#1 - Walk Into History
This "jump off" station recognizes, via plaque, the original unfolding of Pack Square where the first log courthouse of the city stood in 1893.
This "jump off" station recognizes, via plaque, the original unfolding of Pack Square where the first log courthouse of the city stood in 1893.
A building façade adorned in mid-century patterning with abstracted, geometric representations of pint glasses.
A top hat, cane and gloves, cast in bronze, recall the theaters and the Grand Opera House that once flourished along Patton Avenue.
Former resident Sydney Porter is celebrated with visual cues from his short masterpiece The Gift of the Magi.
The plaque at Station #5 draws attention to the Victorian frieze work along the front of the Drhumor Building (1895).
A bench with a bower of medicinal herbs (created by Joe Miller) honors Asheville resident Elizabeth Blackwell, the first woman M.D. in the U.S.
Turn the corner and you'll discover a fabulously large iron, a replica of one used by a local laundry (artist: Reed Todd).
Bronze cats mark the site of an original retaining wall for a hill later removed by E.W. Grove to develop that part of downtown Asheville.
A glass etching (temporarily unavailable) shows the original plans for the Grove Arcade, including a full-fledged tower that was never built.
This "signature" station celebrates both “old” and “new” Battery Park Hotels, the first destroyed by fire, but both known for their guest lists.
The Basilica of St. Lawrence features North America's largest self-supporting elliptical dome.
Five bronze figures seemingly float to the rhythms of Appalachian music, a tribute to the songs of the mountains.
This forged-metal representation of three well-heeled and hatted ladies with a small dog in tow commemorates an era when Haywood Street was the epicenter of fashionable shopping.
A basket of apples balanced over wagon wheels recalls a time when produce markets and livery stables lined Lexington Avenue.
The unbridled imagination of a boy on stilts captures the spirit of architect Richard Sharp Smith who left a lasting impact on the city's architecture.
A ceramic replica of the Woodfin House honors Nicholas Woodfin, prominent lawyer and farmer.
You can vault time zones by standing in the indicated footsteps, large enough for Thomas Wolfe's large shoes.
A bronze version of Wolfe’s shoes draws attention to his mother’s boarding house, Old Kentucky Home.
Abstract metal sculptures wrangle to earth the myriad of emotions portrayed on stage in the long history of Asheville Community Theatre.
A silvery, art-in-motion sculpture, detailed with Art Deco stampings, honors the evolution of transportation in Asheville.
A bell very close in shape to this one once rung out at important times in Asheville's original City Hall.
A bronze plaque pays homage to the mountains with a nod towards Beaucatcher Road.
This grass-surrounded marker reveals that there’s a time capsule buried underneath.
This granite etching renders Douglas Ellington’s original working concept of two art deco buildings of government.
Carving tools and a work in progress represent W.O. Wolfe’s tombstone shop.
A plaque honors James Vester Miller, a son of slaves and master brick mason and artisan for the Municipal Building.
Artist Winston Wingo's bronze relief celebrates the spirit of Asheville's African-American community.
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