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"It's Not Just About the Buildings, It's About the People": Architecture Practice, and Preservation in Post-Katrina New Orleans Bethany W

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Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2010 "It's not just about the buildings, it's about the people": architecture practice, and preservation in post-Katrina New Orleans Bethany W. Rogers Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Social and Behavioral Sciences Commons Recommended Citation Rogers, Bethany W., ""It's not just about the buildings, it's about the people": architecture practice, and preservation in post-Katrina New Orleans" (2010). LSU Doctoral Dissertations. 793. https://digitalcommons.lsu.edu/gradschool_dissertations/793 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. ―IT‘S NOT JUST ABOUT THE BUILDINGS, IT‘S ABOUT THE PEOPLE‖: ARCHITECTURE, PRACTICE, AND PRESERVATION IN POST-KATRINA NEW ORLEANS A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of Geography & Anthropology by Bethany W. Rogers B.A., Centre College, Danville, KY, 1996 M.U.R.P., The University of New Orleans, LA, 2003 December, 2010 Creation, preservation, destruction – the three points of life. The Textbook of Yoga Psychology, Ramamurti Mishra, M.D ii For all those who returned to New Orleans after Hurricane Katrina or came for the first time to help her soul. iii Acknowledgements First of all, I want to thank all my research participants, from those who took the time to do in-depth and recorded interviews to those who offered poignant insight in brief or passing encounters. It was a privilege to share firsthand in your committed and passionate efforts to restore New Orleans. You are not only the source of my findings and my reflections in this dissertation, you are its inspiration. I would like to thank my principal advisor, Dydia DeLyser, for her commitment to qualitative and critical research and work that celebrates overlooked, misunderstood, and disempowered people and places, as well as her valuable guidance as an academic mentor, editor, and friend. Because of her deep ethnographic commitment to New Orleans and the rewards and challenges of collaborative research more generally, I am both academically and personally grateful for the refined insight and encouragement Helen Regis, my secondary advisor, has brought to this dissertation. I am fortunate to have three distinguished academics as my additional committee members – Michael Bowman, Craig Colten, and Barrett Kennedy, and I am very appreciative of the knowledge, experience, and attention they have offered this work. I also want to acknowledge Miles Richardson, the Godfather of this dissertation both intellectually and spiritually, as well as the invaluable support of Patrick Hesp. Jay Edwards freely offered his expertise to this research. Additionally, the department‘s staff has helped me in crucial ways during my time at LSU. Thanks to Dana Sanders, Linda Strain, Nedda Taylor, and Vicki Terry. The input, encouragement, and steadfastness of my LSU classmates has helped carry me through this process. Rebecca Sheehan has been both my mentor and companion for the journey and Tom Sullivan has brought me so much inspiration (as well as humor) because of his passion and commitment to his own research and our work together to become cultural geographers. To Paul iv Watts for being on the journey with me throughout and all the others who have stepped in at crucial points along the way – Alex Giancarlo, Gentry Hanks, Bess Matassa, Cory Sills, Case Watkins. I have to acknowledge my friends and colleagues at the Neighborhood Story Project, Rachel Breunlin and Abram Himmelstein, who serve as my guides on how to integrate academic commitments with community outreach and who helped make Cornerstones the book and the project a reality. To Dan Etheridge, a public scholar and friend, who created the opportunity for me to collaborate with the Tulane School of Architecture, and also to the important support of Scott Bernhard and Emilie Taylor at the Tulane City Center. Matt Sakakeeny at Tulane‘s School of Music offered guidance and support as a fellow ethnographer making sense of research in New Orleans in the immediate months after Hurricane Katrina. And last, I have to acknowledge the people who made this pursuit possible from the outset, my parents Pam and Buck Rogers. For my mother who gracefully earned her doctorate while working full-time and maintaining a steadfast presence in the lives of her busy teenage children. Thank you for your amazing example and also for understanding that my journey to earn my doctorate had to be my own. For my father who imparted his gifts and passions for writing and scholarship. The days of Mr. Rogers Writing School were an important piece of my dissertation pursuit, but nothing like the bottomless support you have provided these hard writing years. To Leslie Hickey, my lifelong friend, who literally cheered me every step of the way and to Seneca Hennrich who has been a companion and presence in so much of my New Orleans life, including my field research. And for the many amazing friends and family members who stepped up big in points of this process to help get me through – Jennifer Berniard, Sarah Borealis, Stephanie Brownlow, Natallie Cassat, Tony Cassat, Marcus Corp, Katy Coyle, Stacey Gengel, Laurie Glazer, Janene Grodinsky, Nicki ―16‖ Hennrich, Wendy Herschman, Sissy Long, David Longenecker, Eloise Longenecker, Michelle Longino, Diane Marabella, Christina McCroy, Debbie Moran, Laura v Moran, Wendy Moran, April Morgan, Heather Rae Miller, Jamie Paradis, Dot Racke, Dave Remetter, Che Rhodes, Erin Ricci, Colin Rogers, Deborah Smith, Naomi Stuecker, Ginny Sullivan, Sarah Sullivan, Christof Szapary, Heather Szapary, Allison Wolf, and Kristin Wylie. vi Table of Contents Acknowledgements...........................................................................................................................................iv List of Figures...................................................................................................................................................viii Abstract.................................................................................................................................................................x Chapter One Introduction: Architecture, Practice, and Preservation in Post-Katrina New Orleans.......................................1 Two Preservation in Context, Preservation in Crisis..............................................................................32 Three Architecture and Practice: A Theoretical and Methodological Framework..............................................................................52 Four ―The Building Itself Goes with the Atmosphere‖: Meaningful Intersections of Architecture and Practice.................................................................87 Five ―That Place Goes Along with What We Do‖: Architecture and the Perpetuation of Cultural Practices and Traditions.................................131 Six ―Speaking for the Communities and the Buildings‖: Preservationists‘ Protective Efforts and Impasses.......................................................................178 Seven Intimacy, Flexibility, Continuity, and Generosity: Conceptualizing and Documenting Architectural Significance.................................................226 References........................................................................................................................................................255 Appendix A, Interview Table........…..............................................................................................................................274 B, Cornerstones Materials.............................................................................................................................276 C, Semi-structured Interview Questions.....................................................................................................280 D, Typical Weekly Schedule of Ethnographic Field Research................................................................281 Vita....................................................................................................................................................................282 vii List of Figures Figure 1.1: Map of New Orleans and waterways with major levee failures……………………….....6 Figure 1.2: Map of study sites……………………………………………………………………..19 Figure 3.1: Kniffen‘s Checklist Field Survey Sheet……………………………………………........74 Figure 4.1: Black Men of Labor Social Aid and Pleasure Club at Tootie’s Last Suit Second Line….....88 Figure 4.2: The Sound Café and a small crowd for an art showing………………………………...95 Figure 4.3: Interior of Sound Café………………………………………………………………...95 Figure 4.4: Floor plan of the Sound Café………………………………………………………......96 Figure 4.5: Bass drum propped against wall……………………………………………………......98 Figure 4.6: Footprint of Sound Café………………………………………………………………98 Figure 4.7: Youth music clinic…………………………………………………………………...106 Figure 4.8: Jazz concert on upper/―stage‖ level of café…………………………………………..106 Figure
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