We acknowledge the Tutelo/Monacan people, who are the traditional custodians
of the land on which we work and live,
and recognize their continuing connection to the land, water, and air that Virginia Tech consumes.
We pay respect to the Tutelo/Monacan Nations, and to their elders past, present, and emerging.
This session is about transitioning from classroom images to supporting digital humanities.
It has been several years since I have developed a teaching collection,
but my position in Virginia Tech Libraries has always involved archival collections and
a division head encouraged me in the direction of digital humanities, so the transition was natural.
One archival project was to scan and catalog the collection of slides by Leonard Currie
given to the library by his daughter after he died.
The collection was important because Currie was a significant figure in
the history of Virginia Tech, where he headed architecture from 1956 to 1962.
Beyond Virginia Tech, scholars of international development are interested in Currie’s work with
low-cost housing in Latin America in the 1950s. For this conference,
Currie’s 20 years with the University of Illinois at Chicago might be of interest.
The photo shows Currie on top of the John Hancock Building in Chicago in 1969,
the year before it was completed. He was touring the building with Fernando Belaúnde,
who was an architect and the recently deposed president of Peru.
Last year my colleague Wen Ng and I began planning physical exhibits of our collections for
the library and complementary exhibits online. Wen created their online exhibit in Artsteps,
where visitors can walk though virtual galleries with pictures on the walls.
The display on the left shows part of the Currie exhibit.
The images are linked from Omeka. Clicking on a picture shows information from the Omeka record.
I used WordPress to cover highlights of Currie’s career.
The site doubles as a guide to the contents of the public collection in JSTOR Forum.
Cataloging the slides and doing research for an exhibition are parts of the same process.
Each enriches the other. Our initial sources of information for cataloging are Currie's notes on
slide boxes, tray dividers, and slide mounts. The notes lead to bibliographic and online sources.
Having done research for the exhibition, we have a clearer understanding of the topics
the slides illustrate and are able to improve our catalog records with information we discovered.
We developed a feel for Len’s life and became attached to him as a person.
We’ll leave an objective assessment of his place in history to others.
The earliest slides are from the 1940s. Currie used the same format on the mounts
his entire life--a geographic hierarchy, a brief description, and often a date.
The location notes provide geographic organization for the digital collection.
Our first step in cataloging is to transcribe the notes onto the record. We complete the
cataloging later, using the digital image, without needing the physical slide. During the pandemic,
while my students and I have been working remotely, the transcriptions have been invaluable.
In addition to Currie's notes, we include the processing batch and slide number
stamped by the processing lab. On the slide shown here, they are in red on the bottom. This
information helps us to group slides and establish the shooting sequence. It also gives us the month
and year the slides were processed, which we use for the date if Currie doesn’t provide one.
The transcriptions help us find subjects, names, and places when we catalog. They are
especially useful when related slides are dispersed among different boxes.
Last year, a local history buff in Colombia found Currie’s pictures online
and asked if we had more pictures of the market in Sogamoso, Boyacá, and other subjects.
By searching for terms and abbreviations in the transcriptions
I found images we hadn't cataloged, then prepared and published them for him.
Currie's notes on slides were for his own reference and at times require deciphering.
For people, he usually wrote the last name with only an initial.
During our research for the exhibition, we often ran across the full names.
We could then apply authority names from the Library of Congress or Getty, when available.
Jacob Crane, on the right in this picture, and Anatole Solow, behind the camera,
worked for United States planning and housing agencies and were foundational figures in
low-cost housing projects for developing regions. They were the prime movers behind
the formation of the Inter-American Housing Center in Bogotá that Currie directed from 1951 to 1956.
I’ll now sketch out Currie’s career with a few selections from the WordPress site.
Currie studied with Walter Gropius and Marcel Breuer during their first year of teaching
together at Harvard. He graduated in 1938, then taught and practiced architecture with Gropius.
On the left are Currie’s drawings of the Hagerty house by Gropius and Breuer, which was their first
collaboration. On a slide mount, Currie credited Breuer with the design. He later said that he
learned teaching and administration from Gropius and design from Breuer.
On the right are photographs of the Mayan ruins at Copán in Honduras.
Currie’s lifelong engagement with Latin America began there with a Harvard traveling fellowship
to participate in the Carnegie Institute’s excavation and restoration of the ruins.
In 1951 Currie was hired as the founding director of the Inter-American Housing Center (CINVA)
in Bogotá, Colombia, which was an Organization of American States program
to alleviate the severe housing shortage for the working poor
in Latin America. CINVA provided hands-on graduate education to students from across Latin America
and conducted research in planning, housing, and innovative construction methods.
The focus was on aiding communities to build their own, low-cost housing.
The program had far-reaching impact in international development beyond Latin America.
Currie considered his work there to be the most important of his career.
The CINVA building now houses the National University’s graduate
architecture department. I uploaded a few of Currie’s 1950s slides
of the building to Google Maps, where they have had over 5,000 views as of last week.
Currie moved to Blacksburg, Virginia, in 1956 to head the architecture department at Virginia Tech.
He designed a house for his family with a mountain view on a ridge in Blacksburg.
He emphatically departed from the nostalgia for Colonial Williamsburg that proliferated in
Virginia’s housing construction, a phenomenon that Currie called the “Williamsburg blight”.
His concept drawings show a flying saucer descending from the sky and landing on a post
to form the roof. The actual roof was supported by wooden beams that cantilevered outward
from the service core, which housed a fireplace, bathrooms, plumbing, and heating conduits.
The design, with minimal support around the perimeter,
allowed for large areas of glass, including a glass wall overlooking the mountains.
Bricks for the house were recycled from a local building.
Currie’s view of modernism incorporated regional history, but not nostalgia for a glorified past.
The house won national recognition in 1963 with an AIA Honor Award for Custom Built Houses.
In 1962, Currie left Virginia Tech to become founding dean of the College of Architecture
and Art of the University of Illinois at Chicago. A few years later, he rehabilitated a derelict
1860s house on West Lexington Street in the Little Italy neighborhood. The pictures on the left
show the original condition. The right shows the house after work was complete.
His alterations to the porches were in keeping with the original style.
Along more modern lines, he updated the bathrooms and added domed, polymer skylights to the roof.
Currie’s rehab of an old house ran against current attitudes, which were unfavorable to architectural
preservation. This was the era when Adler and Sullivan’s Old Stock Exchange Building was razed,
despite the efforts of Currie and others to preserve it.
The City of Chicago’s view of urban renewal was wholesale demolition, including the controversial
leveling of a Greek neighborhood to make room for the university campus.
The success of Currie’s house, however, led to the revitalization of Little Italy.
The old houses along West Lexington street are still there and well kept.
Currie retired from academia in 1982 and returned to Blacksburg, where he built Blacksburg’s first
solar house. His wife, Virginia, who was also educated as an architect, designed the interior.
This photo of her on the sun porch was taken by long-time friend, Sally Harkness of the
Architects Collaborative. Along with the new technology of solar panels on the roof,
Leonard incorporated historic details in the exterior. The views on the right show
a gateway salvaged from demolition in Chicago, a fragment of decorative tile by Frank Lloyd Wright
from his Francis Apartments in Chicago, and a Pre-Columbian stone warrior.
Currie retired from academia, but never from architecture. In Blacksburg, he designed custom
houses and took on work for businesses. On Friday mornings he held a pro-bono clinic for people
who could not afford an architect, which was his contribution to addressing poverty in Appalachia.
In this photo, taken in 1996, near the end of his life,
he is referring to an article about the ecological history of Mexico City.
Thank you!