Editors’ Note on Updating Content

The built environment is in constant flux, whether from demolition and new construction, renovations and additions, or changing function and use. Social protest and cultural progress can also transform the built environment, as we have witnessed these past several years in efforts to remove monuments to the Confederacy from public spaces. (See “SAH Statement on The Removal of Monuments to the Confederacy from Public Spaces.”)

As a digital publication, SAH Archipedia strives to ensure that its content is up to date and that published texts accurately reflect physical conditions on the ground. To that end, our editors and authors are reviewing individual entries and essays to identify those that need to be updated.

While this work is ongoing and continuous, we want our readers to know that we are prioritizing updates to entries and essays (and illustrations and metadata) dealing with monuments to the Confederacy and memorials that otherwise symbolize oppression to indicate (1) the removal of statues and other forms of dismantling or transformation, (2) the renaming or retitling of buildings, parks, plazas, bridges, streets, and highways, (3) necessary contextualizing and interpretations in light of new historical research and scholarship.

As always, SAH Archipedia’s editors will work with authors and peer reviewers to maintain the highest standards of a scholarly publication.



The Panida Theater in Sandpoint is emblematic of community-building processes in intermountain towns, past and present. Named for its geographic location in the Idaho Panhandle, the Panida Theater was built in 1927 by entrepreneur F.C. Wiskill as a vaudeville theater and motion picture house. Historically, the Panida’s construction reflected Sandpoint’s maturation from a rough and rowdy squatter’s settlement along the railroad tracks to a permanent, respectable, and economically diverse community. The theater’s closure in the 1960s, and subsequent renewal, parallels the Sandpoint community’s cycle of decline and economic transition from mill town to recreational amenity town. more


Hargreaves and Associates, in collaboration with the environmental artists Peter Richards and Michael Oppenheimer, created Byxbee Park in Palo Alto in 1990–1991 to remediate a former landfill and to accommodate the recreational interests of local joggers, walkers, and birdwatchers. The park covers approximately 30 acres of a landfill that had only been closed a few years earlier and is located adjacent to a tidal creek, a sewage treatment plant, and an active landfill on the South Shore of San Francisco Bay. It lies approximately 2.5 miles east of Stanford University’s campus in Palo Alto. It is surrounded by remnants of marshland crossed by high-voltage transmission lines and lies underneath the flight path of small planes that land and take off at Palo Alto’s municipal airport to the northwest of the park. The park is accessible from Embarcadero Road and from the South Bay trail system. more


Loudoun is a castellated Gothic Revival villa designed by New York architect A. J. Davis for Lexington clients Francis Key Hunt (1817–1879) and his wife Julia. Located on a 56-acre site on the northern outskirts of Lexington, it proved influential in introducing the Gothic Revival to Central Kentucky. The design and building of the villa are well documented not only in Davis’ drawings, but also in correspondence between client and architect. more


This reconstructed village emphasizes agricultural and ethnic architecture. Buildings moved in from throughout northeastern Colorado are arrayed around a central gazebo and gardens behind the frame Union Pacific Depot (1910), typical of those built in small towns across the West. The two-room beet workers' shack (c. 1920), board and batten with a slightly bowed roof, is typical of houses built by immigrants known as Germans from Russia, descendants of German farmers recruited to settle in the Volga Valley of Russia during the time of Catherine the Great. more

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