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Practices | Pratiques Reflections on One Story Among Many : Memories of the Future III (2018) racar 45 (2020) 2 : 111–118 Many historic houses have come to be museums, in part because they (physically) stood the test of time. This is, of course, an oversimplification. Countless hours of advocacy and labour go into preserving a building and more hours still are required to open such a space to the public as a museum. Yet, that first stage of preservation begins with a building : an old structure, often in need of a complete restoration after living many lives (sometimes with as many floor plans) in the interim years. Despite these conditions, a community considers the residence a valuable tribute to their past. In Canada, these architectural monuments are most often from the mid-nineteenth century and are usually two-story homes with a connection to a little-known middleor upper-middle-class patriarch and his family.1 The Roedde House Museum follows this pattern. Records identify Gustav Roedde as one of the City of Vancouver’s first bookbinders, who was recognized for his paper marbling technique. The house is designated by the City of Vancouver as an architecturally noteworthy example of the Queen Anne Revival style, which was developed in Britain and subsequently traveled to North America. The style has very little connection to the English architecture popular during the actual Queen Anne’s rule (1702–14), and instead intermixes vague historical features, such as bay windows, balustrades, and turrets, into an asymmetrical and picturesque aesthetic.2 The Roedde House, located in current-day Vancouver’s West End, was built in an area that for millennia was forested land, lived and traveled on by Indigenous peoples of the Sk _wx _wú7mesh (Squamish), xwməθkwəy̓əm (Musqueam) and səli̓lwətaɁɬ (Tsleil-Waututh) nations. In 1890, Reflections on One Story Among Many : Memories of the Future III (2018)

Practices/Pratiques – Reflections on One Story Among Many: Memories of the Future III (2018)