Where Women Made
History (WWMH)
is a new initiative—a
partnership between the National Trust for Historic Preservation and the Los Angeles
Conservancy—established to rectify the serious underrepresentation of women among
LA’s Historic Cultural Monuments (HCMs).
Of
the nearly 1,300 places in Los Angeles designated as HCMs, fewer than three percent
of them involve women’s history. The majority of current HCMs were primarily designated
for their architectural significance. Even the landmarked Eames House is attributed
largely to Charles Eames (1907-1978), with very little credit given to Ray
(1912-1988), and a general lack of acknowledgement of her place in architectural
and design history. Women architects, such as Edith Northman (1913-1979), Greta
Magnusson-Grossman (1909-1999), Helen Liu Fong (1927-2005), and even Julia Morgan,
FAIA (1872-1957), are also underrepresented.
When
it comes to women’s cultural contributions to history, the lack of representation
follows similar patterns to those of the Latino, Japanese American, Black, and LGBTQ
communities.
WWMHis led by National Trust Field Manager Chris Morris. The purpose is
to create a new model for gender-equitable historic designation. The initiative
will focus on creating an amendment process for existing HCM nominations and encourage
applications for new landmarks.
In
many cases, including women’s history, it requires significant time and willingness
to dig deeply. In my own work on a recent National Register nomination for the Barn
at 10300 W. Santa Monica Boulevard, commonly known as the third residence of A.
Quincy Jones, FAIA (1913-1979), is a building I thought I knew well. I discovered
that it was originally commissioned by Mary Mead Maddick (1902-1997) and her husband,
Tamis Loris Maddick (1898-1969). Mead Maddick was a successful commercial photographer
in the post-World War II period, in what was largely a man’s world and centered
on the east coast. The Barn’s main living space was a photography studio for her
many commissions for cover shoots for Parade, Ladies Home Journal, and other national
magazines. Including Mead Maddick’s story is important and it enriches understanding
and appreciation for the legacy of A. Quincy and Elaine Kollins Sewell Jones,
Hon. AIA (1917-2010)—an accomplished architecture writer and communicator in
her own right—at the Barn.
