Welcome to Agincourt, Iowa

Home » 2013 (Page 6)

Yearly Archives: 2013

Porches and Poché

Image

A now classic text on the evolution of the American family home is Dolores Hayden’s Grand Domestic Revolution. Professor Hayden staked out domestic architecture as her specialty very early and GDR is the keystone of her scholarship. Before I try to deal with many more examples of Agincourt’s residential stock, it would be good to review her.

The image above might be a turn-of-the-century apartment house in any North American city, but it seems especially typical of the Midwest. In fact, it’s the Burrel Apartments in the 400 block of North Fourth Street in Fargo. I’ve borrowed the photo from Modern Man on facebook©, a photo from circa 1936 from his grandmother’s collection. After the initial shock of seeing a building that barely resembles what occupies the site today, it also spurred me on to think about the shift in family activities from the front of the house to the rear; from the porch to the patio, so to speak.

I’m old enough (god knows) to remember front porch life at my grandmother’s house (my house) when I was young and impressionable. We sat there on summer nights, screened from mosquitoes but watching fireflies appear in the twilight. An operable storm window on each of its three sides gave cross ventilation, but they also let us speak with neighbors passing on the walk only twenty feet away. Watching and being watched crafted social links among us. In fact there was a time when I could name practically everyone along the three blocks that constituted West 65th Place in Bedford Park, Illinois. I doubt seriously that many apartment dwellers today can name the folks across the hall; our friendships aren’t forged from such affinities but from noisy parties and untended garbage.

Those porch screens also afforded some social distance between the sitter and the passer-by. With lights off, the option to announce your presence was yours. And the rhythms of village life continued from early spring to late fall. Looking back, it would have been a mistake to “winterize” the porch, to hermetically seal its occupants in climate-controlled comfort and turn the passing parade into yet another TV show.

CMUs

ME Enderlin

Another of my mentors, Prof Bill Burgett at the University of Oklahoma, said this to me once in a third-year studio: “There are no bad materials; only bad uses of material.” This Methodist church in Enderlin, North Dakota, might challenge Bill’s position.

As I play the design game at Agincourt, it has been important to remember Bill’s words: to choose materials of an age appropriate to their popularity at that time and in that place. To view architecture (as a former friend once told me) after the “scales” have fallen from my eyes.

I kinda like it.

Expect the unexpected

Image

If this tidbit of Churrigueresque could appear in Medina, North Dakota, what exoticisms might one anticipate at Agincourt?

Cecil (on design)

Learning about architecture in North Dakota is like studying medicine without cadavers —Cecil Elliott (through Prof Steve Martens)

Image

Approaching its centennial year, the Department of Architecture & Landscape Architecture must have had several occasions to question the logic of being where it is, and how the hell it had managed to survive ninety-nine of them. What could Elliott have been thinking when he came to be its chair in the winter of 1975-6? I’d never heard the Cecil-ism above, so special thanks are due Steve Martens for bringing it to our attention. But I would counter it here, however—or at least offer another of his observations for balance—with his admonition about tourism.

On another eve—preparations for the first Foreign Study excursion in the Spring of 1977—he spoke to the sixteen or seventeen students (and me) about the value of visiting foreign shores: “If you can’t walk from campus to downtown Fargo and see something new, or something old in a new way, then you’re not ready to leave the country.” Perhaps not even to leave the campus!

What I believe he meant was that design, in a universal sense, and its lessons are everywhere. The unprepared, unwilling, jaundiced eye—whether American in Britain or British in America—was a waste of valuable time and good money. I was privileged to be with those students, several of whom constitute my friends even today, for three weeks. Yes, we were innocents abroad and huddled for safety and security at #8, Vicarage Gate, W8 for those four-day weeks, with three-day weekend excursions on our own or in smaller numbers. But we were fucking Pioneers, and I’ve been able to relive the experience and extend the learning curve by pushing farther with each new trip: to Scandinavia, to very foreign France where I had no language skill whatsoever and little tolerance for snooty Parisians, to Bohemia where we were abandoned by Czech Rail at Kutna Hora, and eventually to Istanbul, where my Elliott-inspired observational skills enabled me to experience the Çemberlitaş Hamamı (a Turkish bath opened in 1584!) without serious consequence for international relations. Let me tell you that story another time. In the meantime, ask Lisa Jorgenson or Dan Salyards or Justin Miedema about the encounter.

Design problems are ubiquitous and their solutions manifest in the least likely places and the most inopportune times. And, again, I can tell you from personal observation of CDE in the design studio that learning is a two-way street. His example (and those of you who may have had Cecil in a studio/laboratory can chime in any time) was poetry in motion. He was Yoda with better grammar long before “Star Wars” had been written. He knew which buttons to push and how many times were required before the point was made. And that was true for students, faculty and even administrators like our dean Joe Stanislao, who came to a better understanding of the department that grew each year and constituted an ever larger portion of his domain. Joe eventually had the good sense to make CDE the Associate Dean. [When asked how an associate dean differed from an assistant dean, Cecil replied that he had merely to associate.]

In faculty meetings—especially the earlier, more colorful ones where Larry Loh and Edgar Smith lept across the conference table toward one another’s throat—I enjoyed watching him doodle on lined pads, creating exotic alphabets like Sequoyah’s for the Cherokee or Brigham Young’s for the Salt Lake Valley, but with a Cyrillic twist. Or is that a Cecil-ic twist?

Sequoyah_Arranged_Syllabary_ Deseret_second_book

His letter-forms were elegance incarnate with their serifs and swashes and ligatures, as finely crafted, I think, as the mind behind the felt-tip pen which drew them. Listening to Elliott was instructive; to discretely watch was privilege itself.

Cecil (on politics and religion)

tolerate [tol-uh-reyt]

verb (used with object), tol·er·at·ed, tol·er·at·ing

1. to allow the existence, presence, practice, or act of without prohibition or hindrance; permit; 2. to endure without repugnance; put up with: I can tolerate laziness, but not incompetence; 3. (medicine/medical) to endure or resist the action of (a drug, poison, etc.).

Cecil was indifferent to few things, least of all politics and religion. Odd that today those two topics are so inextricably linked; in the 70s and 80s it would not necessarily have been the default opinion.

In November 1980 Ronald Reagan (the principal reason I prefer to not be called “Ronnie”, thank you very much) was elected with 50.7 percent of the popular vote. Dennis Colliton, Elliott and I converged at the Tree Top restaurant/bar for drinks that Wednesday afternoon for commiseration. Surrounded by bloated gloating Chamber-of-Commerce downtown businessmen—the only women in the room were serving, not consuming, unless it was behind the scene—we may have been the only mourners in the room. [The Tree Top was a long-time dining establishment atop the US Bank in downtown Moorhead. Too bad it’s closed: the view of F-M from just six floors above grade made this place look pretty good, especially on a sunny fall evening.]

Napkins and felt-tips at hand, we began listing all those organizations that suddenly required our support, moral, financial and otherwise. Each of us made a “Top Five” and then compared. Organizations like the ACLU and Sierra Club got three of votes; others with only one showed our individual preferences and predilections. Memory does not always serve, but I recall check books coming out and several being written while we sat there eave-dropping on nearby conversations. I wrote a dozen in the next few days and have only increased that list during these last thirty-plus years.

Religion_freedom_map

On religion, the Gang of Three (that’s what Kathy Colliton called us) were also of similar mind. I append here a map from wikipedia showing religious tolerance around the world. In its scale of values, the U.S. fares pretty well: we are tolerant of all religions. Legislatively, that may been true; today I don’t believe it is in practice, given states like Alabama whose legislature introduced bills establishing Christianity as the state religion, and by that meaning the fundamentalist End-Days snake-handling speaking-in-tongues sort from “Elmer Gantry”. Look at this map, instead; a map of non-belief. For Elliott, “freedom of religion” inherently meant “freedom from religion”.

atheism-map

At a secular institution, which thirty years ago had significantly less racial and religious divergence than it does today, staff were inclined to roll out holiday decorations for the front office and library. And each year, CDE issued a department memo prohibiting such preferential displays. What he said was “When we decorate for Hanukkah, Ramadan and comparable Hindu and Buddhist celebrations, then we can decorate for Christmas”. What he meant was “Over my dead body!” Well, they got their wish.

It is one thing to be non-religious, to be indifferent to religion and its systems. It is something else to be tolerant of religion, to “endure without repugnance; put up with” religion as a cultural institution. And it is another thing entirely to be as anti-religion as Cecil was: he was downright hostile to its presence among us, in a Christopher-Hitchens Richard-Dawkins sort of way, though I suspect few of us experienced that attitude directly.

CDE was tolerant, in the dictionary sense, of few things: mediocrity, for instance, or indifference. He held a high standard of personal behavior and was willing to put himself on the line for it. How many of you knew, for example, that he volunteered as an escort at the Women’s Health Clinic? It is one thing to write a check, to hire cultural surrogates for our dirty work; quite another to put on a fluorescent green vest and hold your tongue.

Kathy calls me “the last man standing” of that “Gang of Three”, which I consider an honor, and of which I hardly feel worthy. Elliott’s and Colliton’s shoes are large ones to wear.

Cecil (on nostalgia)

nostalgia

noun: 1. A bittersweet longing for things, persons, or situations of the past; 2. A wistful or excessively sentimental yearning for return to or of some past period or irrecoverable condition; 3. The condition of being homesick; homesickness.

People may confuse an interest in history for an unhealthy preoccupation with the past. But just because Cecil (and I) taught architectural history, don’t conflate that with nostalgia. Indeed, Cecil may have been the least nostalgic person I’ve known. In my case, anything of that sort might more legitimately be a certain wistfulness: my fascination with a personal long-ago is not so much about what was as with what might have been. I hope that’s a difference. Perhaps not.

For Elliott the past was a series of failed and incomplete experiments. As with James Carse in Finite and Infinite Games (a favorite book that’s given me considerable insight), the past presents us opportunities to finish what’s been undertaken by others; we can finish it, fix it, without being fettered by it.

As an architect in North Carolina, while he taught at N.C. State, he produced houses for faculty and other member of a progressive university community, designed as clean Modernist flat-roofed statements in concrete block and lap siding. Once he told me of a minister who asked for a church design. Elliott inquired about symbols and signs, to which his client replied “Give me something that works for the money we’ve got and I’ll invent the iconography.” In fact, iconoclast—a breaker of sacred images—far more accurately describes Elliott’s position on the whole question of precedent.

He was a Modernist in every sense of the word. Solutions came from the nature of the problem and the range of available resources. He approached our curriculum that way. Likewise teaching assignments. And when it came to budgets and other administrative matters, Cecil played that game better than “his betters”.

Some administrators are trickle down; others grassroots. The former impose the will of upper administrators on faculty and students alike; the latter represent student and faculty interests and lobby or leverage for their support (the font from whom all blessings flow). We were fortunate to get one of those.

Cecil (on scholarship)

In addition to being one of the most intelligent people of my acquaintance, Elliott was also the most nurturing. He had no natural children (that we know of), but he was “parental” to all within reach.

I’ll bet you didn’t know that Cecil and I had crossed paths long before his arrival here. During my undergraduate years at Norman, Oklahoma, home of O.U., I worked in the architectural office of one Fred Shellabarger. Fred taught in the architecture program, where I had him for fourth-year studio, a conjoined course in landscape and interiors, and two of the four courses in architectural history (Egypt through the Gothic), so god knows why he hired me. I learned a great deal about architectural practice from Shell, however—most of it bad—and it was also the place where I made the acquaintance of Richard Kenyon, a.k.a. Crazy Richard. You can blame Fred for that, too.

There were three of us draughtsmen and an occasional part-time secretary. Since my desk was nearest the phone and the front door, “reception” was part of my duty. One day the phone rang when Shell was at school, so I asked who was calling and whether I could take a message. “Just tell him it’s Cecil Elliott calling from Stillwater.” Oklahoma’s other architecture program was located there, and it developed that Fred and Cecil were both teachers of architectural history and collaborating on an exhibition of the state’s architectural heritage. I never saw the exhibit but a copy of the catalogue is in my library somewhere.

Somewhere in my fourth year, O.U. had an influx of transfer students from Auburn. Several joined my class and I learned from them the circumstances of their departure from Alabama. The school had fragmented; divided into two waring faculty camps, with the students caught in the crossfire. They spoke of a hit-man who’d been brought in to clean house, a guy named Cecil Elliott. Three of those transfers are still the only people I treasure from that period of my life.

So when Elliott arrived in Fargo, he came with a reputation: architect, administrator, scholar, teacher of history. Oh, and hit-man. Clearly my days were numbered. Yet, friends we became, and in those first few years we shared perspectives on teaching and scholarship. Like me, Cecil had professional degrees, yet taught architecture history. [You should know, by the way, that 95% of those who teach architectural history are art historians, with non-professional degrees, most likely of the species PhD, the sort who constitute the bulk of membership in SAH (the Society of Architectural Historians).] We agreed wholeheartedly that teaching was exactly like vaudeville; to succeed in either you need only do these three things: 1) know the material, 2) read the audience, which changes from day to day, and 3) play to the back row. Don’t tell anyone I admitted this.

SAH conventions then were stuffy affairs, with stilted papers spastically presented to pretentious audiences. A typical paper in one of Elliott’s “Five-minute Movies” would be something along the lines of this: “A Re-Analysis of the Unbuilt South Transept of the Pilgrimage Church of Saint Smithereen in a Pyreneean Village not Visited since Napoleon.” Like Cecil’s definition of success, stuffy academics revel in compound qualification:

  1. Analysis is one thing. But re-analysis demands the correction of error on someone else’s part. It’s one thing to make a claim; another to make it at someone else’s expense.
  2. Far better to write about something unbuilt, open-ended. So much room for speculation.
  3. And about a fragment, a shard.
  4. And about kalendric obscurity. Who the fuck is Saint Smithereen? And what arcane iconography could possibly be attendant to such an unknown?
  5. And about geographic obscurity.
  6. And about temporal obscurity.

Remember the formula for writing a successful book: Everybody like books about animals and about medicine and about assassinated presidents. So the title destined to be a NYT top-ten best seller for weeks on end would be “Lincoln’s Doctor’s Dog.” Happily, scholarship has changed.

For better or worse, he encouraged me to follow my academic heart. To explore topics of personal preference—Lawrence Buck, Episcopal churches in Dakota Territory, the Social Gospel, William Halsey Wood—wherever they might lead. Such a freeform research agenda has had its consequences, however, especially for one disinclined to what he called “butt-chair interface.” He likened me to someone he had known in North Carolina “who grazes much but produces no wool.” It seems I satisfied him in one respect but disappointed in at least one other.

Cecil (on family)

Cecil had been our department chair about three years when my father died. At that point his mother and older brother were still living. His mother still in Oklahoma and Ernest retired from government service in Washington, DC; I never met either of them. So when my dad died (from forty years of unfiltered cigarettes) and I became the last/only surviving member of my family, he may have sensed the same impending situation for himself.

Image

He spoke of family, but not often. There was a cousin still living in Oklahoma who apparently evidenced more than a fare share of the Elliott eccentricity. It was her wont to read the Saturday newspaper—recall this was when we still had newspapers—with a pencil in hand. No, the pencil had nothing to do with crosswords; Cousin Bernice (I don’t recall her name, but that one works for me) turned immediately to the wedding announcements and proceeded to punch out the eyes of brides in both wedding and engagement photos.

Watching television—Bernice had little else to occupy her time—she enjoyed “The Mary Tyler Moore Show” but, again, for reasons you might not guess. When MTM appeared on screen, Bernice removed her slippers, threw them at the T.V. and shouted “Shit ass bitch!” And you thought your family was kooky.

Ernest had worked in the Veterans Administration as an editor of a multi-volume history of Walter Reed Hospital. Retiring at the age of 50, Ernest had settled into a predictable low-impact routine of shopping: he could invest days in the simplest purchase, entailing research into the array of options, visits to multiple stores multiple times for hands-on comparison, and elaborate payment and shipping/delivery options. A full day could consume the re-lining of kitchen shelves. And trips to the Post Office were logistical operations worthy of D-Day.

In the mid-1980s we got the first installment of “Back to the Future” and the topic came up during coffee. Elliott rarely went to movies (or watched television, for that matter), so he was interested in this shard of popular culture. I explained the plot line and talked at length about my favorite character, Dr Emmet Brown, played to comic perfection by Christopher Lloyd. “Christopher Lloyd made a movie?” he blurted with considerable surprise, more comment than query. Except for Christopher Lloyd’s TV role on “Taxi”, how would Cecil have known who he was? “He’s my ex-brother-in-law,” I was equally surprised to learn. Cecil had been married to Lloyd’s sister Ruth. “He was an un-employed actor for ten years. That leech ate us out of house and home for the better part of that time.”

When his mother came to Fargo for the remainder of her life, she lived at Bethany on South University, probably a happier setting for its comforting landscape of tall trees. When I’m old(er) and feeble(r), please don’t banish me to the ‘burbs.

So, there was the elder Mrs Elliott, a Baptist among Lutherans and no doubt feeling fairly alien. During one of the election campaigns, she had a casual conversation with her fellow inmates: “You’re voting Republican,” they expected. “Hell no,” she retorted, “I may be old, but I’m not crazy!”

The apple didn’t fall far from the tree.

Kent Hagerman [1893-1978]

Image

[From the catalogue-in-progress for “Landscapes & Livestock”, a loan exhibition for Agincourt Homecoming in the Fall of 2015]

HAGERMAN, Kent [1893-1978]

“Trackside Chicago”

circa 1935

etching / 7.5 by 10.0 inches

Born William Kay Hagerman in 1893 in Ohio, he studied at the Cleveland School of Art and the Sorbonne in Paris while serving in France during World War I.  He began his career doing newspaper and magazine illustrations and operated an engraving company with his brother. Hagerman moved to Loveland, Colorado in 1933 and died there in 1978 at the age of 85. Hagerman rarely dated his works, but the Chicago Board of Trade building in the background was built in 1930, about the time of his move to Colorado, though a visitor to the collection has noted the 50s vintage locomotive in the foreground.

Convenient rail connections put Agincourt within Chicago’s sphere of influence. Business and culture both looked eastward for precedent and approval. Aidan and Cordelia Archer, for example, had come to Iowa in the ‘teens ti=o manage his father’s manufacturing plant and their home on the Avenue was designed by a Chicago architect. So, this gift to the Community Collection from the Archers’ children reflects our community’s broader connections there.

“Four Saints in Three Acts”

Image

Everything that happens once can never happen again. But everything that happens twice will surely happen a third time. —Paulo Coelho

“A few figs from thistles…”

by Howard A. Tabor

“Four Saints in Three Acts”

We’ve all seen the sign stating “On this date in [fill in the blank] nothing happened.” Somehow I can’t believe that’s a defensible claim. Things are happening all the time, and, like the tree falling in the forest that goes un-witnessed, it happened none-the-less. With luck, there were a number of witnesses to an event in Agincourt that occurred seventy-five years ago next Sunday: on Friday the 13th, 1939.

Still stalled in the Depression and only a dozen days after Hitler’s invasion of Poland (and ten days following Britain’s declaration of war), a group of local musicians staged a provocative local performance of Virgil Thomson’s opera “Four Saints in Three Acts”. Oh, to have been there. I wasn’t born until six years later, but I do seem to recall grandmother Tennant saying something about it.

With text by Gertrude Stein and music by her friend Virgil Thomson, the unconventional “Four Saints” had a Hartford premier in February 1934 and a Broadway opening two weeks later. Those who know Stein’s writing—”A rose is a rose is a rose” and “When I got to Oakland there was no there there”—shouldn’t have been surprised by Saint Ignatius’ aria “Pigeons on the grass alas” (and the choral reply “And a magpie in the sky”) or an all-Black cast singing amid cellophane sets. But that’s New York. What could the good citizens of Fennimore county have anticipated that Friday night?

4 saints

Rennie Gleason was in New York on business that week and hoped to see “Pimlico Rose” which opened the same night, but he went to the wrong theater and had no time to correct his mistake. His misfortune was our luck, I suspect. “Pimlico” ran only two weeks to lukewarm reviews, and though “Four Saints” had far fewer performances, it stunned audiences with Stein’s wordplay and Thomson’s elemental score. Gleason came back to his teaching position at Northwest Iowa Normal and set in motion events that brought “Saints” to our Auditorium in Agincourt five years later.

How Rennie Gleason persuaded Virgil Thomson to allow what can only be described as an amateur production of “Saints” is anyone’s guess. Perhaps the distance from those at the top of America’s cultural pecking order made it possible. But the resources for such an undertaking were beyond the means of the Normal School, the community theater group, local musicians and the handful of others that might be conscripted into the effort. It required an organization, and Gleason was forthcoming with AREPO, a production company assembled for this one show and whatever else might follow in its wake. (Oooh, bad choice of word there—wake—but let’s go ahead anyway.)

AREPO is, of course, “opera” spelled backwards. But the two words are also integral with what classical historians know as the Sator Square found at

satorsquare2

Pompeii and other archaeological sites in the ancient Mediterranean. It has “magical” qualities, since it can be read (in Latin) from upper left to bottom right, vice versa, and upside down with the same nonsensical meaning: “The farmer Arepo works the land with his plow” or some such desperate translation. Gleason obviously gravitated to the word “opera” and thereby created one of the community’s few pretensions to culture in the Great Depression.

After some additional labor in the History Center, I’ll be able to tell you more about the production itself and its potential for meaning in those grim days of 1939.