Lifestyle
'The only thing still left.' Volunteers race to save Altadena's vintage tiles from the bulldozers
The team of masons, covered in dust and sweat, had been working in the ruins of the Altadena house for hours when a shout echoed across the wreckage.
Volunteer Devon Douglas emerged from a pit of rubble that had once been the living room, staggering under the weight of a concrete slab more than a foot wide.
“It’s a stair,” Douglas said, turning toward homeowner Valerie Elachi. “A whole stair, and all the tiles.”
It was a bittersweet moment for Elachi, 76, who had danced down that tiled staircase when she and her husband first saw the home during an open house in the early 1980s.
She watched from her patio wall as five volunteers chiseled the historic tiles from the stairs and from her massive living room fireplace. Having something to salvage was a gift, she thought, and a bitter reminder of all they had lost.
Cliff Douglas uses a chisel to gently remove historic Batchelder tiles from the fireplace of a 1923 Altadena home built by noted local architects Myron Hunt and Elmer Gray.
(Allen J. Schaben / Los Angeles Times)
The work on Elachi’s home was being done by a ragtag group of volunteers who call their collective Save the Tiles. The group is racing to remove and preserve thousands of vintage and historically significant tiles from the Eaton fire burn zone before the properties are bulldozed by the U.S. Army Corps of Engineers.
As part of their work to remove debris and level lots for rebuilding, the Army Corps tears down everything left standing on a property. That includes chimneys and fireplaces, which can be left structurally weakened by fire.
“Anything you haven’t removed is gone forever,” said Eric Garland, one of the Save the Tiles organizers.
The volunteers have preserved the tiles from about 50 homes, and have about 150 left on their list. Already, they’ve had one close call, removing the tiles from one home just two days before the Army Corps arrived.
Finding enough skilled masons was the group’s first challenge. Now, their biggest hurdle is tracking down the homeowners and getting their permission to remove tiles from their properties.
A team of volunteers is using public records to trace homeowners, but they’re hitting a lot of dead ends. Property records generally don’t contain any contact information, and when they do, the phone numbers are often out of date. In some cases, the numbers ring to landlines that burned down.
“There will be a day, soon, when we wake up and there are no houses in our queue,” Garland said, “even though we know there are dozens left.”
The Batchelder tiles removed from Valerie Elachi’s fireplace were placed in a cardboard box before being cleaned and packed for long-term storage.
(Allen J. Schaben / Los Angeles Times)
The group’s last-ditch effort to reach homeowners is a letter. Mail is still being forwarded, Garland figured, so maybe it was worth a shot.
“Dear displaced neighbor,” the letter begins. “… We are just volunteers and Altadena neighbors desperate to reach you because we want to rescue your historic fireplace tiles for free. That’s it. No strings. Just trying to save what’s left of beautiful Altadena and bring some joy.”
:::
Garland embarked on the tile rescue mission after a walk through Altadena with his teenage daughter.
Their house survived the Eaton fire, but many on their street did not, including their neighbor Fred’s 1924 Spanish-style house. Amid the rubble, they spotted his century-old fireplace, its gray, brown and beige tiles still intact.
“That beautiful fireplace is all they have left,” Garland’s daughter said.
Garland emailed the neighborhood list-serv to ask whether anyone was saving the tiles. One response sent him to Douglas, who had written on Reddit that her father, Cliff, a professional mason, was volunteering to remove tiles from ruined homes for free.
The teams joined forces. In early February, they gathered dozens of volunteers in the parking lot of an Aldi grocery store in Altadena. Garland and fellow volunteer organizer Stanley Zucker handed out printed maps of the burn zone and sent small groups out on foot, telling them to stick to the sidewalks and photograph any tile that looked remotely historic.
In two days, the volunteers completed an ad-hoc architectural survey of thousands of burned properties. They whittled down the list to more than 200 homes with Arts and Crafts tile, many by the famous Pasadena artisan Ernest Batchelder and one of his main competitors, Claycraft.
First produced on the banks of the Arroyo Seco in 1910, Batchelder tiles were a key part of the California Arts and Crafts movement, a return-to-nature style that was a response to the ornate designs of the Victorian era and the industrialization of American cities.
Most Batchelder tiles are in private homes, but they can also be found on the Pasadena Playhouse’s courtyard fountain, the floors of Pasadena’s All Saints Episcopal Church and the lobby of the downtown Los Angeles Fine Arts Building on 7th Street. (One of his largest surviving commissions, the 1914 Dutch Chocolate Shop in downtown, is generally closed to the public.)
California in the early 20th century was rich with clay and with cultural influence, said Amy Green of Silverlake Conservation, a firm that repairs and restores historic tile. In addition to the Arts and Crafts movement, tile artists began producing a wide variety of works inspired by traditional Mexican and Indigenous designs, as well as European styles like Delft.
Devon Douglas, daughter of professional mason Cliff Douglas, inspects a Mayan-style Batchelder tile that had just been removed from a fireplace.
(Allen J. Schaben / Los Angeles Times)
“It reflects who and what we are,” Green said. “A very interesting mix of people that bring different aesthetics and skills to our work.”
Batchelder tiles can be palm-sized or larger, with muted matte finishes and understated glazes. A company catalog from 1923 described the tiles as “luminous and mellow in character, somewhat akin to the quality of a piece of old tapestry.”
They could be ordered through a catalog and were relatively affordable, said Anuja Navare, the director of collections at the Pasadena Museum of History, which maintains a private registry of homes with Batchelder tiles. Many middle-class families splurged a little and installed them in new bungalows in the 1910s and 1920s.
“He made beauty available to a person with modest means,” Navare said.
The work of Batchelder and his competitors spread to thousands of homes, businesses and civic institutions across Southern California.
American tastes changed, and, by the end of World War II, many of the tile companies had gone under. Arts-and-crafts tiles were painted over or ripped out in favor of the avocado greens and burnt oranges of the 1970s.
But the tiles have come back into vogue in the last two decades and have developed a cult following among design enthusiasts. Actress Diane Keaton has renovated entire homes with historic tiles, and preservationists have been known to dumpster dive to save Batchelder tiles from the landfill.
A single salvaged tile can sell for more than $200. A fully intact hearth and mantle can fetch 100 times that.
Early on, the Save the Tiles group was on high alert for looters in the burn zone. Most people would drive past the ruins of a home without a second look at the fireplace, but a select few know what to look for.
Cliff Douglas, the mason, said he had assessed several fireplaces along one street and returned to find the tiles gone. It was impossible to know, he said, whether the tiles had been removed by the homeowners or by someone else.
The group tackled the most visible fireplaces first, including those on corner lots. One volunteer with Hollywood set-building experience built false fronts to disguise fireplaces as any other fire debris.
The tiles must be removed by trained masons, and Save the Tiles now has four crews ready every day, made up of volunteers and workers whose employers are covering their wages. The group plans to start paying the masons from a GoFundMe that has now raised more than $100,000.
Cliff Douglas inspects a historic fireplace covered in Batchelder and Grueby tiles.
(Allen J. Schaben / Los Angeles Times)
About 20 volunteers learned from Green how to properly clean, catalog and store the tiles. Some cracked tiles will still need to be professionally restored, which will cost money, but a lot of the work can be done by amateurs, Garland said.
Some of them are sitting in boxes on a side porch at Garland’s mother’s house, and others are in a climate-controlled warehouse in Harbor City donated by a friend in the tile industry. The tiles will wait until homeowners are ready to take them back.
The power of the project, Green said, is that the hearth has such importance in the home: “It provides warmth,” she said. “It’s where you gather.”
:::
Despite the pressure of the bulldozers moving closer, removing the tiles is delicate work that can’t be rushed.
On a recent weekend, ceramicist Jose Nonato stood in the rubble of a three-bedroom home along East Altadena Drive, his hair, forearms and apron coated in dust. The third-generation ceramicist from Mexico City saw a Facebook post about the rescue effort and showed up with his tools. He had been working for hours in the sun on his 30th wedding anniversary to extract tiles surrounding a fireplace.
The tiles had been fired once, a hundred years ago, in kilns that reached 2,200 degrees Fahrenheit, Nonato said. He said the Eaton fire had thrown them into thermal shock. They could crumble at any moment.
Nonato laid his chisel against the mortar and gingerly began to tap the top of the tool with a hammer. He gently pried loose a tile the size of a paperback book and wiped his hand across the dusty surface. A faint green hue shone through — a Batchelder.
By the end of the day, Nonato had rescued about 90% of the tiles and laid them on a blanket in the driveway in the same pattern as the fireplace. A few were broken and held together by red duct tape, but those would be repaired. Soon, the tiles would be cleaned, boxed and stored for the homeowners, who planned to rebuild.
“This is basically the only thing still left,” Nonato said. “This, and memories.”
:::
Elachi, the Altadena homeowner, had initially hoped that the tile volunteers could shore up the massive Batchelder fireplace in her living room so the home could be rebuilt around it.
From left, Cliff Douglas and his assistants Martin Vargas, Jorge Vargas and Roberto Murillo remove debris from the hearth of a home in Altadena.
(Allen J. Schaben / Los Angeles Times)
To her disappointment, Cliff Douglas told her that the mortar had been weakened in the fire. Everything would have to come down, he said, or the Army Corps would take it down themselves.
Elachi and her husband raised their daughter in the 1923 Pueblo Revival-style home and spent four decades caring for the property, embracing its Southwestern style and finding furniture and art that, along with the pink adobe walls and wood beams above the windows, would have looked at home in Santa Fe.
“This house was like another child to us,” Elachi said.
The fire had taken almost all of it: her husband’s memorabilia from 15 years as the director of the Jet Propulsion Laboratory, their ceramics and furniture, all their photographs and books. The loss felt overwhelming and enraging. They hope to rebuild, but aren’t sure yet whether they will.
Understanding one of the world’s oldest civilizations can’t be achieved through a single film or book. But recent works of literature, journalism, music and film by Iranians are a powerful starting point. Clockwise from top left: The Seed of the Sacred Fig, For The Sun After Long Nights, Cutting Through Rocks, It Was Just an Accident, Martyr!, and Kayhan Kalhor.
NEON; Pantheon; Gandom Films Production; NEON; Vintage; Julia Gunther for NPR
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NEON; Pantheon; Gandom Films Production; NEON; Vintage; Julia Gunther for NPR
Few Americans have had the opportunity to visit or explore Iran, an ethnically diverse nation of over 90 million people which has been effectively shut off from the United States since the Iranian revolution of 1979. Now, with a U.S. and Israeli-led war on Iran underway, the ideas, feelings and opinions of Iranians may feel less accessible. However, some recent books, films and music made by artists and journalists in Iran and from the Iranian diaspora can help illuminate this ancient culture and its contemporary politics.
These suggestions are just a starting point, of course — with an emphasis on recent works made by Iranians themselves, rather than by outsiders looking in.
Books
For the Sun After Long Nights: The Story of Iran’s Women-Led Uprising, by Fatemeh Jamalpour and Nilo Tabrizy
There are quite a few excellent titles that deconstruct the history of Iran from ancient times through the rule of the Pahlavi Dynasty to the Iranian Revolution. But there are far fewer books that help us understand the Iran of 2026 and the people who live there now. One standout is the National Book Award-nominated For the Sun After Long Nights: The Story of Iran’s Women-Led Uprising by journalists Fatemeh Jamalpour and Nilo Tabrizy, which chronicles — almost in real time — the Woman, Life, Freedom movement that began in 2022, during which Jamalpour was working secretly as a journalist in Tehran. In 2024-25, Jamalpour (who is now living in exile in the U.S.) and I spent a year together at the University of Michigan’s Knight-Wallace fellowship for journalists; her insights into contemporary Iran are among the best.
Gold, by Rumi, translated by Haleh Liza Gafori
If Americans are familiar with Persian poetry at all, it may well be through popular “translations” of the 13th-century Sufi poet Jalaluddin Rumi done by the late American poet Coleman Barks, who neither read nor spoke the Persian language and detached the works of Molana (“our master”), as Iranians call him, of references to Islam. (Instead, Barks “interpreted” preexisting English translations.)
In 2022, Iranian-American poet, performance artist and singer Haleh Liza Gafori offered the first volume of a corrective, in the form of fresh Rumi translations that are at once accessible, deeply contemplative and immediate. A second volume, Water, followed last year.
Martyr!: A Novel, by Kaveh Akbar
This 2024 debut novel by Kaveh Akbar, the poetry editor at The Nation, is an unflinching tour-de-force bursting with wit and insight into the complications of diaspora, the nature of identity in a post-War on Terror world and the inter-generational impact of the 1979 Revolution on Iranians. The protagonist, the Iran-born but American-raised Cyrus Shams, has struggled with addiction, depression and insomnia his whole life, and is trying his best to make sense of a world at the “intersection of Iranian-ness and Midwestern-ness.” As with so many other of the titles here, fiction and fact are woven together: the story centers around the true story of the U.S. downing an Iranian passenger plane in 1988 during the Iran-Iraq war.
The Stationery Shop: A Novel, by Marjan Kamali
Marjan Kamali’s 2019 love story is the wistful tale of a young woman named Roya and an idealistic activist named Bahman, who meet cute in a Tehran store in the 1950s, but whose planned marriage falls apart due to turmoil both familial and political, as Iran’s democratically elected government falls in a U.S.-British lead coup that ends with the installation of the Shah. Roya flees to the U.S. for a fresh start, but the two reunite in 2013, wondering: what if life had spun out in a different direction?
Movies
Coup 53
This 2019 documentary directed by Iranian film maker Taghi Amirani and co-written by Walter Murch recounts Operation Ajax, in which the CIA and Britain’s MI6 engineered the removal of Mohammad Mossadegh, Iran’s democratically elected prime minister, and installed a friendly ruler, Shah Mohammad Reza Pahlavi, in his place. (The Shah was ousted in the 1979 revolution.) As Fresh Air critic John Powers noted in his review, “What emerges first is the backstory of the coup, which like so much in the modern Middle East is predicated on oil. Shortly after the black gold was discovered in early 20th century Iran, a British oil company now known as BP locked up a sweetheart deal for its exploitation. Iran not only got a mere 16% of the oil money before British taxes, but the books were kept by the British — and the Iranians weren’t allowed to see them.”
YouTube
Cutting Through Rocks
Sara Khaki and Mohammadreza Eyni’s film Cutting Through Rocks is up for an Oscar this season after premiering at the 2025 Sundance Film Festival. This inspiring documentary follows Sara Shahverdi — a divorced, childless motorcyclist — as she campaigns to become the first woman elected to the city council of her remote village, and who dreams of teaching girls to ride and to end child marriage.
YouTube
It Was Just an Accident
The latest film from acclaimed director Jafar Panahi — who has officially been banned from making films in Iran — is 2025’s It Was Just an Accident. Panahi, who has been jailed multiple times for his work and was recently sentenced again in absentia, has said in interviews that his inspiration for this brutal – and shockingly funny – thriller was people he met while in prison: an auto mechanic named Vahid finds himself face-to-face with the man who he is fairly certain was his torturer in jail, and eventually assembles other victims to try to confirm his suspicions. Fresh Air critic Justin Chang called It Was Just an Accident “a blast of pure anti-authoritarian rage.”
YouTube
The Seed of the Sacred Fig
This 2024 thriller — shot in secret by director Mohammad Rasoulof — centers on a family whose father, Iman, is appointed as an investigating judge in Tehran. But it soon becomes clear that his job has nothing to do with actually investigating. Iman, his wife, and two daughters come to suspect each other in our age of mass surveillance, as the city streets below erupt into the real-life Woman, Life, Freedom protests.
YouTube
Music
Kayhan Kalhor
One of the primary ambassadors of Persian classical music has been the composer and kamancheh (an Iranian bowed-instrument) virtuoso Kayhan Kalhor. Although music, like poetry, has been central to Iranian culture for centuries, all kinds of music were initially banned after the 1979 revolution. Since then, however, Iranian classical musicians have ridden many looping cycles of official condemnation, grudging tolerance, censorship and attempts at co-option by the regime.
Despite those difficulties, Kalhor has built a thriving career both inside Iran and abroad, including winning a Grammy Award as part of the Silkroad Ensemble and earning three nominations as a solo artist. Back in 2012, I invited him to our Tiny Desk to perform solo. “Didn’t know I could have goosebumps for 12 minutes straight,” a YouTube commenter recently wrote; I couldn’t put it any better.
YouTube
Saeid Shanbehzadeh
Among Iran’s 92 million people, about 40% of come from various ethnic minorities, including Azeris, Kurds and Armenians among many others. One of the most fascinating communities is the Afro-Iranians in the Iranian south, many of whose ancestors were brought to Iran as enslaved people from east Africa. Multi-instrumentalist and dancer Saeid Shanbehzadeh, who traces his ancestry to Zanzibar, celebrates that heritage with his band, and specializes in the Iranian bagpipe and percussion.
YouTube
The underground metal scene
Despite ongoing restrictions on music — including the continued ban on female singers performing in mixed-gender public settings — Iran is home to a thriving underground scene for metal and punk. Though it’s fictional, Farbod Ardebelli’s 2020 short drama Forbidden to See Us Scream in Tehran — which was secretly filmed in Tehran, with the director giving instructions remotely from the U.S. via WhatsApp — gives a flavor of that real-life scene and the dangers those artists face.
YouTube
Sen. Tillis To Kristi Noem
ICE Killings Are Like Dog You Killed
Published
Fireworks on Capitol Hill … Sen. Thom Tillis ripped into DHS Secretary Kristi Noem during a congressional hearing … comparing American citizens killed by immigration agents to a dog she killed.
Check out the video … the Republican Senator from North Carolina says Noem has shown terrible leadership and decision-making as Trump‘s DHS Secretary.
AP
Tillis says the killings of Renee Good and Alex Pretti in Minneapolis by ICE and Border Patrol remind him of a passage from Noem’s book … where she recalls killing a dog she brought on a hunting trip.
Noem said the 14-month-old dog, Cricket, was misbehaving … so she led the dog to a gravel pit and shot her.
X/@DHSgov
Sen. Tillis told her straight up … “Those are bad decisions made in the heat of the moment. Not unlike what happened up in Minneapolis. We’re an exceptional nation, and one of the reasons we’re exceptional is we expect exceptional leadership. And you’ve demonstrated anything but that.”
In 2021, Zhao made history as the first woman of color to win the best director Oscar for her film Nomadland. Her Oscar-nominated drama Hamnet has made $70 million worldwide.
Bethany Mollenkof for NPR
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Bethany Mollenkof for NPR
It took a very special kind of spirit to make Hamnet, which is nominated for best picture at this year’s Academy Awards. Chloé Zhao brought her uniquely sensitive, mind-body approach to directing the fictionalized story about how William Shakespeare was inspired to write his masterpiece Hamlet.
Zhao adapted the screenplay from a novel by Maggie O’Farrell, and for directing the film, she’s now nominated for an Oscar. She could make history by becoming the first woman to win the best director award more than once.
Zhao says she believes in ceremonies and rituals, in setting an intention, a mood, a vibration for any event. Before Hamnet premiered at the Toronto International Film Festival last year, she led the audience in a guided meditation and a breathing exercise.
Zhao also likes to loosen up, like she did at a screening of Hamnet in Los Angeles last month, when she got the audience to get up and dance with her to a Rihanna song.
She, her cast and crew had regular dance parties during the production of Hamnet. So for our NPR photo shoot and interview at a Beverly Hills hotel, I invited her to share some music from her playlist. She chose a track she described as “drones and tones.”
Our photographer captured her in her filmy white gown, peeking contemplatively from behind the filmy white curtains of a balcony at the Waldorf Astoria.
Zhao says she believes in ceremonies and rituals, and makes them a part of her filmmaking process.
Bethany Mollenkof for NPR
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Bethany Mollenkof for NPR
Then Zhao and I sat down to talk.
“I had a dream that we were doing this interview,” I told her. “And it started with a photo shoot, and there was a glass globe –”
“No way!” she gasped.
It so happens that on the desk next to us, was a small glass globe — perhaps a paperweight.
I told her that in my dream, she was looking through the globe at some projected images. “We were having fun and it was like we didn’t want it to stop,” I said.
“Oh, well, me and the globe and the lights on the wall: they’re all part of you,” Zhao said. “They’re your inner crystal ball, your inner Chloé.”
“Inner Chloé?” I asked. “What is the inner Chloé like?”
“I don’t know, you tell me,” she said. “Humbly, from my lineage and what I studied is that everything in a dream is a part of our own psyche.”
Dreams and symbols are very much a part of Zhao’s approach to filmmaking, which she describes as a magical and communal experience. She said it’s all part of her directing style.
Chloé Zhao used painting and dance to connect with actors on the set of her latest film Hamnet.
Bethany Mollenkof for NPR
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Bethany Mollenkof for NPR
“If you’re captain of any ship, you are not just giving instructions; people are also looking to you energetically as well,” she explained. “Whether it’s calmness, it’s groundedness, it’s feeling safe: then everyone else is going to tune to you.” Zhao says it has taken many years to get to this awareness. Her own journey began 43 years ago in Beijing, where she was born. She moved to the U.S. as a teen, and studied film at New York University where Spike Lee was one of her teachers. She continued honing her craft at the Sundance Institute labs — along with her friend Ryan Coogler and other indie filmmakers.
Over the years, Zhao’s film catalogue has been eclectic — from her indie debut Songs My Brothers Taught Me, set on a Lakota Sioux reservation, to the big-budget Marvel superhero movie Eternals. She got her first best director Oscar in 2021 for the best picture winner Nomadland. Next up is a reboot of Buffy the Vampire Slayer.
“A creative life,” she notes, “is not a linear experience for me.”
Zhao still lingers over the making of Hamnet, a very emotional story about the death of a child. During the production, Zhao says she used somatic and tantric exercises and rituals to open and close shooting days.
She also invited her lead actors Paul Mescal and Jessie Buckley to help her set the mood on set. They danced, they painted, they meditated together.
“She created an atmosphere where everybody who chose to step in to tell this story was there for a reason that was deeply within them,” actress Jessie Buckley told me.
Buckley is a leading contender for this year’s best actress Oscar. She said that to prepare for her very intense role as William Shakespeare’s wife, Zhao asked her to write down her dreams “as a kind of access point, to gently stir the waters of where I was feeling.”
Buckley sent Zhao her writings, and also music she felt was “a tone and texture of that essence.”
That kind of became the ritual of how they worked together, Buckley said. “And not just the cast were moving together, but the crew were and the camera was really creating dynamics and a collective unconscious.”
Filmmaker and Hamnet producer Steven Spielberg calls Zhao’s empathy her superpower.
Bethany Mollenkof for NPR
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Bethany Mollenkof for NPR
That was incredibly useful for creating Hamnet — a story about communal grief. Steven Spielberg, who co-produced the film, called Zhao’s empathy her superpower.
“In every glance, in every pause and every touch, in every tear, in every single moment of this film, every choice that Chloé made is evidence of her fearlessness,” Spielberg said when awarding Zhao a Directors Guild of America award. “In Hamnet, Chloé also shows us that there can be life after grief.”
Zhao says it took five years and a midlife crisis for her to develop the emotional tools she used to make Hamnet.
“I hope it could give people a two-hour little ceremony,” she told me. “And in the end, I hope that a point of contact can be made. That means that there’s a heart opening. But it will be painful, right? Because when your heart opens, you feel all the things you usually don’t feel. And then a catharsis can emerge.”
As our interview time came to a close, I told Zhao I have my own little ritual at the end of every interview; I record a few minutes of room tone, the ambient sound of the space we’re in. It’s for production purposes, to smooth out the audio.
Zhao knew just what I meant. She told me a story about her late friend Michael “Wolf” Snyder who was her sound recordist for Nomadland. “He said to me, ‘I don’t always need it, but just so you know, I am going to watch you. And when I tell that you are a little frazzled, I’m going to ask for a room tone … just to give you space.’” she recalled. “‘And if you feel like you need the silence space, you just look at me, nod. I’ll come ask for a room tone.’”
I closed our interview ceremony with that moment of silence, a moment of peace, for director Chloé Zhao.
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