Category Archives: archive

Disk ≠ Image: Creative Solutions to Issues in Born-Digital Processing

Hello. It’s Abbie again, back with another installment on processing and publishing the Volz & Associates, Inc. collection. I recently had the opportunity to present on this collection at The University of Texas’ 2019 Digital Preservation Symposium, where I discussed some of my solutions to born-digital access and preservation issues.

In the course of processing this collection, some of the most significant roadblocks were related to problematic disk images and metadata generation. These revolved around two distinct media types: zip disks and CDs. The collection contains 85 inventoried zip disks. When these were imaged and analyzed in BitCurator, the report came back riddled with error messages. Even though the disk images had been generated successfully, something was keeping fiwalk from generating the correct metadata. This made it impossible to determine necessary information like disk extent, content, and the presence of possible PII or malware.

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Results for the zip disk analysis. Not what you want to see!

When processing CDs, I noticed a group of about a dozen disks each had the exact same metadata. While some similarities are expected, I thought it was strange that that many disks from different projects could each have identical specs. I analyzed the disk images and physical disks and found that they were all CDs of photos processed by the same company. The original content of the disks had been overwritten by the company’s built-in structural and technical metadata, making the disk images virtually useless for research purposes. However, when these disks were mounted in FTK Imager, a write-blocked environment, it became clear that the original images were still extant – they just weren’t being picked up in the disk images.

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Optical disks with identical metadata.

In both of these cases, I knew that the original content could be reached but didn’t know how to access it while adhering to the best practices set up by both the digital archiving community and the resources at my disposal. The disks with these issues amounted to nearly 1/5 of the imaged collection, and many hours of research and testing were put into how I could reprocess this information. Ultimately, I found myself faced with a choice – I could either preserve inaccurate representations of the disk by retaining the existing disk images or preserve inaccurate representations of the metadata by extracting extant files instead of preserving a disk image. The issue with preserving the metadata as it stood was that it was wrong to begin with, and the resources at hand didn’t provide a solution.

When thinking about how best to reprocess this information, I was drawn to this quote from a study undertaken by Julia Kim, the Digital Assets Manager at the Library of Congress:

“Most of the researchers emphasized that if it came to partially processed files or emulations and a significant time delay in processing, they would take unprocessed and relatively inauthentic files. Access by any means, and ease of access were stressed by the majority.”

“Researcher Interactions with Born-Digital: Out of the Frying Pan and into the Reading Room,” saaers.wordpress.com

While we certainly don’t want to prioritize patron opinion over archival standards, this quote made me question whether sacrificing access and preservation to retain imperfect metadata could truly be considered “best practice.”

Working closely with the UT Libraries Digital Stewardship department, I created a workflow whereby I extracted files using FTK Imager and generated SIPS and a bulk_extractor report using the Canadian Center for Architecture’s Folder Processing Tool in the BitCurator environment. The only impact on the metadata was a change in the “Date Modified” field, which now showed the date the files were extracted and could be amended to reflect the most recent date in the file tree. While this is an unconventional approach to digital preservation, the resulting AIPs and DIPs are better representations of the original disks and will allow us to provide more comprehensive data for future researchers.

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The amended workflow.
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Our new results.

After my presentation, I had the opportunity to talk to a digital archivist about this workflow. We discussed how best practice is ultimately not about perfection, but about preserving and providing access to our materials and documenting the process. While somewhat contrasted from the theoretical approaches I’d both learned in class and adapted from online resources, this approach seemed more natural to me. It affirmed both my processing decisions and the opinions I’ve developed about what best practice in the archival community is and should be. This process has shown me how vital the user is to the archive, especially when developing workflows for digital materials.

As I mentioned in my previous post, I love having opportunities to exercise creativity and problem solving in this position. It’s even better when those opportunities lead to breakthroughs that help me grow professionally and enhance the data we provide patrons. I’m excited to see new developments in our born-digital workflow as we get closer to making this collection available to patrons. Check back soon for a (final?) update from me – I hope you’ve enjoyed learning more about the behind-the-scenes work of born-digital archiving.

Consider the Floppy: Exploring Access Issues with the Volz & Associates, Inc. Collection

A black 3.5 inch floppy disk with a label reading "RJA: Geomsn.zip"
A floppy disk from the Volz & Associates, Inc. collection.

Hello! This is Abbie Norris, back with an update on the born-digital Volz & Associates, Inc. collection. For those who haven’t read my previous blog post, I am the digital archives Graduate Research Assistant at the Alexander Architectural Archives. I’m currently working on the Volz & Associates, Inc. collection, which documents the work of a historic preservation firm based in Austin, Texas.

When I published my previous post, the collection was in the midst of being processed. I’m happy to report that processing for this collection is complete – all 813 floppy disks, CDs, zip disks, and flash drives of it. Processing is one of the first major stages of getting a collection from the donor to the public. It’s when the bulk of archival preservation happens. In this case, as in many born-digital collections, “processing” involved imaging (essentially, copying) the disks, capturing metadata like disk size and file types, and recording everything for documentation in the finding aid. We’re now able to determine the size of the collection, the types of files, and what we need to provide access to them.

One of the things I love about born-digital archiving is the problems that arise that require creative solutions. This is especially true for an archive’s pilot born-digital collection, as is the case for Volz. Items like CDs and floppy disks degrade at a faster rate than paper materials, meaning that sometimes you try to open a disk that physically appears fine, and it won’t show any of your files. One major question people have is, “If all of the information is stored on a CD, why do you have to copy the contents in a disk image? Why can’t you just continue opening the CD to access the contents?” Luckily, the answer is simple.

Imagine you have a 13th century codex and a 1990s floppy disk. Which one is easier for you to read? With the codex, all you have to do is open it. It will be fragile and you might not know the language in which it’s written, but much of the information held in the book will be visible to you. Now, consider the floppy disk. When was the last time you used one? Does your computer still have a floppy disk drive? More than likely, the answer is, “No.” Even if it does, think about the files on that disk. Can you still open a WordPerfect document from 1992?

Given that the Volz collection dates between 1980 and 2009, the types of files present on the disk vary widely. Some, like .txt and .tif files, are still widely accessible and are projected to remain active filetypes in the future. Others, like .jpeg, are still accessible but are not recommended for preservation because of their lower quality and the potential for their use to cease. Finally, there are the files that you try to open with modern software…and nothing works. These files can be either old versions of proprietary software and discontinued software.

This is where creative solutions come in. There are a variety of tools, many borrowed from the criminal forensics world, that allows us to look at files from twenty years ago. Because the digital archive field is still developing and many of the projects use open access tools, the software an archive uses to read and provide access to old files can resemble a patchwork quilt. Now that I know exactly what types of files are in the collection, I love exploring access solutions and finding answers to questions that have persisted since I began working here.

In many ways, finishing processing feels like finishing the first segment of a relay race. I feel accomplished for finishing a major task, but there is still a long way to go. Now that processing is complete, we have to finish writing the finding aid and establish methods for researchers to access the collection. It’s going to be an exciting few months, so check back here to learn about what providing access to a born-digital collection looks like at the Alexander Architectural Archives.

Volz & Associates Collection: The Analog Edition

Hello Battle Hall Enthusiasts! We may not have met yet, so I’d like to take a moment to introduce myself. My name is Mandy Ryan and I’m a Graduate Research Assistant at the Alexander Architecture Archives. I’m currently in my second year at the School of Information at The University of Texas and I’m about to finish my MSIS with a focus in archives. My position with the Alexander has been an incredible experience and I’ve gained a lot of knowledge about working in an academic archive and particularly with an architecture collection. In addition to being the processing archivist for analog materials, I’m also the resident facilities monitor and pest identifier. If you’re ever wondering what that creepy bug is in your office, I’m your go-to person.

Field Sketches for the St. Patrick’s Cathedral completed approximately 1994. This was part of an initial condition assessment that outlines potential issues to be addressed during renovations.
Field Sketches for the St. Patrick’s Cathedral completed approximately 1994. This was part of an initial condition assessment that outlines potential issues to be addressed during renovations.

The Volz & Associates, Inc. collection contains the construction documents, field sketches, and historic finishes for some of Texas’ most notable buildings and homes. This architecture firm specializes in historic preservation and the collection details the rehabilitation and remodeling of several Texas landmarks, such as the Gonzales County Courthouse and the Governor’s Mansion.

Historical research on The Allcorn House compiled by Volz & Associates, Inc approximately 1995. Historic preservation requires in-depth research into the building and can even mean pulling historical photos or land deeds to ensure accurate revisions and preservation. The above photo shows photographs provided by Jane Barnhill that show original structure of the Allcorn House, plus scanned copies of the original land deeds from1834-1841 and 1878-1888.
Historical research on The Allcorn House compiled by Volz & Associates, Inc approximately 1995. Historic preservation requires in-depth research into the building and can even mean pulling historical photos or land deeds to ensure accurate revisions and preservation. The above photo shows photographs provided by Jane Barnhill that show original structure of the Allcorn House, plus scanned copies of the original land deeds from1834-1841 and 1878-1888.

The analog materials are comprised of over 4,860 sheets of drawings, 192 linear feet or 187 boxes of papers, 20 boxes of historic building artifacts and samples, and 152 project binders filled with photographs and slides. Combined they document over 300 architectural projects undertaken by the Volz & Associates firm from 1987 to 2008.

I absolutely love working in the archives and processing is my favorite part because you never know what you’ll find in the collections. Working with the Volz & Associates, Inc. collection has been truly fascinating due to the sheer diversity in papers and documents contained in each box. In the course of my inventory, I’ve discovered everything from tile chips to field sketches.

Field sketches and wood samples from the Garten Verein in Galveston collected between 1995 and 1996. The wood samples from the window frames and roof line were sent to the U.S. Department of Agriculture’s Forest Product Laboratory to be studied for traces of fungus that could cause rapid decay.
Field sketches and wood samples from the Garten Verein in Galveston collected between 1995 and 1996. The wood samples from the window frames and roof line were sent to the U.S. Department of Agriculture’s Forest Product Laboratory to be studied for traces of fungus that could cause rapid decay.

It is remarkable to see the work and planning that goes into every project and to be able to read through the details from start to finish. Each project begins with historical research which documents the original drawings and construction notes and even includes the original paint colors or light fixtures used.

As of right now, the biggest part of my job is ensuring that we know as much information as possible about the collection, so that we can make it easier for our patrons to access all of the project materials.

Part of my role has been to conduct a large-scale, item level inventory of the collection. On the screen is a detailed spreadsheet that allows me to take notes about the box, folder, and items discovered. I can provide relevant dates, preservation notes, and details that will help with the overall arrangement of the collection.
Part of my role has been to conduct a large-scale, item level inventory of the collection. On the screen is a detailed spreadsheet that allows me to take notes about the box, folder, and items discovered. I can provide relevant dates, preservation notes, and details that will help with the overall arrangement of the collection.

I’m currently halfway through completing a large-scale inventory of the collection materials and drafting an appraisal report and preservation plan. The inventory and the plan will ensure that all of the materials are properly housed and preserved, while still allowing our faculty, students, and general researchers the opportunity toview it. This collection is truly one of a kind and I’m so grateful to be a part of it!

The Volz & Associates, Inc. Collection: Born-Digital Initiatives at the AAA

One of the many structures VOH Architects worked on: the Littlefield House on the University of Texas at Austin campus.
One of the many structures VOH Architects worked on: the Littlefield House on the University of Texas at Austin campus.

Hello! My name is Abbie Norris, and I am the current digital archives Graduate Research Assistant at the Alexander Architectural Archives. My primary job is processing the born-digital content received in the Volz & Associates, Inc. collection. This collection contains the records of the Volz & Associates, Inc. architecture firm, which is focused primarily on preserving and restoring historic buildings and interiors. The collection showcases notable buildings from Texas and United States history and is an excellent resource to discover how much is needed to keep historic buildings authentic and alive.

A gray CD reading "Images for Volz: Elisabet Ney Museum, April 2007"
A sample CD from the collection. Born-digital archiving requires preservation two ways: retention of the original media and capture of the data for long-term storage.

The Volz Collection is significant to the Alexander for several reasons, but most importantly, it is the archive’s first large-scale born-digital accession. In addition to analog records and building materials, the collection includes roughly 450 floppy disks, 250 CDs, 90 zip disks, and one lone flash drive. These materials document the life of the firm from the early 1980s to the mid 2010s. So far, we have imaged over 100 filetypes representing everything from office files to construction reports to historic photographs. It’s a diverse array, and as the project moves forward, we’re faced with many questions about how best to provide access to researchers.

As diverse as the filetypes are the kinds of buildings included in the collection – though many are tied by one important identity. Volz  worked on buildings of many functions, styles, and preservation needs. While these buildings span the United States, the majority of them are located in Texas. Included are the Governor’s Mansion, the Alamo, the Lyndon B. Johnson Ranch, and the Alexander’s own Battle Hall. I love working with this visual representation of Texas history. Whether it’s by noticing design similarities between county courthouses or the way historic landmarks are used and maintained, the collection is an in-depth look into how architecture shapes our state and its identity.

Scaffolding covers a green dome atop a white tower.
Restoration underway on the Colorado County Courthouse dome. Photo credit: Volz O’Connell Hutson Architects, (http://voharchitects.com/projects/colorado-county-courthouse/).

In my four months of working with this collection, I’ve learned an incredible amount about both the intricacies of born-digital archiving and the breadth of work architects do. Through the frustration of software bugs and the triumph of imaging previously unreadable disks, this is a fascinating collection that provides many learning opportunities.

The next steps of the project are to finalize the creation of a finding aid for these born-digital materials and to determine methods of access once the collection is published. Check back here soon for collection updates and an in-depth look at the world of born-digital archiving at the Alexander Architectural Archives!

Alofsin Archive: Student Materials and Professional Work

Hello again, this is Processing Archivist Kathleen Carter with more information on progress of the Alofsin archive.

As the processing of this collection comes to a close (things are nearly complete!) I’ve been at work on two standout areas of the collection: Anthony Alofsin’s student work from his years studying architecture at Harvard University and Columbia University and his professional work as an architect. In step with materials I’ve already processed, both contain a wealth of information and a large number of stunning visual materials. These are also the areas of the collection that contain the largest number of drawings by Alofsin, which currently fill a flat file cabinet.

A model Alofsin made for his coursework while a student at Harvard University in 1978
A model Alofsin made for his coursework while a student at Harvard University in 1978

Alofsin attended the Harvard Graduate School of Design (GSD) from 1978-1981 and began researching the history of the GSD and design pedagogy there (which eventually led to his book on the history of the GSD, The Struggle for Modernism, published in 2002). The archive includes his course notes and design work, including architectural sketches and drawings and a model built as one of his first projects for the school. The Alofsin archive also includes notes and work created during his time at the Department of Art History and Archaeology at Columbia University, where he received Master of Philosophy and Ph.D. degrees. It was there that Alofsin began his research on Frank Lloyd Wright, and his doctoral dissertation was on Wright’s connections to Europe.

Notebook containing course notes for a Design course that Alofsin took at the Harvard Graduate School of Design
Notebook containing course notes for a Design course that Alofsin took at the Harvard Graduate School of Design
Notebook containing course notes for a Romanesque Architecture class Alofsin took at Columbia University
Notebook containing course notes for a Romanesque Architecture class Alofsin took at Columbia University

After completing his education and in addition to his teaching position with the School of Architecture at The University of Texas at Austin, Alofsin worked professionally as an architect. He designed his own residences, including a house and condominium in Austin, Texas, in addition to building homes for clients. This year he was named a Fellow of the American Institute of Architects (FAIA), the highest membership honor reserved for architects who have made substantial contributions to the field.

Plans for the Rogers Residence
Plans for the Rogers Residence by Alofsin in 2008

Architectural plans as well as reports and documentation from every stage of the design process are included in the Alofsin archive. As with previous materials, I have carefully rehoused and inventoried all of the materials regarding Alofsin’s professional work. Both his student work and his professional work are organized and have been described in the finding aid of the collection to be available to researchers.

Photos of Alofsin's personal home in Austin, TX, which he designed
Photos of Alofsin’s personal home in Austin, TX, which he designed

 

With these parts of the archive rehoused and inventoried, the project is getting close to completion! Remaining are some of Alofsin’s personal correspondence and administrative documents from his work as professor with the School of Architecture.

Gone to Cincinnati

Irene here with a post about a trip to the Buckeye State, Ohio! In early October, several members of the Alexander Architectural Archives attended the 40th anniversary conference of the Society for Commercial Archeology (SCA) in Cincinnati, Ohio. If you wish to learn more about the processing of the SCA collection, please read my previous post. Along with educating the organization about the processing portion, we were also there as an outreach measure for both monetary and archival material donations. My supervisor, Stephanie Tiedeken, Archivist for Access and Preservation, and I co-presented on the project during the paper sessions. Beth Dodd, Curator of the Alexander Architectural Archives, also attended the conference. Along with presenting, we were also fortunate to participate in tours focusing on the history of Cincinnati and the surrounding area.

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Day 1

We arrived on Wednesday, October 4th for the opening reception at the Washington Platform Saloon & Restaurant. After dinner, those brave enough to climb several hundred feet below the surface visited lagering cellars that exist below many structures. Cincinnati had a very active brewing business in the 1800s until the Prohibition Era. The tour guide noted that Cincinnati is thought to have the largest underground system of these cellars in the United States.

Day 2

The next day consisted of a tour of Cincinnati. We toured the Carew Tower, which was the tallest building in Cincinnati until 2010. We were treated with wonderful views of the surrounding area.

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The view at the top of Carew Tower.

After, we loaded up on the buses and visited one of Cincinnati’s historic neighborhoods, Over-the-Rhine. As mentioned before, the city had an active brewing economy mostly due to the large amount of German immigrants that came into the area. The tour consisted of us walking around the neighborhood and learning about the influence of German immigrants in society and the local economy. Additionally, architecture is a big theme with SCA. Walking around Over-the-Rhine provided an interesting way to see first-hand the evolution of architecture from then to now. We also visited more underground lagering cellars.

Bruce Willis apparently filmed part of Marauders (2016) in this cellar. These cellars would house the barrels of lager until the Prohibition Era.
Bruce Willis apparently filmed part of Marauders (2016) in this cellar. These cellars would house the barrels of lager until the Prohibition Era.

We also stopped at a restaurant where the owner had covered the outside facade and lawn area with neon signs. The one below is one of my personal favorites of the whole trip.

One of my favorites! Any guesses why? Ballantine's was Martin Crane's (from Frasier) favorite beer!  In the background, you can see more neon.
One of my favorites! Any guesses why? Ballantine’s was Martin Crane’s (from Frasier) favorite beer! In the background, you can see more neon.

The best part of Day 2 was the 40th anniversary dinner at the American Sign Museum. Along with the wonderful food (including a tasty mac and cheese bar!), Tod Swormstedt, a former SCA board member, gave a very detailed tour of the space. The ambiance coming off the lights really created a wonderful atmosphere to celebrate the 40th year of SCA. Check out all of the fantastic neon signs.

Just a small sample of the signs at the American Sign Museum!
Just a small sample of the signs at the American Sign Museum!
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The American Sign Museum also had a Big Boy sign! I didn’t get the pose exactly right…

Day 3

Friday was the presentation of the papers. I had never presented at a conference before, so the nerves were quite high. Stephanie and I were in the third session of papers, The 20th Century Roadside in the 21st Century. The two other paper sessions were Exploring the History of Cincinnati and the Buckeye State, and History and Preservation of the American Roadside. Each presenter was allotted 20 minutes to present with a 20 minute Q&A after each paper session. I am happy to report that our presentation went very well. I tried to slow down and focus on positive faces on the crowd. We received a lot of questions about the SCA collection from the audience. Following the paper sessions, Neon, a documentary covering the history of neon in the United States was shown.

Day 4

The focus of Day 4 was a tour of the Dixie Highway, one of the first major highways in the United States. We loaded up on the buses at 8 am and began our travels to Lima, Ohio. Along the way, we stopped at various regional mom-and-pop shops including Kewpee Hamburgers for a late lunch. We also stopped at businesses with interesting signs as seen below. The day concluded with the closing dinner at the Mecklenburg Gardens for a German dinner.

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Mom and pop shops have some of the more unique signs!

The context for why we attended this conference was centered on acquiring additional SCA archival material, but also educating others about what the Alexander Architectural Archives does as an archive. Many times I have had to explain what an archive does and how archivists operates within such an institution. The opportunity to speak directly to SCA members, the individuals donating their material, about the SCA collection was education for both groups. We actually came home with new acquisitions including posters and towels for a conference in Miami during the early 80s.

The opportunity to present at the SCA conference was a highlight of my fall semester. Among my classmates, I have been one of the few to have had the opportunity to present at a conference for their job. I also learned more about the amount of preparation needed to create a professional level presentation, which is always needed! Stephanie and I created a nice PowerPoint presentation, which we both practiced numerous times including one final run on the day of paper sessions.  On a more personal level, I have become quite knowledgeable about the history of SCA. It was wonderful and slightly bizarre to actually meet the individuals featured in the collection. I was starstruck a few times. I am very grateful for the opportunity to present on a project that has been a passion of mine. Next time you see a neon sign or a diner, stop and take a look around! You won’t regret it!

Order Up! – The SCA Collection at AAA

Hello! This is Irene Lule, Graduate Research Assistant for the Alexander Architectural Archives (AAA), with information about our most recent processed collection, the Society for Commercial Archeology (SCA) records. Formed in 1977, the Society for Commercial Archeology is a nonprofit organization focused on the 20th century built environment. Its collection at the Alexander Architectural Archive documents the activities and business of the organization from its inception to the present. From diners to neon signs, SCA publishes a quarterly newsletter, Road Notes, and a journal, SCA Journal along with organizing tours and conferences for its members. The value of any collection is always dependent on the user. For myself, the processor, learning more about processing archival collections, how an organization functions, and a look into commercialism from the mid-20th century are three of the most important. The following blog post will discuss some of the challenges and highlight some of the true gems in the collection.

Challenges

The overall goal of any processing project is to establish physical and intellectual control over a collection. Measuring at 9.42 linear feet and with over 900 photographic materials, the SCA collection can be called an artificial collection, which is “a collection of materials with different provenance assembled and organized to facilitate its management or use.”[1] During the first two accessions (the act of acquiring/transferring archival materials to a repository) in 2016 and 2017, a vast majority of the material came from former SCA board members including the Alexander Architectural Archive’s curator, Beth Dodd. Combing the records of different board members to create one cohesive collection is a difficult task mostly because everyone has a different way of organizing their individual records. The way one person files their documents will not be the same as the next person. In this case, we attributed many of the folders to their original creator. For example, Beth Dodd was one of the co-organizers of the SCA’s conference in Albuquerque, New Mexico in September 2008. Since many of the records contain her personal notes, we made sure to attribute the proper folders to her. Bringing together the records of former board members is critical in creating the SCA collection, but it is also important to attribute the individual creators when appropriate.

Other challenges with the collection include privacy and photographic materials. Since many of the records are from a single individual, names, addresses, emails, and phone numbers are found throughout. As archivists, we have a code of ethics which speaks directly to protecting the privacy of the individuals in a collection. For SCA, each folder with personal information was labeled as “Restricted” This label serves as a warning to Nancy Sparrow, who is in charge of public services for the Alexander Architectural Archives. To be clear, the “Restricted” label does not necessarily mean the material will not be available for research. The label notifies Nancy to go through the material and determine the best course of action including redaction of sensitive information. Redaction is “the process of editing text for publication.” All of these measures are used to ensure the privacy of the individuals featured in the collection.

Photographic material in any collection is always challenging due to its specialized housing needs. In the case of SCA, a portion of photographic material was found in envelopes. As archivists, we have to determine the best way to rehouse these items while also maintaining the original order and provenance. In many cases, I rehoused the photograph in a four-flap enclosure and attached the original letter using a plastic paper clip, which is much less harmful than metal paper clips since metal may rust and stain. This tells others that these items are meant to be together. I also included a small note on the top of the enclosure indicating where the photograph came from as a secondary measure.

Collection Highlights

One of my personal favorite features of the SCA collection is the material documenting the publication of the quarterly newsletter, SCA News (now known as Road Notes) from 1994-1999. We were fortunate to acquire the records of its former editor Gregory Smith. As editor, Greg received correspondence, letters, and clippings from SCA members and the general public about the current events in the commercial built environment. A vast majority of our photographic material comes from this section of the collection including some wonderful photographs of neon signs.

Some of the photographs documenting the neon signs on the American roadside!
A draft of the newsletter from the SCA collection. These are examples of the types of materials former editor, Gregory Smith, would receive for publication consideration.

Additionally, the SCA collection documents the various events of the organization. Particularly active in the 1980s, tours and conferences featuring diners to quirky cities like Wildwood, New Jersey provide a glimpse into the past activities of the organization. These events served the purpose of bringing together individuals with shared interests.

SCA has a particular fondness for diners.
As a nonprofit organization, SCA is run by volunteers. Board members from various backgrounds are the backbone of the organization. This photograph is of a guide created by SCA board members for a tour in the 1980s. As you can see, diners are a common feature for SCA!

Along with these two features, SCA also contains the minutes, agendas, and various administrative records of the organization. Given its status as an artificial collection, there are some gaps we are hoping to fill through outreach. We recently attended the SCA’s 40th anniversary conference in Cincinnati, Ohio where we presented on the project and also sought archival material donations. We are expecting to receive future accruals. I often think of the SCA collection as a living collection. After I leave the Alexander Architectural Archives, someone else will continue to work on integrating both legacy and current materials into the collection. As long as SCA exists, this collection will continue to grow.

Personal Notes

The Society for Commercial Archeology collection has a very special place in my career. As the largest and most complex collection I have ever processed, I have taken away a lot of lessons about rehousing, description, arrangement, and project management along with educating me about a quirky and unique part of the built environment. I am grateful to Stephanie, Beth, and Nancy for this wonderful opportunity. Please feel free to schedule an appointment with Nancy Sparrow if you wish to view the SCA collection. We are currently wrapping up the final edits of the SCA finding aid, which will be made available on Texas Archival Resources Online and ArchiveGrid.

References

[1] “Artificial Collection,” Society of American Archivists, accessed November 20, 2017.

Alofsin Archive: Course Materials

The original carousels that housed all of the lecture slides, now empty
The original carousels that housed all of the lecture slides, now empty

Hello, I’m Kathleen Carter and this is another post documenting my work processing the Anthony Alfosin archive.

As discussed in previous blog posts, Dr. Anthony Alofsin is a prolific writer. He is also an accomplished professor. So with all of his research and manuscripts carefully inventoried and rehoused, I’ve now moved onto another area of the Alofin archive: the course materials.

Dr. Alofsin has taught at The University of Texas at Austin since 1987 where he was instrumental in founding the School of Architecture’s Ph.D. program and has offered many courses over his career. Materials from these courses, especially from the architectural survey courses that provided overviews and comparisons of architecture from around the world and throughout history, are included in the papers that he donated to the Alexander Architectural Archive. Though some of these courses are no longer taught, the Alofsin archive contains their lecture notes, reading materials, syllabi, and many, many 35 mm slides used for lectures – 2,415 to be exact!

Slides from the Survey III course that Alofsin taught in their new housing
Slides from the Survey III course that Alofsin taught in their new housing

The slides include stunning images of architecture from around the world and provided the visual accompaniment for Alofsin’s survey courses on the history of architecture. A big part of processing this portion of the collection was rehousing all of them – each of the 43 carousels took an average of about twenty minutes to completely rehouse, which added up!

All of the slides were kept in slide carousels organized by each individual lecture, still arranged in the order that they were used in the class. While this was great for seeing exactly how the slides fit into Alofsin’s lectures, each carousel took up a great deal of space and wasn’t the best environment for the long-term storage and preservation of these slides. For their well-being, I carefully removed each from its carousel and (while maintaining their order) rehoused them into archival boxes. Here they will be more easily accessible and safe while still remaining in the context that Alofsin used them in the courses that he taught for the School of Architecture.

One of the five boxes now containing all 2,414 lecture slides
One of the five boxes now containing all 2,414 lecture slides

These slides, along with a great deal of notes and materials from courses that Alofsin taught, make up one of the most fascinating parts of the collection, but a small part of Alofsin’s overall career. Next I will be working on organizing and rehousing the administrative documents from Alofsin’s career as a professor at The University of Texas at Austin as well as some of his professional work as an architect.

Alofsin Archive: Writings

This is Kathleen Carter again with another update on the processing of the Anthony Alofsin archive. The Central European Architecture materials have all been safely rehoused, leaving me with the next area of Alofsin’s research to complete.

As I mentioned in a previous post, Dr. Anthony Alofsin has been a prolific writer and has a dozen books and over 80 articles, essays, and reviews under his belt. In addition to When Buildings Speak and The Struggle for Modernism, work for two other of Alofsin’s books are currently in the collection of his papers.

A Modernist Museum in Perspective, edited by Alofsin
A Modernist Museum in Perspective, edited by Alofsin

First is A Modernist Museum in Perspective: The East Building, National Gallery of Art, published in 2009. Alofsin edited and contributed to the book, which contains a series of essays on the National Gallery of Art’s East Building in Washington, DC. The East Building contains the  National Gallery’s modern and contemporary art and was designed by architect I.M. Pei (whose student work from his days at the Harvard Graduate School of Design also appears in the Design Education materials).   Materials in the Alofsin archive include research that Alofsin accumulated on the East Building, drafts of his and others’ essays, and papers from “The East Building in Perspective”  symposium hosted by the National Gallery that Alofsin participated in as moderator and speaker in 2004.

Another of Alofsin’s books that appears within the archive is Dream Home, What You Need to Know Before You Buy. Alofsin wrote Dream Home as a guide to buying a home and insight into the real estate industry. Alongside manuscripts and the final proof of the book are Alofsin’s notes and research. This includes many property listings used as resources for this book.

Page from the final proof of Dream Home
Page from the annotated final proof of Dream Home

As these materials also all carefully rehoused into archival folders and boxes, this completes processing of Alofsin’s research records. Next up are the extensive materials relating to his role as professor of architecture, including the course materials for some of the classes that he taught!

World War I & UT-Austin

Hello! My name is Irene Lule. I work at the Alexander Architectural Archives as a graduate research assistant. I was fortunate to spend my summer interning with the Veterans History Project at the Library of Congress. The Veterans History Project, created by Congress in 2000, “collects, preserves, and makes accessible” the records of our American veterans from World War I to present.[1] My specific project focused on increasing the discoverability of World War I veteran collections through finding aids. A finding aid, as described by the Society for American Archivists, is “a description of records that gives the repository physical and intellectual control over the materials and that assists users to gain access to and understand the materials.”[2] Ultimately, our goal was to create finding aids to facilitate greater use of World War I collections. By the end of my internship, I had encoded 10 finding aids documenting the experiences of World War I veterans. As someone not too well versed in the United States’ role in World War I, I could not have asked for a better educational experience. To learn more about my experience at the Veterans History Project and the veterans I worked with, read my two blogs for the Library of Congress about soldier homecomings and WWI-era postcards. As Junior Fellows, we presented our projects to Library of Congress staff and the public. Check out the picture of me (in the blue dress) below on Display Day!

LOC_1                     Photo by: Shawn Miller for the Library of Congress

After returning to The University of Texas at Austin (UT) campus for the fall semester, my experience with World War I archival material increased my awareness of the university’s World War I history. Tomorrow marks the 79th anniversary of Veterans Day.  Enacted in 1938, the holiday also marks Armistice Day in other countries.[3] Along with being the first “modern” war, America mobilized over 4,000,000 soldiers in two years and suffered over 100,000 casualties during World War I.[4] While typically associated with the Vietnam War, a majority of these men were conscripted (drafted) from all over the United States.[5] On November 11, 1918, an armistice was signed between the Allied and Central Powers ending the fighting in World War I. Memorials to the American soldiers of World War I are seen throughout the UT campus since post-WWI years marked a period of tremendous expansion for the university. As time marks away the years, the visual representation of these memorials are not lost. There are several memorials commemorating World War I at UT, including one large stadium. Erected in 1924, the current Darrell K. Royal – Texas Memorial Stadium (DKR) was originally dedicated to all Texans that had served during World War I.[6] Following the successive wars that followed, the stadium was re-dedicated (for a third time) to all Americans soldiers in all wars in 1977.[7] Next time you are near the stadium, stop by the Red McCombs Red Zone to view the plaque listing the names of Texans that perished in World War I and a rendering of a doughboy (slang for an American soldier during World War I).

IMG_1549A rendering of a WWI doughboy outside of the Red McCombs Red Zone.

In addition, the Alexander Architectural Archives contains archival material related to the World War I memorials designed by Philippe Cret. Paul Philippe Cret, a prominent architect hired by the UT administrators to create a master plan for the University and design the Main Building, has an interesting connection to World War I. A noted architect, Cret was born and raised in France.[8] He relocated to Philadelphia to teach architecture at the University of Pennsylvania, but still visited France during the summers with his wife.[9] With the breakout of World War I in June 1914, Cret, at the time in France, joined the French army, where he remained for the duration of the war.[10] Cret actually “suffered from serious deafness as a result of his service in World War I.”[11] Following his service, Cret was commissioned by the American Battle Monuments Commission to design World War I memorials. The Alexander Architectural Archives has an extensive collection containing Cret’s drawings, photographic material, and papers predominantly related to his work with the University of Texas as well as materials related to his work involving World War I memorials. The following paragraphs will discuss some of these materials from the Littlefield Fountain and Chateau-Thierry Memorial.

Cret_4Cret (in the middle) with William Battle and fellow architect, Robert Leon White (WWI veteran) at UT Austin on November 8, 1932.

As mentioned before, much of our most UT iconic structures can be credited to the post-WWI years. One of these is the Littlefield Fountain, which was constructed following a donation from Major George W. Littlefield. Created in the context of Southern remembrance, the fountain’s history is extensive and complicated. Littlefield originally imagined an arch lined with the “figures important to Texas and Southern history.”[12] Pompeo Coppini redesigned Littlefield’s idea to be a fountain commemorating World War I with the (now removed) Confederate statues surrounding the fountain as a “monument of reconciliation portraying World War I as the catalyst that inspired Americans to put aside differences lingering from the Civil War and unite in carrying the torch of liberty to the Old World.”[13] Paul Cret came into the Littlefield Fountain process well after its inception, but as the consulting architect for the university, his approval was crucial. He reorganized the location of the Confederate statues away from the fountain and along the mall where they remained until August 2017.[14] After years of back and forth, Littlefield’s death in 1920, and various other issues, the Littlefield Fountain was unveiled in 1932 with both Littlefield’s and Coppini’s original intentions “hopelessly blurred.”[15]

There are several features of the fountain that are very obviously about World War I. Alongside the side of Columbia, there is a soldier and sailor on her sides.[16] The back of the fountain contains a plaque listing the “Sons and Daughters” of the university that died in the Great War.

IMG_1540The sailor, located on the right side of Columbia, on the Littlefield Fountain.

Located just outside of Chateau-Thierry, France, the Chateau-Thierry Monument “commemorates the sacrifices and achievements of American and French fighting men in the region, and the friendship and cooperation of French and American forces during World War I.”[17] The photograph below depicts an eagle with a map of the region (designed by Cret) nestled underneath.

Cret_2

Along with “heroic sculptured figures representing the United States and France,” the monument is a double colonnade rising above the valley of the Marne River.[18] The American Battle Monuments Commission has digitized the 1937 dedication of the monument on YouTube, which includes a speech by General John J. Pershing! The photograph below depicts an eagle with a map of the region (designed by Cret) nestled under from a scrapbook in the Cret collection.[19]

Cret_3Another angle of the eagle. All three World War I memorial photographs are from a scrapbook in the Cret collection.

Cret was also commissioned for World War I monuments in the United States. Below is photograph of the Providence World War I Memorial in Providence, Rhode Island.

Cret_1A World War I memorial, also designed by Cret, in Providence, Rhode Island.

In addition to the Paul Philippe Cret collection, the Alexander Architectural Archives contains several collections from World War I veterans including Ralph Cameron, Theo S. Maffitt, Preston M. Geren, and Robert Leon White. Cameron and Maffitt also served during World War II with the Corps of Engineers. Most of these collections focus on the veteran’s career as an architect with some exceptions.

Next time you find yourself on the 40 Acres whether it is walking to class, rushing to a meeting, or watching the Longhorns play in DKR, take a moment to reflect on the memorials and read the names of UT’s past.

References:

[1] “About the Project,” Veterans History Project, accessed November 7, 2017, https://www.loc.gov/vets/about.html.

[2] “Finding Aid,” Society of American Archivists, accessed November 7, 2017, https://www2.archivists.org/glossary/terms/f/finding-aid.

 

[3] “Veterans Day,” Wikipedia, accessed November 7, 2017, https://en.wikipedia.org/wiki/Veterans_Day.

[4] “United States in World War I,” Wikipedia, accessed November 6, 2017, https://en.wikipedia.org/wiki/United_States_in_World_War_I.

[5] Ibid.

[6] Handbook of Texas Online, Richard Pennington, “Darrell K. Royal-Texas Memorial Stadium,” accessed November 06, 2017, http://www.tshaonline.org/handbook/online/articles/xvd01.

[7] Ibid.

[8] “Paul Philippe Cret papers,” University of Pennsylvania, accessed November 6, 2017, http://dla.library.upenn.edu/dla/ead/detail.html?id=EAD_upenn_rbml_MsColl295.

[9] Ibid.

[10] Ibid.

[11] Ibid.

[12] Jim Necar, “Symbolism Amok,” Alcalde, May/June 2001, 80.

[13] Speck, Lawrence W., and Richard Louis. Cleary. The University of Texas at Austin: an architectural tour. New York: Princeton Architectural Press, 2011, 88.

[14] Ibid.

[15] Ibid.

[16] Speck, Lawrence W., and Richard Louis. Cleary. The University of Texas at Austin: an architectural tour. New York: Princeton Architectural Press, 2011, 87.

[17] Elizabeth Nishiura, American Battle Monuments: A guide to military cemeteries and monuments maintained by the American Battle Monuments Commission (Detroit: Omnigraphics, Inc., 1989), 4.

[18] “Chateau-Thierry Monument,” American Battle Monuments Commission, accessed November 6, 2017, https://www.abmc.gov/cemeteries-memorials/europe/chateau-thierry-monument#.WgB5PGhSyUk

[19] Elizabeth Nishiura, American Battle Monuments: A guide to military cemeteries and monuments maintained by the American Battle Monuments Commission (Detroit: Omnigraphics, Inc., 1989), 50.