ON VALUES AND NARRATIVE: A CASE STUDY OF GAINESVILLE MODERN

By

JAYCOB KITAIN

A THESIS PRESENTED TO THE GRADUATE SCHOOL

OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT

OF THE REQUIREMENTS FOR THE DEGREE OF

MASTER OF HISTORIC PRESERVATION

UNIVERSITY OF FLORIDA

2018

© 2018 Jaycob Kitain

I dedicate this thesis to my family, for their enduring love, support, and guidance,

and for always pushing me to give 110% in all my endeavors. For my grandpa George Grossner,

who was an avid amateur historian and a loving husband, step-father, grandfather, and great-

grandfather.

4

ACKNOWLEDGMENTS

First and foremost, I would like to thank my thesis chair, Morris Hylton III, for his

inspiring passion, enthusiasm, and guidance. This research project would have never shaped into

what it is now without his direction and patience. I am truly grateful for his working with me,

challenging me, and mentoring me.

Secondly, I would like to thank my girlfriend Chelsea. She has been my emotional rock,

and a support system which I am forever thankful to have in my life. She, like my family, has

guided me, loved me, and pushed me to be the best me I can be.

Finally, I would like to thank my colleagues in the UF historic preservation program,

along with my new friends over at Gainesville Modern. Thank you all for your interest,

participation, assistance, and support. Together, we can continue to ensure that the architecture

of the past can be enjoyed by the present and the future.

5

TABLE OF CONTENTS

page

ACKNOWLEDGMENTS ...............................................................................................................4

LIST OF ABBREVIATIONS ..........................................................................................................8

ABSTRACT .....................................................................................................................................9

CHAPTER

1 INTRODUCTION ..................................................................................................................11

2 LITERATURE REVIEW .......................................................................................................16

Defining Values ......................................................................................................................16

Values and Preservation .........................................................................................................17 Defining Narrative ..................................................................................................................23 Narrative, Memory, and Nostalgia .........................................................................................24

Narrative and Preservation .....................................................................................................25 An Example of Preservation and Narrative ............................................................................27

3 RESEARCH METHODOLOGY AND METHODS .............................................................31

Mid-Century Modern: A Context ...........................................................................................31

About Gainesville Modern .....................................................................................................32 The Mixed-Method Approach ................................................................................................33 The Research Methods ...........................................................................................................34

4 ANALYSIS.............................................................................................................................36

Gainesville Modern: A Content Analysis ...............................................................................36 Survey Demographics .............................................................................................................38 Survey Responses ...................................................................................................................39 Interviews Analysis ................................................................................................................43

5 CONCLUSION.......................................................................................................................55

Values on Mid-Century Modern Architecture ........................................................................56 Gainesville Modern and Narrative ..........................................................................................57 Recommendations for Future Research ..................................................................................59

Final Remarks .........................................................................................................................61

6

APPENDIX

A THESIS SURVEY QUESTIONS...........................................................................................63

B THESIS INTERVIEW QUESTIONS ....................................................................................65

C DEFENSE POWERPOINT ....................................................................................................66

D LIST OF REFERENCES ........................................................................................................81

BIOGRAPHICAL SKETCH .........................................................................................................84

7

LIST OF FIGURES

page

Figure

4-1 Age Makeup of Survey Respondents (n=35) .....................................................................50

4-2 Gender Breakdown of Survey Respondents (n=35) ..........................................................50

4-3 Racial Profile of Survey Respondents (n=33) ...................................................................51

4-4 Education Level of Survey Respondents (n=35) ...............................................................51

4-5 Current Occupation of Survey Respondents (n=34) ..........................................................52

4-6 Values of Survey Block 1 (n=120) ....................................................................................52

4-7 Values of Survey Block 2 (n=116) ....................................................................................53

4-8 Gainesville Modern Event Attendance (n=35) ..................................................................53

4-9 Values from Board Member Interviews (n=42) ................................................................54

8

LIST OF ABBREVIATIONS

ICOMOS International Council on Monuments and Sites

MCM

NHPA

Mid-Century Modern

National Historic Preservation Act

NRHP

OUV

UF

UNESCO

National Register of Historic Places

Outstanding Universal Value

University of Florida

United Nations Education, Science, and Conservation Organization

9

Abstract of Thesis Presented to the Graduate School

of the University of Florida in Partial Fulfillment of the

Requirements for the Master of Historic Preservation

ON VALUES AND NARRATIVE: A CASE STUDY OF GAINESVILLE MODERN

By

Jaycob Kitain

May 2018

Chair: Morris Hylton III

Major: Historic Preservation

It is the goal of this study to examine the role that values play in constructing a historical

narrative. Additionally, this study defines narrative as the recounting of events in the history of a

specific subject, for the main purpose of telling the story of said subject. A narrative may

illustrate a familiar trope, illustrate a moral truth, manifest a trend of some sort, or be colligated

under a set of determinative values or goals. A narrative may also account for an important

outcome, which gives a certain value to what went before. Most appropriate to this thesis is the

notion of narrative illustrating a theory of historical change, including economic and/or political

processes.

Values have always been the underlying reason for heritage conservation and historic

preservation, and no project is initiated without the presence of some inherent form of values.

These values often differ from our own as heritage specialists and historic preservationists. The

resulting democratization is a positive development in our field and attests to the importance of

heritage today. This aperture has also brought new considerations to ongoing discussions and has

made them much more complex. Understanding the different values possessed by the individual

stakeholders is crucial to understanding how a narrative is constructed and the goals of

preservation initiated by said narrative. Narrative itself can also lead to the revelation of the

10

values and beliefs held by the individuals involved in the story being told. To preserve a place, a

community must craft a persuasive narrative that has a better chance to organize and rally

stakeholders and integrate and initiate policies. When creating a narrative, the aspect of a central

subject chosen by a historian usually reflects the historian's own interests, society, and

epistemology.

This study wishes to examine how these values interact, collaborate, and conflict with

one another when a community is crafting a historical narrative. Using resources provided by the

University of Florida and the Gainesville Modern organization, this mixed-method study will

evaluate the role of values in the creation of the narrative of Mid-Century Modern (1945-1975)

Gainesville.

11

CHAPTER 1

INTRODUCTION

Historic preservation faces the difficult task of making places of the past understandable,

relatable, and accessible to the present and, consequentially, the future. Preservationists

constantly grapple with how to give historical events enduring relevancy in the face of

tremendous socioeconomic and ethnocultural change. To quote John Dixon Hunt in a 2013

editorial for Change over Time, “historic preservation occupies a public and political arena. It

always deals with the past, for that is its proper territory. It is also from the past that we derive

and reinvent the forms in which we must continue to live” (Hunt 5). With the urban development

ever-present, the continued existence of historic sites worldwide is in a state of constant peril.

The act of preserving our past is not a task that professionals in the preservation field can

undertake alone, and therefore interest and passion must be instilled in the unversed populace.

One of the multitudes of methods by which preservationists can gain the support of

stakeholders outside of the field is through understanding peoples’ values. By observing and

considering what motivates and attracts people towards preserving places, preservationists can

make the process something that is practical and accessible to the everyday person. Additionally,

an understanding of peoples’ architectural preferences is attained. Another method by which

preservation is made open to the community is through narrative. Narrative is the story which

gives a place its meaning, and every individual possesses their own narrative of a place which

has been formed based on their personal set of values. It is imperative, however, that a singular

cohesive narrative is formed by the community or by a group of people, considering the values

of those involved. Additionally, consideration must be taken with regards to how the narrative

will resonate with the values of those outside of the process.

12

The importance of this thesis resides in its efforts to further study the current trend in

historic preservation correlated to saving architectural resources of the Postwar era. Additionally,

the research expands on this current undertaking by analyzing how to engage people outside of

the field in the preservation of modern architecture. As National Historic Preservation Act (1966)

marches beyond its fiftieth anniversary in 2016, multitudes of challenges continue to face the

historic preservation movement. Of these challenges, one of the most pressing is the necessity to

assess a vast array of Post-WWII resources that have reached or surpassed the key age of 50.

Integral to this challenge is the need to engage a wider range of stakeholders. This thesis

explores peoples’ perceptions of Mid-century Modern architecture in general, along with Mid-

Century Modern architecture specifically in the city of Gainesville, Florida. Rather than focusing

specifically the historic importance of preserving Mid-century Modern, this research serves to

understand how preservation agencies can better communicate with a wider audience (using a

narrative) by understanding peoples’ values.

Therefore, recognizing what the “preservation-uninitiated” values about modern heritage

is vital in informing the advocation and preservation strategies of the professionals in the field.

The Postwar era, because of its connotation with what the preservation field refers to as the

Recent Past, often poses a challenge for preservationists. Additionally, misconstrued aesthetics,

and poorly-deteriorated experimental materials have contributed to the challenge of preserving

this architecture. Consequentially, general distaste from the public and lack of integrated

community support for conserving this architecture ensues.

Within the preservation movement itself there is a continued debate regarding the

challenge of preserving Mid-Century Modern architecture. Modern heritage has struggled

preservation since the initiation of the 50-year age guideline for significant buildings in the

13

National Register of Historic Places. Also, Mid-Century Modern’s strong break with

conventional building styles and practices has resulted in alienation with the greater architectural

community. Nevertheless, preservationists and communities alike are obligated to preserve

buildings of a historic nature, personal tastes and convictions aside.

The topic of exploring values, narrative, and Mid-century Modern architecture is the

outcome of an evolution of my undergraduate thesis researching the impact of narrative on how a

site is preserved. Through my graduate studies, I put in contact with Gainesville Modern, an

outgrowth of Historic Gainesville, Inc. Association with this and other organizations has

heightened my interest in civic engagement and awareness, as well as community participation.

Through this study and my association with Gainesville Modern, I have attained valuable

experience concerning the creation and distribution of awareness of Mid-century Modern

architecture.

The original intention of this research centered on how to help Gainesville Modern

expand by examining its best practices, what the community says about the organization, and

what the coordinators of the organization believe is important. I believe that a multi-generational

approach is important, given the ages of the attendees at Gainesville Modern events. Community

engagement with the organization was really only with the older demographic (40-60 is likely

the general age of attendees), while Millennial interest is relatively restricted to students in the

UF College of Design, Construction, and Planning.

Additionally, it is important that preservationists make the most of the popularity that the

mid-20th century period is currently experiencing in the industries of entertainment and design.

Popular culture such as the AMC television show Mad Men has helped reintroduce Mid-Century

Modern design, culture, and architecture to new generations. Consequentially, interest in the late

14

1950s and early 1960s has been piqued by the general public. Nostalgia has been capitalized, and

people are increasingly eager to acquire a connection with the idealized past via material

possessions.

To better understand the role of values in creating a narrative for preservation, first

definitions for values and narrative were established. In the process, a consistent typology of

values needed to be cemented to efficiently break down the results of the research methods.

Accordingly, the questions in the survey were then built around values regarding the architecture

in general, the architecture specifically in Gainesville, and perceptions of Gainesville Modern as

an organization. This allows the survey to focus on how Mid-Century Modern appeals to this

group of involved people, and how to translate that into something that those outside of this

sphere can understand, appreciate, and be invested in.

A sample population was assembled from membership of Gainesville Modern, through e-

mail and personal networking. The assessment of the survey, through cross tabulation and

content analysis, will lead to a better awareness of how the organization’s participants (of

varying capacities) perceive both historic preservation in general and Mid-Century Modern

architecture specifically. This can then be translated to other communities interested in public

perception that intend to engage multiple generations of stakeholders of diverse Socioeconomic

backgrounds in their preservation decisions.

This study is comprised of five chapters. The first introduces why preservationists should

understand values and narrative and their role in the perception of historic preservation and

modern heritage. Additionally, Chapter one delves into issues related to both the field of

preservation and the process of preserving Mid-Century Modern architecture. The second

chapter provides comprehensive research on values, narrative, nostalgia, historic preservation,

15

and Mid-century Modern heritage. Unfortunately, there is not much study on values and

narrative as they relate to history or historic preservation. Chapter three discusses the

methodology of studying the relationship between values and narrative and details the

subsequent development of a survey and interview questions to examine peoples’ perceptions of

Mid-Century Modern architecture. Chapter four analyzes the findings from the surveys and

interviews through both qualitative and quantitative means and provides a content analysis of

Gainesville Modern using primary source material. The final chapter provides insight into what

the collective narrative pieced together from the values and narratives of the research subjects.

Chapter five also provides suggestions on how to better preservationists can better engage with

people outside of the field, along with recommendations for future research into the topic of

values and narrative.

16

CHAPTER 2

LITERATURE REVIEW

With the fiftieth anniversary of the National Historic Preservation Act of 1966 a few

years behind us, the preservation movement faces new challenges, among which are engaging

people in preservation and how to advocate and preserve the variety of resources from the Mid-

Century Modern period of 1945-1975. Previous studies have focused on understanding values

and on understanding historical narrative. This thesis works to further this investigation by

combining values and narrative, along with delving into current preservation issues, such as

perception and conservation of modern heritage. While preserving Mid-Century Modern

architecture has its own set of technical challenges, public perception and support is crucial to

any preservation undertaking. This research aims to identify essential values associated with the

formation of a cohesive narrative which could be utilized when conducting advocacy campaigns

related to the conservation of modern architectural resources.

Defining Values

Our society has a natural tendency to place certain values on various aspects of daily life.

Depending on the social, political, and economic context, values can be both physical (such as

money) and metaphysical (such as nostalgia). These values shape our everyday lives, and help us

prioritize that which is important to us. This hierarchy varies from individual to individual.

Values can also be held and expressed by entities such as corporations or non-profits, or by

various cultures or religions.

The range of approaches to understanding how, why, and to what degree persons value

things is referred to as value theory. Value theory traces its origins to ancient philosophy, where

it was referred to as axiology or ethics. These philosophical studies focused on the study of

“good” and “evil,” particularly analyzing what exactly “good” comprises. Compared to this

17

theoretical approach, modern sociologists, economists, psychologists, and the like study value

theory under more empirical approaches. This empirical approach studies and records what

people do value, to understand why they value it.

According to Marta de la Torre and Randall Mason in their report Assessing the Values of

Cultural Heritage, values is often used in two senses. The first is the individual and collective

sense, which covers morals, principles, or other ideas that nurture and guide action. The second

is the actual and potential sense, which relates to the qualities and characteristics seen in things,

particularly the positives (de la Torre and Mason 7). While values in the first sense is commonly

used by conservationists and art historians, it prioritizes historic and artistic value over all others.

Values in the acute and potential sense provide a more anthropological perspective, and this

sense seeks to understand the full range of values (and valuing processes) expressed and shared

by people.

In the realm of heritage, history, and historic preservation, values tend to avoid the

intrinsic perspective of traditional conservationists, in which values are fixed unchanging.

Instead, an extrinsic perspective is utilized, in which values originate from the interaction

between an artifact (or place) and its contexts. The site, building, or artifact does not emanate

values, values are placed onto the site, building, or artifact. Therefore, values “can only be

understood with reference to social, historical, and even spatial contexts through the lens of who

is defining and articulating the value, why now, and why here?” (de la Torre and Mason 8). In

the following study, values will be defined as the specific criteria and opinions possessed by

individuals, groups of citizens, professionals, and representatives of special interests.

Values and Preservation

Values in historic preservation have conventionally taken two separate paths. Down the

first path, one kind of value reigns predominant, overshadowing all others. The second path

18

compartmentalizes every aspect of heritage value into “significance” (de la Torre and Mason 8).

The first treatment risks excluding whole groupings of values to prioritize one. In this way,

prioritizing economic value, for example, can lead to a heritage tourism industry that is

detrimental to the health and integrity of a historic site and its context. Compartmentalizing and

consolidating values is equally problematic because in the process of collapsing all values into a

collective significance, seemingly extraneous types of value are neglected.

The role of values in heritage conservation and historic preservation is a subject of recent

academic discussion. Professionals in various heritage, conservation, and preservation-related

fields have begun utilizing a values-based approach in their research. As Suzanne Scheld, Dana

H. Taplin, and Setha M. Low articulate in their article The Values-Based Approach for Cultural-

Heritage Preservation in U.S. Public Parks, the increased attention to (and acceptance of) the

values-based approach is due to growing recognition that UNESCO’s OUVs (Outstanding

Universal Values) encompass only one set of cultural values above others, and that many more

sets of values are in play at a given time. “As multiculturalism has challenged the unitary

authority of mass cultural values, institutions have increasingly given credence to the cultural

values of particular groups that may be different from or in conflict with the standard

ascriptions” (Scheld, Taplin, and Low 49).

According to UNESCO (United Nations Educational, Scientific, and Cultural

Organization), to achieve listing on the World Heritage List, a site must achieve Outstanding

Universal Value and meet at least one of ten criteria. Until the end of 2004, World Heritage sites

were designated based on six cultural and four natural criteria. The adoption of the revised

Operational Guidelines for the Implementation of the World Heritage Convention led to the

19

establishment of one set of ten criteria.1 The statement of OUV is formed by the State Party of

the site in question and must make clear to UNESCO why the site is considered to merit listing

on the World Heritage List.

The ten selection criteria are as follows: “(i) to represent a masterpiece of human creative

genius; (ii) to exhibit an important interchange of human values, over a span of time or within a

cultural area of the world, on developments in architecture or technology, monumental arts,

town-planning or landscape design; (iii) to bear a unique or at least exceptional testimony to a

cultural tradition or to a civilization which is living or which has disappeared; (iv) to be an

outstanding example of a type of building, architectural or technological ensemble or landscape

which illustrates (a) significant stage(s) in human history; (v) to be an outstanding example of a

traditional human settlement, land-use, or sea-use which is representative of a culture (or

cultures), or human interaction with the environment especially when it has become vulnerable

under the impact of irreversible change; (vi) to be directly or tangibly associated with events or

living traditions, with ideas, or with beliefs, with artistic and literary works of outstanding

universal significance. (The Committee considers that this criterion should preferably be used in

conjunction with other criteria); (vii) to contain superlative natural phenomena or areas of

exceptional natural beauty and aesthetic importance; (viii) to be outstanding examples

representing major stages of earth's history, including the record of life, significant on-going

geological processes in the development of landforms, or significant geomorphic or

physiographic features; (ix) to be outstanding examples representing significant on-going

ecological and biological processes in the evolution and development of terrestrial, fresh water,

coastal and marine ecosystems and communities of plants and animals; (x) to contain the most

1 UNESCO, “The Criteria for Selection,” Global Strategy, accessed November 15, 2017,

http://whc.unesco.org/en/criteria/.

20

important and significant natural habitats for in-situ conservation of biological diversity,

including those containing threatened species of outstanding universal value from the point of

view of science or conservation.”2

In this light, the values-based approach is a progressive one in which it is established that

different people and groups will imprint their own meanings and values into the material fabric

of historic places. Therefore, it is imperative that those meanings and values should be

understood and considered in management decisions regarding historic sites. According to

Pamela Jerome in her article The Values-Based Approach to Cultural-Heritage Preservation,

values-based preservation involves consultation with stakeholders whose values may conflict,

and is not expert-driven. While the values-based approach rose in response to the problematic

precedence of experts’ values over ordinary peoples’ values (as was observed in the OUVs),

there remains still a hierarchical relationship between values.

Internationally, ICOMOS (International Council on Monuments and Sites) Australia’s

Burra Charter has become the standard for values-based management of historical sites. The

charter emphasizes that an in-depth knowledge of a site is required, and stakeholder consultation

is critical (Jerome 4). Marta de la Torre’s article Values in Heritage Conservation: A Project of

The Getty Conservation Institute notes that with heritage constantly evolving, questions were

increasingly raised about the social and economic benefits of heritage conservation.

Consequently, the Burra Charter was also a response to the demands of many groups the

recognition of what they acknowledged as their heritage (de la Torre 19).

In the United States, the effort to understand and include the values of the public with

regards to historical resources began in 1966 with the passage of the NHPA (National Historic

2 Ibid.

21

Preservation Act). This act was followed by acts such as the American Indian Religious Freedom

Act of 1978, the Archaeological Resource Protection Act of 1979, and the Native American

Graves Protection and Repatriation Act of 1990, all of which increased the role of cultural

groups in protecting historic sites and defining the values those cultures place on said sites

(Scheld, Taplin, and Low 50). With the induction of the NHPA in 1966 came the NRHP

(National Register of Historic Places), a list of historic buildings, sites, and districts from across

the country. Over 80,000 individual sites are listed among millions of properties on the Register.

To be listed on the NRHP, a property must meet at least one of four criteria, which are as

follows: “A. That are associated with events that have made a significant contribution to the

broad patterns of our history; or B. That are associated with the lives of significant persons in our

past; or C. That embody the distinctive characteristics of a type, period, or method of

construction, or that represent the work of a master, or that possess high artistic values, or that

represent a significant and distinguishable entity whose components may lack individual

distinction; or D. That have yielded or may be likely to yield, information important in history or

prehistory.”3 Additionally, considerations are made for cemeteries, birthplaces, graves of

historical figures, properties owned by religious institutions or used for religious purposes,

structures relocated from their original locations, reconstructed historic buildings, primarily

commemorative properties, and properties that have achieved significance before 50 years of age

which would normally not be considered eligible for the National Register.4

At its core, values-based preservation (and the purpose of heritage management) is to

preserve the significance attributed by people to a place. This approach is both inclusive and

3 U.S. Department of the Interior, National Park Service, “II. National Register Criteria for Evaluation,” National

Register Bulletin, accessed November 15, 2017, https://www.nps.gov/nr/publications/bulletins/nrb15/nrb15_2.htm. 4 Ibid.

22

integrative, making it suitable for the various types of sites and circumstances found worldwide.

Professional courses often encountered difficulties in presenting the process when discussions

turned to assessing and prioritizing values, and subsequently the means of resolving conflicts

among them (de la Torre 19).

A recurring issue with values in relation to preservation is that there are so many kinds of

values, with complex interactions between them. Because of this, it is more challenging to

characterize, document, express, and discuss the values of various stakeholders. Therefore, a

typology of values (in relation to historic preservation) is warranted. The Burra Charter organizes

values into four categories: Aesthetic, Historic, Scientific, and Social (including spiritual,

cultural, political, and national) (de la Torre and Mason 9). However, the different articulations

of value, the amorphous nature of values, and differences in epistemology make creating a

unified typology of values a near-impossible task.

Despite the subjective and contingent nature of values making difficult any effort to

develop a common nomenclature, it is imperative for a typology to be instituted, even at a

provisional level (de la Torre and Mason 9). That said, typologies inherently elevate and

minimize certain types of value, depending on the nomenclature used. De la Torre and Mason

created a provisional typology which includes the types of value most often associated with

historic sites and issues relating to historic preservation. Their proposed typology does not

assume that every site has every type of value, rather it assumes that these categories incorporate

most of the values that shape preservation decision-making and that must be considered in

preservation planning and management. This thesis will utilize the proposed typology of de la

Torre and Mason, which divides values into two camps: Sociocultural Values (historical,

cultural/symbolic, social, spiritual/religious, and aesthetic) and Economic Values (use (market)

23

value, and nonuse (non-market) value: including existence, option, and bequest) (de la Torre and

Mason 10).

Defining Narrative

Narrative, by conventional definition, is the recounting or telling of a series of connected

events either imaginary or real, using written or spoken word, or still or moving images.

According to the Oxford Dictionary, the word “narrative” originates from the Latin verb narrare,

("to tell"), which itself is derived from the adjective gnarus ("knowing" or "skilled"). Narrative is

used in both non-fiction (historiography, biography, etc.) and fiction (poetry, prose, novels, etc.),

and is found in all aspects of human creativity. In The Question of Narrative in Contemporary

Historical Theory, Hayden White states that narration is “as universal as language itself” (White

1). White notes that during the 1980s, the concept of narrative in historical theory was a subject

of major controversy between the narrative-based historians and the scientific analysis-based

historians, who claimed that the use of narrative as an end was methodologically unreliable.

Lawrence Stone previously noted this controversy in his 1979 article The Revival of

Narrative: Reflections on a New Old History, explaining that during the postwar era (especially

moving into the 1970s), the rise of social history prompted researchers and historians to use a

social-science model of analysis. This new model focused on narrative history; a single coherent

story, organized chronologically, and descriptive instead of analytical. Contrasting the scientific

approach to history, narrative was concerned with people and tangible objects rather than

intangible circumstances, and dealt with the individual and specific rather than the collective and

statistical. According to Stone, "More and more of the ‘new historians’ are now trying to

discover what was going on inside people’s heads in the past, and what it was like to live in the

past, questions which inevitably lead back to the use of narrative" (Stone 13).

24

As previously mentioned, there are historians who take criticism with narrative history,

arguing that narrative results in narrowness due to its preference for anecdote over investigation,

and for favoring storytelling over empirical and statistical evidence. According to White,

however, narrative is not a fixed end-all-be-all basis for a method or static byproduct of a theory.

Instead, White emphasizes that narrative is an amorphous vehicle for discourse which can be

used for the representation of historical events. Whether or not narrative-based discourse is

utilized to represent historical events is dependent on the primary aim of the narrative; either to

describe a situation, evaluate a process, or tell a story (White 2).

This study defines narrative as the chronological recounting of events in the history of a

specific subject, explicitly for telling the story of said subject. Narrative can illustrate a familiar

trope, explain a moral truth, manifest a trend of some sort, or be colligated under a set of

determinative values or goals. A narrative may also account for an important outcome, which

gives a certain value to what went before. Most appropriate to this thesis is the notion of

narrative illustrating a theory of historical change, including socioeconomic and/or political

processes.

Narrative, Memory, and Nostalgia

The path to creating a historical narrative is an arduous one which must be approached

with equal parts caution and enthusiasm. Because narrative binds memory to a place it runs the

risk of creating a potentially narrow view of political, social, and/or economic identity. The

binding of place, memory, and individual identity is the crux of nostalgia. According to Margaret

E. Farrar in her article Amnesia, Nostalgia, and the Politics of Place Memory, the binding too

tightly of memory to place “is at the heart of the most virulent forms of nationalism, which

function by strictly limiting access to the polity, excluding outsiders, and positing citizenship

solely as a means of expressing allegiance to and protecting the homeland” (Farrar 724).

25

What Farrar is suggesting is that place is inextricably connected with our individual and

collective memories, and that closely connecting a certain type of memory with a specific

understanding of place (via historical narrative) can result in an adverse effect to what was

originally intended (the intention being to preserve a historic place). A narrative that intended to

inspire a sense of community identity and a desire to preserve the historic places of said

community can be distorted into a nostalgic view of the past being better than the present.

Consequentially, a desire can arise to take society back to what once was.

Despite the nefarious implications presented above, narrative also has the potential to

unite, inspire, and rally support for a collective cause. As has been illustrated, narrative is one of

the most crucial elements of creating an identity for a place or a community. Narrative allows a

group of concerned citizens to make understandable and appreciable a subject which they care

about, and it is one of the most important tools in the arsenal of the historic preservationist.

Narrative and Preservation

In the realm of historic preservation, narrative is often used as a vehicle for influencing

public policy and private interest in preserving, rehabilitating, reconstructing, or restoring a

historic place. Because narrative displays the roles, intentions, and actions of humans, it allows

people in the present to comprehend past individuals, cultures, and societies. As Laurel

Richardson proclaims in her article Narrative and Sociology, narrative humanizes time, and can

influence the direction of our lives and allows humans to contemplate the scope and scale of their

actions (Richardson 117).

Narrative itself can also lead to the revelation of the values and beliefs held by the

individuals involved in the story being told. To preserving a place, a community must craft a

persuasive narrative that has a better chance to organize and rally stakeholders and integrate and

initiate policies. Every individual stakeholder involved in the creation of the narrative has their

26

own set of values that influence their outlook on preserving a place. When creating a narrative,

the aspect of a central subject chosen by a historian usually reflects the historian's own interests,

society, and epistemology.

Students seeking to attain a degree in historic preservation are taught almost immediately

that preservation begins at the local level. The early preservation efforts in American history did

not originate at the governmental level, born from the minds of altruistic politicians. Rather, they

were actions of activism on the part of citizen stakeholders such as Jane Jacobs in 1960s

Manhattan. Historic sites tether collective memories together by providing physical evidence of

the past, as opposed to the intangible recounting of a textbook. However, the mere presence of a

historic place is not necessarily enough to attract attention or to captivate and audience. Every

successful preservation effort is the product of the creation of an interesting and informative

narrative. Narrative utilizes the stories of the past to produce meaning in the present, and it is

through these stories that a place or community develops an identity which it seeks to preserve.

Historic preservation, according to Diane Barthel in her journal article Getting in Touch

with History: The Role of Historic Preservation in Shaping Collective Memories, “encompasses

the range of strategies by which historic structures are maintained, managed, and manipulated”

(Barthel 346). Included amongst these strategies is historical narrative. Creating such a narrative

requires the coordination of stakeholders and the integration of policies. Creating a historical

narrative does not only improve the chances for finding a socioeconomic consensus among

stakeholders, but it also increases the possibility to construct a persuasive narrative on the future,

grounded in vigilant examination of place identity, assets and power relations. Through a

convincing narrative, stakeholders not only secure the present preservation and enjoyment of a

place, but also its future.

27

An Example of Preservation and Narrative

Historic preservation highly contributes to the economic and cultural values of Florida.

Those values are reflected in the quality of life found in the state’s communities from small

towns to large urban areas. Historic preservation in Florida is constantly under siege by

considerable growth pressures. Florida has some of the nation’s oldest historic and

archaeological resources, and their protection at some level has always been a necessity if a

connection with the state’s heritage is to be maintained. However, historic preservation in

Florida transcends nationally significant landmarks to include older neighborhoods in many

Florida towns, as well as the downtown features of a similar number of cities large and small.

With over five percent of Florida’s housing built before 1950, historic buildings are a part

of Florida life, population needs alone validate maintenance and rehabilitation of this older

housing stock. The legal framework for preservation reflects the decisions that preservation of

historic resources is a worthy goal of society. At all levels of government, laws and regulations

implement this goal of preserving historically and aesthetically significant resources. They do so

in a variety of ways, imposing both regulatory controls and incentives. These regulations and

incentives work to preserve Florida’s heritage for future generations by restricting harmful

modifications to historic resources and promoting the rehabilitation and adaptive use of these

resources.5

As the largest city in the state and one of the largest cities in the country, Miami, Florida

is rich with history and culture. From the art-deco buildings of the Miami Architectural District

to the financial center of Brickell, the city has scores of historic structures that draw in visitors

5 Timothy McLendon, Technical Report: Contributions of Historic Preservation to the Quality of Life in Florida

(Gainesville: Center for Governmental Responsibility, Levin College of Law, University of Florida, 2006): 89.

28

and prospective residents from across the globe. One which has been tragically overlooked until

recently is Miami Marine Stadium.

Constructed in 1963 and designed by Cuban-American architect Hilario Candela, Miami

Marine Stadium the nation’s only facility designed specifically for powerboat races. Set on

Virginia Key, an island between the mainland and Key Biscayne which is also the home of the

better-known Miami Seaquarium, the stadium offers outstanding views of Miami’s skyline. It

quickly realized its attention-getting purpose. With its boldly cantilevered roof standing sentinel

over the water and its intricately folded poured-concrete plates, it was a truly unique tourist

attraction meant to put Miami on the national map alongside its better-known neighbor, Miami

Beach. The city had wanted nothing more than a simple structure with a metal roof able to seat

6,600. Candela sought to design a structure that symbolized the meeting of land and water, as

well as technology and nature. The city balked at the elaborate plan, but with the backing of his

firm, Candela held his own. Finally, city officials relented, with a caveat: It had to cost less than

$1 million to build, or Candela’s firm had to redesign it at its own cost.

At the time of its construction, the 326-foot-long roof was the longest span of

cantilevered concrete in the world. Using at least three types of concrete between the thickest 10-

to 12-inch portion at the back of the stadium and the 6-inch-thick edge above the water, the

structure exuded dynamic tension. Audiences could hear the water lapping at the bulkhead

beneath their seats, but remain shielded from the sun and cooled by breezes blowing in from the

bay. The result was a unique Mid-century Modern masterpiece filled with artistic symbolism

built for $960,000. The original concept of the stadium as a place for watching boat races

29

expanded rapidly. The events hosted there, from concerts to fight nights, made the stadium as

much a part of South Florida’s history as its architectural legacy.6

Despite its place as one of the beacons of MiMo (a term coined to describe Miami’s

unique Mid-century Modern style), the once-majestic structure sits abandoned in isolation behind

a chain-link fence, a canvas for graffiti and a playground for parkour-enthusiasts. By the time

Hurricane Andrew hit Florida in 1992, the stadium was a largely forgotten relic of a bygone

time. After the hurricane, the city used the storm as an excuse to demolish the abandoned

stadium, falsely citing that the storm had caused damage to the structure which compromised its

stability. In the summer of 2007, Miami asked contractors to develop a plan for eliminating the

stadium. The threat that the stadium would be razed sparked an immediate reaction. By the

following February the organization of concerned residents known as the Miami Marines had

formed. The members commissioned engineering studies that disproved the city’s claim that the

hurricane had damaged the structure, and also won a historic landmark designation from the city.

The organization also earned the support of the National Trust, which named the stadium

to its 2009 list of America’s 11 Most Endangered Historic Places and designated it as a National

Treasure in 2012. In 2010, the World Monuments Fund added the stadium to its Watch list.7

With preservation and fundraising efforts ongoing, new life will soon be brought to the stadium.

Preservation begins at the local level, and thanks to a group of passionate individuals, the Miami

Marine Stadium will continue to stand. These locals and their supporters believe that the stadium

is an integral part of the community heritage of Miami, and the preservation of this structure is a

testament to the stadium’s value as a piece of the city’s identity.

6 Carlos Harrison, “Miami Romance: Saving Architect Hilario Candela's Beloved Stadium,” National Trust for

Historic Preservation, accessed November 16, 2016, https://savingplaces.org/stories/miami-

romance#.WD3IYrIrKM8. 7 Ibid.

30

Values are a crucial factor in the continued preservation of historic places. They provide

perspective into exactly what it is that drives people to make decisions regarding what to do with

aged (and occasionally abandoned) buildings. Values also reflect generational ideals of

community and awareness of heritage resources. Utilizing values, a community can form a

narrative to tell the story of the history and significance behind a place. Such a narrative can

provide direction for the present and future and fosters a stronger sense of place and community.

In this narrative, values such as nostalgia should be embraced, but used with tact and care to

avoid the message being misconstrued. Scholars are recognizing perception as one of the key

aspects and determinants of historic preservation in the United States. Therefore, modern

preservation techniques and engagement strategies are continuously evolving. A more inclusive

philosophy is being embraced, utilizing an understanding of values and emphasizing the importance

of narrative in order to better conserve sites for present and future generations to enjoy.

31

CHAPTER 3

RESEARCH METHODOLOGY AND METHODS

Mid-Century Modern: A Context

The mid-century modern era of American architecture is defined as taking place from

1945-1975, and is characterized by the emergence of new architectural styles resulting from

sociocultural shifts, technological advancements, and changing aesthetical preferences.

According to Allee Berger in her 2013 thesis On the Preservation of Principles: Determining the

Adequacy of Historic Preservation Theories, Charters, and Guidelines for the Philadelphia

Police Headquarters, modern design was considered in many architectural circles to be the most

effective means for expressing the power and wealth the United States sought to exhibit in the

postwar years.

Although the mid-century modern era of architecture begins in 1945, the roots of

Modernist architecture in America can be traced back to the work of Frank Lloyd Wright. In

1932, Philip Johnson and Henry Russell Hitchcock published The International Style, a book

written to accompany the 1932 International Exhibition of Modern Architecture at New York’s

MoMA (Museum of Modern Art). Out of the discussions, responses, and critiques of the

International Style of architecture rose styles such as Functionalism, Brutalism, and

Expressionism. With its newfound power and prestige on the world stage, the United States

demanded architecture that exuded progress, power, authority, and technological superiority.

Consequently, architects and architecture schools nationwide embraced new and evolving

building materials, processes, and technologies to design elephantine buildings which defied

conventional ideas of monumentalism.

32

About Gainesville Modern

Gainesville Modern, a local volunteer non-profit organization, is currently creating their

narrative for mid-century modern Gainesville. The organization’s mission reads as follows:

“Gainesville Modern is a non-profit organization dedicated to preserving Gainesville’s modern

architectural past and promoting its future through education, advocacy, and awareness.”

1 According to the organization’s website, Gainesville Modern operates under the

auspices of HGI (Historic Gainesville, Inc.), which was founded in 1972. HGI’s purpose was to

advance historic preservation efforts in the City of Gainesville. HGI accomplished its purpose

time and again, and was involved in the purchase and preservation of the old Thomas Hotel,

along with its repurposing into the Thomas Center. Five historic districts in the city were created

due to HGI’s efforts, and the organization interacted with homeowners to document

architecturally significant properties for listing on the NRHP (National Register of Historic

Places).2

Over 45 years later, Gainesville Modern carries on HGI’s legacy, expanding HGI’s scope

to include mid-century modern structures, many of which now exceed the NRHP’s fifty-year age

threshold. Additionally, the organization aims to bring greater recognition to Gainesville’s

increasing stock of present-day residential and commercial architecture, including many LEED-

certified “green” buildings. Gainesville Modern coordinates and collaborates with public and

private entities on the presentation and production of various community outreach activities and

fundraising events.

Additionally, the organization assists in the locating and documenting of historic and/or

architecturally significant modernist properties in Alachua County. To showcase Gainesville’s

1 Gainesville Modern, “Our History,” About, accessed September 20, 2017, http://gainesvillemodern.org/about/. 2 Ibid.

33

mid-century modern heritage, the organization intends to produce an “architectural tourism”

map/brochure (yet to be produced), and conducts an annual home tour every spring, hosts or

sponsors public lectures and conferences, as well as producing newsletters, calendars, books and

other publications. Currently, Gainesville Modern’s officers are Morris “Marty” Hylton III

(President), David Forest (Executive Director), and Mike Hastings (Treasurer). As Mr. Hylton is

the chair of this thesis project, he will not be subject to surveys or interviews to avoid any

potential conflicts of interest.

The Mixed-Method Approach

Incorporating aspects of both Qualitative and Quantitative analysis, the Mixed Method

approach is the most suitable method of analysis for this research project. The concept of

analyzing the role of stakeholders’ values in the creation of a historical narrative may seem

purely qualitative. However, the project requires the quantification of these values to

compellingly and completely detail the relationship between values and narrative.

Recently, as researchers have increasingly recognized the unique strengths and

limitations of both qualitative and quantitative methods, Mixed-Method approaches have

increased in popularity. This approach requires that researchers take careful consideration into

the planning of a study. One such consideration is the timing of the quantitative and qualitative

components. Whether the phases of data collection are sequential or concurrent depends on the

goals of the qualitative and quantitative components.3

In a sequential data collection, the first phase of data collection can help to inform the

second phase, or alternatively the second phase can assist in the clarification of data collected in

the first phase. Alternatively, concurrent data collection assembles all data in one phase and then

3 Statistics Solutions, “Mixed-Methods Approach,” Dissertation Resources, accessed September 20, 2017,

http://www.statisticssolutions.com/mixed-methods-approach/.

34

analyzes it, reducing the amount of time required to collect data and increasing efficiency. Given

the scope of the study, the short time-frame and relatively small number of data points, a

concurrent approach will be used to collect and analyze the data. While it is ideal that the

qualitative and quantitative analysis be given equal weight in the writing of this thesis, a values-

based approach to narrative is inherently qualitative, with statistical data collected to corroborate

the qualitative information.4

The Research Methods

To analyze the role of values in creating a narrative for historic preservation, the research

will take a three-pronged approach to data collection. The first element is the use of a survey

which will evaluate the values of people on the Gainesville Modern listserv as they relate to Mid-

Century Modern architecture in general, the architecture in Gainesville, and the work of

Gainesville Modern. This survey will be created using the survey-making website Qualtrix, and

disseminated online through the email listserv of the Gainesville Modern organization. The

completed surveys will be collected, and their answers quantified into statistical information

which corroborates the qualitative research conducted in the second approach.

In this second approach, oral interviews will be conducted with board members of

Gainesville Modern. These interviews will provide insight into the narrative that the organization

is constructing around mid-century modern architecture. The interviews will reveal how each

board members’ individual values influence what direction they want the narrative to take, in

addition to how the collective values of the group collaborate and conflict with one another. The

statistics from the values-based survey will then be combined with the qualitative results from

4 Ibid.

35

the interviews to provide a complete picture as to how values impact narrative in relation to

historic preservation.

The third prong to this study is a content analysis of the Gainesville Modern organization.

This content analysis uses primary source material to discern both what is written about the

organization and what the organization writes about itself. Sources utilized include articles in the

Gainesville edition of Our Town magazine, the Gainesville Modern website, the organization’s

Facebook page, and supplementary news articles. Through this combination of surveys,

interviews, and content analysis, a clearer understanding of the organization participants’ values

will be obtained. Consequentially, a cohesive narrative reflective of these values will take shape,

and the organization will better understand how to appeal to a wider, less professional audience.

36

CHAPTER 4

ANALYSIS

Gainesville Modern: A Content Analysis

If one were to define the purpose of Gainesville Modern with a tag-line, a fitting one can

be found in the title of Monica Humphries’ article in the September/October 2017 issue of Our

Town Gainesville Edition: “Gainesville Modern: Opening Doors to a Past Era” (Humphries 30).

As stated in the prior chapter, Gainesville Modern is a nonprofit organization which seeks to

preserve the City of Gainesville’s architectural heritage and to serve as a guide for future

architecture. The organization focuses specifically on the period of 1945-1975. To accomplish

their mission, Gainesville Modern hosts programs and events throughout the year.

Humphries’ article states that the most popular event which the organization hosts is

Gainesville Modern Weekend, which takes place every March. During the Gainesville Modern

Weekend, the biggest activity is the home tour, in which five or six private Mid-Century Modern

residences are opened to the public for tours. The home tour, as Humphries estimates, draws

about 450 people to each house (Humphries 30). As of the printing of the magazine issue, 23

homes have been shown on the tour since the program started in 2013, with an abundance of

others to choose from (Humphries 32).

The home tours event was initially conceived by Mike Hastings, the organization’s

Treasurer. Hastings believed that this opportunity to showcase local Mid-Century Modern

architecture would help tell a story that was not being shared with the public. Attendance at the

home tour has grown incrementally with each passing year, with people travelling from across

Florida, Georgia, and even Texas to take in the aesthetics of the period.

According to Marty Hylton, president of the organization and director of the historic

preservation program at the University of Florida’s College of Design, Construction, and

37

Planning, Gainesville Modern has two missions. The first mission is to preserve and raise

awareness to Gainesville’s Mid-Century Modern architecture from post-WWII. The second

mission is to promote the traditions and legacy of Mid-Century Modern’s innovative design in

new development (Humphries 34).

While Gainesville Modern is a membership-based organization, home tour tickets are

sold to everyone. The money raised from ticket sales goes towards multiple things, including

funding lectures, film series’, and building homes in the community as a part of Gainesville

Modern’s partnership with Habitat for Humanity. Money is also diverted towards preserving

Gainesville’s Mid-Century Modern architecture, two of which the organization has nominated to

the National Register of Historic Places. The organization has also started an archive with UF’s

George A. Smathers Libraries (Humphries 34).

Additionally, Gainesville Modern has partnered with Gainesville’s historic preservation

officer to undertake the arduous task of surveying and documenting everything built in the city

from 1930 to 1975, a project for which the city received a grant. As a part of the partnership,

Gainesville Modern provides funding, along with volunteers who provide on-site documentation

of the buildings. Gainesville’s continuous growth demands much new development, some of

which threatens the city’s historic buildings and districts. Without public awareness and

involvement, the city is at risk of losing valuable architectural heritage.

To help increase community involvement and interest in preserving the city’s

architectural heritage, Gainesville Modern has begun a campaign called Moderns that Matter.

The campaign aims to create a compilation of iconic local buildings which contribute to the

city’s unique character. Anyone in the community can nominate a building, without worrying if

it meets the criteria to be a local landmark. The hope is that campaigns like Moderns that Matter

38

and programs such as Gainesville Modern Weekend will bring attention to “the pulse of the

community” (Humphries 35) in order to better preserve and maintain the city’s important

architecture.

Gainesville Modern also maintains a social media presence on sites such as Facebook,

Twitter, and Instagram. On Facebook, the organization advertises its upcoming events and

showcases photographs of Mid-Century Modern architecture in Gainesville. One of the biggest

activities of the Gainesville Modern Facebook page is sharing and displaying articles, videos,

and links relating to Mid-Century Modern architecture, design, architects, and preservation

nationwide.

Survey Demographics

This section analyzes the demographics of the survey participants. Demographic data

analyzed includes age, gender, race, education, and profession. It should be noted that the survey

was distributed to 487 email addresses on the Gainesville Modern listserv. Of these 487 contacts,

there were 35 survey submissions. About 8.6% of survey respondents belong to the 20-30 age

group (n=35), while about 5.7% of respondents represented ages 30-40. The largest age group

was the 40-plus demographic, which represented 85.7% of respondents. As the core age group

represented at Gainesville Modern events and on the organization’s board are middle-aged, these

results are not unexpected. An overwhelming majority of survey respondents were male,

accounting for 71.4% of responses (n=35). Almost the entirety of respondents was white, with

about 6.1% representing the Hispanic/Latino group (n=33).

The highest degree that the majority of respondents had attained was a master’s degree,

representing about 45.7% of responses (n=35). The second-largest group had attained bachelor’s

degrees, making up about 34.3% of the responses. PhDs represented about 17.1% of the group,

while one person (2.9%) had attained only a high school diploma. The survey respondents came

39

from a diverse set of professional backgrounds, which will be categorized as follows: fine arts,

built environment (planning, architecture, etc.), academia, healthcare/social work, realtor, and

business/finance/attorney. It should be noted that the survey only focused on current occupation.

Fine arts represented the smallest percentile of the group at about 5.9% (n=34), while

built environment comprised the largest percentile at about 29.4%. The second-largest set was

the retirees at about 26.5%, and healthcare/social work represented about 11.8%. The realtor,

business/finance/ attorney, and academia occupations each comprised 8.8% of the group. Once

again, these results parallel the demographics represented on the Gainesville Modern board and

at the organization’s events.

Survey Responses

Here the survey results are analyzed to compile a general set of values that participants

have regarding historic preservation and Mid-Century Modern architecture. The initial survey

question asked respondents to provide a general definition about Mid-Century Modern

architecture. Responses mostly aligned with two specific themes, those themes being history and

aesthetics (n=31). To those surveyed, Mid-Century Modern architecture can be defined by its

clean lines, minimalist design, open spaces, plentiful windows, and integration into the natural

environment. Alternatively, the architecture can be defined by place in history, beginning in the

Post-WWII years and ending roughly around 1975. It should be acknowledged that there were

several respondents were not knowledgeable enough about the architecture to provide a

definition, being fringe participants in the activities of the organization.

The second question asked respondents to describe what Mid-Century Modern

architecture meant to them personally. The consensus was a love of the architecture based on its

innovative design and utilitarianism, which was representative of the future (n=31). Some

respondents viewed the architecture as a representation of Florida itself. A significant number of

40

respondents stated that Mid-Century Modern architecture represented their upbringings, homes

they or their friends lived in, or a singular memory. Here the first indicators of nostalgia value

can be identified. One respondent stated that the architecture meant very little to them, while

another stated that the architecture is a reflection of the values of the beholder.

Question three asked those surveyed what they liked most about Mid-Century Modern

architecture. Similarly to the two prior questions, the respondents’ affinity for the architecture

was rooted in the aesthetics, materials, and design qualities of the architecture (n=31). A

recurring theme was the appreciation of the architecture’s connection to nature and relationship

with the natural landscape. Also, in keeping with the results of the previous two questions,

respondents stated that they liked Mid-Century Modern architecture because of the history

behind it. One individual stated that they did not like the architecture.

The fourth question asked respondents to identify their favorite Mid-Century Modern

buildings. Buildings named include the Bacardi Building, the Farnsworth House, the Seagram

Building, Fallingwater, and Gainesville’s own Lakeshore Towers (n=27). A majority of the

responses were based on residential architecture in locales such as Palm Springs, California and

Sarasota, Florida. Numerous respondents identified their favorite buildings by architect, with

Paul Rudolph, Frank Lloyd Wright, Joseph Eichler, and Richard Neutra being recurring names.

A few respondents stated that their favorite buildings are homes that were showcased on the

Gainesville Modern Home Tour. Additionally, rather than name a building or architect, some

respondents identified a style of Mid-Century Modern architecture such as the butterfly house.

Question five more directly relates to the case study of this thesis, asking if respondents

believed that Gainesville’s Mid-Century Modern architecture is significant. An overwhelming

majority believed that the Mid-Century Modern architecture in Gainesville is significant (n=30).

41

It is worthwhile to note that several respondents did not believe that the city’s architecture from

this era was significant. Generally, the respondents believed that the significance of Mid-Century

Modern Gainesville architecture was because of its place in history as part of the greater Mid-

Century Modern era, along with its role in the city of Gainesville’s huge Post-WWII suburban

building boom. Additionally, a popular response was that the architecture is significant because

it is unique to the city due to the existence of the University of Florida. The University’s massive

Postwar growth contributed to the need for more houses, and the architecture school featured

students and teachers who were disciples of many prominent Modern architects, many of whom

built Mid-Century Modern buildings in the city.

Question six asked respondents if they believed that the Mid-Century Modern

architecture in Gainesville should be preserved. The majority of responses were a resounding

“yes,” which echoes the previous answers (n=30). However, a few respondents did not believe

that the architecture should be preserved, citing that it is not attractive and that new buildings

need to be built. Those who supported the preservation of this architecture cited its aesthetic and

historical significances as reasons for preservation. Many respondents believe that the Mid-

Century Modern architecture in Gainesville provides an opportunity to educate people on the

history of the city, the era, and the architecture. Other respondents noted that the architecture was

an integral part of Gainesville’s historic and aesthetic character.

The seventh question presented respondents with the mission statement of Gainesville

Modern and asked respondents if they believed that the organization was fulfilling its mission. A

majority of the respondents believed that the organization was fulfilling its mission, with many

citing the community outreach, home tours, and other programs (n=29). A few respondents could

not make a determination for themselves, as they were on the fringe of the organization. Some

42

respondents believed that the organization needed better communication and fuller participation

to fulfil its mission. Others believed that the organization needed to place more emphasis on the

economic benefits of preserving Gainesville’s Mid-Century Modern resources, claiming that

people would refuse to take action unless they saw a benefit in it for themselves.

In a departure from the written-response questions, question eight asked respondents to

select from a list all of the Gainesville Modern activities that they had attended. As respondents

could select multiple events that applied to them, it was impossible to determine exactly how

many people answered the question. Out of a potential 35 respondents, 24 had been to a lecture,

8 went to a UF Architecture Library tour, 27 had attended the home tour, 18 went to a film series

event, and 10 had been to a Gainesville Modern neighborhood survey or organization meeting.

As the home tour, lectures, and film series are the most advertised events on the Gainesville

Modern calendar, it makes sense that these are also the most popular.

The final question asked respondents to provide suggestions for that they believed would

help Gainesville Modern better fulfil its mission. Many respondents simply said that the

organization needed to “keep up the good work” (n=27). A significant number of respondents

emphasized that the organization would benefit from communication through advertising, social

media, and more traditional media outlets. The common notion was that the organization needed

to better publicize its accomplishments, and to be more prompt with announcing upcoming

events. Another common answer was that the organization needed to recruit more people and

have greater community involvement. Some suggested that the organization be more

adventurous and utilize more “out of the box” thinking.

For quantifying these values, the non-demographics survey questions will be divided into

two blocks; Block 1 will analyze questions 1-4, while Block 2 will analyze values associated

43

with questions 5-7 and 9 (question 8 will be evaluated separately). The dominant values

ascertained from the survey are design/aesthetic and historical values. In Block 1, questions

related to Mid-Century Modern architecture in general. Aesthetics was the most common value

associated with the architecture, followed by historical significance. Educational values were

almost a nonfactor. Block 2 addressed questions specifically about Gainesville architecture and

Gainesville Modern. Historical and Aesthetic values were tied, while educational values became

prominent due to questions about the mission, work, and success of the non-profit organization.

When analyzing the values associated with the events Gainesville Modern hosts, the breakdown

is as follows: Educational/Academic (UF Arch. Archive Tour, Lectures, Film Series);

Design/Aesthetic (MCM Home Tour); Nostalgic (MCM Home Tour); Historical (Meetings and

Surveys).

Interviews Analysis

A total of six individuals were interviewed as a part of this research project, all of whom

are board members of Gainesville Modern. Each interview took upwards of thirty minutes to

complete, and interviewees were asked a total of seven questions. It should be noted that a

number of these interview questions were taken from the survey. The following analysis will

summarize the responses of the interviewees (In), who will be designated as In1-In6. The

interviewees all come from a diverse set of backgrounds, and each have unique perspectives on

Mid-Century Modern architecture, Gainesville Modern, and the ongoing historic preservation

efforts.

The first individual interviewed approached Mid-Century Modern from a design and

aesthetics perspective. In defining the architecture, In1 stated that they define Mid-Century

Modern as “a combination of the International Style that came from Europe and what Frank

Lloyd Wright was doing in this country, which was the organic architecture.” Further, In1 stated

44

that Mid-Century Modern architecture tore down a lot of the walls to create more open spaces

and emphasized the structure of the building as opposed to ornamentation. When asked what

Mid-Century Modern architecture meant to them personally, In1 began their answer with a brief

hint of nostalgia, stating that their grandmother lived in (what they now know was) an Arts-and-

Crafts Style bungalow.

In1 felt a strong connection to that architecture and stated that architecture is something

that “seeps into our psyche, that we’re not really aware of it.” Answering the follow-up question,

In1 stated that what they liked most about Mid-Century Modern architecture is architecture’s use

of clean lines, glass, and communication between the indoors and outdoors. When asked to

explain the significance of Gainesville’s Mid-Century Modern architecture, In1 responded that

they believed that “every city has its era, and for Gainesville that happens to be Mid-Century

Modern.” Going further, In1 stated that the significance of the city’s architecture is rooted in the

existence of the architecture school at the University of Florida.

In describing the mission and the work of Gainesville Modern, In1 believed that the

organization’s mission is about finding, highlighting, and preserving the great examples of Mid-

Century Modern, as well as to highlight the areas where “new modern buildings were coming

into vogue.” In1 believed that Gainesville Modern had the unique opportunity to help the City of

Gainesville determine what it was going to look like in future years, citing that the city currently

is a “hodgepodge” without a cohesive style, running the risk of becoming a cacophony. When

asked what more can or should be done to preserve the city’s Mid-Century Modern architecture,

In1 believed that awareness was crucial to the success of Gainesville Modern’s efforts, and that

the best way to get people interested in the architecture is to “put them in the space,” and that the

home tour is one of the best ways to get people interested.

45

The second interviewee, In2, approached Mid-Century Modern from a more

marketing/advertising perspective. In defining the architecture, In2 mirrored In1’s response,

stating that the architecture was inspired by Frank Lloyd Wright. When asked about what the

architecture meant to them personally, In2 explained their personal connection to preservation

through their upbringing in Miami Beach and the efforts of locals there to preserve older at-risk

Art-Deco architecture. Further, In2 was able to witness the progression of preserving Miami’s

1920s, then 1930s, then 1940s architecture, and even became personally acquainted with Morris

Lapidus, living in one of his buildings. In describing what they liked most about Mid-Century

Modern architecture, In2 stated that they enjoyed the “playfulness” of the architecture’s design

and the adventurousness of the buildings and their architects.

On the significance of Gainesville’s Mid-Century Modern architecture, In2 stated that it

was significant because there was so much of it built, and that it continues to remain

underappreciated in the overall scope of US Mid-Century Modern architecture. Like In1, In2

also tied the architecture’s significance to the UF architecture school. As a newer board member

in Gainesville Modern, In2 is still interpreting the organization’s mission for themselves.

However, In2 did add that they felt that the organization needed to be more “organized” if it

wanted to be successful. When asked about what more can/should be done to ensure the

preservation of Gainesville’s Mid-Century Modern architecture, In2 stated that they thought that

Gainesville Modern needed to “get in front of the public in a more commercial way.” citing that

pop culture (with shows such as Mad Men) has helped turn the architecture into a form of

“cultural currency,” In2 believed that more can be done (through marketing/merchandising, etc.)

to take advantage of the public’s ability to participate through consumption.

46

The third individual interviewed approached Mid-Century Modern architecture from a

trained academic and historic preservationist perspective. In defining Mid-Century Modern

architecture, In3 categorized it as “an opposite of the kind of architecture that was popular in the

United States and other parts of the world before WWII.” In3 defined the architecture as part of a

time “where new thinking, new materials, and new economic forces opened up (mostly)

residential and (sometimes) commercial buildings to a new way of looking at architecture.”

When asked about what the architecture meant to them personally, In3 responded that it was a

whole new vocabulary that they had to learn, due to most of In3’s background being in the

preservation of more traditional architectural styles.

Echoing the previous interviews, In3 stated that what they liked most about Mid-Century

Modern architecture was the clean lines, the way it considers the climate, and the integration

between the indoors and outdoors. When asked about the significance of Gainesville’s Mid-

Century Modern architecture, In3 cited the UF architecture school and the involvement of many

modern architects from the school in designing the buildings across the city. In describing the

mission and work of Gainesville Modern, In3 summarized it as a collaborative educational effort

between homeowners, university students and faculty, city officials, and preservationists.

Regarding what more can be done to ensure the preservation of Gainesville’s Mid-

Century Architecture, In3 said that “more of the same” should be done and that the local real

estate market has been a big contributor in the continued appreciation and enjoyment of the

architecture. Once again echoing previous responses, In3 stated that the best way to get people

interested in the local Mid-Century Modern architecture is the home tours, along with an

increased social media presence to encourage participation and dialogue.

47

The fourth interviewee continued to echo previous interviewees’ responses and those of

the survey respondents, while also adding their own perspectives. In4 defined Mid-Century

Modern architecture as lasting from 1945-1975, adding that smaller towns would lag a few years

behind the trend. As to what the architecture meant to them personally, In4 said that the

architecture encompassed a lot of changing ideals after the end of WWII, additionally citing the

explosive growth of UF (and consequentially Gainesville) at the end of the war. When asked

about what they liked the most about the architecture, In4 stated that it was “different” and “a

point in time that encompasses a number of styles but is all very unique.”

Regarding the significance of Gainesville’s Mid-Century Modern architecture, In4 cited

the connection with UF architecture school and the work of prominent Florida Mid-Century

Modern architects teaching at the school and designing homes in the city. Describing the mission

and work of Gainesville Modern, In4 defines it as bringing attention to unprotected and

underappreciated buildings, stating that people generally do not think of Mid-Century Modern

architecture as historic. To ensure the protection of the architecture in the city, In4 argued for

more local historic designations, deed restrictions, conservation easements, and other efforts to

keep the integrity of the buildings intact. As to what the best way is to get people interested in

Mid-Century Modern architecture in Gainesville, In4 believed that education was crucial, along

with placing people in the buildings themselves to gain a better appreciation for the architecture.

Interviewee five approached the interview questions from an architectural, historical, and

preservation-oriented perspective akin to In3, defining Mid-Century Modern architecture as

taking place with in a particular space in history from the 1930s up to 1975 when postmodernism

began to emerge. In5 also categorized the architecture by its innovativeness and responsiveness

to industrial and technological advances, allowing for cleaner design and expression of structure,

48

form, and function. Personally, In5 felt that Mid-Century Modern architecture was “part of a

continuum of architecture,” taking into consideration that each generation of architecture was a

response to the previous generation. As to what they liked most about Mid-Century Modern

architecture, In5 expressed an appreciation of the architecture’s connection with nature and the

outdoors through its windows and open spaces.

When describing the significance of Gainesville’s Mid-Century Modern architecture, In5

stated that the massive growth in the city due to the Postwar expansion of UF and the presence of

a number of prominent architects at the UF architecture school make the built environment in the

city unique. Regarding the mission and work of Gainesville Modern, In5 stated that the mission

is rooted in education about the design principles of Mid-Century Modern architecture, along

with how the architecture relates to the place it is in. According to In5, “Gainesville modern

design is different from Sarasota modern design or NYC modern design,” and emphasized the

need to use the buildings themselves as a teaching mechanism.

To ensure the preservation of Gainesville’s Mid-Century Modern architecture, In5

believed that there was much work to be done in educating city government officials about place

and good design in order to ensure that new development can take place while embracing the

older architecture that makes the city unique. In order to increase interest in the Mid-Century

Modern architecture in the city, In5 suggested that greater attention be given to Mid-Century

Modern civic and commercial structures.

The final interviewee exhibited a strong emotional connection to Mid-Century Modern

architecture. When asked to define the architecture, In6 described it as “an aesthetic of change

from contained houses of the turn-of-the-century,” when new homeowners expressed an interest

in greater integration between indoor and outdoor living through light and openness. In6 related

49

Mid-Century Modern architecture to their childhood and upbringing in a family of builders and

carpenters. Having been brought up in a Mid-Century Modern home, In6 has an emotional

connection to the architecture, along with an appreciation of its design principles. Regarding

what they liked most about the architecture, In6 described enjoying “feeling like I was outside

but actually being inside,” detailing the greater lighting and ventilation provided by the

buildings’ design.

Echoing previous responses, In6 stated that the Mid-Century Modern architecture in

Gainesville is significant because it represents the city’s greatest period of growth, with

neighborhoods springing up all over the city. In describing Gainesville Modern’s mission, In6

took an artist’s perspective and described the architecture as an artistic expression, with

Gainesville Modern being an educator of this artwork. As to what more can be done to ensure the

architecture’s preservation, In6 expressed that continued educational efforts by putting people in

the spaces is crucial. In their opinion, In6 felt that incorporating stakeholders and fostering

relationships with other groups such as realtors and landscapers that can “share in the interest”

was necessary to garner public interest.

50

Figure 4-1: Age Makeup of Survey Respondents (n=35)

Figure 4-2: Gender Breakdown of Survey Respondents (n=35)

8.60%5.70%

85.70%

Age of Respondents

20-30 30-40 40 and Up

71.40%

28.60%

Gender

Male Female

51

Figure 4-3: Racial Profile of Survey Respondents (n=33)

Figure 4-4: Education Level of Survey Respondents (n=35)

93.90%

6.10%

Race

White Hispanic/Latino

2.90%

34.30%

45.70%

17.10%

Highest Degree Attained

High School Bachelor's Master's PhD

52

Figure 4-5: Current Occupation of Survey Respondents (n=34)

Figure 4-6: Values of Survey Block 1 (n=120)

5.90%

29.40%

8.80%11.80%

8.80%

8.80%

26.50%

Current Occupation

Fine Arts Built Environment Academia

Healthcare/Social Work Realtor Business/Finance

Retired

13% 2%

59%

19%

7%

Values: Survey Block 1

Emotional/Nostalgic Educational/Academic Design/Aesthetic Historical N/A

53

Figure 4-7: Values of Survey Block 2 (n=116)

Figure 4-8: Gainesville Modern Event Attendance (n=35)

9%

17%

22%22%

30%

Values: Survey Block 2

Emotional/Nostalgic Educational/Academic Design/Aesthetic Historical N/A

24

8

27

18

10

0 5 10 15 20 25 30

Lectures

UF Arch. Archive Tour

MCM Home Tour

Film Series

Meetings/Surveys

Number of Attendees

Even

ts

Attendance of Gainesville Modern Events

54

Figure 4-9: Values from Board Member Interviews (n=42)

13%

22%

35%

30%

Interview Values

Emotional/Nostalgic Educational/Academic Design/Aesthetic Historical

55

CHAPTER 5

CONCLUSION

The goal of this research project was to analyze the role of values in the creation of a

narrative for historic preservation, as observed by studying the organization Gainesville Modern.

This study took a three-pronged approach using content analysis, surveys, and interviews to

understand how Gainesville Modern is perceived by its target audience, how the organization is

perceived by its own board members, and how the organization presents itself in various media.

Throughout this study, values begin to emerge, and the same values are observed in people from

widely different perspectives.

Defined as the specific criteria and opinions possessed by individuals, groups of citizens,

professionals, and representatives of special interests, these values are of major influence in the

field of historic preservation. As described in Chapter 2, this thesis divides values into two main

camps: Sociocultural Values (historical, cultural/symbolic, social, spiritual/religious, and

aesthetic) and Economic Values (use (market) value, and nonuse (non-market) value: including

existence, option, and bequest). As the study continued and interviews and surveys were

documented, a cohesive narrative took form. This narrative reflected the values illustrated by the

respondents and interviewees, and was consistent from person to person, despite everyone

having their own unique outlook on Mid-Century Modern architecture in Gainesville and

Gainesville Modern as an organization.

As the historic preservation field continues to understand and conserve Mid-Century

Modern architecture, it is important to make this conservation accessible by the public. Without

public support, preservation efforts such as those of Gainesville Modern would become

extremely difficult to accomplish. Therefore, it is critical to find common ground. This common

ground can be found when a group comes together to create and promote a narrative. The

56

narrative, in turn, reflects the values of those writing it. While the philosophies of the trained

preservationist may differ starkly from the philosophies of those not trained and engaged in the

field, it is imperative to hear both points of view and understand their values.

Values on Mid-Century Modern Architecture

The role of values in historic preservation is the subject of recent academic discussion.

The researcher believes that a values-based approach to historic preservation is important

because it establishes that different people and groups will impart their own meanings and values

into the physical fabric of historic buildings and sites. Therefore, it is crucial that those meanings

and values are studied and considered in management decisions regarding historic sites. As the

data presented in the survey utilizes people who have been to at least one Gainesville Modern

event, it is anticipated that most respondents care about preserving the city’s Mid-Century

Modern architecture.

With the survey going to almost 490 people, it can be inferred that the 35 who responded

are some of those most interested in the organization and its mission. While the survey did not

represent ethnic and gender diversity (being majority white male), it did feature people from

various levels of education, from high school diplomas to PhDs. The survey also featured people

from a range of professional backgrounds, including realtors, professors, architects, and health

care workers. Most respondents were of the 40-and-up age group, which is reflective of the

membership of Gainesville Modern. This predominance in participation by the middle-aged, by

my observations of other preservation-oriented organizations, likely also reflects national trends

in preservation.

From the survey and interview results, the research can conclude that the values

expressed by the subjects fall almost entirely into the Sociocultural camp used in the typology of

de la Torre and Mason (de la Torre and Mason 10). From the results of the study, these values

57

can be divided into four distinct groups: historical, educational, nostalgic, and design/aesthetic.

Subjects studied showed indicators of any one or more of the value groups listed above.

Overall, people involved (in one form or another) with Gainesville Modern carry an

appreciation for Mid-Century Modern architecture either because it is historic and can educate

people on history and heritage, because they have an affinity for the architecture’s design and

integration with nature, or because they have a deep emotional connection to the architecture

rooted in life experiences. By my observations, it is also possible that this is reflective of national

trends in preservation.

When asked about whether the architecture should be preserved, a majority of

respondents argued in favor of preservation, again citing the values expressed above. When

asked about the significance of Mid-Century Modern architecture in Gainesville, respondents

generally cited the architecture’s unique historic value (due to its relationship with UF),

educational potential, and regionally-exceptional design. Relating specifically to Gainesville

Modern and its mission, almost all subjects (surveys and interviews alike) believed that the

organization was fulfilling its mission (with most citing the home tour), but could use stronger

communication, marketing, and participation.

Gainesville Modern and Narrative

Narrative is an invaluable asset to historic preservation, for it not only tells the story of

the people and events that occurred at historic sites, they also illustrate ongoing socioeconomic

and ethnocultural change. Narrative helps give meaning to historic places in the eyes of those

who exist outside of the disciplines of history, architecture, and historic preservation. Among the

diverse perspectives of the surveys and interviews, common values were ascertained, and a

cohesive narrative took form. This narrative in turn exhibited one or more of the three main sets

of values previously mentioned.

58

The first feature of the narrative of Gainesville’s Mid-Century Modern architecture is that

the architecture is unique to the city because of the city’s relationship with the University of

Florida. The university serves as a focal point for the entire narrative and is crucial to the

architecture’s significance. UF experienced one of its largest periods of growth immediately after

the end of World War II . The thousands of people returning to school with the GI bill needed to

establish a residency in the city. Therefore, thousands of new homes were built in the Mid-

Century Modern style. Additionally, the UF architecture school attracted students and faculty

who were disciples of many prominent Mid-Century Modern architects. A multitude of beloved

Mid-Century Modern homes and buildings in Gainesville were built by these disciples, further

enriching the architectural character of the city.

The second aspect of the narrative is that Mid-Century Modern architecture is significant

because it is a piece of history, serving as an invaluable asset to educating the public about the

past and providing new perspectives on how to move forward into the future. By simply dating

the architecture to its 1945-1975 timeframe, much of the architecture has passed the National

Register of Historic Places’ unofficial 50-year milestone, and therefore established historic

significance. As standing testaments to the past, Mid-Century Modern architecture has earned the

right to be preserved accordingly.

The third element of the narrative is that the architecture is special because of its

groundbreaking (at the time) design and construction. Mid-Century Modern architecture is

significant because it challenged conventional architecture of previous generations and utilized

innovative building materials and technologies to create an era-defining design aesthetic. In

Gainesville specifically, the architecture shares a unique relationship with the area’s unique

geography and climate, using light and open space to create a seamless integration with nature.

59

This indoor/outdoor relationship is a subject which was brought up frequently amongst the study

participants.

Throughout this narrative can be found elements of design/aesthetic value, historical

value, educational value, and nostalgic value. While it is a given that values impact narrative,

witnessing the process firsthand has been informative. As was hypothesized, the two most

dominant values exhibited by both the survey and interview participants were design/aesthetic

and historical. Nostalgic values, while a recurrence in survey and interview responses, were

limited to questions relating to what the architecture meant to people personally. This fourth

value was not directly referenced as a reason for preservation. The mirroring of values between

the two groups of participants was anticipated, and it might be expected that other groups

experience similar correlations. Additionally, the narrative which Gainesville Modern is creating

is highly reflective of the shared values of the narrative’s creators and the consumers. Mid-

Century Modern architecture means a lot of things to a lot of people, but these meanings must be

communicable to people outside of the enthusiasts’ and the preservationists’ spheres. The best

way to make preservation accessible by all is to embrace narrative and identify and utilize the

shared values of the public.

Recommendations for Future Research

Given that the goal of this thesis was to ascertain how values impact the creation of a

narrative, detailed insights into how history is preserved was not discussed. Further research

would include how value-formed narratives impact the direction people and governments wish to

take when conserving a historic site (rehabilitation, restoration, etc.). Given the nature of the

questions asked in the study, other similar studies can also examine specific issues such as how

age, degree attained, and profession impact values related to preservation. This supplementary

60

research can further examine generational differences in values regarding narrative, in addition

to historic preservation in general.

Additional research into Mid-Century Modern-specific values-based narrative should also

use visual imagery in attaining more specific aesthetic preferences amongst the individuals

surveyed. Further, research subjects in this study tended to discuss only Mid-Century Modern

architecture of a residential nature. Subsequent research should ascertain values towards

civic/commercial structures, along with modern architectural styles such as brutalism.

In my suggestions to what Gainesville Modern can do for the future, inclusivity is a

major component. In the demographic analysis, it is clear that the majority of participants in the

survey (which in theory is reflective of the organization) are white males above the age of 40.

The Civil Rights era rests right in the middle of the Mid-Century Modern era, and I believe that

more should be done to understand and tell the story of the relationship between race, diversity,

and architecture. With such a diverse community, I believe that through programming and

communication Gainesville Modern should become more racially diverse and inclusive. More

should be done to understand how minorities perceive Mid-Century Modern architecture, and

what values they have that can contribute to the organization’s narrative.

Since this study focused on a specific preservation-oriented organization and surveyed

individuals who have been involved with the organization, the results of the research may appear

obvious. However, it is important for a preservation organization/agency to understand how it is

viewed by the public, how it is viewed by its membership, and how it is viewed by its leadership.

Further research could possibly examine entire localities, surveying and interviewing people

from completely outside the preservation realm. Having a larger and more diverse sample size

could help ascertain the full range of values associated with a specific resource type (or

61

determine the larger public is unaware of the significance of the resource or does not care), and

the ensuing narrative may appear less like a self-fulfilling prophecy.

Final Remarks

This study has provided great insight into how values impact the creation of a narrative

for preservation. To better communicate with stakeholders of varying levels of familiarity with

history, preservation, and architecture, the use of narrative and the embracing of values is critical

to furthering the cause of heritage conservation. It is essential to understand what motivates

people to rally around a cause, and what goals they have in mind with the stories they wish to

tell. Historic preservation is truly a field based on mutual understanding, respect, and

compromise. If we fail to see things from other perspectives, we fail to save the places that we

hold most dear.

Mid-Century Modern architecture is incredibly diverse, often misunderstood, and

generally underappreciated. Part of the problem is that there is a large portion of the population

which does not believe that this architecture is historically significant. Peoples’ perceptions of

historic buildings are rooted in the early twentieth-century architecture which dots the urban

landscape of city centers nationwide. Rarely would the average person look at the Farnsworth

House and call it historic without being informed about it otherwise. Part of the issue is the

perception that the mid-twentieth-century still seems so close in time to the present that buildings

from that era do not have the same historical airs as other buildings.

Integrating historic preservation with other fields, would allow the field to tap into people

who participate in preservation related activities, without necessarily considering themselves to be

preservationists. This will further the reach and appeal of historic preservation, and by extension

Mid-Century Modern architecture. Creating a narrative helps foster a sense of place and community

identity. Finally, taking advantage of the values and the passion for Mid-century Modern exhibited

62

by people and groups such as Gainesville Modern and channeling it into effective media can help

foster relationships with other community stakeholders, and could provide great success for historic

preservation.

63

APPENDIX A

THESIS SURVEY QUESTIONS

The Preservation of Mid-Century Modern Architecture in Gainesville, Florida

Introduction:

The following survey is being undertaken as part of Master of Historic Preservation

thesis research at the University of Florida to better understand the values and narratives

people associate with mid-century modern architecture (1945-1975). Some of the

questions also pertain to the mission and work of Gainesville Modern. Participation in the

survey is voluntary and responses are confidential. The survey should take approximately

15 minutes.

Thank you for your consideration.

Demographics

First, we will ask some questions about you:

Age Up to 18 18 to 20 20 to 30 30 to 40 40 plus

Gender Female Male

Race ___________

Education High School Bachelors Masters PhD

Profession ___________

Mid-century Modern Architecture

Now, we will ask you some general questions about mid-century modern architecture:

1. How do you define mid-century modern architecture?

2. What does mid-century modern architecture mean to you?

3. What do you like most about mid-century modern architecture?

4. What is/are your favorite mid-century modern building(s)? Why?

64

Gainesville Modern

These next questions will relate to Gainesville Modern and historic preservation:

5. Is mid-century modern architecture in Gainesville significant? If so, why?

6. Should we preserve the mid-century modern architecture of Gainesville? Explain.

7. The mission of Gainesville Modern is as follows:

“Gainesville Modern is a non-profit organization dedicated to preserving

Gainesville’s modern architectural past and promoting its future through

education, advocacy, and awareness.”

Do you believe that the organization is fulfilling this mission? Why or why not?

8. Which Gainesville Modern activities have you participated in? Check all that

apply.

a. Lectures

b. University of Florida Architecture Archive Tour

c. Mid-century Modern Home Tour

d. Film Series

e. Meetings and/or volunteer days for Gainesville Mid-Century Survey

9. What suggestions do you have for Gainesville Modern so that they may better

fulfill their mission?

65

APPENDIX B

THESIS INTERVIEW QUESTIONS

1. How would you define mid-century modern architecture?

2. What does mid-century modern architecture mean to you?

3. What do you like most about mid-century modern architecture?

4. Why is mid-century modern architecture in Gainesville significant?

5. How do you describe the mission and work of Gainesville Modern?

6. What more do you think can/should be done to ensure the preservation of

Gainesville’s mid-century modern architecture?

7. In your opinion, what is the best way to get people interested in mid-century

modern architecture in Gainesville?

66

APPENDIX C

DEFENSE POWERPOINT

67

68

69

70

71

72

73

74

75

76

77

78

79

80

81

LIST OF REFERENCES

Avrami, Erica. “Values and Heritage Conservation.” The Getty Conservation Institute. Accessed

March 15, 2017.

http://www.getty.edu/conservation/publications_resources/newsletters/15_2/news2.html.

Barthel, Diane. “Getting in Touch with History: The Role of Historic Preservation in Shaping

Collective Memories.” Qualitative Sociology 19, no. 3 (1996): 345-363.

Berger, Allee. “On the Preservation of Principles: Determining the Adequacy of Historic

Preservation Theories, Charters, and Guidelines for the Philadelphia Police

Headquarters.” Master’s Thesis, University of Pennsylvania, 2013.

Champeau, Cayley. “Modern and Millennials: Engaging the Next Generation with the

Preservation of Modern Heritage.” Master’s Thesis, University of Florida, 2015.

De la Torre, Marta, ed. Assessing the Values of Cultural Heritage. Los Angeles: The Getty

Conservation Institute, 2002.

De la Torre, Marta. "Values in Heritage Conservation: A Project of the Getty Conservation

Institute." APT Bulletin 45, no. 2/3 (2014): 19-24.

Farrar, Margaret E. "Amnesia, Nostalgia, and the Politics of Place Memory." Political Research

Quarterly 64, no. 4 (2011): 723-735.

Handler, Richard and William Saxton. “Dyssimulation: Reflexivity, Narrative, and the Quest for

Authenticity in ‘Living History.’” Cultural Anthropology 3, no. 3 (Aug. 1988): 242-260.

Harrison, Carlos. “Miami Romance: Saving Architect Hilario Candela's Beloved Stadium.”

National Trust for Historic Preservation. Accessed November 16, 2016.

https://savingplaces.org/stories/miami-romance#.WD3IYrIrKM8.

Humphries, Monica. “Gainesville Modern: Opening Doors to a Past Era.” Our Town,

September/October 2017, 30-35.

Hunt, John D. “Editorial: What Is Wrong with Nostalgia Anyway?” Change Over Time 3, no. 1

(2013): 2-10.

Jerome, Pamela. "The Values-Based Approach to Cultural-Heritage Preservation." APT

Bulletin 45, no. 2/3 (2014): 3-8.

Levstik, Linda S. "Historical Narrative and the Young Reader." Theory Into Practice 28, no. 2

(1989): 114-19.

Long, Burke O. "Historical Narrative and the Fictionalizing Imagination." Vetus

Testamentum 35, no. 4 (1985): 405-16.

Maeer, Gareth. "The Values and Benefits of Heritage: Do Economists Think about More than

Money?" APT Bulletin 45, no. 2/3 (2014): 57-63.

Mason, Randall. “Economics and Historic Preservation: A Guide and Review of the Literature.”

The Brookings Institution Metropolitan Policy Program (Sept. 2005): 1-67.

82

Mason, Randall. “Theoretical and Practical Arguments for Values-Centered Preservation.” CRM:

The Journal of Heritage Stewardship 3, no. 2 (Summer 2006): 1.

Matthes, Erich H. “The Ethics of Historic Preservation.” Philosophy Compass (August 2016): 1-

17.

Mattingly, Paul H., James D. Anderson, Robert Church, Emmett Curran, and Marilyn Tobias.

"Renegotiating the Historical Narrative: The Case of American Higher

Education." History of Education Quarterly 44, no. 4 (2004): 577-96.

McLendon, Timothy. Technical Report: Contributions of Historic Preservation to the Quality of

Life in Florida. Gainesville: Center for Governmental Responsibility, Levin College of

Law, University of Florida, 2006.

McCullagh, C. Behan. "The Truth of Historical Narratives." History and Theory 26, no. 4

(1987): 30-46.

Motzafi-Haller, Pnina. "Historical Narratives as Political Discourses of Identity." Journal of

Southern African Studies 20, no. 3 (1994): 417-31.

Munslow, Alan. Narrative and History. New York: Palgrave Macmillan, 2007.

Richardson, Laurel. “Narrative and Sociology.” Journal of Contemporary Ethnography 19, no. 1

(April 1990): 116-135.

Scheld, Suzanne, Dana H. Taplin, and Setha M. Low. "The Values-Based Approach for Cultural-

Heritage Preservation in U.S. Public Parks." APT Bulletin 45, no. 2/3 (2014): 49-56.

Stone, Lawrence. "The Revival of Narrative: Reflections on a New Old History." Past and

Present 85 (1979): 3–24.

Taylor, Ken. “Reconciling Aesthetic Value and Social Value: Dilemmas of Interpretation and

Application.” The Journal of Preservation Technology 30, no. 1 (1999): 51-55.

Topolski, Jerzy. "Historical Narrative: Towards a Coherent Structure." History and Theory 26,

no. 4 (1987): 75-86.

Van Assche, Kristof and Ming Chien Lo. “Planning, Preservation and Place Branding: A Tale of

Sharing Assets.” Place Branding and Public Diplomacy 7, no. 2 (May 2011): 116–126.

White, Hayden. “The Question of Narrative in Contemporary Historical Theory.” History and

Theory 23, no. 1 (Feb. 1984): 1-33.

Gainesville Modern. “Our History.” About. Accessed September 20, 2017.

http://gainesvillemodern.org/about/.

Statistics Solutions. “Mixed-Methods Approach.” Dissertation Resources. Accessed September

20, 2017. http://www.statisticssolutions.com/mixed-methods-approach/.

The Getty Conservation Institute. “Research on the Values of Heritage (1998 – 2005).”

Getty.org. Accessed March 15, 2017.

http://www.getty.edu/conservation/our_projects/field_projects/values/.

83

UNESCO. “The Criteria for Selection.” Global Strategy. Accessed November 15, 2017.

http://whc.unesco.org/en/criteria/.

U.S. Department of the Interior, National Park Service. “II. National Register Criteria for

Evaluation.” National Register Bulletin. Accessed November 15, 2017.

https://www.nps.gov/nr/publications/bulletins/nrb15/nrb15_2.htm.

84

BIOGRAPHICAL SKETCH

Jaycob Kitain was born in Boca Raton, Florida in 1993. He was raised in Coral Springs,

Florida, attending Marjory Stoneman Douglas High School from 2008-2012. Upon graduation,

Jaycob attended Appalachian State University, where he graduated in 2016 with a Bachelor of

Science in applied and public history, with a minor in community and regional planning.

Throughout his life, Jaycob has had a passion for history and social studies, and a fascination

with the history and architecture of the Gilded Age. Jaycob received his master’s degree in

historic preservation from the University of Florida.