Post on 03-Apr-2015
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Graffiti and
Color Matching in Historic Districts
Anthony DelRosario
Historic Preservation Law Seminar
Professor Lloyd Shields
Master in Preservation Studies
Tulane School of Architecture
1 4LAW 4930 - Historic Preservation Law Seminar - Lloyd N. Shields – November 9, 2010
Anthony DelRosario – Master in Preservation Studies - Tulane School of Architecture
Graffiti Background
Modern graffiti has existed for over one hundred years ranging from rail riders
marking boxcars to World War II soldiers writing “Kilroy was here” to gangs establishing
territory to youth in New York City during the 1970s and 1980s creating a new street
culture. When one thinks about graffiti today, one usually pictures the spray paint
designs that the street culture of New York City made famous. These pieces were often
designs of the graffiti writer’s name in large elaborate letters. However, not all graffiti is
self-promotion nor created with aerosol paint. Some graffiti is used to make a political
statement or an intimidating statement. Graffiti can be created with numerous materials
including stencils, markers, stickers, wheatpastes, glass etchers, and tile. In recent
years, a new term, “street art,” has been used to describe graffiti with a broader artistic
appeal. Whatever the message and whatever the material, graffiti is usually unwanted
by the owner of the property upon which the graffiti is found and thus considered
vandalism.
Currently, graffiti is found in almost all large urban areas. Industrial or
commercial buildings are often targets in cities. However, the problem of graffiti is no
longer limited to inner cities nor limited to non-residential buildings. One may find graffiti
along sound walls found along highways in the suburbs or on a house in a historic
neighborhood of an old city such as Boston, Philadelphia, St. Augustine, Savannah, or
Charleston. Some graffiti can be attributed to gangs marking their territory, but most is
due to youths “tagging” their names.
2 4LAW 4930 - Historic Preservation Law Seminar - Lloyd N. Shields – November 9, 2010
Anthony DelRosario – Master in Preservation Studies - Tulane School of Architecture
Locally, graffiti could be found on electrical boxes to garbage cans to sound walls
and barriers along the interstates. Since Katrina, there has been a rise in graffiti that
has followed the rise in empty buildings. Two buildings on Canal Street, the Texaco
building and the Grand Palace Hotel, are large empty structures that have very
prominent graffiti seen from Interstate 10.
Graffiti has been making news in New Orleans since at least 1997 when
Operation Clean Sweep was first created by former United States Marine Fred Radtke
as a crime reduction program. According at an article in The Times-Picayune from
1997, Radkte stated that “that if graffiti is ignored, it can lead to a sense of lawlessness,
destroy property and a neighborhood's morale, and invite more serious crime.”
(Pompilio). Another article from The Time-Picayune from 2008 states that:
Radtke is an adherent to the well-known "broken window" theory, the
notion that small neighborhood blemishes must be set right or they will lead to
more blemishes and, eventually, blight. The theory was famously applied to the
runaway graffiti in New York subways in the 1980s. Stripping the Big Apple's
passenger cars of graffiti was an early step, many believe, in New York City's
vaunted economic and social recovery in the past two decades. (MacCash)
Radkte formed Operation Clean Sweep in 1997 when weeks of commuting past graffiti-
covered cemetery walls at Canal Street and Metairie Road spurred him to contact City
Hall. From there, he was referred to the New Orleans Police Department whose usual
response to graffiti was only to file reports. Radkte invested $20,000 to establish the
non-profit organization and to take matters into his own hands.
(www.operationcleansweepnola.com)
3 4LAW 4930 - Historic Preservation Law Seminar - Lloyd N. Shields – November 9, 2010
Anthony DelRosario – Master in Preservation Studies - Tulane School of Architecture
Graffiti, Historic Districts, and Community Involvement
Historic districts in cities are commonly heavily trafficked tourist destinations.
These areas are also often vulnerable to graffiti and vandalism. Thus, municipal
agencies are very involved with the removal and prevention of graffiti. However, careful
steps should be taken to insure that the historic buildings of these districts are not
further damaged in the graffiti removal process.
One of the first cities to produce information for citizens was Providence, Rhode
Island. In 1986 with a grant from the Rhode Island Historic Preservation Commission,
the Keep Providence Beautiful group created Graffiti Removal Manual (Figure 1) after “a
12-month in-depth study on the problems and solutions of graffiti removal and
prevention.” (Keep Providence Beautiful, 1) Even in 1986, the Graffiti Removal Manual
states that graffiti is “not a new problem” and has “spread to all sections of large and
small communities marring building surfaces, roadways, parks, and recreational areas.”
(3) The manual begins with these graffiti facts and a list of graffiti agents and removal
ease. The manual also provides descriptions of the most commonly affected surfaces
and materials.
Figure 1: Graffiti Removal Manual, Keep Providence Beautiful
4 4LAW 4930 - Historic Preservation Law Seminar - Lloyd N. Shields – November 9, 2010
Anthony DelRosario – Master in Preservation Studies - Tulane School of Architecture
The historic preservation guidelines of the Graffiti Removal Manual state that “the
integrity of a building before and after graffiti removal” is of “prime consideration” and
that “the concerns become more complex when dealing with a building of historic value.
(9) The historic preservation guidelines give a very short synopsis of Standards of
Rehabilitation and Guidelines for Rehabilitating Historic Buildings from the Secretary of
the Interior. Interestingly, a decade later in 1995, Graffiti Removal Manual was cited as
selected reading of Preservation Brief 38: Removing Graffiti from Historic Masonry from
the Secretary of the Interior.
The bulk of Graffiti Removal Manual is comparisons of removal products and
surface protectants. The guide compares three chemical removers, three mechanical
removers, and three chemical surface protectants on twelve different surfaces. Water
and detergent or poultices are suggested as first steps before moving on to the products
in the comparison charts and abrasive cleaning like sand blasting are discouraged as
methods that can jeopardize the integrity of the building.
City departments or programs that remove graffiti can be found in cities such as
Savannah, Georgia and Charleston, South Carolina. In 2000, the city of Savannah,
Keep Savannah Beautiful and Savannah Development and Renewal Authority began an
effort called the Graffiti Abatement Program. (Rossiter) “Through funding from the city
and with help from Keep Savannah Beautiful, the program works directly with property
owners in downtown Savannah who want to remove graffiti on their property themselves
and reimburses them up to $200 for materials.” (Savannah Morning News)
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Anthony DelRosario – Master in Preservation Studies - Tulane School of Architecture
In Charleston, the Livability Division within the Department of Design,
Development and Preservation is responsible for graffiti removal. According to Dan
Riccio, Director of Livability, property owners are responsible for removing graffiti but “if
the owner signs a liability waiver our Livability Division will paint over or remove the
graffiti.” According to The Post and Courier, Charleston's graffiti removal program
began in April 2007. (Coley)
In other cities, community members take action when needed in addition to or in
lieu of local government efforts. “The more responsibility the neighborhood shoulder, in
fact, the more progress can be made in graffiti control.” (Moss, 2) “While graffiti cleanup
campaigns can be a positive experience for a neighborhood, technical expertise is
necessary to reap the full rewards of residents’ labor.” (Moss, 3) Community groups
often employ or seek advice from professionals to protect members from toxic
substances and to prevent damage to buildings from methods and solvents. (Moss, 3)
The Downtown Development District of New Orleans, an assessment-based
business improvement district, not long ago created a Graffiti Removal Program to fight
graffiti on private and public property in the area bounded by Iberville Street, the
Pontchartrain Expressway, Claiborne Avenue and the Mississippi River. To combat
graffiti on public property, “Block-by-Block Cleaning Ambassadors identify and remove
all graffiti, decals, flyers, paint, posters, and stickers from public surfaces” such as
“sidewalk surfaces, light poles, traffic signals and electrical boxes, news box corrals,
trash receptacles, planters, phone booths, benches and art pieces.” (DDD) To combat
graffiti on private property, the Downtown Development District “has instituted a Graffiti
Removal Program where private property owners can receive 50% with a maximum of
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Anthony DelRosario – Master in Preservation Studies - Tulane School of Architecture
$1,000 to offset the expense of graffiti removal from their property, including repainting
costs.” (DDD)
A community group in New Orleans, the French Quarter Business Association,
has recently started a graffiti program because “graffiti adversely affects public
perception, architectural significance and the general quality of life in the French
Quarter.” (FQBA) According to CityBusiness, the effort known as the Vieux Carré
Graffiti Abatement Program is a collaboration between the French Quarter Business
Association, the Vieux Carré Property Owners and Residents Association, French
Quarter Citizens and the French Market Corp and is “taking steps to remove graffiti, and
not just paint over it, using products that are safe for the district’s historic buildings.”
“French Quarter Resident Chad Boutte caught the Business Association's attention with
products that would remove graffiti, and be acceptable for use even in historic areas.”
(Capo) “Dubbed the ‘World's Best Graffiti Removal System,’ the cleaners were all-
natural and meant to preserve the historical integrity of buildings.” (Hirsch) As a result,
Boutte has formed his own company Eraser Man Graffiti Removal Services (Figure 2)
as “the French Quarter’s first completely mobile Graffiti Removal Company working
passionately toward removing graffiti and blight in our community.” (Boutte) Removal
methods have been approved by the Vieux Carré Architectural Commission for use on
historical surfaces according to Boutte. On their website, the French Quarter Business
Association suggests first using soap and water to remove graffiti then move on to
Vieux Carré Commission approved removal products such as World's Best Graffiti
Removal System and to acquire a permit from the Vieux Carré Commission to use
chemicals or paint as last option to remove graffiti.
7 4LAW 4930 - Historic Preservation Law Seminar - Lloyd N. Shields – November 9, 2010
Anthony DelRosario – Master in Preservation Studies - Tulane School of Architecture
Figure 2: Eraser Man Graffiti Removal Services logo
Since the summer, the French Quarter Business Association has hosted two
Vieux Carré Graffiti Abatement Program graffiti cleanup events. During the first event in
mid-July, volunteers photographed and removed graffiti from city-owned metal
structures such as street signs, parking meters and trash receptacles. “Other structures
would require permission to clean, so organizers targeted only publicly owned
structures.” (Hirsch)
Color Guidelines
Historic district commissions across the country have various levels of
regulations regarding exterior paint colors. In an email, Debbi Rhoad Hopkins, Senior
Preservation Planner in the Department of Design, Development and Preservation of
Charleston, South Carolina, states that “we review colors on buildings in the historic
district here; however, with few exceptions, it’s not a big deal to change a color. We’re
more concerned about what color is proposed and the placement if there are multiple
colors, than whether it’s the same one as existing.” Also, the General Guidelines for
Rehabilitation and New Construction within the Jurisdiction of the Board of Architectural
Review for Charleston states:
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Anthony DelRosario – Master in Preservation Studies - Tulane School of Architecture
There is no specific palette of “approved colors.” Paint color approval is
given on a case-by-case basis depending upon the style of architecture, the
character of the adjacent buildings, and the neighborhood. Garish colors in
general are to be avoided. A paint sample on the building may be required prior
to final approval being granted.
According to an email from Dan Riccio, the Director of Livability in the Department of
Design, Development and Preservation, “the Livability Division is responsible for graffiti
removal and we make every attempt to match the existing paint color throughout all
parts of the city.”
The Chatham County Historic Preservation Commission in Savannah, Georgia
has similar regulations as Charleston, South Carolina. Their manual, Material
Treatment Guidelines for Rehabilitation in Savannah’s Historic District, states:
Color is a very personal statement. It is not the intent of the guidelines to
dictate personal taste through a set palette of colors. Furthermore, incompatible
choices and combinations can be made even from an “approved” historic color
charts. The intent of this chapter is to provide guidance as to the traditional
placement of color in the Historic District based on local historical descriptions,
views and photographs. A primary concern is that 1) the painted structure read
as a cohesive whole and that 2) the structure blend with and complement
surrounding structures.
The Historic Preservation Officer of the Chatham County Historic Preservation
Commission did not respond to email inquiries regarding graffiti and color matching in
Savannah.
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Anthony DelRosario – Master in Preservation Studies - Tulane School of Architecture
In New Orleans, the Vieux Carré Commission has much stricter regulations
regarding colors than the commissions in Charleston and Savannah. Vieux Carré
Commission Design Guidelines Policy of Historic Paint Colors (1820-1920) states:
One of the most exciting aspects of renovation/restoration is the choice
and placement of exterior paint colors. These colors and their placement should
parallel the different tastes associated with the period of a particular building.
Basically, there are four major color phases for buildings from 1820 to 1920 in
the Vieux Carré: c.1820-1840, c.1840-1870, c.1870-1900, and c.1900-1920. In
general, these four periods have fairly definable colors and placements of colors
- from the early use of pastels and white, then in the Victorian period a darkening
and broadening of not only color ranges but color placements and, finally, a
return to pastels and white after 1900. The fascination with rich colors and
emphasis on architectural details begins in the 1840's and increases toward the
end of the century. After 1900, one finds a gradual return to the pastels and
white of the Colonial period, there being no coincidence that this period is often
called Colonial Revival.
The guidelines provide a detailed breakdown of what colors can be used on what
architectural elements from what period. The guidelines go on to say:
Color can enhance or mutilate form and detail. Careful color selection and
coordination are essential to the architectural integrity of a building. Garish color
schemes are inappropriate to the character of the Vieux Carré. Colors shall be
toned-down hues that harmonize with each other and unify architectural features.
Colors may highlight important features, not unimportant ones, and should not
fragment facade elements or create a spotty effect.
According to the Vieux Carré Commission website, these guidelines were formulated in
1984, nearly fifty years after the creation of the Vieux Carré Commission, to “propose
specific guidelines for preservation, restoration and development” and to “not only relate
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Anthony DelRosario – Master in Preservation Studies - Tulane School of Architecture
to standards for insuring the historic and architectural integrity of buildings, but also for
protecting the aesthetic quality of the district as a whole.”
In the early 1970s the Sherwin-Williams Paint Company created a color chart
representing the palette of the French Quarter. According to an article in CityBusiness,
Sherwin Williams reintroduced the 30-year-old New Orleans color chart in 2003 “to give
names to the historic colors of the French Quarter.” Mike Harville, district manager for
the New Orleans region at the time, said that “reintroducing the chart is an effort to give
everyone a common language when talking about New Orleans colors.” (Giusti)
The company currently promotes the selections as the Vieux Carré Exterior
Colors, Reflections of New Orleans’ Historic French Quarter with brochures (Figure 3)
that have been printed after the Sherwin-Williams French Quarter location opened in
2004. The brochure states:
The exterior colors elected to recapture the distinctive visual appeal that is
so much a part of this historic gem were developed with the assistance of the
Vieux Carré Commission many years ago. That body has been chartered by the
State of Louisiana to preserve not only the physical appearance of the area, but
also the lifestyle it represents.
Vieux Carré Colors are not "historic" in the sense that they completely
repeat the colors of an earlier day. Rather, they interpret the past in terms of
today. This is in keeping with the Commission's avowed purpose of fostering
appreciation for the past while encouraging the full use of an area as an
interesting place to visit - and to live in - today.
The brochure has samples of 24 colors with interesting names: Pontalba Rose, Creole
Pink, Ursuline St. Rose, North Rampart St. Brown, St. Louis St. Peach, Toulouse St.
Cream, Pirates Gold, Dumaine St. Ivory, Royalle Orleans Gold, St. Ann St. Yellow,
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Anthony DelRosario – Master in Preservation Studies - Tulane School of Architecture
Esplanade St Gold, Barracks St. Gray, Dauphine St. Beige, Conti St. Antique, Chartres
Green, New Orleans Olive, Cabildo Olive, St. Phillip St. Green, Decatur St. Aqua,
Bienville Green, Gov Nicholls St. Green, French Market Blue, Cathedral Gray, Bourbon
St. Blue.
Figure 3: Vieux Carré Exterior Colors from Sherwin-Williams
Hilary S. Irvin, Architectural Historian at the Vieux Carré Commission, related the
Commission’s opinion via email:
The Sherwin Williams brochure does not represent the VCC approved
colors. The color chart was used in the early 1970s but does not differentiate
what is correct for buildings with various construction dates. In addition, there is
not enough variety of colors; and the chart does not indicate what color is for
what portion of a building (walls. Trim, shutters). Therefore in the 1980s the
written guidelines were formulated after paint analysis studies had been made
and additional research done.
Unfortunately, Sherwin Williams decided to reprint the brochure without
our authorization. The colors are not necessarily inappropriate but many more
colors are also acceptable. And the dark greens are not wall colors, for example.
12 4LAW 4930 - Historic Preservation Law Seminar - Lloyd N. Shields – November 9, 2010
Anthony DelRosario – Master in Preservation Studies - Tulane School of Architecture
Graffiti Removal and Color Matching
In addition to using various solvents and removal methods, paint is another
option in countering graffiti. Painting is the easiest and quickest method to removing the
nuisance of graffiti. This method is commonly known as “bufffing” and usually involves
covering the graffiti with a neutral paint color such as tan or grey. For over a decade,
Fred Radtke and Operation Clean Sweep have used grey paint to buff graffiti which has
earned him the nickname, The Grey Ghost. According to Radtke in a 1997 Times-
Picayune article, the grey blotches tell the graffiti writers that "there's a force out here,
working against them.” The article goes on to say that “once the graffiti artist seems to
have left the area, Operation Clean Sweep works with the property owner to bring the
building back to its original color.” This process is one form of a method called color
matching.
Operation Clean Sweep may have claimed over ten years ago that color
matching was part of their graffiti removal process. In 2001, Fred Radtke said, “We
have a historic city and some of the most beautiful architecture in the country, but a lot
of these building are being ruined by graffiti." (Perlstein) However, in recent years
Radtke has not stayed true to the commitment of color matching. In addition to not
color matching, Radtke has also been known to paint over graffiti on private property.
Radtke is considered to be one that “slathers gray paint on whatever doodles or
obscenities vandals have scrawled on public or private property, including street signs.”
(Figure 4) (CityBusiness March 2008) City Councilwoman Jackie Clarkson said, "We
want graffiti removed but we want it authorized and controlled as to when, where and
13 4LAW 4930 - Historic Preservation Law Seminar - Lloyd N. Shields – November 9, 2010
Anthony DelRosario – Master in Preservation Studies - Tulane School of Architecture
how he can do it. I know the city would never give (Radtke) authorization to do any of
what he is doing including going on someone's private property.” (Webster)
Figure 4: buffed stop sign on Elysian Fields at Chartres
Figures 5 & 6: buffing in French Quarter
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Anthony DelRosario – Master in Preservation Studies - Tulane School of Architecture
In 2008, Mark Wilson, president of the French Quarter Business Association,
said, "This is a world-class destination. Graffiti and gray paint over graffiti (Figures 5 &
6) are both blights on the French Quarter and its natural ambiance." (MacCash) So he
arranged for paint companies to provide Radtke with paint of Vieux Carré palette. Also
Radtke would still need the permission of property owners to alter their buildings and
work permit from the Vieux Carré Commission “to ensure that the alterations would be
in keeping with the colonial tout ensemble.” (MacCash)
"He may think what he's doing is a corrective measure, but it's unauthorized in
many cases and doesn't correct the graffiti, but just camouflages it with another color of
paint. That's the same thing," said Larry Hesdorffer, Vieux Carré Commission director.
"It may be with better intent but that doesn't make it right." (CityBusiness March 2008)
Hilary S. Irvin, Architectural Historian at the Vieux Carré Commission, states the
commission’s current opinion of Radtke:
The VCC does not participate in Fred Radtke’s program & in fact does not
condone covering graffiti with a non-matching color and the painting of a property
without the property owner’s consent. The VCC, however, does issue permits to
cover graffiti, who ever the applicant is, if the owner consents to the work.
Graffiti as Art, Buffing as Art
2007 and 2008 were years with local news filled with stories of graffiti and the
Gray Ghost. In 2007, Fred Radtke and local artist Michael Dingler of NOLA Rising, both
former Marines, clashed in a much-publicized battle. Dingler had installed hand-painted
signs with positive messages on utility poles around town and Radtke made a point to
buff these small pieces of street art. The confrontation escalated to the point that
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Anthony DelRosario – Master in Preservation Studies - Tulane School of Architecture
Radtke made a personal mission of trying to have Dingler fined hundreds of dollars for
every instance of his signs on a pole. A court hearing in 2008 led to only a fine of $200
for Dingler. (MacCash)
In May 2008, a reader of nola.com, with tongue firmly in cheek, posted a story
entitled “Radtke Reconsidered: Artistic legitimacy.” He writes:
The grey overlapping squares which Radtke paints on every available
surface are not as obvious or eye-catching as the candy-colored nonsense and
fanciful lettering most of us think of when we think "graffiti artist." Radtke is an
artist in a different league, and the furor his work has generated is proof enough
of its power. When is the last time an argument over a painter has lasted this
long and involved as many members of the New Orleans public? (Weaver)
The writer categorizes Radtke as Abstract Expressionism and compares his work
(Figure 8) to artists such as Mark Rothko (Figure 7). He goes on to say:
That he is a driven, emotionally intense man none can deny, and as for
self-denial, he is an artist against art, an artist whose very creations are both
canvas (for subsequent artists) and denials of art-as-aim: his work perpetuates,
on many levels, that which it seeks to destroy. (Weaver)
Figure 7: Untitled, Mark Rothko Figure 8: Untitled, Fred Radtke
16 4LAW 4930 - Historic Preservation Law Seminar - Lloyd N. Shields – November 9, 2010
Anthony DelRosario – Master in Preservation Studies - Tulane School of Architecture
In August 2008, world-famous graffiti artist Banksy stenciled several pieces of
street art around the city as a tribute to the third anniversary of Hurricane Katrina.
Several pieces featured a man in a white suit buffing something (Figures 9, 11 & 12), a
stab at Radtke “The Gray Ghost.” On one piece, Banksy even came back a couple of
days later to add a realistic buffing to part of the piece (Figure 10). Radkte buffed one
of the stencils (Figures 13 & 14).
Figures 9 & 10: Bansky stencil of Gray Ghost before and after
Figures 11 & 12: Bansky stencils of Gray Ghost
17 4LAW 4930 - Historic Preservation Law Seminar - Lloyd N. Shields – November 9, 2010
Anthony DelRosario – Master in Preservation Studies - Tulane School of Architecture
Figures 13 & 14: Bansky stencil before and after
In October 2008, Radtke was stopped and cited by National Guardsmen when he
was buffing a mural on Press Street without the owner’s consent. In March 2009,
municipal Judge Paul Sens ordered Radtke to cease buffing graffiti without permission
from the property owner. As a result, fewer gray blotches dot the landscape including
the French Quarter.
Laws
In 2010 the Legislature of Louisiana passed House Bill No. 1264 to create Act
No. 990 to enact R.S. 14:56.5 which defines “criminal damage to historic buildings or
landmarks by defacing with graffiti” as a crime with penalties of up to $1000 in fines, up
to 64 hours of community service, and up to two years in prison. The act defines
“historic building or landmark” as:
(a) Any building or landmark specifically designated as historically
significant by the state historic preservation office, historic preservation district
commission, landmarks commission, the planning or zoning commission of a
governing authority, or by official action of a local political subdivision.
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(b) Any structure located within a National Register Historic District, a local
historic district, a Main Street District, a cultural products district, or a downtown
development district.
Conclusion
Graffiti will continue to be a problem on the visual landscape. Proper methods of
graffiti removal should always be exercised especially in architecturally sensitive areas
such as historic districts. Following guidelines of the historic districts commissions will
help keep the integrity of these unique neighborhoods.
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ii 4LAW 4930 - Historic Preservation Law Seminar - Lloyd N. Shields – November 9, 2010
Anthony DelRosario – Master in Preservation Studies - Tulane School of Architecture
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iii 4LAW 4930 - Historic Preservation Law Seminar - Lloyd N. Shields – November 9, 2010
Anthony DelRosario – Master in Preservation Studies - Tulane School of Architecture
<http://www.thempc.org/documents/HistoricPreservation/DesignManuals/Historic%
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iv 4LAW 4930 - Historic Preservation Law Seminar - Lloyd N. Shields – November 9, 2010
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Weaver, D. “Radtke Reconsidered: Artistic Legitimacy.” nola.com May 26, 2008.
<http://blog.nola.com/vandalismtoday/2008/05/radtke_reconsidered_part_one_a.ht
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v 4LAW 4930 - Historic Preservation Law Seminar - Lloyd N. Shields – November 9, 2010
Anthony DelRosario – Master in Preservation Studies - Tulane School of Architecture
Image Credits
Figure 1 – Keep Providence Beautiful. Graffiti Removal Manual. Rhode Island Historic
Preservation Commission 1986.
Figure 2 – French Quarter Business Association. <http://www.fqba.org>.
Figure 3 – Sherwin-Williams Company, The. Vieux Carré Exterior Colors, Reflections of
New Orleans’ Historic French Quarter.
Figure 4 – photo by the author
Figure 5 – Michael “Rex” Dingler, <http://www.flickr.com/photos/nolarisingproject>
Figure 6 – Michael “Rex” Dingler, <http://www.flickr.com/photos/nolarisingproject>
Figure 7 – Mark Rothko, Untitled, 1969
Figure 8 – Michael “Rex” Dingler, <http://www.flickr.com/photos/nolarisingproject>
Figure 9 – photo by the author
Figure 10 – photo by the author
Figure 11 – photo by the author
Figure 12 – Michael “Rex” Dingler, <http://www.flickr.com/photos/nolarisingproject>
Figure 13 – photo by the author
Figure 14 – photo by the author