Forging consensus for the Alamo Comprehensive Interpretive Plan: Don’t fence us out

The Alamo will indeed be saved.

Although verbal and sometimes litigious warfare over how best to treat the surrounding grounds has been ongoing almost continually since the Battle of the Alamo itself, there seems to be little, if any, disagreement about the need move forward to conserve the Alamo Chapel. There also is much enthusiasm about a new museum to house existing Alamo collections and the incredible donation of Alamo-related items from Phil Collins.

Last week, the design team for an Alamo re-do presented an updated Comprehensive Interpretive Plan to the San Antonio’s Citizens Advisory Committee. The consultants from Reed Hilderbrand of Cambridge, Massachusetts; PGAV Destinations of St. Louis, Missouri; and Cultural Innovations of London, England, did seem to have listened to some of the passionate cries that arose following the unveiling of an earlier version.

That’s right; they are not from here. And, for many Texans, that automatically is a strike against them. They might as well have put a jar of salsa made in New York City in the middle of the table. Plus, even greater, is that San Antonio thing. While the Battle of the Alamo is the most important component of this project to outsiders, many San Antonians have an equal attachment to the plaza itself. The consultants must sense this underlying mistrust the moment they walk into the room.

Designers now acknowledge San Antonio is hot and that removal of trees would leave a sizzling comal of a plaza. “Shade” seems their favorite word when referencing the plan.

To view a pdf file of the entire plan on the General Land Office site, click here (Be patient; the pdf file is large so slow to download.). The renderings below are all from that plan. To watch/listen to the entire June 7 presentation via NowCastSA, click here.

The team offered a compromise concerning the restoration and relocation of the Cenotaph, removing it from the footprint of the mission walls while keeping it in the neighborhood. The consultants suggested transferring the massive memorial monument to the adjacent Plaza de Valero in front of the Menger Hotel (rendering above), about where the soon-to-be-banished bandstand currently is located. Just the mere mention of a potential move brought a chorus of boos from some descendants of defenders in the audience, but, as no feedback from the general public was allowed at this meeting, future hearings will reveal whether this new proposal lessens their objections.

Several major skirmishes loom on the horizon. The unpopular concept of a glass wall blocking access to Alamo Plaza, a dedicated public park owned by San Antonio, has been removed. But that has not eliminated erecting barriers “to enable flexible management options” of much of the area within the original footprint.

An “almost-not-seen” four-foot fence would be “hidden” in planting beds on the south side and would take the form of 42-inch high glass rails (no longer termed walls) on the museum side on the west. These would be penetrated by four gateways (certainly appearing taller than four-feet high in the rendering below).

According to the presentation, access inside the controlled enclosure would remain free but would be restricted during the hours the Alamo is open, mainly via the southside gate. During those hours all non-Alamo-destination pedestrians would be funneled north/south along a promenade on the west side, behind the glass rails. The current proposal would open all four gates for unlimited pedestrian access in the plaza after hours.

The strangest unanswered part of this new “solution” is that, during the prior phase, the argument was made that the space needed to be glassed in and locked to protect the Alamo after hours. Now, the need is expressed to control access during the day for programming purposes, and it is evidently fine to leave it all open throughout the night.

If San Antonians are to be persuaded to cede control of their public park, someone needs to develop more persuasive rationale. This unexplained flip-flopping makes fencing in what is now an open public plaza appear completely unnecessary, even capricious. It flies in the face of one of the plan’s guiding principles, “to enhance connectivity.”

Here is the existing site plan of the proposed “open-air museum:”

Included in the “Vision” of the plan is to “tell the in-depth history of the Alamo area to the present day….” One presenter said the plan proposes to “peel off layers of the 21st century.” Their desire appears to peel deeper, though, back through layers of the 20th century and even 19th century. There is the matter of several pesky buildings termed “non-contributing structures.”

The designers are aware that some consider these structures as valuable parts of the area’s history, particularly Alfred Giles’ Crockett Block and the former Woolworth’s, its lunch counter playing a key role in San Antonio’s relatively peaceful path toward integration. Proposed options include complete demolition of all of these structures over a portion of what would have been the western wall of the Alamo; facadomy, leaving their front walls standing; or reuse.

Most of the renderings presented in the plan show retention of the facade, at a minimum, of the historic Crockett Block; although designers seemed reluctant to endorse retention of any of the buildings recently purchased by the state. Clearly, their preference is for what they view as the creation of a “unified and coherent place.”

Committee member Frank Ruttenberg expressed the desire to “try to not take down history to focus on a certain aspect of history.” While it is easier for architects to have an empty piece of land on which to design a new Alamo history museum, repurposing the historic structures there would support the plan’s stated vision. The structures are handsome, and creative architects could repurpose them. With the San Antonio Conservation Society looming as a force opposing demolition, committee member Dave Phillips cautioned, “Demolishing historic buildings is a fight we don’t need to take on.”

And he probably is correct because reconfiguring traffic to create the coherent space above has major repercussions well beyond the plan’s boundaries. The plan’s desired level of “pedestrianization” requires closure of numerous streets to automobile traffic. Perhaps the most controversial part of the plan is the concept of moving traffic from Alamo Street to already-congested Losoya, making it two-way. With businesses on the west side of Losoya hemmed in by the river and those on the east side backing up to Alamo, how in the world would they receive deliveries? Phillips labeled the Losoya concept downright “scary.”

Untangling the web of ramifications from the closures into a workable rerouting of traffic certainly will require a team of immensely talented and creative engineers. Then they have to convince San Antonians the “improvements” will work.

The time of the year that more locals visit Alamo Plaza than any other is without a doubt during the 11 days of Fiesta San Antonio for wreath-layings, coronations and parades. While the women in the audience who traditionally don their yellow hats to stage the Battle of Flowers Parade in the location it has taken place for more than a century were too polite to boo, they are unlikely to be timid in pushing to keep the parade routes open.

The plaza is far from a blank slate; there are meaningful layers of San Antonio’s history there. Several landmines still must be defused in formulating and implementing the plan.

Overall though, there seemed a sense of optimism in the room among the committee members. A can-do attitude and a determination to find workable solutions and compromises.

The presenters emphasize that the plan would “change the understanding of the Alamo as a building to the Alamo as a place.” For San Antonians, however, Alamo Plaza has always been a “place.” Our place. The plaza is not just the Alamo’s front yard, it is our front yard. And you are going to have a hell of a hard time convincing us to let you fence us out.

If the City of San Antonio decides to cede control of the plaza to the state, I am pulling for an agreement with deed restrictions ensuring ongoing free public access backed by a powerful reversionary clause.

June 19, 2018: The San Antonio Conservation Society has launched a petition drive concerning the fate of Alamo Plaza via change.org. Please consider signing this appeal to San Antonio City Council. The petition can be found here.

https://www.change.org/p/san-antonio-city-council-save-alamo-plaza

Quinze’s “Wind” to blow on the Mission Reach of the San Antonio River

A month in the searing desert sun building a huge wooden structure.

A mere four days to enjoy it. Then setting it ablaze.

“It is not that easy to burn your own installation down,” said artist Arne Quinze during a June 2013 lecture sponsored by the San Antonio River Foundation at the San Antonio Museum of Art. “I still have goosebumps from it.” While an estimated 50,000 people witnessed the conflagration at the 2006 Burning Man Festival in Nevada, “The day after, nothing was left over.”

The Belgian artist’s first public art took the form of graffiti, but his work evolved into large-scale three-dimensional structures, often installed in urban settings, including Nice, Shanghai, Rio de Janeiro, Brussels, Rouen and Beirut. Quinze views cities as “open-air museums,” with art teaching “you to look at the world in a different way.”

Many of his installations are temporal, although not as fleeting as the one in Nevada. His installations sometimes spark controversy, but, by the time they are removed, there are public protests. “When we take it down, the space is more empty than before,” he said. “It makes them realize the importance of art in their lives.”

wind

example of a “pillar” of wind

The artist is drawn to strong hues of red and orange because they are “full of contradictions – a fire burns or warms; blood means life or death.” His series of “Wind” sculptures seem to follow that predilection. On his website, he describes the elements he installs in the landscape as representing “the frozen movement of wind going through a grass field, a sculpture waving like leaves in the sun.”

berg's-mill

Berg’s Mill

san-juan-today-2

Mission San Juan Capistrano

Perhaps that is what makes “Wind” most fitting for the rural river setting chosen by the River Foundation for his installation. His monumental blades of wind will serve as a gateway transitioning and leading people up from the river to the area where the ruins of the historic Berg’s Mill community are perched on the left and Mission San Juan Capistrano lies ahead on the right.

“Wind,” according to Quinze’s website, is designed to: “evoke emotion, spark conversation and make people stop in their tracks. They will be attracted to explore this surreal experience of the shadow and sunlight shining through the fixed pillars….”

To contribute to public art projects along the Mission Reach and the development of Confluence Park, visit the website of the San Antonio River Foundation.

Looking forward to being stopped in my tracks in 2015.

April 20, 2015, Update: Noticed that Arne has more site-specific renderings for his “Wind” installation posted online now.

And this is from the April 2015 River Reach, published by the San Antonio River Authority:

arne-at-san-juan

October 20, 2015, Update:

Artist Lecture: Arne Quinze will talk about “Wind” installation, his first permanent public art piece in the United States, at Blue Star at 6:30 p.m. on Thursday, October 22.

Sculpture Unveiling: Mission San Juan Portal will be unveiled at 10 a.m. on Wednesday, October 28.