On May 30, 1921, 17-year-old Sarah Page, a white elevator operator who worked in the downtown Tulsa Drexel Building, accused Dick Rowland, a 19-year-old Black shoeshiner, of assault.

Although she later recanted the charge, Rowland was jailed at the courthouse. An armed white mob—some newly deputized—gathered, and lynching rumors circulated. A group of black men, some with guns, twice gathered to prevent such an event. But a firefight flared and, as survivors reported, “All hell broke loose.”

On June 1, Oklahoma Gov. James Robertson declared martial law, and the National Guard ended the killing and the looting and burning of homes and businesses in the upscale Black community. As many as six planes owned by whites dropped incendiaries—perhaps the only instance in history of one group of Americans attacking another by air.

最后，多达300人被杀，800多人受伤，270万美元的财产损失（2021年价值为30-50万美元）和成千上万的实习和无家可归。1921年的塔尔萨竞赛大屠杀摧毁了包括“黑华尔街”的35个方块，这是美国最富有的黑人社区之一。

2021年6月2日,在1921年的种族Massac塔尔萨re Centennial weekend, the 11,000-sq-ft Greenwood Rising history center will be dedicated at 23 N. Greenwood Ave. on the southeast corner with Archer Street, the gateway to the resurging community. The $7.5-million one-story building is anchored by an exhibit hall celebrating the story of the Greenwood District. It opens to the public later in June.

该活动将由塔尔萨种族大屠杀百年纪念委员会（TRMCC）主持，该委员会由塔尔萨州出生的州参议员兼委员会主席凯文·马修斯（Kevin Matthews）于2015年成立。“We’re building a first-class history center that will tell all Americans and the world the story of that terrible massacre and, hopefully, will spur renovations and new buildings downtown and throughout North Tulsa,” says Matthews, a former firefighter and business owner who helped raise $30 million for the facility.

Roxanne Bell, one of Matthews’ relatives, recently died at age 102. She often told the story of how her parents hid her under a table during the siege. “The name Greenwood Rising affirms that after 400 years of African American history in this country, we have continued to rise after our community was burned down and destroyed,” Matthews adds.

The Tulsa office of Columbus, Kan.-based Crossland Construction Co., serves as construction manager for the center, which broke ground in August. It was designed by Selser Schaefer Architects in Tulsa. New York City-based Local Projects is completing the exhibit designs. The rest of the team is also Tulsa-based: Wallace Engineering, civil; 360 Engineering Group, structural; Philips + Gomez, MEP; Howell & Vancuren Inc., landscape architecture; HofferWaska Creative, environmental graphics; and Stonebridge Group, the owner’s representative.

希望的道路是一条在格林伍德（Greenwood）崛起附近开始的人行道，计划在中心前的周末开放。它也是一个TRMCC项目，是由Crossland Construction建造的。它经过Oneok运动场和244号州际运动场，以约翰·霍普林（John Hope Franklin）的和解公园（以著名的塔尔萨历史学家的名字命名）。公园于2010年开放，是对大屠杀受害者的纪念。

The $5-million pathway symbolically reunites Greenwood, which was further traumatized in the mid-1960s and early 1970s by the building of a highway that divided the community in the name of urban renewal.

“Greenwood is ground zero for historic racial trauma in this country,” says Phil Armstrong, project director. An Ohioan by birth, he moved to Oklahoma in 1997 after attending Central State University. “This history facility ... will become a place where healing from that trauma can begin a journey to racial reconciliation.”

轻巧的面板

该公司塔尔萨分部副总裁格雷格·史密斯（Greg Smith）说，十字兰州于10月30日开始建设，在峰值上有40-45名工人在14,500平方英尺的包裹上。他说：“该项目的最大挑战是日程安排，这是非常积极的，但至关重要，因为我们需要完成1921年比赛大屠杀100周年的项目。”

The number of specialty materials and finishes also posed construction challenges, Smith adds. The center’s glass fiber reinforced concrete panels, which wrap the exterior, act as a rain screen and are articulated by the patterned black brick below, explains Stephen Dinnen, project architect with Selser Schaefer Architects.

面板在空腔中点亮，可以通过手机或其他电子方式来控制照明的颜色和图案。他说，其他外部元素包括玻璃入口和结构性硅胶玻璃以及位于建筑物西北角的铝制窗帘墙。

GFRCs provide many benefits, explains Eric Sutliff, general manager for DeVinci Precast, the Oklahoma City-based manufacturer. Sun Valley Masonry, Stillwater, Okla., is installing them on site.

平均而言，大型面板的平方英尺比湿铸混凝土轻约五倍。他说：“节省的重量可以使更容易且成本较低的构造效率更容易，并且经常转化为较短的安装时间。”

贴面还需要更少的资源：较少的沙子和水泥，更少的水，更少的化学物质，更少的运输燃料 - “不要忘记，较少的靠背都更少”。

北部立面表达了格林伍德精神的韧性，活力和振兴，欢迎游客来到行人友好的建筑和地区，并用作家詹姆斯·鲍德温（James Baldwin）的名言表示，塞尔塞尔·萨尔弗（Selser Shaefer）建筑师的主要负责人内森·科布（Nathan Koob）解释说。

“The shaped GFRC facade, never touching the ground, captures light from within and creates a rising effect. The randomized panels reflect individualism and together represent a larger fabric symbolic of the community, and the lower textured masonry recalls the brick structures of the lost buildings of Black Wall Street,” he adds.

At night, the facade changes, with dramatic light representing a transformation from a business area to an entertainment district. Koob says: “The building comes to life as an illuminated beacon seeking to inform and inspire both present and future generations.”

格林伍德崛起的课程

格林伍德崛起will feature interactive exhibit/experiences that highlight Tulsa’s Greenwood District and examine race relations in the U.S.

Post-Civil War segregation helped create Black Wall Street and spur prosperity among its residents, explains Tulsa resident Hannibal B. Johnson, author of 10 books on Black history.

“They seized the opportunity to devise a closed market system that defied the myth of African American mediocrity,” he has written of those early Greenwood residents. “Over time, fear and jealousy swelled within the white community. African American success, including home, business and land ownership, precipitated increasing consternation and friction.”

This animosity helped spark the 1921 massacre. But by 1942 more than 200 black-owned businesses had made Greenwood prosperous again. “In subsequent decades, integration, urban renewal and economic changes sparked a prodigious decline in the Greenwood District,” Johnson notes. Integration removed black dollars from the community, and urban renewal became “urban removal.”

随着州际公路在1970年代初完成，“深格林伍德”地区陷入困境。约翰逊说，许多财产归塔尔萨发展局，而不是非裔美国人拥有。

但是在过去的15年中，现在整合的社区已成为发展和投资的重点。约翰逊写道：“不再是黑人企业家麦加，其新的化身是企业，教育，娱乐，文化和娱乐中心的化身。”

As visitors prepare to exit the LED-lit galleries, they will enter an amphitheater that solicits dialogue. “Because Greenwood Rising is a place for healing racial trauma, a place for people to begin the journey to reconciliation, they will be encouraged to sit and start discussion on issues that divide us,” Armstrong says, suggesting an example, “How do we get past the aftermath of George Floyd?’”

The valedictory space is a commitment chamber where visitors can do that; their statements will be permanently displayed on a wall of unity. “What can I do to change the way I think or to help change other people and their biases?” he asks. “When they leave, they can feel that they haven’t just looked back on the road but have begun to make the journey forward.”