ROGER WILLIAMS UNIVERSITY

Providing Context for Ongoing Renovation Efforts

Jonathan Hopkins 12/10/2012

Digging in Newports Queen Anne Square

Final Term Paper AAH 530/560: Newport Seminar Sara Butler, Associate Professor of Art and Architectural History RWU SAAHP Fall 2012

Final Term Paper

Digging in Newports Queen Anne Square Introduction

Jonathan Hopkins

The result of exhaustive efforts by Doris Duke (Fig.1), a preservationist of Colonialbuildings in mid-20th Century Newport, Queen Anne Square (Fig.2) was opened in the mid-1970s as a public park of precisely placed plantings and open space at the foot of the Citys historic Trinity Church (built 172526). 1Located on Thames Street in downtown Newport, the 1.2 acre park has changed considerably from its original design. Through the efforts of the Newport Restoration Foundation, the preservation organization Doris Duke founded in 1968, a renovation of the park has been initiated with a controversial design by world-renowned artist Maya Lin (Fig. 3) as the focus of the project. Change, however, is not new to Queen Anne Square - in fact, change has been, in many ways, the only substantially consistent characteristic of the park over the sites history. In order to get a better understanding of the contemporary renovation efforts for the park, an exploration of the role that the area now known as Queen Anne Square has played in Newports history from the colonial settlement right up tothe present is required. For this, the use of historic maps, atlases, period photographs and other historic resources will be vital for determining a context for evaluating Lins design. Furthermore, a discussion of the process for implementing this project in relation to Doris Dukes intentions for the park is required to get a fuller context. Historic Development of Queen Anne Square The area now known as Queen Anne Square is located roughly 300 yards south of Newports Washington Square the psychological and geographic center of the City. 2 Settled in 1639, Newport

In the end, [Doris Duke] assumed complete control of the project planning, construction, aesthetic decisions, and, most importantly, financial responsibility. History. The Meeting Room: An Installation by Maya Lin (Doris Duke Monument Foundation) http://www.ddmf.org/about/history accessed 12/6/12 2 [The Brick Market] and the Colony House reflect the commercial and civic activity that made Washington Square the heart of colonial Newport. William Gerald McLoughlin. Rhode Island: A History (W. W. Norton & Company, Inc. 1986) p. vii

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began as a colonial village, but eventually became the metropolis of the Colony of Rhode Island and Providence Plantations. 3 Protected inside of Brenton Cove, this area was an ideal location for ports and wharves, which were vital to Newports early maritime economy (Fig.4). 4 With Newport at the forefront, the mid-18th century was New Englands great maritime era 5 a period marked by prosperity and urban development. 6 Thames Street was Newports main commercial thoroughfare running north-south along the harbor. The blocks of Thames Street are short in order to maximize access to the water through side streets that extend eastward - perpendicular to the shore (Fig. 5). At the peak of its mercantile enterprise Newport was occupied by the British during the Revolution an event that decimated the citys economy, population and future prospects. 7 Adding insult to injury, upon the withdrawal of the British in the late 1770s, block after block of Newports urban fabric were burned to the ground. With the exception of Trinity Church, all other buildings on the site of Queen Anne Square bounded by Church, Spring, Mill and Thames Streets were either burned by the British or later demolished in the 1780s by the city due to abandonment. 8 What had been a bustling commercial and residential district in the heart of Newports urban fabric was reduced to rubble. 9 Hope, however, was restored for the citys future by a new economy emerging out of the new nation.

C.P.B. Jefferys. Newport: A Concise History (Newport Historical Society, 2008) p. 15 Thanks to an ideal climate and a magnificent, accessible harbor, the young village grew into affluent maturity. Ibid. 5 1750-1835 [] as New England entered its great maritime era [] Elizabeth Mills Brown. New Haven A Guide to Architecture and Urban Design (Yale University Press, 1976) p. 1 6 Maritime activity provided a solid economic base for the citys growth and development. By the mid-eighteenth century, Newport flourished as one of the most prosperous ports in the colonies and the economic center of Rhode Island. McLoughlin. Rhode Island p. xi 7 At the West end of Washington Square at the head of the Long Wharf stands the Brick Market, a market house constructed in 1726 at the peak of Newports commercial development. McLoughlin. Rhode Island p. vii 8 Being Anglican, however, Trinity Church, was sparred [] Jefferys. Newport p. 39 9 The area has always been a dense urban place even as early as the mid-18th century. History The Meeting Room
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Newports relatively mild climate and strategic location on the water between major metropolitan areas made it a desirable place to vacation for wealthy families from New York, Boston and the American South in the early 19th century. Summer cottages and hotels increasingly developed in the city to accommodate visitors creating a demand for services and commerce, which helped to rejuvenate Newports economy in the wake of its role as a major colonial port being greatly diminished in the aftermath of British occupation. 10 As a result of this new infusion of investment, the city was able to begin the process of rebuilding itself. By 1870, the blocks around Trinity Church had developed more densely then they had been prior to the revolution sporting a mixture of residences, businesses, shops and even a public school building (Fig. 6). However, the outbreak of the Civil War temporarily hampered the growth of the city since a large portion of Newports visitors were Southern families that made their money through slavery. Fortunately for Newport, capital investment in industrial manufacturing, railroads, and speculative real estate development brought a previously unimaginable amount of wealth to the small New England town during its Gilded Age. Still centrally located in the city during the late 19th century, the area now known as Queen Anne Square was an ideal site for commercial stores, affordable housing for workers and small shops along Thames Street, which continued to function as the primary network for commerce in the city (Figs. 7, 8, 9&10). Some Thames Street businesses included a hat store, two grocers, and an ice cream and candy shop, among others, which were oftenlocated in 2-3 story wood frame buildings with tenements in the floors above the shops. The side streets of Church and Mill provided desirable lots for the substantial homes of investors in Newports economy with Frank Street largely acting as a service way giving access to barns, stables and back buildings for the houses on adjacent blocks. George Nason who lived in a two
The antebellum period witnessed the return and rapid expansion of the summer resort industry that had been so successful in the eighteenth century. Visitors in the eighteenth and early nineteenth centuries stated in rooms of houses rented for the season. During the late 1820s and 1830s, this pattern began to change. Hotels were built and real-estate speculators bought large tracts of land [] Jeffreys. P. 44
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and a half story wood frame dwelling at 26 Mill Street in 1893, for instance, also owned 32 Mill Street, which was a 2-story furniture repair shop, in addition to a small carpenters shop located on neighboring Frank Street in the rear of his residential property (Fig. 11). As Newport continued to densely develop in the center through the turn of the 20th century (Figs.12, 13, undeveloped land to the east became more and more desirable for upper class residences leaving already developed property west of Bellevue Avenue for newly arriving workers and more intensive industry. By the mid-20th century, the area now known as Queen Anne Square had clearly undergone a transformation from its mixed-use, mixed-income character to a commercial and industrial district (Fig. 14). 11 The George Nason house at 26 Mill Street had been, by 1950, converted into a rooming house and his rear buildings had been replaced, along with others, by Egans Laundry business (Fig. 15). Spring Street between Church and Frank was preserved through the Trinity Church building and its adjacent cemetery, 12 but the block between Frank and Mill changed dramatically in the 1950s with the demolition of the old brick Coddington School building and the replacement of a row of mixed use buildings with a filling station (Figs. 16&17). The 1960s sawsweeping changes in Newport as federal funding for urban renewal provided a new tool for cities to use in redeveloping areas like the blocks surrounding Trinity Church that had changed in character as a result of industry, demographic shifts and suburbanization (Fig. 18). While Newport emerged from the large scale planning projects of the 60s and early 70s relatively intact, one major change in the city was the creation of Americas Cup Boulevard, which replaced businesses on the west side of Thames Street north of the extended Memorial Boulevard with

11

By the early 1970s, the area now known as Queen Anne Square was a downtown urban space filled with a wide variety of buildings which were mostly commercial, and many of which were of little note. Ibid. 12 Within the boundaries of the block lay historic Trinity Church, almost completely hidden by the surrounding commercial development. Ibid.

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a multi-lane, high speed roadway that effectively cuts the city off from the waterfront (Fig. 19). 1973 proved to be a turning point for Queen Anne Square with the burning down of the Walsh Brothers Furniture Store a substantial 3-story commercial block at the corner of Frank and Thames Street (Figs. 20, 21&22). The Redevelopment Agency in the City of Newport saw the large vacant lot on Thames Streets resulting from the fire and the other abandoned properties as an opportunity for the areas future use as residences, parking and a small park. 13 Designed and constructed between 1974 and 1978, Queen Anne Square was heavily influenced by Doris Duke Newports premiere colonial preservationist. 14 According to the Doris Duke Monument Foundation website, Duke was brought into the project mostly at the urging of Trinity Church with support from other quarters. 15 At the time, Duke was an active member of Trinity Church. Duke envisioned Queen Anne Square as a park surrounded by 18th century buildings. 16 In order to achieve this,
The Redevelopment Agency facilitated negotiating title to all the property in the area bounded by Mill, Thames, and Church Streets up to the existing church property. Land was also acquired on the north side of Church Street, as was a lot on the south side of Mill Street. Five 18th and early 19th century buildings were moved to lots adjoining the park. Trinity Church also built a new multipurpose building designed to blend with the period buildings in the area. Doris Duke was on site of the time as the park took shape. Trees of all sizes came in by the flat-bed truck loads, and she directed the placement of each one. According to back-hoe operators at the job, they would be held to near dark, changing tree locations and orientation two and three times. Boulders were craned into place, and if something about them did not meet her standards, they were taken away. 17

Some of these structures were largely abandoned. History The Meeting Room 14 Between 1974 and completion of the project in 1978, the NRF design staff, heavily influenced by Miss Duke, created the final plan for the square. History The Meeting Room 15 Ibid. 16 Ibid. 17 Ibid.

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The result of these efforts was the creation of a new public green space on the site of a declining commercial area in the center of Newport (Fig. 23). 18One notable characteristic of this project is that it effectively created a village green for a religious institution, which is in opposition to Rhode Islands founding and guiding principle of religious tolerance and a separation between public life and religious institutions. 19Originally, the park functioned as a landscape of precisely placed plantings and trees, but by the mid-1980s, a new system of paved paths reflected the circulation needs of visitors and passersby (Figs. 24&25). However, despite these changes the park has not seen the active use and maintenance envisioned by its creators. 20Therefore, in celebration of what would be Doris Dukes 100th birthday, the Newport Restoration Foundation has commissioned Maya Lin to renovate and redesign the park. Evaluating the Design Maya Lin - best knownfor her competition-winning design for the Washington, D.C. Vietnam Veterans Memorial when she was only 21 years old 21 was, according to the Newport Restoration Foundation, chosen for her skill in creating artistic and architectural installations sensitive to the

By the 70s, it was only minimally used compared with its long history of commercial vitality in the heart of the city. Ibid. 19 Prior to Queen Anne Square, the only Town in Rhode Island that contained religious institution on the public green was Bristol, which was originally was part of Massachusetts. In line with Williams ideas on religious liberty, his colony of Rhode Island became a sanctuary for religious dissenters, both Christians and Jews. Williams eventually obtained a charter for the Rhode Island colony from King Charles II of England. This fundamental law of 1663 provided for separation of religion and government and freedom of conscience. It was the most extensive guarantee of religious liberty for individuals that had been achieved anywhere in the world of the seventeenth century. John J. Patrick and Gerald P. Long, eds. Constitutional Debates on Freedom of Religion (Greenwood Publishing Group, 1999) p. 3 20 [] a less than beloved park (the current site has been littered upon and neglected. Kelly Chan. Maya Lins Proposal for Commemorative Park Sparks Controversy Architizer News (November 22, 2011) 21 Though a sculptor by training, Lin is widely recognized for winning the public design competition for the Vietnam Veterans Memorial, beating out well over a thousand entries. At a mere 21 years in age and still finishing her undergraduate degree at Yale University, the young artists was stunned when her simple yet highly contextual black granite design was chosen for construction, tapped to join the ranks of Americas iconic monuments. Ibid.

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context of the site. 22Queen Anne Square seems the natural place to honor Doris Dukes preservation efforts in Newport since it represents one of [her] most significant public works [...] 23The redesign for Queen Anne Square dubbed The Meeting Room has a dual purpose [] to honor the memory of Doris Duke [] and as a tribute to the effect of historic preservation as a catalyst for community revitalization. 24To achieve this, the design focuses on reassembling stone foundations that form outdoor rooms representing the scale of and type of materials used in Newports historic houses (Fig. 26). 25 Lins interest lies in the communicating the sites history through this new art installation. As Lin states,
I am excited and honored to be creating a work at the center of historic Newport. My interest in time, memory and history originally drew me to learn about the rich history of this area and discover the structures that once existed at this site. To be able to create a landscape that reveals the historic aspect of Queen Anne Square in which these physical structure, some of which have stood here for 300 years, hold the history of the people who lived and worked there through time, is an important aspect to me and the project. The design is about sharing these spaces with the public. The foundations are created from reclaimed stones that were once part of historic homes. In doing so, we are building foundations that represent home, family and community through history. I image it to be a place where people gather together and also can 26 reflect upon how Doris Duke helped preserve so many of these significant houses.

In addition to new stone foundations, the design incorporates a new system of walking paths, and new tree plantings selected specifically for the site (Fig. 27). 27 It is important to determine if the stated intent of the design is, in fact, an appropriate honor for Doris Duke and if the new installation relates adequately to the history of the site. Significant changes to Dukes design were already made in the 1980s with the creation of a paved path system in what had previously been entirely a green space (Fig. 28). Dukes precisely placed
22 23

About. The Meeting Room Ibid. 24 Ibid. 25 Ibid. 26 Ibid. 27 New tree plantings were chosen based on native species that historically grew in Newport. The height of trees is designed to allow a view across the park, and crucially, of historic Trinity Church, a city landmark which sits at the top of the park. Ibid.

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tree plantings, however, do remain to this day. Lins redesign calls for the removal of nine mature trees on the site, and a reworking of the network of paths from linear to curvilinear (Fig. 29). Maintaining the view lines to Trinity Church and winding paths definitely align with Dukes desire to highlight the Newport landmark and create an organized landscape that is functional for the public. The removal of trees, however, certainly seems a peculiar homage to Duke considering the immense thought that was put into their original placement. 28 Furthermore, while the idea of foundations suggests the history of the site, the creation of Queen Anne Square was meant to remove the history of the site and create a new space in the city that related to Trinity Church and the 18th Century colonial housing of the city. The shallow stone foundations are placed where colonial residences once stood, which in a way does also tie into Dukes intent for the site, although not in the way she originally envisioned it. As an honor to Doris Duke, the new design succeeds in its relation to 18th century colonial houses, its maintenance of most of the existing trees, and its curvilinear paths, but it falls short in the removal of trees, and the semiinhabitable new construction within the green space of the park. Like the homage to Duke, the designs intent of connecting to the sites history is only occasionally successful. The stone foundations are meant to identify the location, scale and material of foundations of 18th century colonial residences. This area as a site for residences and 18th century buildings is only a small part of the history. By the mid-18th century, Newport was at the height of its colonial maritime commercial development with Thames Street at its heart and the blocks of Church, Frank and Mill fully integrated into the dense, built up urban fabric of the city. The new design completely ignores this side of the 18th century history. Furthermore, the site was largely rebuilt in the 19th century with the addition of small shops, a large public school building, a mix of housing and even a
28

Anne Joslin was a tour guide at Dukes mansion for a decade. She says [] [Doris Duke] created Queen Anne Square as an artistic rendition of exactly what she wanted. She brought trees from her home in New Jersey, she brought boulders from her home in Newport, she laid it out as a village green. Everyone was delighted. Megan Hall. RI Artscape the battle over Queen Anne Square Citizens for Queen Anne Square Park (November 24, 2011)

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firehouse. Even the 20th century saw the addition of industrial scale buildings like the Egans Laundry business. This character of the site is completely ignored in the new design. Rather than telling the entire history of the site, Lins foundations tell only a certain story focused around a few modest houses of the colonial era. Although the new design does maintain many of Dukes existing plantings, relate to her admiration of colonial housing, and retain some of the characteristics of the 1980s path system, the design completely overlooks the sites commercial, and late-19th and early 20th century history. Lins design falls short of communicating the history of the site to the public by highlighting some aspects of the site and not others, which results in an incomplete story. One area that the design completely fails in is its intent to present preservation as a catalyst for community revitalization. The construction of stone foundations using the stone remains of historic Newport buildings borders on a reconstruction project, which is guided by the Secretary of Interiors Standards for reconstruction. According to the standards, reconstruction will be based on the accurate duplication of historic features and elements substantiated by documentary or physical evidence [] a reconstruction will be clearly identified as a contemporary re-creation [and] designs that were never executed historically will not be constructed. 29Two issues with the new stone foundations are that they are not accurately being reconstructed in that they are designed to be handicapped accessible and shallow for use as seating. Secondly, the use of historic stones may give the wrong impression to visitors that the foundations are remaining on the site from colonial times, which is not accurate. The new construction will have to be clearly identified as an art installation on site to ensure it is not misunderstood by the public. On the topic, Lin states that, Newport does have a very storied past, and I want to tap into that. Are we trying to recreate it? Absolutely not. That would be Disney World, and I

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Secretary of the Interiors Standards for Reconstruction National Park Service website http://www.nps.gov/hps/tps/standguide/reconstruct/reconstruct_standards.htm accessed 12/7/12

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dont do that. But I always do try to be extremely contextual in my work. 30While there is significant new construction that rides the line of reconstruction, ultimately the design is an art installation that is difficult to judge at an objective level. Most troubling about the redesign of Queen Anne Square, however, has been the public process surrounding the project. For a design that is meant to revitalize the community around the square, there has been an enormous amount of public opposition and dissatisfaction. 31By directly commissioning Maya Lin to design the renovation for Queen Anne Square, the Newport Restoration Foundation circumvented the public, resulting in a project that could only be cosmetically changed through subsequent meetings and hearings. 32The public process surrounding the project begged for a better model to incorporate the city residents, especially for a design that aims to exemplify the unifying and rejuvenating effects of preservation work. Conclusion The area now known as Queen Anne Square has changed significantly over the centuries. What began as a developing series of blocks south of Washington Square shortly after the colonys founding in the mid-17th century and grew into a mixed-use commercial area highlighted by Trinity Church, then later faced destruction by British troops during occupation and rebuilt itself around the surviving Trinity Church - continuing the area commercial role in the city was, by the mid-19th century, a densely developed series of urban blocks full of residences, artisan studios, small shops, manufacturers, and civic
30 31

Chan. Architizer News A proposed park redesign by famed architect Maya Lin has prompted a backlash among Newport residents who say it doesnt fit the citys historic character and hasnt been thoroughly enough debated. [] One city councilman calls Lins design a travesty and says he has been swamped with calls from residents opposing it. News Staff.Maya Lins proposed redesign of Newport park prompts backlash Providence Journal (November 16, 2011) 32 Yet some worry about the park not having enough comfortable seating (suggesting more traditional benches instead) [] though the original proposal has been modified and scaled back to appease some of these local responses (including the addition of seating with backs), Lin defends the integrity of her project [] Chan. Architizer News

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buildings. The next century proved difficult for the site, however, as stores closed, businesses burned and once stately houses were subdivided into rooming buildings. The most dramatic change in the area was the creation of a public park Queen Anne Square - over the remains of this once bustling commercial district. In the colonial maritime era, the role of this area had been to provide valuable land near the active ports of the Newport harbor for mercantile enterprises and residences. The 19th-century saw the rise of an economy geared towards speculative real estate development, commercial retail, and manufacturing. By the mid-1970s, the role of Queen Anne Square was to provide Newport residents with better housing options facing a public green at the foot of one of its iconic colonial buildings Trinity Church. Now, in 2012, another change is occurring by once again constructing on the site in the hopes of better accommodating the public and encouraging a more active use of the park. Maya Lins design for the Queen Anne Square renovation project would have benefitted from some key changes to the design and scope of research in order to better meet the goals of the stated design intent, which included memorializing Doris Dukes preservation efforts in Newport, revitalizing the community around the park and connecting to the sites history. First, all of Doris Dukes carefully placed plantings that remain on the site should be maintained as an indication of Dukes original design intent for the park. Second, if stone foundations are to be constructed, they should relate to structures that existed throughout Newports history not only its colonial residences, but also maritime commerce, small 19th century industries and shops, and 20th century buildings. Third, it is imperative to include the public in the planning of the project if their acceptance of the project is desired. For a site that was once privately built by individuals who were Newport residents, then given over to the general public as a park, the process by which Queen Anne Square has been removed from their control in order to execute the current renovation project has been dissatisfactory. The Newport Restoration Foundation has completed the work of cutting Newport residences off from Queen Anne Square that began withthe construction of Americas Cup Boulevard. As the Washington Square Roots initiative demonstrates, it is Page 12 of 31

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possible, and actually preferable, to bring the public into the discussion about planned projects at the beginning. 33 This results in projects that are generated from the needs of residents. Once projects are identified through a public design charrette process, then a public design competition can be held as it was for the Vietnam Veterans Memorial. A hybrid elected and appointed board can then select the most appropriate design and allow the professionals to execute their winning design. 34The alternative is the dysfunctional system used for developing the Queen Anne Square renovation in which the project is privately planned, the designer is privately commissioned, and then the public is brought in afterwards to give the appearance of transparency and inclusion. This is an inadequate process that remains from the 1960s and 70s when disparate opposition was organized into coordinated protesting against topdown decision-making. For most of American history, government was a relatively weak force in everyday life, and civic art was often the result of private donation from a wealthy individual or a special interest group and was not subject to public scrutiny. 35 However, by the mid-20thcentury, municipalities had gained significant control over private property rights in the form of zoning ordinances. 36Furthermore, federal funding in the immediate post-WW2 era gave enormous capabilities

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After an evening of community value setting (identifying what is most important to us) on Friday night, and a day of workshops (small groups discussing projects, design, and implementation) on Saturday, the Washington Sq. Roots Charrette Committee, along with the professional facilitator, will put together a report to the community, and City Council. This report will be our recommendation to the city and community for future development in Washington Square. Washington Square Community Charrette (Washington Square Roots Initiative) http://rwu.edu/sites/default/files/downloads/advancement/wsccharrette_-_oct_19__20_-_info__registration.pdf accessed 12/2/12 34 When regulators are appointed, regulatory policy becomes bundled with other policy issues the appointing politicians are responsible for. Because voters have only one vote to cast and regulatory issues are not salient for most voters, there are electoral incentives to respond to stakeholder interests. If regulators are elected, their stance on regulation is the only salient issue so that the electoral incentive is to run a pro-consumer candidate. Using panel data on regulatory outcomes from U.S. states, we find new evidence in favor of the idea that elected states are more pro-consumer in their regulatory policies. Timothy Besley and Stephen Coate.Elected Versus Appointed Regulators: Theory and Evidence Journal of the European Economic Association Vol. 1, No. 5 (Sep., 2003) p. 1176 35 In this era, City Hall was marginal to economic life [] it maintained infrastructure and improved it modestly. Douglas W. Rae. City: Urbanism and Its End (Yale University Press, 2003) p. 203 36 Zoning is the most pervasive and familiar form of local government control over land use. In a zoned legal regime, land is divided into geographical districts or zones pursuant to local ordinance; municipal regulations then

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to local government agencies, which was used to enact large scale urban planning projects. Eventually, protests against the Vietnam War and other social movements began to reform these large efforts and, in some cases, put an end to them. In the planning community, the result was to keep the traditional model of top-down planning, but with a new public process aimed at giving the appearance of public input, which could lead to, at best, cosmetic changes to project. Fully realizing the reform efforts of the 60s in the form of a grassroots, publically-generated project planning process followed by a design competition overseen by a hybrid board of panelists is long overdue. Future planning initiatives in Newport would benefit from an approach more like the model used for Washington Square than for Queen Anne Square.

specify the types of land use permitted within each zone [] These regulations, together with municipal regulations governing location of streets and other features of the urban infrastructure, provide public control over most salient aspects of development. Andrew J. Cappel. A Walk along Willow: Patterns of Land Use Coordination in Pre-Zoning New Haven (1870-1926) The Yale Law Journal Vol. 101, No. 3 (Dec., 1991) pp. 617-618

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Figures
Figure 1Doris Duke, 1944 University Archives (Duke University Libraries)

Figure 2Aerial View of Queen Anne Square Google Earth (Google Corporation, 2012)

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Figure 3Maya Lin, 2011 Providence Journal (November 16, 2011)

Figure 4Newport in 1758Ezra Stiles Map of Newport, August 1758 (Redwood Library and Athenaeum)

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Figure 5Newport in 1777 A Plan of the Town of Newport in Rhode Island surveyed by Charles Blaskowitz (Will. Faden, CharingCrofs; Sept. 1, 1777)

Figure 6Newport in 1870 Newport, Rhode Island State Atlas 1870 (Historic Map Works)

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Figure 7Newport in 1884 Sheet No. 8; Newport, Rhode Island, 1884 (Digital Sanborn Maps 1876-1970)

Figure 8Newport in 1891 Sheet No. 8; Newport, Rhode Island, 1891 (Digital Sanborn Maps 1876-1970)

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Figure 9Newport in 1893 Plate J (Index Map of Newport, RI; 1893)

Figure 10Newport in 1896 Sheet No. 8; Newport, Rhode Island, 1896 (Digital Sanborn Maps 1876-1970)

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Figure 11Table of Queen Anne Square Properties 1884-1953 (Created by author)

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Figure 12Newport in 1903 Sheet No. 10; Newport, Rhode Island, 1903 (Digital Sanborn Maps 1876-1970)

Figure 13Newport in 1921 Sheet No. 9; Newport, Rhode Island, 1921 (Digital Sanborn Maps 1876-1970)

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Figure 14Newport in 1939 Rhode Island State Aerial Survey (RIGIS)

Figure 15Newport in 1950 Sheet No. 10; Newport, Rhode Island, 1950 (Digital Sanborn Maps 1876-1970)

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Figure 16Newport in 1951 Rhode Island Aerial Survey (RIGIS)

Figure 17Newport in 1953 Sheet No. 10; Newport, Rhode Island, 1953 (Digital Sanborn Maps 1876-1970)

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Figure 18Newport in 1962 Rhode Island Aerial Survey (RIGIS)

Figure 19Newport in 1972 Rhode Island Aerial Survey (RIGIS)

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Figure 20Newport Aerial, pre-1973 The Meeting Room (Doris Duke Monument Foundation)

Figure 21Future location of Queen Anne Square, pre-1975 NewportRI.com/

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Figure 22Aerial View of Queen Anne Square, pre-1975 NewportRI.com/

Figure 23Queen Anne Square 1975-77 NewportRI.com/ (John Hopf)

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Figure 24Newport in 1981 Rhode Island Aerial Survey (RIGIS)

Figure 25Newport in 1988 Rhode Island Aerial Survey (RIGIS)

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Figure 26Queen Anne Square proposed model NewportRI.com/

Figure 27Queen Anne Square proposed aerial view NewportRI.com/

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Figure 28Queen Anne Square today NewportRI.com/ (Sean Flynn)

Figure 29Queen Anne Square renovation before and after NewportNow.com/

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Jonathan Hopkins

Sources Cited

A Plan of the Town of Newport in Rhode Island surveyed by Charles Blaskowitz (Will. Faden, CharingCrofs; Sept. 1, 1777) Ezra Stiles Map of Newport, August 1758 (Redwood Library and Athenaeum) Google Earth (Google Corporation, 2012) Newport, Rhode Island State Atlas 1870 (Historic Map Works)http://www.historicmapworks.com/ accessed 12/7/12 Newport, Rhode Island (Digital Sanborn Maps 1876-1970) http://sanborn.umi.com/ accessed 12/7/12 -Sheet No. 10; 1903 -Sheet No. 10; 1950 -Sheet No. 10; 1953 -Sheet No. 8; 1884 -Sheet No. 8; 1891 -Sheet No. 8; 1896 -Sheet No. 9; 1921 NewportNow.com/ (Island Communications, 2011) http://www.newport-now.com/ accessed 12/7/12 NewportRI.com/ (Edward A. Sherman Publishing Co., 2011) http://www.newportri.com/ accessed 12/7/12 Providence Journal (Providence, RI)http://www.providencejournal.com/ accessed 12/7/12 Rhode Island State Aerial Survey (Rhode Island Geographic Information System)http://www.edc.uri.edu/rigis/data/imageryBaseMapsEarthCover.html accessed 12/7/12 -1939 -1951-52 -1962 -1972 -1976 -1981 -1988 University Archives (Duke University Libraries) http://library.duke.edu/uarchives/ accessed 12/7/12 Washington Square Community Charrette (Washington Square Roots Initiative) http://rwu.edu/sites/default/files/downloads/advancement/wsccharrette_-_oct_19__20_-_info__registration.pdf accessed 12/2/12 Besley, Timothy and Stephen Coate.Elected Versus Appointed Regulators: Theory and Evidence Journal of the European Economic Association Vol. 1, No. 5 (Sep., 2003) pp. 1176-1206 Brown, Elizabeth Mills. New Haven A Guide to Architecture and Urban Design (Yale University Press, 1976)

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Final Term Paper

Digging in Newports Queen Anne Square

Jonathan Hopkins

Cappel, Andrew J. A Walk along Willow: Patterns of Land Use Coordination in Pre-Zoning New Haven (1870-1926) The Yale Law Journal Vol. 101, No. 3 (Dec., 1991) pp. 617-642 Chan, Kelly. Maya Lins Proposal for Commemorative Park Sparks Controversy Architizer News (November 22, 2011) Hall, Megan. RI Artscape the battle over Queen Anne Square Citizens for Queen Anne Square Park (November 24, 2011) Jeffeys, C.P.B. Newport: A Concise History (Newport Historical Society, 2008) McLaughlin, William Gerald. Rhode Island: A History (W. W. Norton & Company, Inc. 1986) Newport Restoration Foundation. The Meeting Room: An Installation by Maya Lin (Doris Duke Monument Foundation) http://www.ddmf.org/about/history accessed 12/6/12 News Staff.Maya Lins proposed redesign of Newport park prompts backlash Providence Journal (November 16, 2011) Patrick, John J. and Gerald P. Long, eds. Constitutional Debates on Freedom of Religion (Greenwood Publishing Group, 1999) Plate J; Index Map of 1893 Newport, RI Historic Map Works Rae, Douglas W. City: Urbanism and Its End (Yale University Press, 2003) Secretary of the Interiors Standards for Reconstruction National Park Service website http://www.nps.gov/hps/tps/standguide/reconstruct/reconstruct_standards.htm accessed 12/7/12

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