CUkrTTJRAL RESOURCE MANAGEMENT InfqirtrTation for Parks, Federal Agencies, IncyrfrTTribes, States, Local Governments, ancUM£*Private Sector

VQOTME 18 NO. 8 1995 •OT

Preserving th^Recent Past

RS. DEPARTMENT C K>R National Park Service Cultural Resources PUBLISHED BY THE VOLUME 18 NO. 8 1995 NATIONAL PARK SERVICE Contents ISSN 1068-4999

To promote and maintain high standards for preserving and managing cultural resources Preserving the Recent Past DIRECTOR Roger G. Kennedy

ASSOCIATE DIRECTOR Katherine H. Stevenson The Recent Past 3 EDITOR Rebecca A. Shiffer Ronald M. Greenberg PRODUCTION MANAGER Preserving the Recent Past Karlota M. Koester An Introduction 5 GUEST EDITORS H. Ward Jandl Sharon C. Park Rebecca A. Shiffer Saving the Suburban Sixties ADVISORS Historic Preservation Planning in Fairfax County, Virginia 6 David Andrews Bruce M. Kriviskey Editor, NPS Joan Bacharach Museum Registrar, NPS Landmarks of Chicago Blues and Gospel Randall J. Biallas Historical Architect, NPS Chess Records and First Church of Deliverance 10 John A. Bums Tim Samuelson and Jim Peters Architect, NPS Harry A. Butowsky Historian, NPS Structural Glass: Its Flistory, Manufacture, Repair, and Replacement ... 15 Pratt Cassity Carol J. Dyson and Floyd Mansberger Executive Director, National Alliance of Preservation Commissions Muriel Crespi Cultural Anthropologist, NPS Stonewalling America Craig W Davis Simulated Stone Products 20 Archeobgist, NPS Ann Milkovich McKee Mark R. Edwards Director, Historic Preservation Division, State Historic Preservation Officer, Georgia Bruce W. Fry The Metal and Glass Curtain Wall 23 Chief of Research Publications Bruce S. Kaskel National Historic Sites, Paries Canada John Hnedak Architectural Historian, NPS International Perspectives on 20th-century Heritage 27 Roger E. Kelly Archeologist, NPS Thomas C. Jester Antoinette J. Lee Historian, NPS John Poppeliers Preservation and the Recent Past 31 International liaison Officer New from Technical Preservation Services for Cultural Resources, NPS Brit Allan Storey Historian, Bureau of Reclamation Federal Preservation Forum Inside— CONTRIBUTING EDITORS Cultural Resource Training Directory 1996 information form. Stephen A. Morris Certilled Local Governments (CLG) Coordinator, NPS Response requested by November 3, 1995. Kay D. Weeks Technical Writer-Editor, NPS

CONSULTANTS Cover photo: Olympic Stadium, Helsinki, Finland, photo by Thomas C. Jester. The stadium was designed byToivo Michael G. Schene lantti and Yrjo Lindegren in 1938 for the 1940 Olympics, which were cancelled due to the war in Europe. Historian, NPS Finland hosted the 1952 Olympic Games. Wm. H. Freeman Design, Imaging. Production-Freeman Publishing Services

Statements of fact and views are the responsibility of the authors and do not necessarily reflect an opinion or endorsement on the part of the editors, the CRM advisors and consultants, or the National Park Service. Send articles, news items, and correspondence to the Editor, CRM (400), U.S. Department of the Interior, National Park Service, Cultural Resources, P.O. Box 37127,Washington, DC 20013-7127; (202-343-3395, FAX 202-343-5260, Internet: [email protected]).

2 CRM NP 8—1995 Rebecca A. Shiffer The Recent Past

And now there's only one thing that I'd like to know. Materials Conservation — and an in-depth work­ shop examining the Curtain Wall, a building con­ Where did the Twentieth Century go? struction type unique to the 20th century. I'd swear it was here just a minute ago. Conference presentations and conversations among participants stressed again and again that —Steve Goodman, The Twentieth Century is Almost Over while traditional approaches to the preservation of historic buildings and landscapes, as reflected in RM first examined cultural the track titles, are largely applicable to 20th-cen­ resources from the recent past in a tury resources, some evolution in methodology 1993 thematic issue (Volume 16, will be required if we are to succeed in preserving No. 3). By 1993, cultural resource the recent past. Preservation efforts must begin professionalCs were beginning to define the recent with an understanding of the historical and cul­ past and to formulate arguments for the preserva­ tural significance of the resources, many of them tion of its buildings and landscapes. Since then, less than fifty years of age. Until now, cultural preservation gains and losses, media attention, resource professionals have relied on the passage scholarly publications, and grassroots word-of- of time to explain that significance and to tell us mouth have all raised public awareness of the what elements of the past are worthy of preserva­ The Fountainbleau, significance and state of the 20th-century built tion. But more recent resources are already disap­ Miami Beach, environment and cultural landscapes. pearing too rapidly to afford the luxury of allowing Florida, designed by Perhaps the surest sign of a growing interest specified periods of time to pass before studying Morris Lapidus, l954.The architect in the recent past occurred with the convening of them. Time obliterates — often literally — as eas­ said of his buiiding, over 800 people from the US and abroad in ily as it clarifies. With solid scholarship, the signif­ "Peopie ioved it, but Chicago in March 1995 to participate in the icance of much of the recent past can be put in the critics were Preserving the Recent Past conference sponsored historic perspective now. aghast." by the National Park Service and other federal Like resource evaluation, formulating preser­ Autographed post­ and state agencies and national organizations. The card courtesy of vation and reuse strategies takes on a special twist Dennis R. conference offered three tracks — Resource because more recent resources often lack the Montagna. Evaluation, Preservation and Reuse Strategies, broad popular appeal of older resources. Modernist buildings, suburbs, roadside structures, and missile silos do not easily fit the popular con­ cept of "old," let alone "historic." They also defy the general understanding of "aesthetically appeal­ ing," which consciously and unconsciously drive many people's decisions about the worth of ele­ ments of the built environment. Cultural resource professionals largely appreciate the significance and fragility of the recent past, but they still face the formidable task of convincing a public that generally does not "get it." Finally, the conservation of recent materials is still a nascent field, and it promises to offer far more complexities than the care of traditional materials such as wood, bricks, paint, and mortar. The 20th century has witnessed the unprecedented growth of new manmade building materials. With the rapid change that has been a given in this cen-

CRM NO 8—1995 3 tury, many of these materials have already passed out of use. Zenitherm, Flexboard, and Cushocel are long gone from the shelves of the lumber Designed by archi­ yard and home center. The tect Charles Noble large-scale industrial manu­ in 1936, the facturing processes and equip­ Elwood Bar in Detroit, Michigan, ment used to make these was constructed materials are now obsolete or with porcelain non-existent, making modern enamel panels, a materials virtually impossible relatively new build­ to replicate for restoration ing material at that time. Photo cour­ needs. As a consequence, tesy ofWilliam recent materials challenge the Scarlet. ingenuity of cultural resource professionals, who are eager to learn of successful projects that could inform international efforts to evaluate, interpret, and pre­ their own work. serve architecture of the recent past. The articles presented here reflect current These articles, and the conference for which issues in the state of the recent past. Five of they were first prepared, are by no means the last these—denoted by the Greyhound bus station words on this topic. Instead, they are among the logo—are reprinted from the published proceed­ first words in a field of scholarship and conserva­ ings of the Preserving the Recent Past conference. tion that will ultimately lead to effective methods H. Ward Jandl's introduction lays out the ques­ of preserving and caring for 20th-century tions faced by cultural resource professionals deal­ resources. Ward Jandl calls the preservation of the ing with the recent past and underscores the need recent past "the greatest challenge of all.[one for continued discussion of the issues unique to which] preservation professionals will be grappling 20th-century buildings and landscapes. Bruce with for the remainder of this century and well Kriviskey reports on historic preservation planning into the next millennia." efforts in Fairfax County, Virginia, which are per­ Where do we go from here? To meet this haps unique in including local historic design challenge, we need to build upon what we know review of an historic district constructed entirely in and reach further. As in any new field, our under­ the 1960s. Tim Samuelson and Jim Peters describe standing and appreciation of the significance of the restoration of a building significant for its the resources has advanced further than our associations with the history of American rock- knowledge about how to maintain and conserve and-roll, and the emerging needs to restore 1950s them. Many excellent books, articles, and other building materials that have been considered published materials about the recent past, specific intrusive at worst, and ephemeral at best. building types, and, to a lesser extent, materials, Three articles examine modern building are now available. One aspect of the field that materials and construction. Carol Dyson and needs greater attention is the research and study Floyd Mansberger discuss the history of and offer of the properties of modern building materials. conservation techniques for structural glass, which This is the essential foundation for making found wide application on both the interior and informed decisions about treatment; it is impossi­ exterior of buildings constructed and remodeled ble to determine an appropriate treatment without during the mid-20th century. Ann Milkovich understanding what you are treating. We must McKee presents perhaps the first comprehensive attempt more conservation treatments, instead of research on a group of materials that may be the removal, of these historic materials, forging part­ most ubiquitous, most derided, and least under­ nerships between preservation professionals and stood of recent building materials — simulated the building owners who are their clients to sup­ stone (Formstone, etc.). Bruce Kaskel examines port these efforts. And we must actively share the curtain wall, the construction system that liter­ results with colleagues through publications, meet­ ally changed the face of corporate architecture ings, conferences, and newer on-line technologies. during the decades following World War II. Concern with the preservation of 20th-cen­ Rebecca A. Shiffer is an architectural historian, tury cultural patrimony is not solely, or even pri­ Technical Assistance Branch, Chesapeake and marily, an American phenomenon. Thomas Jester Allegheny System Support Office, Northeast Field looks beyond our borders and surveys ongoing Area, National Park Service, Philadelphia.

4 CRM NO 8—1995 H.Ward Jandl Preserving the Recent Past An Introduction

ver the past several years, when the marble veneer of Amoco's highrise head­ preservationists have finally quarters in Chicago began to fail? Or was it when begun to devote serious attention Connecticut's State Historic Preservation officer to the immense challenge of doc­ requested a determination of National Register eli­ umentingO, evaluating, and conserving cultural gibility for the Merritt Parkway? resources from the 20th century. This attention We are faced with defending, documenting, occurs not a moment too soon: it is clear that evaluating, and preserving resource types that did these are the issues that preservation profession­ not even exist until the middle part of the 20th als will be grappling with for the remainder of century: the shopping mall, the network of high­ this century and well into the next millennia. ways criss-crossing the country, the curtain wall Plastic laminates Our predecessors in the preservation move­ skyscraper, the housing development, the edge were used not only ment fought battles to protect remnants from the city. What is the history of these new building for countertops but Victorian age: buildings and neighborhoods that types and by what criteria should their signifi­ for storefronts were not widely appreciated in the 1950s and cance be evaluated? Which of the 2,800 nearly beginning in the identical Lustron houses constructed around the late l920s.This 1960s by the general public—or by many archi­ Formica advertise­ tects and historians, for that matter. While these country between 1948 and 1952 are worthy of ment promoted resources still continue to be at risk, at least today preservation and why? designs using col­ there is a broad body of information and knowl­ The strategies for protecting and reusing ored and metal edge about their history, significance, and care. these resources, while owing much to past efforts inlays. At the present time, we as preservationists with 18th- and 19th-century structures and neigh­ Architectural Forum, January are confronting perhaps the greatest challenge of borhoods, must deal with a scale that is unique to 1937. all: how to deal with the 20th-century built envi­ the 20th century: multi-building, high-rise housing ronment. It is hard to projects, colossal airport hangars, and military identify the defining bases that are measured in miles, not acres. Such moment when we rec­ strategies must also include a heavy—and particu­ ognized that it was larly creative—dose of education and awareness- time to face up to our building: why should the public care about recent past. Was it military structures built during the Cold War? when Barbara What is so special about mass-produced, prefabri- Capitman pushed to cation houses? How can the general public be have a good chunk of made aware of the importance of early gas sta­ Miami Beach placed tions, bus terminals, and other roadside architec­ on the National ture? Register? Was it when Enormous challenges also face architectural Philip Johnson conservators, engineers, and architects who are decided to donate his beginning to rehabilitate and restore 20th-century Glass House to the resources; the materials in need of conservation National Trust for are not only the traditional brick, stone, wood, Historic Preservation? and iron of yesterday but more complex materials Was it when state such as plywood, fiberglass, stainless steel, and and local preserva­ plastics. Building systems are no longer simple tionists fought to save masonry bearing wall construction or wood bal­ Lockefield Gardens in loon frame but curtain wall or post-tension con­ Indianapolis, a public crete. How does one preserve 20th-century housing project from materials that may be identified with significant the 1930s? Was it health problems?

CRM N2 8—1995 5 The serious study of the recent past is a historic resources. Together, the workbook and the relatively new phenomenon; there have been conference will greatly expand the body of practi­ few scholarly books on the subject, and articles cal information available to preservation profes­ in professional journals are few and far sionals on evaluating and protecting the recent between. The papers included in the handbook past. for the national conference, Preserving the Recent Past, Chicago, March 30 through April H. Ward Jandl, Deputy Chief, Preservation 1, 1995, have made an important contribution Assistance Division, National Park Service, to understanding and addressing these issues. Washington, DC, died suddenly of heart failure just The conference was organized specifically to two weeks prior to the conference, Preserving the bring together preservation professionals from Recent Past. The conference and workbook were his North America and Europe to consider the idea and stemmed from his interest and expertise in unique challenges of preserving 20th-century 20th-century building types and their preservation.

Bruce M. Kriviskey Saving the Suburban Sixties Historic Preservation Planning in Fairfax County, Virginia

he notion of "historic preservation" a general store as late as the 1960s, now the com­ in Northern Virginia's Fairfax mercial hub of the county and the seventh largest County—the most intensely devel­ business district in the country, with over 20 mil­ oped jurisdiction in the lion square feet of office and retail space. WashingtonT, DC, metropolitan area—often taxes Archeologists might say that snapshots one and one's credulity. Those familiar with the county, three depict the same spot and simply show the but whose perceptions are of only gridlock and impact of the view shown in snapshot two on the sprawl, strain to remember what is left that is past and present of a traditional crossroads trad­ old, much less historic. They recall waggish ing center. bumper stickers that use Fairfax as a verb Of course, there are venerable sites of his­ describing an act that should not be done to toric and architectural significance in the county— other nearby counties or, for that matter, to the Mount Vernon, Woodlawn Plantation, and rest of Virginia. Those less familiar with the Gunston Hall, to name a few. There are also hun­ county may have read what some observers have dreds of lesser known 18th- and 19th-century his­ written about our "Edge Cities," "Beltway toric sites scattered around the county, as well as Bandits," and "McMansions." more than 2,000 recorded archeological sites The history of Fairfax County can be cap­ including one about 8,000 years old (properly tured in three "snapshots." The first shows a group excavated and recorded, of course) now under a of earnest Paleo-Indians ambushing a Wooly parking structure in Tysons Corner. Collectively, Mammoth at the crossing of two well-worn paths these ably represent the heritage of the nation, in the ice-age tundra. The second shows a graph state, and county. of population change in the county since the first Needless to say, these invaluable traces of census in the 1790s. The population level was vir­ the past— traditional history, if you will—have tually flat until the 1930s; it doubled each decade been the focus of the county's preservation plan­ from 1940 until 1980, and it doubled again over ning program since the early 1960s. But, this is the past 14 years to over 820,000 today—an aver­ history to read about, not recall; to look at, not to age increase of 88% per decade since World War have lived. About 10 years ago, this dichotomy II. The third is of Tysons Corner, a gas station and was recognized by those concerned with under-

6 CRM NS 8—1995 policy of the times. In the early 20th century, the world view brought on by World War I and the "alphabet soup" response to the woes of the Depression caused Washington to become the hub as well as capital of the nation. Fifty years ago, World War II pushed a moribund military into the forefront of the bureaucracy and, in the heat of the Cold War, the military-industrial complex mush­ roomed, crossed the Potomac, and grew in the Tysons Corner fields of Fairfax County. about 1940. In the Iate-19th and early-20th centuries, Fairfax County was the dairy center of the United Photos courtesy of States and the breadbasket of the nation's capital. Fairfax County To accommodate these activities, the mud and Public Library Photographic gravel roads that once were only farm-to-market Archives. routes began to be traveled in both directions. Washington residents, particularly the upwardly mobile middle class, sought homes or weekend Tysons Corner in retreats way out west in the inexpensive, open the 1980s. countryside of McLean, Mount Vernon, Great Falls, and Fairfax City. Houses were added to tiny crossroads villages like Dunn-Loring, Langley, Vienna, and Clifton, while trolley lines grew along with public services and local commerce. This gen­ tle infiltration began as Washington became an employment magnet. It became a great invasion as the city's population exploded from the "War to End All Wars" to the "War on Poverty," as tens and then hundreds of thousands of people made standing and preserving the heritage resources of Fairfax County their home. In re-re-re-redoubling the county and questions were raised, traditions the population, they made another kind of history, challenged, and goals debated. not more or less significant than the past 250 or 10,000 years, but different and more challenging Debate focused on defining the most histori­ to identify, record, communicate, and, yes, pre­ cally-significant periods in the history of Fairfax serve. County. Prehistoric days that ended with the explorations of Captain John Smith and other Identifying the Recent Past Europeans? Days of the Royal Proprietor, Thomas, In 1988, Fairfax County adopted its Heritage Sixth Lord Fairfax, when the lands that became Resources Management Plan. This plan identified the great plantations were granted, assembled, 10 so-called study units beginning with the prehis­ cleared, and cultivated? Patriot days when the toric Paleo-Indian cultures, the time of Hunter- county's two Georges, Washington and Mason, Gatherers, and the beginnings of European fathered a nation and its Bill of Rights? The days contact. It then focused on the historical periods when westward expansion meant a scattering of including those of the tobacco plantation society, wilderness homesteads 10 or so miles upland from free black communities, Civil War and the Potomac? Or the days when Colonel John Reconstruction, and agrarian culture. The latest of Singleton Mosby provided many sleepless nights these study units is most relevant to the recent for Union occupying forces? All of these are signif­ history of Fairfax County— that of suburbaniza­ icant times that affected tens, hundreds, and even tion and urban dominance. thousands of people. But, the era that affected The plan described the cultural context of hundreds of thousands came after these. each study unit as well as the heritage resource The Beginnings of the Recent Past types that typifyth e time or group. For the subur­ In the late 19th century, economic and social banization unit, typical resources included horse woes affecting the nation and the ease of travel farms and commercial agriculture, industrial parks and communication throughout the country and shopping centers, planned communities and reduced the importance of state governments. By crossroad clusters, trolley lines and paved high­ the turn of the century, the scale of the federal ways, single-family housing and cooperative apart­ bureaucracy began to expand with the rise of new ments, government offices and military regulator)' agencies and the expansionist foreign installations, and schools and parks. A subcate-

CRM N2 8—1995 7 gory of the study unit, perhaps unique to northern tographic recording project, undertaken by stu­ Virginia, is "colonialization"— the design influ­ dents of the urban architecture program of Virginia ence of Mount Vernon and, to a lesser extent, Polytechnic and State University (Alexandria Williamsburg in both new construction and Center), recorded all the basic themes and varia­ remodeling. Here, columns and cupolas were tions. This has sparked an interest in studying added to everything from 19th-century vernacular other works by this well-known Washington area farmhouses to gas stations and high-rise office architect as well as an interest in contemporary, as buildings. Architectural kitsch became architec­ opposed to traditional (read "colonialized"), tural history as the visual character of much of the design in the county. county was formed. Communicating the Recent Past Not surprisingly, studying this part of the In addition to sponsoring the work of others, past bucks the traditional concerns of archeolo- such as the Hollin Hills survey, Fairfax County has gists, historians, and preservationists. Because of a growing interest in publishing materials relative this, many of the resources identified in this unit to recent history. The Fairfax Chronicles, the had been unsung and unsaved. With the prodding county's newsletter devoted to archeology, history, of the Heritage Resources Management Plan, an architecture, and historic preservation, has been awareness of the cultural significance of these published for the past 16 years. Within the past properties has increased and they are now consid­ four or five years, more and more articles and pho­ ered worthy of study and recording. Researchers tographs about the early and mid-20th century have found that they are fun, too. have been included. These are extremely popular Recording the Recent Past with the public, particularly school children. An The Fairfax County Inventory of Historic article and twilight color photograph of the neon- Sites was begun in the 1960s and now includes lighted Frozen Dairy Bar stirred up much nostalgia nearly 300 properties. At least a fourth of these as did a recent article on the 30th anniversary of were built or remodeled in the 20th century and the opening of the Capital Beltway, the circumfer­ include such niceties as Wright's Usonian Pope- ential highway serving the Washington metropoli­ Leighey House, built in 1940 and relocated in tan area. In that issue, early aerial and ground 1964; roadside attractions such as the 1950 photographs were printed side by side with Frozen Dairy Bar, now in architectural mothballs; increasingly more cluttered street maps to tell the shopping centers such as Seven Corners, opened story of post-World War II development in Fairfax in 1956, the first in the Washington metropolitan County in a way that both long-time residents and area; and planned communities such as Hollin newcomers could understand. It was history they Hills, 1949-1962, and Reston, begun in 1965. could touch, and laugh at. The cover photograph The inventory is primarily that, a list of showed the brand new Beltway bumper-to-bumper properties deemed to be of sufficient interest to be with the parked automobiles of those who came to studied and recorded. Inventory properties are not witness its grand opening in 1964. It hasn't protected, although over 30 are also listed in the changed much since. National Register or included in local historic dis­ One of the more popular communications tricts. They are, however, taken into consideration devices sponsored by the county, in conjunction in the county's planning and zoning processes. with the Virginia Department of Historic There is also a parallel inventory for archeological Resources, is a highway marker program. These sites, now numbering over 2,000, but only a hand­ are the roadside markers that you try to read as ful of these relate primarily to 20th-century you drive past (new ones are now placed at inter­ resources. sections or at convenient pull-offs) that tell who An example of the type of recording of the lived, fought, or otherwise did something of histor­ recent past that is taking place in Fairfax County ical interest at that place. The three latest markers is the photographic survey of the planned commu­ in the county deal with the outer defenses of nity of Hollin Hills. Begun in 1949 and completed Washington, but not during the Civil War or War in the 1960s, this single-family housing project of 1812. Rather, these tell about the three Nike was singled out as a "milestone in the future of anti-aircraft missile launching sites located in the American architecture" in the 1957 centennial county during the hot days of the Cold War. These exhibit of the American Institute of Architects. Its were well-guarded secrets until phased out in the houses designed by the late Charles M. Goodman, 1960s, except for the fully-equipped one used as a came in 14 "basic" types. Buyers could make indi­ tour site to impress on foreign dignitaries that vidual modifications within the context of the America did, indeed, carry a big stick. Now they architectural design and the park-like landscape, a are grassy spots in public parks, but with a history new concept that bridged the gap between custom as important as the line of fortifications that ringed and cookie-cutter design. The purpose of this pho­ Washington on the Virginia side of the Potomac

8 CRM N2 8—1995 100 years earlier. Both sets of fortifications were more psychological deterrents than actual ones, and none ever fired a shot in anger. Preserving the Recent Past Like the forts and launching sites of past eras, Fairfax County has the latest arsenal of his­ toric preservation tools at its disposal. These Hollin Hills in the include 13 Historic Overlay Districts officially des­ 1950s. ignated by the Board of Supervisors and subject to design review as part of the county's Zoning Ordinance. Because of the architectural traditions

Photos courtesy of and development patterns of the county, none of Fairfax County these include the uniformly old urban neighbor­ Public Library hoods that are typical of historic districts through­ Photographic out the country. Rather, most Fairfax County Archives. districts focus on a single primary structure—the Pohick Church of 1769, or the 1794 Sully and 1806 Woodlawn Plantations. An essential part of Lake Anne Village these districts, if not the key, is the larger land­ Center, Reston, scape context that defines approaches to the pri­ 1911. mary, or core, properties as well as views to and from them. A few of the county's historic districts are more traditional building clusters, the least tradi­ tional of which is the Lake Anne Village Center of Reston. This residential/commercial complex was built in 1965 and formally designated as a Fairfax County Historic Overlay District in 1983. To my knowledge, this is the only designated historic dis­ The center was designed and built as a trict in the country subject to local design review whole with each element fitting into the entire where every bit was built in the 1960s. scheme. Buildings ranging in height from two to Fitting right into the theme of suburbaniza­ four stories line the lake and plaza while one 18- tion and urban dominance, Reston occupies the story apartment building stands as a focal point at former 7,000-acre Bowman Farm, which by the the end of the plaza. A "J" shaped row of shops mid-20th century was the largest single tract of topped by apartments encloses the wide plaza and land in the area. The Bowmans had tried to crowns the northern tip of the lake. The buildings develop a new town themselves, but eventually share a common vocabulary of design and materi­ sold the land to Robert E. Simon. In 1961, he als; the modern, straight-edged architecture is exe­ began to plan, build, and market Reston, and to cuted in medium brown brick with dark brown use his initials in the name. Ironically, this had wood trim, gray concrete, and glass. The buildings been the site of another planned town in the are complex compositions of solid and void, with 1890s with the less catchy name of Wienie, which many balconies, sheer brick walls, flat but varied never grew to more than a handful of buildings. rooflines, and expanses of glass. Concrete sculp­ Unlike Wiehle, Reston, home now to over ture and, today, mature landscaping accent the 60,000 people, was phenomenally successful. plaza where moms with strollers enjoy the human From the beginning, critics hailed Reston's con­ scale. cept of village centers surrounded by greenbelts as As with the more traditional of Fairfax a significant planning and architectural achieve­ County's Historic Overlay Districts, the goal is to ment. Lake Anne Village Center, designed by the protect the architectural and environmental fabric New York firm of Whittlesey and Conklin, was the of the center and to assure that future develop­ first of the village centers built and was designed ment is compatible with its existing architectural at a pedestrian scale with a mix of residences, character. For the Lake Anne Village Center, this is offices, and retail stores gathered around lakes not as easy as it sounds. These mixed-use build­ and plazas, urban spaces in the suburbs. As a ings were products of the 1960s, and designed to 1981 Washington Post article observed, "No piece meet contemporary needs with the technologies of of Northern Virginia real estate was more praised the times. As such, they are essentially speculative and honored in the 1960s than Reston's Lake commercial buildings designed and constructed to Anne Center." last around 30 years. Today, 30 years later, parts

CRM N2 8—1995 9 are wearing out, pieces falling off, and buildings nation with the recent past. But, what of this past built before energy was a problem and big-box is significant enough right now to warrant public stores were the competition present challenges to respect and scholarly interest? preservation-minded owners and to the county's In Fairfax County, as in any other suburban Architectural Review Board. Working with jurisdiction, the answers fall along a sliding scale. Reston's own Design Review Board while projects To us, however, all evidence of the recent past is are still on the drawing boards has smoothed this significant because of what it can teach us about process significantly. where we, not just our parents or grandparents, Challenges to Preserving the Recent Past have come from and how we have coped, for bet­ Aside from the technical challenges of pre­ ter or for worse, with the opportunities, needs, serving an architectural fabric that was never and constraints of geometric growth. That is why intended for anything near posterity, the biggest we are sifting through what is left of the resources challenge to preserving the recent past of Fairfax of the recent past, some to merely note, some to County is overcoming the notion that it just isn't celebrate, some to preserve, and all to respect. past enough. The "50-year threshold" has not Would that our parents and grandparents had been crossed, and we are dealing with architec­ done the same. tural nostalgia, not architectural history. This, however, is a purist, not populist, argument. A Bruce M. Kriviskey, AIA/AICP, is the Chief of the browse through any of today's "Antiques and Heritage Resources Branch in the County of Fairfax Collectibles" shops where Fiesta Ware, Tonka Office of Comprehensive Planning, Falls Church, trucks, and chrome-plated dinette sets command Virginia. premium prices reflects the growing public fasci­

Tim Samuelson and Jim Peters Landmarks of Chicago Blues and Gospel Chess Records and First Church of Deliverance

or most of its first 20 years of exis­ In 1989, the Commission designated an oth­ tence, the Commission on Chicago erwise nondescript, two-story building at 2120 Landmarks has been largely con­ South Michigan Avenue as a Chicago Landmark, cerned with the protection of the due to its use between 1957 and 1967 by Chess city's Fworld-famous collection of late-19th and Records, one of the principal music labels associ­ early-20th century architecture: the skyscrapers ated with the development of American blues and and early commercial buildings of the Loop, the rock and roll. And, in 1994, a former hat factory mansions of the Gold Coast and the Near South building at 4315 South Wabash Avenue was given Side, and a variety of Prairie School residences. city landmark status, partly because of the impor­ On at least two occasions in the last few tance of its longtime occupant, the First Church of years, however, the Commission has headed in an Deliverance, to the development of American entirely new direction, from the well-traveled gospel music in the 1930s and 1940s. paths of architects Louis Sullivan and Frank Lloyd The process of landmarking these two build­ Wright to that of such influential musicians as ings, particularly in the case of Chess and its inte­ Chuck Berry, Dinah Washington, and Muddy rior design, has proven to be a new and Waters. enlightening challenge that has altered the way the

10 CRM N2 8—1995 Chicago preservation community looks at recent- Among the roster of blues artists recorded by date historic sites. It also raises several questions Chess throughout the 1950s were Muddy Waters, about how to document these modern sites, and Howlin' Wolf, Sonny Boy Williamson, Little the need for new research techniques. Walter, and Willie Dixon, the latter being a multi- The Chess Records Story talented composer, bass player, and producer who In contrast to the finely detailed buildings had a major impact on the creative direction of the that authenticate the works of Chicago's turn-of- Chess label. Equally important were the contribu­ the-century architects, Chess Records was a rau­ tions of Chess Records, and its subsidiary Checker cous, streetwise business rough-hewn out of the Records, in the early rock and roll recordings of Bo city's streets. Leonard and Phil Chess were tough- Diddley and Chuck Beny. Leonard Chess' first talking Polish immigrant brothers who captured office was in a small storefront at 2300 East 71st the distinctive sound of Chicago's African Street. The following year he moved to a new American blues performers of the 1950s and storefront location at 5249 South Cottage Grove 1960s on record, forever altering the course of Avenue, where the operations remained for three American musical history. years. The label changed its name to Chess in Many other companies, such as Cobra, 1950 and Phil Chess joined his brother full time. J.O.B., and Veejay, also helped to make Chicago a From 1951 to 1954, when 10 records pro­ vibrant musical recording center in the mid-1950s. duced by Chess made the national hit charts, the A few of their buildings—such as Cobra's studios company operated out of a storefront at 750 East in the 2800 and 3400 blocks of West Roosevelt 49th Street. Between 1954 and 1957, its head­ Road and the Universal Studios at Rush Street quarters was a double storefront at 4750-4752 and Walton Avenue—are still standing. However, South Cottage Grove Avenue. the Chess building at 2120 South Michigan Several of these early buildings still remain, Avenue is probably the most intact, and important, but the best known Chess address—and the one survivor. that the City of Chicago chose to designate as a The brothers had established themselves in landmark—is the two-story building at 2120 South the operation of nightclubs on Chicago's South Michigan Avenue, where Chess Records operated Side in the 1940s. Catering primarily to a black from 1957 to 1967. Many of Chess' most influen­ clientele, the Chess brothers recognized the com­ tial recordings were made here, including "Johnny mercial potential of the local musicians who per­ B. Goode," "Rescue Me," "Red Rooster," and "I'm formed in their clubs. In establishing Aristocrat a Man." Records in 1947, they sought to capture the inten­ In addition, "2120" is the address that many sity of these performances on record. musicians have long equated with the Chicago From the beginning, the Chess brothers blues sound. In the 1960s, several British rock made their label a forum for the rugged, emotional groups came here to record, including the Rolling sound of "Mississippi Delta," country blues. Stones ("12 x 5") and the Yardbirds, and the building itself has continued to be a tourist mecca The building at for blues fans from around the world. 2120 South The Story of First Church of Deliverance Michigan Avenue in Chicago is unre­ In contrast to Chess Records, the stoiy of markable except First Church of Deliverance is a less transient one. for its former use It was founded in 1929 as a small congregation on as the home of South State Street, but since 1933 it has continu­ Chess Records ously occupied the building at 4315 South from 1957-1967. Chess and its Wabash Avenue. recording artists The reasons for the building's designation as were instrumental a Chicago Landmark principally relate to its in the development unique Art Moderne style of design, which is quite of American blues unusual for a house of worship. But an equally and rock and roll. important part of the church's history relates to its influential role in the general acceptance of gospel music. Under the leadership of its longtime pastor and founder, Rev. Clarence H. Cobbs, First Church was one of the earliest African American churches to broadcast its services on the radio, beginning in 1934. (One of the earliest radio ministries in the U.S. dates to 1921 at WHT in Chicago.)

CRM N2 8—1995 11 While spiritual music had always been an "mother of gospel music," wrote and published integral part of First Church sendees, it was largely numerous gospel standards, including Mahalia through its weekly radio broadcasts that the Jackson's "Dig a Little Deeper" and "How I Got church became widely known as a national center Over," the theme song of First Church of of gospel music. An Ebony magazine article called Deliverance. Rev. Cobbs "the most popular Negro radio minis­ According to national gospel authority ter in the U.S.," and noted that his broadcasts Beatrice Johnson Reagon, Morris and Martin were heard by more than one million listeners. "were among the vanguard of musicians who Although gospel music had deep roots in began...the changes that occurred in gospel music African American culture, it emerged as a popular during the 1930s and 1940s."1 musical style only in the 1930s. Thomas Dorsey, The "Fugitive Nature" of Research the longtime music director of Pilgrim Baptist In order for a building—or object or dis­ Church on Chicago's South Side, is considered the trict—to be considered for city landmark status, it father of American gospel music, having set his first has to be recommended to the City Council by church's hymns and spirituals to a more secular, the Commission on Chicago Landmarks, a nine- syncopated jazz/blues beat. member board appointed by the Mayor. The In 1937, less than a mile away at First Commission's decisions are aided by a research Church of Deliverance, Rev. Cobbs had hired staff that is now a part of the Department of organist and composer Kenneth Morris to be his Planning and Development. gospel choir director. Morris and music director In late 1988, when the Commission staff Julia Mae Kennedy quickly established a musical proposed landmark designation of the Chess program that began to attract local and national Records headquarters, it was unsure of how the entertainers. Commission would react to the proposal. With a First Church of Jazz/blues singer Dinah Washington fre­ period of significance spanning a decade in the Deliverance, shown here shortly after quently sang at the church with the Sallie Martin 1950s and 1960s, Chess Records was the most l946.Visible atop Singers, and trumpeter/singer Louis Armstrong recent-date site ever proposed for Chicago one of the towers also took part in musical events. Other notable Landmark status. Furthermore, the notion of des­ are speakers that musicians who have either made recordings in the ignating a building that was related to recent broadcast services church or been otherwise associated with its musi­ musical genres was far from the Commission's to the street. Radio more common themes of architecture and history. broadcasts of First cal programs include Nat King Cole, Earl (Fatha) Church's services Hines, Delois Barrett Campbell, and Billie The building itself also was problematic. Part helped to popular­ Holiday, who, church lore maintains, often of the significance of the site was that the Chess ize modern gospel brought her pet chihuahua to Sunday services. Brothers had made an impact on the course of music. Photo cour­ tesy of the In addition to Morris' influence as choir international popular music while working out of Commission on director and organist (e.g., he introduced the makeshift quarters in a small, two-story loft build­ Chicago Hammond electric organ to gospel music), he and ing in an unglamorous commercial district, imme­ Landmarks. Sallie Martin, who is often acknowledged to be the diately south of downtown Chicago. Sited amid other small-scale buildings, the 25'-wide terra cotta front of the Chess Records building was well designed, but unexceptional in its architectural composition. It was also a somewhat sobering experience to research something of such recent vintage. While this enabled the Commission's staff to talk to many of the people who were actually involved in the history of the building—including many very knowledgeable musicians, recording engi­ neers, and visitors—the divergent recollections of these observers, especially compared to actual site evidence, demonstrates the vulnerabilities and potential inaccuracies in researching recent his­ tory. It also provides a wonderful reality check about the presumed accuracy of our research of the more distant past, where the opportunities to talk to actual participants are not possible. As it turned out, Chess was a very "worka­ day" place. The alterations to the 2120 South Michigan Avenue building were done quickly and

12 CRM N2 8—1995 inexpensively to serve a specific purpose, with lit­ stituted a "historic fabric" that was integrally tied tle aesthetic forethought. Many of the original par­ to the period of the building's musical significance. ticipants interviewed by the Commission's staff The building's granite- and terra cotta- were amused by the interest shown in the exact framed first floor had been replaced in 1956-1957 details (history, construction materials, chronolo­ by composition stone cladding and a stock gies, etc.) of a business and building they thought brushed-aluminum storefront. The interiors were of in an everyday casual manner. cosmetically altered with a typical, late-1950s Through building inspections, personal inter­ buildout that included redwood paneling and "lan- views, and research in numerous, 30-year-old non stone" facing for walls, fluted translucent glass music trade journals, the history of the building for office partitions, and ceilings of drywall and was gradually pieced together. perforated acoustical tile. The studio and other Historic Fabric...of the 1950s parts of the building continued to evolve during Originally erected in 1911 for an auto parts occupancy by Chess, as engineers and recording dealer, the building was later used for the whole­ technologies rapidly changed. saling of neckties and upholstery slipcovers. In Furthermore, after Chess moved out in 1967 1956-1957, it was remodeled as the headquarters (to 320 East 21st Street), more changes occurred, of Chess Records, in order to give a modern as the building was remodeled for a dance and appearance for the growing company and to com­ theater studio run by a former Chess studio man­ bine office, studio, stock room, and shipping facili­ ager. Later, the building was bought by a former ties. Chess musician and remodeled again. Normally, these alterations would be consid­ Consequently, by the late 1980s, the building con­ ered to be obtrusive and inappropriate changes for tained layers of paneling, ceiling tile, and other a 1911 building. In this case, however, they con­ materials reflecting these various changes. The preservation challenges, needless to say, are unusual; how, for instance, do you date such recent materials as 1950s, versus 1970s, drywall? The only evidence of the original floor plan for Chess Studios was a set of drawings filed with the city for its building permit in 1956. However, there was a significant divergence between these drawings and what could be observed by a thor­ Promotional litera­ ough inspection of the building today, including ture for Chess such major changes as the location of stairs and Record Company, walls. shortly after it moved its opera­ A major discovery—made subsequent to the tions in 1957 to landmark designation research—was obtained 2210 South through contact with Jack Wiener, an original Michigan Avenue. Chess engineer who was responsible for the build- Photo courtesy of out of the entire 1956-1957 remodeling. He the Commission on Chicago revealed that the plans filed with the city were Landmarks. almost completely thrown out and redone at the time of the remodeling, particularly in the second floor studio area. (A particularly sobering discov­ er)' for those of us who depend heavily on official permit drawings.) Site investigation further revealed that the wall configuration of the 1956- 1957 interiors were more intact than staff had originally surmised. As for First Church of Deliverance, the changes that were made to its interior have been minor. As a result, the research into this structure was much less complicated and the major con­ cerns have focused on the church's largely unal­ tered terra cotta-clad, twin-towered exterior. The Landmark Process In the case of Chess Records, staff had ini­ tially feared there would be difficulty in getting the nine-member Landmarks Commission Board to

CRM NS 8—1995 13 designate something so recent, so modest, as a Fortunately, both pre-1960s engineers are Landmark. Early on, this fear was confirmed when alive and willing to work with the foundation to one commissioner asked: "What's a Chess reconstruct the original appearance and equip­ Records?" Despite that one query, however, the ment. While the studio's most important music fact that the music was so well known to most of was recorded pre-1960, this period of restoration the Commissioners actually helped contribute to unfortunately will not reflect the appearance that its acceptance. was seen later by the Rolling Stones, the It turned out that a mere mention of the Yardbirds, and other music groups who later song "Johnny B. Goode," recorded by Chuck Berry recorded there. at the Chess Studios in 1958, was an immediate In addition, there remains the challenge of touchstone to most of those involved. At one City restoring materials and equipment which, while Council meeting, an alderman—in fact, an oft-time cheap and improvised in the 1950s, are ironically foe of landmarks—noted, "Yeah, I always liked difficult and often costly to duplicate today. This that song," and voted for designation. includes: solid redwood paneling, Flutex ribbed The proposed designation of the Chess glass, acoustical walls of pyrobar furred out with Studios also generated widespread public interest. drywall held by spring clips, original electronic News of its proposed designation immediately equipment, rubber floor tile, and a basement echo made the front page of the Chicago newspapers chamber. and spread across the country in magazine arti­ Furthermore, serious attention must be given cles and radio and television broadcasts—some­ to the repair and conservation of the building's thing never experienced even in the cases of the 1950s-era storefront; for instance, what kind of most famous and threatened Sullivan and Wright finish was given to the aluminum at the time and buildings. what was the appearance of the original "2120" A live radio broadcast from the building in address sign itself. Few exterior photos survive, 1989 by musician John (Cougar) Mellencamp urg­ and memories of such minor details have pre­ Since 1989, when dictably lapsed. this photo was ing listeners to write to the Landmarks taken of Chess Commission to "save" the building generated hun­ As mentioned previously, the issues pertain­ Records' former dreds of letters, even though most had mistakenly ing to First Church of Deliverance, which was des­ home (1954- interpreted this announcement to mean the build­ ignated a Chicago Landmark by the Commission 1957) at 4752 in 1994, were much less complicated than those of South Cottage ing was threatened by demolition. Grove Avenue, the Since the building was designated a land­ Chess Studios, largely because the major signifi­ ornamentai terra mark in 1989, the Commission's staff has assisted cance of the building was its distinctive Art cotta panels have the building's new owners, Blues Heaven Moderne style of architecture. In contrast, its land­ been removed by Foundation (founded by the late Willie Dixon), to mark designation gained only a small amount of vandals. Photo news coverage. courtesy of the determine an appropriate restoration plan. The Commission on building's "period of significance" was determined The lessons learned from these two designa­ Chicago to be pre-1960, which was the time when the stu­ tions—and from the on-site building research— Landmarks. dio was remodeled for multi-track recordings. should be both humbling and enlightening for preservationists. They point out the urgency of researching our recent musical past, particularly while the documentation and individuals con­ nected to the buildings are still alive. These build­ ings also remind us that our sense of history can be found not only in the architectural plans of buildings, but in the diverse cultures of our com­ munities.

Notes 1 Beatrice Johnson Reagon, editor, We'll Understand It Better By and By, Pioneering African American Gospel Composers (Washington, DC, and London: Smithsonian Institution Press, 1992), 17.

Tim Samuelson is a preservation specialist in the Landmarks Division, Chicago Department of Planning and Development, Chicago, Illinois.

Jim Peters is a preservation planner in the Landmarks Division, Chicago Department of Planning and Development, Chicago, Illinois.

14 CRM NS 8—1995 Carol J. Dyson and Floyd Mansberger Structural Glass: Its History, Manufacture, Repair, and Replacement

olored opaque structural glass was orides precipitated, creating a dense mass of parti­ once widely used in this country. cles suspended in the clear matrix. The fluoride Although it is no longer manufac­ particles would scatter, reflect, and trap light until tured in the United States, struc­ the glass was semi-translucent or completely tural Cglass is still best known by the historic opaque. Colors were added to the clear matrix proprietary names of "Vitrolite" and "Carrara." before firing. This paper discusses the history, manufacture, After the materials were vitrified in pots or Inlaid letters, curved and characteristics of structural glass and the tanks, the sheets were then rolled to the desired bulkheads and repair and replacement options available today. thickness much like plate glass. The glass was sandblasted decora­ tion combine in this Colored opaque structural glass was fused at annealed (cooled) much more slowly than modern advertisement ren­ high temperatures, rolled into slab form, slowly plate glass, taking from three to five days— dering to demon­ annealed, and mechanically polished. Historically, depending on the thickness. The process strate the versatility the glass was marketed in black, white, and a demanded exact control of the temperature and of Vitrolite. Source: variety of colors and finishes. The glass has also speed of the annealing process in order to provide Sweet's Catalogue, 1937, 17120. been known by many other terms, including recre­ consistent opacity, color, and finish. The glass was ated rock slab, sanitary glass, rolled or opaque sometimes "hardened" by use of rapid heating and opal glass, and heavy obscured structural glass. cooling methods to increase its strength. At this Besides Vitrolite point the glass finish was "fire polished." Some and Carrara, other applications made use of this soft finish without trade names further polishing. To achieve a more glossy fin­ included "Sani- ished glass, the surface of the slabs were mechani­ Onyx," cally ground with fine sand and rollers and then "Argentine," polished to a mirror-like finish with felt blocks and "Marbrunite," rouge. After polishing, the slabs were cut to size. "Nuralite," and Normally the material was cut, holes drilled, and "Opalite." the edges finished to the owner's specifications in Composition and the factory. Production Early History and United States Production Opaque The use of glass in imitation of other materi­ structural glass als has a long history. Colored, semi-translucent was composed of glass was first developed in ancient Egypt and silica, feldspar, Rome in imitation of stone and marble. In the fluorspar, china 16th century Venetian craftsmen were producing a clay, cryolite, man­ semi-translucent glass by adding fluorides such as ganese, and other cryolite to the matrix. The Chinese also added cry­ materials vitrified olite to glass to produce an imitation porcelain. with intense heat In the United States, at the end of the 19th (about 3,000 century, the development of the regenerative fur­ degrees F). The nace and the discovery of natural gas reserves in opacity of struc­ Pennsylvania, West Virginia, Oklahoma, tural glass was cre­ Arkansas, Texas, and Missouri led to a rapid ated by the expansion of U.S. domestic flat glass production. addition of fluo­ The resulting investment of capital laid the foun­ rides into the dation for varied innovations in technology and batch. Upon production of flat glass during the early-20th cen­ annealing, the flu­ tury.

CRM NQ 8—1995 15 ties, easier to clean and more sanitary. The fact that the glass was homogenous, non-porous, non- crazing, and could be produced in large sheets made it more appropriate than marble or tile for aseptic conditions such as hospital fixtures and surfaces. During the first two decades of the 20th cen­ tury the material was primarily used in utilitarian locations requiring durable, non-staining, easily cleaned and maintained slab materials: wainscot­ ing, flooring, refrigerator linings, lavatories, table and counter-tops, bank coupon desks, and electri­ cal switchboards, and in places such as hospitals and bakeries. The ability of the material to reflect light without glare also made it suitable for corri­ dors, operating rooms, and laboratories. In these years structural glass was also being used on exte­ rior surfaces, especially storefronts, where it was substituted for stone in bulkheads and dados. At the Peak of Popularity Opaque structural glass slabs were first Although as early as 1906, the Penn- Structural glass developed about 1900 as a sanitary alternative to American Plate Glass Company was producing was popular in their Novus Sanitary Structural Glass in various restaurants due to white marble slabs for wainscoting or table sur­ its sanitary, non- faces. The product, Sani-Onyx, was created by the colors, up until about 1930 most structural glass absorbent and Marietta Manufacturing Company. About the same was produced only in shades of white, off-white, non-staining quali- time the Penn-American Plate Glass Company and black. ties.This restaurant began production of Novus Sanitary Structural had Carrara and The softer "fire polished" and "satin" (the Black Glass walls, Glass. By 1906, the Pittsburgh Plate Glass more marble-like) finishes also predominated the wainscotting, coun­ Company (PPG) had begun production of Carrara early applications. By the 1930s, however, the ters, aprons and glass in white and black. glossy, colorful, mirror-like finishes became popu­ shelving. Source: Eventually, approximately 10 U.S. firms were lar, being well-suited to the Art Moderne aesthetic. Glass, Paints. Varnishes and producing structural glass, but the two products With the development of the new design aes­ Brushes:Their that dominated the market were Carrara and thetics of Art Deco, Art Moderne, and Streamlined History, Libby-Owens-Ford's Vitrolite (which appeared on Modernism, structural glass reached its greatest Manufacture, and the market about 1916). By 1929, U.S. production popularity. The variety of colors and versatility of Use, / 923. of opaque structural glass was over five million the glass led to its wide acceptance during the square feet, and the glass was being marketed in a 1930s and 1940s. By the late 1930s, structural variety of colors and finishes. glass was available in over 30 different colors Although some structural glass was imported ranging from pastels to jewel tones, and solids to (primarily from Belgium and Czechoslovakia), striated "agate" and "dendric" patterns. The mater­ imports constituted less than 5% of the U.S. mar­ ial could be bent, carved, laminated, inlaid, and ket. Although the U.S. discontinued production in sandblasted, or painted with gold, silver, or color the early 1960s, structural glass continues to be at the factor)'. The glass was installed in sleek produced today in "moderne" office Early use of the Czechoslovakia and building lobbies, material on build­ Japan. ing exteriors was movie theaters, in simple bulk­ Early Uses of restaurants, and con­ heads and dadoes. The Material fectioneries, among The signage shown When it was other places. The here was sand­ first introduced glass also proved to blasted and then painted. Source: around 1900, struc­ be an ideal material Glass, Paints, tural glass was mar­ for "modernizing" the Varnishes and keted as comparable exteriors of older Brushes:Their to statuary marble in structures. History, appearance, but, due New construc­ Manufacture, and to its smooth imper­ Use, f 923. tion for storefronts, vious surface and movie theaters, gas non-absorbent quali­ stations, and auto

16 CRM N2 8—1995 NATIONAL PARK SERVICE, PRESERVATION ASSISTANCE DIVISION

INFORMATION ON TRAINING IN CULTURAL RESOURCE MANAGEMENT IN 1996

The next edition of the Cultural Resource Training Directory for Jan.-Dec. 1996 is being compiled. If you or someone you know offers general training courses or workshops for the public, or more specialized courses for the preservation community, please encourage them to fill out and send in this form by November 3,1995. The Directory is distributed as part of the CRM bulletin, reaching over 6,000 individuals, and is widely advertised.

Course title/working title:

Dates of course: provide exact dates if known or circle the month(s) being considered

Jan Feb March April May June July Aug Sept Oct Nov Dec Yet to be Determined

Length of course: how many days or how many hours or how many weeks [6 weeks is the maximum for listing]

Tuition/fee for participant [it is assumed that participant pays for travel to and from course as well as any lodging and meals, if your organizations provides those, please say so]

City, State where training will be offered

Category in directory that you would like your course to be found [if more than 2 are marked, course will go automatically under "Common Ground"]

Common Ground

Anthropology and Related Specialties Anthropology Archeology Cultural Anthropology Ethnology Ethnohistory Marine Archeology (Diving)

Applied Technology Specialties Geographic Information System (GIS) Global Positioning Systems(GPS) Information Resources Management

Crafts, Trades, and Apprenticeships

Blacksmithing Crafts Training Stained Glass Tiber Framing

Folklife, Oral History, Traditional Arts, Cultural Traditions

Historic Building Related Specialties Architectural Conservation Architectural Treatments Documentation of Historic Structures Hazardous Materials Historic Architecture Historic Building Materials Historic Preservation Historic Preservation Ed. Interior Design Rehabilitation/Standards Preservation Maintenance Specific Building/Structure Types History, Public History

History of Science, Technology, Engineering Industrial Archeology

Interpretation

Landscape Preservation

PLEASE PREPARE ONE FORM FOR EACH COURSE, [please turn page over] Language Retention and Ethnic Studies African-American Studies Alaska Native Studies American Indian Studies Asian-American Studies Hispanic-American Studies Native Hawaiian Studies

Museum Related Specialties Archives Collections Management and Care Conservation Furniture Conservation

Planning, Preservation Planning and Related Specialties Identification and Survey Preservation Planning

Preservation Law Section 106 Review Process

Heritage Education

Describe the course [you may attach a course syllabus or flier or other more lengthy description]

What audience is the course designed for: technical, single discipline audience several disciplines general public other, please describe

Co-sponsors for course, if any

Who can be contacted for more information about the workshop?

Contact Person:

Sponsoring Agency/Organization:

Address of Sponsoring Agency:

telephone; fax; e-mail:

Person completing this form: Please return or fax by November 3, to:

Name Dahlia Hernandez National Park Service Preservation Assistance Div. Agency/Organization P.O. Box 37127 Washington, DC 20013-7127 202-343-9566 or 202-343-3803 (fax) Telephone # Date Please call if you have any questions NATIONAL PARK SERVICE, PRESERVATION ASSISTANCE DIVISION

INFORMATION ON TRAINING IN CULTURAL RESOURCE MANAGEMENT IN 1996

The next edition of the Cultural Resource Training Directory for Jan.-Dec. 1996 is being compiled. If you or someone you know offers general training courses or workshops for the public, or more specialized courses for the preservation community, please encourage them to fill out and send in this form by November 3,1995. The Directory is distributed as part of the CRM bulletin, reaching over 6,000 individuals, and is widely advertised.

Course title/working title:

Dates of course: provide exact dates if known or circle the month(s) being considered

Jan Feb March April May June July Aug Sept Oct Nov Dec Yet to be Determined

Length of course: how many days or how many hours or how many weeks [6 weeks is the maximum for listing]

Tuition/fee for participant [it is assumed that participant pays for travel to and from course as well as any lodging and meals, if your organizations provides those, please say so]

City, State where training will be offered

Category in directory that you would like your course to be found [if more than 2 are marked, course will go automatically under "Common Ground"]

Common Ground

Anthropology and Related Specialties Anthropology Archeology Cultural Anthropology Ethnology Ethnohistory Marine Archeology (Diving)

Applied Technology Specialties Geographic Information System (GIS) Global Positioning Systems(GPS) .^Information Resources Management

Crafts, Trades, and Apprenticeships Blacksmithing Crafts Training Stained Glass Tiber Framing

Folklife, Oral History, Traditional Arts, Cultural Traditions

Historic Building Related Specialties Architectural Conservation Architectural Treatments Documentation of Historic Structures Hazardous Materials Historic Architecture Historic Building Materials Historic Preservation Historic Preservation Ed. Interior Design Rehabilitation/Standards Preservation Maintenance Specific Building/Structure Types

History, Public History

History of Science, Technology, Engineering Industrial Archeology

Interpretation

Landscape Preservation

PLEASE PREPARE ONE FORM FOR EACH COURSE, [please turn page over] Language Retention and Ethnic Studies African-American Studies Alaska Native Studies American Indian Studies Asian-American Studies Hispanic-American Studies Native Hawaiian Studies

Museum Related Specialties Archives Collections Management and Care Conservation Furniture Conservation

Planning, Preservation Planning and Related Specialties Identification and Survey Preservation Planning

Preservation Law Section 106 Review Process

Heritage Education

Describe the course [you may attach a course syllabus or flier or other more lengthy description]

What audience is the course designed for: technical, single discipline audience several disciplines general public other, please describe

Co-sponsors for course, if any

Who can be contacted for more information about the workshop?

Contact Person:

Sponsoring Agency/Organization:

Address of Sponsoring Agency:

telephone; fax; e-mail:

Person completing this form: Please return or fax by November 3, to:

Name Dahlia Hernandez National Park Service Preservation Assistance Div. Agency/Organization P.O. Box 37127 Washington, DC 20013-7127 202-343-9566 or 202-343-3803 (fax) Telephone # Date Please call if you have any questions Structural glass sized up to 15 square feet. Toilet partition panels could be bent, could be produced in sizes up to 25 square feet carved, sand­ blasted, Inlaid, and were created by laminating two 7/8" slabs painted and came together with bituminous adhesives. in a variety of col­ The versatility of the material was partly due ors and finishes. to its tolerance of various substrates. The glass Vitrolite's variety of could be readily applied to most flat surfaces, decorative finishes are shown here. including plaster on metal lath, concrete, or Source: Sweet's masonry. Wood substrates, however, were discour­ Catalogue, 1937, aged. The backing surface was prepared and 17120, 1936. sealed with a bonding coat supplied or approved by the glass manufacturer. The mechanical fasten­ ers (non-ferrous metal brackets, angles or chan­ nels) were secured to the substrate. The panels were pre-fabricated at the factory to specifications dealerships were clad in gleaming structural glass and were attached with an asphaltic mastic. The set in aluminum glazing systems. PPG produced mastic was applied to the back of the glass in 3" their own complement to Carrara, Pittco-Carrara daubs covering 50% of the back of the panel. The Glass Store Fronts, in which the metal window glass was set in position by rocking the panel until sash overlapped the Carrara facing material to the flattened mastic was forced into the back-up protect the edges. In order to promote the use of surface providing a keying action. When the Vitrolite in new construction, the Libby-Owens- cement was set, the joints were pointed with a Ford company offered a prefabricated Vitrolite- pointing cement, which, like the mastic, was pro­ faced concrete masonry unit called Glastone. vided by the glass manufacturer. Panel edges Opaque structural glass was no longer seen as a could be protected with l/16"-thick cork tape, substitute for stone—it was extremely popular in which was set back 1/8" from the front of the glass. its own right. In locations where high moisture was expected Late Use of the Material (such as tub surrounds) and the backup substrate By the 1950s, structural glass was losing its was masonry, the panels were sometimes attached popularity. Changing design tastes, and competi­ with cement rather than mastic. On exteriors, non- tion from other materials such as plastic laminates ferrous angle irons or clips helped hold the panels and ceramic panels, were eroding its market. in place. Although still utilized for storefronts, structural glass advertisements in the 1950s now empha­ Condition Assessment sized the same purpose for which it was originally Much of the popularity of opaque structural designed: use in utilitarian spaces such as residen­ glass was due to its durability. The glass does not tial and commercial bathrooms and kitchens. warp, craze, fade, or easily stain, and resists most A 1959 Carrara brochure is the last time structural glass was prominent in Sweet's Catalogue. In that edition, Carrara glass was being (unsuccessfully) marketed by PPG as a spandrel glass, and was available in the traditional "pol­ ished," "suede," and a new "rough" texture. Possibly the new coarse texture was designed to compete with other new materials such as textured porcelain enamel panels. A 1963 PPG brochure on curtain wall systems discussing Carrara as a span­ drel panel choice is the final time the material is Installation details for a typical seen in Sweet's Catalogue. PPG kept the trade Carrara veneer name listed in the Sweet's index until 1969, but storefront. Source: the material was no longer displayed. Glass and Material Installation Storefront Products, 1940. During its 60-plus years of domestic produc­ tion, structural glass was available in thicknesses from 1 /4" to 1-1 /4". The panel sizes were deter­ mined by use. On exteriors the maximum size was six square feet if the panel was to be installed 15' or more above the sidewalk, and 10 square feet if installed below 15'. Interior wall panels could be

CRM N2 8—1995 17 Polychromatic acids. When structural glass Vitrolite brightened panels do fail, it is from either residential bath­ rooms and impact or deliberate alter­ kitchens. Source: ations (such as installation of Bathrooms and new fixtures) and is mani­ Kitchens of fested in cracks, holes, and Distinction with chips. Carrara:The Modern Because 1) the material Structural Glass, is non-absorbent, 2) most fas­ circa 1935. teners for structural glass are non-ferrous, and 3) the plastic nature of the mastic is forgiv­ ing, there is less reason for severe deterioration from moisture than with clay-based masonry products. The mas­ tics and pointing cements are the weak link in the system. Although the mastics are durable, they harden can be done with traditional joint cement (with an over time. The pointing cements also gradually integrated watertight surface), latex caulking, or deteriorate. The dark shades of structural glass glazing compound. Silicone sealant is reportedly absorb a significant amount of heat, causing the Several Japanese harder to control due to the fine joints. firms still produce panels and walls to be subjected to more thermal Traditionally, joint cement was colored to match colored structural stress. Although they were often heat-tempered, the glass. New materials should also be tinted to glass, including the joints on dark facades are exposed to more match, with pigments compatible with the joint NEGs NeoClad, thermal expansion and contraction. patching material. shown here. Source: Most failures in structural glass systems are Minor hairline cracks can be filled with "Exclusively readily obvious: panels are visibly cracked, dam­ caulking tinted to match the glass. One method for NeoClad, aged, missing, out of alignment, or delaminating, repairing chips or holes is to fill the defect with Architectural joints are deteriorated, or water intrusion is evi­ polyester resin adhesive tinted to match the glass. Panels," Nippon The surface can then be polished with fine sand­ Electric Glass dent. Because most exterior installations are below Co., Ltd., Glass 15', the panels are easily accessed. One can gently paper and buffed with polish. Tim Dunn of and Storefront push on a panel to see if it is still securely adhered Vitrolite Specialist, a St. Louis contracting firm Products, 1940. to the substrate. If a wall has been subjected to that specializes in the restoration of this historic severe water dam­ glass, has had success filling the hole with glazing age, then removal of compound and then painting the area with com­ selected panels may puter color-matched paint. be necessary to Removal determine the stabil­ Removal of structural glass panels is difficult ity of the mastic and due to the gradual hardening of the mastics and the substrate. the fine joints between panels. Two publications Conservation on structural glass, Douglas Yorke's article in The Techniques Association For Preservation Technology Bulletin, Because struc­ Materials Conservation For The Twentieth tural glass is no Century: The Case For Structural Glass, and the longer produced in National Park Service's Preservation Brief No. 12, the U.S., repairing, The Preservation of Structural Glass, have excel­ whenever possible, lent discussions of the repair and removal of struc­ rather than replac­ tural glass panels. ing, is the best No method is immune to glass breakage. approach. Commercial solvents can be injected behind the Maintenance of glass to soften the mastic. Then piano wire can be structural glass is slipped behind the panels to cut through the mas­ straightforward. The tic. Another method, reportedly effective but time glass can be cleaned consuming, is to direct steam for approximately 10 with water and minutes at the face of the panel to soften the mas­ ammonia or deter­ tic. The panels can then be pried or sawn off. gent. Joint repair When prying glass panels off, a block of wood

18 CRM N2 8—1995 should be used to protect the face of the glass ious materials as substitutes for structural glass. from the crowbar or nail puller. One product she has suggested that holds promise In-kind Replacement is laminated glass. In a custom job, the translu­ Colored opaque structural glass is no longer cent, colored polyvinyl inner layer(s) can be lami­ manufactured in the United States. When pieces nated a mere 1/8" from the outer face of the glass are broken, severely damaged, or missing, finding and might suggest the desired color opacity. The an appropriate replacement material is difficult. combination of colored translucent interlayers and However, when structural glass manufacture back-painting might produce a material more simi­ was discontinued, many glass shops were left with lar in appearance to structural glass. large inventories. Occasionally shops still have The replacement of 1-3/4" freestanding lami­ stock left in warehouses today. Salvage of used nated partitions, such as those used in lavatories, material is difficult but a few architectural salvage poses a special problem because most in-kind yards, or glass repair specialists, may be able to replacement materials are thinner. The use of locate a supply. Karl Piatt, a glassmaker and solid-surfacing materials, such as those used for preservationist in Milton, Virginia, has a substan­ present-day counter tops, if polished, has also tial stockpile of structural glass he has purchased been suggested. Once again, color (solid black is from glass shops over the years. currently unavailable) and reflectivity are issues. One kiln in Czechoslovakia still produces Another substitute material that has worked in structural glass in the traditional method. The some cases is colored or back-painted polycarbon­ material is distributed in the United States by ate sheets. Of the "plastic" materials—Lucite, Floral Glass and Mirror of Hauppauge, New York, Plexiglass, and Lexan—the latter is a polycarbon­ but there are limited choices in size, colors, and ate and reportedly the least susceptible to finishes.1 The panels are sized metrically and are scratches. approximately 1/4" thick. They are produced in Conclusion black, white, mint green and beige. Differences in To conclude, there are no perfect substitutes the panel thickness may be adjusted for with the for historic structural glass. Good maintenance of mastic and mechanical fasteners. Metric panels existing facades and safeguarding extant stockpiles could be cut down to fit the necessary English are of great importance to the future survival of dimensions. this endangered material. Japan has at least two new products that are similar to historic structural glass. NEG Industries' Notes NeoClad is an opaque colored glass that comes in 1 The Czechoslovakia!! structural glass is available as white, beige, and gray colors. ASAHI Corporation follows: colors—black, white, beige, and mint green; is producing an opalescent, nearly opaque struc­ thickness—approximately 1/4 inch; source—Floral tural glass in white and light gray. As with the Glass and Mirror, 895 Motor Parkway, Haupauge, Czechoslovakia!! glass, limited colors, metric sizes, New York, telephone 800-647-7672 or 516-234- and the cost of shipping to the United States, 2200. make matching the size, strength, finish, reflectiv­ 2 The two Japanese structural glasses are available as ity, and color of domestic glass problematic.2 follows. Japanese opaque structural glass: product Substitute Materials name— Neoclad; colors—white, beige, and gray; Another glass material that is often sug­ thickness—0.5mm to 7.5mm; source—NEG gested as a substitute material is spandrel glass America, Inc., 650 East Devon, Suite 110, Itasca, (backenameled clear glass). With the advent of Illinois 60143, telephone 800-733-9559. Japanese computer color-matching, back-painted or backe­ structural glass: product name—New Sunprito; col­ nameled glasses may be adequately matched in ors—white and light gray; thickness—5mm to 9mm; color. The clear depth of material, however, does manufactured by ASAHI Glass Company; source not provide an appearance of homogenous opac­ The Sentinel Group, PO Box 399001, Miami Beach, ity, and ultraviolet light may fade the colors. Florida 33139, telephone 800-827-7848. Experience has shown that the edges of the glass are visible, which emphasizes the lack of true Carol ]. Dyson is an architect with Preservation opacity. Polishing and painting or enameling the Services, Illinois Historic Preservation Agency, edges to match the back could help solve this Springfield, Illinois. problem. Floyd Mansberger is the Director of Fever River Man,' Oehrlein of Oehrlein and Associates, Research, Springfield, Illinois. Architects, in Washington, DC has researched var­

CRM N2 8—1995 19 Ann Milkovich McKee Stonewalling America Simulated Stone Products

he term simulated masonry covers construct a new building without incurring the a number of products manufac­ cost of actual stone construction while conveying a tured to imitate the appearance sense of permanence. and characteristics of stone. These Simulated masonry played a large role in the productTs are made from various materials, changing aesthetics of the American public begin­ including cement, minerals, epoxy, and fiber­ ning in the 1930s. Of the simulated masonries that glass, among others. They can be cast in specific could be applied directly to a building, probably shapes or applied directly onto a building sub­ the best known is Perma-Stone, which was touted strate, molded or shaped to resemble the texture as the "originator of moulded stone wall-facing." of masonry, and struck to create mortar joints. Beginning in 1929, the Perma-Stone Company, Origins and Development based in Columbus, Ohio, sold and marketed its The attempt to imitate masonry and stone is patented and trademarked product through the use not a modern phenomenon. Cast stone, which is of licensed and trained dealers. The company pro­ often considered a form of simulated masonry, has vided the molds and materials (portland cement, been used in the United States since the last quar­ aggregate, crushed quartz, mineral colors, and ter of the 19th century. Another product, rockfaced metallic hardeners) necessary for the job, but the concrete block, gained popularity in the early 20th dealers manufactured and installed the materials. Perma-Stone, a century. Simulated masonry is similar to both cast The company's success spawned many competitors molded wall facing stone and concrete block in that it, too, mimics attempting to capture a share of the growing mar­ made of aggre­ another material, but its construction technique ket for this type of remodeling process. gates, cement, crushed quartz, made it a more flexible product. Rather than being Another successful cement-based simulated mineral colors, and a modular system cast on site, simulated masonry masonry was Formstone, a product of the Lasting metallic hardeners, was usually manufactured on site and applied as a Products Company in Baltimore. Formstone was was suitable for facing material. The process allowed for maximum first available in 1937, the same year that Lasting both new construc­ flexibility to adapt to specific and sometimes unex­ tion and renovation. Products obtained a patent for its process. The Perma-Stone cata­ pected site conditions. While simulated masonry company was responsible for the manufacture and logue, 1954. products were marketed for new construction, they distribution of the specific tools and materials nec­ Courtesy of were also widely used on existing buildings. They essary to complete a Formstone project. The actual Michael Cheek. were seen as an easy way to update a building or on-site work was done by registered contractors who had been trained by the company. Simulated masonry products were often hailed as thoroughly modern inventions. Rostone, made from pressurized shale, alkaline earths, quarry waste (lime), and water, was first produced in 1933 for the Century of Progress Exhibition by the Rostone Company in Lafayette, Indiana. Rostone was used to create the Wieboldt-Rostone House (Walter Scholer, 1933), one of 10 houses designed to exhibit modern building materials and innovative construction methods. Rostone was manufactured as prefabricated panels and shipped to the site for construction by trained contractors. In addition to cement, many other materials have been used as the base for simulated masonry products. By 1960, for instance, fiber-reinforced plastic panels were available. One product, Terox,

20 CRM N2 8—1995 was "moulded in dies building to a level, or class, that would never be cast from selected possible without their product. Advertisements quarry stone." As with also routinely proclaimed that simulated masonry other products, pig­ was maintenance free, fireproof, and energy effi­ ments were used to cient. All these properties appealed to buyers match the desired seeking an inexpensive way to modernize build­ stone color. ings by covering over deteriorating facades. Manufacturing Process Perma-Stone was marketed for new con­ There are two struction, but the majority of its applications were categories of simulated in remodeling or renovation projects. Formstone, stone: products manu­ on the other hand, appears to have been used factured off site and more widely for new construction. The Rostone those mixed on site. Company initially marketed its simulated Both types of simu- masonry as a "modernization" material for store­ fronts. Schemes for gas stations built of Rostone were also proposed, but whether any were actu­ ally built is unclear. The company also targeted the residential market for the use of Rostone on exterior and interior walls, floors, roofs, and deco­ rative elements such as door surrounds and fire­ place mantels. Rostone panels were produced as standard­ ized 16"x 24" sheets either 1" or 1 1/4" thick; cus­ tom sizes and shapes were available for an additional cost. The panels could be finished with three different surface textures: honed, a polished surface; natural, a slightly rough finish that mim­ icked natural stone; and shot blast, a moderately Top, a worker lated masonry can be applied to existing conditions rough surface. Rostone could be made in any hand-presses a or used as part of new construction on almost any color, but earth tones were most popular. Greens, final Perma-Stone building type. pinks, and reds were used as accent colors in coat to a wall sur­ face. Rostone not only simulated stone in appear­ ance, but also its manufacturing process closely re­ Bottom, Perma- created the formation of natural stone. No portland Stone could be cement was used in its manufacture; rather, it was applied to many made from natural ingredients that underwent a new and existing substrates. chemical reaction to form a new material. The manufacturing process began with drying, pulveriz­ ing, and finely grinding shale. Lime and then water were added, and the resulting mixture was placed in molds or hand-formed into specified shapes. To induce the necessary chemical reaction, the molded mixture was hardened through exposure to heat. The material could be colored during the manufac­ turing process, and afterward the surface could be finished in a variety of textures. On cooling, The finished sur­ Rostone components were ready for shipment to face of Formstone, the job site. patented in 1937 by Lewis A. Knight, Uses and Methods of Installation was tooled to pro­ Simulated masonry was often used as a duce polychromatic remodeling material, but it also could be used for effects. new construction. Relying on the stereotypical per­ ception of stone as signifying wealth, stability, and grandeur, these products were sold as the modern version of a natural stone. They provided an inex­ pensive way for middle-class America to enjoy the prominence of a "stone" house. Many companies stressed the opportunity to update a house or

CRM NS 8—1995 21 carved designs and to final membrane coating to serve as a water repel­ convey a multidimen­ lent complete the job. sional look. In the direct application technique, Perma- In modernization Stone can be applied to curved surfaces as well as and remodeling pro­ broad flat ones. The "stone" wall can be laid up in jects, Rostone panels random, broken, or coursed ashlar. Joints can be were applied directly raked, beaded, or pointed. Because color is added over the existing wall directly into the product on site, the color choice is surface. When Rostone unlimited and can vary. This provides the opportu­ was used in new con­ nity to develop interesting strata and varied stone struction, the panels colors. The texture of the finished simulated stone were attached to a steel is restricted only by the molds and the amount of frame with specially hand finishing a mason is willing to do. designed clips. The As a frontrunner in the simulated masonry joints were filled with a industry, the Perma-Stone Company zealously pro­ mastic, thus providing tected its patented and trademarked product and an easily maintained did not hesitate to pursue court injunctions system. against those who tried to use it without permis­ Perma-Stone, a sion. Perma-Stone held several patents covering cementitious material, its product recipe, pressure casting procedure and is produced on site and molds, and membrane-curing technique. To ensure applied directly to the quality control, only licensed dealers and contrac­ building in a process tors are permitted to use the process, molds, and similar to that of apply­ materials. Today the Perma-Stone Company still In 1950 the ing stucco. Used extensively for remodeling, maintains a registered trademark for Perma-Stone Wieboldt-Rostone Perma-Stone provides a stonelike concrete veneer products. House was cov­ that can be "permanently" attached to wood or ered with Perma- The philosophy behind Formstone was to Stone, shown in steel lath or applied directly onto concrete and provide a process for making an artificial stone poor condition. masonry. facing that used the tools of masons and cement Photo by jack E. To install Perma-Stone, metal or wood lath is finishers and could be readily carried out by them. Boucher, HABS, secured to the building to provide a base for The procedure and finished installations have NPS. attachment. The application process is a three-part some similarities with Perma-Stone, in that procedure. A first coat, referred to as a brown coat, Formstone too is a cementitious material applied Perma-Stone promised "Beauty, is applied over the lath. Before it sets, it is grooved in a multilayer process. Where the two differ Permanence, to provide additional surface area for the next markedly is in the formulation of the "stones" and Solidity" on the coat. Once dry, the second coat (the scratch coat) finishing procedures. interior as well as is applied. While the second coat is still wet, the In the case of an existing building, the walls the exterior. finish coat is applied through the use of pressure Perma-Stone of are covered by a perforated lath of wood or metal Montreal Umitee molds designed to imitate the look of natural if they were not masonry (no lath is needed if the brochure, undated. stone. Minor hand finishing and application of a wall is masonry or stone). A layer of cement mor­ tar 3/8" to 3/4" thick is applied over the lath, and the surface of this layer is scored before it sets and dries. A sec­ ond layer, typically 1/4" to 3/8" thick, is applied. While this layer is still plastic, the finish layer is applied. The finish layer, also ranging from 1/4" to 3/8" thick, can be formed with two or more colored or shaded mortar cements that are distributed to produce the poly­ chromatic effects desired to achieve the appearance of stone. Before the material in the top two layers has set, a waxed paper or other nonadhering material is placed on the wall. A cast aluminum roller with a crinkled surface is passed over the waxed paper, creating a crinkled

22 CRM NQ 8—1995 impression in the mortar. Formstone seems to have been marketed as Several rollers of different sizes a product to refurbish and modernize existing or textures could be used on buildings of any type. It was promoted as a mater­ the same project to achieve the ial that could solve problems of deteriorating desired effect. After the waxed masonry and stone structures and poor insulation. paper is removed, the crinkled Purchasers received a 20-year guarantee and surface is scored with guide assurances that the wall facing was "maintenance lines for the "mortar joints." free." Baltimore, with its large number of brick Grooves are cut into the top buildings of an indigenous soft brick, became the layer with a chasing tool, which "Formstone capital of the world." has two parallel cutting edges Simulated masonry products reached their allowing for the creation of a zenith during the 1950s, but by the early 1980s mortar joint mimicking those interest in such products had nearly ceased. Other found in natural stone con­ products such as vinyl and aluminum siding were struction. The groove may be mass-produced and more economically installed left unfinished or may be on both new and existing construction. More pointed with mortar. importantly, these new products appealed to the A variety of finishes can changing public aesthetics. However, both Perma- be created with different tex­ Stone and Formstone are still being produced in tures (using different rollers) small quantities today. The countless examples of The door surround and colors. Most tinting is created by adding color simulated masonry across America are reminders on the Wieboldt- into the mortar mix, but surface color could also of the public's penchant for remodeling houses. Rostone House be achieved by dashing colored powdered materi­ (Walter Scholer, als such as "mica, oxide pigments, stone dust, 1933) is the only Ann Milkovich McKee is Assistant Professor of area of the exte­ slate dust or chips of mineral or artificial stone ... Architecture in the Department of Architecture, rior where the on the outer layer. This produces a speckled sur­ Historic Preservation Program, Ball State University, original building face, simulating particular natural rocks or Muncie, Indiana. material, Rostone, stones." The powdered material is placed on the a precast form of surface either before the waxed paper is applied or simulated This article will appear in Twentieth-Century masonry, is intact. after the texture of the stone has been created and Building Materials, to be published by McGraw- the wax paper removed. Hill, Fall 1995.

Bruce S. Kaskel The Metal and Glass Curtain Wall

he era following the World War II being incorporated into building details such as saw the development of new tech­ doors, windows, trim, and exterior signage. nologies that had a fundamental Although aluminum costs three to four times as effect on the curtain wall. Principal much as a comparable steel section, architects still to thesTe new technologies were improvements in found frequent cases where the expenditure was aluminum, glass, sealants, and insulation materi­ justified. als. The onset of World War II saw aluminum Aluminum was first isolated in 1825 but was production soar, since it was the principal material not produced on a large scale until after 1889, of many war materials. During the war, more than when Charles Martin Hall was granted a patent for 200 factories produced a multitude of aluminum a process by which aluminum could be made on a shapes. After the war, the abundant production commercial scale. By the 1920s, aluminum was capacity created a demand for new aluminum

CRM N2 8—1995 23 applications and at the same time the price plum­ Glass technology also made numerous meted. advances in the post-war years. Prior to the Aluminum found a welcome niche in 1950s, glass for buildings was made by either the cladding curtain walls. The material was more cor­ sheet or plate process. These processes had limita­ rosion resistant and lighter than steel and cer­ tions on the size of the glass and were not able to tainly much lighter than masonry. Aluminum produce absolutely flat and uniformly thick glass. curtain walls were relatively easy to erect, espe­ This lead to inevitable distortion of vision through cially in cold weather which significantly limited the glass process. the ability to erect walls of brick and mortar. In 1959, Pilkington Brothers Limited pro­ Aluminum curtain walls were also thinner, freeing duced the first glass by the float method. This up valuable floor space for lease. This had the process which floats a ribbon of glass on molten advantage of increasing the rentable floor area. tin while heating both sides of the glass, produces This advantage was estimated to add $18 per lin­ perfectly flat and parallel surfaces. This technology ear wall footage in savings in the 1950s. took off and within a decade, float glass was pro­ The principal forms of aluminum were duced in many different countries and was replac­ twofold: rolled aluminum sheet, which was flat­ ing the plate glass process. Most float glass was tened and stamped to create opaque wall panels; finish by controlled cooling through a process and extruded aluminum shapes, made by forcing called "annealing." As high performance coatings the molten aluminum through a steel die. and uses for curtain wall glass came in demand, Extruded aluminum resulted in long lengths of alu­ stronger glass manufactured by tempering or heat minum of almost any cross sectional shape, only strengthening, instead of annealing, became popu­ limited by the possibilities in die fabrication. lar. Aluminum extrusions were highly consistent in Large glass panels had the disadvantage of dimensional qualities and were therefore usually transmitting heat and glare from the sun. Metallic employed as the principal framing members of cur­ oxides were added to the manufacturing of the fig. /. Construction tain walls. Figure 1 shows the installation of fabri­ photograph of 860- glass to absorb heat and light and to aid in creat­ 880 Lake Shore cated sections at Mies van der Rohe's 860-880 ing more comfortable conditions for building occu­ Drive apartment Lake Shore Drive apartment buildings in Chicago. pants. Still, large glass sheets will transmit buildings, Chicago, While extruded aluminum was used as the significant heat gain in the summer and heat loss Illinois (Mies van framing members of curtain walls, glass was the in the winter. der Rode, / 949- 1951 (.These were principal material for the in-fill between those alu­ It wasn't until the energy crisis of the mid- among the first res­ minum extrusions. The post-war commercial adap­ 1970s, that architects began to demand more effi­ idential buildings in tation of air conditioning compensated for the heat ciency from aluminum and glass curtain walls. the United States gain and thermal inefficiencies of larger areas of Insulating glass (IG) units, created by factory seal­ to be clad entirely clear glass. Large unimpeded views through clear ing together two sheets of glass with a thin air in glass, with a two- story prefabricated glass had always been a desirable feature for the space between them, vastly improved the energy steel and aluminum office environment. Now larger glass panels could performance of glass lites. Early IG units were curtain wall system. be set within minimally thin aluminum "sticks." sealed with a metal edge band. These have proven to be problematic, since water can become trapped between the glass and the metal edge band, ulti­ mately leading to failure of the IG unit. Improvements in aluminum framing with plastic thermal break materials reduced conduction of heat through the curtain wall. More recently research into improving the thermal performance of glass has led to development of low-emissivity metallic coatings, gas filled units and photo- responsive units. The demands of the aluminum and glass cur­ tain wall also lead to improvements in joint sealants and thermal insulation materials. Early metal curtain walls were caulked with glazing compounds that quoting one practitioner, "were little more than vegetable oil stuff." Such caulking materials, proved to have little ability to stop water, and required frequent reapplication. Improved sealants were developed which adhered better to metal and glass and consequently were

24 CRM N2 8—1995 more watertight. Two-part elastomeric sealants ation about orientation. Long walls of glass were principally made from polysulfide were developed faced on the south, east or west, which exposed in the late 1950s. These sealants were generically occupants to the intense morning and afternoon identified by the principal manufacturer, sunlight and glare. Glass exposed to direct sun­ "Thiokol." The components were mixed with a light has been found to cause thermal stresses paddle and had a limited four-to-six hour pot life. that can crack the glass, especially in situations Later, Tremco developed a one-part sealant called where the glass is partially shaded by awnings or "Mono" which, although the smell was less than deep exterior mullions. appealing, exhibited tenacious adhesion. Mono The new curtain wall also created new prob­ sealants, however, hardened over time. This has lems, of which architects and builders were not contributed to glazing failures due to the hard completely aware. Interior condensation and sealant compressing on the glass. Contemporary rapid expansion/contraction became new design one-part elastomeric sealants such as silicones concerns. Although aluminum is corrosion resis­ and polyurethanes were first marketed in the tant, mill finished aluminum can corrode over 1970s, and remain the common sealant materials time and with exposure to atmospheric pollutants today. and moisture. Early curtain walls were also prone Insulation materials such as fiber-glass and to leak. Furthermore, when water did get past the curtain wall, it was nearly impossible to track its Fig. 2. Lever House, mineral wool blankets were developed by manu­ New York, New facturers such as Pittsburgh-Corning, Owens- path and find the leak. Therefore, early designers York (Skidmore, Illinois, US Gypsum, and Johns-Manville. These realized that they needed to find a way to let Owings and materials were touted for their significant contribu­ water that got into the wall back out again, before Merrill, !9S2).The tion in reducing heat loss. One source noted that, it became a leak on the interior. A double system clean curtain wall "many of the insulating materials suitable for thin of drainage with weeped internal gutters was appearance "belies its complex internal curtain wall construction are more than 15 times commonly utilized to collect and hold water at the construction which as effective as thermal insulators than ordinary spandrel area. These gutters could be designed to 1 was cobbled masonry." hold up to a 6" head of water, and to allow the together from off Although the new materials had infinite water to drain out when wind pressure subsided. the shelf parts," as promise in creating new claddings, many 1950s Problems with water leaks are still evident with described in many curtain walls due to the misunderstanding Architectural vintage curtain walls were only half-hearted efforts Record, June at incorporating the technology. Curtain walls of how to design for water infiltration or due to 1989. often were little more than an assembly of old poor quality workmanship in implementing a style aluminum water resistant design. windows held in Standards and the Metal and Glass Curtain place with a grid Wall of reinforced As with any material in its infancy, it soon mullions. Many became apparent that standards of quality and early "all-glass" performance were needed. An early curtain wall curtain walls symposium defined the ideal technical parameters were actually of a metal and glass curtain wall as being backed by con­ between 2" and 5" thick; self-insulating; able to crete block walls withstand high winds; weatherproof on the outer at each floor surface; vapor-proof on the inner surface; venti­ behind opaque lated and drained for control of internal moisture; glass, to satisfy designed for expansion and contraction of the prevailing fire building; easily removable for repair; sound dead­ code require­ ening; adaptable to all types of building frames; ments. Lever installed from the inside without scaffolding; easy House in New to fabricate, ship, and handle; attractive; mainte­ York, shown in nance free; and moderate in cost. Furthermore, Figure 2, is an this system was intended to last 40 to 100 years. example of early As the metal and glass curtain wall industry curtain wall con­ developed, and lessons were learned about the struction in the performance of these walls, it became apparent Linked States. that performance testing of mock-ups of the cur­ The all glass tain walls could go a long way to alleviating building also expensive problems in the field. Some of the earli­ suffered from a est mock-up tests of a metal curtain wall were lack of consider­ performed in the early 1950s in a laboratory in

CRM N2 8—1995 25 graphical conditions around the building, the shape of the building, and the orientation of the building. Wind tunnel testing also clearly revealed the effects of vortex currents which create high wind suction at building corners. Maintaining and Servicing the Metal and Glass Curtain Wall Although the early advocates believed that curtain wall maintenance would require, "no painting, caulking or refinishing, cleaning not required for durability or appearance," this has not proven to be true. Curtain walls, like all Fig. 3. An early alu­ claddings, require work to maintain them in a ser­ minum curtain wall viceable condition, and often require major repairs used in conjunction to restore them to their original condition. These with the then more repairs are often undertaken to refresh a dated traditional lime­ stone curtain wall. facade and to aid in leasing an older building. The fluted alu­ With proper upkeep the 1950s and 1960s curtain minum spandrel walls can continue to last as long as their masonry plates and center counterparts. pivot windows have contributed to Sealant replacement is the most common water leakage over maintenance requirement for the middle-aged the years. metal and glass curtain wall. Figures 3 and 4 show an early curtain wall and the maintenance for its Coral Gable, Florida. The tests were performed on continued performance. Early generations of poly- curtain wall mockups for Chicago's 900-960 Lake sulfide sealants become embrittled over time and Shore Drive Buildings designed by Mies van der will no longer stop water entry into the wall. Rohe. Similar to the mock-up testing performed "Mono" sealants can harden and contribute to today, these tests subjected the mock-up to water glazing failures due to the sealant compressing the and air pressure differentials, and used both static glass. Butyl sealants, which remain flexible over and dynamic test methods. time, can be pushed out of the sealant joint by the Guidelines for the performance of curtain repeating action of winds pushing against the alu­ walls were introduced through manufacturer's minum and glass. Old sealants can usually be organizations such as the National Architectural replaced by cutting out the old material and clean- Aluminum Manufacturers (NAAM) and later through the Architectural Aluminum Manufacturer's Association (AAMA). National con­ sensus standard organizations, such as American Society for Testing and Materials (ASTM) have adopted many of these manufacturers' group stan­ dards. Through these organizations, structural per­ formance, thermal performance, water resistance performance and air infiltration limits were estab­ lished. More recently, requirements have been pro­ moted for resistance to condensation and for high performance paint coatings. As curtain walls became lighter and the buildings clad with these walls became taller, it soon became apparent that the most significant force acting on the curtain wall was not its own Fig. 4. A section at dead weight, but instead was the "live load" the window head imposed on the wall by the force of the wind. and sill conditions for the curtain wall Through the development of boundary layer wind shown above. tunnel testing, there arose a better understanding Sealant repairs of the effect of wind loads on curtain walls. Wind have been specified tunnel testing revealed that not only was the wind at key locations to force greater higher up on the building, but wind mitigate water leak­ age. forces varied considerably depending on the topo­

26 CRM N2 8—1995 ing the substrate with a suitable solvent and clean the country because of volatile organic compound cloth wipe. Then after preparation, the new mater­ (VOC) restrictions. ial can be installed in a properly designed new When maintenance and servicing are not sealant joint. deemed sufficient to correct the look or function of Glass replacement is sometimes warranted, an older curtain wall, recladding of the entire either due to physical damage to the original glass building is possible. The new lightweight alu­ or due to the benefits inherent with replacing older minum curtain wall can be installed directly over and often times energy-inefficient single-glazed the old wall. Even with the weight of two exterior curtain walls with high performance insulating walls, the system is still usually lighter than a glass (IG) units. Even early generation 1970s IG masonry wall system. Prior to implementing an units may now need replacement, due to the overcladding project, however, it is critical to con­ breakdown of the metal edge bands and fogging of sider what will be buried in the wall, such as the IG unit with water vapor. Large glass units that internally corroded metals, water damaged materi­ pushed the limits of annealed glass for thermal als, and even molds and mildew. stresses can crack and need replacement. The metal and glass curtain wall of the Tempered glass can spontaneously break due to 1940s, 1950s, and 1960s was a product of its mineral inclusions in the glass and may require time: the continued desire for lightweight, high preventive measures to safeguard against glass performance, and economical wall systems, cou­ fall-out. Laminating safety films are sometimes pled with industry advances from the war years. applied to the interior face of tempered glass to The industry has progressed with new standards of correct this problem. construction and methods for quality control test­ Although the aluminum components of the ing to improve new construction. However, older curtain wall are considered corrosion resistant, metal and glass curtain walls can still serve for mill finished aluminum can corrode over time with many years with careful maintenance and repair. exposure to atmospheric pollutants and moisture. The anodized coating on finished aluminum can Notes discolor and pit. Sometimes, the original color just 1 Architectural Forum (March 1950): 83. looks old and tired, and like many building mate­ rials, requires a fresh coat of paint. High perfor­ mance air drying paints are available for the Bruce S. Kaskel, SE, AIA, is an architect and engi­ repainting of aluminum curtain walls. These high neer with Wiss, Janney, Elstner Associates, Inc., performance paints are banned in some areas of Chicago, Illinois.

Thomas C. Jester International Perspectives on 20th-century Heritage

mericans are not alone in their 20th-century properties are worth preserving. efforts to preserve cultural This is particularly true in countries with resources from the 20th century; resources dating back many centuries, where 100 Aother countries have likewise years is considered a short period of time. The begun to consider more recent aspects of the vast number of properties from this century also built environment for their heritage value. In makes selecting properties worthy of preservation response to known and potential threats, particu­ more challenging, a problem exacerbated by the larly rapid change in the environment, the notion relative dearth of objective historical analysis on of heritage is slowly expanding to include signifi­ 20th-century buildings and sites. Changes to prop­ cant 20th-century properties. Because the public erties over time and accelerated deterioration due often views heritage as a way to distinguish the to limited lifespans of some buildings also raise past from the present, it is difficult to argue that questions about integrity. With so many issues to

CRM N2 8—1995 27 address, many countries have begun looking to International Centre for the Study of the neighbors for answers and perspectives in order to Preservation and the Restoration of Cultural formulate approaches to 20th-century heritage. Properly (ICCROM). Twenty-five participants, rep­ A number of international forums have pro­ resenting 13 countries, met on June 18-19, 1995, vided opportunities for professionals to discuss in Helsinki, Finland, to discuss 20th-century her­ mutual problems, exchange information, and itage issues. The two-day seminar reviewed develop strategies for inventory, evaluation, protec­ national efforts on this topic within an interna­ tion, and conservation. One of the most compre­ tional context, explored methods to analyze the hensive international meetings on 20th-century significance of 20th-century heritage, and consid­ heritage was sponsored by the Council of Europe, ered how to identify 20th-century properties that an intergovernmental organization, in 1989. The could potentially be included in the World Council of Europe meeting, Twentieth-Century Heritage List (see sidebar for a list of the meeting Architectural Heritage: Strategies for Conservation recommendations). and Promotion, examined approaches to conserv­ After briefly surveying international efforts ing 20th-century architectural heritage. The formal to address "recent" heritage, participants dis­ recommendations of the meeting call on govern­ cussed the identification, registration, and protec­ ments of the member countries to develop strate­ tion of 20th-century heritage. A central question gies for identifying, protecting, conserving, emerged: whether different criteria than those restoring, and promoting heritage from this century. used for "traditional" heritage are needed for eval­ More focussed international initiatives are uation. While opinions on this issue varied, most also underway. In 1989, DOCOMOMO participants agreed that new resource types- International (the International Working Party for urban and rural districts, social housing, trans­ the Documentation and Conservation of Buildings, portation systems, modern landscapes, to name a Sites, and Neighborhoods of the Modern few—currently pose evaluation challenges as Movement) was formed to: facilitate the exchange countries move away from a purely "architectural" of documentation and conservation information, view of cultural heritage, and away from focusing protect threatened Modern Movement buildings, on monuments and masterworks, to recognizing stimulate interest in the Modern Movement, and more vernacular buildings and sites. This evolving create a register of significant Modern Movement approach reinforces the continuity of heritage and buildings. DOCOMOMO is made up of over 30 takes into account social, ecological, economic, national and regional working parties. The U.S. and cultural dimensions. In the United States, working party of DOCOMOMO, established in such dimensions are recognized when properties 1995, will be affiliated with the University of are evaluated, using the National Register's Many of the origi­ Southern California's School of Architecture and Criteria for Evaluation, for their association with nal features that housed at Frank Lloyd Wright's Freeman House in American history, architecture, archeology, engi­ characterize Los Angeles. With biennial conferences and an neering, and culture. Finland's Olympic extensive news journal, DOCOMOMO's activities Stadium were Inventory techniques vary from country to retained or sensi­ represent a positive step toward creating a wider country, and it was clear that thematic methods tively modified dur­ constituency for modern buildings. are useful. But continuity must be maintained by ing a recent extending survey periods that often exclude much rehabilitation.The Recently, the International Council on stadium tower Monuments and Sites (ICOMOS) sponsored a of the 20th century. Recognizing that the built appears on CRM's seminar on 20th-century heritage in cooperation environment in this century is extensive, a num­ cover. with UNESCO's World Heritage Centre and the ber of participants suggested that new recording technologies be developed to collect data, taking advantage of rapidly evolving computer applica­ tions. All participants stressed the importance of education at all levels to raise awareness about recent heritage. Appreciation of "modern" environ­ ments is needed, particularly at the local level. The media should be used as much as possible to highlight important properties on an international level. On a professional level, better historical analysis—through objective thematic and mono­ graphic studies—is needed to avoid reliance on traditional art historical interpretation and prema­ ture judgements, often in the media, about signifi­ cance.

28 CRM N2 8—1995 Goddard Rocket Launching Site (Massachusetts), Lowell Observatory (Arizona), Pupin Physics Laboratory (New York City), Trinity Site (New Mexico), and Frank Lloyd Wright's Unity Temple (Oak Park, Illinois) and Robie House (Chicago). Participants in the Helsinki meeting felt strongly that more properties from the 20th cen­ tury deserve to included in the World Heritage List, but couldn't agree on whether the existing criteria in the "operational guidelines" require changes to make more 20th-century nominations possible. However, most attending supported the requirement that the passing of one generation (25 years) is necessary to allow time for sufficient his­ torical perspective when evaluating properties from this century. To aid ICOMOS and the World The failing thin In a brief session on intervention and techni­ marble panels on cal issues, the group discussed reuse approaches Heritage Centre with one component of its efforts Finlandia Hall, based on sustainability and expressed concern to evaluate 20th-century heritage, DOCOMOMO designed by Alvar about repair and maintenance practices that may International has been asked to develop a working Aalto(l962-7l),in document (including guidelines and new criteria Helsinki, Finland, not take into account a building or site's historic for evaluation, if necessary) to select Modern raise a serious character. Training, the participants agreed, is question about the needed to address the use of distinctive technolo­ Movement properties for inclusion in the World replacement of gies and more recent materials. Most felt that Heritage List. The working document will be dis­ deteriorating mod­ established conservation principles should be cussed at the 1996 DOCOMOMO conference in ern materials: Slovakia before being submitted to ICOMOS. should new marble, employed to care for recent heritage. or a more durable The final seminar discussion focussed on the Few of the complex 20th-century heritage material with the inscription of 20th-century properties in the World questions can be easily answered; properties from same appearance, the recent past represent a large percentage of the be used when Heritage List, which presently contains slightly replacement more than 400 properties noted for their "out­ built environment, and are diverse in character, becomes neces­ standing universal value." Buildings more than 25 suggesting that it will take time to develop suc­ sary? Photo by years of age can be considered, but to date only cessful identification, protection, and restoration Thomas C. jester. four properties dating from the 20th century have approaches. However, it is encouraging to observe been inscribed in the World Heritage List— the gradual evolution of the notion of heritage Auschwitz (Poland), Niemeyer and Costa's Brasilia worldwide and recognition that action must be (Brazil), Gaudi's Pare and Palace Guell and Casa taken to ensure that reminders of modern life are Mila (Spain) and Skogskyrkogarden (Sweden). Of left to future generations. the two 20th-century properties nominated by the United States, one, the Wright Brothers National Thomas Jester is an architectural historian with the Monument, was withdrawn in 1981 because it Preservation Assistance Division, National Park was no longer materially associated with the first Service, Washington, DC, and participated in the flight, and the other, Taliesin and Taliesin West by recent ICOMOS seminar on 20th-centurv heritage. Frank Lloyd Wright, was with­ drawn in 1991 for further One of the best- study. A review of the State known houses in the world, Frank Parties' tentative lists (proper­ Lloyd Wright's ties that may be nominated to Fallingwater (1936) the World Heritage List in the is a "modern" future) by ICOMOS National Historic International revealed that the Landmark that could potentially be number of 20th-century prop­ nominated for erties remains marginal except inclusion in the in some European countries World Heritage and the United States. List. Photo by Jack E Boucher, HABS, The U.S. tentative list of NPS, 1985. 20th-century properties includes the General Electric Research Laboratory (Schenectady, New York),

CRM N2 8—1995 29 ICOMOS Seminar on 20th-century Heritage, June 18-19, 1995 General Recommendations

1. It is noted that the 20th-century heritage 8. Research programs on specific problems should not be defined only with reference to its concerning techniques and materials in restora­ architectural forms, but taking into account the tion work with due respect to their aesthetic broad ecological, social, anthropological, eco­ qualities should be encouraged. The publication nomic, and cultural framework which forms the of results from achieved experiences and prepa­ whole. There is a need to stress the importance ration of corresponding specialized bibliogra­ of memory over considerations of materials. phies are priority actions. Attention should be given to the economic consequences of restora­ 2. The established principles of conserva­ tion and regular maintenance with respect to tion are a valid basis for the safeguarding and employment policy and sustainable develop­ care of the recent heritage. ment.

3. While some of the heritage of the 20th 9. In order to promote communication and century has particular characteristics that differ­ raise public awareness, the media should be entiate it from earlier constructions, it results used to stress the importance of the 20th-cen­ substantially from the continuity of heritage. Its tury heritage especially to the young people. The identification and inventory need to be updated international community should also draw on a regular basis. Attention is required to all attention to the qualities and values of specific types and even modest examples of such her­ cultural properties. itage, and in particular to urban and rural ensembles, housing schemes, and industrial her­ 10. The Council of Europe itage. Recommendation R (91) 13, gives the general guidelines for actions in this field. 4. Systematic documentation of the 20th- century heritage in all its dimensions and in rela­ 11. A follow-up of the seminar is neces­ tion to its context is necessary. Such sary. It should include the distribution of the documentation should take into account the working documents and keeping regular con­ potential offered by new recording methods. tacts between participants. If a future meeting is organized on this subject, it should be open to 5. Due attention should be paid to the full other disciplines and decision makers, and spectrum of the heritage of the entire century, should take place in another part of the world. including buildings and ensembles built in new technologies as well as those using traditional Recommendations Concerning the World building materials and structural forms. Heritage Convention

6. It was recognized that the life cycles of 1. There should be an on-going process of man-made environments are mainly based on consultations among ICOMOS, DOCOMOMO, economic and functional considerations, and and the World Heritage Centre in order to define require critical choices to guide the process of the 20th-century heritage and develop a selection of cultural properties that merit protec­ methodology for its identification. tion. 2. It would be advisable only in excep­ 7. Considering the international character tional cases to propose for inclusion in the of much of the 20th-century heritage, networking World Heritage List properties that are less than and joint efforts are of particular importance. 25 years old in order to allow sufficient time for Such action should be taken both in relation to historical perspective and scientific analysis. identification and inventory, as well as to educa­ tion and training in collaboration with existing initiatives.

30 CRM NS 8—1995 PRESERVATION AND THE RECENT PAST: offerings from Technical Preservation Services (TPS), Preservation Assistance Division, National Center for Cultural Resource Stewardship and Partnership Programs, Washington, DC.

Soon to be celebrating 20 years of publica­ Preserving the Recent Past. $49.00. This tions, Technical Preservation Services (TPS), 600 page book was developed for the national Preservation Assistance Division offers the popu­ conference of the same title held in March 1995 lar Preservation Briefs series and Preservation Techan d is an invaluable Notes, along with specialized material on many resource for those evalu­ preservation topics. The new Catalog of Historic ating, maintaining and Preservation Publications; Guidance on the reusing cultural proper­ Treatment of Historic Properties (1995) contains ties from the 20th cen­ over 100 titles currently available to the tury. The philosophical public. For your free copy contact TPS at and practical issues asso­ (202) 343-9578 or write Technical ciated with preserving Preservation Services, Preservation resources from 1920 to Assistance Division, Stop 424, NPS, P.O. 1960 are included as Box 37127, Washington, D.C. 20013. well as an extensive The new catalog of publications can reading list. Published by also be accessed on the World Wide Web the Historic Preservation through the Cultural Resources Home Page Education Foundation, P.O. Box 77160, on the National Park Service at the follow­ Washington, DC 20013-7160. ing: http:/AVWW.CR.NPS.GOV/pad/pad- pub.html Affordable Housing Through Historic Preservation: A Case Study Guide to Combining The Secretary of the Interior's Standards the Tax Credits. Susan Escherich and William for the Treatment of Historic Properties with Delvac. 1994. $3.50. This is the first of two books Guidelines for Preserving, Rehabilitating, providing an excellent overview of how to finance Restoring & Reconstructing Historic Buildings. historic buildings for affordable housing. It dis­ by Kay D. Weeks and Anne E. Grimmer. $12.00. cusses how to combine the historic rehabilitation This new publication offers essential guidance for tax credit and the low-income housing tax credits the treatment of historic buildings for a broad and offers detailed case studies. Prepared in part­ audience. The Guidelines define the four treat­ nership with the National Trust for Historic ments and establish a model process for selecting Preservation. 74 pages, 32 illustrations. GPO stock the appropriate one. Technical and design recom­ number: 024-005-01148. Available through the mendations are provided within a consistent Government Printing Office. philosophical framework. Richly illustrated. GPO stock number 042-005-01157-9. Available through Forthcoming—fall and winter 1995 the Government Printing Office. Affordable Housing Through Historic Preservation Brief 37: Appropriate Preservation: Case Studies by Building Type. Methods of Reducing Lead-Paint Hazards in Susan Escherich, Editor. Building on the success of Historic Housing, by Sharon C. Park, AIA and the first book of case studies in affordable hous­ Douglas C. Hicks. $1.75. The latest in the series of ing, this publication examines additional examples popular Preservation Briefs designed to assist in which financing has combined several tax cred­ owners and developers of historic buildings its. This publication recognize and solve common preservation focuses on preserving and problems. This Brief provides recommenda­ rehabilitating schools, tions for planning and implementing mea­ hotels, rowhouses, facto­ sures to reduce the hazards of lead-based ries, and warehouses for paint without damaging the historic charac­ affordable housing. ter of historic buildings and sites. Worker Approximately 100 pages safety is also discussed. 16 pages, 32 illus­ with 50 illustrations. trations. GPO stock number: 024-005- Soon to be available 01149-8. Available through the through the Government Government Printing Office. Printing Office.

CRM N2 8—1995 31 Twentieth-Century Building Materials: Conferences History and Conservation. Thomas C. Jester, Editor. $50.00. This forthcoming National Preserving Modern Landscape Park Service/McGraw-Hill publication will Architecture. November 9-10, 1995. Wave Hill, provide an historical overview of building New York. This conference will address the protec­ materials from 1880-1960. Brief histories tion of post-World War II landscape architecture and the conservation of 36 materials rang­ of public and private places. This two-day sympo­ ing from aluminum to zenitherm is a must sium will initiate a dialogue aimed at curtailing for the architect, owner, or firm restoring unmonitored losses and modification of these sig­ modern materials. For further information nificant resources. The first day is devoted to sem­ about ordering this publication, write to inar sessions with the second day encompassing the National Park Service, Preservation tours of Lincoln Center, the James Rose Center in Assistance Division, P.O. Box 37127, Stop Ridgewood, NJ, and three residential landscapes 424, Washington, DC 20013-7127. designed by James Rose in the 1980s. For more information, contact Chris Panos at Wave Hill, New Video 675 West 252nd Street, Bronx, NY 10471.

Working on the Past with the Secretary of Affordable Housing and Historic Tax the Interior's Standards for the Treatment of Credits. February 8-9, 1996. Washington, DC. Historic Properties. $15.00. This forthcoming This national conference will address the preserva­ video, VHS format, 28 minutes, discusses the tion and financing of affordable housing in practical and philosophical differences among the America. It will feature case studies from planning four most used treatment standards: Preservation, to implementation of projects that have both met Rehabilitation, Restoration, and Reconstruction. It the Secretary of the Interiors Standards and com­ provides step-by-step guidance for choosing a his­ bined low income and investment tax credits. Co- toric preservation treatment and its effect on his­ sponsored by the NPS, the Historic Preservation toric materials and features. Sales and Education Foundation, National Housing and distribution will be through the Historic Rehabilitation Association, and Affordable Preservation Education Foundation, P.O. Box Housing Finance Magazine. To get on the mailing 77160, Washington, DC 20013-7160. list for the conference, call Technical Preservation Seivices conference line at 202-343-6011.

Inside— Cultural Resource Training Directory 1996 information form. Response requested by November 3, 1995.

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