Abstract

To balance radical changes in the built environment that accompany urban renewal, many cities deploy historical design elements to provoke a sense of physical and temporal continuity. By examining the theory and practice of nostalgia in renewal projects, I argue that this strategic deployment of historical signifiers is more complex and normatively problematic than it first appears. Analysing the design and construction of Baltimore’s Oriole Park at Camden Yards through Walter Benjamin’s theories of cultural production and historical succession, I show the problematic political effect of such image-led regeneration projects. The stadium exemplifies a system of urban and historical design and construction that uses material artifice to make totalizing political claims, deploying specific historical signifiers as a means to silence others. Drawing from Benjamin’s materialist historiography, I conclude with a survey of the resources that remain for the practice of an architecture of memory in light of my critique.