Rebuilding Place in the Urban Space

"A community’s physical form, rather than its land uses, is its most intrinsic and enduring characteristic." [Katz, EPA] This blog focuses on place and placemaking and all that makes it work--historic preservation, urban design, transportation, asset-based community development, arts & cultural development, commercial district revitalization, tourism & destination development, and quality of life advocacy--along with doses of civic engagement and good governance watchdogging.

Monday, November 20, 2006

Designating historic objects

The Gross Clinic by Thomas EakinsThe Gross Clinic by Thomas Eakins.

Hmm. Philadelphia has something in its preservation law that DC doesn't have, the ability to designate historic objects. This includes sculptures and other items, apparently including paintings, according to this Philly Inquirer article, "Street: Designate painting 'historic'" subtitled "Under Philadelphia's historic preservation code, removal of Eakins' work could be halted. There is precedent for its use."

From the article:

Mayor Street has nominated Thomas Eakins' masterpiece, The Gross Clinic, for protection under the city's historic preservation ordinance, noting the painting's deep historical and cultural resonance throughout Philadelphia, city officials said yesterday.

Designation as a "historic object," a rarely used category of the preservation code, would prevent the painting from being altered or moved without the express approval of the Philadelphia Historical Commission. Its proposed sale by Thomas Jefferson University for $68 million ignited a burgeoning controversy.

The first such designation blocked the removal of Dream Garden, a shimmering mosaic in the old Curtis Publishing building, which its owners sought to sell in 1998.
Dream Garden, PhiladelphiaDream Garden photo by Dave Thomas. The Dream Garden" it is 15 feet high by 49 feet long, it consists of 100,000 pieces of hand fired glass which are of 260 different colortones, It was made by the Tiffany company based on a painting by Maxfield Parrish.

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