Did Henry Ford Intend to Purchase the Schultz House?

Posted on January 12, 2011 by scott butcher

The Johannes & Cristina Schultz House in Springettsbury Township is a building that hides its secrets. For well over a century, the historic German Colonial house was believed to be the oldest home in York County. The house is traditionally thought to have been built in 1734 (or 1737); however, recent research has cast doubt on that as Johannes and Cristina Schultz did not even arrive in the United States until 1742. (See “Schultz House: Oldest in York County?“)

There is also a question of the datestone – the source of the 1734 (or 1737) date of construction. Some historians now believe the datestone to actually be 1752 (see “Schultz House: 1734 or 1752?“).
There is also an architectural mystery about the chimneys. The house exhibits end chimneys, a feature more common with English Georgian architecture, and not a single central chimney, a typical feature of German Colonial architecture. There doesn’t appear to be obvious evidence that the house originally contained a central chimney, although further investigation (and selective demolition) could determine whether or not one originally existed.
According to local tradition, members of the Second Continental Congress stopped at the Schultz House in 1777 and 1778 when York served as capital of colonial America. As the house was at the time located on the Monocacy Road – which connected York with the Susquehanna River – the premise makes a lot of sense. The location made it an ideal stopping point for travelers. However, there is no historical evidence; only local tradition.
Furthermore, strong local tradition has held that the Schultz House was part of Camp Security – perhaps the headquarters building or a dormitory for the guards. Again, this is a logical assumption, as the historic record does indicate that the site of Camp Security was on the farm property associated with the Schultz House. John Schultz, son of Johannes and Cristina, and his family, still occupying the house though no longer owning it, did relocate to York Town during the active days of Camp Security. Schultz operated a tavern in town from 1763 to 1783. The owner of the land, David Brubaker, did file a petition seeking restitution from the Continental Army and Supreme Executive Council of Pennsylvania for damage caused by the clearing of land, inability to farm, and operation of Camp Security. However, a 2008 archeological dig around the Schultz House found no evidence that would directly tie the land immediately surrounding the house to the military prison of war camp. (See “Where was the Camp Security Cemetery Located? “)
The house knows how to hold her secrets.

Now comes another interesting tidbit that sheds even more mystery on the house: Henry Ford may have wanted it.
I’ve had the pleasure to serve on the board of directors for Historic York, Inc. for seven years. In 2007, the Rowe family donated the house to Historic York, and the non-profit architectural preservation organization began extensive research – research that is still being conducted today. At the time this took place, Karen Arnold was executive director of Historic York. Today she works for the Pennsylvania Historic & Museum Commission, Bureau of Historic Preservation. But in 2006 she was the primary researcher for the property. Something she came across in her research was an apparent article about Henry Ford’s interest in the property.
She mentioned it in a meeting and I totally forgot about it. Until recently.
While discussing the Schultz House at a gathering, the name “Henry Ford” popped into my head. I recalled the story of his alleged interest in the house, and emailed both Karen and Mindy Crawford, executive director of Preservation Pennsylvania, who has also researched the Schultz House. Karen confirmed that she was, in fact, the source, and that no, I wasn’t making up a false memory. She further directed me to the Schultz House files at Historic York.
Enter Barbara Raid, architectural historian for the organization. She searched through the files and located the article in question.
However, in true Schultz house fashion, the research creates more questions than it answers.
The original source for the article is labeled “unknown,” with an estimated year of 1926. The articles headline states:
SHULTZ KIN OPPOSES MOVING YORK HOME
Civil War Veteran, 82, Hopes Ford Won’t Take Building to Detroit
Why would Henry Ford buy the Schultz House and relocate it to Detroit? Well, because that is exactly what Henry Ford did elsewhere.
Today The Henry Ford is a National Historic Landmark. Originally, it was known as the Edison Institute as well as the Henry Ford Museum and Greenfield Village. According to the museum’s website, “Entering Greenfield Village is like stepping into an 80-acre time machine. It takes you back to the sights, sounds and sensations of America’s past. There are 83 authentic, historic structures, from Noah Webster’s home, where he wrote the first American dictionary, to Thomas Edison’s Menlo Park laboratory, to the courthouse where Abraham Lincoln practiced law.” The Henry Ford Museum and Greenfield Village were established in 1929 and originally owned by Ford Motor Company. Many prominent historic buildings from various locations in the United States were purchased and relocated to create the largest indoor-outdoor history museum complex in the country.
From the article:
“Just what Henry Ford intends to do with the old Shultz home, the oldest two-story stone structure in York county, and possibly oneof (sic) the oldest structures of its kind, when and if he purchases it, has remained up to the present time somewhat in doubt.
“In purchasing many pieces of Americana, from spinning wheels to full-size houses, the automobile magnate has often followed the practice of moving them bodily to Detroit.”
The article later states, “That the automobile magnate is considering purchase of the old home was revealed recently by dispatches from York. It was said that negotiations are being conducted between a representative of Ford and the present owner of the house, Emanuel Landis, and that the automobile manufacturer will personally view the house on his next trip through this section.”
This intriguing article quotes John W. Shultz, who claimed to be a direct descendant of the builders, as believing that the Historical Society of York County had “some claim on the house,” and expressed his hope that the organization would prevent its removal.

The article mentions another date of construction, and hints at the intrigue surrounding the house:
“The house which eventually may become another item in the Ford collection of Americana, was built in 1743. It is said that at one time it served as an inn, and that George Washington stopped there as a guest.”
Another anecdote from the article has also been collected in York County histories: “A well authenticated tradition has it that on September 30, 1777, members of the Continental Congress, fleeing the British invasion of Philadelphia, stopped there, and caused much comment among natives in the vicinity by their possession of leather saddles. A sack of wheat was then the common saddle used in that country.”
The mystery article was most likely published in a Philadelphia newspaper.
Emanuel Landis, the Schultz House owner referenced in the article, purchased the Schultz House and 132 acres in 1922 from Margaret Glatz Matthews and Col. A.C.N. Matthews. He sold the property Clair and Beatrice Rowe in 1944, and it was the Rowe family that gifted the house to Historic York in 2007. (See “Historic House now with Historic Caretaker“)
York historian George Prowell mentioned the saddle story in his 1907 History of York County.
Did Henry Ford ever visit the Schultz House? Did he make a formal offer to purchase it? Or did he decide not to proceed?
Add these questions to yet another layer of mystery and intrigue surrounding the Schultz House.
For further information about The Henry Ford, check out these sites:
Wikipedia Entry
The Henry Ford
And to read about Historic York, visit their new website:
Historic York, Inc.

Posted in 18th Century, 20th Century, County Buildings, German Architecture, Historic Preservation | Tagged , , , , , | 1 Comment

Holiday Cheer in Downtown York

Posted on December 18, 2010 by scott butcher

Here’s a video of Christmas, holiday, and winter photographs from downtown York, PA. Most were shot in the 21st century, but there are a handful of older photos. Look for the image of the former York County Court House on East Market Street with a Christmas Tree in front as well as a photo of Continental Square with a different kind of star.

Enjoy!

Posted in City architecture, Continental Square, Events | 2 Comments

The York – Pulitzer Connection

Posted on October 7, 2010 by scott butcher

File this under the category of things you probably didn’t know…
Architect Frederick Dempwolf’s daughter, Helen, grew up in the family home on South George Street. After leaving York, she attended college and then married a man by the name of Pulitzer. Sound familiar? The Pulitzer Prize is one of the top honors in the fields of journalism, literature, and musical composition.
Helen married a grandson of the creator of the distinguished award and founder of Pulitzer Publishing, Joseph Pulitzer. Her husband ran the family-owned St. Louis Post-Dispatch for many years. She later remarried, and currently resides in Florida. The connection with literature stayed in the family, however. Helen’s daughter – Frederick Dempwolf’s granddaughter – resides in New York City, where she runs a literary agency.

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The Dempwolf Apprentices

Posted on September 24, 2010 by scott butcher

In the history of York County, the Dempwolf name has been associated with great architecture more than any other firm or individual. John Augustus Dempwolf established a practice on Centre Square and quickly became York’s most prominent architect, designing landmark buildings from the 1870s into the 1920s. But J. A. Dempwolf was not just the name of a man: it was also the name of his architectural firm. His brother, Reinhardt and son, Frederick were key elements to the firm’s great success. Many younger architects mentored under the Dempwolfs then later formed their own companies, contributing greatly to the built environment in York and beyond.
John Hamme and Edward Leber worked for Dempwolf in the latter part of the 19th century, establishing their own firm, Hamme & Leber, in 1900. Hamme first joined the Dempwolf practice in 1881, then left to attend Cornell University. After graduation, he returned to Dempwolf, only to leave again to work in Seattle. He later returned to York and J.A. Dempwolf. His partner, Edward Leber, was nine years younger and not yet 30 years of age when he co-founded Hamme & Leber. Together they designed the George Motter & Sons factory on West Princess Street (today the Agricultural & Industrial Museum), several schools – including Harley, Lincoln and Noell Schools, and residences in Springdale. One of their earliest commissions was to design a major renovation and expansion to the Edwin Myers residence east of York City. That building is known today as the Meadowbrook Mansion.
Harry E. Yessler was another architect who apprenticed with the Dempwolf practice then went out on his own, establishing a firm with his son, Russell. While with Dempwolf, Yessler was heavily involved with designing a mansion for the Emerton family. The building still stands and is better known as the Hahn Home, one of Dempwolf’s most notable commissions. Yessler designed several churches, including Heidelberg UCC on West Philadelphia Street, but was better known as an architect of domestic architecture. He designed homes in the Springdale neighborhood and was heavily involved with the planning of the Elmwood neighborhood, designing many of the residences that followed. The father and son Yessler team brought Spanish Colonial Revival to York, especially in the Elmwood neighborhood.

Robert A. Stair learned the practice of architecture working in the Dempwolf firm. In 1905 he established a practice on East Market Street. He designed several private residences in Springdale, but it was his work as architect of Eltham, the S. Fahs Smith estate, that elevated his status as an important architect. He also designed Edgar Fahs Smith and Phineas Davis Junior High Schools. While he sometimes competed against his former employers, he also maintained a close relationship with them. Stair and Frederick Dempwolf teamed together on a number of projects, including design of York City Hall. With former colleague Edward Leber, Stair and Dempwolf designed a new building for the Country Club of York.
William Billmeyer is not as well known today as some of the other Dempwolf apprentices; however, after leaving the fold he established a partnership with George Gemmill and designed several prominent buildings in York City, including the Beaux Arts First National Bank building that stands on the northeast quadrant of Continental Square and the York Trust Company on East Market Street. Billmeyer was also the architect of the York Water Company building on East Market Street, a notable Neoclassical building that includes a number of water-themed elements within the design.
Harry Lenker worked in the Dempwolf practice during the last decade of J.A. Dempwolf’s life. In 1927 he established his own practice. On his own he designed several churches, including St. Paul’s Lutheran Church and Grace Evangelical Lutheran Church, both in York, as well as First Evangelical Lutheran Church in Columbia, PA. Lenker also worked closely with J. Alfred Hamme, the son of John Hamme, to design a number of schools, including Devers Elementary School and Dallastown High School. Lenker served as president of the AIA Central PA Chapter and Engineering Society of York.
Milford Patterson, Arthur Rosser, and Edward Keyworth are also architects who worked for the Dempwolf practice then continued their careers elsewhere. Beyond these Dempwolf apprentices, there was a second generation of architects trained with the Dempwolf influence – apprentices to the apprentices. Early in his career, Frederick Dempwolf worked at a number of other firms and fought in World War I. After his father’s death, he continued on with the Dempwolf firm. In doing so, he apprenticed young architects like William Dize, who was only 12 years of age when J.A. Dempwolf died. Dize inherited many of the Dempwolf drawings, which he donated to the Historical Society of York County in the late 1980s. J. Alfred Hamme learned the profession of architecture from his father, John Hamme, and took over the practice. Within the Hamme successor firm, John Gilbert and Stanley Snyder also carried on the tradition, sometimes working with Frederick Dempwolf and at other times with Harry Lenker.
The Dempwolf firm contributed greatly to the local built environment, from the projects they designed to the work of their apprentices, who continued the firm’s legacy throughout much of the 20th century. Edward Leber wrote that J.A. Dempwolf viewed his apprentices as “his boys,” even after they left the firm. So close were the ties between mentor and protégés that Edward Leber, William Billmeyer, Robert Stair, and Harry Lenker all served as pallbearers at the 1927 funeral of John Augustus Dempwolf.
Historic York, Inc. will be featuring these Dempwolf apprentices as part of their annual house tour. The Discovering Dempwolf Apprentices tour will be held on October 10, 2010, from noon until 5:00 p.m. Tickets may be purchased in advanced from Historic York (717.843.0320 or areiten@historicyork.org) for a cost of $20. Tickets will be available the day of the event in the rear parking area of the York Water Company, 130 East Market Street, York. The cost will be $25. At the conclusion of the tour, a reception with the Historic York board of directors and staff will be held at 900 South George Street, with beverages and light refreshments provided by Deli Delicious.

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Dempwolf in Boston

Posted on September 17, 2010 by scott butcher

I recently had the opportunity to attend a conference in Boston. While there, I was pleasantly surprised to learn that the hotel in which I was staying was located near two important buildings with a connection to John August Dempwolf, York’s most prominent and prolific architect. Dempwolf’s firm practiced from their offices in Centre (Continental) Square in the late 19th and early 20th centuries.
In the early 1870s, young J.A. Dempwolf left York and relocated to New York City, studying architecture at night at The Cooper Union for the Advancement of Arts and Sciences. After he graduated in 1873, Dempwolf did not return to York; rather, he moved to Boston where he found employment as superintendent for construction of the new Cathedral of the Holy Cross, a massive stone Gothic Revival church that took over nine years to construct. This church, recognized today as the largest in New England, still stands, and is pictured below.

Dempwolf was not the architect for this project. That commission was given to Patrick Keely, an architect based in New York City. But the experience as superintendent was certainly valuable for the young Dempwolf, who was able to study the design of a nationally-prominent architect while learning the real-world relationship between design and construction.
When Dempwolf arrived in Boston, the newly constructed Trinity Church was already making waves in the architectural world. Located several blocks from the Cathedral of the Holy Cross, the year-old ecclesiastical building had a profound effect on the architecture that followed. Henry Hobson Richardson was a Louisiana-born architect who attended Harvard then studied at the famed Ecole des Beaux Arts in Paris, only the second American to do so. After returning from France, Richardson established an architectural practice in New York, later relocating to Boston. With the design of Trinity Church in the Copley Square area, Richardson took the Romanesque Revival style that was popular at the time and employed heavy, rough-cut stone and large arches to create a variant of the style with picturesque massing and imposing rooflines. This unique approach to Romanesque architecture became his signature (the Allegheny County Courthouse in Pittsburgh is another prominent example) and inspired a generation of architects, who began to emulate his approach. So important and influential was Trinity Church that the American Institute of Architects selected it as one of the Ten Most Important Buildings in the United States. The building undoubtedly influenced Dempwolf, who would dabble in the style after returning to York.

Perhaps the best example of Dempwolf’s use of the style can be found at Centre Presbyterian Church in New Park. Westminster Presbyterian Church on North Queen Street in York also shows the Richardson influence, though the arches have a hint of a point, not the true rounded Romanesque style. Other Dempwolf-designed buildings exhibit a hybrid of the more common brick Romanesque Revival Style with the heavy approach favored by Richardson. Some examples include Gettysburg College’s Glatfelter Hall, Stevens School on West Philadelphia Street in York, and even York Central Market. Some architectural historians refer to this hybrid as Victorian Romanesque – buildings that combine multiple materials (like brick and stone) and feature polychromatic tones, as opposed to the more uniform Romanesque Revival and Richardson Romanesque buildings. As anyone who has studied historic American architecture can tell you, the authors of the popular style guides do not agree on how to identify the many H.H. Richardson-inspired buildings. What one author identifies as Richardson Romanesque (or Richardsonian, as it is sometimes called), another might term Victorian Romanesque or simply Romanesque Revival (or even Late Romanesque Revival) – these round-arched buildings are all branches on the same tree.
Dempwolf designed many notable buildings in the Romanesque style. The demolished York Collegiate Institute and Calvary Church are prominent examples, as are his work at the Harrisburg State Hospital, additional buildings on the campus of Gettysburg College, and Valentine Hall at the Lutheran Seminary in Gettysburg.
If you are interested in learning more about Dempwolf’s application of the Romanesque style, check out architect Mark Shermeyer’s 1982 master’s thesis, “The Dempwolf Public Schools,” as well as the research paper, “York’s Architecture and the Dempwolf Influence” (author unknown). Both can be found at the library of Historic York, Inc. as well as the Library and Archives of the York County Heritage Trust.

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Lions and Gargoyles and Bears, Oh My!

Posted on May 23, 2010 by scott butcher

My last blog post, Ode to Oriels, included a photo of a decorative corbel featuring the head of a woman. While this is one of the most distinctive examples of architectural ornamentation in York City, it certainly isn’t the only one inspired by a living, or mythological, being.

When I give walking tours of the downtown, I like to say that you just never know when you’re being watched. So here are several more examples, in no particular order.
Do you know where they are located? The answers appear at the bottom.
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And now for the answers…
1. This bear is located on the southwest quadrant of Continental Square on the Rupp Building. A shield features the name D.A. Rupp, for the businessman who constructed the building, and the date 1892, which signifies when it was constructed.
2. The Goodwill Fire Company on East Market Street featured a wolf as its mascot. Other station emblems included an owl (Rex & Laurel) and deer (Rescue).
3. The Bard of Avon, William Shakespeare (or Shakespear, as spelled here), is located on the former Central Elementary School building on West King Street, today home to the York City Police.
4. Another fire company mascot – in this case the lion was the mascot of Royal Fire Company on West Market Street. Today the building is home to the Fire Museum of York County.
5. This patriotic relief is of an eagle with its wings spread open. You’ll find it on the northeast quadrant of Continental Square on the building that was constructed for the First National Bank.
6. This gargoyle is located on Calvary United Methodist Church on West Market Street. A gargoyle, by definition, is a carved stone figure that conveys water from the roof and away from a building – essentially a decorative spout.
7. This scary-looking creature is located on the home of architect J.A. Dempwolf at 701 South George Street. This is actually a prominent datestone on the front façade and signifying a date of construction of 1886.
8. This decorative relief appears on the front gable of J.A. Dempwolf’s home. It has been identified as Old Man Winter.
9. Another carved corbel – a head under the oriel at 149 East Market Street.
10. This intense lion head is located on the spouting at the William Goodridge House at 123 East Philadelphia Street – a building which also happened to be the home of prominent architect Reinhardt Dempwolf.
11. The former Milton Martin house on East Market Street, today home to Menges, McLaughlin, Kalasnik, features two of these mythical chimeras, which appear to have a the head of a female lion, wings, and the body of neither. It is crouched behind a cross-shaped shield.
12. The octagonal tower of the former post office building at the intersection of West Philadelphia and North Beaver Streets features several of these gargoyles.
13. You’ll also find several grotesques on the old post office building.
14. You have probably passed by this lion’s head countless times, but have you noticed it? The lion is part of the water fountain in front of the former York County Court House on East Market Street, which is today a county government office building. There are lion heads inside the building, too.
15. This high relief ornamentation serves as the terminus of a decorative bracket on the York Gas Company building on West Market Street. Note all the ornamentation around the woman’s head – a scroll bracket, wreath, egg-and-dart molding, and acanthus leaf.
16. This head is located on a building on the 100-block of South George Street, across from the Sovereign Bank building (or as long-time Yorkers know it, York Federal). It appears to be the likeness of a tragedy theater mask.
17. So it would make sense that the other head on this building would be the comedy theater mask, right? That is not the case. The second head is of a male with a distinctive handlebar moustache.
18. This fantastic head is located on the tower of Trinity United Methodist Church on East King Street. One projects from each of the four corners.
How many did you get right? Are there others that I missed? Add a comment, or send in a photo and I’ll post it.
And remember, the buildings of York are watching you!

Posted in Architectural Terms, City architecture | Tagged , , , , , , , , | 1 Comment

Ode to Oriels

Posted on May 7, 2010 by scott butcher

When I’ve given presentations about local architecture, or led walking tours of the downtown, I’ve often been asked two questions. First, is there a particular architectural style that “defines” York? Second, what is the most common architectural feature on local buildings?
My answer to the first is Colonial Revival. Because of our Revolutionary War history, York has been embracing the colonial era for well over a century. This is evidenced by the preponderance of Colonial Revival homes constructed in early 20th century neighborhoods as well as the commercial and domestic architecture still being built today.
My answer to the second question is oriels.
Frequently I’m greeted by confused expressions, as minds begin to think about black and orange birds or a certain professional baseball team to the south.
An oriel is a projecting bay window that does not extend to the ground. In the late 19th century, York’s architects and builders became quite enamored with them.

The word “oriel” derives from the Latin term oriolum, and Old French oriol, which both refer to a porch.
Oriel windows are cantilevered or corbelled out from the main façade of a building. A corbel is a piece of stone or brick that juts out from a building to carry weight. In the image above, the dark green oriel on the far right is cantilevered (weight supported on one end) while the light colored oriel immediately to its left is corbelled.
Architecturally, oriels were found in Gothic and Tudor architecture, as well as their subsequent revivals. Oriels were also found on Chateauesque buildings. Locally, York City features many blocks of Queen Anne rowhomes embellished with oriel windows.

Not only does this architectural feature create more space on the interior, it also allows more light into a building than a traditional bay window. Some oriels sit atop decorative corbels while others rest upon sculptured elements – like this woman’s head on South Beaver Street. Local legend tells the story of builders who were so inspired by the beauty of a neighbor, who would sit on her front stoop every morning and let her long, flowing hair dry, that they created her likeness under the oriel of the house they were building.

Oriels add character to buildings. Some feature sunburst or molded patterns on their undersides while others are colorfully painted to stand out. A lovely example of Victorian oriels can be found on Locust Street. While most windows have clear glass, there are also several examples of decorative leaded glass in oriels around town.
So there you have it: my ode to oriels. The next time you are in York City, be sure to pay attention to the buildings around you. Find the oriels, and then look underneath to see if any decorative elements are present. Better yet, park your car and take a walk – York’s treasures aren’t buried, they are readily visible to anyone who takes the time to look for them!

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York in the Round

Posted on April 9, 2010 by scott butcher

York is a town known for its historic architecture. The downtown alone has examples of several dozen distinctive architectural styles from the mid-18th century through the mid-20th century. Beyond the downtown, however, there are many buildings constructed during the Modern period of architecture, which roughly spans the 1930s through 1970s. While there are a number of styles that fall under Modernism (e.g., International, Formalism, Bauhaus, Brutalism), a common thread between buildings designed in this period is a simplification of form and lack of ornamentation. Rather, the structure of the building itself is viewed as ornamentation.
With the development of suburbs around York City in the mid-20th century, many new Modernist buildings were constructed. Though smaller and simpler than their urban counterparts, these buildings embraced the styles of the day. One of the design approaches that I find compelling is the local interest in round buildings. A few of these circular structures still stand, but others have been demolished – Modernist buildings are often viewed as ugly, and thus have fewer supporters to rally for their preservation when compared to Colonial or even Victorian era buildings. A notable national exception has been taking place in neighboring Adams County, where preservationists have been able to thus far save the old Cyclorama building in Gettysburg from the wrecking ball. Designed by famed Modernist architect Richard Neutra, the Cyclorama is a perfect example of one of the axioms of the movement: form follows function. The round building was designed to house the famous 360-degree painting by French artist Paul Philippoteaux entitled The Battle of Gettysburg.

Why was there a short period of local interest in round buildings? Certainly the concept was not new. In fact, the most famous circular building in the world is probably the Colosseum in Rome, which was completed in 80 A.D. In the 20th century, Frank Lloyd Wright designed the spiral Solomon R. Guggenheim Museum, which opened in 1959 and certainly influenced architects throughout the United States. Neutra’s Cyclorama in nearby Gettysburg was constructed two years later. But it was the 1964 New York World’s Fair that perhaps inspired a generation of architects to design “in the round.” Many of the Fair’s futuristic buildings, or pavilions as they were called, were either totally round or partially circular structures. These pavilions included those of Ford, General Motors, Westinghouse, DuPont, Coca-Cola, and Westinghouse, as well as the Transportation and Travel Pavilion. Even the famed observation towers employed a round “flying saucer” like design.
Locally, there were quite a few circular buildings constructed in the decade that followed the World’s Fair.

Moore Cadillac (later Griffith and then Shaull) is one such example. It was built in 1970 from a design by Noonan Engineering. The building stood along South Queen Street.

The Pennsylvania State Bank building between South Queen Street and Hollywood Drive was initially a small, totally round building that was designed by Buchart Associates. It was later expanded with a large, half-round addition. The building still stands, and is today home to M&T Bank.

The striking Ohev Sholom Synagogue was constructed on Eastern Boulevard in 1968 and torn down less than thirty years later.

York City School District’s Hannah Penn Junior High School (Middle School) on East Boundary Avenue also employed the circular form, in this case for construction of the school’s auditorium.

Even the Peach Bottom Atomic Information Center, which was located at the nuclear power plant in southeastern York County, utilized a round building, perhaps drawing inspiration from the nearby cooling tower.

Posted in 20th Century | Leave a comment

Tough Times for Historic Preservation

Posted on February 5, 2010 by scott butcher

The past few months have not been kind to historic preservation. When the Commonwealth of Pennsylvania finally adopted the Fiscal Year 2009-2010 budget, much was made of the impact that funding cuts would have on the Pennsylvania Historic and Museum Commission (PHMC), which saw a cut of 37%. The publicity surrounding these cuts largely centered on the impact it would have to the State Museum of Pennsylvania and state historic sites around the commonwealth – including the total elimination of all funds for maintenance and upkeep of the 23 state-owned historic sites and museums. What was lost in many of the news reports was the redirection of the Keystone Recreation, Park and Conservation Funding to the General Fund. The result of this was a complete elimination of the vital Keystone Historic Preservation Grant Program, which has helped fund over 500 preservation projects during the past 15 years. In a recent editorial published in the Philadelphia Inquirer, former PHMC executive director Brent D. Glass noted that the funding cuts will have far-reaching implications and that these cuts “have ensured that the commonwealth will lose its preeminent national position as a steward of America’s heritage.” Historic buildings tell stories, and without the historic buildings, these stories will be lost.

How has the Keystone Historic Preservation Grant Program affected York County? These historic properties all benefited from the preservation funding program: Hanover Junction Railroad Station, Barnet Bobb Log House, A.M. Grove General Store at MA & PA Railroad, Cross Mill, Farquhar Park Bandstand, Howard Tunnel, Salem Square Civil War Monument, and the William Goodridge House.
In other words, York’s rich heritage has been preserved with the help of Keystone preservation funds.
Further PHMC cuts have eliminated the Project Grant Program, which also provided funding for historic preservation, and resulted in substantial reductions to the General Operating Support Grant Program, which has a huge impact on Preservation Pennsylvania, a statewide non-profit organization.
Things don’t look any better at the national level, either. The White House Budget Request sent to Congress earlier this week includes a proposal to eliminate the Save America’s Treasures program. The National Trust for Historic Preservation (www.preservationnation.org) recently blogged about the pending cuts, stating that “Not since the 1980′s has there been such an assault on the programs that protect America’s heritage.” According to the National Trust, the Save America’s Treasures program is the nation’s only bricks-and mortar grant program, saving over 700 of the country’s most significant places. The budget proposal also involves a 25% reduction in the Historic Preservation Fund, which has not been receiving its full funding allotment anyway. Also slated to be cut from the budget is funding for the Preserve America program (preservation education and outreach) and a 50% reduction in funding for National Heritage Areas.
Interestingly, the funding for many of these preservation programs does not come from tax dollars. Rather, it comes from revenue from offshore oil and gas leases on the Outer Continental Shelf.
So what can be done? In his editorial, Glass wrote that “only a grassroots campaign can overcome” these cuts. If you appreciate historic buildings, if you think there is value in preserving the past, then support the efforts of the local organizations which largely rely on grassroots efforts and contributions from individuals.
Historic York (www.historicyork.org) is York County’s only countywide non-profit organization dedicated to historic preservation. The organization has helped save such local treasures as the Billmeyer House, Cookes House, Willis House, Kirk House, and Farquhar Park Bandstand, and is owner of the historic Schultz House.
Preservation Pennsylvania (www.preservationpa.org) is a statewide organization providing advocacy, education, and assistance for historic preservation. The organization administers the Preservation Fund of Pennsylvania and publishes the annual Pennsylvania At Risk report.
And the York County Heritage Trust (www.yorkheritage.org) is the owner and operator of several museums and important historic buildings including the General Horatio Gates House, Golden Plough Tavern, Bobb Log House, and Bonham House.
A lot of nonprofit organizations are struggling right now, just trying to stay afloat. The decrease in corporate sponsorships, decline in individual giving, and reduction or elimination of grants and government funding has resulted in a triple-whammy for historic and preservation organizations. Reach out to them and ask how you can help. Give time or money or both. Help preserve historic buildings and sites for future generations to enjoy. Your children and grandchildren will thank you!

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Branding York?

Posted on December 17, 2009 by scott butcher

Welcome to York, Pennsylvania, Creativity Unleashed in the Factory Tour Capital of the World, Pennsylvania’s Industrial Art & Design Capital, and the Hub of the Gettysburg, Lancaster, and Hershey-Harrisburg Region!
Now that is a lot to put on a business card!
Obviously, that statement in its entirety is not going to appear in any advertising to promote York (I hope)! However, it does illustrate the current recommendations for positioning York and York County.
Factory Tour Capital of the World has been a branding program of the York County Convention & Visitors Bureau (YCCVB) since 2001. The YCCVB recently retained Randall Travel Marketing to do an update of the strategic plan, and the executive summary and presentation were posted online. Randall recommends that York continue with the Factory Tour branding, but expand it to include the Hub of the Gettysburg, Lancaster, and Hershey-Harrisburg Region to promote the county’s central location within the larger region.
At the same time, Roger Brooks and his company, Destination Development, have been working to determine what York’s brand is – and should be. A number of local organizations came together to retain Brooks, whose company has worked with over 800 communities. He envisions York becoming America’s Industrial Art & Design Capital, a nod to the area’s legacy as a hub of industry as well as a way to promote the burgeoning local creative scene. While his focus was on the downtown, Mr. Brooks noted at a recent presentation that you can’t have a different brand for the downtown, the city as a whole, and the county. However, he also notes that you have to earn a brand, so the tagline he unveiled in early December was Creativity Unleashed, with perhaps a geographically scaled back Pennsylvania’s Industrial Art & Design Capital as a first step.
What is a “brand”? A brand is not a logo or a slogan. Ultimately, a brand is about perception. When you hear the word Volvo, you automatically think “safe car.” And McDonald’s? Kid-friendly burger joint. What about Coke? The real or original cola. Branding applies to locations, too. Williamsburg is known for Colonial / Revolutionary War history. Gettysburg and Civil War are synonymous. Hershey and chocolate. Lancaster and Amish. So what about York?
Branding professionals point out that a brand must be singular. “All things to all people” cannot be a brand. So what is the focus for York and York County? Previous studies have pointed out that people from outside the area view York has being historic, scenic, pastoral, industrial, etc. But those aren’t unique selling points, which is why a number of local organizations have been pushing to have a singular, distinctive, and consistent message to promote the area.
Since the 1990s we’ve had a lot of messages. Here’s an overview:
Revolutionary York / A Revolutionary Experience - This branding initiative was launched by the City of York around 2003, meant to position the city as a town of revolutions: American Revolution, Civil War, Industrial Revolution, as well as the “revolutionary” redevelopment efforts of today.
Factory Tour Capital of the World - This branding program was launched by the York County Convention & Visitors Bureau in 2001. Early county visitors guide covers and advertisements also included the phrase Industry is just part of our landscape.
You’ve Got it Made in York County, PA - This is the slogan that was adopted as part of the YCCVB’s branding initiative. The tagline appeared in print with the logo and on the cover of at least one visitors guide.
Experience America’s Heritage - This tagline is currently in use on the Web site of the Susquehanna Gateway Heritage Region – formerly the Lancaster-York Heritage Region. Originally, the Heritage Region focused on five themes for York and Lancaster Counties:
Experience America’s Freedom … through our eyes
Experience America’s Bounty … through our eyes
Experience America’s Ingenuity … through our eyes
Experience America’s Towns & Countryside … through our eyes
Experience America’s Natural Wonders … through our eyes
… on Dutch Country Roads - After the Heritage Region launched their five themes, the “through our eyes” portion of the slogans was changed to “on Dutch Country Roads,” which itself was subsequently dropped. However, Dutch Country Roads is still a tourism region of Pennsylvania, defined and promoted by the PA Department of Community & Economic Development. This region includes Chambersburg, Gettysburg, York, Lancaster, Harrisburg, Hershey, and Lebanon.
See For Yourself - This was a slogan that the City of York used for a series of advertisements and marketing materials in the 2000 – 2001 timeframe.
Gateway to Central PA / Gateway to Central Pennsylvania - This was more of a “theme” than an official slogan, and was used by the York County Convention & Visitors Bureau in 2000. It appeared in ads and on the cover of a county visitors guide.
250 Years and Still Making History - This statement was used as part of the York County 250th anniversary celebration in 1999. It too appeared in advertising and on the cover of a county visitors guide.
You’ve Gotta See It! – This slogan was used by the York County Convention & Visitors Bureau in the late 1990s to promote York County, and it also was used for ads and on visitors guide covers.
The First Capital of the United States / America’s First Capital - This statement is still being used today and for many years was on the City of York Web site homepage. According to research by Jim McClure, the claim (also used as a slogan) was created in the mid-20th century to promote tourism to Colonial York (a phrase also used to promote York).
A place to stay … a home we love to share - I found this statement on the cover of a visitors guide from 1993.
The Spice of Life: York’s Got It! – The Spice of Life dates from the early 1990s, perhaps earlier, and was used to promote the variety of things to do in York County. It appeared on the cover of a visitors guide.
There have been other phrases and themes used during the past 20 years. Discover your past (cover of Revolutionary York visitors guide) and Discover the patchwork of America (cover of county visitors guide) are two that come to mind.
And we can’t forget Pennsylvania’s current slogan, State of Independence, which succeeded Memories Last a Lifetime, You’ve Got a Friend in Pennsylvania, and America Starts Here.
So, what is York’s unique personality? Does York even have one? These questions are still being pondered. It will be interesting to see if a consensus is developed and the community moves forward with a singular brand for “York” – which to us locals is a city, a township, a county, and a metropolitan era, but to people outside of the region is a single place with no distinction of municipal boundaries! Are we the factory tour capital? Are we the home of industrial art & design? Are we the hub of central PA? Or something entirely different? Stay tuned…
For more information:
Roger Brooks Presentation
York County CVB Strategic Plan Executive Summary
Randall Travel Marketing Presentation

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