Learning in Stages

Yesterday, we continued to learn how to document buildings from expert Ed Chappell. This time, the group project was to measure and then draw an elevation of Barry Pittman's fish stage. Since an elevation is a representation of the complete view of one side of a building, creating one involved a great deal of exploring the stage in order to get the correct measurements and drawing on paper, from banding together to measure beams from a precarious floating dock to crawling underneath the stage to fill in all of the rocks that form part of the foundation that keeps the stage above water.

Barry Pittman's stage. Photo by Klara Nichter.

Ed Chappell, Wang Xuan, Christine Blythe, and Kayla Carroll work on measuring the stage. Photo by Klara Nichter.

The reason that we should still learn to draw an elevation of a building rather than just take a picture of the same view, we learned, is that measuring and drawing the building leads to a greater understanding of it. As I scooted slowly along the edge of the fish stage, shepherding the tape measure from pole to pole, I began to experience the difference myself. I had taken photographs of the stage, but it was not until I was on the stage to measure it that I really stopped to consider the distinctive nature of this structure. The striking combination of the poles at the front of the stage, fashioned from logs still rough with bark, and the smooth boards of the deck where I worked led me to reflect on the particular makeup of the fish stage, a new structure that mirrors past stages in Quidi Vidi due to its construction using the traditional design. Though there are many new buildings in the village, the old ways appear to be alive and well right alongside them in the form of stages such as the one we documented.

The front of Barry Pittman's stage. Photo by Klara Nichter.

Buildings, Memories, and Tradition

On Monday afternoon, Anne Barnes chatted with John LaDuke and I about how Quidi Vidi has changed over the years. One site across from her house has gone from fish plant to restaurant to vacant building. Another has become the Quidi Vidi Village Plantation building, where field school classes take place and tourists seem to flow constantly in and out throughout the day as they explore the village. The number of residents is also increasing as Quidi Vidi becomes known as much for its beautiful views now as it was for its fishing industry in the past.

Later that afternoon, Ed Chappell, the director of architecture and archaeology at Colonial Williamsburg, Virginia, led us on a tour of Quidi Vidi's architecture. When we arrived at the Hennebury house, which may have been built as early as 1749, we found surprisingly little physical evidence of its history. The structure of the original house remains, but vinyl siding now covers the exterior while modern walls inside mask the original exposed timber. The house's past was not lost, however, as Eric Sneilgrove was able to tell us about the house's construction prior to its renovations in great detail. The root cellar might now be part of a modern a basement, for instance, but Sneilgrove told us how this basement space used to serve as the original cellar and housing for a pony.

Eric Sneilgrove shows us the house's original root cellar (through the blue door). Photo by Klara Nichter.

Ed Chappell points out the details of the basement wall. Photo by Klara Nichter.

When we continued on our tour, we found more evidence of residents' preservation of Quidi Vidi's historic architecture. Although Mallard Cottage, another of the village's earliest buildings, no longer features solely historic architecture either, its owner is in the process of reconstructing it as faithfully as possible to its original design. Likewise, local heritage carpenter Aiden Duff is currently working on restoring his home, originally the village church. Items such as the materials and bright red paint used to construct the new church steeple might be new, but the resulting structure mirrors the original architecture of the church.

Aiden Duff's workshop (red building) and home (the church).Photo by Klara Nichter.

By the end of the tour, it was apparent that although Quidi Vidi is changing in many ways, its residents are also taking steps to preserve its heritage. Whether through the memories of those who inhabit its historic structures or through the reconstruction of the buildings themselves, Quidi Vidi's history lives on alongside its new developments.

The Buildings of Quidi Vidi

Christ Church (right), currently owned and being restored by heritage carpenter Aiden Duff. Duff's workshop (right) was built 10 years ago following traditional Quidi Vidi architectural styles. 

I have a deep attraction to historic buildings, their stories, and people’s interactions with them. I love old structures and I personally dream of buying a dilapidated 18^th or 19^th century home that I could restore to its former glory with the use of antique hand tools, sweat, and deep contemplation. At the same time, I often find myself asking, ‘Why?’ Does an old building really possess some special importance that new structures lack?  As I reflect upon these questions, I become increasingly aware of the ways in which others interact with their own spaces - both old and new – and the choices they make regarding their dwellings.

 

Mallards Cottage (circa 1820-1840)

Quidi Vidi is the perfect place in which to engage with such issues. The village is a mismatch of both historic and contemporary buildings. It contains very old examples – one possibly dating to as early as 1749 – as well as brand new structures and everything in between. Interestingly, however, many of the oldest buildings contain few traces of their former selves. Their wooden siding has, in some examples, been replaced with vinyl. Original windows have been swapped out for more efficient variations, and exposed timbers covered over.  At the same time, there are multiple new buildings that were constructed to reflect traditional styles. Some are even built as replicas of buildings that are now gone. Furthermore, two of the community’s oldest structures – Christ Church and Mallard Cottage – are currently undergoing careful restoration aimed at maintaining their historic appearances. 

A modern looking house with surprisingly old roots. This building may have been built in 1749 as a military hospital. 

Fortunately for me, two of the central themes of the Quidi Vidi field school include people’s use of built spaces, and changes to structures over time. As such, I will have the opportunity to further address such themes.  Today, the architectural component of the field school kicked off with the arrival of Ed Chappell, the director of architecture and archaeology at Colonial Williamsburg in Virginia. For the next week we will be lucky enough to have him teach us about the importance of buildings, their uses, and the ways in which they change or stay the same. I keenly look forward to the opportunity to explore Quidi Vidi’s vernacular architecture, hear what other people find to be important, and explore the various ways in which the residents of the village use their spaces.

Photos From My Wanderings: A Guest Post by Lisa

Dr. Pocius and Guha Shankar (guest lecturer) prepare the equipment for our staged interview with China Snow. 

The amazingly knowledgable China Snow engages Dr. Pocius with information around the local fishery. 

During an oral history with Peggy, she rifles through old papers she has collected on life in QV over the years.

Peg, now in her 90s,  pulls out an old photograph of her daughter when she was just a toddler. 

Residents Greg Walsh, Eric Sneligrove and Aiden Duff take a moment to pose for a photograph.

Aiden Duff, a heritage carpenter, stands back to reflect on his day's work.

Ignored objects in QV, found along the path behind the Sneligrove's place (known as "the lane way.") 

In the Ring house, one can learn about the importance of displaying family achievements. 

The home can also be a place for demonstrating faith and nostalgia (I like the archival photograph of the Newfie Bullet on the wall). 

The brick interior of the Barnes' shed, with his important nautical-themed objects scattered about. 

Johnny Barnes, always agreeable and willing to pose, holds up some ephemera from his personal collection.