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Implementation plan: The Gentrification and Rental Rights

          This Interpretative plan demonstrates the theme of gentrification and rental rights through the hologram system on the street along the I-Hotel. The most recent gentrification happened during the urban renewal planning and redevelopment movement of the mid 1960s, when the I-hotel was targeted for demolition. Now, the spread of urban renewal plan in San Francisco’s Financial District turned to the I-Hotel continues a long chain of displacement for residents of low-cost residential housing.

            This project, “I-Hotelogram,” will be effective to put public pressure on a landlord who is doing an Ellis Act eviction. According to San Francisco Tenants Union, under the Ellis Act, landlords may evict all tenants in a building in order to take the building off the rental market by the unconditional right. Residents in San Francisco are faced with Ellis Act nowadays along the same line with residents in I-hotel were before. Unless the law requires the landlord to socially redeem themselves, the mass media or neighbors can make arguments to support the tenant’s side. We can set up visual, audio and movement senses through this hologram.

 

Short-term plan (5 years):

 

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Sample Screenshots of the application “I-hotelogram”

          I-Hotelogram, which is setting up the hologram of interviews from people who got evicted by landlords, state law, and governments could engage residents in the I-hotel including residents in San Francisco and California. It would be installed of the once sprawling 10-block Manilatown and the effects urban renewal had that led to its demise. The short term action plan of the I-Hotellogram could encourage tourists to come to see special hologram. It could arouse tourists and visitors attention about the dangers of eviction fights related to living. In addition, the epidemic of evictions is connected to activism because it is one of the actions made by activists. Audiences could remember the lessons of elders in I-Hotel and sympathize with the expelled tenants for a while because of this audio, visual and hearing senses.

 

Long term-plan (25 years):

 

     To contribute the Interpretive project to sustainability, we have to cooperate with smartphone application in order to increase accessibility. Since this interpretive project with hologram on the street, it might be hard to access if there are many people on the street or be crowded by other noises. Moreover, it is impossible to give an information to people who want to help I-hotel and San Francisco eviction but who are far away. Therefore, through smartphone application called “I-Hotelogram,” visitors as well as residents and landlords can access to the hologram and interviews about evictions. When they access to the hologram, they can feel that they are accessing to people who were evicted and how much the state law is harsh for them. Also in the long term, this project could empower and authorize immigrants, since when immigrants immigrated, they need a place to leave. For Filipinos, I-Hotel is the place of them.

 

(1) Five Wounds Church: Background

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Five Wounds in the Early 20th Century (Date Unkown). Courtesy of Portuguese Historical Museum

History :

Located at 1375 East Santa Clara Street in San Jose, CA (just off U.S. Highway 101) the Portuguese National Church of Five Wounds are the heart and soul of Little Portugal. On November 16, 1913, Portuguese residence of San Jose purchased the land to what became the site of Five Wounds. However, it was not until 1914 that the parish was created. In collaboration with Mr. Manuel Teixeira de Frietas, the Portuguese community asked Archbishop Patrick Riordan for the blessing to build a church. The blessing was given and in 1914 “we opened the house that today is the parish residence and the first bazaar in benefit of the church.” But in 1915, through a petition signed by the Portuguese residence of San Jose, the Archdiocese of San Francisco officially approved the parish as the National Church of Portuguese of Five Wounds. Timber and wood from the Portuguese Pavilion that was in display in the Panama Pacific International Exposition in San Francisco in 1915 was used to build the church.  The building material, which was brought over from Portugal to build the Portuguese Pavilion, was transported by wagon through the Camino Real. On the 15th of November “Msgr. Henrique A. Ribeiro celebrated the first mass as pastor of the new parish.”

Modern Context :

             Since its creation, Five Wounds has been an integral part of the Portuguese community. Although historically Five Wounds has been able to sustain dedicated pastors bilingual in both English and Portuguese who been willing to work with the community, during the 21st century the church has not been able to host a pastor that stays longer than two years. In early 2011, the church announced that the current Pastor Rev W. D. Morgan will be stepping down from his duties at Five Wounds because he feels like the Portuguese community is unhappy with his leadership. Currently, the church is experiencing a lack Portuguese culture; a decline in bilingual mass and community participation has caused the church to rethink its leadership. However, the community continues to support the church financially and hope for a better one.
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National Portuguese Church of Five Wounds

SEE CHURCH OF THE FIVE WOUNDS HERITAGE, REVITALIZATION AND SUSTAINABILITY PROPOSAL

Five Wounds Church Inteperative Plan

(2) Five Wounds Church: Key Players (Stake Holders)

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Clergy Members: Key players of Five Wounds (Date is Unkown). Courtesy of Portuguese Historical Museum

The Plan addresses key players and interest groups, both obvious and inconspicuous, from immediate community members to “memory” community members surrounding Five Wounds in order to recognize and respect their stake in the Plan. Overall, the Plan has an opportunity to institute a variety of engaging activities that may keep current stakeholders as well as attract new ones to the church. This would, in the long run, keep the spirit of Five Wounds alive and promote a perpetuation of the culture within Little Portugal. The development of events and activities considered in the modern contexts, when applied to concerns of key players, may result in an enhancement of cultural experiences, a win-win type of situation. The follow were identified as stakeholders of Five Wounds:

  • The clergy, and especially the priest’s influence and involvement in the church are directly correlated to the future growth and development of the church
  • Portuguese Community in San Jose (not including the younger generation): Due to the historical implications, the Portuguese community developed a deep personal value towards the church.
  • Vatican Church: The Vatican’s, having the most at stake in Five Wounds Church includes tangible and intangible items. The church being part of a larger and powerful organization, the Vatican is the top leader for catholic churches worldwide.
  • Diocese of San Jose: The diocese of San Jose is under the direction of the Vatican. The Vatican appoints leaders to the diocese and that leadership decides what is best for the churches in the district of the diocese of San Jose. This branch of leadership decides the decisions of the church; recently, the diocese decided to rent out the school house adjacent to the church to a private organization.
  • Younger Portuguese Generation: their stake is having the church available to them once they grow older. In other worlds, the preservation of the Portuguese heritage in the church is at stake.
  • Local Businesses: their stake is economic. Businesses in Little Portugal benefits economically by church goers getting .
  • The Vietnamese community in San Jose also utilizes the church on Wednesdays and Saturday nights for mass.
  • Portuguese Band: Bands use the space to promote Portuguese heritage through their music.
  • St. Isabel Kitchen uses the space to feed needy families. This organization is supported by Five Wounds.
  • Needy Families:  Families that are in need of food look to Five wounds Church for help. Located to the building adjacent to the church, families are able to attend the kitchen of Santa Isabel for free food; no questions asked.
  • Daycare: the current tenant occupying the space that was once the school of Five Wounds is a private daycare. The daycare pays a monthly rent to diocese of San Jose.

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Portuguese Bakery located in Little Portugal. Many church goers get their pastries after mass.

(4) Five Wounds Church: Appraisal-Interpretation and MultiVocality

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Visitors are meet at the church with the opportunity to self-explore. However, as it is see, there are no descriptions of the statues

The following are the results from our analysis of the MultiVocality of the site:

  • There is only one bus serving the entire neighborhood of Little Portugal. The only way a visitor can reach Five Wounds via public transportation is via the Santa Clara Valley Transportation Authority (VTA) bus number 22, which runs along E Santa Clara Street (Santa Clara 2011). However, a proposed expansion of Bay Area  Rapid Transit is under way.
  • Parking lot is not big enough to accommodate all guest.
  • There are currently no visitor facilities and/or retail stores on the property.
  •  The visitors are not met by visitor guides, church leaders, or the pastor.
  •  The church does hold office hours for visitors. The office is open Monday through Friday from 9am to 4pm.  Moreover, visitors are allowed to explore the church without supervision.
  • A schoolhouse adjacent to the church graduated its last class in 2009. Since then, the educational opportunities have run dry. As a result, the facility is rented out to the highest bidder. Within the building there is a large cafeteria and a large venue ready for potential parties, festivals, and plays. Special privilege must be obtained to visit the schools; the space is not open to the public. A visitor might not be able to enter the school today, but they wouldn’t be missing much if they did.
  •  on the left hand side we find a smaller building that houses offices of the pastor and clergy. The building is also used by Saint Isabel’s Kitchen to provide food for needy families of San Jose.  Aside from the described usage there are no other usages of the building. The building is off limits to the public during non-usage hours and only accessible through Saint Isabel’s Kitchen or through special access via the church’s leadership.
  • Visitors are able to attend English mass on Sundays at 8am and 5:30pm, Monday, Wednesday, and Friday at 9am. Latin mass is given at 9:15am on Sundays and a Bi-lingual English/Portuguese mass is given on Saturdays at 6pm. In addition, visitors are able to confess on Saturdays from 5 to 6pm and any other times by appointments. In addition, if visitors want to hold their weddings, baptisms, etc. at the church they must contact the church three to six months ahead.
  • First, the church website is not appealing and is in need of further attention.
  • visitors at the church have no way of making sense of the stained glass windows, other physical aspects of the site or the long history of the church because no such material is available.
  • Five Wounds Church has become meaningful to the San Jose community Anyone who has created and experienced or a memory at Five Wounds is thus part of the community. The Vietnamese community in San Jose that also use the space for mass are thus part of the memory community of Five Wounds. In addition, community members also use the space to celebrate weddings, quinceañeras, baptisms, etc
  •  Of the multiple voices among key players, the older generation of Portuguese-Americans has had the most to say. It was not apparent whether they had strong feeling for the church because it has been a larger part of their lives when compared to the lives of the Portuguese youth, or because it
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Beautiful Image without any description.

(5) Five Wounds Church: Appraisal-Community

Bride Walking Down the Aisle at Five Wounds. Courtesy of Danny Photo Studio

It is perhaps best to begin an appraisal of the Site and its residents by recognizing the regional connections within which it is situated. There are four levels of community that involve the church and the targeted audience.  The four levels are local, regional, national, and international. To begin with the smallest, Little Portugal surrounds Five Wounds Church in San Jose. This defines the site proper, and as such, is the focus of the Plan. Examples of local area links are the Portuguese newspaper and the local bulletins used to convey local activities and ordinances. These particular media examples provide a channel through which the community may become aware of local activities as well as current situations involving Five Wounds.

A step up from the local, the regional level includes the city of San Jose and the county of Santa Clara. Increased recognition of the Site will create an opportunity to collaborate and engage with many different neighborhoods and audiences, exposing them to the rich heritage of the Portuguese. At the local level, a desire to sustain the Portuguese culture is warranted; at the region and larger links, awareness and appreciation of the culture from multiple perspectives and ethnic backgrounds is wanted.

Specifically, the national and international links can be accessed by anyone with an Internet connection these days. What used to mandate a long voyage across the Atlantic now only takes a click of a button. People involved at the national and international levels of the community appraisal would hardly invest in such a trip anymore; the Internet provides a more cost effective and safer experience of Five Wounds, but not with the current web access offered by the church. A connection to the Site is available be anyone from anywhere with Internet access, internationally or otherwise.

Over the years, as is the case with the Portuguese youth, a fusion of Western and traditional Portuguese culture has birthed a cultural perspective unique to Portuguese American heritage.  For instance, the local sport clubs provide a unique atmosphere that houses both Portuguese and Portuguese-American guests sharing food, wine, and laughs. Such a club is ideal to observe the people of Little Portugal closely precisely because the business structure of the club refuses to bend to the requests of traditional Americans (e.g. serving only traditional Portuguese food) and remains focused on Portuguese authenticity.

Back at the church, we find a healthy rhythm of weddings and baptisms scheduled. Aesthetically, the church has not lost its beauty over the years and needs little restoration support. There are no major ecological issues that need to be addressed immediately apart from the daily maintenance of the local ecology already outlined. There are little to no environmental risks besides the church being located rather close to the California 101 highway. Although the fumes and especially the noise which emit from the high traffic of highways can be taken as deterrents to the tourism of the Site, having the highway so close to the church keeps potential visitors from taking complicated directions and decreases the potential of getting lost or frustrated. Getting off the highway, Five Wounds is a two-minute drive.

(6) Five Wounds Church: Implementation (Action Plan)- Short Term Goals

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Fundraiser: Efforts by Five Wounds

Short Term Goals:

Proposing short term goals is difficult in the sense that this Plan had to first identify which projects, when implemented, would strengthen the succeeding implementations. It was like arranging a set of dominoes upright in a predetermined path so that when complete, the entire project would rely on only one push. Such effort is converse to the current implementation plans by the Comity which  deals with annual events and issues as they come along. This proposal aims beyond the festivals and Sunday mornings to give a supportive yet dynamic structure to the sustainability and practice of cultural components comprising the Portuguese culture of Little Portugal up to any international relations. The following are the proposed short term goals:

      • Setting up locked donations boxes at the entrance of the church.  Collections from boxes may be used to offset some of the expenses used by the food kitchen at St. Isabel’s next door.
      • Redeveloping the educational facilities.  This will be done by having weekly meetings among key players and stakeholders until an agreed until an agreement is made. Courses in Portuguese culture and language should be thought in collaboration with the local state and community colleges.
      • Creation of arts and crafts course to attract children, teenagers, and parents.
      • Implementation of multiple interactive Cultural Heritage Day throughout the year in the church parking lot. For example,  events at the festivals can include cooking classes, cooking contest, arts in crafts, etc.
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Up Close shot of the graduating class of 1967 school picture

Alcatraz – Key Players

People on Site and Scientific Interest Groups


Currently no permanent populations live on the island. Most of the people present on the island are visitors, NPS park rangers, volunteers for the Alcatraz Garden project and contractors who work on renovation. No archaeological research is currently being done on Alcatraz, as most of the research has been taken off site.


Organizations


Some of the key players are the organizations involved with Alcatraz, such as the PRBO and the U.S. Geological Survey, who are currently conducting a Landscape Survey. Outside of the NPS, there are groups that try to help keep our national parks accessible, such as The National Parks Conservation Association (NPCA), who are a nonpartisan group working to minimize threats to national parks.

International Community

Some other key players include visitors from different countries and regions, as well as recreationists like marathoners and hikers. The US National Park Service is working on developing sister park relationships with national parks all over the world. Other key players include school groups: part of the NPS budget is reserved for education.

Native Americans

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Richard Oakes

Native Americans are also important key players for Alcatraz. This group includes the local Miwok and Ohlone Indians, those Indians who occupied Alcatraz from 1969 to 1971, and many other Native Americans for whom this island is a symbol of the Native American movement.

Local Business

Local business key players include all hotels, shops, restaurants, and tour companies that have ties to Alcatraz Island.

Descendants

Another group of key players includes the descendants of prisoners and the Federal Penitentiary employees at Alcatraz Island.

The following is a list of sponsors:


•        Golden Gate National Parks Conservancy (The Gardens of Alcatraz)

•        Federal Bureau of Prisons (Inmates perform maintenance work)

•        The Friends of Civil War Alcatraz (docents of Civil War history)

•        American Reinvestment and Recovery Act (solar panels to be installed on the island)

•        Save American’s Treasures (Garden restoration)

•        Alcatraz Cruises

The following is a list of academic partners:

•        Golden Gate National Parks Conservancy Native Plant Nurseries

•        American Youth Hostels

•        Bay Area Discovery Museum

•        Headlands Institute

•        YMCA Point Bonita Outdoor & Conference Center San Francisco

•        Exploratorium

To learn more, please go to the main page (Alcatraz – Native American Presence and Occupation) in order to download the full Site Management Plan.

By Tatyana Kovaleva

(1) Vesuvio – Executive Summary

Interpretive Plan for Preserving Cultural Heritage:

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Henri Lenoir in front of Vesuvio, 1963.

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Shawn O'Shaughnessy's mural on wall of Vesuvio in Jack Kerouac Alley, 2011.

Vesuvio is a living, working bar with a firm grasp of its own identity. Though Vesuvio wants to remain as a place reminiscent of the past, it also wants to be an active participant in its present, and productively carry on into the future. Vesuvio’s identity has always been as a space that welcomes people from all walks of life and where individuality is respected inside the bar even if the rest of society outside disagrees. This manifesto, if you will, has been central to its historical significance as an iconic North Beach bar, and for its continued success as an invaluable San Francisco institution.

We believe that the management and interpretation at Vesuvio should be as dynamic and as engaging as the bar itself. The overarching goals of the management plan therefore are to articulate and maintain the understanding that Vesuvio is a place for all generations and social groups, foster a strong identity in the citizens of North Beach to their cultural heritage, and mobilize the residents to play an active role in the heritage management of the bar. To achieve our overall goals we aim to design projects that strive to:

  • Maintain the integrity and spirit of the bar and convey these qualities to the public through varieties of interpretation.
  • Keep a connection between the past and the present to demonstrate the impact that each can have on the other.
  • Encourage the continuity and modification of human experience, utilizing new technology to articulate the story and identity of Vesuvio.
  • Emphasize the importance of art in the history and life of Vesuvio and use new media to connect to local and non-local artistic communities.
  • Garner economic benefits for the bar by attracting a larger pool of customers.

Click on this link for a look at the PDF file of our complete Interpretive Plan for Vesuvio.

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Henri Lenoir and Vesuvio, c. 1960.

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Exterior of Vesuvio, 2011.

(2) Vesuvio – Background

History:

“Vesuvio has never been just a bar. It’s true that booze sales pay the bills but the place is also an art gallery, a museum, a living room for those of us in cramped apartments, a community meeting place, a support group headquarters, a literary Mecca, a mandatory stop on a tourist’s agenda, and a place to try and get laid.” – Robert Celli
 
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Exterior of Vesuvio (bottom, right business on the corner), c. 1949.

Vesuvio is a bilevel saloon that seats 120 people and is located at 255 Columbus Avenue, on the corner of Jack Kerouac Alley in North Beach, San Francisco. Vesuvio’s statuesque building, which originally was a one-story structure that dates back to 1913, is known as the Cavalli Building, former site of the A. Cavalli & Co. bookstore. Architect Italo Zanolini, who was responsible for several other architectural gems in the area, designed it using plaster on pressed tin in the Italian Renaissance Revival style.

This iconic area is as equally known for its seedy rebellious past – strip clubs, longshoremen, ex-GIs, artists – as it is for its sophisticated architecture, espresso cafes, and Italian ancestry. The second owner of Vesuvio, Henri Lenoir, opened its doors as a saloon in 1948. Vesuvio Café was previously a restaurant that had gone out of business. Since buying the building initially left Lenoir short on funds, he never changed the name; changing the name would have required spending more money on replacement signage, exterior decor, etcetera; hence the “Café” part of Vesuvio’s name today.

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Henri Lenoir, employees and customers, date unknown.

A painter himself, Lenoir wanted to establish a place that would support his circle of friends who had an interest in the visual arts and were “Bohemian” in attitude. They surrounded themselves with other artists, listened to the Jazz musicians who played regularly in the neighborhood, sat in on readings by the “alternative-style” writers who were drawn to the area by City Lights Books next door, and ate eclectic, international food at all of the cheap restaurants nearby. These restaurants were run by recent immigrants to the United States who literally fed this band of “miscreants’” desire to try out new and “exotic” things that were considered strange to the majority of American society at the time.

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Xmas card photo. (Left to right) customers Tony La Paz, Jim Bell. Waitresses Maya Dhillon, Alice Holden, Suzanne Mazursky, Lyn, and Adriana. Bartenders Bruce Weiss, Ron Leon, David Wood, Burnie Priest. Henri Lenoir and Calso the cat on Maya's motorcycle, 1960s.

Modern Context:

Today, Vesuvio still upholds this counterculture tradition even if the world around it is moving forward and the population profile of the area reorganizes. The bar is an actively used space in a popular, trendy urban area in a world-renowned, cosmopolitan city. The area is densely populated and local officials expect residential tenancy to increase in the future. The demographics of North Beach have changed drastically over time and those shifts may indirectly affect Vesuvio. What was once low-rent housing for artists and young people has shifted to over-priced apartments for wealthy business people, or rent-controlled apartments for elderly residents. Amid this odd combination of upheaval and stagnation, Vesuvio has tried to keep its original mantra of accepting those who were under-represented or unwelcome in “regular” bars while making some adjustments to cater to the new, more gentrified clientele.

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View looking out of Vesuvio's windows onto corner of Columbus and Broadway Avenues, 2011. Photo courtesy of CoDiFi.

Click on this link for a look at the PDF file of our complete Interpretive Plan for Vesuvio.

(3) Vesuvio – Appraisal

Significance of Vesuvio:

Click on this link for a look at the PDF file of our complete Interpretive Plan for Vesuvio.

Management Policy

The management policy holds that all final decisions concerning the culture heritage management of Vesuvio ultimately lie with the management staff of Vesuvio. Our role as culture heritage consultants is to make educated and well-researched suggestions and proposals to present to Vesuvio’s staff. Our management plan will be created in dialogue with Vesuvio’s staff and stakeholders to create ideas that represent multivocal solutions. The plan will also reflect the overarching goal of the project, which is to convey and maintain Vesuvio’s identity and history.

Values

These values are of course highly subjective and are left open to interpretation. They can also change as Vesuvio sees fit. These values were designed with a holistic and anthropological approach drawing heavily from culture heritage academic theory, specifically from Mason, R. 2002. Assessing Values in Conservation Planning: Methodological Issues and Choices and In Assessing the Values of Cultural Heritage, edited by M. De la Torre, pp. 5-30. Getty Conservation Institute, Los Angeles.

Historical Value:

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Interior photo of Vesuvio, with Bruce Weiss tending bar, April 1963.

Mason (2002) describes historical value as “the capacity of a site to convey, embody, or stimulate a relation or reaction to the past” and states that is can come in various forms, such as the age of the site or from its association with people or events (11). Vesuvio embodies this definition on all accounts. The physical landscape of the bar, with its walls covered in art from the early days of Lenoir’s tenure to today, and its antique lighting and furniture, transports the visitor simultaneously to the past and into different narratives of the present.  The bar’s history is literally written on the walls; relics of the Beat movement hang on the walls along with photographs of patrons and works from local artists. This history also gives Vesuvio aesthetic value, for the bright colors and tangible imagery, along with the heirloom furnishings, create a sensory experience that is unique to Vesuvio and distinctly San Franciscan (Mason, 2002:11; Peters, 1998:199).

Cultural Value:

Mason (2002) defines cultural value as tools to build cultural affiliation in the present (11). Historically, Vesuvio has been an integral part of the counterculture movement, both because of its early clientele of exotic dancers, sailors, and the like, and because of its association with City Light’s Bookstore, a cradle of the Beat Generation (personal communication with E. Pallo, 2011).  Today, Vesuvio is still a center of counterculture, for it welcomes all types of people and continues to be a place that fosters political debate and artistic expression. For example, the bar identifies itself as a consistent place for alternative culture:  “[Vesuvio] remains an historical monument to jazz, poetry, art and the good life of the Beat Generation. Vesuvio attracts a diverse clientele: artists, chess players, cab drivers, seamen and business people, European visitors, off-duty exotic dancers and bon vivants from all walks of life” (http://www.vesuvio.com/index2.html). The diversity of counterculture characters that Vesuvio celebrates also constitutes two other values that Mason gives credence to: political value, best demonstrated by the Beats and their cultural and civil protests; and craft, or work-related value, expressed both in the celebration of artists and poets, as well as the art and science skills (mixology) of the bartenders (2002:11-12).

Social Value:

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Bruce Weiss, tending bar with waitress Alice Holden,1950.

Mason (2002) defines social values as a site’s ability to enable and facilitate social connections and networks and its role or association with a particular community or neighborhood (12). On a very general level, Vesuvio is a neighborhood bar where people come to meet other people, chat with the bartenders, or to seek solitude in a familiar place.  Vesuvio can be equated to the village pub found in much of Europe – a center of social gathering, a designated social space for both locals and non-locals. As mentioned above, Vesuvio is also intimately tied to the city of San Francisco and indeed serves as a microcosm of the city.

Stakeholders

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"Homo Beatikus", postcard from scrapbook, c. 1950.

There is a multiplicity of stakeholders who sometimes have contradicting objectives at Vesuvio, though the majority of their overarching goals are similar enough that most friction is prevented. The owners desire success for Vesuvio so that their business and primary source of income can continue. The bartenders, cocktail waitresses, maintenance man, and night cleaning crew all have a large stake in Vesuvio as well. The beer, wine and soda vendors are also stakeholders since they get paid indirectly by Vesuvio’s clients and thus support Vesuvio and its core of patrons. Other important stakeholders include the local residents of the North Beach and Chinatown neighborhoods surrounding the bar. All of the artists, musicians, football (soccer) fans, and recipients of the fundraisers are also stakeholders. Patrons who frequent the bar regularly have a stake in Vesuvio. Tourists are also stakeholders as there are many visitor activities in the area such as exotic-dancing clubs, venues for live jazz and other music performances, poetry readings, art shows, coffee shops, and other working-class bars that keep old-time traditions alive. Other stakeholders are people involved with the tourism trade and historical preservation societies.

Interpretation and Multivocality: 

Our management and interpretation work together to achieve the same goals and are based on multivocality at all stages of the management process and interpretive projects (see Management Aims and Objectives and Management Policy sections for more information). Vesuvio is unique in that it has an acute awareness of its tangible and intangible heritage values as well as a distinctive sense of self. These features are the most important things to preserve and convey to the public. We equate the term preservation within the context of our management plan to continuity rather than to the archaeological understanding of the term. The goal of the preservation plan is to help Vesuvio to better articulate their own narrative with as few changes to the existing bar as possible, for Vesuvio is a living entity and should be maintained as such.

Visitor Experience and Access

The fact that Vesuvio is an active bar poses interesting challenges for interpretation and thus by extension, visitor experience and access. A bar is a fluid and socially essential entity where people come and go as both insiders and outsiders of the bar’s scene.  It is an extremely diverse landscape of stakeholders who range from regulars, to distributors to tourists, all of whose interests come together around alcohol and entertainment, though pursued and achieved in different ways.

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Vesuvio patron, 2011.

The transient nature of its patronage, mixed with its presence as a valid social meeting place, has created an ethos that has facilitated the intertwined identity and function of Vesuvio. We thus seek to help Vesuvio articulate its identity and history to visitors through subtle interpretation. Subtle interpretation is defined here to mean interpretative tools or events that do not disrupt the normal flow and atmosphere of the bar and enhance the understanding of Vesuvio’s story.

Therefore the visitor will receive no formal tour when coming into Vesuvio; they can get that experience virtually on the re-designed website. Instead, they will be encouraged to simply engage in the drinking, artistic, musical, and literary activities of the bar that are incorporated into our interpretive projects (see Implementation section for more details).

Vesuvio is a public space that is on a busy, major street in a heavily populated neighborhood. Parking is a challenge but public bus transportation is widely accessible. The bar is also handicap accessible to the level possible for such a building and business. Janet Clyde says that handrails were added to the stairwells leading up to the women’s restrooms and down to the men’s facilities to comply with ADA regulation.

Community:

Tourism

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Photo courtesy of photobucket.com.

For an interactive GigaPan image of the cocktail above, click on this link and scroll through the snapshots under the image. Once the snapshot is selected, more contextual information will appear to the bottom, right of the image.

Vesuvio does not stand one either side of the tourism line for while it supports certain kinds of tourism, the bar is more strongly committed to its local patrons. Vesuvio does participate in some of the tourist folklore, even serving a drink called “The Jack Kerouac,” but while they appreciate the patronage and want to welcome new clients, Vesuvio wants to be a place of peace where locals can be left undisturbed.

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Henri Lenoir's do-it-yourself BEATNIK KIT displayed in the front window, sometime in the late 1950s-early 1960s.

There are many connections to tourism in the area. For example, visitors who come to participate in local events may also be interested in Vesuvio. Some of these points of interest include local (from North Beach as well as San Francisco) art, music and literature festivals; local culture promotional happenings; visitors to the San Francisco Art Institute (in North Beach); neighborhood art galleries and music venues; The Beat Museum; City Lights Books; and other famous watering holes like The Saloon, Specs, Tosca Cafe, and Café Trieste.

Vesuvio has garnered accolades and recommendations from around the world. It has received write-ups in printed and online travel guides like Lonely Planet, Frommer’s and Fodor’s; in local, national and international newspapers and magazines; and on interactive tourist sites such as Yelp and Citysearch. Vesuvio is a popular stop on the agendas of many walking tours and in general is a vital part of the San Francisco experience for vacationers from all walks of life. There are also Happy Hour specials advertised above the bar, on the Internet, and on a sidewalk sandwich board outside the bar. Ultimately, word-of-mouth advertising is one of Vesuvio’s best tools for tourism.

Community Events

Courtesy of vesuvio.com.

Vesuvio holds a variety of in-house events that encourage cultural awareness. Some of these include poetry and literature readings of both contemporary and past writers, live World Cup match screenings with pancake breakfast specials, “educational” materials like “Leo’s Short Guide to Good Bar Behavior,” and painting, illustration and other art media displays in the bar.

To keep Vesuvio (relatively) up-to-date, the owners ask for employee, patron, and other stakeholder input in addition to the usage of non-aggressive marketing for bigger events. Vesuvio also sponsors all-ages events with a strong emphasis on the immediate community. For instance, the event that owner-manager Janet Clyde is proudest of is Jazz in the Alley, which takes place in Jack Kerouac Alley and was inspired by local artist Elizabeth Ashcroft. Two other functions in the Alley are the mixed-media gathering Art in the Alley, and A Fair To Remember that features twenty-plus local designers, artists, collectors, and scavengers and happens once a month from April to October. Here is a little film about the latter event:

Regional Links

Vesuvio is in the heart of North Beach San Francisco and remains an integral part of the neighborhood. North Beach is adjacent to Chinatown and Fisherman’s Wharf, two sections of the city with their own distinct identities. A large part of the management plan deals with maintaining and expanding Vesuvio’s close tie with the North Beach community (see the Interpretation section and Implementation section for more details) and specific interpretative projects linking the bar to its surrounding neighborhoods.