MESSAGE FROM THE EXECUTIVE DIRECTOR

Celebrating 25 Years

HIS ISSUE OF BLUEPRINTS GOES TO PRESS In October 1985, after several years 25 years almost to the day after an act of renovations to the former Pension Tof the U.S. Congress formally estab- Building, which had been designated by lished the National Building in Congress to house the new, private institu- December 1980 (though at the time, the tion, the National Building Museum offi- entity was still known as the Committee cially opened to the public. There were for a National Museum of the Building four inaugural exhibitions: one called Arts). That milestone represented the end Building a National Image: Architectural of a long campaign by an ambitious and Drawings for the American Democracy, intrepid group of individuals who worked another about the Bridge, anoth- tirelessly toward the creation of such er about master metalworker Samuel an organization. At the same time, it Yellin, and finally one about the Museum's Chase W. Rynd was a momentous beginning, marking own historic landmark structure. The the birth of an entirely new kind of diverse subject matter of these initial cultural institution. shows reflected very well the range of As stated in the very first issue of issues that the Museum was committed Blueprints, published in the summer of to addressing. Early education programs, 1981, “The ultimate goal of the Museum's including the first Construction Watch program is to encourage the public to Tours, hands-on activities for children, take part in the ongoing debate over what and lectures by architectural photogra- relationship our society should establish phers, historians, and others, augmented between the built and natural environ- the breadth of the Museum’s offerings. ments.” Such a goal implied a vision for Since those auspicious beginnings, an organization that was simultaneously the Museum has presented nearly 170 scholarly and accessible to a broad audi- exhibitions and thousands of education ence, serving as both an intellectual “home” programs, and has welcomed more than for the design and building industries four million visitors. And now, thanks to the and a very public forum for discussion and Internet, each year more than one million exchange of information. It also suggested people all over the world follow our activi- an unprecedented interdisciplinary ties by exploring online exhibitions, reading approach to the institution’s organization, summaries of public programs, and even mission, and programming, since the viewing video clips of important lectures. examination of all aspects of the “built and The National Building Museum has unques- natural environments” would inevitably tionably become a vital, influential, and involve an astonishingly broad spectrum valuable institution. We proudly celebrate of specific fields and topics. As I look back how far we have come in 25 years, and look on the Museum’s history so far, I think forward to greater success in the future. the institution has done a remarkably good job of remaining true to these fundamental goals, and in the process, has greatly advanced the general level of understand- ing of, and appreciation for, the value of Executive Director good design and planning. National Building Museum

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FEATURE Revealed The National Building Museum’s Collection

On December 3, the National Building Blueprints: The National Building Museum’s Museum opened Cityscapes collection actually predates the opening of the Museum. What were the first items in the Revealed: Highlights from collection and how did they come to be given the Collection, the to the Museum? first exhibition in the The first recorded items in institution’s history Dana Twersky: the collection are papers given by Louise dedicated solely Mendelsohn [the widow of architect Erich to its own hold- Mendelsohn] documenting her efforts to ings, which com- organize a museum of architecture. The prise more than papers were donated and accessioned— 110,000 items. meaning that they were formally accepted into the collection—in 1977, when the Conceived as part Museum existed as an organization called of the celebration the Committee for a National Museum of the of the Museum’s 25th Building Arts. The second items accessioned anniversary, the exhibition were the elevator grilles from the Manhattan presents a cross-section of two- Building in Chicago, donated by Manhattan and three-dimensional artifacts that shed Associates in 1981. Two of the grilles are on display in Cityscapes Revealed. light on the American urban landscape. Correspondence in the early accession The show will be on view for approximately files indicates that donations were actively above / An original terra cotta rosette two years in first floor galleries. ( Terra Cotta Company, 1884) solicited by Isabel and Bates Lowry [the that was removed many years ago Museum’s first “documentation center from the cornice of the Pension The exhibition was organized by curator Building, now the National Building head” and director, respectively, and also Museum. Gift in memory of John D. Chrysanthe Broikos, who worked closely wife and husband] in order to build up Fleetwood Jr.; Pension Building Collection; Collection of the National with registrar Cecelia Gibson. Following the collection. Building Museum. is an interview with Chrysanthe and Dana Since that time we have received 170 donations including photographic opposite right / A copper acroterion Twersky, the Museum’s senior registrar, (an ornamental element typically used prints, architectural drawings, documents, to adorn the edge of a roof), from an offering a behind-the-scenes glimpse of unknown building, c. 1900. Museum assorted ephemera, and three-dimensional purchase; Collection of the National Cityscapes Revealed and the collection objects having to do with the building arts. Building Museum. that inspired it.

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REVEALED: THE NATIONAL BUILDING MUSEUM’S COLLECTION

BP: How were the specific items in Cityscapes BP: There are various sub-collections within Cityscapes Revealed: Highlights Revealed selected? the overall Museum collection. The Pension from the Collection is made possible by Building Collection, for instance, obviously National Architectural Trust; Baltimore– Chrysanthe Broikos: My goal was to let the helps to tell the story of the Museum’s historic Washington Brick Distributor Council; Lt. objects select, and speak for, themselves. I home. Does it also tell us anything broader Col. and Mrs. William Karl Konze; Samuel started by focusing on the large architectural about life in late 19th-century Washington? H. Kress Foundation; Sheet Metal Workers’ fragments that had been salvaged from sig- International Association; Gladding, Yes, I think it does. For example, it nificant buildings and donated to our collec- CB: McBean; Mrs. John W. Hechinger, Sr.; includes information on topics as varied tion. Given the size of our galleries and the International Masonry Institute; as the working conditions and rules of scale of the pieces, I thought we could create International Union of Bricklayers and conduct for employees in the building to dramatic vistas and showcase some of our Allied Craftworkers; Linda B. and Jonathan the Victorian decorations favored for the most important artifacts. Once the team S. Lyons; Turner Construction Corporation; inaugural balls held here. In the future, determined which of these pieces could be Honorable Robert W. and Louisa C. as we move forward with new ways of advantageously displayed, I had the begin- Duemling; Brick Industry Association; interpreting the building, we hope to nings of the exhibition’s urban theme. Marshall B. Coyne Foundation; Jessica explore many of those rich avenues. I also thought it was important to and Henry Townsend; Sara Ann Bounds; The items I selected for the exhibi- highlight some of the individual collections Design Ways & Means-Perry Cofield, AIA; tion, however, are strictly architectural. that have never been exhibited before. William L. Hopkins and Richard B. I used this as an opportunity to address So, relatively speaking, I have included Anderson; F. Joseph Moravec; Restore some of the questions first-time visitors quite a few pieces from both the Ernest L. Media, LLC; Karen and Langley Shook; have about the building and to show the Brothers Interior Design Collection and the and other generous contributors. Northwestern Terra Cotta Collection, since architectural fragments we have. For neither has been the subject of a full exhibi- example, we have two of the original terra tion here. The S.H. Kress & Co. Collection cotta rosettes that were designed for the and the Wurts Brothers Photography cornice, but due to weathering problems Collection are not as widely represented had to be removed shortly after they since both have been featured previously. were installed. At the time of building’s Because the range of built structures renovation, we did not have either represented in the collection is so vast, rosette. Now we could consider settling on an urban theme also helped replicating these originals narrow my research. You do have to draw and restoring Montgomery the line somewhere. So I did not select Meigs’ original vision. items relating to farms, suburbia, or trans- portation networks, for example; I concen- trated on built works typical in a city.

BP: What inspired the exhibition title?

CB: Even though the exhibition is a survey of the collection, I thought it was impor- tant to define the urban thread that I had teased out, especially because I had been envisioning the exhibition as a kind of walking tour of the city and our collec- tions. Words such as “cityscapes,” “streetscapes,” and “downtown” seemed to touch on the idea I was hoping to evoke. I hope even the keenest observers of the city—and I assume that encompasses a great many of our members—will learn or discover something new, so that’s where the “revealed” comes in. I also like “revealed” because this is the first time many of these pieces will be on display.

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REVEALED: THE NATIONAL BUILDING MUSEUM’S COLLECTION

The S.H. Kress & Co. collection of photographic prints, donated in 1989 by Genesco Inc., comprises some 7,000 prints. We also have the col- lection of about 500 photographic prints of exteriors and interiors of the Woolworth stores. This was donated in 2000 by the Venator Group. The Stewart Brothers Photography collection was donated in 2001 by Lloyd S. Stewart and William P. Stewart. This collection includes about 20,000 negatives of aerial photos, construc- tion progress shots, and views of complet- ed buildings in Maryland, Virginia, and the District of Columbia from 1978 to 1990. Then there are the James Stewart construction albums that I mentioned— 108 leather-bound albums, each containing approximately 40 to 100 images of con- struction projects from ground-breaking above / A sculptor working on a terra BP: Some of the Museum’s most important and to ribbon-cutting, dating from 1904 to 1949. cotta acroterion in the Northwestern Terra Cotta Company shop, Chicago, comprehensive collections are photographic 1914. Gift of Edward J. Mertes; archives. Can you describe the scope of these BP: Chrysanthe, are there elements of the Northwestern Terra Cotta Collection; collections, and why they are so important? Collection of the National Building collection that you, as a curator, believe to be Museum. especially significant? DT: The Museum’s photo archives comprise roughly 48,000 prints and negatives, not CB: I think the two terra cotta rosettes I including the James Stewart & Company mentioned are quite important. They have construction albums, which I will address opened up the possibility of accurately in a moment. replicating the originals, something that The Wurts Brothers Photography was previously impossible. Collection was donated in 1983 by Geraldine Drawings in the Northwestern Terra and Richard Wurts and consists of 20,000 Cotta Collection have that same potential. prints and negatives. The Wurts Brothers Not only can the collection be useful to Company was one of the first firms in New scholars, it also can be a tremendous York to specialize in architectural photogra- asset to practitioners seeking to restore phy, and the family developed a clientele of or replace damaged terra cotta elements leading architects, including Cass Gilbert and according to their original design specifica- John Russell Pope, plus developers, contrac- tions. Not every Museum can play that tors, and manufacturers. Although this col- kind of role. That particular collection is lection is particularly strong in documenting also important because the Northwestern developments in New York, Connecticut, and Terra Cotta Company was one of the New Jersey, it includes projects throughout nation’s premier manufacturers of terra the , as well as Canada and cotta, a very important building material Bermuda. The collection covers a wide range in late 19th- and early 20th-century of building types including offices, manufac- American architecture. That collection is turing facilities, lavish estates, housing also a sentimental favorite here since the developments (such as Levittown), civic National Building Museum’s terra cotta buildings, and exhibits of the 1939-40 New ornamentation is one of the structure’s York World’s Fair. most outstanding and memorable features.

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REVEALED: THE NATIONAL BUILDING MUSEUM’S COLLECTION

As time passes, certain elements of the prints, and drawings are interleaved with collection will become more valuable. That is glassine or acid-free papers. Small objects certainly true of photographs that document are stored in gasket-sealed cabinets indi- buildings or structures that no longer exist, vidually wrapped in acid-free tissue or or will be torn down some day. Once the cushioned with foam inside boxes. Large building is gone, an image of the building items such as models or building parts under construction or as it looked upon its are stored on polyethylene foam-lined, completion can be invaluable. enameled steel shelving units. Every object is inventoried and BP: How does the Museum maintain its tracked by its unique three-part number collection? that includes the year it was donated, the donor, and the number of objects in the DT: The museum maintains the collection collection donated. Once the object is in a restricted storage space, which is formally donated, it is cataloged in our alarmed and climate-controlled at the data management program. optimum temperature of 70 plus or minus As a registrar who also manages the 2 degrees Fahrenheit and 50 percent collection, I am responsible for processing relative humidity plus or minus 5 percent. donations, tracking objects in the Museum’s Objects of different materials are stored care, and ensuring that the artifacts in the in different ways. Photographic prints are above / Design for a canopy bed permanent collection are handled correctly, by Ernest L. Brothers, watercolor, stored either flat in drop-front, acid-free properly stored, and are secure from theft c. 1950. Gift of Frances Griffin boxes or upright in acid-free document Brothers and Diane Brothers or damage. McGee; Ernest L. Brothers Interior boxes. Architectural drawings are stored Design Collection; Collection of in large acid-free folders in buffered boxes the National Building Museum. or in map cases. All archival materials, below left / Photograph of 's Union Terminal Station (now the Cincinnati Museum Center), designed by Fellheimer & Wagner with Paul Cret and Roland Wank, under construction, 1931. Gift of John B. Mannes; James Stewart Construction Collection; Collection of the National Building Museum.

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REVEALED: THE NATIONAL BUILDING MUSEUM’S COLLECTION

the copper dormer window surround from the Carnegie mansion in New York, and the panel from the National Building Museum frieze. We used Holly Krueger, who is a paper conservator, to evaluate and treat the Northwestern Terra Cotta draw- ings and the Ernest L. Brothers interior design drawings. We used a leather conser- vator, Tom Albro, to evaluate the James Stewart construction albums, which are suffering from leather disease. Typically, an object conservator’s first task is to examine a given piece and photograph it. She explores treatment options with an eye toward our desired final result, and then submits a treatment proposal and cost estimate. Once the pro- posal is approved by the registrar and by the curator, she begins work. In the case of the Z.C.M.I. façade, Cathy filled and molded some of the larger dents and breaks in the galvanized sheet metal with two-part epoxy putty and then painted it to match the rest of the column. In the case of the frieze, she cleaned the surface to remove loose dust and dirt and then filled the areas of loss with resin. The fills were then touched up with acrylic paints to match the painted surface. above / American Skyline, a construc- BP: What are some of the most recent items tion set manufactured by Elgo Plastics Holly Krueger examined the works of Chicago, 1956. Gift of William added to the collection? on paper that are going on display and Henry Carr Griffith Jr.; Collection of the National Building Museum. determined that some of the Northwestern DT: This year we accepted into the collec- Terra Cotta drawings would need to be below right / A shop drawing by the tion the second terra cotta rosette from dry-cleaned and torn edges and holes mend- Northwestern Terra Cotta Company the Pension Building cornice—it came detailing the griffin-adorned chimney ed and filled. For the Ernest L. Brothers of Pittsburgh’s Allegheny County from the same person who donated the interior design watercolors, she removed Soldiers and Sailors Memorial Hall only other rosette in the collection. (now the Soldiers & Sailors National some of the drawings from their old and Military Museum & Memorial), 1908. The Department of Defense also brittle card stock supports, removed tape Gift of Edward J. Mertes; North- signed over ownership of the plan of the western Terra Cotta Collection; remnants, and dry-cleaned them. Collection of the National Building fifth floor of that we’ve been Museum. storing for them on extended loan since it was featured in the exhibition On the Job: Design and the American Office. The MacArthur Foundation donated two pieces of Northwestern Terra Cotta from the Marquette Building in Chicago that were removed during recent renovations, and one of these is on display in the exhibition.

BP: Did some of the items in the exhibition have to be conserved or restored? How was this accomplished?

DT: Yes. Cathy Valentour, an object conser- vator, worked on the columns from the Z.C.M.I. department store in Salt Lake City,

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REVEALED: THE NATIONAL BUILDING MUSEUM’S COLLECTION

BP: Will the specific items in the exhibition be changed over the course of the exhibition’s run?

CB: Yes, all of the objects that can be damaged by light—including original drawings, photographs, or publications— will be on a three-month rotation cycle. This means visitors should be able to return every few months and make new discoveries each time they visit. In some instances, when I thought the item was crucial to communicating a particular idea, or I couldn’t find a comparable replacement, we decided to produce a facsimile of the original.

BP: What are some of the most interesting items in the collection that do not appear in Cityscapes Revealed?

DT: Possibly the material sample kits. We have 17 general sample kits in the collection plus 18 Ernest L. Brothers Interior Design sample kits of mostly fabric samples (some of these are on display in Cityscapes Revealed). The general sample kits include stained wood trim (1954); several glass sam- ples from The Paul Wissmach Glass Co., Inc. (c. 1940); samples of colored tile from Dallas Ceramic Company (1945); samples of alu- minum from Reynolds Aluminum/Gauges (1950); samples of plywood-based siding from U.S. Plywood (1950); plus weather stripping, floor tiles, and so on.

such as this one, or educational programs above / Photograph of the South BP: Is there a “story” about the built environment Texas National Bank, Houston, such as the construction watch tours. designed by C.D. Hill & Co., under that you can weave based on the collection? And as a curator and architectural construction, 1909. Gift of John B. Mannes; James Stewart Construction historian, I’d like to think there are hun- Collection; Collection of the National CB: This exhibition is a story and one of dreds of stories in the collection. One of Building Museum. the themes or subplots is how truly com- the most exciting things to see was how plex and interdisciplinary the act of build- many collections actually have informa- ing is. I have tried to draw attention to as tion pertaining to the same building or many facets of the building process as I project. I have also identified objects that can. That includes designers, craftspeople, would be great additions to the collection laborers, contractors, building product and would potentially round out certain manufacturers, and photographers. Each stories and better contextualize various has an important role to play. You would trends and developments. I have a tremen- be hard-pressed to look at a shop drawing dous amount of respect for the Museum’s from the Northwestern Terra Cotta former staff members who took an active Collection and not realize how many other role in cultivating the donors who have people it takes to make an architect’s made the collection what it is today. vision or design come to fruition. I think • the construction images are equally eloquent on that front. In a sense, this is one chord the Museum repeatedly tries to hit—whether it’s through our exhibitions,

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FEATURE Birth of a Museum

O WASHINGTONIANS AND VISITORS ALIKE, the National Building Museum seems like a Twell-established fixture in the landscape of the nation’s capital. Many people, in fact, are surprised to learn that the institution is relatively young compared to other promi- nent local , having been estab- lished just 25 years ago. Many others, how- ever, remember very well a time when there was no major museum in the United States dedicated to architecture, engineering, and construction, and when the historic Pension Building was a disused white elephant with an uncertain future. The fortuitous convergence of two fac- by Herbert M. Franklin and The following article, written by two of tors in the 1970s greatly aided the founding Cynthia R. Field the key players in the founding of the of the National Building Museum: the matur- National Building Museum, traces the ing of the historic preservation ethos and the impending vacancy of the Pension Building. events that led up to the institution’s Constructed in 1882–87 to house the office formal establishment in December 1980. providing military pensions for Union above / Conceptual design for a Cynthia Field holds master’s and doctoral veterans of the Civil War, the building had typical exhibition hall for the new National Building Museum. Drawing degrees from Columbia University and already been recognized with a listing on by Cooper-Lecky Partnership, from is an architectural historian with the the National Register of Historic Places. Its Building the Building Museum, an undated publication from the early . Herb Franklin, future use was being debated as its temporary 1980s. occupants, the District of Columbia courts a graduate of Harvard College and and related administrative offices, were Harvard Law School, is an attorney scheduled to vacate in 1976 upon the comple- who specialized in real estate finance tion of the new D.C. courthouse. and development and also served as The U.S. General Services Admin- executive assistant to the Architect of istration (GSA), which manages the vast the Capitol. Both remain active as majority of federally-owned civilian facilities, understandably believed that the building founding trustees of the Museum. would be extraordinarily costly and inefficient to retrofit as an office building, and any such process could lead to the destruction of the grand, high-ceilinged rooms that had served adequately as courtrooms. Such a process would lead to a rabbit warren configuration that at best would yield little more than 110,000 square feet of office space, which could be provided by a much smaller new building. The Great Hall in the past had

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BIRTH OF A MUSEUM

been used for office purposes, requiring a sea of desks, file cabinets and strings of lighting, but this arrangement seriously degraded the elegant and awesome space. The idea of using the historic struc- ture as a museum had already been sug- gested to the GSA. In 1969, at another point of decision about the building’s fate, the GSA had commissioned the distinguished modernist architect to evaluate potential uses for the building. She reviewed the possibilities, including reuse as a shopping center, for Scholarship. Throughout the spring recreation space, office-display area, and Field met with colleagues and various others. She concluded that the most organizations to refine the concept. Among appropriate use would be a museum and those who contributed at this conceptual exhibition space. Of all the possible muse- phase were architectural historians, ums that she considered, it seemed to her preservationists, architects, planners, that it would be “most appropriate as a landscape architects, and representatives gallery dedicated to the Art of Building.” of Congressional offices, preservation GSA was not, of course, in the business organizations, and housing and planning of creating or sustaining museums or agencies both governmental and private. galleries. No private sector partner yet Finally Field met with Smith, who readily existed to take on such a program as Smith agreed to support this effort to marry the had suggested. The building was subse- idea of the museum use of the building quently made available for office space for with Field’s program. The Museum was tenants related to both museum and beginning to take shape in concept. historic preservation purposes, including At the same time the next big step the Smithsonian Institution and the Office toward realization took place when Field of Preservation and Archaeology (later the met attorney Herb Franklin. Franklin was Advisory Council on Historic Preservation). immediately interested in the idea. While When the building was about to lose the he pointed out that the challenge facing

D.C. courts, the realistic fear arose among any would-be founders of a museum devot- top / Photograph showing the the building’s admirers that this historic ed to the art of building was daunting, he condition of a space on the fourth floor of the Pension Building before and extraordinary work of engineering saw the next steps clearly: to explain what renovation. From a thesis project for and architecture might be demolished. the program of such a museum would be a new museum of architecture in the Pension Building, by B. Christopher In December of 1974, at a dinner for and how such a museum might use the Bene, University of Virginia, 1975. Cynthia and Charles Field given by archi- building for its mission, what the approxi- above / The Pension Commissioner’s tectural historian Dora Wiebenson, Cynthia mate cost of restoration and annual opera- Suite before renovation, showing Field described her vision of a National tions might be, and how to structure the fluorescent lighting suspended from the decorated ceiling. From Museum of the Building Arts. The discus- relationship of such a museum to the the thesis project by B. Christopher sion turned toward the possible disposition federal government. He thought ahead to Bene, 1975. of the Pension Building once the courts the necessity of creating a formal entity had moved. In January 1975, inspired by to advocate for the building and the idea. the building, Field created an outline for Franklin created a non-profit corpora- such a museum, comprising an archives, tion in August 1975 called the Committee education and exhibition divisions, a for a National Museum of the Building library, a state and regional division with Arts (CNMBA) headed by Field, Franklin, a department of oral history, and a Center and Smith. Taking advantage of Franklin’s

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BIRTH OF A MUSEUM

Jimmy Carter in November 1978. Senate Resolution 160 (S.J. Res. 160), stated the interest of Congress in establishing a muse- um of the building arts in the Pension Building, described in the document as “a national treasure.” It directed the GSA to prepare an existing conditions study with drawings and preliminary cost estimates for the restoration of the building for this purpose. The resolution further provided that such drawings “shall be consistent with and provide space for the functions and facilities proposed” in “The Building Building,” the illustrated program of action issued by the CNMBA. Significantly, the resolution also stated that “any occu- pants of the Pension Building shall be tem- above / Sketch by Montgomery broad acquaintance in the area of urban porary pending establishment and occu- C. Meigs showing the revised design pancy of the building” by the museum. In of the Great Hall of the Pension affairs, the board was soon augmented by Building, 1883. As reproduced in a the prominent developer known for his other words, there could be no doubt that report by the U.S. General Services the museum would indeed be created in Administration on the condition of urban revitalization projects, James Rouse, the building, 1980. and the author and architecture critic of the building unless the studies revealed a , Wolf von Eckardt, significant impediment. who lent both their prestige and their By December 1978 the studies mandat- support. Having received funding from ed by S.J. Res 160 were being conducted by the National Endowment for the Arts, Von the Smithsonian Institution, the GSA, and Eckardt and Field worked with adherents the National Endowment for the Arts. The from across the country, such as Beverly resolution gave significant status to the Willis, Edward Hall, and Nancy Stevenson, CNMBA, which operated from an outpost and with advisory sub-committees on edu- in the Pension Building throughout 1979 cation, exhibitions, architecture, landscape and 1980, providing small exhibitions and and , through which the building fairs with a small staff to demon- thinking of the anticipated audiences was strate what the museum could provide gathered and integrated. while continuing to build support for the In early 1978 the resultant study, more ambitious endeavor. Progress toward handsomely packaged in a publication permanent establishment gained momen- somewhat whimsically titled “The Building tum through a chance meeting between Building,” was distributed to all members Field and Loretta Newman, staff assistant of Congress and relevant executive branch to U.S. Representative John F. Seiberling, officials, along with leaders in the worlds which resulted in the idea of combining of design and development. An informa- the museum’s creation within the tion campaign was launched, with commit- reauthorization of the National Historic tee members visiting members of Congress Preservation Act. Newman wasted no time and their staffs, government officials and in calling on Franklin as the CNMBA’s various professional and trade associations. legal counsel to provide binding language These efforts resulted in the passage of a to establish the museum, but warned that non-binding resolution of the Congress, draft legislation was needed within only a introduced by Senator Charles “Mac” McC. few days. Franklin drafted the document Mathias, Jr., and signed by President that became Title III of the National

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BIRTH OF A MUSEUM

Historic Preservation Act as Amended of 1980. The mission of the museum as draft- ed by Franklin reflected the ongoing discussions of CNMBA board members over the preceding years. As directed by the legislation, a coopera- tive agreement was created between the GSA and the new entity. Under the terms of this agreement, the government would continue to be the owner and guardian of the historic Pension Building while the non-profit would operate a museum of the building arts with- in the facility. Passage of the legislation was top / Elevation and transverse sec- the result of a cooperative effort involving tion of one of Meigs’s early schemes many organizations. Congressional support for the Pension Building, 1882, incorporating a cupola atop the came notably from Senator Daniel Patrick center of the roof. As reproduced Moynihan and Representatives Seiberling in a report by the U.S. General Services Administration on the and Elliott H. Levitas, and the committees condition of the building, 1980. they represented. above / Cover of The Pension Thus it was Public Law 96-515 Building: A Building in Search of (December 12, 1980) that marked the legal a Client. Report by Chloethiel Woodard Smith and Associated birth of the National Building Museum Architects, 1967. (the name of the institution was adopted tion of a compelling mission, an except- left / Cover of The Building Building: in 1981, and in 1997, the Pension Building ional building, and a monumental effort Proposal for a National Museum of itself was formally renamed the National on the part of many dedicated people, the the Building Arts. Report prepared by the Committee for a National Building Museum, as well). The partner- Museum has grown into the leading cul- Museum of the Building Arts, Inc., ship created by this law between GSA and tural organization devoted to the built 1978. the Museum soon developed into a healthy environment. Now, looking back on the and truly cooperative relationship, with Museum’s genesis, it is hard not to believe the federal government, through the GSA, that it was all pre-destined—this unique, continuing to own the building and vital institution and the glorious architec- oversee its maintenance, and the Museum tural landmark it occupies surely repre- operating as an independent, private, sent a “marriage made in Heaven.” • non-profit organization. On October 25, 1985, following a com- prehensive and sensitive renovation of the historic structure, the National Building Museum opened its doors to the public, bringing years of hard work to full fruition. Thanks to the powerful combina-

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25TH ANNIVERSARY Festive Bash

by Elika Hemphill Marks Museum’s 25th Anniversary

ORE THAN 700 REVELERS, many of them in shimmering, silver-colored Mattire, flocked to the National Building Museum on October 29 for the much-anticipated Silver Anniversary Bash. The crowd was diverse in almost every respect, and ranged from several people who were instrumental in the Museum’s found- ing to a number of guests who were mere toddlers when the institution was estab- lished by an in 1980. All, however, shared an enthusiasm for this unique cultural treasure, and enjoyed a fun-filled evening of great conversation, live music, dancing, a silent auction—and even a birthday serenade from “Marilyn Monroe.” While primarily conceived as a festive celebration to honor this important pages 12–13 / Shown on these milestone in the Museum’s history, the pages are photographs of some of the many happy guests at the Museum’s bash was also a successful fundraiser. Special 25th Anniversary Bash. thanks go to lead sponsors Lafarge North Photography by Danny Fowler America and Turner Construction Company, but we are also grateful to everyone who bought tickets, bid on auction items, or con- tributed items for the auction and raffle. Additional thanks go to our gracious guest speakers, Bob Peck and Ed Feiner, and to Norman Koonce, CEO of the American Institute of Architects, who presented an official proclamation from the AIA president congratulating the Museum on its achieve- ments. All in all, it was a great way to con- clude the Museum’s first quarter-century! Proceeds from the event directly benefit the National Building Museum’s acclaimed exhibitions and education programs. We thank all of the evening’s sponsors for their support:

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25TH ANNIVERSARY

Co-chairs Spires Minarets Douglas Burton and William B. and Sunny Jung Alsup Christopher Ralston The Honorable and Margaret W. DeBolt Mrs. Mahlon Apgar, IV Todd C. DeGarmo George Gregory Barnard Edward Feiner BDO Seidman Gary P. Haney Suzanne and Richard Bissell Rusty Meadows Heather Willson Cass Melissa Moss Towers CB Richard Ellis Robert A. Peck Apartment Zero CORE Architecture + Design Darrel Rippeteau Century Housing Christopher Dorval, Dorval Strategies David M. Schwarz Todd C. DeGarmo, Emily and Antoine van Agtmael STUDIOS Architecture EHT Traceries Norbert W. Young, Jr. Goldman, Sachs Lois and Richard Phyllis Lambert Rae and David Evans Benefit Committee McGraw-Hill Construction Cynthia and Charles Field Hillary and Andy Altman Melissa Moss and Jonathan Silver Barbara and Herb Franklin Theo Adamstein and Perkins & Will Nancy McElroy Folger Olvia Demetriou Rippeteau Architects Gallagher & Associates Thomas N. Armstrong III John F.W. Rogers Mike Goodrich George Gregory Barnard David M. Schwarz/ Vicki and Michael Herson Pam and Jay Bothwell Architectural Services Thomas Hesselbrock Louise Boulton-Lear Skidmore, Owings & Merrill Robert W. Holleyman II Heather Willson Cass Emily and Antoine van Agtmael HSMM Douglas Dahlkemper Zimmer Gunsul Frasca Partnership Susan and Dudley Ives Christopher Dorval Keane Enterprises Tracy Ward Durkin Domes Thomas Kearns/Shepley Bulfinch Rae and David Evans Mark G. Anderson Consultants Richardson and Abbott Elizabeth Evitts Bender Foundation/Sondra D. Nancy W. King and Thomas H. Loy, Jr. Darlene W. Ford & Howard M. Bender, Julie & David Silver, Nan & David Bender, Norman L. Koonce Rebecca Gentry Barbara Bender, Eileen & Louis Dreyfus Property Group Vicki Siegel Herson Richard Greenberg Katherine McHugh Nancy W. King The Catholic University of America David and Carole Metzger Thomas H. Loy, Jr. School of Architecture and Planning Iris and Larry Miller Mindy Lyle Centex Construction Company Janet Rankin Brian Pilot James G. Davis Construction Rice Restaurant Marshall Purnell Corporation Studio 27 Architecture Janet Rankin Fentress Bradburn Architects Susan J. Thomas Todd Ray Forest City Enterprises Michelle A. Rinehart Hodgson Architects John F.W. Rogers A. Eugene Kohn/ Andrea Sharrin Kohn Pedersen Fox Karen Thomas Lehman-Smith McLeish Susan J. Thomas Linda B. and Jonathan S. Lyons Septime Webre Sid Stolz and David Hatfield International Masonry Institute Honorary Committee SmithGroup The Honorable Arlen Specter Tishman Construction Corporation The Honorable Sharon Ambrose Sharon and Jim Todd The Honorable Marion Barry Tompkins Builders The Honorable Kwame R. Brown Toucan Capital Corp. The Honorable David A. Catania Michael K Wilkinson/ The Honorable Linda W. Cropp Windsor Consulting The Honorable Jack Evans The Honorable Adrian Fenty The Honorable Jim Graham The Honorable Vincent C. Gray The Honorable Phil Mendelson The Honorable Vincent Orange The Honorable Kathleen Patterson The Honorable Carol Schwartz

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25TH ANNIVERSARY design stores, galleries,and restaurants by Elika Hemphill Support Museum

HE GRAND PARTY ON OCTOBER 29 was just one of a series of events that helped to Tmark the Museum’s 25th anniversary. The previous month, on September 27, local design store Apartment Zero, on 7th Street, NW, hosted a special shopping night for Museum members, with 10 percent of the sales that evening donated to the Museum. Then, on October 23, a number of shops, galleries, and a restaurant participated in the “14th Street Stroll,” celebrating the revitalization of what was once a major Washington commercial thoroughfare and is now the city’s newest design Mecca. Again, the participating businesses gener- ously agreed to donate 10 percent of their sales during the stroll to the Museum. In addition, Darrel Rippeteau of Rippeteau Architects hosted informal talks about the neighborhood’s revitalization, while providing refreshments for members Big thanks to the participating businesses: participating in the walk. These events helped to establish

Apartment Zero 406 7th Street, NW and strengthen relationships between Candida’s World of Books the Museum and the local business commu- 1541 14th Street NW nity, while introducing Museum members gallery plan b 1530 14th Street NW to some exciting new retail, cultural, and G Fine Art 1515 14th Street NW dining opportunities. This support will Garden District 1801 14th Street NW help us to continue to offer compelling Go Mama Go! 1809 14th Street NW programming as we enter our 26th year. • Home Rule 1807 14th Street NW Rice Restaurant 1608 14th Street NW top / Patrons at Apartment Zero, which hosted a special shopping Rippeteau Architects 1530 14th Street NW night for Museum members on Storehouse Furniture 1525 14th Street NW September 27. Photo courtesy of Apartment Zero Vastu 1829 14th Street NW above / Architect Keith Scott inspects the merchandise at Home Rule, one of several retail establishments that participated in the Museum’s 14th Street Stroll. Photo by National Building Museum

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AWARD PROGRAM

GREENat the National DAY Building Museum heard major presentations and panel dis- by Ed Worthy cussions by experts from across the coun- try. In the keynote address, the sustain- able design pioneer Randolph Croxton, FAIA, principal of Croxton Collaborative Architects, shared his far-reaching vision for sustainability in educational facilities. During the evening program, which drew an audience of 250 people, USGBC became the fourth recipient of the Turner Prize. The prize jury selected USGBC because of its catalytic role in promoting sustainable design, especially through the development of the LEED (Leadership in Energy and Environmental Design) rating system. Richard Federizzi, USGBC presi- dent, CEO, and founding chairman, accept- ed the award and then moderated a panel discussion about the Genzyme Center in URING REMARKS before large audiences Cambridge, Massachusetts, the largest left / Interior of the Genzyme Center, Cambridge, Massachusetts, by at two events on October 24, 2005, structure in the world to receive the LEED Behnisch, Behnisch & Partner. Photo Dexecutive director Chase Rynd platinum level rating for new construction by Anton Grassl declared the date to be unofficial “Green to date. Project architect Stefan Behnisch, above / Richard Federizzi, president, Design Day” at the National Building a partner in the German firm Behnisch, CEO, and founding chairman of the U.S. Green Building Council. Museum. That afternoon the Museum Behnisch, & Partner, began by explaining Photo by Sam Holden cosponsored with the Turner Construction the principles underlying the design. Company a conference about the sustain- Other panelists included Rick Matilla, able design of schools. In the evening, the Genzyme’s director of environmental Museum celebrated green design and affairs, and Phillip Coleman and Brett construction practices when it presented Kass, Turner Construction Company’s the 2005 Henry C. Turner Prize for managers of the project. Innovation in Construction Technology to The previous recipients of the Henry the U.S. Green Building Council (USGBC). C. Turner Prize are structural engineer The afternoon conference, “Greening Leslie E. Robertson (2002), architect I.M. the Schools,” explored the movement Pei (2003), and engineer-builder Charles A. toward environmentally responsible DeBenedittis (2004). The prize was gener- design and construction in primary, sec- ously endowed by the Turner Construction ondary, and post-secondary schools. More Company and was named after the than 175 school administrators, architects, company’s founder. • and builders from the mid-Atlantic region

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AWARD PROGRAM

OVEMBER 3, 2005 WAS AN ESPECIALLY CEREMONIOUS DAY AT THE NATIONAL NBUILDING MUSEUM, which, of course, is no stranger to magnificent events. On that day, Their Royal Highnesses The Prince of Wales and The Duchess of Cornwall visited the Museum as part of their first official Accepts the Sixth Scully Prize overseas trip as husband and wife. The royal couple began by touring two new exhibitions based on the work of The Prince’s architecture- and design-related charities [see article on page 17]. The cul- mination of the visit was The Prince’s acceptance of the sixth Prize, awarded in recognition of his active role in encouraging discussion and debate about the quality of the built environment in Great Britain and around the world. More than 1,200 Museum members and invited guests were on hand for the pre- sentation of the prize. After testimonial remarks by past Scully Prize recipient Elizabeth Plater-Zyberk and by Vincent Scully himself, The Prince delivered an acceptance speech outlining his views on the relationships between the natural and built environments, and between tradition and modernity. His Royal Highness began by acknowl- edging, in self-deprecatory fashion, that his views on architecture and planning are not universally shared, saying, “I seem to be a dangerous commodity in certain cir- cles and receiving such awards is a novel experience for me.” He went on to articu- top / His Royal Highness The Prince of Wales and Hank Dittmar, chief late his vision of an integrated approach to executive of The Prince's Foundation design and planning, in which considera- for the Built Environment, visit the exhibition Civitas: Traditional tions of local building traditions, environ- Urbanism in Contemporary Practice. mentally responsible practices, and mod- The Duchess of Cornwall is visible in the background of this photo. ern needs are integrated. The Prince also Photo by Vivian Ronay announced his plans to donate the cash above / David Schwarz, chair of the prize that accompanies the Scully Prize to Vincent Scully Prize jury, and Carolyn his Foundation for the Built Environment, Brody, chair of the National Building Museum, with the Duchess of in support of its efforts to help rebuild Cornwall. New Orleans and the Gulf Coast in the Photo by Vivian Ronay aftermath of Hurricanes Katrina and Rita. above right / The Prince of Wales Both a transcript of The Prince’s shakes hands with Vincent Scully upon acceptance of the award speech and a video of the event are named for Professor Scully. available on the Museum’s website at Photo by Vivian Ronay www.nbm.org. • below right / The Prince of Wales during his speech accepting the Vincent Scully Prize. Photo by Vivian Ronay

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EXHIBITIONS Two Exhibitions Present Work of Prince’s Charities

Organized by the staff and faculty of The Prince’s School of Traditional Arts, A Building Tradition is a new exhibition that features exemplary works by the students, alumni, and staff of the school. Built on a core education program known as “The Visual Islamic and Traditional Arts,” the school offers grounding in the philosophy and practical craft skills of the arts and architecture of Islam, as well as the tradi- tional arts of other civilizations. One of the principal aims of the school is to encourage

N NOVEMBER 3, 2005, THE NATIONAL appreciation of the universal values that BUILDING MUSEUM OPENED TWO EXHIBI- are fundamental to the arts of the great traditions of the world. Graduate courses OTIONS in conjunction with the presenta- tion of the Vincent Scully Prize to His Royal combine theory and practice and include Highness The Prince of Wales. Organized by classes in geometry, Islamic architecture, two of The Prince’s sixteen official charities, icon painting, tile-making, Islimi/ the exhibitions, titled A Building Tradition: Arabesque, stained glass, and mosaic craft. The Work of the Prince’s School of This exhibition presents work from these Traditional Arts and Civitas: Traditional classes as along with fine examples of Urbanism in Contemporary Practice, are porcelain, carved plaster, and marquetry. • on view until January 8, 2006. Civitas is sponsored by DHL freight and Contract Civitas reflects the mission of Logistics (UK) Limited. The Prince’s Foundation for the Built A Building Tradition is sponsored by Goldman, Environment, which seeks to improve the Sachs & Co. and DHL Freight and Contract Logistics quality of people’s lives by promoting tradi- Limited. tional and planning practices. Through sixteen examples of development top left / View of Poundbury, a projects from around the world, the exhibi- community in Britain featured in the Civitas exhibition. tion explores the principles that underpin Copyright The Prince's Foundation the traditional urbanism movement. The top / Dr. Khaled Azzam, director of projects included in the exhibition, which The Prince's School of Traditional range from small works of urban infill to Arts, watches as Bankoku Sasagawa discusses the techniques in tradition- entire new towns, all challenge prevailing al Japanese joinery and architecture assumptions about contemporary communi- with His Royal Highness The Prince of Wales at the school's Degree ties and offer insights into the political and Show 2004. PSTA archive social frameworks necessary to support above / Handmade ceramic tile such design and planning strategies. fountain designed and built by student David Fauerstein in his final year at the PSTA. PSTA archive

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TRUSTEES

Four Join Museum Board

The National Building Museum’s Board of Trustees recently elected the following new members:

BILL BRENNAN is the executive vice presi- GARYP. HANEY, AIA, is a design partner dent of the Mid-Atlantic Region for Turner with the architecture firm of Skidmore, Construction Company, with responsibility Owings & Merrill. Major projects under for projects in a broad geographical region his leadership include the new headquar- ranging from Pennsylvania to Florida, and ters of the U.S. Census Bureau and several including Texas. After receiving a bache- U.S. embassies around the world. He has lor’s degree in civil engineering from Penn served as a critic at several architecture State University and a master’s from Pace schools and is a member of the U.S. University, Brennan joined Turner in 1972 General Services Administration’s Design Donald A. Capoccia as a field engineer. He ran his own con- Excellence Program National Register of struction management company from 1986 Peer Professionals. Haney is a graduate of to 1996 before returning to Turner, where Miami University and received a master’s he assumed a series of increasingly senior degree from the Harvard Graduate School management roles. of Design.

DONALD A. CAPOCCIA is managing principal MERCY JIMÉNEZ has held several senior of BFC Partners, a multi-faceted real estate positions with Fannie Mae, and is now development and management concern senior vice president for the company’s based in New York. He also serves as National Business Center, managing president of BFC Construction and as business relationships with nearly 2,000 Gary P. Haney, AIA president of Doncap Management Corp., lenders. Prior to joining Fannie Mae in a consulting company and brokerage firm 1996, she was vice president for corporate he established in 1986. A graduate of the development at Chase Manhattan University of Buffalo with a master’s Mortgage Corporation. Jiménez holds a degree in urban planning from Hunter bachelor’s degree from Northwestern College, Capoccia is active in the New York University and an M.B.A. from Harvard’s State Association for Affordable Housing Graduate School of Business. She serves on and is a presidential appointee to the U.S. the boards of the National Association of Commission of Fine Arts. Hispanic Real Estate Professionals and the Atlantic Council, and is a member of the Congressional Hispanic Caucus’s Housing Initiatives Committee. Mercy Jiménez

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SUPPORT Thank You! The Museum thanks the following individuals, companies, associations, and agencies for gifts of $250 or more received from September– November 2005. These generous gifts provide essential support for the Museum’s exhibitions, education programs, and endowment funds. Some of the contributions listed below are in partial fulfillment of larger pledges.

$100,000 and above $2,500-$4,999 National Electrical Contractors Dorsky Hodgson + Partners Clarence W. Pearson, Jr. National Endowment Andersen Corporation Association Christopher Dorval, Laura Peebles for the Humanities BFC Partners National Trust for Historic Dorval Strategies Kristina Penhoet Preservation The Honorable Robert W. Conrad Egan Perkins Eastman Oehme, van Sweden & Associates $50,000–$99,000 and Louisa C. Duemling EHT Traceries, Inc. Virginia Prange Parsons Brinckerhoff Anonymous Cynthia R. and Charles G. Field James Elliot Patricia Ralston James M. Scarpace D.C. Office of Planning Grunley Construction, Inc. Richard F. Evans Janet B. Rankin Jewish Historical Society of S.H. and Helen R. Scheuer Tom Ferrell Family Foundation Susan A. Retz $25,000–$49,999 Greater Washington Erin J. Flanigan SmithGroup, Inc. Mr. and Mrs. Stephen Rigelsky The Prince's School of Matt Lauer Whit Fletcher Sid Stolz and David Hatfield Robert Wilson Mobley Traditional Arts McGraw-Hill Construction Nancy McElroy Folger Partnership, AIA National Architectural Trust Melissa Moss and Jonathan Silver Thompson, Ventulett, Stainback & Associates Barbara and Herbert Franklin Robinson & Associates Diana and Mallory Walker David M. Schwarz/ Emily Freeland Fred Rosenberger Architectural Services, Inc. Tompkins Builders, Inc. Shirlee and Howard Friedenberg Gail C. Rothrock St Marys Cement Inc. Toucan Capital Corporation $10,000–$24,999 Patrick Gallagher Chase W. Rynd Michael K. Wilkinson/ United Arts Organization of Baltimore-Washington Brick Greater Washington, Inc. Katie Garrett Nancy Sainburg Distributor Council Windsor Consulting Wagner Roofing Company Rod Garrett Shepley Bulfinch Richardson The Beech Street Foundation Leonard A. Zax Robert M. Wulff Louis Jay Goetz and Abbott Brick Industry Association Melinda Silver $1,000–$2,499 Mike Goodrich Chevy Chase Bank Angela Steever-Diba William B. Alsup III/Hines $250–$999 Raymond D. Grabb Christie's America Studio 27 Mark Anderson Associates Theo Adamstein and Heller & Metzger International Masonry Institute Olvia Demetriou Neal Sumner Apartment Zero Vicky and Michael Herson Lafarge North America The American Institute of Architects Patti Swain Kathy and Bob Baer Thomas D. Hesselbrock Lt. Col and Mrs. William Karl Konze Frank and Georgine Anton Jack Taylor Bender Foundation, Inc Chris Hester Will Miller and Lynne Maguire The Honorable and Susan Thomas Suzanne Best Carole and John Hirschmann David C. Evans/Reed Smith LLP Mrs. Mahlon Apgar, IV Mary Meigs Thorne Joan and Robert Calambokidis Mary Anne and Lance Hoffman Sheet Metal Workers’ Agnes Artemel Tishman Construction Corporation International Association The Catholic University of America Robert W. Holleyman, II The Associated General Edward J. Trenn Skidmore, Owings & Merrill LLP Centex Construction Contractors of America Kimberly Hoover John C. von Senden Sharon and Jim Todd christopher consultants, ltd. Elinor R. Bacon HSMM Patty and Robert Webb Turner Construction Company Marshall B. Coyne Foundation Thomas M. Ballentine Mr. and Mrs. Joel Hunter Kerie R. Wilson Criterium Engineers Greg Barnard Susan and Dudley Ives Christine Wirkkala $5,000–$9,999 James G. Davis Construction David M. Barton Evalyn Jack Zeigler Builders, Inc. Anonymous Corporation Michaele and Philip Battles George Jennings Bresler & Reiner Inc. Design Ways & Means - BDO Seidman, LLP Michael A. Joy/Joy Developers, LLC Perry Cofield, AIA Century Housing Allan S. Birndorf Keane Enterprises, LLC DPR Construction Construction Industry Round Table Suzanne and Richard Bissell Karl Kendall Fentress Bradburn Architects Ltd. Charles A. DeBenedittis Pam and Jay Bothwell Lily and Bob McLean Forest City Enterprises The Max and Victoria Dreyfus C. Dudley Brown & Associates, Inc. Louis Dreyfus Property Group Greenebaum & Rose Associates Foundation, Inc. Cannon Design Randolph McManus John F. Hennessy, III The Fogelson Foundation CB Richard Ellis, Inc. Derek Meares Neal Evan Hodgson Goldman, Sachs & Co. Claire and Thomas Cardella Frederic Melby Joseph F. Horning, Jr. S. Kann Sons Company Dirk Melton Foundation, Inc. Cass & Associates Architects, P.C. International Union of Brickworkers Cheryl and Matthew Chalifoux Iris Miller and Allied Craftworkers Nancy King Cherry Hill Park F. Joseph Moravec Phyllis Lambert Kishimoto.Gordon.Dalaya PC Kay Cox M. Howard Morse John F.W. Rogers A. Eugene Kohn/Kohn Pedersen Fox Claire and Warren Cox Sakura Namioka Whayne S. Quin/Holland & Knight Lehman-Smith + McLeish PLLC Janet and David Curtis Carl E. Nash Jacqueline and Marc Leland Gerald P. Dalrymple Loretta F. Neumann Linda B. and Jonathan S. Lyons Frank C. Devlin, Jr. Jane W. and Frederick North Katherine McHugh and Cheryl Brown Marie O'Day The Honorable Henry Meigs II Robert F. Dorsey Deborah and Ian Otter

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MYSTERY BUILDING Mystery Building

HE MYSTERY BUILDING from the Fall 2005 issue was one of the townhouse Tstructures at Lafayette Park, a surpris- ingly pastoral residential development near downtown Detroit. Designed by Ludwig Mies van der Rohe in cooperation with city planner Ludwig Hilberseimer, landscape architect Alfred Caldwell, and ? developer Herbert Greenwald, the 46-acre above / Lafayette Park, Detroit, complex was built during the late 1950s Michigan, by Ludwig Mies van der Rohe and early 1960s. The largest grouping of Mies-designed buildings in the world, Lafayette Park includes apartment towers, The name of this issue’s Mystery Building a shopping center, a school, and recre- seems out of synch with the city in which ational spaces. it is located. Can you name the building, its Beth L. Savage, of Bethesda, Maryland, architect/engineer, and its location? Send correctly (and thoroughly) identified responses to: Lafayette Park, as did Ned McGrath of Detroit, and Barbara and Isaac Green of Mystery Building Washington, DC. The Greens were residents National Building Museum of Lafayette Park in the 1960s and Mr. 401 F Street, NW Green declared it “a great place to live.” Washington, DC 20001

MEMBERSHIP APPLICATION

Members receive reduced admission to education programs, subscriptions ࠗ My check payable to the National Building Museum is enclosed. to Blueprints and the Calendar of Events, invitations to exhibition openings, and discounts on Museum Shop purchases. For more informa- Please charge my credit card: ࠗ American Express tion about benefits, as well as corporate membership opportunities, ࠗ Visa please call 202.272.2448, ext. 3200. ࠗ MasterCard ࠗ Yes, I want to become a member of the National Building Museum! Please begin my membership at the following level: A C COUNT # E X PIRATION DATE ࠗ Corinthian Pillar $2500 ࠗ Contributing Member $100 NAME AS IT APPEARS ON CREDIT CARD SIGNATURE ࠗ Corinthian $1000 ࠗ Family/Dual $60 ࠗ Sustaining Member $500 ࠗ Individual $40 You can become a Museum member in any of the following ways: ࠗ Supporting Member $250 ࠗ Senior/Student $30 BY MAIL: National Building Museum 401 F Street NW, Washington, DC 20001 NAME BY FAX: 202.376.3436

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CITY/ STATE/ ZIP The National Building Museum is a nonprofit organization under Section 501(c)(3) of the Internal Revenue Code. Contributions are tax-deductible to the maximum allowable extent of the law. To obtain a copy of the organization’s most recent audited financial statement, please call 202.272.2448 ext. 3500. EMAIL DAYTIME PHONE

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