In September 1989, Hurricane Hugo clobbered the city of Charleston, damaging many of the buildings in its historic district, the largest in the United States. In the storm’s catastrophic aftermath, however, there was a silver lining: Local leaders, realizing the lack of trained artisans able to repair and preserve the city’s architecture, were spurred to found the American College of the Building Arts to train and educate a new generation of craftspeople.
A classical statue is used to teach students about pointing (or reproducing) sculptures in stone or plaster. The rosettes they’ve created will be installed at Laurel: A Collective, a new real estate development in the city.
Blake ShorterNow housed in a restored 1897 trolley barn and celebrating its 20th year, ACBA offers specializations ranging from blacksmithing to architectural stonework to classical architecture and design. By graduation, a student in the plaster program will have learned to create in-situ moldings and apply finishes like sgraffito and tadelakt; a timber framing major will have evaluated historic structures for stabilization and created a business plan for a prospective workshop.
In the expansive woodworking studio, students carve replicas of historic columns to be installed in Millford House, an hour outside of the city.
Blake Shorter
A senior stone carving student is creating a Neptune-like sculpture with exaggerated scrolls at the corners to frame the face.
Blake ShorterThe college wisely integrates this professional training with a liberal arts core curriculum. “It sets us apart,” says Christina Butler, Provost, Professor of Historic Preservation, and Chair of General Education. “A liberal arts education gives you a critical thinking background so you understand the history and design behind your craft, which in turn makes you a better craftsperson.” Adds Guyton Ash, an ACBA graduate who is now principal at Artis Construction in New York, “Students understand the ‘why’ of what they are building or preserving.”
“There is enthusiasm about the future. Ancient truths are coming alive again in the hands of a new generation.”
Christian Sottile, Sottile & Sottile Architects
Wrought iron and steel are heated and forged into both functional and decorative objects in the blacksmith shop.
Blake Shorter
Sparks fly in the blacksmith shop.
Blake ShorterIndeed, in this time of mass production, prefab construction, and AI design, bespoke work that is thoughtfully crafted by hand resonates with a soulfulness. “There is an overwhelming sense of promise and joy in the studios,” says Christian Sottile, principal of the Savannah–based architecture firm Sottile & Sottile, who has worked with ACBA students on a new Charleston development, Laurel: A Collective. “There is enthusiasm about the future. Ancient truths are coming alive again in the hands of a new generation.”
THIS ARTICLE ORIGINALLY APPEARED IN VOLUME 20 OF FREDERIC MAGAZINE. CLICK HERE TO SUBSCRIBE!
