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MUSEUM HOURS Monday –Saturday, 10:00 am–5:00 pm Sunday, 11:00 am–5:00 pm Closed Thanksgiving, Christmas, and New Year’s Day NATIONAL BUILDING MUSEUM blueprints
Prairie Skyscraper: The Green House: Cityscapes Revealed: Washington: Symbol and City Frank Lloyd Wright’s New Directions in Highlights from Long-term Price Tower Sustainable Architecture the Collection ons A seminal exhibition about through September 17, 2006 and Design Long-term the complex city that the through June 3, 2007 The only true skyscraper The first exhibition presenting Museum calls home. designed by Wright that was The second in a series of major a cross-section of items from Spectacular, large-scale historic actually constructed, the Price National Building Museum the Museum’s own collection, and contemporary models Tower is a glimmering jewel exhibitions on sustainable including drawings, photo- give visitors an intimate of a building. The exhibition design, The Green House begins graphs, material samples, understanding of the city’s includes original drawings, with a full-scale, furnished and artifacts from National past and possible future. fascinating samples of corre- replica of an environmentally- Historic Landmarks. spondence between Wright and friendly house. Also featured the project’s client, furniture, are photographs and models and a large model of the tower. of exemplary houses and
current exhibiti apartment buildings from around the world, plus a resource room with many examples of materials that are both green and attractive.
BLUEPRINTS VOLUME XXI, NO. 2
Blueprints is the quarterly journal of the Volume XXIV, No. 3 Summer 2006 National Building Museum. Subscriptions INSIDE THIS ISSUE: are a benefit of Museum membership. • The Pope-Leighey House Blueprints ©2006 All rights reserved • No Ordinary Clients: ISSN 0742-0552 The Story of Luis and Ethel Marden editor / G. Martin Moeller, Jr. designer / Jennifer Byrne • An Interview with James Kimsey • “Coonley” and “Wright” TRUSTEES AND STAFF
BOARD OF TRUSTEES Honorary Trustees STAFF Paul F. Killmer Special Events Harold L. Adams Director of Public Programs Christopher Frame Officers Howard M. Bender Administration Scott Kratz Director of Special Events Chair M. Arthur Gensler Jr. Jennifer Bertsch Vice President for Education Charles Shelby Carolyn Brody Thomas J. Klutznick Executive Assistant and Ann Lambson Special Events Coordinator Stuart A. McFarland Manager of Board Relations Contents Chair Elect Director of Youth Education Bill Snitzer Robert McLean III Michael J. Glosserman Don Holstrom Kathryn McGill Special Events Coordinator Elizabeth B. Moynihan Vice Chairs Systems Administrator Outreach Programs Coordinator Marilyn Perry Gilbert E. DeLorme Betsy May-Salazar Visitor Services 1 The National Mallory Walker Jennifer Michaelree Message from the Executive Director David C. Evans Vice President for Finance Kristi Cotner Leonard A. Zax Associate Youth Groups Building Will Miller and Administration Coordinator Tour and Volunteer Coordinator Robert A.M. Stern Founding Trustees G. Martin Moeller, Jr. Barry Edmunds Museum Sarah Petty Rice 3 The Pope-Leighey House Secretary Cynthia R. Field Senior Vice President Family Programs Coordinator Weekend Assistant Museum David C. Evans and Curator Services Manager explores Herbert M. Franklin Sarah Smith Treasurer Edward T. Hall Chase W. Rynd Youth Education Assistant Danielle Flores Robert H. Braunohler Executive Director Administrative Assistant/ 8 No Ordinary Clients: the world Nancy Stevenson Jaime Van Mourik Receptionist President Beverly Willis Rebecca Warwick Public Programs Coordinator The Story of Luis and Ethel Marden we build Chase W. Rynd Human Resources Manager Ronald Keith Fulwood Ex Officio Trustees Development Information Desk Specialist for ourselves— Trustees The Honorable Dirk Kempthorne Finance Suzanne Bissell David Kaplan Secretary, U.S. Department 12 The Marden House: from our homes, William B. Alsup III Diane Beckham Director of Individual Giving Information Desk Specialist Frank Anton of the Interior Controller Sangita Chari Annie Kalinowski skyscrapers and public buildings to Thomas N. Armstrong III The Honorable Alphonso Jackson An Interview with James Kimsey Laura Leonard Foundation and Government Tour and Volunteer Assistant David S. Bender Secretary, U.S. Department of Accounting Coordinator Relations Manager our parks, bridges, and cities. Through Deborah Berke Housing and Urban Development Rose Marie Kirwin William M. Brennan Curatorial Michael Dunagan Information Desk Specialist 14 “Coonley” and “Wright” exhibitions, education programs, and The Honorable James M. Inhofe Director of Institutional Giving Joan Bagget Calambokidis Chairman, Senate Committee on Chrysanthe B. Broikos Doris Landau Elika Hemphill publications, the Museum seeks to Donald A. Capoccia Environment and Public Works Curator Information Desk Specialist Kent W. Colton Director of Development Events The Honorable Don Young Shelagh M. Cole Susan Mittleman 15 Museum News educate the public about achievements Dennis J. Cotter Melinda Hungerman Chairman, House Committee on Registrar/ Manager of Traveling Information Desk Specialist Christopher Dorval Corporate and Association in architecture, design, engineering, Transportation and Infrastructure Exhibitions Bryan Norman John P. Gleason, Jr. Relations Manager Museum Operations Coordinator Mike Goodrich Lurita Doan Catherine Crane Frankel 18 Support urban planning, and construction. Caitlin Irvin Allen Travitz Delon Hampton Administrator, General Services Director of Exhibitions Development Assistant Visitor Services Manager Gary Haney Administration and Collections Melissa Slaughter Robert W. Holleyman, II David L. Winstead Cecelia Gibson Membership Manager Gallery Representatives 20 Mystery Building The Museum is supported by contributions Joseph F. Horning, Jr. Commissioner, Public Buildings Registrar Monique Anderson Gerald M. Howard Service, General Services William H. C. Griffith Shar Taylor William Barnes from individuals, corporations, foundations, Mercy Jiménez Administration Exhibitions Coordinator Vice President for Development Patricia Cunningham Frederick A. Kober Mary Zehe associations, and public agencies. The Honorable Alan M. Hantman Reed Haslach Harriet Cywinski A. Eugene Kohn Assistant Director of Development Architect of the Capitol Curatorial Associate Barry Edmunds Stephen S. Lash Allen Weinstein Matthew Kuhnert Beverly Fennell Terrence M. McDermott Marketing & Communications Archivist of the United States Curatorial Associate Jessie Harley Deryl McKissack Jennifer Byrne The Honorable James H. Billington Jennifer Heimbecker Hollis S. McLoughlin Christopher Maclay Publications Designer Librarian of Congress Louise Johnson Brian T. McVay Preparator Bryna Lipper Nathaniel Kulyk Melissa A. Moss Lawrence M. Small Susan Piedmont-Palladino Director of Marketing and Barry Lustberg Robert A. Peck Secretary, Smithsonian Institution Curator Communications Jana Martin Whayne S. Quin Richard Moe Laura Schiavo Kevin Morse Nanci McCollum Philippe Rollier President, National Trust for Curator Website Administrator Carla Patterson Richard M. Rosan Historic Preservation Deborah Sorensen Julia Neubauer Erma Person Stephen M. Ross Christine McEntee Curatorial Associate Editor/Writer Seymour Selig Deborah Ratner Salzberg Executive Vice President and Matthew Seymour Stephen E. Sandherr Dana Twersky Lauren Searl Chief Executive Officer Crystal Watson Eric Thorkilsen Senior Registrar Marketing and Communications The American Institute of Mary West James W. Todd MaryJane E. Valade Associate Architects Shamika White Norbert W. Young, Jr. Exhibitions Designer and Preparator Museum Shop Karen Whitehair Leslie Bradshaw Sarah Whitelow Education Assistant Manager Evelyn Wilson Fred Wilson Corinne Cannon Marcia Diehl Viktor Zavadsky Youth Groups Coordinator Operations Manager Liz Guthrie Scott Glasscoe Assistant Outreach Programs Inventory Specialist Coordinator Michael Higdon Mary Hendrickse Retail Manager Assistant Youth Groups Tom Ziolkowski Coordinator cover / The main living area of the Associate Marden House, in McLean, Virginia, by Frank Lloyd Wright. Photo by Robert C. Lautman, courtesy of Lautman Photography.
MESSAGE FROM THE EXECUTIVE DIRECTOR
Frank Lloyd Wright’s Tower on the Prairie
HE WORD “GENIUS” IS OFTEN USED TOO This unusual and fascinating building casually, but it seems to be quite legiti- is the subject of an exhibition titled Prairie Tmately applied to Frank Lloyd Wright. Skyscraper: Frank Lloyd Wright’s Price Tower, In a career spanning nearly three quarters which is on view at the National Building of a century, Wright was at the vanguard Museum through September 17. Organized of dramatic theoretical, technological, and by the Price Tower Arts Center, which stylistic shifts in architecture—not just owns—and occupies part of—the build- once, but several times. While he designed ing, the exhibition delves into the history buildings all across the country and even of the tower’s design. It includes drawings, overseas, he maintained a strong affinity photographs, original furniture, corre- for the vast American prairie, where he spondence between Wright and his client, was born and spent most of his life. Under- and samples of the building’s architectural standably, therefore, many of Wright’s most ornament. The exhibition itself was Chase W. Rynd famous buildings were insistently horizon- designed by the firm of Zaha Hadid tal, reflecting the broad and relatively flat Architects, which has also designed a pro- expanse of the Midwestern terrain. posed addition to the Price Tower Arts Protecting the Wright Legacy One striking exception to that rule is Center. Both in the exhibition and in the the Price Tower, in Bartlesville, Oklahoma, proposed expansion, Hadid’s characteristic I recently had the opportunity to serve as completed 50 years ago and recently sharp angles and dynamic forms master- a member of the team that reviewed the restored to its full glory. It is Wright’s only fully play off of the geometry of the origi- operations of the Frank Lloyd Wright true skyscraper that was actually executed nal building. Preservation Trust for renewal of its (the S.C. Johnson Research Tower in I want to thank the sponsors who accreditation by the American Association Racine, Wisconsin, seems too small to qual- made the presentation of the exhibition at of Museums. The trust manages Wright’s ify for that term, and Wright’s proposed the National Building Museum possible. Home and Studio in Oak Park, Illinois, and Mile-High Skyscraper remains an unbuilt The Copper Development Association is our the famed Frederick C. Robie House on the fantasy, though I would not be surprised to lead sponsor, and there’s a good reason for University of Chicago campus, both of see an equally tall structure under way in the association’s enthusiasm for the show: which are National Historic Landmarks Dubai any day now). much of the Price Tower’s distinct charac- that are open to the public. The Price Tower is unique not only ter derives from the beautiful green patina Participation in accreditation visits to within Wright’s oeuvre of completed of the copper panels and louvers that line other institutions is always an enlighten- works, but also in the history of tall build- its façades. We also received major support ing experience for museum professionals. ings. A masterful composition of vertical from Mr. C.J. Silas of Bartlesville, who is Through such activities, I and the Museum and horizontal elements, it is a soaring chairman of the board of the Price Tower overall establish and strengthen connec- form that nonetheless manages to seem Arts Center. Finally, we are grateful to tions with other organizations that often firmly rooted to the land. It stands as a Restore Media, LLC for its sponsorship of a prove valuable in our efforts to organize rebuke to the dominant threads in the his- private opening reception for the show. engaging exhibitions and programs. tory of modern skyscrapers—richly col- (continued on page 2) Chase W. Rynd ored, textured, and faceted, with a dynam- ic, pinwheel plan, the tower contrasts sharply with the boxy International Style skyscrapers that punctuate most American skylines. In a sense, it represents the road not taken in the design of modern towers.
blueprints 1
MESSAGE FROM THE EXECUTIVE DIRECTOR FEATURE The Pope-Leighey House
An Interview with Loren Pope by Steven M. Reiss, AIA (continued from page 1)
The Summer of Wright N 1939, A YOUNG JOURNALIST NAMED The Prairie Skyscraper exhibition is one ele- LOREN POPE wrote a three-page letter to ment in a series of initiatives at the National I Frank Lloyd Wright asking him to design Building Museum that we have grouped a house for his family. Pope said that he together under the heading “The Summer of had one-and-a-third acres of land in Falls Wright.” Lectures, films, and family activi- Church, Virginia, and could afford to ties addressing Wrightian themes comple- spend $5,000. Wright accepted the job, and ment the exhibition. I encourage you to Included is an interview with Loren went on to create a house that was later check the Museum’s website or the monthly Pope, who commissioned Wright to design praised by Edgar Kaufmann, Jr., son of the Calendar of Events for details regarding this a modest structure now known as the Pope- couple who commissioned Wright’s famous related programming. Leighey House. Pope, who is now 96, clear- Fallingwater, as the architect’s “greatest This issue of Blueprints is another ly recalls many details about the design legacy to the nation.” It was one of element of “The Summer of Wright.” The and construction process and his relation- Wright’s first “Usonian” houses, his vision Price Tower was designed and built in the ship with Wright. The second major piece of affordable living for the “family of 1950s, when Wright was already in his 80s is an article about the relatively little- moderate income.” but still working as actively as ever. During known Marden House, which was designed In the 65 years since its completion, this period, even as he was focusing much for an extraordinary Washington couple the Pope-Leighey House—named after its of his energy on high-profile public and and is now owned by AOL co-founder James two private owners—has been dismantled institutional projects such as the Kimsey, who was also interviewed for this and moved twice, once to avoid the con- Guggenheim Museum and the Marin issue. A short, first-hand piece by Avery struction of Interstate 66 and once because County Government Center, Wright never Faulker, a Washington-area architect whose of subsurface soil problems, yet it still stopped designing single-family houses. In grandparents commissioned one of looks as contemporary and welcoming as it Today, Loren Pope is 96 years old and Loren Pope in front of the did when the Popes moved in, in March can vividly recall the events leading up to Pope-Leighey House. this issue you will find articles related to Wright’s most famous houses, rounds out Photo courtesy of Loren Pope. several of Wright’s residential works, the focus on the residential work of the 1941. It now stands on a wooded site ten his first meeting with Wright, the euphoria Steven Reiss, AIA, coordinates focusing on two of the three private houses man many people consider to be the great- miles south of Old Town Alexandria, on a of watching the master develop his design, the monthly technical tours he designed for the Washington area. est American architect in history. • 2,000-acre estate once owned by George a construction process that attracted curious Washington. visitors from around the area and, most of the Pope-Leighey House The story of the design, construction and is a former chairman of top / Price Tower at night. importantly, his life-long relationship with © Christian M. Korab/ Korab Photo, 2003. and lasting legacy of the Pope-Leighey Wright, as well as with Gordon Chadwick, HNTB Architecture. Courtesy of Price Tower Arts Center. House is one of a confluence of the lives of the Taliesin apprentice assigned to the pro- right / Price Tower commissary table Chase W. Rynd two people, 50 years apart in age, but kin- ject, and Howard Rickert, the young and stools, 1956. dred spirits with a shared philosophy of Courtesy of Price Tower Arts Center. Executive Director Vienna, Virginia, carpenter who constructed life. Loren Pope fit the profile of the per- the house. fect Wright client: creative, searching for I recently met with Loren to talk truth, and someone who had already read about his house. Wright’s An Autobiography. Wright was 72 years old, experiencing (continued on page 4) a renaissance of recognition and significant commissions as he entered the most prolific period of his career, having recently com- pleted the Jacobs House, Fallingwater, and the Johnson Wax Administration Building, to name a few. Pope was 28 years old, newly married and living above Ware’s Drugstore in Falls Church, Virginia.
2 blueprints blueprints 3
MESSAGE FROM THE EXECUTIVE DIRECTOR FEATURE The Pope-Leighey House
An Interview with Loren Pope by Steven M. Reiss, AIA (continued from page 1)
The Summer of Wright N 1939, A YOUNG JOURNALIST NAMED The Prairie Skyscraper exhibition is one ele- LOREN POPE wrote a three-page letter to ment in a series of initiatives at the National I Frank Lloyd Wright asking him to design Building Museum that we have grouped a house for his family. Pope said that he together under the heading “The Summer of had one-and-a-third acres of land in Falls Wright.” Lectures, films, and family activi- Church, Virginia, and could afford to ties addressing Wrightian themes comple- spend $5,000. Wright accepted the job, and ment the exhibition. I encourage you to Included is an interview with Loren went on to create a house that was later check the Museum’s website or the monthly Pope, who commissioned Wright to design praised by Edgar Kaufmann, Jr., son of the Calendar of Events for details regarding this a modest structure now known as the Pope- couple who commissioned Wright’s famous related programming. Leighey House. Pope, who is now 96, clear- Fallingwater, as the architect’s “greatest This issue of Blueprints is another ly recalls many details about the design legacy to the nation.” It was one of element of “The Summer of Wright.” The and construction process and his relation- Wright’s first “Usonian” houses, his vision Price Tower was designed and built in the ship with Wright. The second major piece of affordable living for the “family of 1950s, when Wright was already in his 80s is an article about the relatively little- moderate income.” but still working as actively as ever. During known Marden House, which was designed In the 65 years since its completion, this period, even as he was focusing much for an extraordinary Washington couple the Pope-Leighey House—named after its of his energy on high-profile public and and is now owned by AOL co-founder James two private owners—has been dismantled institutional projects such as the Kimsey, who was also interviewed for this and moved twice, once to avoid the con- Guggenheim Museum and the Marin issue. A short, first-hand piece by Avery struction of Interstate 66 and once because County Government Center, Wright never Faulker, a Washington-area architect whose of subsurface soil problems, yet it still stopped designing single-family houses. In grandparents commissioned one of looks as contemporary and welcoming as it Today, Loren Pope is 96 years old and Loren Pope in front of the did when the Popes moved in, in March can vividly recall the events leading up to Pope-Leighey House. this issue you will find articles related to Wright’s most famous houses, rounds out Photo courtesy of Loren Pope. several of Wright’s residential works, the focus on the residential work of the 1941. It now stands on a wooded site ten his first meeting with Wright, the euphoria Steven Reiss, AIA, coordinates focusing on two of the three private houses man many people consider to be the great- miles south of Old Town Alexandria, on a of watching the master develop his design, the monthly technical tours he designed for the Washington area. est American architect in history. • 2,000-acre estate once owned by George a construction process that attracted curious Washington. visitors from around the area and, most of the Pope-Leighey House The story of the design, construction and is a former chairman of top / Price Tower at night. importantly, his life-long relationship with © Christian M. Korab/ Korab Photo, 2003. and lasting legacy of the Pope-Leighey Wright, as well as with Gordon Chadwick, HNTB Architecture. Courtesy of Price Tower Arts Center. House is one of a confluence of the lives of the Taliesin apprentice assigned to the pro- right / Price Tower commissary table Chase W. Rynd two people, 50 years apart in age, but kin- ject, and Howard Rickert, the young and stools, 1956. dred spirits with a shared philosophy of Courtesy of Price Tower Arts Center. Executive Director Vienna, Virginia, carpenter who constructed life. Loren Pope fit the profile of the per- the house. fect Wright client: creative, searching for I recently met with Loren to talk truth, and someone who had already read about his house. Wright’s An Autobiography. Wright was 72 years old, experiencing (continued on page 4) a renaissance of recognition and significant commissions as he entered the most prolific period of his career, having recently com- pleted the Jacobs House, Fallingwater, and the Johnson Wax Administration Building, to name a few. Pope was 28 years old, newly married and living above Ware’s Drugstore in Falls Church, Virginia.
2 blueprints blueprints 3 THE POPE-LEIGHEY HOUSE: AN INTERVIEW WITH LOREN POPE THE POPE-LEIGHEY HOUSE: AN INTERVIEW WITH LOREN POPE
art program, and our wives. After Wright’s boards and three-inch-wide pine battens. speech I gathered up the nerve to ask if he The doors went around the corners with might someday consider creating a house no supports and the dining and living for me. He replied that he built them only areas flowed into each other around the for people like me—“people who deserved brick fireplace. In the flesh it was all warm them.” He added that he never built hous- and inviting, as a dream house should be. es for real estate men or subdividers, of A Wright apprentice picked me up at the which I was neither. Jacobs house to take me to Taliesin. When I entered the house, the photographs I’d SR: How did you get up the nerve to write him a pored over could not prepare me for the letter asking him to design your house? vision of beauty I walked into. Ceiling LP: Faith filters out fear (and some error). lines soared. Rich, colorful rugs covered I was making the grand sum of $50 a week most of the waxed stone floor. There was a working as a copy editor and living above fire in the great stone fireplace, Japanese Ware’s Drugstore in Falls Church, newly screens in green and gold and elegant married. With the encouragement and urg- Wright-designed furniture. All was ing of my friend, Ed, I decided that no warmed in the glow of concealed lighting matter how busy or important, the master and bathed in soft music. would listen to someone who wanted one I shook the master’s hand and greeted of his works so much. I wrote and rewrote Mrs. Wright. Much of the conversation the letter at least half a dozen times. before dinner was about his autobiography. When I finally dropped it in the mailbox, I Dinner was served by several of his Floor plan of the Pope-Leighey House. Steven Reiss: How did you first hear about felt that I had poured out my heart as best apprentices and although I am interested He described the drawings to me. First above / Historic photograph of the living and dining areas. Courtesy of Woodlawn Plantation. Frank Lloyd Wright? the floor plans and how a person coming I could and that he would listen to me. I in food, I have no recollection of the Courtesy of Woodlawn Plantation. Loren Pope: I was working at my first news- included along with it a map of the site, menu. It seems most of the conversation into the living area would see not wall meeting ceiling but surprisingly, a lacy rib- below left / Living area and library paper job for the Washington Evening Star and contours, and trees. It was a letter that no was about the New Deal. Wright had strong of the Pope-Leighey House. just out of college, when my boss suggested man with a normal ego could ignore. opinions but he was a willing listener and bon of clerestory windows with cutout Photo by Steve Reiss. I look up a kindred maverick thinker and a charming host. designs around the top of the whole space. architect, Frank Lloyd Wright. I did some SR: How did you begin your letter? The next morning we had an oatmeal The walls seemed to be only screens, barely initial research and found Wright’s LP: “Dear Mr. Wright, There are certain breakfast eaten on Wright-designed china separating the inside from the outside. The Wasmuth papers. The sepia tone of the things a man wants during life, and of life. which sat on Wright-designed place mats. house was L-shaped with a low brick-paved drawings did not appeal to me so I didn’t Material things and things of the spirit. After breakfast we walked down to the entry. Outside, a cantilevered carport float- do any further reading. In January 1938, a The writer has one fervent wish that great drafting room where 30 or more ed over the driveway. Inside the house on Time magazine article again sparked my includes both. It is a house created by you.” apprentices were working at their drafting the right were rooms labeled “sanctum” interest in Wright and his recently pub- tables, drawing and making models of pro- and “workshop” and, to the left, was a long lished An Autobiography. I borrowed the SR: And how did Mr. Wright respond? jects. We reached Mr. Wright’s drafting gallery with bedrooms. Straight ahead and down five steps soared the open area of book from the library, returned it the next LP: Every day I would go to the East Falls table, which was near a large stone fire- day, bought my own copy and soaked up Church post office. Finally after three place, and there was the top sheet of the fireplace, dining, and living areas. An every chapter two and three times before weeks I received a buff-colored envelope plans for my house, labeled “House for open kitchen was off to one side. A line of going on to the next. Long before the book with a red logo in the corner. Inside was a Loren Pope, East Falls Church, Virginia.” French doors opened inward, on the right, was finished, the light had become daz- thin and terse reply. “Dear Loren Pope, Of into an extension of the living room floor. zling and I was a true believer. From An course I’m ready to give you a house.” It just flowed out into the grass. The roof Autobiography on, my bride and I stopped floated over the entire space supported by thinking about the picket-fence Cape Cod SR: Your first meeting with Wright in Taliesin— only three brick masses. we had initially planned to build. can you describe it? (continued on page 6) LP: Yes, en route I had an exciting bonus. SR: Do you remember the first time you met him? In Madison, Wisconsin, I had an opportu- LP: Later in 1938, Wright was in D.C. to dis- nity to see the first Usonian house and the cuss his design of Crystal Heights, a com- model for mine. It was built for newspa- plex [never built] which would have perman Herbert Jacobs. When I walked in included the largest building in the the door, the thrill of actually finding District. He gave a presentation to the myself in the kind of Wright house that I Association of Federal Architects at the would have gave me goose bumps. The floor Hay-Adams Hotel. I went with my friend was red concrete with carpets made of Ed Rowan, who headed up the New Deal flax, the walls were 11-inch-wide cypress
4 blueprints blueprints 5 THE POPE-LEIGHEY HOUSE: AN INTERVIEW WITH LOREN POPE THE POPE-LEIGHEY HOUSE: AN INTERVIEW WITH LOREN POPE
art program, and our wives. After Wright’s boards and three-inch-wide pine battens. speech I gathered up the nerve to ask if he The doors went around the corners with might someday consider creating a house no supports and the dining and living for me. He replied that he built them only areas flowed into each other around the for people like me—“people who deserved brick fireplace. In the flesh it was all warm them.” He added that he never built hous- and inviting, as a dream house should be. es for real estate men or subdividers, of A Wright apprentice picked me up at the which I was neither. Jacobs house to take me to Taliesin. When I entered the house, the photographs I’d SR: How did you get up the nerve to write him a pored over could not prepare me for the letter asking him to design your house? vision of beauty I walked into. Ceiling LP: Faith filters out fear (and some error). lines soared. Rich, colorful rugs covered I was making the grand sum of $50 a week most of the waxed stone floor. There was a working as a copy editor and living above fire in the great stone fireplace, Japanese Ware’s Drugstore in Falls Church, newly screens in green and gold and elegant married. With the encouragement and urg- Wright-designed furniture. All was ing of my friend, Ed, I decided that no warmed in the glow of concealed lighting matter how busy or important, the master and bathed in soft music. would listen to someone who wanted one I shook the master’s hand and greeted of his works so much. I wrote and rewrote Mrs. Wright. Much of the conversation the letter at least half a dozen times. before dinner was about his autobiography. When I finally dropped it in the mailbox, I Dinner was served by several of his Floor plan of the Pope-Leighey House. Steven Reiss: How did you first hear about felt that I had poured out my heart as best apprentices and although I am interested He described the drawings to me. First above / Historic photograph of the living and dining areas. Courtesy of Woodlawn Plantation. Frank Lloyd Wright? the floor plans and how a person coming I could and that he would listen to me. I in food, I have no recollection of the Courtesy of Woodlawn Plantation. Loren Pope: I was working at my first news- included along with it a map of the site, menu. It seems most of the conversation into the living area would see not wall meeting ceiling but surprisingly, a lacy rib- below left / Living area and library paper job for the Washington Evening Star and contours, and trees. It was a letter that no was about the New Deal. Wright had strong of the Pope-Leighey House. just out of college, when my boss suggested man with a normal ego could ignore. opinions but he was a willing listener and bon of clerestory windows with cutout Photo by Steve Reiss. I look up a kindred maverick thinker and a charming host. designs around the top of the whole space. architect, Frank Lloyd Wright. I did some SR: How did you begin your letter? The next morning we had an oatmeal The walls seemed to be only screens, barely initial research and found Wright’s LP: “Dear Mr. Wright, There are certain breakfast eaten on Wright-designed china separating the inside from the outside. The Wasmuth papers. The sepia tone of the things a man wants during life, and of life. which sat on Wright-designed place mats. house was L-shaped with a low brick-paved drawings did not appeal to me so I didn’t Material things and things of the spirit. After breakfast we walked down to the entry. Outside, a cantilevered carport float- do any further reading. In January 1938, a The writer has one fervent wish that great drafting room where 30 or more ed over the driveway. Inside the house on Time magazine article again sparked my includes both. It is a house created by you.” apprentices were working at their drafting the right were rooms labeled “sanctum” interest in Wright and his recently pub- tables, drawing and making models of pro- and “workshop” and, to the left, was a long lished An Autobiography. I borrowed the SR: And how did Mr. Wright respond? jects. We reached Mr. Wright’s drafting gallery with bedrooms. Straight ahead and down five steps soared the open area of book from the library, returned it the next LP: Every day I would go to the East Falls table, which was near a large stone fire- day, bought my own copy and soaked up Church post office. Finally after three place, and there was the top sheet of the fireplace, dining, and living areas. An every chapter two and three times before weeks I received a buff-colored envelope plans for my house, labeled “House for open kitchen was off to one side. A line of going on to the next. Long before the book with a red logo in the corner. Inside was a Loren Pope, East Falls Church, Virginia.” French doors opened inward, on the right, was finished, the light had become daz- thin and terse reply. “Dear Loren Pope, Of into an extension of the living room floor. zling and I was a true believer. From An course I’m ready to give you a house.” It just flowed out into the grass. The roof Autobiography on, my bride and I stopped floated over the entire space supported by thinking about the picket-fence Cape Cod SR: Your first meeting with Wright in Taliesin— only three brick masses. we had initially planned to build. can you describe it? (continued on page 6) LP: Yes, en route I had an exciting bonus. SR: Do you remember the first time you met him? In Madison, Wisconsin, I had an opportu- LP: Later in 1938, Wright was in D.C. to dis- nity to see the first Usonian house and the cuss his design of Crystal Heights, a com- model for mine. It was built for newspa- plex [never built] which would have perman Herbert Jacobs. When I walked in included the largest building in the the door, the thrill of actually finding District. He gave a presentation to the myself in the kind of Wright house that I Association of Federal Architects at the would have gave me goose bumps. The floor Hay-Adams Hotel. I went with my friend was red concrete with carpets made of Ed Rowan, who headed up the New Deal flax, the walls were 11-inch-wide cypress
4 blueprints blueprints 5 THE POPE-LEIGHEY HOUSE: AN INTERVIEW WITH LOREN POPE THE POPE-LEIGHEY HOUSE: AN INTERVIEW WITH LOREN POPE
(continued from page 5) SR: And who was the house’s carpenter? SR: What type of contact did you have with Wright LP: Howard Rickert from Vienna, Virginia, during construction? Did he visit the house? SR: And your reaction to his sketches? was the master carpenter who built our LP: He visited the house several times. LP: I thought Mr. Wright was a genius as house. He was one of the few men who During one trip he said that the house was he described the house to me. understood what it was all about. After one costing me too much and he never asked careful study of the blueprints, he became for the remainder of his fee. He felt it was SR: Did he indicate what effect he was trying to enthusiastic saying, “This house is logical.” one of his best Usonian houses and actual- achieve with his design? ly wanted to name the house “Touchstone.” LP: Years later he was quoted as saying, SR: Describe the house. “What I was aiming for was the sense of a LP: It is a big small house for a small fami- SR: What was it like living in the house? happy, cloudless day.” ly. It is L-shaped, one-story on two levels LP: The house gave us pleasure day and because the lot slopes, with a living room night. Each morning, the big window that SR: How did you afford the house? eleven-and-a-half feet high, with a red-col- took up most of the outside bedroom wall LP: Every lending agency I went to was ored concrete floor, which also is a radiant enabled us to enjoy the lawn and the mag- afraid of loaning me money for the house. In heater by virtue of the hot water pipes nificent tulip poplar outside the living fact, the retired diplomat who ran the East underneath. The house has brick support- room and the woods beyond. The sun Falls Church Savings and Loan Association ing piers and cypress walls. would shine through the leaves and the tried to counsel me, “Loren, this house would For light, ventilation, and decoration, clerestories created dancing patterns of be a white elephant.” My last resort was the the house has a patterned ribbon of light and shadow as it moved across the Evening Star, which financed homes for its clerestory windows between the top of the walls. Even on a cloudy day the house employees. The Star offered to lend me $5,700, wall and the ceiling. You can sit by the never looked cold or drab, it was so open, to be taken out of my pay at $12 a week. fireplace at night and see the stars. There the wood and brick so warm and rich. Just Around that same time Mr. Wright is no paint or plaster, and no masking of being there simply made us feel fulfilled called to say the house he had shown me any material. The finish, both outside and and happy and proud, day after day. To us, used a string. The next time he came, he above / Pope-Leighey House would be too expensive and he would have at dusk. in, is clear wax, a treatment that comple- it had a presence and a character. approved, especially the square opening I’d Courtesy of Woodlawn Plantation. above / Under-floor heating pipes dur- to rework it. That meant the workshop had ments the beauties of brick and wood. The Dinner became a relaxing time to made at the outside corner for an azalea. ing construction. to come out and the sanctum shrunk. Courtesy of Woodlawn Plantation. house gives you a sense of protection, but enjoy with my little family. Then when it [Note: The initial size of the house, 1,800 never of being closed in, and of leading got dark we could sit by the fireplace and SR: Why did you move after only six years? below / Historic photograph of the square feet, was eventually reduced to 1,200.] exterior. you on beyond where your eyes can see. see the stars, or have coffee outside and LP: When we sold the house in 1946 to Loren Pope is completing a book Courtesy of Woodlawn Plantation. The honest use of materials satisfies the enjoy our dramatic Japanese lantern. The move to a 365-acre farm in Loudon County, on the Pope-Leighey house SR: Tell me about the apprentice that Mr. Wright urge you feel when you think you would whole effect was a lift for our souls. our plan was to build a larger Wright which he hopes to publish later assigned to your house. like to have a log cabin or a rustic hide-out house. Mr. Wright came out and picked out this year. Mr. Pope has also Gordon Chadwick was a 26-year old LP: in the mountains. Altogether, it is a soft, SR: There are numerous stories about the site (of course the most difficult on recently completed an updated graduate architect from Princeton who warm symphony of charm. Mr. Wright’s “control” of his projects. Did you which to build), but we had cut our ties edition of his best-selling book, had been working with Mr. Wright as an experience this with your house? with the city (and its paychecks) and a Colleges That Change Lives: apprentice for two years. Another Usonian SR: How did the neighbors react to the house LP: People often asked if Mr. Wright dictat- Wright house on a farming and free-lance 40 Schools You Should house was to be built at the same time in as it was being built? ed matters of decor, what kind of dishes writing income became academic. Years Baltimore for Joseph Euchtman and both Know About Even If You’re LP: With curiosity. People would just walk we should use or whether we should follow later in 1959 when I did have a steady pay- Not a Straight-A Student. jobs were to be handled by Gordon. I was onto the property and watch the construc- a certain lifestyle. He did not, usually. But check, I discussed another design for a A companion publication, to provide room and board and give him tion. Architects would come by and try to there was a case with a magnolia tree I’d house with Mr. Wright who was staying in Looking Beyond the Ivy $25 a week, half of what I was making. pick up any sets of drawings lying around. planted in front of the carport. Soon it New York working on the Guggenheim League: Finding the College The Usonian houses used no stock materi- grew above roof level. I was bringing him Museum; but Wright simply didn’t live That’s Right for You, has also als, so doors, windows and so on had to be SR: How much did the house cost? out to the house. The instant I turned onto long enough for us to get our wish. made on site. Gordon bought a carload of been published by Mr. Pope. LP: About $7,000, including Wright’s fees. our road he spotted the offending magno- For many years I’ve been away from second-grade red tidewater Cyprus from [Note: Wright’s standard fee was 10 percent lia and exclaimed, “What are you trying to the house more than I’ve been there, but the Florida everglades so he could pick out of the construction cost.] What we got was do Loren, ruin this place?” So the next day spiritually I’ve never left the house. Living the knot-free boards of the same shade for an extraordinary house for an ordinary I cut it down. in the house has affected my whole life. • the houses and still save money. price. And what’s more, our house came Another time, I had placed four or To keep the costs down on the Usonian completely furnished: carpets, furniture, five rows of the brick patio outside the din- houses Wright often had his apprentice act stove and so forth, all for just about the ing area, using a 30-inch mason’s level. It as the general contractor. So Gordon also cost of an ordinary one. was not the most professional of jobs. He had to get separate contracts for the concrete looked it over and said, “Loren, use a work, and masonry, the plumbing and elec- string.” So I tore out what I had done and trical work and of course the carpentry.
6 blueprints blueprints 7 THE POPE-LEIGHEY HOUSE: AN INTERVIEW WITH LOREN POPE THE POPE-LEIGHEY HOUSE: AN INTERVIEW WITH LOREN POPE
(continued from page 5) SR: And who was the house’s carpenter? SR: What type of contact did you have with Wright LP: Howard Rickert from Vienna, Virginia, during construction? Did he visit the house? SR: And your reaction to his sketches? was the master carpenter who built our LP: He visited the house several times. LP: I thought Mr. Wright was a genius as house. He was one of the few men who During one trip he said that the house was he described the house to me. understood what it was all about. After one costing me too much and he never asked careful study of the blueprints, he became for the remainder of his fee. He felt it was SR: Did he indicate what effect he was trying to enthusiastic saying, “This house is logical.” one of his best Usonian houses and actual- achieve with his design? ly wanted to name the house “Touchstone.” LP: Years later he was quoted as saying, SR: Describe the house. “What I was aiming for was the sense of a LP: It is a big small house for a small fami- SR: What was it like living in the house? happy, cloudless day.” ly. It is L-shaped, one-story on two levels LP: The house gave us pleasure day and because the lot slopes, with a living room night. Each morning, the big window that SR: How did you afford the house? eleven-and-a-half feet high, with a red-col- took up most of the outside bedroom wall LP: Every lending agency I went to was ored concrete floor, which also is a radiant enabled us to enjoy the lawn and the mag- afraid of loaning me money for the house. In heater by virtue of the hot water pipes nificent tulip poplar outside the living fact, the retired diplomat who ran the East underneath. The house has brick support- room and the woods beyond. The sun Falls Church Savings and Loan Association ing piers and cypress walls. would shine through the leaves and the tried to counsel me, “Loren, this house would For light, ventilation, and decoration, clerestories created dancing patterns of be a white elephant.” My last resort was the the house has a patterned ribbon of light and shadow as it moved across the Evening Star, which financed homes for its clerestory windows between the top of the walls. Even on a cloudy day the house employees. The Star offered to lend me $5,700, wall and the ceiling. You can sit by the never looked cold or drab, it was so open, to be taken out of my pay at $12 a week. fireplace at night and see the stars. There the wood and brick so warm and rich. Just Around that same time Mr. Wright is no paint or plaster, and no masking of being there simply made us feel fulfilled called to say the house he had shown me any material. The finish, both outside and and happy and proud, day after day. To us, used a string. The next time he came, he above / Pope-Leighey House would be too expensive and he would have at dusk. in, is clear wax, a treatment that comple- it had a presence and a character. approved, especially the square opening I’d Courtesy of Woodlawn Plantation. above / Under-floor heating pipes dur- to rework it. That meant the workshop had ments the beauties of brick and wood. The Dinner became a relaxing time to made at the outside corner for an azalea. ing construction. to come out and the sanctum shrunk. Courtesy of Woodlawn Plantation. house gives you a sense of protection, but enjoy with my little family. Then when it [Note: The initial size of the house, 1,800 never of being closed in, and of leading got dark we could sit by the fireplace and SR: Why did you move after only six years? below / Historic photograph of the square feet, was eventually reduced to 1,200.] exterior. you on beyond where your eyes can see. see the stars, or have coffee outside and LP: When we sold the house in 1946 to Loren Pope is completing a book Courtesy of Woodlawn Plantation. The honest use of materials satisfies the enjoy our dramatic Japanese lantern. The move to a 365-acre farm in Loudon County, on the Pope-Leighey house SR: Tell me about the apprentice that Mr. Wright urge you feel when you think you would whole effect was a lift for our souls. our plan was to build a larger Wright which he hopes to publish later assigned to your house. like to have a log cabin or a rustic hide-out house. Mr. Wright came out and picked out this year. Mr. Pope has also Gordon Chadwick was a 26-year old LP: in the mountains. Altogether, it is a soft, SR: There are numerous stories about the site (of course the most difficult on recently completed an updated graduate architect from Princeton who warm symphony of charm. Mr. Wright’s “control” of his projects. Did you which to build), but we had cut our ties edition of his best-selling book, had been working with Mr. Wright as an experience this with your house? with the city (and its paychecks) and a Colleges That Change Lives: apprentice for two years. Another Usonian SR: How did the neighbors react to the house LP: People often asked if Mr. Wright dictat- Wright house on a farming and free-lance 40 Schools You Should house was to be built at the same time in as it was being built? ed matters of decor, what kind of dishes writing income became academic. Years Baltimore for Joseph Euchtman and both Know About Even If You’re LP: With curiosity. People would just walk we should use or whether we should follow later in 1959 when I did have a steady pay- Not a Straight-A Student. jobs were to be handled by Gordon. I was onto the property and watch the construc- a certain lifestyle. He did not, usually. But check, I discussed another design for a A companion publication, to provide room and board and give him tion. Architects would come by and try to there was a case with a magnolia tree I’d house with Mr. Wright who was staying in Looking Beyond the Ivy $25 a week, half of what I was making. pick up any sets of drawings lying around. planted in front of the carport. Soon it New York working on the Guggenheim League: Finding the College The Usonian houses used no stock materi- grew above roof level. I was bringing him Museum; but Wright simply didn’t live That’s Right for You, has also als, so doors, windows and so on had to be SR: How much did the house cost? out to the house. The instant I turned onto long enough for us to get our wish. made on site. Gordon bought a carload of been published by Mr. Pope. LP: About $7,000, including Wright’s fees. our road he spotted the offending magno- For many years I’ve been away from second-grade red tidewater Cyprus from [Note: Wright’s standard fee was 10 percent lia and exclaimed, “What are you trying to the house more than I’ve been there, but the Florida everglades so he could pick out of the construction cost.] What we got was do Loren, ruin this place?” So the next day spiritually I’ve never left the house. Living the knot-free boards of the same shade for an extraordinary house for an ordinary I cut it down. in the house has affected my whole life. • the houses and still save money. price. And what’s more, our house came Another time, I had placed four or To keep the costs down on the Usonian completely furnished: carpets, furniture, five rows of the brick patio outside the din- houses Wright often had his apprentice act stove and so forth, all for just about the ing area, using a 30-inch mason’s level. It as the general contractor. So Gordon also cost of an ordinary one. was not the most professional of jobs. He had to get separate contracts for the concrete looked it over and said, “Loren, use a work, and masonry, the plumbing and elec- string.” So I tore out what I had done and trical work and of course the carpentry.
6 blueprints blueprints 7 FEATURE NO ORDINARY CLIENTS: THE STORY OF LUIS AND ETHEL MARDEN
prejudices of the era), so he chose “Luis,” as a variation on the nickname “Louis,” which he No Ordinary Clients already used, and then picked the surname “Marden” at random out of a telephone book. Luis moved to Washington in 1934, when he was only 21 years old, to accept a The Story of Luis and Ethel Marden job with National Geographic. Despite his youth, he almost immediately had a pro- found influence on the character and repu- by Martin Moeller AMED FOR HIS BRILLIANCE AND ECCENTRICITY, Luis Marden, who died in 2003 at the tation of the magazine, thanks to his intro- Frank Lloyd Wright seemed to attract age of 90, has been called “the epitome of duction of the use of lightweight, 35mm Fclients who were extraordinary in their the Geographic man.” The epithet alludes cameras and Kodachrome film, which pro- own right. It would be impossible, of not only to his 64-year career as a writer, vided richer color than the film the maga- course, to state definitively which of his photographer, and senior editor with zine had used previously. Later, his many The Mardens married in 1939, just one clients was the most fascinating, but there National Geographic magazine, but also to his notable achievements in various areas day after Luis returned from an extended can be little doubt that Luis and Ethel intrepid spirit, his insatiable curiosity, and brought added luster to the magazine. trip to South America, where he had been Marden, of McLean, Virginia, would be his vast knowledge spanning a wide range While exploring with Jacques-Yves Cousteau working on a series of articles for the mag- prime candidates for that distinction. of disciplines. (who became a life-long friend of the azine. They settled into a new apartment, Anyone lucky enough to have met the Born in Chelsea, Massachusetts, to Mardens), Luis developed innovative tech- but soon began to discuss the idea of com- Mardens could recount numerous tales of Italian parents, Luis was originally named niques for underwater photography, and missioning Wright to design a house for their improbable exploits: how Luis person- Annibale Luigi Paragallo. As a teenager, he thus introduced the magazine’s readers to them. In March of 1940, Luis wrote the ally discovered the wreck of the infamous became proficient in five languages, learned images of a heretofore unknown submarine first of several letters of inquiry to Wright, H.M.S. Bounty, for instance; or how Ethel Egyptian hieroglyphics, and wrote a book world. He even had the distinction of hav- but the architect was enjoying one of the set the women’s record for underwater div- called Color Photography for the Miniature Camera, ing both a species of orchid (Epistephium mar- busiest periods of his career, and even ing; or how the two of them fearlessly chal- which may have been the first ever published denii, which he discovered while on assign- though he soon accepted the commission, lenged the academic establishment by on the topic of 35mm color photography. He ment in Brazil) and a sea flea (a parasite it was more than ten years before he was declaring that the long-accepted account of was soon invited to host a radio program that lives on lobsters) named after him. able to begin the design of the Mardens’ Christopher Columbus’s first journey to the about photography, a position that led to his The biography of Luis’s wife, Ethel, house, and nearly twenty years before its New World was all wrong, and that he name change—the station owners thought who now lives in an assisted-care facility construction was complete. actually made his initial landing far away his name was too difficult for his audience to in Arlington, Virginia, is equally remark- When Luis first wrote to the architect, from where most experts believed. understand (although one wonders now if able. Born in Texas, she studied both math- the Mardens did not yet own a piece of land they simply felt it was too “ethnic” given the ematics and English, and as a young on which to build their dream house, but in woman moved to Washington, where she 1944, while fishing along the banks of the top / Main floor plan. Courtesy of Richard Williams Architects. above / Exterior view, with Potomac got a job with the Federal Communications Potomac—it was wartime, and they did not River at right. Commission. She was considering pursuing have enough gasoline ration coupons to above / Frank Lloyd Wright examining Photo by Robert C. Lautman, courtesy of joints in the concrete block at the Lautman Photography. a doctorate in mathematics when she was drive to a preferred fishing spot along the Marden House. offered the opportunity to join the Shenandoah—the couple became entranced Courtesy of the Estate of Mr. & Mrs. Luis National Bureau of Standards to work on by a site on the Virginia side of the river just Marden. the development of one of the earliest true above Little Falls. The next day, they called a computers. Like her husband, Ethel held a real estate agent and learned that a property pilot’s license. She also loved sports cars, in that area was for sale, and they bought it and in her heyday, she could be seen zip- shortly thereafter. ping around the Washington area in her Finally, in 1952, Wright produced a MG (she later owned an Austin Healey and design for the Mardens’ house. Because he a Jaguar). In an interview conducted as was so busy with high-profile projects such part of the Frank Lloyd Wright Archives’ as the Guggenheim Museum in New York, Oral History Program in 2001, she said, “I and advancing age made it increasingly admire anybody who has done something difficult for him to travel, Wright had for the first time... anyone who has been a worked primarily from topographical maps pioneer in something.” It is hardly surpris- of the Mardens’ property (on his sole visit ing that she and Luis enjoyed each other’s to the site before construction began, profound respect, nor that both would find Wright had been unable to reach the main themselves drawn to a larger-than-life fig- viewpoint because the terrain was too ure such as Frank Lloyd Wright. steep for him to negotiate). When the
8 blueprints blueprints 9 FEATURE NO ORDINARY CLIENTS: THE STORY OF LUIS AND ETHEL MARDEN
prejudices of the era), so he chose “Luis,” as a variation on the nickname “Louis,” which he No Ordinary Clients already used, and then picked the surname “Marden” at random out of a telephone book. Luis moved to Washington in 1934, when he was only 21 years old, to accept a The Story of Luis and Ethel Marden job with National Geographic. Despite his youth, he almost immediately had a pro- found influence on the character and repu- by Martin Moeller AMED FOR HIS BRILLIANCE AND ECCENTRICITY, Luis Marden, who died in 2003 at the tation of the magazine, thanks to his intro- Frank Lloyd Wright seemed to attract age of 90, has been called “the epitome of duction of the use of lightweight, 35mm Fclients who were extraordinary in their the Geographic man.” The epithet alludes cameras and Kodachrome film, which pro- own right. It would be impossible, of not only to his 64-year career as a writer, vided richer color than the film the maga- course, to state definitively which of his photographer, and senior editor with zine had used previously. Later, his many The Mardens married in 1939, just one clients was the most fascinating, but there National Geographic magazine, but also to his notable achievements in various areas day after Luis returned from an extended can be little doubt that Luis and Ethel intrepid spirit, his insatiable curiosity, and brought added luster to the magazine. trip to South America, where he had been Marden, of McLean, Virginia, would be his vast knowledge spanning a wide range While exploring with Jacques-Yves Cousteau working on a series of articles for the mag- prime candidates for that distinction. of disciplines. (who became a life-long friend of the azine. They settled into a new apartment, Anyone lucky enough to have met the Born in Chelsea, Massachusetts, to Mardens), Luis developed innovative tech- but soon began to discuss the idea of com- Mardens could recount numerous tales of Italian parents, Luis was originally named niques for underwater photography, and missioning Wright to design a house for their improbable exploits: how Luis person- Annibale Luigi Paragallo. As a teenager, he thus introduced the magazine’s readers to them. In March of 1940, Luis wrote the ally discovered the wreck of the infamous became proficient in five languages, learned images of a heretofore unknown submarine first of several letters of inquiry to Wright, H.M.S. Bounty, for instance; or how Ethel Egyptian hieroglyphics, and wrote a book world. He even had the distinction of hav- but the architect was enjoying one of the set the women’s record for underwater div- called Color Photography for the Miniature Camera, ing both a species of orchid (Epistephium mar- busiest periods of his career, and even ing; or how the two of them fearlessly chal- which may have been the first ever published denii, which he discovered while on assign- though he soon accepted the commission, lenged the academic establishment by on the topic of 35mm color photography. He ment in Brazil) and a sea flea (a parasite it was more than ten years before he was declaring that the long-accepted account of was soon invited to host a radio program that lives on lobsters) named after him. able to begin the design of the Mardens’ Christopher Columbus’s first journey to the about photography, a position that led to his The biography of Luis’s wife, Ethel, house, and nearly twenty years before its New World was all wrong, and that he name change—the station owners thought who now lives in an assisted-care facility construction was complete. actually made his initial landing far away his name was too difficult for his audience to in Arlington, Virginia, is equally remark- When Luis first wrote to the architect, from where most experts believed. understand (although one wonders now if able. Born in Texas, she studied both math- the Mardens did not yet own a piece of land they simply felt it was too “ethnic” given the ematics and English, and as a young on which to build their dream house, but in woman moved to Washington, where she 1944, while fishing along the banks of the top / Main floor plan. Courtesy of Richard Williams Architects. above / Exterior view, with Potomac got a job with the Federal Communications Potomac—it was wartime, and they did not River at right. Commission. She was considering pursuing have enough gasoline ration coupons to above / Frank Lloyd Wright examining Photo by Robert C. Lautman, courtesy of joints in the concrete block at the Lautman Photography. a doctorate in mathematics when she was drive to a preferred fishing spot along the Marden House. offered the opportunity to join the Shenandoah—the couple became entranced Courtesy of the Estate of Mr. & Mrs. Luis National Bureau of Standards to work on by a site on the Virginia side of the river just Marden. the development of one of the earliest true above Little Falls. The next day, they called a computers. Like her husband, Ethel held a real estate agent and learned that a property pilot’s license. She also loved sports cars, in that area was for sale, and they bought it and in her heyday, she could be seen zip- shortly thereafter. ping around the Washington area in her Finally, in 1952, Wright produced a MG (she later owned an Austin Healey and design for the Mardens’ house. Because he a Jaguar). In an interview conducted as was so busy with high-profile projects such part of the Frank Lloyd Wright Archives’ as the Guggenheim Museum in New York, Oral History Program in 2001, she said, “I and advancing age made it increasingly admire anybody who has done something difficult for him to travel, Wright had for the first time... anyone who has been a worked primarily from topographical maps pioneer in something.” It is hardly surpris- of the Mardens’ property (on his sole visit ing that she and Luis enjoyed each other’s to the site before construction began, profound respect, nor that both would find Wright had been unable to reach the main themselves drawn to a larger-than-life fig- viewpoint because the terrain was too ure such as Frank Lloyd Wright. steep for him to negotiate). When the
8 blueprints blueprints 9 NO ORDINARY CLIENTS: THE STORY OF LUIS AND ETHEL MARDEN NO ORDINARY CLIENTS: THE STORY OF LUIS AND ETHEL MARDEN
By then however, major changes to the Eugene Smith, a retired banker and design were no longer possible. Miracu- executor of the Mardens’ estate, was aware lously, despite what would seem to be a that James V. Kimsey, co-founder of the significant lapse in the architect’s under- company that became America Online standing of the site, the completed house (AOL), had bought the property next door nonetheless appears to be well integrated to the Marden house and was building a into its landscape and takes excellent palatial new residence for himself. When advantage of the spectacular views to the Smith ran into Ted Leonsis, another AOL rapids below. executive at a party, he took advantage of In April 1959, as their house was near- the opportunity and asked Leonsis to ing completion, the Mardens traveled to approach Kimsey to see if he had any Phoenix for a conference, and while there, interest in acquiring the Marden house. Ethel decided to visit Wright’s compound at Kimsey’s positive response came quickly, Taliesin West. Wright sent word that he was and in 2000, the purchase went through. unable to join Ethel for lunch because of Kimsey knew that he would need a another appointment. Ethel later learned talented and knowledgeable team to over- that the appointment had been with his doc- see the restoration of the Marden house. tor; Wright died on April 9, two months He asked a number of people for recom- Robin Rose, co-owner of the Cantilever art above / View from the Marden House and design gallery in Bethesda, and Daniel toward the rapids of the Potomac short of his 92nd birthday. The Mardens mendations, and one name kept coming River. up: Bailey C. Adams, of Adams General Donnelly, who owns an eponymous shop in Photo by Robert C. Lautman, courtesy of moved into their house on May 31. Lautman Photography. Over the next four decades, Luis and Contractors, Inc., in Chevy Chase, Alexandria, consulted on furniture and Ethel enjoyed their home to the fullest. Maryland. Adams already knew the house upholstery. below left / Living and dining areas. Mardens received the architect’s initial Photo by Robert C. Lautman, courtesy of They dubbed the house “Fontinalis,” a well; he had met Luis Marden a number of The results of the team’s efforts speak Lautman Photography. drawings, Luis was quite displeased with the Latin term meaning roughly “at the years earlier when he was looking for some for themselves. The restored house is design. It was apparent that Wright had spring” or “by the stream.” Not coinciden- rare Brazilian rosewood for a project on simultaneously authentic and fresh. merely recycled a scheme for one of his tally, Salvelinus fontinalis is the formal Latin which he was working. As in so many Kitchen appliances have been upgraded, somewhat formulaic “football” houses— name for the brook trout, which was the areas, Luis had expertise in tropical woods, and a copper roof replaced the original tar a term referring to the shape of the plan— Mardens’ favorite fish. As much as they and was able to advise Adams on obtaining covering, but on the whole, the building and only slightly adapted it to fit the site loved the house, they rarely entertained, the wood he wanted. Kimsey interviewed has been faithfully restored. Period furni- overlooking the Potomac. In the interview and indeed were reluctant to have visitors Adams and concluded that he was the ideal ture, though much of it is not original to for the Wright Archives, Ethel explained in general. Friends of the Mardens generally person to handle the complex project. the house, fits comfortably. The interior is that the design “would have been fine on attribute this to the fact that the house was Richard Williams Architects served as inviting and livable. the prairie... but it wasn’t suitable at all Now that the project is finished, top / Living area, showing clerestory always so cluttered with diving equipment, preservation and interior architects, while for our place because it didn’t take advan- windows with ornamental screens. books, and countless souvenirs from their Kimsey is making good use of Wright’s Photo by Robert C. Lautman, courtesy of tage of the river.” This initial design had Lautman Photography. explorations. Given Wright’s insistence on work as a guesthouse and as an unparal- rooms on one side and a serene pond and a orderliness, they may have been slightly leled venue for entertaining. It is not open above / View of the main living area, terrace on the other. Ethel added, “[M]y to the public, but thanks to Kimsey, every- looking toward the fireplace. embarrassed to be using the house so vigor- husband was indignant and wrote Mr. Photo by Robert C. Lautman, courtesy of ously. As a result of the Mardens’ desire one can now at least get a glimpse of this Lautman Photography. Wright and said it was ridiculous to put a for privacy, their house remained one of residence through photographs such as placid lily pond above a roaring cataract. Wright’s lesser-known works. those that accompany this article, which And we didn’t hear from Mr. Wright for a In 1998, Luis, who had developed convey the house’s warmth, elegance, and while after that.” Parkinson’s Disease, moved to a nursing timeless beauty. Wright had appointed his apprentice home. Ethel remained in the house, but Luis Marden supposedly once declared Bob Beharka to oversee the Marden project, she realized that the time was approaching that “One lifetime isn’t enough.” Fortunately and it was he who gingerly presented the when she and her husband would have to for those who admire the work of Frank clients’ specific concerns to the architect. come to terms with the fate of their Lloyd Wright, however, the Marden house Grudgingly, Wright agreed to eliminate the beloved house once neither of them could has now embarked on its second life. • “placid lily pond,” and to honor the live there. In prosperous Washington, Mardens’ request for a “straight glass wall” there were plenty of people who could overlooking the river. Once construction afford to buy such a house. But who among was well under way, Wright visited the site these prospects would be willing and able again. This time, he was able to reach the to provide the proper stewardship for such viewpoint, and upon doing so, freely a landmark? admitted, “I had no idea it was so dramatic.”
10 blueprints blueprints 11 NO ORDINARY CLIENTS: THE STORY OF LUIS AND ETHEL MARDEN NO ORDINARY CLIENTS: THE STORY OF LUIS AND ETHEL MARDEN
By then however, major changes to the Eugene Smith, a retired banker and design were no longer possible. Miracu- executor of the Mardens’ estate, was aware lously, despite what would seem to be a that James V. Kimsey, co-founder of the significant lapse in the architect’s under- company that became America Online standing of the site, the completed house (AOL), had bought the property next door nonetheless appears to be well integrated to the Marden house and was building a into its landscape and takes excellent palatial new residence for himself. When advantage of the spectacular views to the Smith ran into Ted Leonsis, another AOL rapids below. executive at a party, he took advantage of In April 1959, as their house was near- the opportunity and asked Leonsis to ing completion, the Mardens traveled to approach Kimsey to see if he had any Phoenix for a conference, and while there, interest in acquiring the Marden house. Ethel decided to visit Wright’s compound at Kimsey’s positive response came quickly, Taliesin West. Wright sent word that he was and in 2000, the purchase went through. unable to join Ethel for lunch because of Kimsey knew that he would need a another appointment. Ethel later learned talented and knowledgeable team to over- that the appointment had been with his doc- see the restoration of the Marden house. tor; Wright died on April 9, two months He asked a number of people for recom- Robin Rose, co-owner of the Cantilever art above / View from the Marden House and design gallery in Bethesda, and Daniel toward the rapids of the Potomac short of his 92nd birthday. The Mardens mendations, and one name kept coming River. up: Bailey C. Adams, of Adams General Donnelly, who owns an eponymous shop in Photo by Robert C. Lautman, courtesy of moved into their house on May 31. Lautman Photography. Over the next four decades, Luis and Contractors, Inc., in Chevy Chase, Alexandria, consulted on furniture and Ethel enjoyed their home to the fullest. Maryland. Adams already knew the house upholstery. below left / Living and dining areas. Mardens received the architect’s initial Photo by Robert C. Lautman, courtesy of They dubbed the house “Fontinalis,” a well; he had met Luis Marden a number of The results of the team’s efforts speak Lautman Photography. drawings, Luis was quite displeased with the Latin term meaning roughly “at the years earlier when he was looking for some for themselves. The restored house is design. It was apparent that Wright had spring” or “by the stream.” Not coinciden- rare Brazilian rosewood for a project on simultaneously authentic and fresh. merely recycled a scheme for one of his tally, Salvelinus fontinalis is the formal Latin which he was working. As in so many Kitchen appliances have been upgraded, somewhat formulaic “football” houses— name for the brook trout, which was the areas, Luis had expertise in tropical woods, and a copper roof replaced the original tar a term referring to the shape of the plan— Mardens’ favorite fish. As much as they and was able to advise Adams on obtaining covering, but on the whole, the building and only slightly adapted it to fit the site loved the house, they rarely entertained, the wood he wanted. Kimsey interviewed has been faithfully restored. Period furni- overlooking the Potomac. In the interview and indeed were reluctant to have visitors Adams and concluded that he was the ideal ture, though much of it is not original to for the Wright Archives, Ethel explained in general. Friends of the Mardens generally person to handle the complex project. the house, fits comfortably. The interior is that the design “would have been fine on attribute this to the fact that the house was Richard Williams Architects served as inviting and livable. the prairie... but it wasn’t suitable at all Now that the project is finished, top / Living area, showing clerestory always so cluttered with diving equipment, preservation and interior architects, while for our place because it didn’t take advan- windows with ornamental screens. books, and countless souvenirs from their Kimsey is making good use of Wright’s Photo by Robert C. Lautman, courtesy of tage of the river.” This initial design had Lautman Photography. explorations. Given Wright’s insistence on work as a guesthouse and as an unparal- rooms on one side and a serene pond and a orderliness, they may have been slightly leled venue for entertaining. It is not open above / View of the main living area, terrace on the other. Ethel added, “[M]y to the public, but thanks to Kimsey, every- looking toward the fireplace. embarrassed to be using the house so vigor- husband was indignant and wrote Mr. Photo by Robert C. Lautman, courtesy of ously. As a result of the Mardens’ desire one can now at least get a glimpse of this Lautman Photography. Wright and said it was ridiculous to put a for privacy, their house remained one of residence through photographs such as placid lily pond above a roaring cataract. Wright’s lesser-known works. those that accompany this article, which And we didn’t hear from Mr. Wright for a In 1998, Luis, who had developed convey the house’s warmth, elegance, and while after that.” Parkinson’s Disease, moved to a nursing timeless beauty. Wright had appointed his apprentice home. Ethel remained in the house, but Luis Marden supposedly once declared Bob Beharka to oversee the Marden project, she realized that the time was approaching that “One lifetime isn’t enough.” Fortunately and it was he who gingerly presented the when she and her husband would have to for those who admire the work of Frank clients’ specific concerns to the architect. come to terms with the fate of their Lloyd Wright, however, the Marden house Grudgingly, Wright agreed to eliminate the beloved house once neither of them could has now embarked on its second life. • “placid lily pond,” and to honor the live there. In prosperous Washington, Mardens’ request for a “straight glass wall” there were plenty of people who could overlooking the river. Once construction afford to buy such a house. But who among was well under way, Wright visited the site these prospects would be willing and able again. This time, he was able to reach the to provide the proper stewardship for such viewpoint, and upon doing so, freely a landmark? admitted, “I had no idea it was so dramatic.”
10 blueprints blueprints 11
FEATURE THE MARDEN HOUSE: AN INTERVIEW WITH JAMES KIMSEY
underwater diving record at one point. and there were gasps of horror that I MM: How did you find Bailey Adams, the con- They were buddies with Jacques Cousteau would even contemplate changing a line of tractor who oversaw the restoration? The Marden House: —there’s a picture of him that Luis took a Frank Lloyd Wright work. This was prob- JK: References, word of mouth. A number while diving. Philippe Cousteau, Jacques’s ably a binary decision—either I would of people said, “If you’re going to do that, grandson, spent a lot of his young child- restore it faithfully, or I would screw with here’s the guy who ought to do it.” I met An Interview with James Kimsey hood in the Marden house. it and risk the ire of a whole Frank Lloyd him, he made a proposal, and clearly he The house was full of stuff when I Wright cadre. Well, the thing of it was, was the most knowledgeable. I think for walked in for the first time. I could tell what’s the point of having a Frank Lloyd him it was more than just a job. that Ethel went to some trouble to tidy it Wright house if it’s not a true Frank Lloyd up to greet me, but the place was still Wright house? MM: How are you using the house, now that Martin Moeller: How did your purchase of the packed with stuff. Not a square inch of So other than taking off the tar-and- the renovation is done? Have you had a chance Marden House come about? anything didn’t have stuff on it. Now, we gravel roof and putting the copper roof on, simply to enjoy it? The Marden House is hard by James Kimsey: have put her husband’s picture up, and which I think was aesthetically good for my house. Every morning when I shave JK: I have special dinners over there. I’ve have some of his possessions still on dis- me, because that’s what I look at every I’m looking out my window at that house, had some quiet time—an hour here and play, so while it’s clearly a monument to morning when I shave, there have been which has been a constant reminder that I there—and sometimes I’ll be like Squire Frank Lloyd Wright, I think secondarily very few changes. Friends gave me some needed to do something with it. When Worthy and walk the properties. It’s not a it’s a monument to the Mardens. cute metal birdhouses for the house, attorneys for the Mardens approached me consuming passion of mine, but owning a We also kept a lot of Luis’s books, so there’s been some general landscaping to to buy the house, Luis had moved into an Frank Lloyd Wright house is pretty cool, I just looking at the library he left, and brighten it up with flowers, but mostly it’s assisted-living facility, Ethel was still liv- have to say. Somebody I know was explain- walking around the house, there is always faithfully restored and I’m very happy ing in the house, and they were both in ing my life to someone who didn’t know some little quirk to dig down into. I came with it. Obviously I have added some elec- their nineties. Given the amount of money me, and he went through the whole litany across a picture of me in Vietnam—the tronic stuff that Wright couldn’t have con- that a house on the river costs, and given of explanations and ended up saying that I above / Living area. Mardens had put it in a Frank Lloyd Wright ceived of. I put a TV in, but it’s behind a have a Frank Lloyd Wright house, and the Photo by Robert C. Lautman, courtesy of the amenities that were in that house, Lautman Photography. frame. I don’t even remember that picture! cabinet. We had to find one that fit the there was a concern that whoever would other guy looked at me and said, “Okay, It’s me sitting with an AK-47 reading a cabinetry, which we did. buy it wouldn’t really live in it, so how that does it. Nobody has a Frank Lloyd Playboy. It was 1965. A 41-year-old picture of would that work? The fact that I happened Wright house!” me—it was rather shocking when I saw it. MM: Were you a Wright fan before you under- above / Living area, with bookshelves to live next door, and built a monument to Actually the first guest to spend the at left. They had found it somewhere. took this project? night there was Patti Austin, the singer, Photo by Robert C. Lautman, courtesy of wretched excess, which was my own Lautman Photography. It’s fascinating to see how this couple I certainly knew who Frank Lloyd house, made me the clear and logical buyer JK: who said it was a Zen experience for her. lived in this house for almost 50 years—you Wright was, and had a sense that he was for it. So before the [high-tech] bubble She lived there for about a week. You do can really just see how it worked for them. the inspiration for Howard Roark in The burst, I said, “Sure, I’ll buy it.” “And can get a different feeling when you’re in that Fountainhead. This guy’s always been kind Mrs. Marden live in it?,” they asked. house—certainly different from being in MM: After you bought the Marden House, were of fascinating to me, but I wasn’t an “Sure,” I said. my house. As I’m sure you know, Taliesin you besieged by preservationists and Wright afi- addict. I made it a point to go to a couple I never saw the inside of the house [the name of Wright’s compound in cionados eager to tell you what to do with it? of exhibitions about Wright’s work—it until maybe six months to a year after I Wisconsin] is Welsh for “shining brow,” The article in The Washington Post was kind of interesting to see his stuff. bought it. I went over to meet Ethel Marden, JK: and he loved to build on the brows of hills. [August 21, 2005] made it sound as if I had Now I’m beginning to understand the cult who I figured to be a very frail woman in her The Marden House is sited that way, and it this Greek chorus behind me, but nobody that surrounds Frank Lloyd Wright. nineties, and instead I met this very robust is so arranged as to really bring the river ever sat me down and lectured me about I am going up this summer sometime to woman who showed me around, and ended into the house. In pictures, you can see the house. Some people actually even said see Fallingwater, which I’ve never seen. up taking my house manager and me to that expanse of glass that sits right on they had ideas of how I could change it. I’ve seen the Pope-Leighey House. I did lunch at the Cosmos Club. Little Falls, though you really have to see it But if I renovated and changed it, over deliberately go to Taliesin West when I was first-hand to appreciate what Wright did. time, it would lessen its value—and I out in Arizona, and I’m glad I did because MM: The Mardens themselves were clearly an In short, for me, it’s been a joy, as it was don’t mean monetary value. It would be a I spent the whole day there. They were extraordinary couple — as fascinating as Wright for the Mardens. They had a wine cellar Frank Lloyd Wright house modified to suit very nice to me, showed me around, and himself. In what ways did the house reflect their down in the basement with a little plaque my taste. Well, nobody cares about my took a lot of time. Proximity has made me character? on the door that said Hic habitat felicitas— taste. They all care about Frank Lloyd appreciate the Marden house, and though I “Here resides happiness.” I think if you did some kind of • JK: Wright. So I made a very conscious deci- wasn’t involved hands-on in much of the Freudian study on the gene pool of sion that I should restore it. restoration process, I found myself wanting Wright’s clients, the graphs would look dif- This became clear to me when I would to go over and see it more and more, and ferent from those of normal folks. I never go over there and I would say, “Maybe I put in my two-cents’ worth here and there, met Luis Marden, and I’m sorry that I did- should turn the garage into a bedroom, or but it was really in a delicate mode. n’t get to know him a bit, but Ethel is real- maybe I should take this closet out and put ly interesting. She held the women’s in a window or cut a hole in this wall,”
12 blueprints blueprints 13 12 Blueprints
FEATURE THE MARDEN HOUSE: AN INTERVIEW WITH JAMES KIMSEY
underwater diving record at one point. and there were gasps of horror that I MM: How did you find Bailey Adams, the con- They were buddies with Jacques Cousteau would even contemplate changing a line of tractor who oversaw the restoration? The Marden House: —there’s a picture of him that Luis took a Frank Lloyd Wright work. This was prob- JK: References, word of mouth. A number while diving. Philippe Cousteau, Jacques’s ably a binary decision—either I would of people said, “If you’re going to do that, grandson, spent a lot of his young child- restore it faithfully, or I would screw with here’s the guy who ought to do it.” I met An Interview with James Kimsey hood in the Marden house. it and risk the ire of a whole Frank Lloyd him, he made a proposal, and clearly he The house was full of stuff when I Wright cadre. Well, the thing of it was, was the most knowledgeable. I think for walked in for the first time. I could tell what’s the point of having a Frank Lloyd him it was more than just a job. that Ethel went to some trouble to tidy it Wright house if it’s not a true Frank Lloyd up to greet me, but the place was still Wright house? MM: How are you using the house, now that Martin Moeller: How did your purchase of the packed with stuff. Not a square inch of So other than taking off the tar-and- the renovation is done? Have you had a chance Marden House come about? anything didn’t have stuff on it. Now, we gravel roof and putting the copper roof on, simply to enjoy it? The Marden House is hard by James Kimsey: have put her husband’s picture up, and which I think was aesthetically good for my house. Every morning when I shave JK: I have special dinners over there. I’ve have some of his possessions still on dis- me, because that’s what I look at every I’m looking out my window at that house, had some quiet time—an hour here and play, so while it’s clearly a monument to morning when I shave, there have been which has been a constant reminder that I there—and sometimes I’ll be like Squire Frank Lloyd Wright, I think secondarily very few changes. Friends gave me some needed to do something with it. When Worthy and walk the properties. It’s not a it’s a monument to the Mardens. cute metal birdhouses for the house, attorneys for the Mardens approached me consuming passion of mine, but owning a We also kept a lot of Luis’s books, so there’s been some general landscaping to to buy the house, Luis had moved into an Frank Lloyd Wright house is pretty cool, I just looking at the library he left, and brighten it up with flowers, but mostly it’s assisted-living facility, Ethel was still liv- have to say. Somebody I know was explain- walking around the house, there is always faithfully restored and I’m very happy ing in the house, and they were both in ing my life to someone who didn’t know some little quirk to dig down into. I came with it. Obviously I have added some elec- their nineties. Given the amount of money me, and he went through the whole litany across a picture of me in Vietnam—the tronic stuff that Wright couldn’t have con- that a house on the river costs, and given of explanations and ended up saying that I above / Living area. Mardens had put it in a Frank Lloyd Wright ceived of. I put a TV in, but it’s behind a have a Frank Lloyd Wright house, and the Photo by Robert C. Lautman, courtesy of the amenities that were in that house, Lautman Photography. frame. I don’t even remember that picture! cabinet. We had to find one that fit the there was a concern that whoever would other guy looked at me and said, “Okay, It’s me sitting with an AK-47 reading a cabinetry, which we did. buy it wouldn’t really live in it, so how that does it. Nobody has a Frank Lloyd Playboy. It was 1965. A 41-year-old picture of would that work? The fact that I happened Wright house!” me—it was rather shocking when I saw it. MM: Were you a Wright fan before you under- above / Living area, with bookshelves to live next door, and built a monument to Actually the first guest to spend the at left. They had found it somewhere. took this project? night there was Patti Austin, the singer, Photo by Robert C. Lautman, courtesy of wretched excess, which was my own Lautman Photography. It’s fascinating to see how this couple I certainly knew who Frank Lloyd house, made me the clear and logical buyer JK: who said it was a Zen experience for her. lived in this house for almost 50 years—you Wright was, and had a sense that he was for it. So before the [high-tech] bubble She lived there for about a week. You do can really just see how it worked for them. the inspiration for Howard Roark in The burst, I said, “Sure, I’ll buy it.” “And can get a different feeling when you’re in that Fountainhead. This guy’s always been kind Mrs. Marden live in it?,” they asked. house—certainly different from being in MM: After you bought the Marden House, were of fascinating to me, but I wasn’t an “Sure,” I said. my house. As I’m sure you know, Taliesin you besieged by preservationists and Wright afi- addict. I made it a point to go to a couple I never saw the inside of the house [the name of Wright’s compound in cionados eager to tell you what to do with it? of exhibitions about Wright’s work—it until maybe six months to a year after I Wisconsin] is Welsh for “shining brow,” The article in The Washington Post was kind of interesting to see his stuff. bought it. I went over to meet Ethel Marden, JK: and he loved to build on the brows of hills. [August 21, 2005] made it sound as if I had Now I’m beginning to understand the cult who I figured to be a very frail woman in her The Marden House is sited that way, and it this Greek chorus behind me, but nobody that surrounds Frank Lloyd Wright. nineties, and instead I met this very robust is so arranged as to really bring the river ever sat me down and lectured me about I am going up this summer sometime to woman who showed me around, and ended into the house. In pictures, you can see the house. Some people actually even said see Fallingwater, which I’ve never seen. up taking my house manager and me to that expanse of glass that sits right on they had ideas of how I could change it. I’ve seen the Pope-Leighey House. I did lunch at the Cosmos Club. Little Falls, though you really have to see it But if I renovated and changed it, over deliberately go to Taliesin West when I was first-hand to appreciate what Wright did. time, it would lessen its value—and I out in Arizona, and I’m glad I did because MM: The Mardens themselves were clearly an In short, for me, it’s been a joy, as it was don’t mean monetary value. It would be a I spent the whole day there. They were extraordinary couple — as fascinating as Wright for the Mardens. They had a wine cellar Frank Lloyd Wright house modified to suit very nice to me, showed me around, and himself. In what ways did the house reflect their down in the basement with a little plaque my taste. Well, nobody cares about my took a lot of time. Proximity has made me character? on the door that said Hic habitat felicitas— taste. They all care about Frank Lloyd appreciate the Marden house, and though I “Here resides happiness.” I think if you did some kind of • JK: Wright. So I made a very conscious deci- wasn’t involved hands-on in much of the Freudian study on the gene pool of sion that I should restore it. restoration process, I found myself wanting Wright’s clients, the graphs would look dif- This became clear to me when I would to go over and see it more and more, and ferent from those of normal folks. I never go over there and I would say, “Maybe I put in my two-cents’ worth here and there, met Luis Marden, and I’m sorry that I did- should turn the garage into a bedroom, or but it was really in a delicate mode. n’t get to know him a bit, but Ethel is real- maybe I should take this closet out and put ly interesting. She held the women’s in a window or cut a hole in this wall,”
12 blueprints blueprints 13 12 Blueprints FEATURE MUSEUM NEWS Bridge Basics Recognized by AAM
The National Building Museum’s new Bridge Basics Program Kit, a self-contained educa- tional curriculum package using bridge Museum Hosts design as a tool for learning about math and other subjects, received an honorable men- 2006 Cherry Blossom Festival by Sarah Rice “Coonley” and “Wright” tion in the Educational Resources category of the 2006 Museum Publications Design My grandfather had horses to pull a Competition of the American Association of The annual National Cherry Blossom carriage which was used for many purpos- Museums (AAM). The other winners in this Festival® is a veritable rite of spring, cele- es including trips to the train station for category for 2006 were the Smithsonian brating Washington’s famous Japanese the commute to work in Chicago. As the National Museum of African Art, the cherry trees and their delicate flowers. house neared completion, my grandfather Solomon R. Guggenheim Museum, and the This past March 25, for the first time, the telephoned the architect to say that he Metropolitan Museum of Art. National Building Museum hosted the needed a large carriage step at the front Based on the popular Bridge Basics opening ceremonies for the festival, as part entrance in order for guests to be able to program that has been offered at the of an all-day family-oriented event that step down from a carriage. At a meeting Museum for a number of years, the kit offered an array of activities based in part the next afternoon, Wright said, “Now lis- presents bridges as structural solutions to on the Museum’s popular Origami ten, Coonley, I think you should live in specific design problems, and introduces Architecture programs from previous this house for a year and, if at the end of students to basic bridge types such as years. The result was a highly successful the year you still want the carriage step, truss, beam, arch, cable-stayed, and sus- festival that drew nearly 6,300 people to I’ll design the most beautiful step you’ve pension. Students work in teams to build the Museum, the fourth highest atten- ever seen.” He went on to describe special model bridges that address hypothetical dance for a single-day event in the institu- precast concrete planters that would be transportation problems while balancing tion’s history. included and other amenities. When he issues of aesthetics, geography, materials, Presented in cooperation with the finished, my grandfather said, “Let me tell and cost. The kit contains everything a National Cherry Blossom Festival organiza- you something, Wright. I want that car- teacher needs to conduct activities for stu- tion and managed by Linder and above / National Cherry Blossom dents in grades five through nine. Associates, an event planning firm, the Festival® Family Day and Opening riage step now, but if, at the end of the Ceremony co-presented at the year, I don’t like it, I promise I’ll have it program included various design-oriented National Building Museum on removed.” Wright left in some anger but, activities, such as one in which children Saturday, March 25, 2006. Photo by F.T. Eyre. in a few weeks, the drawings for an elabo- created miniature Japanese-style gardens. by Avery Coonley Faulkner HE AVERY COONLEY HOUSE, in Riverside, One long-time Museum volunteer reported Illinois, was designed by Frank Lloyd rate arrival step, complete with planters, Avery Coonley Faulkner is an that this particular program generated an Wright and completed in 1908. The were delivered and it was constructed. architect with a long career in T unprecedented number of compliments Coonleys, who were my grandparents, had Avery Coonley waited patiently for the Washington area. from excited parents. spent considerable time going to architec- exactly a year and then telephoned the architect, saying, “Wright, I think you The event also attracted a great deal of tural exhibitions at the Chicago Art local media attention. WRC-Channel 4 did a Institute and to libraries before asking were right about the step, and I’m ready to tear it out. I just wondered if you’d like to story about the festival on the previous day, Wright to be their architect. and WJLA-Channel 7 had a live video feed The design process was long but inter- see it before it goes.” Wright took the train to Riverside the next day and pleaded with from the opening ceremony. Local cable news esting and involved a large residence, a outlets covered the event extensively, and The caretaker’s house, and a stable with living “Coonley” not to remove it. When Mr. Wright left, my grandfather, who was a Washington Post and other print media also quarters above. Mr. Wright and my grand- ran prominent stories. father struggled, at times, over costs, but hurdler in college, bounded up the steps to the now famous second floor living room The Museum thanks all of the volun- above / Coonley House. the architect was creative and my grand- The Bridge Basics Program Kit is available to with howls of laughter and his first gen- teers and participants who made this won- Courtesy The Frank Lloyd Wright Foundation, mother was clearly impressed with his educators across the country through the Museum’s Taliesin West, Scottsdale, AZ. uine sense of victory! • derful family festival possible. brilliant and unique approach to space, website, www.nbm.org. The cost is $110 per kit, decoration, lighting, and a host of other with a ten percent discount for teachers. The kit has issues which took time and money to been produced in partnership with the Construction resolve. The two men referred to one Industry Round Table. another by their last names: my grandfa- ther was “Coonley” and the architect was “Wright.” This may have been typical for that era in the Midwest.
14 blueprints blueprints 15 FEATURE MUSEUM NEWS Bridge Basics Recognized by AAM
The National Building Museum’s new Bridge Basics Program Kit, a self-contained educa- tional curriculum package using bridge Museum Hosts design as a tool for learning about math and other subjects, received an honorable men- 2006 Cherry Blossom Festival by Sarah Rice “Coonley” and “Wright” tion in the Educational Resources category of the 2006 Museum Publications Design My grandfather had horses to pull a Competition of the American Association of The annual National Cherry Blossom carriage which was used for many purpos- Museums (AAM). The other winners in this Festival® is a veritable rite of spring, cele- es including trips to the train station for category for 2006 were the Smithsonian brating Washington’s famous Japanese the commute to work in Chicago. As the National Museum of African Art, the cherry trees and their delicate flowers. house neared completion, my grandfather Solomon R. Guggenheim Museum, and the This past March 25, for the first time, the telephoned the architect to say that he Metropolitan Museum of Art. National Building Museum hosted the needed a large carriage step at the front Based on the popular Bridge Basics opening ceremonies for the festival, as part entrance in order for guests to be able to program that has been offered at the of an all-day family-oriented event that step down from a carriage. At a meeting Museum for a number of years, the kit offered an array of activities based in part the next afternoon, Wright said, “Now lis- presents bridges as structural solutions to on the Museum’s popular Origami ten, Coonley, I think you should live in specific design problems, and introduces Architecture programs from previous this house for a year and, if at the end of students to basic bridge types such as years. The result was a highly successful the year you still want the carriage step, truss, beam, arch, cable-stayed, and sus- festival that drew nearly 6,300 people to I’ll design the most beautiful step you’ve pension. Students work in teams to build the Museum, the fourth highest atten- ever seen.” He went on to describe special model bridges that address hypothetical dance for a single-day event in the institu- precast concrete planters that would be transportation problems while balancing tion’s history. included and other amenities. When he issues of aesthetics, geography, materials, Presented in cooperation with the finished, my grandfather said, “Let me tell and cost. The kit contains everything a National Cherry Blossom Festival organiza- you something, Wright. I want that car- teacher needs to conduct activities for stu- tion and managed by Linder and above / National Cherry Blossom dents in grades five through nine. Associates, an event planning firm, the Festival® Family Day and Opening riage step now, but if, at the end of the Ceremony co-presented at the year, I don’t like it, I promise I’ll have it program included various design-oriented National Building Museum on removed.” Wright left in some anger but, activities, such as one in which children Saturday, March 25, 2006. Photo by F.T. Eyre. in a few weeks, the drawings for an elabo- created miniature Japanese-style gardens. by Avery Coonley Faulkner HE AVERY COONLEY HOUSE, in Riverside, One long-time Museum volunteer reported Illinois, was designed by Frank Lloyd rate arrival step, complete with planters, Avery Coonley Faulkner is an that this particular program generated an Wright and completed in 1908. The were delivered and it was constructed. architect with a long career in T unprecedented number of compliments Coonleys, who were my grandparents, had Avery Coonley waited patiently for the Washington area. from excited parents. spent considerable time going to architec- exactly a year and then telephoned the architect, saying, “Wright, I think you The event also attracted a great deal of tural exhibitions at the Chicago Art local media attention. WRC-Channel 4 did a Institute and to libraries before asking were right about the step, and I’m ready to tear it out. I just wondered if you’d like to story about the festival on the previous day, Wright to be their architect. and WJLA-Channel 7 had a live video feed The design process was long but inter- see it before it goes.” Wright took the train to Riverside the next day and pleaded with from the opening ceremony. Local cable news esting and involved a large residence, a outlets covered the event extensively, and The caretaker’s house, and a stable with living “Coonley” not to remove it. When Mr. Wright left, my grandfather, who was a Washington Post and other print media also quarters above. Mr. Wright and my grand- ran prominent stories. father struggled, at times, over costs, but hurdler in college, bounded up the steps to the now famous second floor living room The Museum thanks all of the volun- above / Coonley House. the architect was creative and my grand- The Bridge Basics Program Kit is available to with howls of laughter and his first gen- teers and participants who made this won- Courtesy The Frank Lloyd Wright Foundation, mother was clearly impressed with his educators across the country through the Museum’s Taliesin West, Scottsdale, AZ. uine sense of victory! • derful family festival possible. brilliant and unique approach to space, website, www.nbm.org. The cost is $110 per kit, decoration, lighting, and a host of other with a ten percent discount for teachers. The kit has issues which took time and money to been produced in partnership with the Construction resolve. The two men referred to one Industry Round Table. another by their last names: my grandfa- ther was “Coonley” and the architect was “Wright.” This may have been typical for that era in the Midwest.
14 blueprints blueprints 15
MUSEUM NEWS MUSEUM NEWS
by Bryna Lipper Liquid Stone: Read All About It (in English or French!) New Trustees
The book includes descriptive text, The newest member of the National The Museum also recently welcomed photographs, and drawings of all of the Building Museum Board of Trustees is several new ex officio trustees: contemporary architectural projects in the HOLLIS S. McLOUGHLIN, who is senior vice exhibition, which ran from June 2004 to president and chief of staff at Freddie Mac DIRK KEMPTHORNE was confirmed as the January 2006. It also features information (the Federal Home Loan Mortgage 49th secretary of the U.S. Department of about virtually all of the new technologies Corporation). Prior to joining Freddie Mac, the Interior in May of this year. Before his and products that appeared in the show. In he was chief operating officer of the appointment to the president’s Cabinet, addition, the book contains several essays Hardware Corporation of America, and Kempthorne was twice elected governor of by prominent historians, architects, and later, of ISR Solutions. He also served as an Idaho. He also served one term in the U.S. engineers with expertise in concrete design assistant secretary of the U.S. Department Senate, before which he was mayor of the Hollis S. McLoughlin and technology. These essays expand upon of the Treasury from 1989 to 1993. A gradu- City of Boise. the content of a symposium hosted by the ate of Harvard College, McLoughlin has School of Architecture at Princeton served on the boards of the National Also in May, LURITA ALEXIS DOAN was University in October 2004. Jean-Louis Gallery of Art, the Pennsylvania Avenue confirmed as the 18th administrator of Cohen, of the Institute of Fine Arts at New Development Corporation, and the the U.S. General Services Administration, York University, coordinated the sympo- Metropolitan Club of Washington, DC. making her the first woman to serve as the sium, which was directly inspired by the agency’s chief executive. She was previous- Liquid Stone exhibition. Cohen also co-edited ly president, CEO, and sole owner of a tech- the catalog with Moeller. nology company that she founded in 1990. The Liquid Stone book was published simultaneously in French under the title CHRISTINE MCENTEE became executive vice Architectures du béton: Nouvelles vagues, nou- president/CEO of The American Institute velles recherches, by Editions Le Moniteur of Architects in February 2006. Formerly press, through a cooperative agreement CEO of the American College of Cardiology, with Princeton Architectural Press. The McEntee also worked with the American French version of the book debuted at the Hospital Association. She holds degrees in opening of an exhibition called Bétons: éton- nursing and health administration. nez-vous! (which roughly translates as “Concrete; Surprise Yourself!”) at the DAVID L. WINSTEAD was appointed as the In response to enthusiastic public demand, Musée des Arts et Métiers in Paris. The commissioner of the Public Buildings a catalog based on the Museum’s recent French exhibition includes a number of Service of the U.S. General Services exhibition Liquid Stone: New Architecture models and material samples that also Administration (GSA) on October 3, 2005. in Concrete has been published by appeared in Liquid Stone, and which are on Before joining GSA, he was a partner with Princeton Architectural Press. Martin loan to the Musée from the National the law firm of Holland and Knight LLP, Moeller, senior vice president and curator Building Museum. and previously served as the State of at the National Building Museum, says The catalog is available through the Maryland’s Secretary of Transportation. the catalog is an “exploration of how a Museum Shop. Publication was made possi- Winstead holds a bachelor’s degree from common and seemingly banal material— ble by funding from Lafarge, the exhibi- Denison University, a Master of Business concrete—can be used to create poetic and tion’s sole sponsor. Administration from Columbia University, seductive structures.” Moeller served as and a Juris Doctorate from the Catholic both the exhibition curator and co-editor University of America. for the publication.
16 blueprints blueprints 17
MUSEUM NEWS MUSEUM NEWS
by Bryna Lipper Liquid Stone: Read All About It (in English or French!) New Trustees
The book includes descriptive text, The newest member of the National The Museum also recently welcomed photographs, and drawings of all of the Building Museum Board of Trustees is several new ex officio trustees: contemporary architectural projects in the HOLLIS S. McLOUGHLIN, who is senior vice exhibition, which ran from June 2004 to president and chief of staff at Freddie Mac DIRK KEMPTHORNE was confirmed as the January 2006. It also features information (the Federal Home Loan Mortgage 49th secretary of the U.S. Department of about virtually all of the new technologies Corporation). Prior to joining Freddie Mac, the Interior in May of this year. Before his and products that appeared in the show. In he was chief operating officer of the appointment to the president’s Cabinet, addition, the book contains several essays Hardware Corporation of America, and Kempthorne was twice elected governor of by prominent historians, architects, and later, of ISR Solutions. He also served as an Idaho. He also served one term in the U.S. engineers with expertise in concrete design assistant secretary of the U.S. Department Senate, before which he was mayor of the Hollis S. McLoughlin and technology. These essays expand upon of the Treasury from 1989 to 1993. A gradu- City of Boise. the content of a symposium hosted by the ate of Harvard College, McLoughlin has School of Architecture at Princeton served on the boards of the National Also in May, LURITA ALEXIS DOAN was University in October 2004. Jean-Louis Gallery of Art, the Pennsylvania Avenue confirmed as the 18th administrator of Cohen, of the Institute of Fine Arts at New Development Corporation, and the the U.S. General Services Administration, York University, coordinated the sympo- Metropolitan Club of Washington, DC. making her the first woman to serve as the sium, which was directly inspired by the agency’s chief executive. She was previous- Liquid Stone exhibition. Cohen also co-edited ly president, CEO, and sole owner of a tech- the catalog with Moeller. nology company that she founded in 1990. The Liquid Stone book was published simultaneously in French under the title CHRISTINE MCENTEE became executive vice Architectures du béton: Nouvelles vagues, nou- president/CEO of The American Institute velles recherches, by Editions Le Moniteur of Architects in February 2006. Formerly press, through a cooperative agreement CEO of the American College of Cardiology, with Princeton Architectural Press. The McEntee also worked with the American French version of the book debuted at the Hospital Association. She holds degrees in opening of an exhibition called Bétons: éton- nursing and health administration. nez-vous! (which roughly translates as “Concrete; Surprise Yourself!”) at the DAVID L. WINSTEAD was appointed as the In response to enthusiastic public demand, Musée des Arts et Métiers in Paris. The commissioner of the Public Buildings a catalog based on the Museum’s recent French exhibition includes a number of Service of the U.S. General Services exhibition Liquid Stone: New Architecture models and material samples that also Administration (GSA) on October 3, 2005. in Concrete has been published by appeared in Liquid Stone, and which are on Before joining GSA, he was a partner with Princeton Architectural Press. Martin loan to the Musée from the National the law firm of Holland and Knight LLP, Moeller, senior vice president and curator Building Museum. and previously served as the State of at the National Building Museum, says The catalog is available through the Maryland’s Secretary of Transportation. the catalog is an “exploration of how a Museum Shop. Publication was made possi- Winstead holds a bachelor’s degree from common and seemingly banal material— ble by funding from Lafarge, the exhibi- Denison University, a Master of Business concrete—can be used to create poetic and tion’s sole sponsor. Administration from Columbia University, seductive structures.” Moeller served as and a Juris Doctorate from the Catholic both the exhibition curator and co-editor University of America. for the publication.
16 blueprints blueprints 17 SUPPORT SUPPORT
Tadjer-Cohen-Edelson Associates, Inc. Parker Rodriguez, Inc. Theodore M. Fields Project Management Services, Inc. Tricon Construction, Inc. PEER Consultants, Inc. Nancy McElroy Folger Quadrangle Development Co. Valleycrest Companies Polinger, Shannon & Luchs Phyllis Freedman Rasevic Construction Co. Wachovia Bank, NA - Real Estate Financial Antoine Predock, FAIA Christopher Fromboluti, AIA Re/Max Allegiance Thank You! Services Quite a Stir in Catering! David F. Furman, FAIA William Regan Watt, Teider, Hoffar & Fitzgerald Rathgeber/Goss Associates Marian T. Gay Emerson G. and Dolores G. Reinsch The Beverly Willis Architecture Foundation Darrel D. Rippeteau, AIA GCA Casey Trees Endowment Foundation Zimmer Gunsul Frasca Partnership The Rogers Group Robert J. Geniesse, Esq. Mr. and Mrs. Stephen Rigelsky Danielle Roberts Interiors $1,000–$2,499 Ellen and Russell Rosenberger Giuliani Associates Deborah L. Rosenstein Bobby Gladstein Ruina Family Fund of the Triangle The Museum thanks the fol- $100,000 and above International Union of Bricklayers and Allied The IDI Group Companies Anonymous Community Foundation Moshe Safdie and Associates, Inc. GWWO Inc. Architects Benjamin Moore & Co. Craftworkers Lt. Col. and Mrs. William K. Konze David Allen Company, Inc. Adrienne Schmitz lowing individuals, compa- Bill Sawicki Harvard Jolly Architects PA The Nathan Cummings Foundation Frederick A. Kober Madison Homes, Inc. American Institute of Architecture Students Susan W. Schwartz Lois and Bruce Selfon Bruce Hayes and Jo Fleming nies, associations and agen- The Home Depot Foundation A. Eugene Kohn, FAIA, RIBA, JIA/Kohn Monument Realty Atmosphere Inc. Peter W. Segal Pederson Fox Associates David W. Seltzer Josephine D. Hearld cies for gifts of $250 or more Melissa Moss Beyer Blinder Belle Architects & Planners SGA Architects $50,000–$99,000 Louis Dreyfus Property Group Robert Silman Associates, PLLC Heller & Metzger, P.C. National Association of Real Estate Bingham McCutchen LLP Daniel K. Shogren and Jennifer L. Rise received from December 2005 Bosch home appliances The MARPAT Foundation Barbara Spangenberg Neal Evan Hodgson Investment Trusts Bohlin Cywinski Jackson Stephanie Zeldin and Robert K. Sigal Clark Construction Group, LLC The McGraw-Hill Companies Tetra Partnerships Hord Coplan Macht, Inc. through May 2006. These gen- National Cherry Blossom Festival, Inc. The Bozzuto Group SK&A Structural Engineers, PLLC Lafarge North America Inc. McKissack & McKissack Peggy and Ken Thompson Mary Ann C. Huey erous gifts provide essential National Endowment for the Humanities Katherine B. and David G. Bradley SKB Architecture & Design Portland Cement Association Mead Family Foundation John Toups J. Ford Huffman Occasions Caterers Daniel J. Callahan Shirley and Albert Small support for the Museum’s Royal Netherlands Embassy Mesirow Financial Real Estate, Inc. United Arts Organization of Greater Elise and Scott Hughes Parsons Brinckerhoff Carfam II Associates L.L.C. Alvin Smith - POST Construction exhibitions, education pro- Turner Construction Company Will Miller and Lynne Maguire Washington, Inc. Humanities Council of Washington Perseus Realty Partners /Perseus Realty Carrier Johnson Architecture Smith, Thomas & Smith, Inc. Perkins + Will Capital VIKA, Inc. Catherine and W.T. Ingold grams, and endowment funds. $25,000–$49,999 Centex Construction Company, Inc. Stanley Martin Commercial, Inc. Phillips Development Corporation Pillsbury Winthrop Shaw Pittman Walter P. Moore Rich Jensen and Beth Goodrich The American Institute of Architects Champion Title and Settlements, Inc. Ben S. Stefanski II Some of the contributions Pierce Associates The Prince’s Foundation for the Built R. Beverly Webb Andrew Joskow The Associated General Contractors of The Christopher Companies Environment Judith A. and Linden H. Welch Hugo Subotovsky Architects LLC listed below are in partial America Abe Pollin C.J. Coakley & Co., Inc. Paul Kalkbrenner Red Coats, Inc. Wiley & Wilson Carolyn Tager The Bayport Foundation of the Anderson The Shooshan Company Keane Enterprises, LLC fulfillment of larger pledges. Kathryn and Kent Colton Keene Taylor Corporation Mr. and Mrs. C.J. Silas Rockwood Capital Corporation Wolfensohn Family Foundation Joanne M. Kelly Committee of 100 on the Federal City Stanley E. Taylor The Morris and Gwendolyn Cafritz Fred Schnider Co.,LLC Deby and Robert Wulff Small/Gewirz/Kaplan Partnership Janet and David Curtis The Ira Kessler Memorial Fund Foundation Shapiro & Duncan, Inc. A. Thomas and Page H. Young Terra Nova Communications, LLC SmithGroup Davis Carter Scott Mr. and Mrs. Austin H. Kiplinger Oliver T. Carr, Jr. Charles E. Smith Commercial Realty, a divi- Leonard A. Zax Jessica and Henry Townsend Suman Sorg, FAIA Margaret DeBolt and David Esch C.M. Kling & Associates, Inc. Chevy Chase Bank sion of Vornado Realty Trust JM Zell Partners, Ltd. Trace, Inc. Robert A.M. Stern Architects LLP Gilbert E. DeLorme, Esq. Michael Kolakowski D.C. Commission on the Arts & Humanities STV Incorporated Kristen and Christopher Ullman Truland Group The Honorable Robert W. and $250–$999 Kvell Corcoran Architects, PC Marilyn and Michael Glosserman Thelen Reid & Priest LLP University of Maryland, College Park A. James Clark School of Engineering, Louisa C. Duemling Anonymous Lacy, Ltd. Foundation Miller & Long Co., Inc. University of Maryland Sharon and Jim Todd Einhorn Yaffee Prescott Brian Aitken and Andrea Evers M.K. Lanzillotta, AIA and Lee Becker, FAIA Venturi, Scott Brown & Associates NATIONAL ASSOCIATION OF REALTORS® WDG Architecture, PLLC Torti Gallas and Partners, Inc. Lois and Richard England Tina Alster and Paul Frazer Joseph Lapan Voorsanger & Associates The Peterson Family Foundation Trammell Crow Company $5,000–$9,999 Philip A. Esocoff, FAIA Greg Barnard Harold Leich Boyd Walker The Tower Companies Washington Real Estate Investment Trust Akridge Gary Garczynski Beery Rio Architects & Interiors Richard H. Levy Warner Construction Consultants, Inc. U.S. Department of Energy, Office of Energy Weidlinger Associates, Inc. GHT Limited Paula Loomis Efficiency and Renewable Energy American Iron Works, Inc. Wells Fargo Richard C. Blumenstein Sarah and Luke Wassum Haley & Aldrich Linda B. and Jonathan S. Lyons American Society of Civil Engineers West*Group BOE Architects, PLLC Katy and Scott Weidenfeller $10,000–$24,999 Hanley Wood, L.L.C. Carolyn M. Mackenzie American Society of Landscape Architects West, Lane & Schlager/ONCOR Bonstra Haresign Architects LLP Gareth Wells and Janet Ziffer The American Architectural Foundation Arent Fox PLLC International Hargrove, Inc. Sara Ann Bounds Manhattan Construction Co. Whitmore Print & Imaging American Planning Association AvalonBay Communities, Inc. Hickok Cole Architects Marcia Camarda J. Robert Mann, Jr., PE Laura Wirkkala Associated Builders and Contractors, Inc. $2,500–$4,999 BB&T HKS Architects Capstone Communications, L.L.C. David D. Marquardt, AIA Caren L. Yglesias and John Livengood Shalom Baranes Associates Anonymous Carolyn and Kenneth D. Brody HNTB Architecture, Inc. Jan D. Carline Joan Meixner Deborah Berke & Partners Architect Harold L. Adams, FAIA, RIBA, JIA Honor Gifts Brophy Properties Michael L. Horst Patrick J. Caufield Theresa A. Meyer Arban & Carosi, Inc. BFC Partners ICF Consulting, Inc. John S. Milgram Mr. and Mrs. Peter Aron Burt Hill Chernikoff and Company in honor of Bob Stern Blake Real Estate, Inc. BDO Seidman, LLP Cassidy & Pinkard Elise Jaffe and Jeffrey Brown CHJ3 Architecture, Inc. Ewing H. Miller, FAIA and Donna Ari James H. Callard Matching Gifts Boston Properties/KEG Associates 1 John J. Kirlin, Inc. J.C. and Neil Milner CB Richard Ellis Karen and Jim Cleveland The Morris and Gwendolyn Cafritz CarrAmerica Realty Corporation Cannon Design Component Assembly Systems, Inc. Johns Hopkins Medicine Ray Colbert Ann K. Morales Foundation The Clark Charitable Foundation James G. Davis Construction Corporation Design Cuisine KGD (Kishimoto.Gordon.Dalaya PC) Kim Coletta F. Joseph Moravec The Ford Foundation The Conco Companies Mr. and Mrs. Alfred C. Eckert Design-Build Institute of America (DBIA) Jeffrey C. Landis, AIA and Columbia Woodworking, Inc. The Honorable Alfred H. Moses Envision Design PLLC Fannie Mae Julia Monk-Landis, AIA, ASID Mueser Rutledge Consulting Engineers Dewberry Gianne Conard, AIA * The Museum sincerely regrets omitting the Candy and Greg Fazakerley Fentress Bradburn Architects Ltd. Robert C. Larson ECS Mid-Atlantic, LLC Construction Industry Round Table National Conference of State Historic National Society of Professional Engineers’ Goldman, Sachs & Co. Barbara and Herbert Franklin lee)sallee & company, inc. Preservation Officers Federal Realty Investment Trust David E. Cooper gift of $1,000 from the FY05 Annual Report Mike Goodrich Jacqueline and Marc Leland Lessard Architectural Group, Inc. Priscilla Nelson Freddie Mac Jerome M. Cooper and is grateful for their steadfast support. Gould Property Company Lerner Enterprises Mr. and Mrs. Rafael V. Lopez Edward J. Newberry FOX Architects, LLC Cox Graae + Spack Architects Delon Hampton & Associates Chartered National Architectural Trust Barbara B. Macknick Robert K. Oaks Future Force Now Drury B. Crawley Hardwood Manufacturers Association National Engineers Week Foundation Mancini Duffy Henry Otto Gensler CUH2A, Inc. Harmon, Inc. Reed Smith McDonough, Boylard, Peck, Inc. The Charles Pankow Foundation Grid Properties and Gotham Organization M. DeBlasio, Inc. Anne and Til Hazel J.E. Robert Companies McWilliams/Ballard, Inc. Susan and David Perry Harris Nesbitt Corp. Brenda M. Derby Hellmuth, Obata & Kassabaum. P.C. Victor O. Schinnerer & Co., Inc. Mona Electrical Group, Inc. Robert A. Peck and Lynn Palmer The Haskell Company Duany Plater-Zyberk & Co. Robert Holleyman, II STUDIOS Architecture Morphosis Architects PIP Printing Hensel Phelps Construction Co. Edge Construction, Inc. International Masonry Institute National Concrete Masonry Association Plants Alive! Inc. HITT Contracting, Inc. Laura Einstein and Helene Madonick National Ready Mixed Concrete Association Andrew Potts HSMM Jay Epstein National Society of Professional Engineers *
18 blueprints blueprints 19 SUPPORT SUPPORT
Tadjer-Cohen-Edelson Associates, Inc. Parker Rodriguez, Inc. Theodore M. Fields Project Management Services, Inc. Tricon Construction, Inc. PEER Consultants, Inc. Nancy McElroy Folger Quadrangle Development Co. Valleycrest Companies Polinger, Shannon & Luchs Phyllis Freedman Rasevic Construction Co. Wachovia Bank, NA - Real Estate Financial Antoine Predock, FAIA Christopher Fromboluti, AIA Re/Max Allegiance Thank You! Services Quite a Stir in Catering! David F. Furman, FAIA William Regan Watt, Teider, Hoffar & Fitzgerald Rathgeber/Goss Associates Marian T. Gay Emerson G. and Dolores G. Reinsch The Beverly Willis Architecture Foundation Darrel D. Rippeteau, AIA GCA Casey Trees Endowment Foundation Zimmer Gunsul Frasca Partnership The Rogers Group Robert J. Geniesse, Esq. Mr. and Mrs. Stephen Rigelsky Danielle Roberts Interiors $1,000–$2,499 Ellen and Russell Rosenberger Giuliani Associates Deborah L. Rosenstein Bobby Gladstein Ruina Family Fund of the Triangle The Museum thanks the fol- $100,000 and above International Union of Bricklayers and Allied The IDI Group Companies Anonymous Community Foundation Moshe Safdie and Associates, Inc. GWWO Inc. Architects Benjamin Moore & Co. Craftworkers Lt. Col. and Mrs. William K. Konze David Allen Company, Inc. Adrienne Schmitz lowing individuals, compa- Bill Sawicki Harvard Jolly Architects PA The Nathan Cummings Foundation Frederick A. Kober Madison Homes, Inc. American Institute of Architecture Students Susan W. Schwartz Lois and Bruce Selfon Bruce Hayes and Jo Fleming nies, associations and agen- The Home Depot Foundation A. Eugene Kohn, FAIA, RIBA, JIA/Kohn Monument Realty Atmosphere Inc. Peter W. Segal Pederson Fox Associates David W. Seltzer Josephine D. Hearld cies for gifts of $250 or more Melissa Moss Beyer Blinder Belle Architects & Planners SGA Architects $50,000–$99,000 Louis Dreyfus Property Group Robert Silman Associates, PLLC Heller & Metzger, P.C. National Association of Real Estate Bingham McCutchen LLP Daniel K. Shogren and Jennifer L. Rise received from December 2005 Bosch home appliances The MARPAT Foundation Barbara Spangenberg Neal Evan Hodgson Investment Trusts Bohlin Cywinski Jackson Stephanie Zeldin and Robert K. Sigal Clark Construction Group, LLC The McGraw-Hill Companies Tetra Partnerships Hord Coplan Macht, Inc. through May 2006. These gen- National Cherry Blossom Festival, Inc. The Bozzuto Group SK&A Structural Engineers, PLLC Lafarge North America Inc. McKissack & McKissack Peggy and Ken Thompson Mary Ann C. Huey erous gifts provide essential National Endowment for the Humanities Katherine B. and David G. Bradley SKB Architecture & Design Portland Cement Association Mead Family Foundation John Toups J. Ford Huffman Occasions Caterers Daniel J. Callahan Shirley and Albert Small support for the Museum’s Royal Netherlands Embassy Mesirow Financial Real Estate, Inc. United Arts Organization of Greater Elise and Scott Hughes Parsons Brinckerhoff Carfam II Associates L.L.C. Alvin Smith - POST Construction exhibitions, education pro- Turner Construction Company Will Miller and Lynne Maguire Washington, Inc. Humanities Council of Washington Perseus Realty Partners /Perseus Realty Carrier Johnson Architecture Smith, Thomas & Smith, Inc. Perkins + Will Capital VIKA, Inc. Catherine and W.T. Ingold grams, and endowment funds. $25,000–$49,999 Centex Construction Company, Inc. Stanley Martin Commercial, Inc. Phillips Development Corporation Pillsbury Winthrop Shaw Pittman Walter P. Moore Rich Jensen and Beth Goodrich The American Institute of Architects Champion Title and Settlements, Inc. Ben S. Stefanski II Some of the contributions Pierce Associates The Prince’s Foundation for the Built R. Beverly Webb Andrew Joskow The Associated General Contractors of The Christopher Companies Environment Judith A. and Linden H. Welch Hugo Subotovsky Architects LLC listed below are in partial America Abe Pollin C.J. Coakley & Co., Inc. Paul Kalkbrenner Red Coats, Inc. Wiley & Wilson Carolyn Tager The Bayport Foundation of the Anderson The Shooshan Company Keane Enterprises, LLC fulfillment of larger pledges. Kathryn and Kent Colton Keene Taylor Corporation Mr. and Mrs. C.J. Silas Rockwood Capital Corporation Wolfensohn Family Foundation Joanne M. Kelly Committee of 100 on the Federal City Stanley E. Taylor The Morris and Gwendolyn Cafritz Fred Schnider Co.,LLC Deby and Robert Wulff Small/Gewirz/Kaplan Partnership Janet and David Curtis The Ira Kessler Memorial Fund Foundation Shapiro & Duncan, Inc. A. Thomas and Page H. Young Terra Nova Communications, LLC SmithGroup Davis Carter Scott Mr. and Mrs. Austin H. Kiplinger Oliver T. Carr, Jr. Charles E. Smith Commercial Realty, a divi- Leonard A. Zax Jessica and Henry Townsend Suman Sorg, FAIA Margaret DeBolt and David Esch C.M. Kling & Associates, Inc. Chevy Chase Bank sion of Vornado Realty Trust JM Zell Partners, Ltd. Trace, Inc. Robert A.M. Stern Architects LLP Gilbert E. DeLorme, Esq. Michael Kolakowski D.C. Commission on the Arts & Humanities STV Incorporated Kristen and Christopher Ullman Truland Group The Honorable Robert W. and $250–$999 Kvell Corcoran Architects, PC Marilyn and Michael Glosserman Thelen Reid & Priest LLP University of Maryland, College Park A. James Clark School of Engineering, Louisa C. Duemling Anonymous Lacy, Ltd. Foundation Miller & Long Co., Inc. University of Maryland Sharon and Jim Todd Einhorn Yaffee Prescott Brian Aitken and Andrea Evers M.K. Lanzillotta, AIA and Lee Becker, FAIA Venturi, Scott Brown & Associates NATIONAL ASSOCIATION OF REALTORS® WDG Architecture, PLLC Torti Gallas and Partners, Inc. Lois and Richard England Tina Alster and Paul Frazer Joseph Lapan Voorsanger & Associates The Peterson Family Foundation Trammell Crow Company $5,000–$9,999 Philip A. Esocoff, FAIA Greg Barnard Harold Leich Boyd Walker The Tower Companies Washington Real Estate Investment Trust Akridge Gary Garczynski Beery Rio Architects & Interiors Richard H. Levy Warner Construction Consultants, Inc. U.S. Department of Energy, Office of Energy Weidlinger Associates, Inc. GHT Limited Paula Loomis Efficiency and Renewable Energy American Iron Works, Inc. Wells Fargo Richard C. Blumenstein Sarah and Luke Wassum Haley & Aldrich Linda B. and Jonathan S. Lyons American Society of Civil Engineers West*Group BOE Architects, PLLC Katy and Scott Weidenfeller $10,000–$24,999 Hanley Wood, L.L.C. Carolyn M. Mackenzie American Society of Landscape Architects West, Lane & Schlager/ONCOR Bonstra Haresign Architects LLP Gareth Wells and Janet Ziffer The American Architectural Foundation Arent Fox PLLC International Hargrove, Inc. Sara Ann Bounds Manhattan Construction Co. Whitmore Print & Imaging American Planning Association AvalonBay Communities, Inc. Hickok Cole Architects Marcia Camarda J. Robert Mann, Jr., PE Laura Wirkkala Associated Builders and Contractors, Inc. $2,500–$4,999 BB&T HKS Architects Capstone Communications, L.L.C. David D. Marquardt, AIA Caren L. Yglesias and John Livengood Shalom Baranes Associates Anonymous Carolyn and Kenneth D. Brody HNTB Architecture, Inc. Jan D. Carline Joan Meixner Deborah Berke & Partners Architect Harold L. Adams, FAIA, RIBA, JIA Honor Gifts Brophy Properties Michael L. Horst Patrick J. Caufield Theresa A. Meyer Arban & Carosi, Inc. BFC Partners ICF Consulting, Inc. John S. Milgram Mr. and Mrs. Peter Aron Burt Hill Chernikoff and Company in honor of Bob Stern Blake Real Estate, Inc. BDO Seidman, LLP Cassidy & Pinkard Elise Jaffe and Jeffrey Brown CHJ3 Architecture, Inc. Ewing H. Miller, FAIA and Donna Ari James H. Callard Matching Gifts Boston Properties/KEG Associates 1 John J. Kirlin, Inc. J.C. and Neil Milner CB Richard Ellis Karen and Jim Cleveland The Morris and Gwendolyn Cafritz CarrAmerica Realty Corporation Cannon Design Component Assembly Systems, Inc. Johns Hopkins Medicine Ray Colbert Ann K. Morales Foundation The Clark Charitable Foundation James G. Davis Construction Corporation Design Cuisine KGD (Kishimoto.Gordon.Dalaya PC) Kim Coletta F. Joseph Moravec The Ford Foundation The Conco Companies Mr. and Mrs. Alfred C. Eckert Design-Build Institute of America (DBIA) Jeffrey C. Landis, AIA and Columbia Woodworking, Inc. The Honorable Alfred H. Moses Envision Design PLLC Fannie Mae Julia Monk-Landis, AIA, ASID Mueser Rutledge Consulting Engineers Dewberry Gianne Conard, AIA * The Museum sincerely regrets omitting the Candy and Greg Fazakerley Fentress Bradburn Architects Ltd. Robert C. Larson ECS Mid-Atlantic, LLC Construction Industry Round Table National Conference of State Historic National Society of Professional Engineers’ Goldman, Sachs & Co. Barbara and Herbert Franklin lee)sallee & company, inc. Preservation Officers Federal Realty Investment Trust David E. Cooper gift of $1,000 from the FY05 Annual Report Mike Goodrich Jacqueline and Marc Leland Lessard Architectural Group, Inc. Priscilla Nelson Freddie Mac Jerome M. Cooper and is grateful for their steadfast support. Gould Property Company Lerner Enterprises Mr. and Mrs. Rafael V. Lopez Edward J. Newberry FOX Architects, LLC Cox Graae + Spack Architects Delon Hampton & Associates Chartered National Architectural Trust Barbara B. Macknick Robert K. Oaks Future Force Now Drury B. Crawley Hardwood Manufacturers Association National Engineers Week Foundation Mancini Duffy Henry Otto Gensler CUH2A, Inc. Harmon, Inc. Reed Smith McDonough, Boylard, Peck, Inc. The Charles Pankow Foundation Grid Properties and Gotham Organization M. DeBlasio, Inc. Anne and Til Hazel J.E. Robert Companies McWilliams/Ballard, Inc. Susan and David Perry Harris Nesbitt Corp. Brenda M. Derby Hellmuth, Obata & Kassabaum. P.C. Victor O. Schinnerer & Co., Inc. Mona Electrical Group, Inc. Robert A. Peck and Lynn Palmer The Haskell Company Duany Plater-Zyberk & Co. Robert Holleyman, II STUDIOS Architecture Morphosis Architects PIP Printing Hensel Phelps Construction Co. Edge Construction, Inc. International Masonry Institute National Concrete Masonry Association Plants Alive! Inc. HITT Contracting, Inc. Laura Einstein and Helene Madonick National Ready Mixed Concrete Association Andrew Potts HSMM Jay Epstein National Society of Professional Engineers *
18 blueprints blueprints 19 MYSTERY BUILDING Mystery Building
HE MYSTERY BUILDING from the Winter 2005–06 issue was the Manhattan TBuilding, which is actually in Chicago. Designed by William LeBaron Jenney, and completed in 1891, it was one of the earli- est tall buildings supported entirely by a steel structural frame. A set of decorative elevator shaft grills from the building, removed during a renovation, is on view ? in the Museum’s ongoing exhibition Rinehart. Two respondents pointed out that Cityscapes Revealed: Highlights from the Collection. critics have not always viewed the building The Manhattan Building was correct- favorably. One (now outdated) edition of ly identified by: Karla Barber, of Lansing, above / Manhattan Building Chicago’s Famous Buildings dismissed the Michigan; Erin Blake, of Washington, DC; Photo: Library of Congress, Prints design of the Manhattan Building as “not and Photographs Division, Historic American Gregory Boshart, of McLean, Virginia; Buildings Survey, HABS ILL, 16-CHIG, particularly impressive,” thanks to the pro- 53-2, Harold Allen, photographer John Morris Dixon, of Old Greenwich, fusion of materials and bays that “produce Connecticut; Wilbert R. Hasbrouck, of an effect of disunity.” Current opinions of Chicago (whose firm worked on the reno- the structure are generally more favorable. vation of the Manhattan Building in the This issue’s Mystery Building boasts a 1980s); Eric Jenkins, of Washington, DC; bold, Greek Revival façade. Can you name Kyle Johnson, of Brooklyn, New York; the building, its architects, and its location? Mike Larson and Jerry Maready, of Send responses to: Washington, DC; Lawrence Eric Levine, of New Castle, Delaware; and former National Mystery Building, National Building Museum, Building Museum staff member Michelle 401 F Street NW, Washington, DC 20001
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20 blueprints TRUSTEES AND STAFF
BOARD OF TRUSTEES Honorary Trustees STAFF Paul F. Killmer Special Events Harold L. Adams Director of Public Programs Christopher Frame Officers Howard M. Bender Administration Scott Kratz Director of Special Events Chair M. Arthur Gensler Jr. Jennifer Bertsch Vice President for Education Charles Shelby Carolyn Brody Thomas J. Klutznick Executive Assistant and Ann Lambson Special Events Coordinator Stuart A. McFarland Manager of Board Relations Contents Chair Elect Director of Youth Education Bill Snitzer Robert McLean III Michael J. Glosserman Don Holstrom Kathryn McGill Special Events Coordinator Elizabeth B. Moynihan Vice Chairs Systems Administrator Outreach Programs Coordinator Marilyn Perry Gilbert E. DeLorme Betsy May-Salazar Visitor Services 1 The National Mallory Walker Jennifer Michaelree Message from the Executive Director David C. Evans Vice President for Finance Kristi Cotner Leonard A. Zax Associate Youth Groups Building Will Miller and Administration Coordinator Tour and Volunteer Coordinator Robert A.M. Stern Founding Trustees G. Martin Moeller, Jr. Barry Edmunds Museum Sarah Petty Rice 3 The Pope-Leighey House Secretary Cynthia R. Field Senior Vice President Family Programs Coordinator Weekend Assistant Museum David C. Evans and Curator Services Manager explores Herbert M. Franklin Sarah Smith Treasurer Edward T. Hall Chase W. Rynd Youth Education Assistant Danielle Flores Robert H. Braunohler Executive Director Administrative Assistant/ 8 No Ordinary Clients: the world Nancy Stevenson Jaime Van Mourik Receptionist President Beverly Willis Rebecca Warwick Public Programs Coordinator The Story of Luis and Ethel Marden we build Chase W. Rynd Human Resources Manager Ronald Keith Fulwood Ex Officio Trustees Development Information Desk Specialist for ourselves— Trustees The Honorable Dirk Kempthorne Finance Suzanne Bissell David Kaplan Secretary, U.S. Department 12 The Marden House: from our homes, William B. Alsup III Diane Beckham Director of Individual Giving Information Desk Specialist Frank Anton of the Interior Controller Sangita Chari Annie Kalinowski skyscrapers and public buildings to Thomas N. Armstrong III The Honorable Alphonso Jackson An Interview with James Kimsey Laura Leonard Foundation and Government Tour and Volunteer Assistant David S. Bender Secretary, U.S. Department of Accounting Coordinator Relations Manager our parks, bridges, and cities. Through Deborah Berke Housing and Urban Development Rose Marie Kirwin William M. Brennan Curatorial Michael Dunagan Information Desk Specialist 14 “Coonley” and “Wright” exhibitions, education programs, and The Honorable James M. Inhofe Director of Institutional Giving Joan Bagget Calambokidis Chairman, Senate Committee on Chrysanthe B. Broikos Doris Landau Elika Hemphill publications, the Museum seeks to Donald A. Capoccia Environment and Public Works Curator Information Desk Specialist Kent W. Colton Director of Development Events The Honorable Don Young Shelagh M. Cole Susan Mittleman 15 Museum News educate the public about achievements Dennis J. Cotter Melinda Hungerman Chairman, House Committee on Registrar/ Manager of Traveling Information Desk Specialist Christopher Dorval Corporate and Association in architecture, design, engineering, Transportation and Infrastructure Exhibitions Bryan Norman John P. Gleason, Jr. Relations Manager Museum Operations Coordinator Mike Goodrich Lurita Doan Catherine Crane Frankel 18 Support urban planning, and construction. Caitlin Irvin Allen Travitz Delon Hampton Administrator, General Services Director of Exhibitions Development Assistant Visitor Services Manager Gary Haney Administration and Collections Melissa Slaughter Robert W. Holleyman, II David L. Winstead Cecelia Gibson Membership Manager Gallery Representatives 20 Mystery Building The Museum is supported by contributions Joseph F. Horning, Jr. Commissioner, Public Buildings Registrar Monique Anderson Gerald M. Howard Service, General Services William H. C. Griffith Shar Taylor William Barnes from individuals, corporations, foundations, Mercy Jiménez Administration Exhibitions Coordinator Vice President for Development Patricia Cunningham Frederick A. Kober Mary Zehe associations, and public agencies. The Honorable Alan M. Hantman Reed Haslach Harriet Cywinski A. Eugene Kohn Assistant Director of Development Architect of the Capitol Curatorial Associate Barry Edmunds Stephen S. Lash Allen Weinstein Matthew Kuhnert Beverly Fennell Terrence M. McDermott Marketing & Communications Archivist of the United States Curatorial Associate Jessie Harley Deryl McKissack Jennifer Byrne The Honorable James H. Billington Jennifer Heimbecker Hollis S. McLoughlin Christopher Maclay Publications Designer Librarian of Congress Louise Johnson Brian T. McVay Preparator Bryna Lipper Nathaniel Kulyk Melissa A. Moss Lawrence M. Small Susan Piedmont-Palladino Director of Marketing and Barry Lustberg Robert A. Peck Secretary, Smithsonian Institution Curator Communications Jana Martin Whayne S. Quin Richard Moe Laura Schiavo Kevin Morse Nanci McCollum Philippe Rollier President, National Trust for Curator Website Administrator Carla Patterson Richard M. Rosan Historic Preservation Deborah Sorensen Julia Neubauer Erma Person Stephen M. Ross Christine McEntee Curatorial Associate Editor/Writer Seymour Selig Deborah Ratner Salzberg Executive Vice President and Matthew Seymour Stephen E. Sandherr Dana Twersky Lauren Searl Chief Executive Officer Crystal Watson Eric Thorkilsen Senior Registrar Marketing and Communications The American Institute of Mary West James W. Todd MaryJane E. Valade Associate Architects Shamika White Norbert W. Young, Jr. Exhibitions Designer and Preparator Museum Shop Karen Whitehair Leslie Bradshaw Sarah Whitelow Education Assistant Manager Evelyn Wilson Fred Wilson Corinne Cannon Marcia Diehl Viktor Zavadsky Youth Groups Coordinator Operations Manager Liz Guthrie Scott Glasscoe Assistant Outreach Programs Inventory Specialist Coordinator Michael Higdon Mary Hendrickse Retail Manager Assistant Youth Groups Tom Ziolkowski Coordinator cover / The main living area of the Associate Marden House, in McLean, Virginia, by Frank Lloyd Wright. Photo by Robert C. Lautman, courtesy of Lautman Photography. NATIONAL BUILDING MUSEUM Nonprofit Organization 401 F Street NW Washington, DC 20001 U.S. Postage Paid Washington, DC 202.272.2448 / www.NBM.org Permit No. 488 Red Line Metro, Judiciary Square
MUSEUM HOURS Monday –Saturday, 10:00 am–5:00 pm Sunday, 11:00 am–5:00 pm Closed Thanksgiving, Christmas, and New Year’s Day NATIONAL BUILDING MUSEUM blueprints
Prairie Skyscraper: The Green House: Cityscapes Revealed: Washington: Symbol and City Frank Lloyd Wright’s New Directions in Highlights from Long-term Price Tower Sustainable Architecture the Collection ons A seminal exhibition about through September 17, 2006 and Design Long-term the complex city that the through June 3, 2007 The only true skyscraper The first exhibition presenting Museum calls home. designed by Wright that was The second in a series of major a cross-section of items from Spectacular, large-scale historic actually constructed, the Price National Building Museum the Museum’s own collection, and contemporary models Tower is a glimmering jewel exhibitions on sustainable including drawings, photo- give visitors an intimate of a building. The exhibition design, The Green House begins graphs, material samples, understanding of the city’s includes original drawings, with a full-scale, furnished and artifacts from National past and possible future. fascinating samples of corre- replica of an environmentally- Historic Landmarks. spondence between Wright and friendly house. Also featured the project’s client, furniture, are photographs and models and a large model of the tower. of exemplary houses and
current exhibiti apartment buildings from around the world, plus a resource room with many examples of materials that are both green and attractive.
BLUEPRINTS VOLUME XXI, NO. 2
Blueprints is the quarterly journal of the Volume XXIV, No. 3 Summer 2006 National Building Museum. Subscriptions INSIDE THIS ISSUE: are a benefit of Museum membership. • The Pope-Leighey House Blueprints ©2006 All rights reserved • No Ordinary Clients: ISSN 0742-0552 The Story of Luis and Ethel Marden editor / G. Martin Moeller, Jr. designer / Jennifer Byrne • An Interview with James Kimsey • “Coonley” and “Wright”