In the 1960s Edward J. Zebrowski turned the razing of Indianapolis, Indiana into a compelling show of forward-looking community optimism illuminating the power of displacement. When Zebrowski’s company toppled the Knights of Pythias Hall in 1967, for instance, he installed bleachers and hired an organist to play from the back of a truck as the twelve-storey Romanesque Revival structure was reduced to rubble. Two years later, the ‘Big Z’ hosted a party in the Claypool Hotel and ushered guests outside at midnight to watch as the floodlit building met its end at the wrecking ball (Figure 12.1). Zebrowski’s theatricality perhaps distinguished him from the scores of wrecking balls dismantling American cities, but his celebration of the city’s material transformation mirrored the sentiments of many urbanites in the wake of World War II. The post-war period was punctuated by a flurry of destruction and idealistic redevelopment in American cities like Indianapolis just as the international landscape was being rebuilt from the ruins of the war. In 1959 the New York Times’ Austin Wehrwein (1959: 61) assessed the University of Chicago’s massive displacement in Hyde Park and drew a prescient parallel to post-war Europe when he indicated that ‘wrecking crews have cleared large tracts, so that areas near the university resemble German cities just after World War II’. Indeed, much of Europe was distinguished less by ruins and redevelopment than demolition and emptied landscapes removing the traces of warfare that states wished to reclaim or efface; in the United States, urban renewal likewise took aim on impractical, unappealing, or otherwise unpleasant urban fabric and the people who called such places home (see also Ernsten, Chapter 10, for this process associated with the policies of apartheid in Cape Town). These global projects removed wartime debris and razed deteriorating prewar landscapes, extending interwar urban renewal projects that embraced the fantasy of a ‘blank slate’ as they built various unevenly executed imaginations of modernity. However, many optimistic development plans in Europe and the United States alike were abandoned or disintegrated into ruins themselves, simply leaving blank spaces on the landscape. Consequently, the legacy of urban renewal and post-war reconstruction is not simply modernist architecture; instead, post-war landscape transformation is signalled by distinctive absences dispersed amidst post-war architectural space and traces of earlier built environments.
“Non-Resident Me”: John Bartlet and the Canadian Historical Profession
