Skills to preserve by: a new kind of training for NPSThe <strong>National</strong> <strong>Park</strong> <strong>Service</strong> has taken abig step toward realizing Point 9 in theDirector's 12-Point Plan, "StimulateCareer Opportunities and EmployeeGrowth," by initiating the SkillsDevelopment Plan for Historical Architectsin the <strong>National</strong> <strong>Park</strong> <strong>Service</strong>.While this plan has been developedspecifically for historical architects, participationis open to all NPS employeeswho work with historic structures.This Skills Development Plan is a firstattempt to list all the skills needed by ahistorical architect. And it is the firsttime that an effort has been made toprovide guidance on how these skills areused and how to learn them.A historical architect must have all theskills needed by an architect; that is,knowledge of design, strength ofmaterials, how to graphically describe abuilding concept, how to write specificationsand how to make drawings thatwill facilitate the construction of a newbuilding. This is a part of the conventionaltraining and education of architects.The historical architect's task is tolook at a historic structure and knowenough about historic building practices,the use of historic building materials,and historic maintenance treatments tobe able to determine how much isoriginal, how much has been changed,what are the problems and what is causingthem. In architecture school, designskills tend to be emphasized. In workingon historic structures, quite differentskills are required, such as the ability ofthe eye to observe, to interpret andunderstand the interaction of historicmaterials and historic buildingtechnology along with past treatmentsand maintenance.Recognizing the need, culturalresources staff have attempted to identifythe "universe" of skills that ahistorical architect should know. Basedon comments by NPS architects and furtherefforts of the authors, this documentnow describes more than a hundreddifferent skills. Some of the mostbasic and important skills are describedin greater detail to show a range frombasic to master level with examples ofthe kinds of tasks that are related to theskill.Trainees from the WiUiamsport Preservation Training Center replace a log on the Slave Quartersat Hampton NHS, Towson. MD. Photo by Emogene Bevitt.For example, a historical architectneeds to know about historic roofs.At a basic level, the historical architectshould know about:—evolution and development of wood,metal and slate roofing systems;—basic wood shingling materials like redcedar, white cedar, oak, cypress, locust,chestnut, and white pine;—historical preferences and theavailability of these materials in a givenregion and about the practices of makingshingles by both hand and machine;—fastening sytems for roofs, thesheathing systems, the use of flashing.At an advanced level, an historicalarchitect could know about:—more specialized materials, such as theuse of tile roofs;—roof appendages, roof cresting, roofbalustrades, skylights and flashing problems;—composition roofs and concrete andstone roofs.At a master level, the historical architectcould:—be conducting new research on theuses of roofing materials and craft practicesin regions;—know about temporary materials suchas thatching and bark;—know about roof coatings includingtar, paint, red iron oxide, linseed oil andbrick dust, sanded paints and creosote,about specialized roofing practices suchas Ludovici Interlocking Spanish Tileroofs, and special finishes such asgilding, glazed tile, and ceramic metals.Since the Skills Development Plan emphasizesself-help, a selected bibliographyis included with each of theseskills to provide a starting point forlearning more about a topic. An indepthexplanation of the plan waspublished in the CRM Bulletin, Vol. 9,No. 4, available from Kari Koester,NPS, P.O. Box 37127, Washington, DC20013-7127.The opportunity to enroll in the SkillsDevelopment Plan is open to any NPSemployee who works on historic structures;there is no deadline for application.Those interested in reviewing acopy of the Skills Development Planshould write Emogene Bevitt, PreservationAssistance Division, <strong>National</strong> <strong>Park</strong><strong>Service</strong>, P.O. Box 37127, Washington,D.C. 20013-7127, or phone her at202-343-9561.—Emogene Bevitt30 <strong>COURIER</strong>/May 1987
Paintings Inspired by Southwest <strong>Park</strong>s on ExhibitSusan LambThe beauty of areas in our nationalpark system may kindle emotions few ofus are able to express. "Artist in the<strong>Park</strong>s" Cynthia Bennett captures herown inspirations in an exhibit of paintingsdepicting fifteen southwestern nationalparks. The traveling exhibit isentering its second year touring the NPSsystem under the auspices of HarpersFerry Center. Craftsmen and Artists inthe <strong>Park</strong>s is a program begun in the late1960s, which received a boost during theBicentennial years when artwork, objects,and photographic exhibits wereneeded at Bicentennial sites. Programparticipants are usually selected throughartists' societies. Ms. Bennett, however,has the distinction of having been commissioneddirectly by Harpers FerryCenter in 1985. The paintings,copyrighted by Bennett and owned bythe <strong>National</strong> <strong>Park</strong> <strong>Service</strong>, will eventuallybe placed on long-term loan fordisplay in appropriate parks orWashington offices.Ms. Bennett, who lived at GrandCanyon for ten years, developed adistinctive style using bold, solid colorsand shadows to portray the magnificentlandscapes of the region. Her worksdraw upon years of hiking and rafting—anddreaming. The paintings in thisexhibit range from Glen Canyon andLake Mead to Tuzigoot and WalnutCanyon.Noted southwestern author AnnZwinger writes: "Such evocative viewsare the combined gift of one woman'sunderstanding of time, light and place,and the perception of a <strong>Park</strong> <strong>Service</strong>charged with their care and maintenance.If you receive these landscapesas she painted them, you will feel anabiding commitment to their continuance."Grand Canyon Natural <strong>History</strong>Association has combined full colorreproductions of the paintings inLightfall and Time, a book co-publishedwith Northland Press. With an introductionby Ann Zwinger and naturalhistory essays by Susan Lamb, whospent six years as a ranger-naturalistwith the <strong>National</strong> <strong>Park</strong> <strong>Service</strong>, thebook not only illustrates themagnificence of <strong>Service</strong> areas but alsowomen who are actively interpretingthem.Lightfall and Time is availablethrough the Grand Canyon Natural<strong>History</strong> Association, P.O. Box 399,Grand Canyon, Arizona 86023, phone(602) 638-7774 (64 pages, 15 color plates,8" X 8", $14.95 softbound; $24.95 hardbound).The exhibit is currently on display atFort Scott <strong>National</strong> Historic Site and willmove to Grand Canyon <strong>National</strong> <strong>Park</strong>in April. Mid-Atlantic Region will thenhost the collection, with showings atShenandoah <strong>National</strong> <strong>Park</strong> in July,Allegheny Portage Railroad <strong>National</strong>Historic Site in August, and UpperDelaware <strong>National</strong> Scenic and RecreationalRiver in September. In the fall theexhibit moves to North Atlantic Regionand will include Women's Rights <strong>National</strong>Historical <strong>Park</strong> (October 4-16),Gateway NRA (October 21through November 4), and Fort Stanwix<strong>National</strong> Monument (November 8-21).<strong>Service</strong> areas interested in displayingthe collection may contact their RegionalTraveling Exhibit Coordinator or SusanCadwallader at Harpers Ferry Center(FTS 925-6214).Bennett's Cedar Breaks NMArtist Cynthia Bennett<strong>COURIER</strong>/May 1987 31
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