. Europe. Purcell invited an old Cornell classmate, architect George Feick Jr. to join him, and together they sailed with a Bureau of William Gray Purcell, born in 1880 in Wilmette, Illinois, University Travel tour lead by professional historians. Before grew up with a fascination and appreciation for the architecture setting off, Purcell paid a brief visit to Elmslie who provided him of the city of Chicago. He was raised and educated predominantly a list of progressive European architects with whom he suggested by his grandparents who lived in Oak Park, not far from Wright's they meet. own home and studio-a rather prominent neighborhood. His grandfather, a writer and publisher, introduced Purcell to the Traveling across Europe, Purcell and Feick visited academic world ofliterature, art, and society. He took great interest progressive architects in Denmark, Norway and Sweden. In in the American romantic poets, studies that would inspire him the Netherlands, they met architect H.P. Berlage. They viewed throughout his career as an architect. In addition to his Oak Park examples of modern, progressive buildings, as well as the classical and urban Chicago environments, Purcell spent much time at his sights of Greece and Asia Minor. Their goal was to learn from their mother's family's summer home on Island Lake in Wisconsin. ventures, but not to apply the past to their present. Purcell reflected Here the impressionable young Purcell explored the natural world on their trip: "We were no better draftsmen, gained no further in the deep woods where "the fresh clean unspoiled life was a skills making patterns . . . we had stabilized our resolution to stay delight and an inspiration:'3 with the organic architecture and the view of life which Sullivan had outlined:'4 While experiencing the world of architecture As a teenager, Purcell watched the construction of abroad, George Feick suggested the two young architects form Wright's new architectural studio and was intrigued by the design. a partnership of their own upon their return to the states. They He also witnessed the construction of a succession of Wright's chose Minneapolis as an ideal location for their new venture.5 residential projects in Oak Park and neighboring River Forest, which spurred an architectural fascination and desire to create his To understand the growth of Purcell's architecture own works in the progressive idiom. Purcell was also keenly aware throughout his career, one must understand both the ideology of the work of Louis Sullivan in Chicago. He had attended events and the distinguishing features behind his realized forms. The at the Sullivan designed Auditorium Theater where Adler and characteristics of the Prairie School style of architecture are readily 14 ASHP JOURNAL I 2013 l recognizable, particularly characteristics of the Prairie School exhibits a similar gable end fac;ade with steep roof angles in keeping style of architecture are readily recognizable, particularly in with a regional adaptation. The interior features elements of Arts contrast with the late Victorian era styles of building. Designs were and Crafts such as a high barrel vaulted ceiling and wood moldings intended to reflect a building's organic setting. in addition to the signature ornament of Purcell's design such as the massive brick and stone fireplace and decorative inlays. 11 American was the emphasis these architects placed upon a close relation between building and landscape, permitting the house to blend comfortably into its setting whether it be the flat horizontal prairie, a hillside, or even a dramatic cliff.6 In the Pacific Northwest, the architecture of Whidden and Lewis or Frederick Manson White reveals a similar, though more refined, approach to a more organic design. The use of terra cotta on commercial structures allowed for floral and abstract motifs reminiscent of early works of Adler and Sullivan.8 When, in 1916 the onset of America's entry in World War I brought architectural commissions to a near standstill, Purcell decided to take a job with The Alexander Brothers Leather Belting Company in Philadelphia, Pennsylvania as architect and advertising manager. In 1919, with the Alexander Companies on the verge of bankruptcy, Purcell resigned and moved his family to Portland, Oregon. The partnership of Purcell & Elmslie formally dissolved in 1921 and William Gray Purcell was taken ill. Purcell had moved back to the Pacific Northwest to join his cousin Charles H. Purcell, a civil engineer, in establishing a bridge building firm Image 1: "Georgian Place" William G. Purcell Residence. called the Pacific States Engineering Corporation. However, the boom in government road building dominated much of Charles' time, preventing the two from ever fully establishing the firm . Looking for professional work to occupy his free time, Purcell was drawn back to architectural practice. He became director of the Architects' Small House Service Bureau, president of the Oregon chapter of the American Institute of Architects, editor of the Northwest Architect magazine and an overall leader within the arts community of Portland. 9 Due to his poor health he carried on only a limited practice in Oregon. 10 His designs in the Pacific Northwest deviated from his Prairie School works with Elmslie, though the Prairie influence on his work was seemingly indelible. Within his first year in Portland, Purcell had reimagined his architectural style and designed a house specific to his Pacific Northwest environment. The house, known as "Georgian Place" was built in 1920 as his own private residence. (Image 1). Georgian Place was the last collaborative work between Purcell and Elmslie. Its design incorporates Prairie concepts with Arts and Crafts esthetics. The house plan integrated the forested setting and steep hillside site into its overall composition. Windows, doors, hallways, balconies, and stairwells were aligned with the casement openings to create a harmony between the interior living space and the treetop vistas outside. A bird house was attached to the chimney as an added whimsical touch. Much like an earlier commission, the 1916 Louis Heitman residence in Helena, Montana, Purcell's design employed steeply pitched gable roof.(Image 2). This vertical emphasis, rare in his designs, can be seen as a directreaction to the regional setting which resembled the mountainous terrain of Montana far more than the open plains ofthe Midwest. The only Purcell house in Oregon currently listed on the National Register Image 2: 1916 Heitman House, Helena, MT. of Historic Places is the 1922 Louis Woerner House. This house 2013 I ASHP JOURNAL 15 As operations of the Pacific States Engineering Purcell's largest commission in Oregon was a plan for Corporation (PSEC) did not materialize as planned, the company the Third Church of Christ, Scientist. (Image 3). From his design, began to develop speculative residential properties. These were only the Sunday School wing was actually constructed. Completed designs for small houses for lower income families advertised in 1926, the structure's component parts incorporate the basic through national magazines. The house plans were Purcell's steady principles of his Prairie designs in a modern approach.15 The wing body of work for the following decade. Meeting the economic was based on previous drawings for a Christian Science assembly needs of this demographic allowed for him to experiment with hall in Minneapolis and exhibited a rational plan with a high, solutions for all sorts of special considerations. Purcell tried new rhythmic band of art glass clearstory windows characteristic of heating systems and different shingle techniques and casement his collaborative works with Elmslie. When, in the following year, treatments to better weatherize the homes. In addition to these Purcell began to design a residence for Sidney Bell of Portland, cutting edge features, each of these speculative houses possessed he would deviate from his Prairie roots and establish new design the Prairie adapted esthetic of Purcell & Elmslie design. Purcell concepts. The entrance to the Bell House was located midway believed in providing easily made, affordable designs as well as "a between the upper and lower floors-a compensation for the steep democratic accessibility to competent architectural services:' 12 incline of the forested lot. A flat roof and large expanses of glass are likely a response to the increasingly popular International style, though the abstract pattern of the art glass windows is a signature feature of Purcell's Prairie work. 16 "Purcell believed in providing easily In the early 1930s, Purcell's illness grew worse. In 1931 he made, affordable designs as well as 'a was diagnosed with tuberculosis He moved to Pacedena, California for the drier climate but continued his experimental designs for democratic accessibility to competent the PSEC houses. He also continued his collaboration with Bailey architectural services." who, by 1930, began working in the architecture office of Herman Brookman. Having recently completed the Byzantine-inspired In 1925 Purcell met a young architect named James Temple Beth Israel, Brookman represented a fresh approach to Van Evera Bailey. At the time, Bailey was working for Portland geometric form and brick detail. Bailey's time in Bookman's firm architect Otis J. Fitch. He introduced himself to Purcell as the would serve as another source inspiration for his later works. 17 It nephew of a plumber who had worked for Purcell & Elmslie on was also in this office he met a young John Yeon. Together with a residence they designed years earlier in Owatonna, Minnesota. Pietro Belluschi, these three Portland architects would expand the The two quickly became friends. Purcell found Bailey's grasp of stylistic range of expression in post-war culture. ephemeral principals refreshing and, having proven himself to be an active and able architect, Bailey was hired as Purcell's associate In 1932 Bailey officially received his architect license architect on several Portland projects. He was eventually given the and set up practice in Palm Springs, California. Collaborating responsibility of construction supervision and, in 1927 Purcell's on a commission in 1939 with Richard Neutra, Bailey became projects for both the J.W. Todd and the W.H. Arnold residences familiar with designing in the International style. That same year, were handled solely by Bailey. His experience and association Bailey received a commission for the Thaddeus B. Bruno house with William Gray Purcell would have lasting impact on his own located on a bluff above Lake Oswego. The house he designed contributions to the development of the Northwest Regional employed Roman-brick siding, emphasizing the horizontal line, style. 13 One of Bailey's early designs, "Stonecrop': was constructed modernist metal casement windows, and a low hipped roof. The in 1928 for his brother-in-law, Louis D. Bailey. The design was a projectingdecks and overhangs are curved, as are the prominent 18 contemporary take on Arts and Crafts utilizing heavy, uncoursed interior features such as the fireplace and bar. (Image 4) . As he masonry for the exterior as well as wood shingling in the gable developed his own house style, he incorporated concrete wall end. The low, sweeping roof with its broad eaves and shed dormer construction methods, respect for natural setting, use of bold line, lends a rustic sense suited to its wooded setting. 14 In creating a and volumetric composition. His attention to landscape and setting harmony between the built and natural setting, Bailey showed the lead him to structural innovation. He developed a laminated roof same respect for balance Purcell was known for. material and a stilt-type support system for hillside houses in forested areas. He gained national acclaim in the 1940s and '50s as the "major influence on the residential brand of modernism:' 19 As a champion of the Northwest style, he "made innovative use of local materials and showed a sympathetic understanding of the local climate:'20 "As a champion of the Northwest style, he made innovative use of local materials and showed a sympathetic understanding of the local climate." Image 3: Plan for the Third Church of Christ, Scientist, Portland, OR. 16 ASHP JOURNAL I 2013 ENDNOTES l. Frank Lloyd Wright, "A Home in a Prairie Town;' Ladies Home Journal, February 1901, 17. 2. Allen H. Brooks, The Prairie School: Frank Lloyd Wright and His Midwest Contemporaries, (New York: W.W. Norton and Company, Inc., 1984), 8. 3. Gebhard, 48. 4. Gebhard, 54. 5. Mark Hammons, "Purcell and Elmslie Architects: The Design of Destiny;' (2003), http://www.organica.org/peMN 1900_1. htm 6. Brooks, 10. 7. Ibid. 8. Richard Ellison Ritz, Architects of Oregon: A Biographical Dictionary of Architects Deceased-19th and 20'h Centuries, Image 5: 1939 Thaddeus Bruno House, Lake Oswego, OR. Portland, OR: Lair Hill Publishing, 2002, 415-418. 9. Matthew Hayes, "The Woerner House;• National Register of As his health deteriorated, William Gray Purcell Historic Places Nomination Form, Washington, D.C.: U.S. spent four years of his life in a California Sanatorium. He was Department of the Interior, National Park Service, 2005. 10. William Gray Purcell, "Portland, 1920-1930;' Parabiographies. divorced from his wife Edna in 1935 and began writing a series of 11. Hayes, 2. retrospectives on his architectural work. The "Parabiographies;' as 12. Mark Hammons, "Purcell and Elmslie Architects: The Design he called them, were never published as a single work. He did write of Destiny;' (2003 ), http: / /www.organica.org/peMN 1900_1. a memoir entitled St. Troix Trail Country which was published htm posthumously. In it he recounted his childhood summers spent 13. Ibid. on Island Lake where his lifelong organic inspiration was born. 14. Jane Morrison and Julie Koler, "The Lawrence D. Bailey Purcell died in 1965. In his essay, "Purcell and Elmslie, Architects;' House;• National Register of Historic Places Nomination architectural historian Mark Hammons suggests: Form, Washington, D.C.: U.S. Department of the Interior, National Park Service, 1990. Of the many fine men and women who came forward 15. Gideon Bosker and Lena Lencek, Frozen Music: A History of in response to the clarion call for an indigenous Portland Architecture, Portland,OR: Western Imprints 1985,59. 16. Gebhard, 154. American architecture, none consistently achieved the 17. Bosker and Lancek, 51. brilliant precision and comprehensive resolution 18. Hawkins and Willingham, 511. attained by George Grant Elmslie, William Gray Purcell, 19. Bosker and Lancek, 120. and the associates of their office.29 20. William J. Hawkings and William F. Willingham, Classic Houses ofP ortland, Oregon 1850-1950, Portland, OR: While his time Oregon was brief and his works limited, Timber Press I 999, 19. in the architectural vision of William Gray Purcell contributed to the ever evolving spirit of design in the Pacific Northwest through his mentorship of James Van Evera Bailey. The full development of Purcell's architectural style as seen in Georgian Place, the Third Church of Christ, Scientist, and The Bell House, unites organic design and modern form in a way that would continue to inspire the architecture of the Pacific Northwest. t1 2013 I ASHP JOURNAL 17 Problems of Historical Interpretation in Relation to Authenticity of Place BY JOHN ARNOLD In the film, Jean de Florette, the two antagonists, Ugolin building of replacement constructions stylistically "appropriate" and his uncle Cesar, both villagers in rural Provence, are discussing to the period of significance.4 This clearly leads to an overall the intentions ofJean, a city slicker who has moved to his inherited, inauthenticity of the fabric in a historic district, quite the opposite ancestral home next door to their own. In a conversation between of the original intent. Ugolin and Jean, Ugolin asks Jean why he has elected to move from the city to his rural home; Jean trumpets proudly that he is "here A far less problematic example of interpreting to cultivate the authentic!" to which Ugolin responds quizzically, authenticity, and an apparently uncommon one, is that provided "The 'otenteek'?" Later that day, Ugolin is speaking with Cesar by Drayton Hall. There have been no substantial modifications about their new neighbor. Cesar asks what Jean will be planting, made to this 18th-century house near Charleston, SC and it and Ugolin cries, "'Otenteeks'! He'll plant 'otenteeks' everywhere!" has been preserved in virtually its original state, indeed without Puzzled, Cesar asks what this "otenteek'" is, to which Ugolin plumbing or electricity having ever been installed.5 This example replies, "Probably a plant that grows in books:' 1 is atypical, however, and not particularly instructive as a guide for the interpretation of most properties, persisting as it is in its own, While this is a strident example of a fictional authentic, stasis. misunderstanding, it does serve to introduce a point: this authentic can be a slippery creature indeed, a challenge to capture More commonly, extant resources have evolved far from within any growing and evolving cultural context, and beyond their original state, accreting modifications over the perhaps harder still from without. Yet as professional historical passage of time. Valuable buildings, if continually recognized as interpreters, preservationists are tasked with these very challenges; such over time, can endure through a process of serial reinvention. in essence, bridging the two perspectives: an outsider becoming Both the function of the building and elements of the construction an insider by carefully insinuating himself into a cultural context itself may change over time, and the artifact, as found, may bear in order to thoughtfully identify that which is authentic, and small resemblance to its newborn self. Nicola Camerlenghi in then clearly communicating this authenticity to a new group of the Longue Duree explores the naturalness of this phenomenon. outsiders, the general public, through not only books ( or placards, By studying a building with what the author terms a diachronic or the like), but through the very artifacts of the study itself. (literally, "across time") approach, the emphasis of study shifts away from the traditional subjects of architect and seminal form, and to It may be difficult for researchers to ascertain even a the evolved construct as an autobiographical narrative of the life of static sense of authenticity; complicating the matter further, the the building itself.6 This view acknowledges that the meaning of a profession's concept of authentic is itself evolving. Whereas once place changes over time, and that to garner the fullest sense of that it may have been viewed as sufficient to target a point along a meaning requires an investigation of its manifold histories. linear timeline and declare that to be the period of significance against which the accuracy of a modern interpretation may Once it is accepted that it is a useful enterprise to be measured, it is now becoming understood that not only are acknowledge and study the importance of heritage transformation, there multiple timelines unfurling simultaneously (i.e., different the question then becomes: how does one interpret a changed and cultural perspectives), but that the mark indicating a period of changing resource? One possible solution is to preserve multiple significance made on any of these multiplexed timelines may be phases of a building's lifetime for simultaneous presentation, 7 more meaningfully described by a stroke than a dot.2 Further, a conceptual interpretation known as structural transparency. preservationists are charged not only with this task of discovering An example of this is the Tristram Coffin house, which, like the and judiciously parsing heritage from history, but with engaging afore-mentioned Drayton Hall, has been frozen in time; in this and interpreting the physical manifestations of that heritage: the case, however, the resource is a 17th-century house with an 18th- existing built environment. century addition. Here, the authenticity of change can comfortably coexist with the authenticity of a preserved entity; visitors and As mentioned briefly above, the traditional school of researchers are availed the opportunity to explore both the early thought holds that the most appropriate response to a presented and later constructions, in situ, as they were found when SPNEA array of histories is to selectively define a period of significance acquired the house in 1929 and stopped its clock.8 and restore the property, as accurately as possible, to represent that period. As Andrew Hurley points out in Beyond Preservation, While these "study houses" make excellent specimens for the application process for nomination to the National Register further study, it is neither possible nor desirable to pull all existing bears some responsibility for the historical dominance of this housing stock from circulation and fix it in formaldehyde. Rather, viewpoint, requiring as it does a period of significance to be living buildings can retain a currency by continuing to evolve, determined.3 An unfortunate side effect of formalizing what is even under the watchful eye of preservationists, and the historical temporally appropriate to a district can be the selective thinning accretion of change over time needn't be halted once the resource of its historicity, the culling of non-contributing buildings and the is formally recognized. In The Row House Reborn, Andrew Dolkart 18 ASHP JOURNAL I 2013 advocates for the acceptability of both historical changes made to I heritage resources, and their judicious elimination in restoration efforts, under the scrutiny and with the input of advocates for the heritage of the buildings under consideration, for preservation or alteration, respectively.9 In this scenario, not only is the concept of the authentic expanded considerably to allow for heritage transformation, but also the very authenticity of the subject itself is evolving. In this expansive paradigm, we begin to understand the role of the buildings around us not as individual, static entities, but as co-contributors to a dynamic and evolving cultural landscape, Image 1: Phillips 66 gas station designed in the Pueblo Revival style. subject not only to the vagaries of time and weather, but human will; the outcome of this process of "cultural weathering" 10 is the production of an environment which is a culturally and temporally meaningful place. As a subject of scholarship, there is no richer ENDNOTES text than this living landscape. However, the problems posed to I. Claude Berri, Gerard Brach, and Marcel Pagnol, Jean de the presentation of an historical interpretation are daunting. Florette, VHS (Los Angeles, CA: Orion Home Video, 1988). 2. Kingston Wm. Heath, The Patina of Place: The Cultural In moving beyond the comparatively straightforward, Weathering of a New England Industrial Landscape (Knoxville: traditional rulebook on the preservation of existing heritage The University of Tennessee Press, 2001). resources via the (ultimately) static mechanisms of preservation 3. Andrew Hurley, Beyond Preservation: Using Public History to or restoration, new challenges arise. If the environment and its Revitalize Inner Cities (Philadelphia: Temple University Press, interpretation are both liquid, how can there be a story to tell? 2010), 22. Further, how are professional conservationists to preserve and 4. Ibid.,23. interpret such a fluid environment? The answer to the first 5. Kingston Wm. Heath, "Shaping the Historic Preservation question may be to strive to tell all the stories; there is certainly no Ethos: Wallace Nutting and William Sumner Appleton" (lecture, American Architecture from a Preservation shortage of data upon which to draw. The answer to the second Perspective I, Eugene, OR, October 4, 2011). eludes this author. 6. Nicola Camerlenghi, "The Longue Duree and the Life of Buildings:' in New Approaches to Medieval Architecture, ed. It has been noted that the above perspective on historic Robert Bork, William W. Clark, and Abby McGehee (Ashgate, preservation shares some close ideological and technical alliances 2011), 20. with the emerging field of landscape preservation, wherein the 7. Kingston Wm. Heath, "Shaping the Historic Preservation subject of scholarship, preservation, and interpretation is without Ethos: Wallace Nutting and William Sumner Appleton" question a changing and evolving (and necessarily cultural) (lecture, American Architecture from a Preservation landscape. 11 In seeking to visualize the nature of preserved Perspective I, Eugene, OR, October 6, 2011). change over time, under the stewardship of caring management, a 8. Howard Mansfield, The Same Ax, Twice: Restoration and Renewal in a Throwaway Age (Hanover and London: somewhat appropriate analogy may be that of the "standing wave;' University Press of New England, 2000), 17. such as is created where a river flows around a stone: steady-state 9. Andrew Scott Dolkart, The Rowhouse Reborn: Architecture change, in one location. However, an analogy is not an answer; at and Neighborhoods in New York City, 1908-1929 (Baltimore: best it suggests a direction. The Johns Hopkins University Press, 2009), 3-5. 10. Kingston Wm. Heath, The Patina of Place: The Cultural A final concern regarding the interpretation of Weathering of a New England Industrial Landscape (Knoxville: authenticity of place stems from the known utility of the passage The University of Tennessee Press, 2001), 184. of time as an aid in discerning the relative importance of artifacts; 11. Kingston Wm. Heath, "Cultural Identity and Change: From projecting this sense of understanding into the future, it seems Heritage Landmarks to the Modern Vernacular" (lecture, plausible that a century from now, what is today regarded as American Architecture from a Preservation Perspective I, merely inauthentic may be reflected upon as genuinely inauthentic, Eugene, OR, October 11, 2011). 12. Claude Berri, Gerard Brach, and Marcel Pagnol, Jean de and possess a storytelling value that we would be remiss to delete Florette, VHS (Los Angeles, CA: Orion Home Video, today, in our ignorance (Image 1). As the profession strives to 1988).Andrew Scott Dolkart, The Rowhouse Reborn: cultivate the authentic, it must be remembered that it is far more Architecture and Neighborhoods in New York City, 1908-1929 complex than "a plant that grows in books:' 12 E;J (Baltimore: The Johns Hopkins University Press, 2009), 3-5. 2013 I ASHP JOURNAL 19 Shelters Among the Trees: Change and the Logging Bunkhouse Form in the Pacific Northwest BY NOAH KERR As westward growth reached its zenith nearing the turn million board feet of timber from Oregon's Coast Range locales by of the 20 th century, the rampant acceleration of the American the close of 1911 - nearly a six-fold increase from the company's housing boom brought with it a unique rhythm. The pulses of initial operations in the region a few years prior. falling trunks and the drone of sawmills in the Pacific Northwest reached ever deeper into the region's coastal interiors. While The fact that nearly fifty steam winches, or "steam donkeys;' were first employed by the company during this period scholars have devoted a great deal of attention to the industries, is the predominant cause for such productive growth, engaging a building methods, and products born out of this activity, mechanized alternative to the traditional use of teams of oxen and comparatively little has been said of the places which sheltered horses used to extract felled logs from their rugged landscape.2 the men whose efforts supplied a gargantuan flow of timber from Subsequent logging productivity guaranteed a net increase in logging operations in the furthest reaches of the Pacific Northwest. the pool of employment available to men willing to operate and service this equipment, to say nothing of the crews needed to Housing types in many Western Oregon logging camps fell and transport the gargantuan Douglas Fir, Sitka Spruce, and evolved from a disparate pantheon of temporary forms following Western Red Cedar logs from their rugged habitats.3 In addition, the Civil War, extending from makeshift log structures to manufacturing improvements to saws and felling axes in the ramshackle tent encampments. Gradually, changes affected the 1880s, including the 42-inch, double-bit axe introduced by the way that the logging workforce accessed and lived within a forest Washington Mill Company, enhanced the ability of fellers and locale, including expanded seasonal access to isolated landscapes, sawyers to meet the challenges of harvesting the region's singularly 4 growing use of steam technology and rail transportation, and the massive timber. arrival of experienced itinerant loggers from the upper Midwest. As Ronald Gregory notes, early forays into the virgin Taken alone, such forces might be dismissed as peripheral to the forests of Oregon and Washington had been drastically limited development of labor housing. Yet between the 1880s and 1920s, in scope by the implicit topographic isolation and the time- these specific factors together became a series of drivers for consuming, labor-intensive nature of loggers' work.5 The natural change, creating a confluence in a new functional housing form margins of weather and climate at Coastal and Cascade Range for the camp locale. altitudes also constricted the practicality of logging practices to a reduced seasonal rhythm. Together, such factors guaranteed Though far from a standardized commodity, this logging that most early camp housing was limited to temporary, even bunkhouse nonetheless came to comprise a series of common makeshift shelters. Surviving photographs and early accounts characteristics: a transportable balloon frame, gable front paint a widely varied picture of these forms, ranging from tent entrance, open rectangular plan, Spartan finishes, and location in shelters to notched-log shelters resembling those of agricultural proximity to a local logging railroad or spur line. With attention homesteaders. This is unsurprising, considering the similar socio- cultural makeup of many of the earliest waves of the region's to such identifiers, I intend to explore how the form development loggers. A significant number of homesteaders from the Midwest of the logging bunkhouse within Western Oregon acts as a mirror abandoned their attempts to farm in Central Oregon in the for the mechanized industrialization of the region's logging decades following the Civil War, making their way west in search practices. I believe that such an analysis naturally extends the of logging work. Such diverse labor largely formed the first wave assertions of Merritt Roe Smith and Leo Marx to an evolving of Oregon's loggers, likely influencing the ramshackle makeup of landscape of resource production, testing the cultural effects their improvised shelters.6 of technology on functional housing within regional logging traditions. 1 Subsequently, it is necessary to assess some of the technological forces that did so much to create these ephemeral workshops in the wilderness. In that few such sites survived the frenetic pace of logging history and prevailing depredations of climate, the preservationist must frequently examine a spectrum of photographs and other resources which have better weathered the test of time. "In that few such sites survived the By the end of the 19th century, logging processes began to frenetic pace of logging history and spill the bounds of previous technological constraints. While the prevailing depredations of climate, the harvest of timber in much of the world had been carried out with hand tools and animal power, the introduction of steam-powered preservationist must frequently examine a equipment to the Pacific Northwest's logging slopes steadily spectrum of photographs and other enhanced the productive capacities of many companies and resources which have better weathered the their camps throughout the region. The Smith-Powers Logging Company is a case in point, delivering an annual sum of 150 test of time." 20 ASHP JOURNAL I 2013 ,_ Their implicit inadequacies regarding human comfort their identity was their ability to function flexibly for an itinerant issues and spatial utilization aside, the placement of these workforce of mixed geographic makeup, encompassing activities diminutive shelters was often restricted to a tight cluster within a ranging from recreation during idle moments to worship to their small site only just cleared of timber, still enclosed by the pressing intended use as sleeping quarters (Image 2) . wilderness. Production increases quickly cleared more space for larger housing in addition to the area needed for maintaining A sizeable population of Euro-American immigrants, more equipment and handling timber output (Image 1). Moreover, too, joined the makeup of the bunkhouse users. By the turn of the as immediate locales became depleted of trees, consequential century, it is likely that at least 3,000 Austrians, Italians, Greeks, production output offered greater business incentives to extend Slavs, and Swedes were employed by each of the major competitors logging operations further into the Northwestern hinterlands. operating in the hinterlands of Oregon - notably Harriman In short, this increased geographic operational scope ultimately and Hill.9 The bonds of language, culture, and perhaps former required more substantial shelter for greater numbers over longer community likely persisted within the communal layout of the durations. bunkhouse, providing welcome security amidst the difficult and dangerous working conditions in an isolated landscape. Similar The aforementioned population swells in many camps ties seem to have been a common theme across the region, echoed were as much a natural driver in the nature of their housing as in accounts of a number of accounts concerning camps located in the work they were to perform. By World War I, the necessary the Deschutes, McKenzie, Willamette, and Coastal areas.(Image production processes within an average company camp comprised 3 ). 10 a bevy of tasks, each with its own identity, jargon, and skill set. Choker setters, buckers, peelers, fallers, river pigs, and a myriad With the spread of railroads deeper into the Northwestern of other manual laborers all required onsite housing, as did interior, logging operations increasingly came to depend on their cooks and support personnel. Given that this workforce rail power as a means of moving timber, machines, loggers, and was overwhelmingly male - a substantial number of which were eventually, their housing across a company landscape. Although bachelor recruits - a coherent bunkhouse form began to develop the appearance of complex trestles, spur lines, and flumes according to its spatial efficiency, wholly excluding interior were evidence enough of encroaching industrialization, the divisions for privacy or specificity. The financial interests of transformation was extended through the continued evolution of Smith-Powers and its adversaries also contributed to this rational approach to housing amenities, ensuring that few departures were made from such construction in Oregon's productive logging areas. Harold G. Robbins asserts that fierce competition and economic fluctuations in the national lumber market also contributed to this fiscally-driven construction scheme.7 The form was one of simple yet meaningful characteristics. A long, single-story rectangular massing, with one or more entrances through a gable end, predominated the type, likely derived from a single-room plan, guaranteed maximum utilization of space for tightly spaced bunks along its interior walls. As dimensional milled lumber and building materials became increasingly available with the reach of road and rail, balloon framing and its local variations became overwhelmingly common Image 1: Anlauf Logging Camp, c. 1899. (Photo: Lane County Historical Society) for quick, cost-effective construction, repair, modification, and disassembly while its users moved ever onward. Likewise, vertical board-and-batten siding appears throughout a clear majority of the surviving photographs available. Often, a moderately- to steeply-pitched roof, shingled in cedar, seems to have provided a feature responsive to dynamic regional precipitation while a single wood-burning stove provided both radiant heat and a social focal point for its residents. In many cases basic windows were included frugally within side walls for lighting and ventilation, although the number and location varied widely. Spartan furnishings - bunks, benches, and bare nails for hanging clothes - characterized the whole of most interiors. Although professional hierarchies certainly existed in logging camps, the communal nature of the buildings' open plan added an egalitarian element to shared quarters, if under the surveillance and control of many camps' tight disciplinary standards.8 That these buildings were cramped, humid, and odorous is hard to Image 2: "Common logging bunkhouse interior, c. 1900. Note doubt. These factors not withstanding, the key characteristic of pragmatic use of rafters for laundry, as well as bunk arrangement with central stove. (Photo: Kinsey)" 2013 I ASHP JOURNAL 21 the bunkhouse. Nowhere was this more evident than in the The August 1909 publication of the regional newsletter The Tim- Shelvin-Hixon camps, which moved through the Cascade Range berman includes a schematic for an example, in the form of a beginning in 1916. wheeled mess car (Image 4), fully embracing the accelerating pen- etrations of operations into the region's timbered interiors, while Whereas many companies previously built bunkhouses minimizing its lasting ties to work rhythms isolated within a wil- with the intention of abandoning or dismantling them upon derness locale. the camp's advancement through the landscape, the Shelvin- Shelvin-Hixon's relocation to Oregon by this time Hixon quarters began to be built with reinforced framing by the brought nearly 1,000 veteran woodsmen from the forests of 1920s - not to remain in a single location, but to withstand the Northern Minnesota - many of whom shared associations of rigors of wholesale relocation by rail to new, pre-planned camps. camaraderie and community from previous work alongside one New versions of this heavy frame comprised something rapidly another. Although these bonds were perhaps well suited for the approaching the standardization of speculative building: eight- close quarters earlier camp housing, many would be provided with by-eight-inch sills, four-by-four joists spaced two feet on-center, these railcar quarters, which had been situated on planned lots all topped by a four-by-four timber which functioned as a ridge directly along spur lines. If something of a subjective blessing in beam. 11 By means of anchors and hoists, the sixteen-foot by forty- terms of increased privacy, they were still austere in appointments foot building was now entirely transportable, and thus further and insulation for year-round use.13 In any case, the grouping of became a mechanized unit within Leo Marx's model of a "middle such residences suggest a transformation of their environs - much landscape:' 12 If the logging camp was the intersection between the like the reaches of suburbia a half-century later - with decreasing romantic myths of the American wilderness and the mechanized geographic isolation through the advent of technology. Like the maw of industry, the railroad bunkhouse was virtually at its center. textile mills of New England, they also derived their form through speculative construction and company planning, rather than user Other camp buildings also mirrored this development in choice. wholesale mobility. While by no means an overarching standard, railcars also came to house mess hall operations - a singularly Just as loggers began to more aggressively penetrate the important facet of camp life for its inhabitants. In addition to the Northwest's hinterlands, an international context broadened the obvious advantage of transportation flexibility, the elevated floor regional relevance of the bunkhouse. The American entrance of this variation helped provide an additional layer of shelter for into the First World War created an unparalleled appetite for the cooking and serving processes from outside dirt and pests. Sitka Spruce, accelerating these trends. As the species was ideally suited for the needs of aircraft manufacture, the U.S. Army created the Spruce Production Division through the recruitment and organizational talents of Colonel Brice P. Disque. Records show that the Spruce Division action assigned 27,270 men to six camps ranging from Coos Bay north to Puget Sound. In addition to selecting men with logging backgrounds and building a new network of rail lines to transport the nearly 144 million board feet harvested in 1917 and 1918, these camps used a variation of railcar housing, as Private Arthur C. Newby describes in a letter home: "We live in houses built on car trucks, about sixty feet long and divided into three rooms each. There are ten men to each room:' 14 Although the mightily productive Spruce Division was ultimately short-lived at a mere fifteen months, its adoption of the railcar Image 3: Mixed crew posing outside a Coastal Range Logging as a housing model demonstrates the persistence of the form's Company Bunkhouse, near Mabel, Oregon. Note addition of evolution within the logging context. Equally interesting, the War gable-end porch. (Photo: Lane County Historical Society) Department's Loyal Legion of Loggers Bulletin No. 3, an official directive to personnel within the division, prioritized loggers remaining strictly with the movements of a single camp for the duration of the war. "A dozen axes in a Northwest forest;' claimed its author, "can do more for humanity and civilization at this time than a regiment of rifles in France:' When viewed from the productive view of the landscape, governmental or otherwise, the implications for the nature of housing are unmistakable. Rather than roaming about the region plying their trade as itinerant skilled labor for many companies, such woodsmen became increasingly tied to a single locale. Few traces of logging camp bunkhouses survive intact today, perhaps as a testament to the somewhat ephemeral attitude with which many were erected and used. The extent of their Image 4: "Railcar Mess hall, c. 1920, a norm for increasingly significance as cultural resources is difficult to overestimate in the portable building units of its daY:' (Photo: Lane County Historical scope of the Pacific Northwest's logging history, yet their location Museum) 22 ASHP JOURNAL I 2013 on the periphery of culture and society poses a persistent risk to ENDNOTES long-term survival and understanding. As many historical ar- chaeologists are no doubt aware, the risk of their reclamation by 1. Leo Marx. The Machine in the Garden: Technology and the the very forests they were created to tame is high, if somewhat Pastoral Ideal in America (New York: Oxford University Press, ironic. The prospect of their survival, at the same time, remains 1964); Merritt Roe Smith. "Industry, Technology, and the rather dualistic: bunkhouses and their interrelated landscapes tell "Labor Question" in 19th-Century America: Seeking of a meaningful epoch of American history and simultaneously Synthesis:• Technology and Culture 32.3 (July 1991): 555-570. rekindle the persistent bonfires ofhardline environmentalist activ- 2. William G. Robbins. Hard Times in Paradise: Coos Bay, Oregon (Seattle: University of Washington Press, 1988): 42-43. ism. The challenge for preservationists is to better understand and 3. Merv Johnson. In Search of Steam Donkeys: Logging Equipment interpret the social narratives intertwined in these resources and in Oregon (Hillsboro, OR: Timbertimes, 1996): 8. sites, while carefully weighing the ethical implications of a broader 4. Richard L. Williams. The Loggers (New York: Time, 1976): 90- landscape of both natural and historical resources. tf 91. 5. Ronald R. Gregory. Life in Railroad Logging Camps of the Shelvin-Hixon Company, 1916-50 (Corvallis, Oregon: Oregon State University, Department of Anthropology, 2001): 41. 6. Ibid, 39. 7. Robbins, 5. 8. Robbins, 43. 9. Gregory, 37. 10. Gregory, 37-38; W.E. Lamm. Lumbering in Klamath (Klamath Falls, OR: 1956); Lionel Youst, et al. Above The Falls: An Oral and Folk History of the Upper Glenn Creek, Coos County, Oregon. Coos Bay, OR: Youst, 1992. 11. Ibid, 55-57. 12. Howard P. Segal. "Leo Marx's "Middle Landscape": A Critique, a Revision, and an Appreciation "Middle Landscape." Reviews in American History 5.1 (March 1977): 137-150. 13. Gregory, 57. 14. Evans, Gail E.H. and Gerald W. Williams. Over Here, Over Here: The Army'.s Spruce Production Division During The "War to End All Wars." (Port Angeles, WA: Olympic National Park, 1984): 8. 2013 I ASHP JOURNAL 23 The Shared Purpose of Historic Preservation and Local History Museums: How collaboration can enable a wide-reaching community preservation ethic BY HELEN BLACKMORE Historic Preservation has an opportunity to collaborate an overarching organizational structure, whereas collaboration is with an important resource for heritage-based community an alliance between institutions based upon teamwork, to share preservation, the local history museum. As its core, Historic not just resources and information, but the acknowledgement of Preservation is concerned with linking people and place through other values, and the ability to listen and help one another. the stewardship of important resources. Local museums are one At the 2013 Oregon Heritage Conference, museum of the few places a community can connect themselves to their staff and volunteers discussed their issues and concerns and home. Given these two paradigms, preservation should utilize worked together to solve problems for each other. 1 It is this open local history museums as a resource for the cultivation of a sense discussion and pooling of knowledge that can get us one step of place on a local scale. Preservation has marginalized sections of closer reaching small communities across the country. Local history, and geographic areas, through preserving predominately museums have found themselves struggling to stay afloat in a large-scale sites, which has facilitated a disregard of history on a world that has an ever-increasing number of leisure options local level. Preservation should be a value across communities of from which people can choose.2 The reasons local museums have any size and now attention should be paid to small communities, slipped from public focus in favor of science museum, interpretive who have not traditionally involved in preservation. This can be museums, amusement parks, or aquariums, is widely discussed done through the forming of alliances with local museums. These and the causes are claimed to be numerous: lack of funds, lack museums hold the tangible objects, as well as the intangible stories of staff, administration issues, archaic institutional structuring, few resources, and no new ideas or concepts, to name but a few. of community heritage. Without them this history would be lost, Local history museums have been suffering for a long time, and and a sense of place difficult to grasp. Preservation can enable local contemporary society can no longer adequately sustain these history museums, to inform the public about the ability to gain a institutions. These issues, whilst not new, are stifling museums; but sense of place within their communities, whilst instilling the value they are solvable. The conference highlighted one community that of preservation. Local museums are key to educating communities is working to enliven the preservation ethic through the display about the importance of preservation through the utilization of of their shared cultural heritage. The Southern Oregon Historical local history. Preservation has paid little attention to this under Society (SOHS), based in Jacksonville, Oregon, has brought utilized segment of preservation education. community and place together through its innovative program, History: Made By You. After the closure of the Rogue Valley Museum in 2010, the society lost the ability to display a large proportion of its objects.3 "Preservation can enable local history History: Made By You, is an interactive, outreach program that enables community members to research and develop travelling museums, to inform the public about the exhibitions based on community themes. The exhibitions rotate ability to gain a sense of place within their through four prominent places within the community with a communities, whilst instilling the value of period of four months. The program is led and facilitated by Amy Drake, the Curator of Special Projects, and, to date, the program has preservation." created five exhibitions.4 Through a facilitated community forum a topic that represents the community is chosen. Over a period Over the past five years scholarship has pushed for of four months, the SOHS staff guides community volunteers collaboration between public institutions, museums, schools, through the research of the topic, the choosing and collection cultural/historical organizations and societies, to produce synthetic of artifacts, the selection of photographs, and the display of the public and educational programming. Scholars such as Ralph A. exhibit. The exhibition itself is housed an in modular exhibition Cordova and Michael Murawski, Anne Ackerson, Nina Simon, system designed specially for the program by Michael Golino in 5 and Cary Carson have all advocated for collaboration among collaboration with DesignJourney. different types of organization, and cultural groups. Collaboration would enable the preservation of institutions by sharing resources, The program enables a co-creative program from the information, and values in an effort to sustain history-based start of the project, and facilitates access for all those within institutions in the contemporary world. The collaboration the community who want · to be involved enabling community incorporates any institution that has a stake in the representation empowerment to become active participants in the process. The co-creative approach is highly beneficial to all involved: the SOHS of history, be that local, state, or national history, and the two key has a method of exhibiting its objects; the community members stakeholders are local history museums and advocates for historic gain hands-on, participatory experience in researching and preservation. There is a notable difference between collaboration displaying their heritage; the rest of the community has access to and partnership; partnership implies a business transaction within learn about parts of their history; and the heritage community at 24 ASHP JOURNAL I 2013 large gains public awareness in small communities and a preser- other institutions, forming a cycle of cooperation. Museums can vation ethic is instilled.This innovative program not only engages develop abundance thinking through audience-based relevance, with the community in a new and exciting way but it also creates and enabling visitors to respond to collections on a personal a sense of place and pride within the communities it represents. level.12 Through utilizing all possible resources co-creation can Sense of place is important for any community and it will ensure form, museums can create community relevant programs, and a the preservation not only of local architecture, buildings, but also sense of preservation can flourish. of the story. Local history museums and programs such as History: Made By You, place the community's history within a tangible, lo- cal theme. With local museums and institutions developing sense of place within local communities the values and importance of preservation could be more readily cultivated. Without pride of "Collaboration is enabled through place, and ownership of shared cultural heritage preservation eth- abundance thinking, a sense of place is ics cannot be instilled in a community. Even though local muse- ums are so fundamental to the sustaining of shared community facilitated, and preservation values heritage and sense of place, they are often overlooked and as a re- instilled." sult they have found themselves in a world of dwindling financial resources, with few options. In order for preservation itself to be Co-creation not only occurs between the public and sustained, communities have to be addressed on a local level. Pres- the museum but also requires the inclusion of the preservation ervation should develop alliances with local museums as they are community. As co-creation can be a difficult and daunting process, an avenue towards the communities. Both historic preservation in which the participants need to be open to new ideas and ways and local museums need to restructure their place in society, for of approaching problems. Nina Simon challenges the current fear of becoming lost in a world of every increasing leisure op- method of museum-designed programming that calls for outside tions.6 engagement to help them after the initial planning is completed, These options have not only grown and changed, but and argues for community involvement from the beginning of the ways that people want to be engaged have shifted.7 Visitors the exhibition and the programming.13 Co-creative programs are want to be involved, and participate; they are no longer willing fundamental to: voicing community ideas and creating a forum to be passive in their entertainment activities.8 Given these shifts for the community to be responsive to local issues; and, helping historic preservation and local museums need to move with to support skill development within the community, allowing the times for fear of becoming irrelevant in a modern world, in members to take on tasks as part of a team.14 This approach to which they have never been more important. Cultural heritage is programming is labor intensive, and the museums need to be being lost due to globalization, creating a society that is no longer flexible with ideas. Ultimately the programming is most successful culturally sustainable. Identity has become layered, and in the when there is an institutional willingness to relinquish control of process cultures have been diluted.9 For fear of neutralization of the program to the community members as the program processes. culture, we have to start at a local level in order to reach the largest These three notions are not commonplace in museums today, but possible audience, through the display of our cultural heritage by without them, co-creative projects will not be as successful and preserving our local museums, and societies. as fruitful as they could be. With the support of preservation organizations museums can embrace co-creation.15 The issue of Through preservation values, ideas, and support local relevance can also be addressed through a collaboratively formed, museums can establish new connections with their communities superstory narrative encompassing multiple institutions. This is an and instill a desire to preserve and protect their cultural heritage area that many preservation institutions overlook, as they focus on through education, information distribution, and conservation. a single part of historical narrative or theme. Through the formulation of a network of historical organizations and societies, resources and information can be pooled to Without placing local narratives into a larger scheme of further themselves within their local community. This occurs history, communities are unable to identify why they are important, when museums engage with the public, facilitate, and allow for and without importance they will not see a need for preservation. co-creative programming. Local history museums can co-create A 'superstory' incorporating multiple museums within one community informed programming that will enable the museum continuous narrative, illuminates their historical redundancies, to place itself more actively within its community. Socially relevant and facilitates local preservation of multiple sites.16 However, it exhibitions are then placed within the larger scheme of history. is important that while museums locate their community within a Collaboration is enabled through abundance thinking, a sense of larger history that they retain their identity and why they matter, place is facilitated, and preservation values instilled. so they do not become redundant within the larger network of sites, and museums. Before collaboration can be considered a shift from the contemporary 'scarcity thinking' approach to one of 'abundance The collaboration approach to museum programming thinking' needs to occur. 10 Due to the current use of scarcity can be accomplished through facilitated discussion that engages thinking, which does have the benefits of cutting costs and all the stakeholders: the museum staff, community leaders, the encouraging resourcefulness, it can limit museum staff to looking mayor, schools and universities in the area, and the local heritage at what they have rather than seeking and embracing new organizations and preservation offices. This is important, as opportunities and new approaches.!! Abundance thinking helps without the local history museum the local heritage may well be refocus resources towards audience service and collaboration with lost; the museum often houses the artifacts of culture, and stores 2013 I ASHP JOURNAL 25 the narratives and the fundamental knowledge of the area's 17. Ralph A. Cordova Jr. and Michael Murawski, "Cultural Landscapes community heritage. These discussions can be held as a public for Literacies Learning: An Innovative Art Museum and Teacher- forum at the museum, in a community hall, or online. The method Research Community;' The Missouri Reader: Journal of the Missouri should be determined by the demographic of the community it is Reading Association 34, no. 1-2 (Fall 2009-Spring 2010), 9. 18. Alice Norris, keynote speaking at the Oregon Heritage Conference, intended to serve. May l0t\ 2013. Through the forums a list of available resources can be established, enabling a support network to minimalize the amount REFERENCES of new equipment, or resources museums need to purchase. In order for these discussions to work, "everyone needs to be 2013 Oregon Heritage Conference, Portland, Oregon, May 9th -10th 2013. at the table:' 18 For this to happen preservation agencies need to be proactive in enabling museums, and museums need to be Ackerson, Anne W. "The History Museum in New York State: A Growing Sector Built on Scarcity Thinking:' In The proactive in engaging their community. As without a healthy and Public Historian 33, no. 3 (Summer 2011); 18-37. engaged community the museum will not survive in today's world. D American Association for State and Local History. Museums & Society 2034: Trends and Potential Futures. publish online: AASLH with the Center for the Future of Museums (CFM), 2008. Carpenter, Gaylene. Arts and Cultural Programming: A Leisure Perspective. Campaign: Human Kinetics, 2008. ENDNOTES Carson, Cary. "The End of History Museums: What's Plan B?" The Public 1. 2013 Oregon Heritage Conference, Portland, Oregon, May 9th-10th Historian 30, no. 4 (Fall 2008); 9-27. 2013 . 2. Gaylene Carpenter, Arts and Cultural Programming: A Leisure Per- Cordova Jr., Ralph A. and Murawski, Michael. "Cultural Landscapes for spective:' (Campaign: Human Kinetics, 2008), 17-18. Literacies Learning: An Innovative Art Museum and Teacher- 3. The SOHS still owned both Hanley Farm and Hanley, where the Research CommunitY:' In The Missouri Reader: Journal of the Hanley family collection is exhibited and now stored. The Beekman Missouri Reading Association 34, no. 1-2 (Fall 2009-Spring family collection when it was gifted went on loan to the caretak- 2010); 6-28. ers of the Beekman house in Jacksonville, and the SOHS oversaw a Norris, Alice. Keynote speaking at the Oregon Heritage Conference, May research library in Medford. Southern Oregon Historical Society, 10th, 2013. "Our History;' web. Southern Oregon Historical Society, accessed May 19th 2013. http://www.sohs.org/our-story. Simon, Nina. "Chapter 8, Co-Creating with Visitors:' The Participatory 4. "Pedaling History: The Roll of Bicycles in Jackson County" held Museum. Web. http://www.participatorymuseum.org/ in Jacksonville, "Icons of Agriculture: Central Point's Community Roots" exhibited in Central Point, "Stories of Home;' shown in Southern Oregon Historical Society. " History: Made By You:' Web. Medford, "Wire by Wire: How the Telephone, Fencing, and Elec- Southern Oregon Historical Society. Accessed May 19t\ 2013. tricity Came to Lake Creek" displayed in Lake Creek, and "Rhythm www.sohs.org/events/history-made-by-you. of the Rails: The Golden Age of Railroading in Jackson County, 1890-1926" held in Medford. Southern Oregon Historical Society, Worts, Douglas. "Culture and Museums in the Winds of Change: The " History: Made By You:' web. Southern Oregon Historical Society, Need for Cultural Indicators:• In Reinventing the Museum: The Evolving Conversation on the Paradigm Shift, second edition. accessed May 19t\ 2013. www.sohs.org/events/history-made-by- Edited by Gail Anderson, (Lanham: AltaMira Press, 2010), you. 250-266. 5. Southern Oregon Historical Society, "Instillation" web. Southern Oregon Historical Society, accessed May 19th , 2013, http://www. sohs.org/events/history-made-by-you/installation. 6. American Association for State and Local History, Museums & Society 2034: Trends and Potential Futures, (publish online: AASLH with the Center for the Future of Museums (CFM), 2008), 20. 7. Carpenter, 16. 8. Cary Carson, "The End of History Museums: What's Plan B?" The Public Historian 30, no. 4 (Fall 2008), 15-16. 9. Douglas Worts, "Culture and Museums in the Winds of Change: The Need for Cultural Indicators:• in Reinventing the Museum: The Evolving Conversation on the Paradigm Shift, second editions, ed. Gail Anderson, (Lanham: AltaMira Press, 2010), 255. 10. Anne W Ackerson, "The History Museum in New York State: A Growing Sector Built on Scarcity Thinking:' The Public Historian 33, no. 3 (Summer 2011), 28. 11. Ackerson, 27. 12. Ackerson, 28. 13. Nina Simon, "Chapter 8, Co-Creating with Visitors:' The Participa- tory Museum. Web. http://www.participatorymuseum.org/ 14. Simon, chpt 8. 15. Simon, chpt 8. 16. Carson, 24. 26 ASHP JOURNAL I 2013 The California Bungalow: How California's Climate Shaped the Bungalow House Type BY EVANNE ST. CHARLES The purpose of this term paper is to explain why the slightly different reasons as to why the bungalow became so closely bungalow became so popular and closely associated with California, identified with California. Whereas Clay Lancaster argues that particularly Southern California, during the period between 1900 one of the reasons the bungalow movement took hold in California and 1930. I will use case studies, such as Chicago and Seattle, as was because the state had "better, [more innovative] architects well as arguments made by various authors to demonstrate that the than most areas of the country;' author, Diane Maddex, believes main difference between the bungalow development in California the bungalow's popularity in California grew in part because of its and other regions during the time period was California's climate. increase in population, cheap land, and bold developers.6 7 Several California's relaxed atmosphere and mild seasonal temperatures note the strong influences of the Arts and Crafts movement and allowed the bungalow, particularly the mass-produced, middle the vast amount of publications as reasons why the bungalow class bungalow, to evolve into what residents across the United became closely associated with the state. However, all authors, States recognize as the bungalow house type. particularly Robert Winter, touch upon the idea that California's climate was a major factor in the development of the bungalow. In The first houses to be called "bungalows" emerged in order to understand why these other reasons do not fully explain the East shortly after the 1876 Philadelphia Centennial, and then the rise of the California Bungalow, one must compare California moved westward. The Centennial marked a time when democracy, to other areas that had prominent bungalow movements for simplicity, health and nature were being increasingly celebrated in similar reasons. architecture. The majority of the population was seeking a break from the eclecticism and gaudiness of the Victorian Era. For many, After the gold rush in the northern half of the state, this period represented a chance of homeownership. This was the Southern California began promoting itself as the "land of fruit period when a true middle class emerged, technologies entered and honey;' selling a diversity of produce to those back East, and the household and living standards were developed.1 attracting thousands westward.8 Los Angeles alone grew from 50,000 residents in the late 1880s and early 1890s, to two million The earliest known American house to be called a people by 1930. With its burgeoning population, aggressive de- bungalow was built in 1880 in Cape Cod, MA. This residence, velopers and relatively cheap land, over sixty new towns totaling as well as the ones that followed, served as summer cottages for 79,350 acres were plotted in Southern California between 1887 the wealthy. With the rise of industrialization, those who could and 1889.9 By 1930, 94 percent of Los Angeles residences were sin- afford it sought refuge in the countryside. The idea of getting back gle-family homes, and a majority of these homes were in the bun- to nature was seen as pure, healthy, and safe from the corruption galow style. The bungalow "appeared at a time when California and unsanitary conditions that plagued cities. The bungalow was the object of a migration for which the bungalow was ready- symbolized the ruggedness and simplicity of nature that wealthy made:'1 0 The house type was promoted in California through "a city-dwellers aspired to obtain.2 volume of literature almost as prodigious as that which promot- ed California itself' 11 Gustav Stickley's The Craftsman, through It did not take long for the bungalow to become popular its Pasadena correspondents, Helen Lukens Gaut and Una Nixon as a house type for the middle and working classes. However, what Hopkins, updated the rest of the nation on the new and innova- became the typical suburban home for millions of Americans tive creations in Bungalowland. Additional publications promot- between 1900 and 1930 was a different take on the summer cottage ing the California Bungalow included Western Architect, Keith's of the wealthy bungalows of earlier years. For the middle and Magazine on Home Building, and the Architect and Engineer of working classes, the bungalow not only represented simplicity and California. Bungalow books published by enthusiastic entrepre- working classes, the bungalow not only represented simplicity and neurs were sold cheaply with the intended use of the developer, higher standards of living, but also economy - it was often quite the builder, and thousands of residents. Mail-order companies, in- modest as well as affordable. Advances in prefabricated buildings cluding the California Ready-Cut Bungalow Company and Pacific allowed for self-built bungalows to be constructed for as little as Ready-Cut, further popularized the bungalow in the state.12 The 400 dollars. Fred T. Hodgson, an editor of a plan book for the popularity of the bungalow was not limited to middle and work- Montgomery Ward Company, viewed the bungalow as "the best ing class housing. Innovative architects flocked to the state in the type of cheap frame house which had been erected in this country hopes of contributing to its new architectural frontier. Architects since the old New England farmhouse went out of fashion:' 3 Arthur S. Heineman and Alfred Heineman, as well as Sylvanus B. Thus, every city in the United States that experienced economic Marston designed smaller, charming bungalows as well as bunga- prosperity in the early 1900s has evidence of the bungalow craze.4 low courts. The most notable were Pasadena architects, Charles Sumner Greene and his brother, Henry Mather Greene, who con- Many prominent authors, including Robert Winter, Clay tributed many of the state's elite, "ultimate bungalows;' such as the Lancaster and Anthony King, as well as lesser-known writers, agree, houses that constitute Bungalow Heaven in Pasadena (Image 1) .13 "California .. . came forward with the definition and definitive form To this day, California, particularly Southern California, is known taken by the American bungalow:•s However, each author provides 2013 I ASHP JOURNAL 27 for having the most diverse array of bungalows, from "the simplest Eastern migrants came to Seattle in the mid-nineteenth rudimentary shelter up to the most sophisticated manifestation:' 14 century in the hopes of becoming rich with gold. After a fire burned However, the forces discussed above that contributed to the most of downtown in 1889, architects from England and Germany popularity of the bungalow in California were not unique to the helped to rebuild using influences of the European-born Arts and state. Crafts movement. The 1909 Alaskan-Yukon-Pacific Exposition es- tablished Seattle as a progressive city of new architectural styles. In the early 1900s, Chicago was the nation's mecca for In addition to the influences of the Arts and Crafts movement, social and architectural progressivism. Architect, Frank Lloyd Seattle's rapidly increasing middle class needed homes, and "like Wright, developed what he called the Prairie Style that was closely their neighbors to the south in the heart of Bungalowland;' many associated with high-style, architect-designed bungalows, such turned to the bungalow. 18 With Seattle's abundance of natural as the houses of Greene and Greene in California. Similarities materials, particularly timber, the house type was able to flourish between the two included low-pitched roofs, broad, overhanging with all of its rugged and naturalistic characteristics. The resulting eaves, the use of natural materials and earth tones, and art-glass buildings fit the Pacific Northwest landscape "like another branch windows.The bungalow movement took off in Chicago in the on a tall tree:' 19 Cheap plans and materials, magazines, such as 1920s. Influenced by Wright's Prairie Style and the city's Arts and Bungalow Magazine (published in Seattle from 1912-1918), and Crafts Society, the bungalow was adopted as, "an architecture for enterprising architects and developers served as stimuli for the the average person." 15 Between 1910 and 1930, Chicago increased development of the bungalow movement in the city. Jud Yoho, a by one million people, growing faster than any other American well-known bungalow entrepreneur and architect in Seattle, pro- city at the time. Streetcar lines, and later the automobile, as well moted the Craftsman Bungalow Company's plans that showcased as public transportation allowed for residents to move to the the California Bungalow adapted to the climate and topography suburbs. As the population increased and many sought refuge of Seattle. Seattle's bungalows drew on the California Bungalow as from the city, rows of identical, brick bungalows were built by the well as the Pacific Northwest's natural materials to create a rough- masses, forming what is now known as the Bungalow Belt. Local hewn, homemade look, unique to the area. By the 1930s, the city publications such as House Beautiful, and mail order companies consisted of several distinct neighborhoods, all of which had the such as Sears and the Montgomery Ward Company further fueled bungalow as the predominant house type in common.20 one must the bungalow movement in the city. Prefabricated homes, aided by reassess what makes California, especially Southern California, the development of industrialized and standardized parts, such as unique in order to result in the close association and popularity the balloon frame, were a major force behind the mass production of the bungalow in the state. All three areas experienced economic of cheaper housing that comprises the Bungalow Belt. Chicago prosperity, population increases and suburbanization between bungalows drew inspiration from the earlier, California Bungalow. 1890 and 1930. All maintained progressive, innovative architects, However, unlike California's bungalows that "embraced the followers of the Arts and Crafts movement and bold developers. outdoors, the Windy City archetype turned inward for warmth;' All three were influenced by prominent magazines, plan books resulting in a narrower plan, a different material choice (often and mail-order companies. Thus, California's mild climate is the brick), and basements (Image 1). 16 Approximately 9,000 single- only factor associated with the popularity of the bungalow in the family residences, most of them bungalows, were built in Chicago state that the other two regions do not possess. in 1925. Today, approximately one-third of Chicago's single-family homes are bungalows.'7 In the early 1900s, Southern California was promoted as a tropical paradise, exploiting the nation's obsession with the back- to-nature movement of the period. Millions flocked to the region in the late-nineteenth and early-twentieth centuries, seeking the healthy living conditions and natural surroundings that coincided with its mild climate. Around the same time, the bungalow was becoming popular as summer residences in resort towns for the wealthy. Like California, the bungalow had come to represent the nation's longing for getting back to the primitiveness and simplicity of nature. By the 1910s, the bungalow had become so closely associated with California that national mail-order companies advertised bungalows called "The Pasadena;' "The Pomona;' and "The Sunshine;' popularizing the ideals set forth in the California Bungalow, and spreading them across the country.21 As stated by Fred T. Hodgson, an editor of a plan book for the nation-wide, Montgomery Ward Company: It is, a rule, [the bungalow] is a long, low, one or two-story building, with a conspicuous roof, over-hanging eaves and a [screened-in] porch. It fits snugly on the ground, it is generally well scaled with the surrounding shrubbery and trees, and its lines and the Image I: A typical Chicago-style bungalow (note the brick and distribution of its openings are for the most part the basement). agreeable to the eye (Hodgson, 3). 28 ASHP JOURNAL I 2013 - Image 2: (above right} With no need for a basement in the warm climate of California, the bungalow could be built nearly on the ground, emphsizing its closeness to nature. Image 3: (above left) A California bungalow surrounded by lush vegetation, highlighting its proximity to nature. This statement about what a bungalow is supposed to A bungalow was seen as incomplete without its gardens, trees and be is related to the affects that California had on the evolution vines that created the picturesque, natural setting many aspired of what became to be known as the bungalow house type. These to attain.26 While California, especially Southern California, can characteristics were able to develop predominantly because of maintain year-round lush vegetation, creating the feeling of a California's mild climate. As described above, one of the major never-ending summer, much of the nation cannot due to harsher factors as to why the bungalow became so popular was its ability climates. The last reason why California's climate was key in the to bring people closer to nature. As one of the bungalow books evolution of the bungalow is related to its ease of development. at the time stated, "the purpose should always be to make the Because California maintains mild, year-round temperatures, bungalow a harmonious part of the grounds surrounding it:'22 builders and developers were able to use cheaper materials. The This was accomplished by making the house horizontal to prevent state's warm weather "allowed the builder to make economies it from dominating its surrounding landscape, and building the in materials and structure so that very modest but convenient house without a basement and only a minor foundation, in order dwellings could be provided for less than 1000 dollars:'27 Thus, for to bring the house closer to the ground. Indeed, the bungalows the millions who moved to California during the time period, the of California appeared to "hug the earth," further expressing the modest price oft he bungalow"offered the opportunity of a detached, house type as one that can bring people closer to nature (Image single-family dwelling which they had never experienced before. 2). 23 Northern and eastern states were not able to fully accomplish The 'simple life', 'back-to-nature' ideology legitimized an economic the low, horizontal features often associated with the bungalow, choice."28 The flimsy construction of California bungalows allowed as basements are typically necessary in cooler climates. Another for substantially faster development, which more people were able characteristic often associated with the bungalow is the sleeping to afford. Although the California Bungalow appeared in eastern porch.Because many eastern immigrants moved to California cities with much colder climates, sturdier, more costly materials for reasons related to their health, as warm climates were seen and construction were necessary. Thus, many of the features as cures for diseases such as tuberculosis, the sleeping porch typically associated with the bungalow are related in some part to was almost essential. The open as well as screened-in porches the mild, California climate that it evolved from . of bungalows "provided not only a good sleeping room in the summer, but sometimes a healthy bedroom the year 'round:'24 As The first houses to be called "bungalows" in America 29 stated by Gustav Stickley in Gustav Stickley's Craftsman Homes appeared in the East after the 1876 Philadelphia Centennial. and Bungalows, "These outdoor bedrooms have come to be as The bungalow movement then continued to move westward, and much a part of a Californian house as the kitchen, dining room further evolved into what most recognize as the bungalow house or reception room, for whoever has once slept in the open air will type today. The bungalow was a symbol of simplicity, democracy, never willingly shut himself up in the ordinary old-time bedroom health, and the back-to-nature movement that occurred in the 25 3again." While Californians were able to benefit from year-round late-nineteenth and early-twentieth centuries. ° For some, this sleeping porches, cooler climates, such as those in Washington house type represented a break from the clutter and garishness and Illinois, prohibited bungalow owners from doing so. A of the earlier Victorian Era. For others, it provided a chance for third feature often associated with the bungalow that was able homeownership and a gateway into the middle class . Every city to flourish in California was the idea that the bungalow should in the United States that experienced economic prosperity in the be surrounded by an abundance of vegetation (Image 3). The early 1900s has evidence of the bungalow movement. However, landscape surrounding the bungalow was just as important as the there is only one region that the bungalow became so closely house itself in order to create the feeling of getting back to nature. associated with that it became known as Bungalowland - the state of California. 2013 I ASHP JOURNAL 29 In this paper, I have attempted to prove why the bungalow ENDNOTES became so popular and closely identified with California between 1900 and 1930. Most authors have varying views as to why the 1. Lancaster, Clay. The American Bungalow: 1880-1930. (New bungalow became closely identified with the state. However, all York: Abbeville Press, 1985), 43 authors have agreed that California's climate has played a large 2. King, Anthony D. The Bungalow: The Production of a Global role in the strong alliance between California and the bungalow. Culture. (London: Routledge & Kegan Paul, 1984), 129-130 Although other regions, particularly Chicago and Seattle, have 3. Hodgson, Fred T. Hodgson's Practical Bungalows and Cottages: One Hundred and Twenty Five Designs. (Chicago: been recognized for their large populations of bungalows, Frederick J. Drake & Company, 1906), 3 California's mild climate has allowed for further experimentation 4. King, 139 and evolution of this house type into what most recognize as its 5. Lancaster, 241 dominant form. Indeed, it is the state's climate that has allowed the 6. Lancaster, 243 bungalow's most prominent features - its horizontality, sleeping 7. Maddex, Diane. Bungalow Nation. (New York: Harry N. porches, lush gardens and cheaper materials - to flourish . t1 Adams, Inc. , 2003), 14 8. Maddex, 30 9. Brown, Robert Gregory. "The California Bungalow in Los Angeles: A Study in Origins and Classification:• (MA diss., University of California, Los Angeles, 1964), 31 10. Winter, Robert (I). The California Bungalow. (Los Angeles: Hennessey & Ingalls, 1980), 1, 23 11. Winter, 27 12. Winter, 27-28 13. Maddex, 33 14. Lancaster, 151 15. Winter, 72 16. Maddex, 158 17. Maddex, 156-1 59 18. Maddex, 77-78 19. Ibid. 20. Maddex, 79 21. Winter, 32 22. Winter, 3 23. Winter, 43 24. Winter, 57 25. Stickley, Gustav. Gustav Stickley's Craftsman Homes and Bungalows. (New York: Skyhorse Publishing, 2009), 473 26. Lancaster, 121 27. Winter, 23 28. King, 144 29. Lancaster, 43 30. King, 136 30 ASHP JOURNAL I 2013 .... Defining Style: Pacific Northwest Regionalism (1935-1950) BY BRANDON J. GRILC The development of Pacific Northwest Regionalism in Oregon can best be defined between the years of 1935 and 1950 through the works of John Yeon, Pietro Belluschi and Van Evera Bailey. These three "architects" of the Pacific Northwest have not only been "widely published and recognized as an important part of the history of modern architecture;'' but have also given this, relatively young, region of the United States a style to call its own. The Pacific Northwest Regional style, according to Saul Zaik, was influenced by common regional structures in Oregon and Washington, such as "indigenous wooden barns, covered bridges, water tanks, marine docks, and fish canneries;'2 giving this style its utilitarian approach to building. The Pacific Northwest Regional style, which shares similarities with the International style, can be defined by its design characteristics, such as broad, overhanging gables or hipped roofs covered with shingles, often with broken or asymmetrical slopes, non-academic forms and Image 1: Aubrey R. Watzek House; Portland, Oregon details, asymmetrical open floor plans, large glass windows of extensions, large expanses of glass, an overhanging portico and various shapes, wood-frame-construction with unfinished and eaves covered in shingles,6 tongue-and-groove cedar siding, unpainted siding of native woods, and integration of structures double-pane windows, hidden blinds and rain gutters, and a and environment.3 This style is also defined by its bioregional ventilation system that allows the window pains to remain fixed .7 appreciation, showing a "sensitive approach to the natural The A. R. Watzek house comfortably fits within the parallels of environment, [which] takes into consideration Oregon's mild the natural environment, as its gabled roofs suggestively align with climate, predominantly gray skies, and abundant supply of wood Mt. Hood, and its elevation and large windows offer views of Mt. and wood products:'4 These characteristics have helped create a St. Helens, Mt. Hood and the Tualatin Valley. (Image 1). Another regionally specific style that balances the dialectic rift between example of the Pacific Northwest Regional style by John Yeon is the built and natural environment and attempts to "capture the the Kenneth Swan House, built in 1950 in Portland, Oregon. This individual spirit of its inhabitants:'5 Four buildings that represent house is "skillfully adapted to a sloping site, features naturally the sincerity of this style and its distinguished designers are the A. finished board-and-batten siding, large windows, and deep, roof R. Watzek House and the Kenneth Swan House by John Yeon, the overhangs that cover the porch:'8 It represents the balance between Central Lutheran Church by Pietro Belluschi and the Jan de Graff the natural and built environment, as it is seamlessly integrated House by Van Evera Bailey. with the natural landscape and ridgeline. These two examples by John Yeon have reflected the Pacific Northwest Regional style through residential houses; however, this style was also used in other forms, such as Pietro Belluschi's Central Lutheran Church. "The A. R. Watzek house comfortably fits Pietro Belluschi (1899-1994) was an "internationally known architect and a key innovator in the development of within the parallels of the natural an elegant modernism, especially in residences suited to the environment, as its gabled roofs materials and climate of the Pacific Northwest:'9 Influenced by suggestively align with Mt. Hood." John Yeon, Pietro Belluschi also developed a Pacific Northwest Regional design aesthetic that can be seen in his works, such as the Central Lutheran Church. Even though churches were "slightly less important in this period than the houses in the formation John Yeon (1919-1994) has been and continues to be of regional character;' 10 the Central Lutheran Church still poses one of the most influential architects in the state of Oregon and a fair representation of the Pacific Northwest Regional style due for the Pacific Northwest Regional style. John Yeon, questionably to its character defining features . The Central Lutheran Church an architect, was a residential designer who embraced his local was built in 1950 in Portland, Oregon and was constructed out of environment and projected it through his works. The A. R. Watzek brick and wood. It is modern in form, incorporated pointed wood House was built in 1937 in Portland, Oregon and represents arches, used Glu-Lam timber, 11 is dressed in a natural wood finish, the Pacific Northwest Regional style by its use of materials, and includes an unrepresentative bell tower and red and blue environmental cohesion and design. The house is an open, "U" - glass set between stained wood mullions. 12 The Central Lutheran shaped floor plan around a center courtyard with outdoor Church represents the Pacific Northwest Regional style because it 2013 I ASHP JOURNAL 31 offers a "mature example of the combination of modern spatial ENDNOTES concepts with materials native to the region:' 13 Although the Central Lutheran Church may be easily identified as the Pacific 1. Marion Ross, A Century of Architecture in Oregon, 1859-1959. Northwest Regional style, some buildings walk a finer line between (N.p.: Women's Architectural League, Oregon Chapter, AIA, this style and the International style due to their similarities, such 1959.) , 89. 2. Rosalind Clark, Oregon Style Architecture from 1840 to the as the Jan de Graaff House designed by Van Evera Bailey. (Image 1950s. (Portland: Professional Book Center, 1983), 215. 2). 3. Ibid. 4. Ibid. 5. Ibid. 6. Ibid, 217. 7. Randy Gragg, "John Yeon (1910-1994):' Oregon Encyclopedia, http://www.oregonencyclopedia.o rg/ entry/ view /j ohn_yeon/ 8. Clark, Oregon Style Architecture, 21 7. 9. Leland Roth, "Pietro Belluschi (1899-1994);' Oregon Encyclopedia, http://www.oregonencyclopedia.org/ en try/view/ bell usch i_pietro _1899 _ 1994_/ 10. Ross, A Century of Architecture in Oregon, 89. 11. Roth, "Pietro Belluschi (1899-1994) ." 12. Clark, Oregon Style Architecture, 218. 13. Ross, A Century of Architecture in Oregon, 93. 14. Hope Svenson, "Van Evera Bailey (1903 -1 980);' Oregon Encyclopedia, http://www.oregonencyclopedia.org/entry/view/ bailey_van_evera_1903_1980_/ Image 2: Jan de Graaff House; Portland, Oregon Van Evera Bailey (1903-1980) was another architect REFERENCES who embraced the Pacific Northwest Regional style, as his houses "were noted for their regional sensibility, their livability, and their Clark, Rosalind. Oregon Style Architecture from 1840 to the 1950s. structural innovation:' 14 His work with the Jan de Graaff House Portland: Professional Book Center, 1983. expresses this regional style. Built in 1940 in Portland, Oregon, Gragg, Randy. "John Yeon (19 10- 1994);' Oregon Encyclopedia, http: // this house is commonly referred to as an International style house www.oregonencyclopedia.org/entry/view/john_yeon/ due to its flat roof and ribbon windows; however, it also hosts characteristics that help it fit within the Pacific Northwest Regional Ross, Marion Dean. A Century of Architecture in Oregon, 1859-1959. style, such as its asymmetric composition and straightforward use N.p. : Women's Architectural League, Oregon Chapter, AJA, 1959. of materials, like cedar. Even though this example walks a fine line between the International and Pacific Northwest Regional styles, Roth, Leland. "Pietro Belluschi (1899-1994);' Oregon Encyclopedia, its honesty and reflection of its local bioregion help it align with http://www.oregonencyclopedia.o rg/ en try/view /bellusch i_ the principles that make the Pacific Northwest Regional style pietro_l899_1994_/ significant in Oregon. Svenson, Hope. "Van Evera Bailey (1903-1980);' Oregon Encyclopedia, http:/ /www.oregonencyclopedia.org/entry/view/bailey _ van_ Overall, these "architects" and architectural examples evera_ 1903_1980_/ express the development of Pacific Northwest Regionalism in Oregon, which was created out of the influences of modern design with regional characteristics and natural cohesion from 1935 to 1950, making it one of Oregon's on ly exclusive architectural styles and a style worth defining. t3 32 ASHP JOURNAL I 2013 Spirit of Respect and Affection: The Town Planning and Design Behind Gilchrist, Oregon BY TRACY SCHWARTZ It may never really seem like it, but there is always method to the madness. This is especially true for the design and planning of company towns in the United States. Peaking in development between 1830 and 1930, the placement of each building, structure, road, and public or private space within the company town Gilchrist was designed to create a "civic reflected the ideas of the owners and the socioeconomic system personality which promoted a spirit of in which employees lived and worked.' Rural Gilchrist, Oregon is a textbook example of a company town. The town shares respect and affection in the inhabitants. many features with other company owned towns in the state and country, such as company owned commercial property, company Company towns were at the mercy of "spatial owned residences, and no elected government. 2 But Gilchrist is engineering-the deliberate manipulation of the landscape:' 10 also a unique case study. Built in 1938, towards the decline of the Looking at the space with regard to the basic landscape features as company town, everything in the unincorporated community was well as political or economic motivations puts the Gilchrist setting owned by the Gilchrist Timber Company until 1991, and nearly into perspective (Figure 1). As a company town, the placement of everyone living there was employed by the company in some the homes, store and theater was as important as the mill, the heart capacity.3 While Gilchrist was the last company town in Oregon, of the company. Both represented control over the workers as well to this day it remains as a vision of its designers-the Gilchrist as the "economic and cultural landscape" for a specific purpose. 11 Timber Company and president Frank W Gilchrist.4 Exploring Through the manipulation of the environment a company the spatial relations and engineering of the town, as well as the could "shape the built environment in particular ways;' which personalities of the company and bosses behind it provides a would, "encourage particular types of behavior and identities:' 12 better sense of what life was like and why things were the way Engineering the space in one way could produce desired results. they were in Gilchrist. Gilchrist was designed to create a "civic The spatial engineering of company towns was usually manifested personality which promote[d] a spirit of respect and affection in through the "boss:' Paternalism came in a variety of different the inhabitants:'s What was the method to their madness? James forms, from killing them with kindness, to ruling with an iron fist. Allen defines a company town as: Spatial engineering through the landscape and paternalism was especially prevalent in Gilchrist. any community which has been built wholly to support the operations of a single company, in which all homes, . (' buildings, and other real-estate property are owned by that company, having been acquired or erected L. .f' ::n.,,,,,. ....} V, ~ specifically for the benefit of its employees, and in which I the company provides most public services.6 = Gilchrist was just one of over one hundred company towns in the Pacific Northwest. Leland Roth lists six types of company towns, with Gilchrist falling into the fifth category, where "both site plans and buildings were designed by a single individual:'7 However, even though there was one architect, Gilchrist Timber Company and its management had a great amount of say in the final design. John Garner notes that many company towns were not "preplanned;' and instead "just grew, expanding as their enterprises matured:'8 Gilchrist was not one of these settlements, and could instead be described as a "model "'-•• ~ company town;' since the plan followed the design and desires of ,. .., . _.. the company. Garner describes these "model" towns as, "one in --------...,., which the paternalism of the owner extended beyond the bare- ~~ • '-JJ'<} bones architectural requirements of factories or mines. Well- - " Figure 1: The final town plan of Gilchrist as of 1970. designed houses, parks, schools, libraries, and meeting halls, all While there may be new builds, very little expansion, set within an attractive landscape, represented an unusual degree and none sanctioned by the Gilchrist Timber of interest by the developer:'9 Almost to a tee, Garner has begun Company has occurred since this time. The mill is to describe the spatial engineering of Gilchrist by the Gilchrist located across from the town, separated by a highway Timber Company. and the Little Deschutes River 2013 I ASHP JOURNAL 33 History of the Gilchrist Timber Company: The Gilchrist Plan: "To my mind, the most important element in the design The story of the Gilchrist Timber Company does not of this little community is the owners foresight and desire begin in Oregon, nor in the year of 1938. The development and long to make a comfortable place for people to reside. It is the standing values of the company and the owners, most of whom can companys belief that workmen who are content have a be found on a branch of the Gilchrist family tree, are reflected in much better attitude toward the company. In any case, the Gilchrist town plan. Gilchrist Timber Company has its historic people who live comfortably and decently are inclined to roots in the forests of Michigan, where they operated a mill and be good citizens." purchased forestlands to provide the needed supply of timber. 1 In 1902, the company began purchasing forestlands in central -Hollis Johnston, architect for Gilchrist, Oregon' Oregon.2 The company moved from Michigan to near Laurel, Mississippi in 1907, and built the company town ofDushau, MS.3 Location, location, location. The town of Gilchrist is 50 miles south of Bend, and while only one mile north of Crescent, it Dushau was similar to Gilchrist and represented many is incredibly isolated. Therefore basic services not only had to be of the same ideals held by Gilchrist Timber (officially Gilchrist- provided by the town, but it was ideal they were. Paternal attitudes Fordney Timber at the time). Homes, featuring electricity and could be easily reinforced by providing access to certain services, plumbing, were built to house the worker and the family, which but not to others. However, basic geographical features also provided a more "stable and sober" workforce. 4 The Gilchrist- determined the layout of the community. The Dalles-California Fordney Company built "a large commissary, clubhouse, doctor's Highway (Highway 97) had already been built when Gilchrist office, school and a YMCA;' for the community, as well as considered moving to Oregon. The Little Deschutes River, which provided space for a church without forcing a specific religion on was one of the major factors in determining the location of the the town.5 In the 1930s it was not the Great Depression that forced town, ran west of the highway.2 Therefore, it seemed only logical the Gilchrist Timber Company to move out of Mississippi. [Non-] that the town be established east of the highway so the mill could Management of the forest had left little timber for the mill, forcing take advantage of the river (Figure 1). While this incredibly clear Gilchrist Timber to move to Oregon, which had become more distinction between mill and town has social meaning, it was also easily accessible by railways built in 1920s.6 In 1936, Gilchrist for more basic reasons. Spatial engineering of the community was purchased the land needed for a town and mill, and immediately not only achieved through the structures, but also in the types of began to build. At this time Frank W Gilchirst (Image 1), was workers. Mill operations were not the only part of Gilchrist Timber president of the company. Learning from those before him allowed to move from Mississippi to Oregon; the workers moved too. In for the practices and principles long held by Gilchrist Timber to 1939, "southerners made up more than half the new town:'3 The be carried over into a new generation and a new company town: same paternal attitudes that had been practiced in Dushau were Gilchrist, Oregon. exerted in Gilchrist, and workers were used to these. While the architecture and plan was different, these workers may have been attracted to the "better working and living conditions;' as well as the increased economic opportunity.4 Hollis Johnston, University of Oregon alum and Portland area architect, was the designer of Gilchrist.5 While not all of his plans and ideas were incorporated into the community, he exerted great influence over the design (Figure 2). Johnston reported to Frank W Gilchrist the following services would be needed in this new community: "from markets to auto repair, from restaurants to bowling lanes. Shoe repair shop, beauty shop . .. along with banking, doctors, dentists, lawyers, and insurance . .. emergency medical aid, fire station, post office ..." 6 Gilchrist wanted "order and civility" in the community so, like what was done in Laurel, MS, the community was welcoming to families which, in turn, provided a more stable workforce.7 Having a town with all the needed amenities could help achieve this goal. The architecture of Gilchrist is "severely plain, with a few details in cupolas and trim that suggest that [Hollis] Johnston may have been looking at contemporary Scandinavian architecture:' 1 Most of the detailing in the community is found in commercial spaces. The shopping center (Image 2) has a large domed roof with a cupola on the south end. The north end features a clock with Image 1: The man with the plan: Frank W. Gilchrist stenciled details. The theater is brightly colored, and has the same (Gilchrist, Oregon. (Photo: Fisher, Gilchrist, 39). detailing as many of the doorways at the shopping center (Figure 3). One explanation of the architectural style could be found in 34 ASHP JOURNAL I 2013 Herod's analysis of spatial engineering. In his discussion of office buildings and their features, he notes that the "architecture was used to project a sense of awe in the public generally and in those who worked in them specifically."2 Tourism was always a part of the design of Gilchrist, and was designed for both "residents and travelers:'3 A motor court was included in the original plan, though the idea never materialized. Driving into a community full of bright colors and fanciful details on commercial structures gave the community a unique identity for outsiders and residents. Hopes were high for the town of the Gilchrist, and Gilchrist Timber management had lofty dreams for growth in the community. The town was originally designed for a population of 1500 and from 350 to 550 houses. 1 While Gilchrist would expand in the 1970s, the 1938 built environment only had 128 homes.2 Johnston offered five different design types for Gilchrist homes, but the built environment strayed from Johnston's design with only Figure 2: Hollis Johnston's original "townsite drawing?' While ele- minor details peeking through. 3 While many of the homes look the ments can be found in Gilchrist today, the town never grew to the same and have similar architectural features, they are each uniquely expected size Johnston was asked to design for (Photo: Driscoll, different, breaking the mold from the standardized homes usually Gilchrist, Oregon, 79). found in company towns. All of the homes had indoor water, sewer, electricity, and Gilchrist was the first town in Oregon with a dial telephone system.4However, all of the homes were painted in the same "rich chocolate brown with cream-colored trim;' and had a red metal roof, which helped to help control workers and protect them from the outside world.5 In order to keep the town looking crisp, Frank W Gilchrist would "drive around town, upbraiding those whose yards weren't clean and tidy:'6 Anyone who "worked in town" could rent a home, including "teachers, state police officers, postal clerks, and merchants who leased space [in the mall]:'7 A very reasonable rent was paid to Gilchrist Timber, who in turn paid, "property taxes, water, sewer, and street cleaning costs:' and also hired a crew to repaint all the homes and buildings every five years. 8 Living in a Gilchrist home had certain benefits, but it also put you at the mercy of the Gilchrist Timber Company and their ~.muJ,n~l control over the homes. Cm'k.fffln ;u <}ny,·-., ,,,.,-..,. .J/ Image 2: The Gilchrist grocery store (Photo: Driscoll, Gilchrist, When looking at a map, Frank W Gilchrist and his family Oregon, 57). are separated from the town by Highway 97. They live on the same side as the mill and right on the Little Deschutes River.9 While we may interpret this to show clear distinction between the boss and worker, this was not necessarily the case. Initially, this area of land was to serve as "Gilchrist Motor Court:' While waiting for their home to be built, Mrs. Frank W Gilchrist decided one of the homes and the view should be theirs. 10 Even with the spatial distinction, their homes were still painted the same Gilchrist brown and the Gilchrist children went to Gilchrist schools. Benjamin V Wright, former logging superintendent and manager of the Oregon operations when the mill moved, had a two-story home located near the rest of the workers.11 While two-stories does not sound large, nearly all the homes in Gilchrist are single-story, and none of the proposed Johnston designs were two-stories. As is seen in company towns throughout the United States, house and lot size can be related to status within the community and company. Gilchrist was no different, and "Supervisory personnel rented Figure 3: Hollis Johnston's drawing of the Gilchrist theater. The larger houses located on the upper streets of the town:' 12 These decorative elements and colors became a reality in the real structure (Photo: Driscoll, Gilchrist, Oregon, 78). large homes provided a sense of looking over the community and residents at all times. 2013 I ASHP JOURNAL 35 Businesses were to be set apart from homes, creating a distinction between the residential and commercial. 13 Underneath one roof, the Gilchrist Mall housed all the commercial services the Gilchrist Timber Company thought were necessary. In fact, this was Oregon's (and maybe even the country's) first indoor shopping mall. 14 A grocery store, barbershop, beauty shop, cocktail lounge, restaurant, and drugstore leased spaces with "state-of-the-art... furnishing and fittings:'15 There was also a bowling alley in the commercial space that became home to "The Club:' For a small fee, anyone of any age could join. This included mill workers and mill owners. 16 Gilchrist Timber could have created and manipulated the landscape to keep these two classes of people separate, but they made the choice not to. All of these downtown buildings were painted in the same Gilchrist brown as the homes, but they featured colored stenciling in the Scandinavian theme. 17 Everything in Gilchrist was designed with a purpose. While the architect was an important character, the values, wants, and needs of Frank W. Gilchrist and the Gilchrist Timber Company are reflected in the town. Without the workers, the company was nothing. Therefore, it was incredibly important that the town not only control the employee, but keep them happy. It was a fragile relationship, but one that worked in Gilchrist until 1991. The company town was there to create "civic personality which promoted a spirit of respect and affection in the inhabitants:' 18 And with that came "no reason to leave:' 19 Frank R. Gilchrist, son of Frank W. and his successor, said, "We're not here to make money off rentals. Our business is lumber. The store and the restaurant exist for the convenience of our people:'20 One journalist described, "[Frank Gilchrist's] workers would have almost everything they wanted right at the doorstep of the mill. A man could settle his family here, send his children to school, build his life and his future in Gilchrist:'21 Everything was spatially engineered for the advancement of the company under the attitude, "treat employees weU:'22 Conclusion: Company towns were not unique to America, but regardless they helped to define the industrial landscape of the nation. Companies and their paternal owners created these communities to not only house workers, but to exert varying levels of control over their everyday lives. The spatial engineering-"the deliberate manipulation of the landscape" -helped to serve this function .1 The town plan and design of Gilchrist, Oregon not only reflects the personal values of the Gilchrist Timber Company and its management, but also offers a wonderful example of how companies and "bosses" would manipulate the culture of their community through space. Gilchrist treated their workers well, and in doing so gave them no reason to leave. Ultimately, they continued to provide labor for the mill. Gilchrist is no longer a company town, and evidence of this deliberately designed spatial structure fades into history more and more each day. However, when you look for it, it is still there. In the history and design of Gilchrist, Oregon lies the method to the madness. ti 36 ASHP JOURNAL I 2013 ENDNOTES 24. Fisher, Gilchrist ... , 20. 25. "Oregon Trails: The Model Town;' KDRV Newswatch 12, August 1. John S. Garner, "Introduction;' In The Company Town: Architecture 10, 2012, http:/ /www.kdrv.com/ oregon-trails-the-model-town/ and Society in the Eary Industrial Age, ed. John S. Garner (New 26. Leland Roth, "Company Towns in the Western United States;' In York: Oxford University Press, 1992), 3. The peak dates for The Company Town: Architecture and Soicety in the Early Industrial development are only for the United States. Unless otherwise noted, Age, edited by John S. Garner (New York: Oxford University Press, any company town data in this paper is for American communities. 1992), 199. 2. Linda Carlson, Company Towns of the Pacific Northwest (Seattle: 27. Herod, "Social Engineering ..." in Company Towns in the University of Washington Press, 2003), v-vi Americas ... , 31. 3. John C. Driscoll, Gilchrist, Oregon: The Model Company Town, 28. Fisher, Gilchrist ... , 20. (Bend, OR: Maverick Publications, 2012), 158. 29. Driscoll, Gilchrist, Oregon ... , 44, and Fisher, Gilchrist ... , 21. 4. Jeremy Lang, "Mill Town Gilchrist Pines for Resort;' The 30. Roth, "Company Towns ..." in The Company Town, 199. Roth notes Oregonian, May 24, 2009, http:/ /www.oregonlive.com/news/index. that in 1951, 22 additional homes were built in the "bungalow" ssf/2009/05/mill_town_gilchrist_pines_for.html. style. 5. Jim Fisher, Gilchrist: The First Fifty Years (Bend, OR: Oregon Color 31. Driscoll, Gilchrist, Oregon ... , 51. Press, 1988), 20. 32. "Oregon Trails: The Model Town;' KDRV Newswatch 12, August 6. James B. Allen, The Company Town in the American West (Norman: 1O , 2012, http:/ /www.kdrv.com/ oregon-trails-the-model-town/ The University of Oklahoma, 1966), 4. 33. Roth, "Company Towns . .. " in The Company Town, 199. When I 7. Leland Roth, "Company Towns in the Western United States;' visited Gilchrist I spoke with a woman in the yarn shop who had In The Company Town: Architecture and Society in the Early lived in the town for 22 years. She said that when she used to have Industrial Age, edited by John S. Garner (New York: Oxford company visit the joke was to tell them they lived in, "the brown University Press, 1992), 177. The categories are: (1) company house with a red roof' All the houses were brown with a red roof towns designed entirely by the corporation, (2) company towns until 1993 when the Ernst brothers renovated the town for entering laid out by the company engineers, but with homes designed by an into the personal ownership after the sale of the mill. architect, (3) landscape done by a landscape architect and 34. Carlson, Company Towns of the Pacific Northwest, 193. the buildings by contractors, (4) two professional designers work 35. Ibid., 31. Even though there was no government the state did patrol on both the landscape and structures, (5) a single individual plans the region. streets and structures, and (6) the company towns is developed 36. Fisher, Gilchrist ... , 24, and Roth, "Company Towns ..." in The from a previously existing town (176-7). Company Town, 199. In 1988 rents were between $50 and $135. 8. Garner, "Introduction;' in Company Towns, 4. 37. Many descendants of Frank W. Gilchrist, including his daughter 9. Ibid .. and her children, still live in these homes. Though the street is 10. Andrew Herod, "Social Engineering through Spatial Engineering: marked "Private Property: No Trespassing;' the homes are still Company Towns and the Geographical Imagination;' in Company painted in the signature brown with the red roof. Towns in the Americas: Landscape, Power, and Working-Class 38. Driscoll, Gilchrist, Oregon .. . , 50. Communities, edited by Oliver J. Dinius and Angela Vergara, 39. Ibid., 57. (Athens, GA: The University of Georgia Press, 2011), 21. "Oregon 40. John Driscoll, Gilchrist, Oregon, a Company Town;' Oregon Trails: The Model Town;' KDRV Newswatch 12, Historical Quarterly 85, no. 2 (Summer 1984), 139. 11. Ibid., 22. 41. Fisher, Gilchrist ... , 21. 12. Ibid., 36. 42. "Oregon Trails . .." http:/ /www.kdrv.com/ oregon-trails-the-model- 13. Fisher, Gilchrist, 11. town/ 14. Driscoll, Gilchrist, Oregon .. ., 14. 43. Driscoll, Gilchrist, Oregon ... , 53. 15. Ibid., 18. 44. Driscoll, Gilchrist, Oregon ... , 53 and Carlson, Company Towns of 16. Ibid .. the Pacific Northwest, 82. Carlson explains that The Club offered 17. Ibid .. formal dances for adults, and an after school spot for teenagers. 18. Fisher, Gilchrist ... , 12-4. 45. Roth, "Company Towns .. ." in The Company Town, 199. 19. Quoted in Driscoll, Gilchrist, Oregon ... , 46. 46. Roth, "Company Towns .. ." in The Company Town, 199. 20. Driscoll, Gilchrist, Oregon ... , 34. The site of the mill was chosen 47. Allen Nacheman, "Company Town is Carefree;' Youngstown almost solely because the Little Deschutes River could be dammed Vindicator, May 21, 1972. to make a millpond. 48. Mike Thoele, "Tiny Gilchrist Remains Last Company Town in 21. Carlson, Company Towns of the Pacific Northwest, 193. Oregon;' Waycross Journal-Herald, July 2, 1988, emphasis added. 22. Margaret Crawford, Building the Workingman's Paradise: The Design49_ Nacheman, "Company Town is Carefree." of American Company Towns, (New York: Verso, 1995) 3. 50. "Oregon Trails ..." http:/ /www.kdrv.com/oregon-trails-the-model- 23. "Hollis Johnston Heads Alumni;' Eugene Register-Guard, town/ December 31, 1940. Johnston is an incredibly prominent 51. Andrew Herod, "Social Engineering ..." in Company Towns in the and important person in Oregon architecture, besides being a Americas ... , 21. University of Oregon alum. While in school at the University of Oregon and upon graduation he worked for Ellis Lawrence. He continued to work for private firms before starting his own practice. In 1933, he began work with Army Corp of Engineers on the Bonneville Dam project as the "chief consulting architect:' After planning Gilchrist in the 1930s, he worked on military projects during World War II, including the Blimp Hangars in Tillamook, OR. Some of this more notable designs are: Stadium Branch of U.S. National Bank, The Town Club, Watson/Eastman House, Joseph Gerber House, and structures on the Lewis and Clark College campus (Richard Ellison Ritz, Architects of Oregon (Portland: Lair Hill Publishing, 2002), 214-5). 2013 I ASHP JOURNAL 37 The Concrete Around You: Brutalist Architecture in Eugene BY DAVID CASTEEL As you wander through the built environment of America, Famously, there was a backlash against campus planning around you and in your studies, you may notice something: the and Brutalism at the University of Oregon not long after these concrete massings around the corner, stark and monumental. buildings were constructed in the form of a book entitled, What you may not know is that these buildings need love, not just "The Timeless Way of Building" by Christopher Alexander. He for the sake ofloving what has been termed "the ugly duckling" 1 of promoted principles of architecture that went against the Brutalist architecture, but because they are rich in meaning. You may also movement, including not using concrete building modules because be surprised to learn that Brutalist architecture in Eugene, Oregon he considered them unable to connect with nature, making the has a richer history than one may initially expect. buildings "dead and life-destroying"1• Alexander also disagreed with the idea of the "instant campus': citing the University of Originating in post-war Britain after World War II, Chicago Circle Campus, a Brutalist-planned campus by Walter the style began with young dissatisfied architects lead by Alison Netsch, as an example of too much authority in design. Alexander's and Peter Smithson2• Eventually they became known as Team opinions in his book were most certainly impacted by Brutalism X, separating themselves from their elders in CIAM ( Congres in and around Eugene, and this shows that this architectural style's internationaux d'architecture moderne) and becoming a great influence in Oregon goes beyond just architecture. influence in the broader world of architecture. Team X's designs emphasized truth in materiality, as well as location. This often While the previously mentioned University of Chicago means surfaces are rough and unfinished, and mechanical apparti Circle Campus may be one of the better known master plans for are visible. Movement of the people within the Brutalist designers' a Brutalist campus, one does not need to look further than 4000 architecture also became a key theme, a reason why raised East 30th Ave, Eugene, Oregon for a remarkable example. Lane walkways are prevalent in the style3• Lastly, it is an architecture that Community College's Main Campus, built in 1966-1968 and has expressive monumental forms whose design is often based on designed by Balzhiser, Seder & Rhodes1, is perhaps one of the the interior spaces. most complete expressions of Brutalism in Oregon, at least in the category of educational buildings and design (Image 2). The In America, the most famous Brutalist architecture almost maze-like assortment of raised walkways is unashamedly came from the students of Harvard Architecture School during prominent and connects the plazas, social spaces, and buildings. the 1940s. One of these notable students, Paul Rudolph, is most At the center is the appropriately named Center Building, where famously known for his Yale Art and Architecture Building4. the main stretch of walkways center around. Mechanical systems While the majority of the textbook examples of this architectural can be clearly seen around the building, with ventilation placed movement are found on the East Coast, there are also some well- prominently in the line of sight, and heavy concrete massings are known examples in California, many designed by William Pereira. present throughout. There is even an interesting play with light However, when it comes to Brutalism in the Northwest, there is a using box-like light-openings that on a sunny day cast shafts of general lack of information on the subject, particularly in Oregon. light to the darker parking level beneath. Louis Kahn, another The weather has been attributed to the reason behind this, because architect considered to have Brutalist designs, played with light in the damp air and gray skies can make the architecture appear similar ways1• The architecture of Lane Community College was more foreboding, but the question is: are there significant Brutalist also featured as the location of the 1970s movie about activism examples in Oregon? The answer is yes. Some of them may be Getting Straight. closer than you think. In addition to the architecture of academia, Brutalism The closest examples to the University of Oregon are is present around the downtown of Eugene. The primary uses of in fact on the University of Oregon campus. McKenzie Hall, the these buildings tend to be focused around governmental aspects Clinical Services Building (Image 1), and the Gerlinger Annex or banking. One example is the Chase Bank Building at 1100 are three Brutalist examples on campus. One of the examples, Willamette St, and another example is Parkview Place at 101 East McKenzie Hall, once called the Law Center, was built in 1968-1970 5 Broadway where a multitude of businesses, in addition to a bank, and designed by Wilmsen, Endicott & Unthank , and exhibits are located. While these buildings are interesting, they are perhaps many of the tenets of Brutalism. It has a monumentality in its large not as complete an expression of Brutalism as the aforementioned and heavy massings that are made out of brick and unfinished examples. board-formed concrete. On the interior the mechanical systems can be seen if you look above and past the simple framed lighting, While this article hopes to highlight examples in Eugene, Oregon, allowing the realities of the building to remain visible. The wide there are much more Brutalist examples in the state, many of space of the main hall also harkens back to the development of a which can be found around the larger cities or on university and sort of streetscape within the building, as seen in Le Corbusier's college campuses. The first step to understanding how to preserve Unite d'Habitation or the Smithson's Sheffield University project6 • these building is to know what resources exist and which portray 38 ASHP JOURNAL I 2013 the significance of the movement. Th roughout the United States, as well as Britain and other nations, this style of architecture is nea ring the SO -year mark in age or passing it. Unfortunately, many of these buil dings are facing or will face issues of demolition versus preservation. Most recently the legal battle to save Prentice Women's Hospital in Chicago was lost2, and another example from 2010 of a Brutalist building that was set fo r demolition was the Third Chu rch of Christ Scientist in Washington D.C3• O Image 2: Center Building at Lane Community College Main Campus. Light wells are in the foreground , providing light to the lower level beneath. (Photo: David Casteel) ENDNOTES 1. Robin Pogrebin, ''Architecture's Ugly Ducklings May Not Get Time to Be Swans:' New York Times, April 7, 20 12, A l. 2. Reyner Banham, Th e New Brutalism: Ethic or Aesthetic (Germany: KG Stut tgart, 1966), 19. 3. Ibid., 43. 4. Sibyl Moholy-Nagy and Paul Rudolph, The Architecture of Paul Rudolph (New York: Praeger Publishers Inc., 1970) . 5. "McKenzie Hall ;' University of O regon, accessed April 30, 20 13, http:// lib rary. uoregon.edu/guides/arch it ecture/ oregon/ mckenzie.html#model. 6. Banham, The New Brutalism, 43. 7. Christopher Alexander, The Timeless Way of Building, (New York: Oxford University Press, 1979) , 15- 10. 8. "Bu ilding Oregon;' University of Oregon, accessed April 30, 20 13, http:/ /boundless.uoregon.edu / cdm4/item_v iewe r. php?CISOROOT= I archpnw&CISOPTR= 15732&CISOBOX= I &REC= I . 9. William J.R. Curti s, Modern Architecture Since 1900, (New York: Phaidon Press Limited, 1996) , 525. 10. Wayne Cable, "Preservationists give up legal battle to save former Prentice Hospital;' Chicago Seen , last modified Image 1: The Clinical Services Building at the Univer- February 19, 2013, accessed March 2, 2013, http://www. sity of Oregon. (Photo: David Casteel) chi cagoseen .com/preservationists-give-up-legal-battle-to- save-pren tice-hospi tali. 11. Jonathan O'Connell , "Developers are Proceeding with Plans to Demolish a Historic Church:' Washington Post, last modified November 22, 20 10, accessed April 28/2013, http: //www. "T he first step to understanding how to washingtonpost.com/wp-dyn/ content/article/20 10/ 11 / 19/ 20 IO1 11 906345.html. preserve these buildings is to know what resources exist and which portray the significance of the movement." 20 13 I ASHP JOURNAL 39 Velonis' Better Housing: An Artifact Analysis BY SARAH R. LESTER The 1930s in America proved to be a difficult time in Better Housing was created for the purposes of the New York our nation's history. It was a time of an unstable poor economy, Housing Authority within the WPA New York City Poster social unrest, but more importantly, it was a time of change. The Division. These basic facts are the starting point for more in significance of those changes in the era between the world wars is depth knowledge of the artifact, specifically the maker and its not lost to the present generation. In fact, it is embodied within construction. what remains: artifacts. These artifacts mirror historical events, being made in the past and surviving into the present. 1 They can be made by an individual or a small group, but, in turn, they reflect the identity of the society at large. Of the artifacts from the era between the wars, particularly during the Great Depression, one group has the potential to reflect both the tangible and intangible elements of the time: posters. These posters, produced by the Works Progress Administration, later known as the Work Project Administration, (WPA) became a tool that not only helped those struggling in a poor economy, but utilized new construction techniques as well as communicated contemporary philosophies. In total, two million posters of thirty-five thousand designs were created.2 Each one tells the story of that time and Anthony Velonis' Better Housing: The Solution to Infant Mortality in the Slums is no v exception. Better Housing reflects the individual artist, a silkscreen technique, commonly held beliefs of the 1930s era, evolutions of federal law, and strong implications towards the present generations' policies. These multiple facets of how this WPA poster "o~ serves as a surviving historical event can be seen systematically o'v$. through the implementation of an artifact analysis technique. ~tt.~. ~ - E. McClung Fleming created an artifact analysis model O'-'<$-o~<:> that utilized five properties of the artifact in conjunction with ~c ,t- ~~ four operations. It is this model on which the artifact analysis ~+~~~Q..._ o~~r t