DOCSLIB.ORG

PRESERVING WITHOUT OWNING: Deaccessioning Historic Properties

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
PRESERVING WITHOUT OWNING: Deaccessioning Historic Properties Why Do We Own? Alternatives to the Historic House Museum By Carl R. Nold, President and CEO, Historic New England, Boston, Massachusetts © 2007, Historic New England Extensive newspaper reports from around the country and experience in Greater Philadelphia confirm that among the greatest challenge facing local museums and other community organizations today is that of caring for what is usually the largest artifact in the collection—the historic house. Much has been written recently about the decline of the house museum in America, and news stories frequently ignite concern as one or another historic house suffers loss of audience, declining care and, for some, deaccession and sale. Barbara Silberman explored some of the causes of that decline in her paper. In my presentation today, I will to use the history of my organization, Historic New England, as a basis for examining the philosophy of ownership of historic houses. My premise is that in considering the question “why do we own?” or “why should a building be held in public trust?” we can also achieve an understanding of when it is appropriate to deaccession and preserve a house in other ways. This presentation is in three parts: • Focus on the background and philosophy of acquisition and disposal of historic properties by Historic New England. • Briefly review the process that we follow today in making decisions about real property disposition. • Briefly describe the stewardship easement program that we operate to ensure the long-term preservation of historic properties that leave our ownership; a program that is also available to other institutions and individuals in New England, and is considered by many to be a national model. BACKGROUND This must be a quite abbreviated look at Historic New England’s institutional history of real property ownership, but I think even an abbreviated view will be helpful to those struggling with these questions. Historic New England has over the years owned 114 properties, and today owns 36 museum properties, 2 rental properties, and 2 cemeteries. The organization has a long history of acquiring and deaccessioning historic houses. Founded in 1910 as the Society for the Preservation of New England Antiquities (SPNEA), Historic New England is an institutional hybrid; a system of historic site museums, a library and archives, a large and important artifact collection documenting domestic life in New England over four centuries, a historic preservation organization, and an educational institution. Founder William Sumner Appleton is generally agreed to be America’s first professional preservationist. Historic New England’s involvement with buildings—real property—is long, complex and varied. At times buildings were acquired simply to protect the structure from demolition; at other times they were purchased and held only briefly to create a “right of entry” for future protection, and at 1 times buildings were acquired with clear intent to create full-scale house museums. The first acquisition was in 1911, of the Swett-Illsley House in Newbury MA, but from there the pace was furious. Appleton was unfailing in his dedication to saving buildings during both the boom years of the 1920s and the depression years of the 1930s, when so many were threatened. By 1937 the organization already held 38 historic properties, an acquisition rate of one and a third properties per year. The annual reports to the membership reflect the success of real property acquisition, but frequently introduce a note similar to this quote from the 1937 report referring to a recent house acquisition: “It is hoped that the Society may here develop a museum of New England country arts and crafts and household implements. The principal drawback to the achievement of this ideal is the lack of endowment.” Many properties came as purchases, bequest or gifts without endowment to support their care. Nonetheless, the record of accomplishment is impressive, and indeed it was success with financing an important preservation project that led to the first, and only, disposal of a property during Appleton’s lifetime. In 1937 the society was very pleased to donate, without encumbrance, the Richard Derby House, in Salem, Mass., to the City of Salem for transfer to help create the new Derby Wharf National Monument, now the Salem Maritime National Park. The building had been purchased, with a mortgage, to preserve it. After raising funds to pay off the building and perform needed stabilization work on the structure, the organization donated it to help spur federal involvement in the preservation of the Salem waterfront. Appleton encouraged many communities and groups to acquire historic buildings in those years. The society continued to add to its property holdings throughout Appleton’s lifetime. It was not until the year of his death, 1947, that other ways to preserve buildings were first seriously examined. In that year, the society briefly took possession of the Charles Street Meeting House in Boston in order to establish a legal right to convey the property with deed restrictions, restrictions that the organization continues to hold and enforce today. Appleton’s successor, Bertram Little, faced the challenge many historic site managers today know very well, that of too much property and too few funds for maintenance and operation. It was during Little’s time as president that the system of properties was first thoroughly analyzed, and decision made to sell some in the late 1940s and early 1950s to institutions and individuals who it was believed would take good care of them. Some contents were sold along with the buildings, while other items of historical importance were taken into the museum collections that the organization operated from its founding. It fell to third president Abbott Lowell Cummings and his successor Nancy Coolidge to continue to face the challenge of caring for a large system of buildings, seeking means other than operation as an historic house museum for those whose stories or collections did not merit that approach, and developing a philosophy of how to look at properties for either acquisition or disposal. By the time of the 1970’s economic decline, the society was faltering under the demands of the care of its buildings, especially because it established very stringent professional principals for optimal research, restoration, interpretation and care practices for historic sites; many of which practices became national standards. 2 It was in a 1979 statement that Dr. Cummings most clearly articulated the evolving philosophy of building ownership at SPNEA. He wrote: “Because alternate strategies to outright ownership are almost certain to become an integral part of the process [of preservation], there must henceforth be rational justification for ownership. The fundamental question, in other words, is ‘why do we own?’” Dr. Cummings could ask the question from that perspective because during the 1970s the organization tested methods of building preservation other than ownership. In 1981 the successful easement program that will be briefly described later was created. Dr. Cummings pointed to characteristics that responded to his question, “Why do we own?” His conclusions, further developed over time, continue to guide Historic New England’s decision-making about ownership of historic properties today. Dr. Cummings sought to look at buildings in three ways: 1. Potential for museum/educational activities: identifying which properties are essential to that process. He noted that “For any significant museum/educational program…, institutional ownership rather than adaptive use is mandatory.” 2. Architectural importance that flows from the educational role: essentially can the organization create a collection of houses that represents the “variety of types, and an impressive qualitative range” of New England architecture, representing its breadth and scope, as well as examples of unique buildings that are important as singular examples of their kind. This should avoid duplication by making choices across the defined region, in this case New England. 3. “Total Preservation”: a full awareness of the importance of the building, the landscape, the accumulation of furnishings, and subsequent changes which represent in turn the changing tastes of each generation. In other words, the organization should seek to preserve in institutional ownership those houses that come down as totally unspoiled; intact in building, context, contents and, we would add today, story. If buildings do not have all of those, they may be of lesser importance for preservation as museums. So the question “why do we own,” which is the basis for decisions on “when do we dispose of real property,” came to be examined first for educational value. How do we define educational value in this discussion? 1. First, for outstanding architectural merit, or extreme importance in terms of regional historical significance. 2. Having such rarity as that the building would be endangered if held privately, even with preservation restrictions, or be classic examples of New England’s architectural history, deserving of museum status and, therefore, making institutional ownership mandatory. 3. Having significant in-depth collections that relate to the overall history of the building. 4. Have sufficient endowment to maintain them on an annual basis. If you cannot maintain the building and operate programs, you cannot realize its educational value for the public. 3 This evolution of thinking, from looking at buildings
Load more

Recommended publications
  • Introducticn Tc Ccnservoticn
    introducticntc ccnservoticn UNITED NATTONSEDUCATIONA],, SCIEIilIIFTC AND CULTIJRALOROANIZATTOII AN INIRODUCTION TO CONSERYATIOI{ OF CULTURAT PROPMTY by Berr:ar"d M. Feilden Director of the Internatlonal Centre for the Preservatlon and Restoratlon of Cultural Property, Rome Aprll, L979 (cc-ig/ws/ttt+) - CONTENTS Page Preface 2 Acknowledgements Introduction 3 Chapter* I Introductory Concepts 6 Chapter II Cultural Property - Agents of Deterioration and Loss . 11 Chapter III The Principles of Conservation 21 Chapter IV The Conservation of Movable Property - Museums and Conservation . 29 Chapter V The Conservation of Historic Buildings and Urban Conservation 36 Conclusions ............... kk Appendix 1 Component Materials of Cultural Property . kj Appendix 2 Access of Water 53 Appendix 3 Intergovernmental and Non-Governmental International Agencies for Conservation 55 Appendix k The Conservator/Restorer: A Definition of the Profession .................. 6? Glossary 71 Selected Bibliography , 71*. AUTHOR'S PREFACE Some may say that the attempt to Introduce the whole subject of Conservation of Cultural Propety Is too ambitious, but actually someone has to undertake this task and it fell to my lot as Director of the International Centre for the Study of the Preservation and Restoration of Cxiltural Property (ICCROM). An introduction to conservation such as this has difficulties in striking the right balance between all the disciplines involved. The writer is an architect and, therefore, a generalist having contact with both the arts and sciences. In such a rapidly developing field as conservation no written statement can be regarded as definite. This booklet should only be taken as a basis for further discussions. ACKNOWLEDGEMENTS In writing anything with such a wide scope as this booklet, any author needs help and constructive comments.
    [Show full text]
  • A New Method for the Conservation of Ancient Colored Paintings on Ramie
    Liu et al. Herit Sci (2021) 9:13 https://doi.org/10.1186/s40494-021-00486-4 RESEARCH ARTICLE Open Access A new method for the conservation of ancient colored paintings on ramie textiles Jiaojiao Liu*, Yuhu Li*, Daodao Hu, Huiping Xing, Xiaolian Chao, Jing Cao and Zhihui Jia Abstract Textiles are valuable cultural heritage items that are susceptible to several degradation processes due to their sensi- tive nature, such as the case of ancient ma colored-paintings. Therefore, it is important to take measures to protect the precious ma artifacts. Generally, ″ma″ includes ramie, hemp, fax, oil fax, kenaf, jute, and so on. In this paper, an examination and analysis of a painted ma textile were the frst step in proposing an appropriate conservation treat- ment. Standard fber and light microscopy were used to identify the fber type of the painted ma textile. Moreover, custom-made reinforcement materials and technology were introduced with the principles of compatibility, durabil- ity and reversibility. The properties of tensile strength, aging resistance and color alteration of the new material to be added were studied before and after dry heat aging, wet heat aging and UV light aging. After systematic examina- tion and evaluation of the painted ma textile and reinforcement materials, the optimal conservation treatment was established, and exhibition method was established. Our work presents a new method for the conservation of ancient Chinese painted ramie textiles that would promote the protection of these valuable artifacts. Keywords: Painted textiles, Ramie fber, Conservation methods, Reinforcement, Cultural relic Introduction Among them, painted ma textiles are characterized by Textiles in all forms are an essential part of human civi- the fexibility, draping quality, heterogeneity, and mul- lization [1].
    [Show full text]
  • Conservation of Cultural and Scientific Objects
    CHAPTER NINE 335 CONSERVATION OF CULTURAL AND SCIENTIFIC OBJECTS In creating the National Park Service in 1916, Congress directed it "to conserve the scenery and the natural and historic objects and the wild life" in the parks.1 The Service therefore had to address immediately the preservation of objects placed under its care. This chapter traces how it responded to this charge during its first 66 years. Those years encompassed two developmental phases of conservation practice, one largely empirical and the other increasingly scientific. Because these tended to parallel in constraints and opportunities what other agencies found possible in object preservation, a preliminary review of the conservation field may clarify Service accomplishments. Material objects have inescapably finite existence. All of them deteriorate by the action of pervasive external and internal agents of destruction. Those we wish to keep intact for future generations therefore require special care. They must receive timely and. proper protective, preventive, and often restorative attention. Such chosen objects tend to become museum specimens to ensure them enhanced protection. Curators, who have traditionally studied and cared for museum collections, have provided the front line for their defense. In 1916 they had three principal sources of information and assistance on ways to preserve objects. From observation, instruction manuals, and formularies, they could borrow the practices that artists and craftsmen had developed through generations of trial and error. They might adopt industrial solutions, which often rested on applied research that sought only a reasonable durability. And they could turn to private restorers who specialized in remedying common ills of damaged antiques or works of art.
    [Show full text]
  • ASG, Past, Present, and Future: Architectural Specialty Group at 25
    May 2013 Vol. 38, No. 3 Inside From the Executive Director 2 AIC News 4 ASG, Past, Present, and Future: Annual Meeting 5 Architectural Specialty Group FAIC News 5 at 25 JAIC News 7 by George Wheeler, Frances Gale, Frank Matero, and Joshua Freedland (editor) Allied Organizations 7 Introduction The Architectural Specialty Group (ASG) is celebrating its twenty-fifth Health & Safety 8 anniversary as a group within AIC. To mark this milestone, three leaders were asked to reflect about the architectural conservation field. The Sustainable Conservation Practice 10 selected group has been involved in educating architectural conserva- COLUMN tors and promoting the field of architectural conservation, and each has New Materials and Research 11 SPONSORED played a role in the development of ASG. Each was asked to indepen- BY A SG dently discuss architectural conservation and education today in the New Publications 12 context of past history and future possibilities. People 13 The need to teach future architectural conservators the philosophical framework for making conservation treatment and interpretation decisions remains clear, as it has Worth Noting 13 since the founding of the professional field in the 1960s. New architectural materials and styles, documentation techniques, and research methodologies threaten to fragment Grants & Fellowships 13 the architectural conservation field into specialists who function more as technicians than professionals. This struggle is neither new nor specific to architectural conservation; Specialty Group Columns
    [Show full text]
  • Building Order on Beacon Hill, 1790-1850
    BUILDING ORDER ON BEACON HILL, 1790-1850 by Jeffrey Eugene Klee A dissertation submitted to the Faculty of the University of Delaware in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Art History Spring 2016 © 2016 Jeffrey Eugene Klee All Rights Reserved ProQuest Number: 10157856 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. ProQuest 10157856 Published by ProQuest LLC (2016). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, MI 48106 - 1346 BUILDING ORDER ON BEACON HILL, 1790-1850 by Jeffrey Eugene Klee Approved: __________________________________________________________ Lawrence Nees, Ph.D. Chair of the Department of Art History Approved: __________________________________________________________ George H. Watson, Ph.D. Dean of the College of Arts and Sciences Approved: __________________________________________________________ Ann L. Ardis, Ph.D. Senior Vice Provost for Graduate and Professional Education I certify that I have read this dissertation and that in my opinion it meets the academic and professional standard required by the University as a dissertation for the degree of Doctor of Philosophy. Signed: __________________________________________________________ Bernard L. Herman, Ph.D. Professor in charge of dissertation I certify that I have read this dissertation and that in my opinion it meets the academic and professional standard required by the University as a dissertation for the degree of Doctor of Philosophy.
    [Show full text]
  • HISTORIC PRESERVATION COMMISSION the Preservationist
    KANKAKEE COUNTY HISTORIC PRESERVATION COMMISSION The Preservationist Volume 1, Issue 1 Summer 2015 Special points of interest: Kankakee county Preser- Kankakee County Preservation Commission vation Commission Re- ceives Grant from IHPA Receives Grant from IHPA Community Foundation Grant The Kankakee County with a roadmap for the residents and also to bring French-Canadian Heritage Historic Preservation county’s future preserva- public awareness of the Corridor Commission (KCHPC), as tion activity. An effective importance of protecting a Certified Local Govern- action plan will establish and maintaining those re- French-Canadians of Kankakee County ment, applied for and re- goals set forth by our sources. We seek to en- ceived a $19,950 Certified community and will organ- courage enthusiasm and What Does a Historic Preservation Commission Local Government (CLG) ize preservation activities support for preservation do? 2015 Matching Grant in a logical sequence that to grow in a positive way. from the Illinois Historic can be achieved in a rea- A preservation plan is KCHPC seeks to form a Steering Committee Preservation Agency sonable time period. The also an economic develop- (IHPA). The federally plan will be a public out- ment tool. Businesses and Kankakee County Historic funded grant will be used reach tool for the Com- individual property own- Preservation Commission to finance a Comprehen- mission, involving the pub- ers are attracted to com- Working together: City of sive Kankakee County lic in the planning process. munities when they value Kankakee and Kankakee County Historic Preservation Plan Public meetings will be the characteristics found developed to encourage held in communities in communities with the preservation of the throughout Kankakee strong preservation pro- county’s historic re- County, in an attempt to grams.
    [Show full text]
  • Creativity Matters: the Arts and Aging Toolkit © 2007 by the National Guild of Community Schools of the Arts, 520 8Th Avenue, Suite 302, New York, NY 10018
    NATionaL GUILD OF CommUniTY SchooLS OF The ARTS CREATIVITY NATionaL CenTer For CreaTIVE Aging NEW Jersey PerForming ARTS CenTer MATTERS THE ARTS AND AGING JOHANNA MISEY BOYER TOOLKIT CREATIVITY MATTERS THE ARTS AND AGING TOOLKIT Creativity Matters: The Arts and Aging Toolkit © 2007 by the National Guild of Community Schools of the Arts, 520 8th Avenue, Suite 302, New York, NY 10018 All rights reserved. Published 2007 Printed in the United States of America Evaluation: Performance Results, Inc., Laytonsville, Maryland Editing: Ellen Hirzy, Washington, DC Design: fuszion, Alexandria, Virginia Photo Credits: Cover (top) and 14: PARADIGM, Solomons Company/Dance, Inc., New York, NY; cover (center): detail of work by Hang Fong Zhang, Center for Elders and Youth in the Arts, Institute on Aging, San Francisco, CA, Jeff Chapline, artistic director; cover (bottom) and 184: Concord Community Music School, Concord, NH, National Guild member since 1984; xxii, 32, 174, 178: Stagebridge Senior Theatre Company, Oakland, CA; 44: Amatullah Saleem (storyteller), Pearls of Wisdom program, Elders Share the Arts, Brooklyn, NY; 24: Alzheimer’s Association Orange County, Irvine, CA; 70: detail of work by Celia Sacks, Center for Elders and Youth in the Arts, Institute on Aging, San Francisco, CA, Jeff Chapline, artistic director; 122: The Golden Tones, Wayland, MA; 146: Irv Williams and Carla Vogel (musician and dancer), Kairos Dance Theatre, Minneapolis, MN; 164: Jesse Neuman-Peterson and Moses Williams (dancers), Kairos Dance Theatre, Minneapolis, MN. The author would like to acknowledge the support of Neil A. Boyer and the inspiration of the ladies on the garden level and her own well elder, Edward G.
    [Show full text]
  • 4-10 Matting and Framing.Pdf
    PRESERVATION LEAFLET CONSERVATION PROCEDURES 4.10 Matting and Framing for Works on Paper and Photographs NEDCC Staff NEDCC Andover, MA The importance of proper matting, mounting and framing Do not use any type of foam board such as Fom-cor®, is often overlooked as a key part of collections care and “archival” paper faced foam boards, Gator board, preventative conservation. Poor quality materials and expanded PVC boards such as Sintra® or Komatex®, any improper framing techniques are a common source of lignin containing paper-based mat boards, kraft (brown) damage to artwork and cultural heritage materials that paper, non-archival or self-adhesive tapes (i.e. document are in otherwise good condition. Staying informed about repair tapes), or ATG (adhesive transfer gum), all of which proper framing practices and choosing conservation-grade are used in the majority of frame shops. mounting, matting and framing can prevent many problems that in the future will be much more difficult to MATTING solve or even completely irreversible. As Benjamin Franklin said, “An ounce of prevention is worth a pound of The window mat is the standard mount for works on cure.” paper. The ideal window mat will be aesthetically pleasing while safely protecting the piece from exterior damage. Mats are an excellent storage method for works on paper CHOICE OF A FRAMER and can minimize the damage caused from handling in When choosing a framer it is important to find someone collections that are used for exhibition and study. Some well-informed about best conservation framing practices institutions simplify their framing and storage operations and experienced in implementing them.
    [Show full text]
  • William Morris and the Society for the Protection of Ancient Buildings: Nineteenth and Twentieth Century Historic Preservation in Europe
    Western Michigan University ScholarWorks at WMU Dissertations Graduate College 6-2005 William Morris and the Society for the Protection of Ancient Buildings: Nineteenth and Twentieth Century Historic Preservation in Europe Andrea Yount Western Michigan University Follow this and additional works at: https://scholarworks.wmich.edu/dissertations Part of the European History Commons, and the History of Art, Architecture, and Archaeology Commons Recommended Citation Yount, Andrea, "William Morris and the Society for the Protection of Ancient Buildings: Nineteenth and Twentieth Century Historic Preservation in Europe" (2005). Dissertations. 1079. https://scholarworks.wmich.edu/dissertations/1079 This Dissertation-Open Access is brought to you for free and open access by the Graduate College at ScholarWorks at WMU. It has been accepted for inclusion in Dissertations by an authorized administrator of ScholarWorks at WMU. For more information, please contact [email protected]. WILLIAM MORRIS AND THE SOCIETY FOR THE PROTECTION OF ANCIENT BUILDINGS: NINETEENTH AND TWENTIETH CENTURY IDSTORIC PRESERVATION IN EUROPE by Andrea Yount A Dissertation Submitted to the Faculty of The Graduate College in partial fulfillment of the requirements for the Degree of Doctor of Philosophy Department of History Dale P6rter, Adviser Western Michigan University Kalamazoo, Michigan June 2005 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. NOTE TO USERS This reproduction is the best copy available. ® UMI Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. UMI Number: 3183594 Copyright 2005 by Yount, Andrea Elizabeth All rights reserved. INFORMATION TO USERS The quality of this reproduction is dependent upon the quality of the copy submitted.
    [Show full text]
  • House Research Bibliography
    HOUSE RESEARCH LISTING, comp. by James P. LaLone, rev. Aug., 2016. “A FARM BY ANY OTHER NAME…”, by David A. Norris, in INTERNET GENEALOGY, Oct/Nov 2010, pp.13-15 ABBEYS, CASTLES AND ANCIENT HALLS OF ENGLAND & WALES: THEIR LEGENDARY LORE & POPULAR HISTORY, by John Timbs & Alexander Gunn, 3 vls. ABRAMS GUIDE TO AMERICAN HOUSE STYLES, by William Morgan. “AGAINST THE TIDE: FRENCH CANADIAN BARN BUILDING TRADITIONS IN THE ST. JOHN VALLEY OF MAINE”, by Victor A. Konrad,, in THE AMERICAN REVIEW OF CANADIAN STUDIES, v.12, #2, Summer 1982, pp.22-36. THE AMBROISE TREMBLE FARM: KENSINGTON ROAD, (MI), by Bruce L. Sanders THE AMERICAN BUNGALOW, 1880-1930, by Clay Lancaster AMERICAN ESTATES AND GARDENS, by Barr Ferree AMERICAN HOUSES IN HISTORY, by Arnold Nicholson AMERICA'S HISTORIC HOUSES AND RESTORATIONS., by Ivan Haas AMERICA'S HISTORIC HOUSES; THE LIVING PAST, by Robert L. Polley AN ACCOMPT OF THE MOST CONSIDERABLE ESTATES AND FAMILIES IN THE COUNTY OF CUMBERLAND … (ENG.), by John Denton ANCIENT CATHOLIC HOMES OF SCOTLAND, by Odo Blundell ARCHAEOLOGY OF BUILDINGS, by Richard K. Morriss ARCHITECTURE AND TOWN PLANNING IN COLONIAL NORTH AMERICA, by James D. & Georgiana W. Kornwolf ARCHITECTURE IN EARLY NEW ENGLAND, by Abbott Lowell Cummings THE ARCHITECTURE OF COUNTRY HOUSES, by A. J. Downing. New introd. by George B. Tatum. ARCHITECTURE STYLES SPOTTER’S GUIDE: CLASSICAL TEMPLES TO SOARING SKYSCRAPERS, by Sarah Cunliffe & Jean Loussier, eds. ART AND ARCHITECTURE IN CANADA: A BIBLIOGRAPHY AND GUIDE TO THE LITERATURE, by Loren R. Lerner & Mary F. Williamson
    [Show full text]
  • Practical Techniques for Restoration of Architectural Formation Elements in Historical Buildings
    World Journal of Engineering and Technology, 2019, 7, 193-207 http://www.scirp.org/journal/wjet ISSN Online: 2331-4249 ISSN Print: 2331-4222 Practical Techniques for Restoration of Architectural Formation Elements in Historical Buildings Mahran Anwar Conservation Department, Institute of Tourism, Hotel Management and Restoration, Alexandria, Egypt How to cite this paper: Anwar, M. (2019) Abstract Practical Techniques for Restoration of Architectural Formation Elements in His- Restoration of architectural formation elements is basically trying in estimat- torical Buildings. World Journal of Engi- ing the optimization method which places it old architectural artist in his neering and Technology, 7, 193-207. work. The article aims at rooting the methodology of restoration of the archi- https://doi.org/10.4236/wjet.2019.71013 tectural formation elements. It is essentially intellectual effort by the restorer Received: December 24, 2018 in assessing the best way the artist and the old architect in his work. In order Accepted: February 11, 2019 to reach the purpose behind this works and analyze the original available Published: February 14, 2019 techniques in the creation period, the restoration process can be completed as Copyright © 2019 by author(s) and fully as possible. The research is concerned with re-confidence in the classical Scientific Research Publishing Inc. methods in the restoration of buildings as consolidation and reconstruction. This work is licensed under the Creative The classical method is a real way to restore the building to its original form Commons Attribution International License (CC BY 4.0). especially in the availability of all technological tools to achieve reporting and http://creativecommons.org/licenses/by/4.0/ documentation.
    [Show full text]
  • NATIONAL HISTORIC LANDMARK NOMINATION NFS Form 10-900 USDI/NPS NRHP Registration Form (Rev
    NATIONAL HISTORIC LANDMARK NOMINATION NFS Form 10-900 USDI/NPS NRHP Registration Form (Rev. 8-86) OMB No. 1024-0018 HOUSE OF THE SEVEN GABLES HISTORIC DISTRICT Page 1 United States Department of the Interior, National Park Service_________________________________________National Register of Historic Places Registration Form 1. NAME OF PROPERTY Historic Name: The House of the Seven Gables Historic District Other Name/Site Number: Turner House 2. LOCATION Street & Number: 54 Turner Street Not for publication: City/Town: Salem Vicinity: State: MA County: Essex Code: 009 Zip Code: 01971 3. CLASSIFICATION Ownership of Property Category of Property Private: X_ Building(s): __ Public-Local: _ District: 2L_ Public-State: _ Site: __ Public-Federal:_ Structure: __ Object: __ Number of Resources within Property Contributing Noncontributing 7 2 buildings 1 _ sites _ structures _ objects 2 Total Number of Contributing Resources Previously Listed in the National Register: 8 Name of Related Multiple Property Listing: NFS Form 10-900 USDI/NPS NRHP Registration Form (Rev. 8-86) OMB No. 1024-0018 HOUSE OF THE SEVEN GABLES HISTORIC DISTRICT Page 2 United States Department of the Interior, National Park Service National Register of Historic Places Registration Form 4. STATE/FEDERAL AGENCY CERTIFICATION As the designated authority under the National Historic Preservation Act of 1966, as amended, I hereby certify that this __ nomination __ request for determination of eligibility meets the documentation standards for registering properties in the National Register of Historic Places and meets the procedural and professional requirements set forth in 36 CFR Part 60. In my opinion, the property __ meets __ does not meet the National Register Criteria.
    [Show full text]