A Plea For Modernism

Hand Crafted Films, DOCOMOMO Louisiana and the Tulane School of Architecture present:

A Plea For Modernism from Evan Mather

A Plea For Modernism from Evan Mather on Vimeo.

The Phillis Wheatley Elementary School has served the historic New Orleans African-American neighborhood of Tremé since it opened in 1955. Celebrated worldwide for its innovative, regionally-expressive modern design – the structure sustained moderate damage during the storms and levee breach of 2005. DOCOMOMO Louisiana is advocating for its restoration via adaptive reuse.

A Plea For Modernism [Evan Mather, Hand Crafted Films, 2011] includes interviews with professor John Klingman of the Tulane School of Architecture, architect Wayne Troyer, John Stubbs, vice-president for field projects for the World Monuments Fund and author/actress Phyllis Montana-Leblanc, a former student of Phillis Wheatley. It was written by Francine Stock and Evan Mather and narrated by actor Wendell Pierce (HBO's The Wire, Treme). The film includes historical photos courtesy of the Tulane Libraries Southeastern Architectural Archive and Tulane School of Architecture's New Orleans Virtual Archive, as well as Charles Colbert's presentation boards courtesy of the Orleans Parish School Board Archive, Earl K. Long Library, University of New Orleans. Contemporary photography is by Emily Ardoin, Winifried Brenne, John Defraites, Anthony DelRosario, Karen Gadbois, Karran Harper Royal, Meg Holford, Michael Kievets / Sybolt Voeten, Sergio Padilla, Francine Stock and John Stubbs. Animations and graphics are by Evan Mather and Wayne Troyer. The original music score is by Jusso Auvinen.

If no action is taken the Phillis Wheatley Elementary School will demolished in Summer 2011. Please take time to sign the petition to save Phillis Wheatley and contact our public officials.

Mayor Mitchell Landrieu, City of New Orleans (504) 658-4900

Superintendent John White, Recovery School District (504) 373-6200

Superintendent Darryl Kilbert, Orleans Parish School Board (504) 304-3520

In taking these steps, we affirm the significance and diversity of our architectural and cultural heritage and our desire to rescue the future from the past.

Francine Stock

president

DOCOMOMO US/Louisiana

A numeric overview :: recent losses from the recent past

I started Regional Modernism: the New Orleans Archives 3 years ago to document the process of documenting modernism in New Orleans. I had just lost my 1st building, a moderne structure on Canal and Treme. I'd only photographed it weeks before and was shocked to see it reduced to rubble before I had a chance to get to know it. A mission made in a moment.

The Regional Modernism course at Tulane School of Architecture in the spring of 2008 was less about teaching and more about discovering and documenting. The students and I started by merging data from the Southeastern Architectural Archives, the New Orleans Public Library's City Archives and Samuel Wilson's Guide to New Orleans Architecture into a map of nearly 850 modern buildings in New Orleans, of which 250 are chronicled in the Regional Modernism flickr account. Soon (very soon) the Regional Modernism iphone app will be released. It includes nearly 150 modern buildings, lost, extant and threatened.

Through this process, I've learned not just about identifying modernism in our midst, but also about its significance and relationship to the history of our built environment. In 1955 Progressive Architecture's 2nd Annual Design Awards recognized more buildings by architects from New Orleans and Louisiana than any other city or state in the nation. That's right. Before New Orleans was the city that care forgot, it was one of the most architecturally progressive cities in the nation.

Yet we are losing significant modern architecture at a truly alarming rate. In the mid 20th century 6 New Orleans buildings received national AIA Awards. Soon two thirds of these will be gone. 

Since 2008 the mid 20th century modern public school has become an endangered species in New Orleans. Of the city's 30 public schools designed and built in the 1950s, today only 3 are left standing. Soon only 1 may remain. At the Hands Around Wheatley gathering in April, John Stubbs offered this sobering statistic:

Since the World Monuments Watch List program was established in 1995, we’ve listed nearly 600 sites in ninety-one countries. In Moscow, Tel Aviv, Los Angeles and Havana others have found ways to preserve threatened modern buildings, surely we can do the same with Wheatley School. If the Wheatley school is lost through demolition, it will be the 1st site on our World Monuments Watch List that died in our hands.

This week the Louisiana Landmarks Society announced its New Orleans 9 Most Endangered List for 2011.  The current list recognizes Abandoned and Neglected Public School Buildings City-Wide including the "Phillis Wheatley School in Treme, once internationally known for its cutting-edge mid-20th century design." The 2008 list included Mid-century Modern Public Schools. Of the 4 schools cited in 2008, McDonogh 39 and Carver have been razed and demolitions are pending for Wheatley and Lafon.

Next week we welcome the 2011 American Institute of Architects annual meeting to New Orleans.  DOCOMOMO Louisiana will present an exhibit on mid-century modern schools at the Preservation Resource Center. On view will be reproductions of architect Charles Colbert's 9 presentation boards of drawings of the Phillis Wheatley Elementary School. The exhibit will also feature contemporary photography of the Phillis Wheatley, Thomy Lafon and George Washington Carver Schools by Emily Ardoin, John Klingman, Anthony DelRosario and Francine Stock. Phyllis Montana-Leblanc's petition to SAVE PHILLIS WHEATLEY ELEMENTARY SCHOOL IN NEW ORLEANS! SAY "NO!" TO DEMOLITION now has 1555  signatures. Add yours today. 

You can also email your comments directly to to Mayor Mitchell J. Landrieu: mayor@nola.gov

It's not too late to raise your voice in support for the preservation of this significant and truly unique school building.

Francine Stock

[photo: John Stubbs, World Monuments Fund]

Work Hard :: Play Harder > It's Carnival Time!

  

Above: 'A Project to Humanize Canal Street' a class study created for guest critic Louis I. Kahn 1954-55, drawing by Luther E. Frink (TSA 1955). 

 

Below: Luther Frink as Caesar from streetcar,  TSA Beaux Arts Ball, 1954, photo: MG Scheuermann, Jr. 

photos: New Orleans Virtual Archive, Tulane School of Architecture 

FRANCINE STOCK :: Material Language

[Francine Stock :: Material Language :: slideshow]

Tulane School of Architecture 

presents:
Francine Stock
Material Language
Monday February 28 - Friday March 25, 2011
On view in the Favrot Lobby
Richardson Memorial Hall
8 am - 5 pm daily

GALLERY TALK
Monday March 21, noon

CLOSING RECEPTION
Monday, March 21, 5 pm - 6 pm

Party like it's 1952

1952 Beaux Arts Ball, Tulane School of Architecture Visual Media Archive

HAPPY HOLIDAYS FROM REGIONAL MODERNISM

Character study in Kodachrome

Joe Donaldson, originally uploaded by regional.modernism.

I've had the distinct pleasure of sorting through old kodachromes recently. This is one of my favorites. It was in a collection of "People" at Tulane School of Architecture and dated 1952.

"Joe Donaldson taught one class in watercolor for part of the year. I don't remember much about him except he was quite a character. He was a very talented man and very talented in teaching. It was interesting to watch him talk, because he had this habit of chain smoking and smoking two or three cigarettes at one time not realizing he had them lit. He would be on the board with chalk and cigarettes between his fingers and trying to write with the cigarette on the board. it was quite an interesting site. He was a very good teacher, a very good artist."

Milton Scheuermann, Jr. (TSA 1956) in Talk About Architecture

---------------------

UPDATE 12/16/10

Joe Donaldson (1914-1997) was born in New Orleans and Studied art at the Chicago Art Institute and Tulane University as well as with Enrique Alferez. He participated in the WPA Fine Art project in the 1930s and 1940s. In 1950-1952 he taught drawing and painting at Tulane University School of Architecture. To read more and to view some of his drawings and paintings see the The Joseph Donaldson, Jr. Memorial On-line Museum.

TSA Geodesic Dome project 01 1954

TSA Geodesic Dome project 01 1954, originally uploaded by regional.modernism.

Buckminster Fuller (1895-1983) served a six-week term as visiting critic at Tulane School of Architecture in February and March of 1954. Fifth-year students worked with Fuller to create this 18 foot geodesic dome model of a potential shelter or airplane maintenance hangar for the Marines. Here students raise the lightweight yet sturdy model on the quad of Tulane's front campus.

The Tulane geodesic dome model was constructed of cardboard formed into triangles, painted with plastic and joined with tape. According to an article in the April 1954 edition of The Tulanian, the dome was to be packaged and sent to the military base at Quantico, Virginia accompanied by Dean John Ekin Dinwiddie and several students. They would reassemble the model there for military inspection and it would soon undergo mass production.

I am not sure if the geodesic domes ever went into military production. However in 1958 Fuller returned to Louisiana to construct the Union Tank Car Dome outside Baton Rouge. Upon completion the 384 foot diameter dome was the largest clear span structure in the world and the largest structure of its type.

Tomorrow night please join AIA New Orleans and DOCOMOMO US/Louisiana in a free screening and the Louisiana premiere of director Evan Mather's

A NECCESSARY RUIN: THE STORY OF BUCKMINSTER FULLER AND THE UNION TANK CAR DOME

Wednesday September 8, 2010
Reception at 7, Screening at 8
AIA New Orleans Center for Design
1000 St. Charles Avenue

The Child is the Monument

The Child is the Monument, originally uploaded by regional.modernism.

Thirty thousand people attended an exhibit of revolutionary school construction designed by students of Prof. Charles Colbert, Tulane. Colbert above left, and Edwin Eley, assistant head of Orleans Parish Public Schools, check the exhibit.

In the 1950s thirty new public schools were constructed in New Orleans. The drive to modernize school facilities was spearheaded by Charles R. Colbert (1921-2007). In 1948 this young assistant professor at Tulane coordinated a 2nd year studio focused on designing modern schools suitable to our climate and sensitive to the needs of children. The subsequent public exhibition of this student work was viewed by 30,000 New Orleanians. “They went away all steamed up over such items as modern, soft-finish, non-glare desk tops; light-absorbing, easy on-the-eyes green chalk boards instead of old-fashioned blackboards; glass wall blocks which filter light and produce a soothing indirect illumination in the classroom; windows on two sides; ‘orientation’ toward prevailing breezes-----and all this at a smaller cost per foot than is usual for conventional school buildings.”

Colbert served for two years as Supervising Architect for Planning and Construction for the Orleans Parish School Board. In 1952 he produced A Continuous Planning and Building Program, a comprehensive study of existing facilities and plans for growth and development. The following spring Colbert resigned from this position as planner to focus on his architectural practice. And to practice what he preached.

‘The Child Is The Monument’ by Helena Huntington Smith, Colliers, September 3, 1949

Thesis Exhibit at the Ogden

Thesis 2009, Auto-mated Bloom: Bio-farming in the Atchafalaya Bay, Greg Barton, Tulane School of Architecture, originally uploaded by regional.modernism.

Please join us for the opening of

PROVOCATIONS: Tulane School of Architecture Thesis Projects 2009
Ogden Museum of Southern Art
925 Camp Street, New orleans, LA 70130

Friday May 8, 2009

6pm - 7pm RECEPTION
5th floor, Stephen Goldring Hall at the Ogden Museum

7pm - 8pm IMPRESSIONS
Commentary by
Billie Tsien, Tod William Billie Tsien Architects, New York
Mack Scogin, Mack Scogin Merrill Elam Architects, Atlanta

Hosted by Kenneth Schwartz, FAIA, Dean
Tulane School of Architecture in collaboration with
The Ogden Museum of Southern Art

For information, call 504-314-2361
Exhibition is Wednesday May 6 - Sunday May 10

NOVA.tulane.edu

Ponchartrain Expressway (1958), originally uploaded by regional.modernism.

The Tulane School of Architecture is pleased to announce the presence of the New Orleans Virtual Archive online. This project was conceived during the Exodus of 2005. In June of 2006 we were awarded a generous grant from the Graham Foundation for Advanced Studies in the Fine Arts to preserve and create universal access to our slide collection of New Orleans. Nearly 3000 slides that were taken by faculty, staff and students over the past sixty years have now been digitized and catalogued in LUNA.

Special thanks our partners at Tulane Technology Services who have provided server support and to all who have contributed to this collection.

http://NOVA.tulane.edu

Preservation Matters: Keynote address by Robert Ivy

On January 31, 2009 the Tulane School of Architecture hosted the Preservation Matters symposium organized by Dean Kenneth Schwartz. In this introduction he outlines the two main purposes of the symposium. "First, to focus on preservation education issues and the future of preservation in an open exploratory way, while inviting everyone interested in this topic... to focus on what this means to Tulane University as a national research university in this amazing city. . . . Second is to recognize the extraordinary contributions by Gene Cizek - the contributions he has made throughout his distinguished career at Tulane as Director of Preservation Studies." Dean Schawrtz also introduces the panel, Erica Avrami, Daniel Bluestone, Eugene Darwin Cizek, Ned Kaufman, Stanley Lowe, Jorge Rigau and the Keynote speaker, Robert Ivy.

The editor of Architectural Record since 1996, Robert Ivy holds a Masters in Architecture from Tulane University and is a former student of Gene Cizek. He provides an overview of Cizek's extensive accomplishments and legacy. Ivy looks forward to discuss challenges to preservation in China and London. He then looks back and frames the history of architectural preservation in the context of iconic buildings that focus on a significant person, event or place.

Ivy reminds us of the rich history of preservation in New Orleans. (In preservation we are progressive!) In 1925 New Orleans was the first city to pass an ordinance to create a historic district - the Vieux Carré. He also recalls the dedication of citizens like Elizabeth Werlein of New Orleans and the role of Tulane University in the growth of our local movement. He reviews the advances made by Tulane alumni in the field.

• Richard Koch (1910) "the progenitor of the Historic American Building Survey in New Orleans"
• Samuel Wilson (1931) "scholarly, authoritative, erudite and accurate"
• A. Hays Town (1926) "headed HABS in Mississippi....and produced the first drawings that HABS produced"
• Bernard Lemann (1926) "created an inventory of historic sites...part of the 1967 Community Renewal Program....mentor to generations of Tulanians"

In the Vieux Carré: A General Statement Lemann voiced the importance of recognizing the tout ensemble - the relationship of the part to the whole. This marks the evolution of an attitude of preserving individual buildings to one of preserving districts and a more comprehensive understanding of place.

Ivy reviews the history of legislation which enabled the growth of the movement. He discusses the National Trust's Main Street program as transformative - linking commercial revitalization to the preservation of historic buildings and neighborhoods. He credits New Orleans as a model community for preservation activity due to the combination of the high number of National Register Districts, efforts of the Preservation Resource Center, the enabling legislation and the commitment of individuals. Ivy's "democratization of preservation" is then the expansion of the dialogue and activity to a larger audience, "achieving the maximum benefit for the greatest number of people." He poses the question of representation. "Who is in charge here? Who guards the legacy? Who tells the story?"

Modernism, as exemplified locally in the Phillis Wheatley School, generally presents a problem to preservation. After the Second World War there was tremendous need for new buildings now. Some were excellent, worthy of care and recognition, while "others merely filled space." They present technical challenges due to the degradation of the physical fabric. They are often overlooked due to an "architectural myopia" - a condition that disables us from appreciating that which is too close.

Regarding sustainability, Ivy notes that the embedded energy of buildings is the greatest contributor to carbon emissions in the world. The percentage ranges by study -33% to 48% - more than transportation! This is increased by the energy required for demolition, hauling rubble and storing it somewhere "as a problem for the next generation."

New Orleans' architecture is generally well suited to its climate, utilizing convection, understanding how to pull a cooling breeze across a room. Extended roof lines shield walls from intense sun and rain. (see: Hoffman School) This responsiveness to site needs to be recognized and LEED needs to integrate its standards with preservation. Ivy suggests we are approaching a renewed Urbanism, an "Age of the City." He challenges the panel and audience to consider the following:

• What does Preservation mean now and for the future?
• Who is it for?
• What is the role of archaeology, science, economy, sustainability?
  

Special thanks to Tulane Technology Services for editing the video and hosting it on the Tulane YouTube channel.

Preservation Matters Symposium

Galatoire House (Albert Ledner, architect)

ledner30, originally uploaded by regional.modernism. Galatoire Residence, 1966, Albert C. Ledner, 11 Park Island, New Orleans, LA photo: Francine Stock

In December of 2007 the new owner of the Galatoire House at No. 11 Park Island graciously opened his doors to the board of DOCOMOMO-Louisiana for an informal tour with the architect Albert Ledner. The photographs featured in this post are from the 2007 tour. The house previously had been featured on a tour of modernist buildings in New Orleans organized by the Tulane School of Architecture in 1994. I recently found a copy of this brochure and will subsequently blog the other buildings listed as well.

This home blends antique and contemporary, delicate windows and massive curving surfaces. Mrs. Galatoire spent much of her life collecting components from buildings slated for demolition, and the architect took up the challenge of incorporating them into a coherent home.

The entry drive and courtyard are paved with cobblestones from the site of the International Trade Mart, and the courtyard features an antique three-tier iron fountain in a reflecting pool. Arched fan doors from the Garden District home of Josephine Louise Newcomb serve as the entrance.

Mrs. Galatoire's collection of windows from Good Shepherd Convent (built in 1866 at Bienville and Broad Streets for the care of delinquent little girls) includes the arched windows that form the front of the house and eleven stained glass ceiling fixtures.

To the right of the entryway is a guest suite. The bath features a Portuguese carved door dating to the mid-eighteenth century, collected from the home of Archbishop John Shaw. Bronze faced window benches with antique tiles from the Shaw house are seen in the bedroom, living room and television room.

Stone is important in this home. The downstairs floor is white marble, and several bathrooms include marble as well. The circular wall behind the dining room and living area is of granite.

The curving lines of the building are particularly striking as the balcony passes through the arched windows upstairs. Equally compelling is the view of Bayou St. John. The back stairway is also an exercise in curves. It spirals tightly, and the newel post is a series of stacked [glass] balls.

Mrs. Galatoire's eclectic tastes are evident in the kitchen: the cooking island, crafted from a single brass column, was once the service counter of [the Whitney] Bank. An antique door of glass and metal is from Spain.

More recent owners have added a memento from another chapter of New Orleans history: the Floating Leaves from the 1984 World's Fair Wonder Wall, designed by Kent Bloomer of the Yale Art Department.

source: "The International Style in New Orleans" tour brochure, Tulane University School of Architecture, copy by Patty Andrews, 1994.

see also: "The Creation of Park Island" by Carolyn Kolb, New Orleans Magazine, February 21, 2007

Save the Date

Saturday, January 31, 2009
Lavin Bernick Center, Kendall Cram Lecture Hall
Tulane University
Keynote speaker: Robert Ivy, FAIA
Editor-in-chief, Architectural Record
conference organized by Kenneth Schwartz, FAIA
Dean of the School of Architecture
FREE AND OPEN TO THE PUBLIC