blueprintsVolume XXV, No. 4 National Building Museum

Africa: Building on Tradition

in this issue:

african threads in the american fabric —An Interview with Richard Dozier Contemporary Architectural Practice in Africa Community Crusader —An Interview with Reverend Anthony Motley

museum news: Honor Award Breaks Record

Fall 2007 From the Executive Director

Rediscovering African Architecture

Africa comprises about a fifth of 2 6 10 11 21 the world’s land area, and holds 14% of the world’s population. in this issue Archaeological evidence suggests that the earliest true humans emerged somewhere in Africa. It is home to countless languages and rich cultures that have had a profound influence on many other societies, including our own. And yet, very few Americans Africa: Building on Tradition know much about the substantial and fascinating architectural history of this vast continent. The architecture of Africa is multifaceted and richly textured, drawing on The National Building Museum’s latest exhibi- thousands of years of tradition while continually adapting to technological tion, Lasting Foundations: The Art of Architecture in Africa, provides an engaging overview of the and social developments. Most vernacular African structures are adroit continent’s diverse building traditions. Present- responses to often harsh climates and unforgiving landscapes. As such, they ing a cross-section of photographs and original artifacts from various regions, the show should offer a range of lessons for historians and practitioners all over the world, appeal to architecture buffs eager to learn about largely overlooked architectural traditions, arts including those in the United States. and crafts lovers interested in beautifully hand- carved sculptural pieces, and anyone with an African Threads in the American Fabric interest in African culture and history. 2 Architect and architectural historian Richard K. Dozier, Ph.D., discusses the influence of African building traditions on American architecture. right: Glasgow School of This issue of Blueprints was inspired by Lasting Art, Mackintosh Doorway, Foundations. It includes an interview with an 1909 (single doorway architectural historian who has traced the influ- The American Porch, by Way of Africa bookend). Courtesy of Timothy Richards® ences of African building traditions on American 4 Museum intern Alyson Fletcher traces the origins of the classic architecture, an article about a contemporary American front porch. South African firm that is creating outstanding buildings that reflect the rapidly changing society Contemporary Architectural Practice in Africa in which they practice, and articles by two of the Mashabane Rose Associates, an innovative firm based in Johannesburg, Museum’s recent interns, who bring their own 6 serves as a case study of architectural practice in modern-day Africa. experience and education to bear on related topics. In Africa: Architectural Achievement Beyond shop NBM! the Pyramids 8 Hand-crafted Works of Art: Lasting Foundations: The Art of Architecture in Museum intern Nadja Popovich shares her personal recollections of Africa was organized by the Museum for African Art, a visit to an extraordinary medieval ruin in what is now Zimbabwe. Architectural Sculptures, New York, and sponsored by Merrill Lynch. Models, and Bookends Education Programs The Mackintosh Doorway is one of a series More Acclaim for the Museum Shop! • Much ado about the Shakespeare Family Day of fine architectural models made by The National Building Museum explores the world we build for ourselves—from our homes, skyscrapers, and above: Dogon 10 • Macaulay exhibition opening was a “Big Draw” world-renowned artist Timothy Richards. public buildings to our parks, bridges, and cities. Through exhibitions, education programs, and publications, men’s meeting Based in Bath, England, Richards has been I am pleased—but not surprised—to report that the Museum seeks to educate the public about achievements in architecture, design, engineering, urban house (toguna), • Reverend Motley dispenses advice to IWWL participants the National Building Museum Shop was named planning, and construction. The Museum is supported by contributions from individuals, corporations, Mali. Photo by • Green programs: Past and future making plaster sculptures of architectural this year’s “Best Museum Store” by Niche magazine foundations, associations, and public agencies. Robert Rubin, 1993 landmarks and details for more than 19 years. All of the sculptures are handmade during the Buyers Market of American Craft in cover: Geometric Museum News and Development August. I say that I am not surprised because the National Building Museum Editorial Board Blueprints Motifs, Zecco, by Richards and his dedicated team. Burkina Faso. • Tribute to Related brings in record-breaking support Shop is consistently showered with praise from Johanna Dunkel, Marketing and Communications Manager Editor-in-Chief, G. Martin Moeller, Jr. 14 $297.00 Museum members / Photo by Margaret • Donor Profile: International Masonry Institute journalists, critics, and the public. None- Catherine Crane Frankel, Director of Exhibitions and Collections Managing Editor, Johanna Dunkel Courtney-Clarke, • Planned giving program presents philanthropic opportunities $330.00 nonmembers. theless, we never grow tired of such Melissa Kennedy, Senior Designer Designer, Jennifer Byrne 1986 • Remembering two friends of the Museum Scott Kratz, Vice President for Education recognition, and we all congratulate • New trustees join board Coming Soon! our retail manager, Michael Higdon, Bryna Lipper, Director of Marketing and Communications G. Martin Moeller, Jr., Senior Vice President and Curator • Many thanks to our recent donors The Shop has commissioned Timothy Richards to and his colleagues for a job well done. Chase W. Rynd, Executive Director create custom bookends depicting the Museum’s Shar Taylor, Vice President for Development Collections Highlights historic home. These bookends will be on sale this fall. Blueprints is the quarterly magazine of the National Building Museum. 20 The archives of architectural photographer Robert Lautman are the Visit the Museum Shop during Museum Subscriptions are a benefit of Museum membership. latest addition to the Museum’s collection. hours or call 202.272.7706 to see Timothy Richards’ work and other exciting products. Blueprints ©2007. All rights reserved. ISSN 0742-0552 Chase W. Rynd Mystery Building Executive Director Paper contains 50% recycled content including 25% post-consumer waste. 21 “I’ve Got the (Greek) Key” Fall 2007 blueprints  An Interview with Richard Dozier

by Martin Moeller in the American Fabric Richard K. Dozier, Ph.D., is an architect and architectural historian who has studied African-American A good Southern example is St. Andrew’s Church in buildings and material culture. He has taught at several schools, including Florida A&M University, and Prairieville, Alabama, [which was built] in 1853. We actually know the names of the specific slaves who built was recently appointed head of the Department of Architecture and Construction Science, associate it. It was one of many churches thought to have been dean of the College of Engineering, Architecture and Physical Sciences, and Robert R. Taylor based on designs by the architect Richard Upjohn. One Professor of Architecture at Tuskegee University. interesting aspect of this church was the stain used on the interior wood finishes—it was made from tobacco juice. Martin Moeller: In what ways have vernacular African Moeller: There are many diverse building traditions Moeller: How did African-American architecture building traditions influenced American architecture? in different parts of Africa. To what extent are there develop after the Civil War, as former slaves adapted similar variations in African-American architecture? to freedom? Richard Dozier: Broadly speaking, the major contribu- tions were primarily [in the areas of] response to climate Dozier: We wouldn’t just refer to “European Dozier: The story of Robert R. Taylor is interesting. and use of materials. Slaves coming to the New World architecture” as a single thing, would we? We His father was a free person of color originally from had a familiarity with natural materials like sun-dried brick understand that it reflects many very different periods Wilmington, North Carolina. Wilmington was an and they had exceptional skills at carving wood, making and cultures. Africa, of course, is the same way. important center for African-American artisans and plaster molds, working iron—and these techniques soon builders, and after he gained his freedom, Taylor’s had an impact on how everyone was building. Many of the differences in African-American father had developed a ship-building and house- architecture are regional variations, based to some building business and became pretty successful. In the South, of course, we can attribute the domestic extent on how much of the original African culture And then, in 1892, Robert went on to become the porch to African influence in response in part to climate was retained. One example of strong retention is Moeller: To what extent have African-inspired elements opposite: The Africa first known African-American to finish architecture [or African] House on the [see related article on page 4]. In African village life, the Gullah/Geechee culture in South Carolina. The and motifs been incorporated into mainstream design school—he graduated from MIT. Melrose Plantation in shared space—courtyards, etc.—was important. vernacular of the area followed early building traditions and building practices? Natchitoches, Louisiana, And shelter from the heat was obviously important. In for a remarkably long time. Charleston also had a high with its distinctive, [Despite Taylor’s father’s early success], the African- America, these things came together in the porches degree of retention of the original culture. Even today, Dozier: Now that we have really begun to understand overhanging roof. American building industry in Wilmington and else- Photo by Frank Hampson, that we now take for granted. there’s an African- American blacksmith there named where deteriorated, and the skilled workers dispersed. African art and architecture more, I think we all realize courtesy of Library of Congress Peter Simmons who is carrying on [family craft] When Booker T. Washington realized that slaves had that African art strongly influenced a lot of modern Some basic structural forms may be linked to Africa. A traditions that date back generations. above: View of Mulberry, been displaced from their work in the building trades, architecture in general. Think about Adolf Loos’s great example is the Africa [or African] House down in House and Street, ca. he decided to set up the Tuskegee Institute to famous statement that “ornament is crime.” Loos just 1800, by Thomas Coram Natchitoches, Louisiana, which has a huge hip roof and The areas of greatest cultural retention are not actually reintroduce the study of craftsmanship [to the African- wanted to strip away whatever wasn’t really needed for (American, 1756–1811); oil broad overhang. It looks strange at first, but then you in the U.S., but in the Caribbean, where many of the on paper; © Gibbes Museum American community]. And he brought in Robert Taylor the architecture. Well, in Africa there is no such thing realize that the building did not have a deep foundation. slaves were initially brought. That’s why you can still see of Art/Carolina Art Association; to head the “Mechanical Industries” department. as art for art’s sake. Art is closely connected to use. 1968.18.01. The overhangs protected the base of the building from extremely authentic architecture and even small villages in So really it’s the same idea. The brick houses lining the water, while also allowing a second story up the Caribbean that really feel like they could be in Africa. “street,” now destroyed, once Building the institute itself was actually a major project. within the roof, which had slats for served as slave cabins. It was a kind of self-help program. But there was an There was a strong connection to modern fine art, windows so that the air would Moeller: What were some of the earliest examples interesting anomaly regarding Tuskegee’s architecture. too. Think of Picasso’s painting “The Young Women circulate. The form of the of buildings created specifically by and for African Some people are said to have asked Booker T. Washing- of Avignon,” in which he actually uses African faces. building is derived from its Americans? ton, “Why do your buildings have big columns, just like construction methods the plantation houses?” They could not understand why Moeller: Do you believe that there exists today an and the weather Dozier: You know, most people would probably the school was adopting the architectural language of identifiable, distinctly African-American approach conditions. immediately think of buildings in the South, but there the culture that was responsible for slavery. But Booker to architecture? are a considerable number in the North. For example, T. perhaps responded that he was making the point that there is the African Meetinghouse in Boston, African-Americans could do whatever anyone else could. Dozier: There are several museums going up around constructed in 1806 entirely with black labor, which He did not want to deviate from the classical portico, the country today that are said to use African-inspired was the oldest known extant African-American church because it was a symbol of quality building. form. One wonders, is it just an appliqué, or is it really building in the U.S. Also, it’s been discovered that something deeper? a private house on Nantucket, which used to have a Booker T. also said, “We teach everything we do, and do flourishing African-American community, is even older, everything we teach.” It summed up the school’s approach. dating back to the late 18th century.

 blueprints Fall 2007 Fall 2007 blueprints  One person said that African-American architecture should “do rather than say.” by Way of Africa In other words, an The American Porch, African-American museum should func- by Alyson Fletcher, Museum Intern tion differently. People should walk out stimu- lated and inspired, with rchitecturally speaking, nothing signifies the Therefore, not only was the porch a type of shelter a firm idea about both notion of “Southern hospitality” in America quite adapted to the warm, wet climate of the South, but Africa and architecture. Alike the front porch. As a universally recognized it was also a potential vessel for African cultural mediator between the overwhelming realm of the expression, specifically of the communal vitality To me, the [Reginald public and the familial domain of the private, the found in their village traditions. In fact, while the above: John Wesley Dobbs F. Lewis Museum of Maryland African American porch clearly serves a symbolic function beyond its term “shotgun” is commonly believed to have been Plaza, Atlanta, Georgia. The History] in Baltimore is exciting in terms of its aesthetic and functional purposes. It is a symbol of a nickname applied to long, skinny houses with all wall at right recalls ancient fortifications in southern function and symbolism. For colors, it draws the comforts of leisure and belonging, beckoning us to of the openings between rooms aligned from front Africa. In the background inspiration from the flag of Maryland, but the relax and pass the time with good company. to back (so that a bullet fired from a shotgun at the is a sculpture of Dobbs, way the colors are used is almost completely front door would pass through the rear door without who encouraged African Americans to register to different from anything else you’ve ever seen. Even though the porch has many familiar visual ever hitting a wall), there is evidence that the word vote. Photo by Richard K. They are interpreted through a different lens. connotations in addition to its omnipresence amid the may actually be an alteration of the original name Dozier, all rights reserved. Southern American physical and cultural landscape, “to-gun,” a word from Africa’s Dahomey Fon area below: A row of shotgun I think much of the success of the building [lies in the origins of the porch as an architectural feature are that translates to “place of assembly.” houses with porches in the fact] that it seems to draw on a fundamental actually quite complex and even obscure. an African American thing about African culture. In African building tra- In some colonial plantations, archaeology has neighborhood in Atlanta. suggested evidence of slaves’ communal outdoor life. Photo by Richard K. Dozier, ditions, everything has meaning—doors, passages, The form echoes the porticoes found in ancient rock all rights reserved. everything. Much of the meaning is related to temples and many classical Greek and Roman struc- For example, on Carter’s Grove in southern Virginia, ideas about what is sacred. For instance, tradi- tures of civic importance, but the assimilation of such researchers have found circular postholes near the tional Africans believe that there are three states elements into American domestic architecture does slave quarters indicating the former presence of West of being—the living, the unborn, and the dead. In not follow a direct path. In fact, most of our earliest African “kraals” or communal enclosures. In Slave the ground are the ancestors, and every so often, immigrants from Europe brought along traditional Counterpoint, Philip Morgan argues that archaeological an African might open a bottle of some kind and building methods and forms in which porch elements evidence supports the belief that “slave life pour a libation into the ground. It’s a little sip for were notably absent. According to scholar James developed a more communal ethos than did the the ancestors. And since the ancestors are in the Deetz, author of Small Things Forgotten, the porch did increasingly individualistic and self-segregated customers or vendors. So, while wealthy homeowners above: “Negro Houses, ground, no one owns the ground. When someone not become a ubiquitous feature in the American houses of their masters.” According to Morgan, some Atlanta, Georgia,” dies, you don’t tear down their house—it simply South until the late 18th century, when slaves were historians believe that slaves were responsible for the may have favored porches for the same reasons that photograph by Walker recycles back into the earth. building “shotgun”-style houses from patterns derived construction of their own dwellings and because their slaves did—as logical accommodations to climate and Evans, 1936. Library of from their West African heritage. quarters were often removed from the realm of their lifestyle—they also imbued the form with cultural Congress. These are very different attitudes, of course, from masters, they were able to explore a certain degree of meanings that were in many ways at odds with its Western attitudes. But I think that the key element freedom in the expression of cultural forms. pragmatic origins. to bringing an African character into a modern building is just to understand this idea of meaning. However, most scholars remain perplexed by the Today there is a broader appreciation for African phenomenal persistence of the form throughout the “Even though the porch has many familiar art and architecture beyond the primitive. Finally, next two centuries. Even more puzzling is how it historians and others have started to build a real ironically became the quintessential façade feature visual connotations...origins of the porch as theory of African architecture as much more than for the plantation homes of the very people who an architectural feature are actually quite kente cloth and carved masks. • owned the slaves. In these cases of formal origin and perpetuation, architectural historians posit an complex and even obscure.” ambiguous balance between local building techniques and the growing reliance on historic architectural precedents, like those recorded in academic pattern Thus, the incorporation of the porch into southern books that were coming from overseas throughout American building traditions—and eventually into the 18th century. Vernacular scholars theorize that much residential architecture across the country— construction workers used these treatises ad hoc for represents a somewhat curious and even surprising filling small gaps in design needs, and plantation history. It is at once an example of America’s habitual owners actually requested the forms in these pattern “créolization” of various cultures and a paradigm of books for their intrinsically fashionable status. In the the American character itself. The porch stands as both case of the porch, the most visible part of the house a record of all our latent vernacular histories and a would be dressed to yield an image of symmetrical concrete testament to our custom of creating visible order, thus turning an otherwise simple structure expressions of personal identity. • into a formal emblem of the owner and his planta- tion. Also, since the typical planter’s house doubly functioned as a venue for semipublic transactions, the porch served a practical function as a place to conduct business or at least an appropriate spot for greeting

 blueprints Fall 2007 Fall 2007 blueprints  Contemporary Architec tural Practice in Africa:

The arts facility at the University of Johannesburg The exterior of the museum is rather modest, with is a case in point. The project consists of two largely simple walls made of brick—the material most Mashabane Rose unadorned brick-and-concrete structures—one for commonly used in surrounding structures—and performance and the other for visual arts—linked by a punctuated by what appear to be randomly placed forecourt that serves as a gathering space for students windows. The interior provides a carefully choreo- and also buffers the facility from nearby sources of graphed experience, however, organized around a con- noise. The courtyard itself is unplanted except for a tinuous ramp that leads the visitor through the events Associates carpet of grass that is gently terraced, descending of the day on which Pieterson was killed. From inside, toward the entrances to the buildings. A long, low, in fact, it becomes clear that the window pattern is not by Martin Moeller ven those Americans who follow the design world and elsewhere. Actually, although they may not realize rectangular fountain, in which water levels gradually random at all. Rather, each window is carefully placed quite closely are likely to have little or no knowl- it, many Americans are at least indirectly familiar with rise and fall to suggest tidal motion, lines one side of so that it frames a view relevant to the story. By apply- E edge of contemporary architecture in Africa. While one of MRA’s projects, namely, the Oprah Winfrey the courtyard, while a curving wooden walkway and a ing explanatory text—captions, in effect—directly to several recent projects on the continent have garnered Leadership Academy for Girls, which opened to much somewhat enigmatic circular form incised into the lawn the glass, the architects cleverly co-opted landmarks international press coverage, these were primarily the media attention at the beginning of this year. offset the linearity of the buildings. The result is a beyond the museum’s walls and made them part of the above left to right: Interior work of non-African architects, as in the case of the strikingly minimalist composition, of which the stark exhibition. At the center of the building is a gravel-lined of the Apartheid Museum; Bibliotheca Alexandrina (Alexandria Library) in Egypt, At first glance, much of MRA’s work seems as though it yet beautiful landscape is, surprisingly, the most courtyard containing blocks of stone engraved with the Rear façade of Arts Center by the Norwegian firm Snøhetta. Very few buildings would fit comfortably in Europe, Asia, or the Americas. at the University of Johan- assertive element. names of all of the victims of the massacre. nesburg; Entry ramp to the designed by architects based in Africa are widely known A closer look, however, reveals that the firm’s projects Apartheid Museum with outside of the countries in which they are located. are quite strongly rooted in their physical and cultural While physical context is often a key determinant As in the Pieterson Memorial Museum, control of the wall of loose stones in the contexts. To date, MRA has consistently produced metal “cages”. All courtesy of in MRA’s design process, several of the firm’s most visitor’s path is a key element of MRA’s design for Mashabane Rose Associates. Nevertheless, there are a number of contemporary Af- buildings that have a universal, modern quality, and important commissions have been defined primarily by the Apartheid Museum in Johannesburg. The entry rican firms—especially in the rapidly changing nation yet are distinctly African at the same time. their emotionally charged programs. One such project sequence begins with an external ramp, which is lined below: Entry courtyard of the of South Africa—that are doing extraordinary work. is the Hector Pieterson Memorial Museum in Soweto, on one side with a wall composed of loose stones bound University of Johannesburg Arts Center. Courtesy of Among these is the office of Mashabane Rose Associates “Most of our work, fortunately or otherwise, cannot be named for a 12-year-old boy who was one of hundreds of together in metal mesh—the first of many instances Mashabane Rose Associates. (MRA) in Johannesburg. With a portfolio that includes divorced from the dictates of our African landscape,” young people shot and killed by police during a student throughout the museum in which cage-like elements several very high-profile projects, such as South Africa’s says Phill Mashabane, who, along with Jeremy Rose, is uprising in 1976. A photograph of Pieterson’s body being serve as metaphors for political oppression. Life-sized next page: Entry stairs at the Apartheid Museum. Courtesy first museum of Apartheid and an arts center at the one of the firm’s principals. “We derive inspiration and carried by another student was widely published around images of people walking up the ramp provide a human of Mashabane Rose Associates. University of Johannesburg, the firm already enjoys ideas from the landscape, incorporating client use ex- the world, and became a symbol of the Apartheid context even if no one else is actually present. After great prominence in its own country. MRA has also pectations. We try to fuse all those interpretations—and regime’s brutality. reaching the roof, which affords expansive views of the begun to make news overseas, having been a finalist in timeless architectural details—into practical space.” several major design competitions in Canada, Ireland,

 blueprints Fall 2007 Fall 2007 blueprints  In Africa: Architectural Achievement Beyond the Pyramids

by Nadja Popovich, Museum Intern

frica has long held some of the most striking The medieval Great Zimbabwe was a powerful yet overlooked wonders of the world. Even as city-state, resting at the center of a complex trading A some expressions of African cultures, such as network. Yet, for reasons still unknown, after two sculpture and textile arts, have found their way centuries of unsurpassed power, the state went into into the mainstream Western canon, African archi- decline and eventually disappeared. By the time tecture in general remains conspicuously absent. of the first European colonization of the southeast We may all have grown up learning about such African coast, the rumors of a monumental inland marvels of architectural engineering as the Great city had drawn much attention, but the colonists, Pyramids, and the many accomplishments of the blinded by racist preconceptions about “savage” ancient society that managed to build such colos- African culture, refused to acknowledge Great sally perfect structures, but what else? How much Zimbabwe’s indigenous origins. They came up with more can we claim to know about ancient, and various farfetched scenarios—from the fabled pal- especially indigenous, African accomplishments in aces of the Queen of Sheba, to the craftsmanship of architecture and construction? other “white” ancient peoples, such as the Phoeni- cians—despite clear archaeological evidence to the Despite its fortress-like construction, Great Zimbabwe surrounding landscape, visitors descend into the “belly” of the museum I lived in Zimbabwe and then Botswana as a little contrary. The Europeans’ quest to disprove the idea does not stand at odds with the surrounding land- and its subject matter. Before they do so, however, they are forced into girl, and as I got word of the National Building Mu- of an indigenous origin for the city, in fact, became scape—rather, the walls intertwine with natural two separate paths—one for whites and one for non-whites—providing a seum’s incoming exhibition Lasting Foundations: The pervasive by the late 1800s. At one point, a team formations and boulders. visceral reminder of the absolute segregation that was the law of the land Art of Architecture in Africa, it immediately brought sanctioned by Cecil Rhodes himself and headed by an less than two decades ago. back memories of my childhood. In particular, it antiquarian removed what they deemed to be the sul- These same walls had once enclosed a city made up reminded me of an extraordinary but not-so-well- lying effects of the natives in attempts to uncover the of traditional daga (mud and thatch) huts, which While any architect might feel daunted by the challenge of designing a known place I was lucky enough to visit: Great “true” origins of Great Zimbabwe. In the process, lay- have long since eroded away, but may have sheltered building to commemorate such a difficult period in his country’s history, Zimbabwe, a historic site comprising the remnants ers upon layers of archaeological deposits were lost. more than 18,000 inhabitants at the society’s peak. Mashabane seems to have pursued the project with resolve, and ultimately of an ancient city that was once the center of an The civilization went into decline by the 15th century above left: The Great even found the experience somewhat cathartic. “We responded to the extensive empire. I can remember at the age of six Finally, in the early 20th century, legitimate excava- for unknown reasons. Theories on the causes have Zimbabwe, January 1992. dictates of the time in accommodating the painful record of the segregation climbing the ruins, and enjoying stunning vistas tions took place and Great Zimbabwe was ultimately ranged from environmental degradation, resulting Here, the author and declared to be unquestionably African in origin. The her family stand in front program that was perpetuated by the Apartheid policy,” he said. off the top of the massive walls known as the Great in an inability to sustain the large population, to of great conical towers. “The memory had to be rekindled and preserved. The challenge of the project Enclosure. Even so, although I was (obviously) a ruins conveyed the tale of a great culture that had, changes in trade networking. Built without mortar, was to also house the intangible—the memory—with resonating voices stunningly architecturally aware six-year-old, what centuries before the arrival of Europeans, engaged these large structures in extensive trade with lands as far off as Asia, and are dispersed throughout from the past. On a personal level, it served as a relief of internal pressures.” did I really know about any of it? I was too young to Whatever happened to the culture that created Great the Great Zimbabwe site. appreciate the fact that the ruins I was so light- had a large influence over much of southeastern Zimbabwe, its ruins still inspire amazement for many Courtesy of Nadja Popovich. It is difficult for a foreigner to comprehend the pace and degree of change heartedly scaling constitute a monument whose Africa. Yet racially motivated political agendas still reasons: the views, the impressive feats of construc- obscured the site’s significance. The white minority above: The Great Zimbabwe, in South Africa over the past couple of decades, during which one of the scope and quality are quite unparalleled in the tion, and the mystery surrounding the fate of its January 1992. The large most repressive regimes on Earth gave way to a modern democracy sub-Saharan world. government of the country, then called Rhodesia, builders. But for all of the majesty and beauty, it is boulders unite the structure without civil war. While the country still faces enormous challenges, suppressed the facts pointing to an indigenous, black still scarcely known outside of the immediate region. with the surrounding origin of the ancient city-state. The regime even went landscape. Courtesy of from persistent poverty and crime to rampant HIV/AIDS infection rates, Great Zimbabwe is, in fact, the largest ancient stone The remarkable complex of Great Zimbabwe stands as Nadja Popovich. it also boasts a growing economy and continuing social progress. construction in Africa south of the Sahara, cover- so far as to hire “scholars” to forge history, denying a powerful reminder that some of the most fascinat- ing almost 1,800 acres. The massive walls were built the greatness of any indigenous civilizations. Only ing works of architecture on Earth may be lurking in In many ways, the office of Mashabane Rose Associates is emblematic of using a dry-stone method (involving no mortar) that once the modern nation of Zimbabwe gained its inde- unexpected places, ready to be rediscovered. • the new South Africa. The staff, who are all pictured on the firm’s website, reflects a sophisticated mastery of masonry tech- pendence were the shrouds of racial prejudice finally represent a remarkable cross-section of ethnicities and professional nique. The walls, five meters thick at their greatest lifted, and the true Great Zimbabwe revealed. backgrounds. According to Mashabane, such diversity directly contributes point, are elegantly tapered, becoming narrower as to the quality of the firm’s work. they rise. Perhaps what is most impressive, however, As a small child in the early 1990s exploring the ruins is that the huge granite structures making up Great of the Great Zimbabwe, I was not aware of any of “I personally have a diverse background,” says Mashabane. “I appreciate dif- Zimbabwe (from which the modern country takes its this. I was merely awed by the simple beauty of the ferent value systems that inform thought and application. I look at the value name) have held up for over seven centuries. stone enclosures and towers—an impression that input rather than the person. Architecture is an art that can only be derived stuck with me. Looking back, I believe that part of from different value systems, [moving] towards collective responsibility.” • the allure of the place is its oneness with nature.

 blueprints Fall 2007 Fall 2007 blueprints  The Bard Macaulay Show is a Through Many Lenses by Sarah P. Rice, Director of Youth Education “Big Draw” n May 12, 2007, the Museum presented a multi- by Johanna Dunkel, Marketing/Communications Manager faceted program called the Shakespeare Family Day Owith the Folger Shakespeare Library, bringing together diverse audiences—including design enthusiasts, literature lovers, and children eager for hands-on activities—for shared fun and learning. The Museum organized the event in partnership with the Folger Shakespeare Library to explore concepts of theatri- cal stage design. The program was inspired by the Museum’s exhibition Reinventing the Globe: A Shakespear- ean Theater for the 21st Century, which was one component of the recent, citywide Shakespeare in Washington festival.

Families, teenagers, and general Museum visitors who attended enjoyed an interactive program celebrating Shakespearean theater, set design, and Renaissance- era diversions, such as demonstrations of Elizabethan- style sword play, lute music, and juggling by period interpreters. In addition, visitors were invited to try some “Spontaneous Shakespeare” scenes on stage led above: Student actors from the Folger Shakespeare by Jeremy Ehrlich, head of education at the Folger. Library perform a scene from Twelfth Night on the his June, the National Building Attracting some 2,100 people, the The Shakespeare Family Day also marked the culmination Museum explored “the way David festival was a lively event featuring “Illyria Island” set designed of the Museum’s 15th Design Apprenticeship Program by participants of the Macaulay works” in an exhibition a community drawing activity that Museum’s DAP 15 program. (DAP) session, with the DAP teen participants unveil- T and festival celebrating the artist and encouraged visitors to complete a mu- Photo by Ann Elkington. ing and speaking about their seven-week design-build the art of drawing. ral begun by Macaulay. Other programs efforts. Each DAP 15 team was challenged to imagine, right: With the “Twelfth included sketching activities for all Galaxy” set as a backdrop, devise, and build theatrical set elements for a scene David Macaulay: The Art of Drawing ages and two 45-minute presentations student actors perform from Shakespeare’s Twelfth Night. The Museum’s part- Architecture, on display through January about drawing led by Macaulay. Thanks during the Shakespeare nership with the Folger Shakespeare Library enabled Family Day. Photo by Ann 21, 2008, presents Macaulay’s unique to the festival’s generous sponsors, Elkington. DAP participants to “get in character” and expand brand of drawing that unearths “the Blick Art Materials and Lamy writing their design experience through theater visits, play way things work” by peeling back instruments, visitors received a below right: DAP 15 students readings, and conversations with actors and profes- assemble the set for the exterior facades and interior walls and complimentary drawing pad, pencil, “Illyria Station Metro Stop” sional set designers at the Folger. In return, student showing us the world from engaging, eraser, and a Safari rollerball pen, above left: Just before the designed for a performance actors from the Folger Shakespeare Library were opening reception for the of a Twelfth Night scene. and often playful, perspectives. The similar to the kind used by Macaulay. exhibition David Macaulay: invited to perform in the Museum’s magnificent exhibition showcases more than 100 Want to One of the design Great Hall on the sets created for them. The Art of Drawing requirements for the sets original sketches and finished draw- The drawing did not stop after The Big Architecture, Macaulay was that they be moveable. ings; features dynamic recreations of Draw. The Museum enlisted Macaulay signs a book while his Photo by Ann Elkington. Families tapped into their own design skills and built children look on. learn more? Macaulay’s work on the ceilings, floors, to develop and design an interactive miniature shoebox Shakespeare sets, complete with Photo: Bruce Guthrie. Visit the Museum’s website at and walls, including some last-minute sketch guide, entitled Drawing Big, which www.nbm.org, for information on the custom-designed Shakespearean paper dolls and kid- additions drawn directly by the artist; encourages visitors to create their own above: During The Big Draw festival, exhibition, including downloadable drawing friendly plot summaries, which they could take home and hands-on activity tables that invite perspective sketches of the Great Hall. as reminders of the event. All’s well that ends well! • David Macaulay exercises, related public programming Visit visitors of all ages to sharpen their own The guide is available at the Museum and Museum visitors (including a public lecture by David drawing skills. information desk. • work collaboratively www.nbm.org The Design Apprenticeship Program is sponsored by on a community Macaulay on December 11), video for more information mural. Photo: F.T. Eyre. from The Big Draw, and copies The McGraw-Hill Companies and The Prince Charitable Trusts. On June 23, the Museum hosted The David Macaulay: The Art of Drawing about upcoming family Additional support for outreach programs is provided by The of the interactive sketch guide, programs and how to Big Draw with David Macaulay, an all-day Architecture is made possible by the Drawing Big. Morris and Gwendolyn Cafritz Foundation; The Capital Group festival of drawing held in conjunction American Society of Civil Engineers, and participate or volunteer Companies; The Clark Charitable Foundation; and The Max in the DAP program. with the exhibition’s official public other generous contributors. and Victoria Dreyfus Foundation, among others. opening. The first U.S. event of its kind, The Big Draw was offered in association The Big Draw was supported in part by Reinventing the Globe: A Shakespearean Theater with a United Kingdom-wide initia- generous contributions from Lamy writing for the 21st Century is made possible by The Morris and tive of the same name organized by the instruments and Blick Art Materials. Gwendolyn Cafritz Foundation; and other generous contributors. Campaign for Drawing. 10 blueprints Fall 2007 Fall 2007 blueprints 11 An Interview with Reverend Anthony Motley

Sustainable Design: Community Crusader Conversations that New Directions Will Change the World by Jennifer Bauman, Reverend Anthony Motley, who founded the Volunteer and Tour Assistant Redemption Ministry in southeast Washington for Affordable Housing by Scott Kratz, Vice President for Education in 1993, is on a crusade. From education to by Scott Kratz, Vice President for Education an the suburbs kill you? Can nuclear energy affordable housing, Reverend Motley works to save the environment? What is the best way to encourage green design—top-down government improve all aspects of the District’s perpetually merica needs not only affordable housing, but also homes that are energy- C mandates or free-market decisions? What are the changing neighborhoods. He also plays a role efficient and sustainably designed. On May 30, 2007, participants from as far consequences of living in a disposable world where in the Museum’s Investigating Where We Live away as California, Florida, and Ohio convened on this critically important A millions purchase new cell phones, iPods, and digital and timely subject at the National Building Museum for a day-long symposium (IWWL) summer education program, assisting cameras every year? called Sustainable Design: New Directions for Affordable Housing. This sold-out event with participant recruitment and transportation. featured such leaders in the field as New York and Colorado developer Jonathan These are just a few of the questions that the Rose; Elinor R. Bacon, president of E.R. Bacon Development; and Doris Koo, National Building Museum tackles in its new Jennifer Bauman: IWWL encourages participants to Motley: Several years ago I began to recognize that president and CEO of Enterprise Community Partners. examine various influences on D.C. neighborhoods. more and more of our residents were leaving the series For the Greener Good: Conversations that Will Why is it important for children to understand how a District. Housing units were being boarded up, and it Change the World, which begins this fall. Sponsored Participatory workshops through- neighborhood changes? looked as though no one was attempting to address by The Home Depot Foundation, For the Greener out the day focused on three main this crisis. The more I got involved in the life of the Good is designed to encourage a dialogue among themes—green design processes and Reverend Anthony Motley: It is important that youth community the more I understood the challenges faced the nation’s leading experts in various disciplines that technologies; costs and benefits of get involved so that they will appreciate the history and by families with low to moderate incomes. So, I explores options for, and the impact of, going green green design; and realistic strate- contribution their neighborhoods make to the overall life proposed to the Board of Directors of Inner Thoughts, around the country and the world. gies for financing affordable green of the city, but also to learn to protect their neighbor- Inc., my first non-profit, [which provides] educational projects. Using real-world case studies hoods from such things as crime, drugs, violence, and and cultural programs to youth, that we amend our The first part of the series will feature a director from the from New Jersey, Massachusetts, and overdevelopment. To witness the change and appreci- Articles of Incorporation to include development of Centers for Disease Control and Prevention engaging North Carolina, participants examined ate the need for change in a responsible manner in my affordable housing. They accepted my proposal and urban planners in a discussion of solutions for the nation’s hard data on everything from energy estimation is predicated on one’s knowledge of the past. in 2003 we became a certified Community Housing obesity epidemic. An energy company president will consumption to successful investment Therefore, when discussing the present and planning for Development Organization in the District. In working debate scientists on why America needs to build new models. The housing professionals in the future, one will do so within a context that is culturally, with Bob Boulter of Faithworks, Inc., who became a nuclear plants to solve our energy crisis. The green attendance shared their experiences socially, and historically sensitive regarding the past. technical advisor to our group, we forged a relationship building coordinator for the City of San Francisco will with one another and were encouraged with Richard Carr of Carr Enterprises, and later formed explain how his municipality is providing financial to incorporate green principles and what is now the Anacostia Community Land Trust. It is incentives to build more sustainable structures, while “Let us see the community through your eyes. design in their work back home. the goal of the Land Trust to make perpetual affordable a leading environmental law professor addresses the To hear sessions from the day and housing opportunities available in the District. appropriate regulatory role of governmental agencies. Let us feel the community through your words, see the accompanying PowerPoint presentations, visit the Museum’s and most importantly let us be able to create a Bauman: What would you say to the IWWL students as Part two of the series, focusing on international website at www.nbm.org. they investigate and explore the Anacostia, Navy Yard, concerns, will begin in January 2008. Some of the sense of hope for the future through the excel- and Congress Heights neighborhoods? issues to be addressed include China’s unrestrained This symposium was presented as growth, Europe’s strategies for addressing carbon lent work you are doing in the IWWL project.” a complement to the exhibition The Motley: I have witnessed so much change—change emissions, and the environmental consequences of Green House: New Directions in Sustainable from segregation to integration, from self-contained one billion people living in slums around the world. Architecture and Design, which closed in above: Reverend Anthony Bauman: All progress represents change but all change bustling communities to abandoned neighborhoods, June after a highly successful run. Motley as photographed by is not progress. Does this statement apply to the cur- torn both by the riots of 1968 and the flight that took For the Greener Good will track how we’ve arrived IWWL participant Montel rent housing/commercial boom in D.C.? place afterward, and from our own carelessness in at our present situation, explore the anticipated and Williams. Photo: Montel Williams. Sustainable Design: New Directions maintaining the vibrancy of our communities. I would unexpected effects of the green movement, and just for Affordable Housing was sponsored above right: Visitors explore the Motley: Yes, most definitely. Change is occurring at like to say to these students: Let us see the community may offer a path to a more sustainable future. Congress Heights section of by The Home Depot Foundation and the record levels and in most instances it is happening through your eyes. Let us feel the community through the exhibition Investigating U.S. Department of Housing and Urban without the full participation of those whom this change your words, and most importantly let us be able to For more information on the series, visit www.nbm.org. Where We Live: The River Development, with additional support Has Two Sides. Photo: Museum is bound to affect in the long term. D.C. must be true to create a sense of hope for the future through the from the National Housing Endowment Staff. its promise to bring about community-driven develop- excellent work you are doing in the IWWL project. For the Greener Good lecture series is • and Bank of America. ment. I think that the developers have all had their day in • presented by The Home Depot Foundation. the sun and have reaped bountiful profits from our devel- Major funding for Investigating Where We Live is opment opportunities. Now is the time for the District to provided by the D.C. Commission on the Arts and Pictured above are case study projects from the ensure that the projects—whether they are for-profit or Humanities, an agency supported in part by the National symposium: non-profit, residential or commercial—incorporate the Endowment for the Arts; the Neighborhood Investment true ideals, aspirations, and desires of the community. Fund, District of Columbia Office of the Deputy Mayor top: Faison Mews, Camden, NJ. Photo: Dan Pearse Photographers. for Planning and Economic Development; and The Bauman: Can you tell me a little about your crusade Beech Street Foundation. Additional support for middle: Maverick Landing, Weston, MA. for affordable housing in the District? outreach programs is provided by The Morris and Photo: Peter Vanderwalker. PARTNERS IN SUSTAINABILITY Gwendolyn Cafritz Foundation; The Capital Group bottom: Prospect Terrace, Asheville, NC. Companies; The Clark Charitable Foundation; and The Photo courtesy of Mountain Housing Opportunities, Inc. Max and Victoria Dreyfus Foundation, among others. 12 blueprints Fall 2007 Fall 2007 blueprints 13 museum news Honor Award Gala Raises $1.26 Million 2007 Honor Award Supporters

by Tasha Passarelle, Development Events Manager Co-Chairs William K. Hellmuth Stephen E. Sandherr Patron Level Supporter Horning Brothers Hellmuth Obata + Kassabaum Associated General HSMM of AECOM Jayne and Leonard Abess Apollo Real Estate Advisors Robert Ivanhoe Contractors of America JMA Architecture Studios City National Bank of Florida Associated General Contractors Greenberg Traurig, LLP Marc D. Schnitzer Steve and Louise Kornfeld Kenneth J. Bacon of America Roberto Jimenez Centerline Capital Group KPMG LLP n June 14th, the National Building Museum Fannie Mae Bear Stearns Olympic Plumbing Corp. Thomas J. Schoeman Louis Dreyfus Properties LLC Robert Balachandran Bender Foundation, Inc. recognized Related, one of the nation’s leading Derek Q. Johnson JMA Architectural Studios Manhattan Media Bear Stearns Boston Properties real estate development companies, at the 21st Time Warner Inc. Robert Siegel NATIONAL ASSOCIATION O David S. Bender Bovis Lend Lease ® annual Honor Award black-tie gala. The beautiful Les Kanis Gwathmey Siegel & OF REALTORS Bender Foundation, Inc. Gary Brock Atlanta, LLC Reznick Group, P.C. Associates Architects Perkins + Will event surpassed all goals and previous records, raising Charles R. Bendit Citi Property Investors Steve Kantor Robert A.M. Stern Pillsbury Winthrop Shaw Pittman more than $1.26 million and providing vital support Taconic Investment Partners Clark Construction Group, LLC Credit Suisse Robert A.M. Stern Portland Cement Association for the Museum’s ambitious programming. LLC Commerce Bank of New Jersey Ronald Katz Architects, LLP Robb & Stucky Interiors Chuck Berman The Continental Group, Inc. Weiser LLP James W. Todd Rockwood Capital Corporation MacFarlane Partners, LLC Credit Suisse Hundreds of guests flew in for the gala, including Heather M. Kirby The Peterson Companies RTKL Leonard Boxer Forest City Washington large groups from New York and Florida, to help salute Bank of America Rosemary Vrablic Stroock & Stroock & Lavan LLP Stroock & Stroock & Lavan LLP Freddie Mac A. Eugene Kohn Deutsche Bank Wachtel & Masyr Related for its promotion of excellence in architecture Gary Brock Gwathmey Siegel Kohn Pedersen Fox Mark A. Walsh WDG Architecture and design; its commitment to high-profile, transfor- Gary Brock Atlanta, LLC & Associates Architects Associates PC Lehman Brothers mative urban mixed-use projects; its leadership in the Carolyn S. Brody Delon Hampton & Associates Michael Lehr Christopher Whyte 2007 Honor Award National Building Museum Hellmuth Obata + Kassabaum creation and management of affordable housing across Greenberg Traurig, LLP HSBC Bank, N.A. Honorary Committee Richard Burns Hines the nation; and its legacy of innovative business Michael Lehrman Alan Wiener Manhattan Media Holland & Knight The Honorable Carolina Barco strategies that have become models for economic Credit Suisse Wachovia Multi-Family Capital Joan Baggett Calambokidis Hypo Real Estate Capital The Honorable Robert Menendez Edward H. Linde Norbert W. Young, Jr. development and community revitalization. International Masonry Institute Corporation The Honorable Tim Bishop Boston Properties McGraw-Hill Construction John P. Casey International Masonry Institute The Honorable Earl Blumenauer Etienne Locoh-Dohou Stephen M. Ross, chairman and founder of the Related Meridian Investments, Inc. The JBG Companies The Honorable Lincoln Citi Property Investors Partner Level Supporter Jeffrey Cash LaSalle Bank, N.A. Diaz-Balart Companies, based in New York, and Jorge M. Perez, Peter A. Marchetto Regions Bank Deutsche Bank Lehman Brothers The Honorable Barbara Lee chairman and founder of The Related Group, based in Bovis Lend Lease Richard Cassin Fannie Mae The Litwin Foundation The Honorable Carolyn Maloney Miami, accepted the award before a crowd of some 700 Deryl McKissack Commerce Bank of New Jersey McGraw-Hill Construction The Honorable McKissack & McKissack people, including leaders from the worlds of design, David M. Childs Benefactor Level Supporter McKissack & McKissack Gregory W. Meeks Hollis S. McLoughlin construction, real estate, finance, and politics. Skidmore, Owings & Merrill LLP The Meltzer Group The Honorable Brad Miller Freddie Mac Bank of America Dennis J. Cotter Meridian Investments, Inc. The Honorable Jerrold Nadler Patrick F. McManemin Coastal Construction Group James G. Davis Construction Daniel Och The Honorable The program was led by the Museum’s chair, Patton Boggs LLP Centerline Capital Group Corporation O’Connor Capital Partners Eleanor Holmes Norton Michael Glosserman, who was joined by speakers Suzie Mears Marilyn and Michael Glosserman Steven M. Davis Olympia Plumbing Corp. The Honorable John W. Olver Robert A.M. Stern, FAIA, senior partner at Robert A.M. Sub-Zero/ Lennar Corporation Davis Brody Bond Aedas Paul, Hastings, Janofsky The Honorable Thomas E. Petri Wolf-Westye Group SE MacFarlane Partners, LLC Stern Architects, LLP; Daniel L. Doctoroff, New York Paul H. Deschamps & Walker LLP The Honorable Richard A. Meier John Moriarty & Associates, Inc. City’s deputy mayor for economic development and LaSalleBank, N.A. Peterson Family Foundation Ileana Ros-Lehtinen Richard Meier & Partners Patton Boggs LLP rebuilding; Bernardo Fort-Brescia, FAIA, principal Evan F. Denner Proskauer Rose LLP The Honorable Architects LLP Time Warner Inc. Hypo Real Estate Capital Regions Bank Steven R. Rothman at Arquitectonica; and David M. Childs, FAIA, partner Carlos A. Migoya Wachovia Bank Corporation Reznick Group, P.C. The Honorable Mark Udall at Skidmore, Owings & Merrill LLP. Wachovia Bank Weiser LLP Kenneth H. Drucker Robert A.M. Stern The Honorable Fred Upton Stuart A. Miller Hellmuth Obata + Kassabaum Architects, LLP The Honorable Joseph L. Bruno Lennar Corporation Sustainer Level Supporter The speakers offered personal anecdotes about Martin L. Edelman STUDIOS Architecture The Honorable Adrian M. Fenty John Moriarty Mr. Ross, Mr. Perez, and Related and insights into the Paul, Hastings, Janofsky Jayne and Leonard Abess and Taconic Investment Partners LLC The Honorable Marion Barry John Moriarty & Associates, Inc. company’s success, lending a personal touch to make & Walker LLP City National Bank of Florida Vornado Realty Trust The Honorable Kwame R. Brown Thomas Murphy, Jr. Andrew L. Farkas Carolyn S. Brody Wachovia Multi-Family Capital The Honorable David A. Catania the evening an unforgettable one for all involved. Coastal Construction Group Island Capital Group LLC Eastdil Secured The Honorable Mary M. Cheh Lee Neibert Bernardo Fort-Brescia Facchina-McGaughan, LLC Contributor Level Supporter The Honorable Jack Evans The Museum thanks everyone who contributed Apollo Real Estate Advisors Arquitectonica Greenberg Traurig, LLP The Honorable Jim Graham Jeremiah W. O’Connor, Jr. Anonymous top: Honor Award 2007 to the event. • Michael J. Glosserman HSBC Bank, N.A. The Honorable Vincent C. Gray O’Connor Capital Partners BB&T Gala Dinner. Photo: F.T. Eyre. The JBG Companies Island Capital Group LLC The Honorable Phil Mendelson Paul E. Pariser BE&K Building Group Matthew Gorson J.E. Robert Companies The Honorable Carol Schwartz Taconic Investment Partners LLC Capital Guardian Trust Company above: (L to R) Michael Greenberg Traurig, LLP Kohn Pedersen Fox The Honorable Tommy Wells Whayne S. Quin Cassidy & Pinkard Colliers Glosserman, chair of Charles Gwathmey Associates PC the Museum’s Board of Holland & Knight Cushman & Wakefield Gwathmey Siegel & Skidmore, Owings & Merrill LLP Trustees; Stephen Ross, Tom Roses Davis Brody Bond Aedas Associates Architects Sub-Zero/ chairman and founder, The Continental Group, Inc. James G. Davis Construction Delon Hampton Wolf-Westye Group SE Related Companies; Jorge Steven Roth Corporation Perez, chairman, The Delon Hampton & Associates Jim and Sharon Todd Vornado Realty Trust The Development Group Related Group; and Chase Gary Handel Chase W. Rynd Edward W. Easton/ Rynd, executive director Handel Architects National Building Museum The Easton Group of the Museum, during the Deborah Harmon Deborah Ratner Salzberg Greenstein DeLorme presentation of the 2007 J.E. Robert Companies Honor Award to Related. Forest City Washington & Luchs, P.C. Douglas L. Harmon Photo: F.T. Eyre. HJ Foundation Eastdil Secured

14 blueprints Fall 2007 Fall 2007 blueprints 15 museum news tributes new trustees

A Tribute to Brenda Derby Kelly Caffarelli Elected D.C. Mayor Joins Museum Board by Kristi Cotner, Volunteer and Intern Coordinator to Board of Trustees by Amanda Murphy, Development Coordinator

ongtime volunteer Brenda Derby dedicated years by Michael Dunagan, Director of Institutional Giving of service to the National Building Museum, its Lmission, and more specifically, the Information he National Building Museum welcomes Desk. Brenda, who passed away on May 11, 2007, Kelly Caffarelli, president of The Home Depot channeled her dedication and passion for the TFoundation, as a new member of the Board of building arts through her volunteer work at the Trustees. Caffarelli, who joined the foundation soon Museum and other cultural institutions. She after its creation in 2003, is charged with ensuring will be greatly missed by the Museum’s staff and that the organization’s mission to encourage her fellow volunteers. affordable, efficient, sustainable, and healthy homes is carried out through charitable grants, national In 2000, Brenda endured the loss of her husband, partnership programs, and policy work. Jeffrey Wilde, who was also a longtime volunteer and supporter of the Museum. In memory of Jeffrey, Caffarelli graduated cum laude from Williams College the Museum designed a new Information Desk and with a B.A. in history and political science and magna dedicated it to him. As a memorial to Brenda, the cum laude from the University of Georgia School of Museum is creating an additional desk that will be Law. She served on both the editorial and managing used to promote its membership programs. boards of the Georgia Law Review. Currently living in Atlanta, Georgia, Caffarelli is married and has two Should you wish to make a donation to the children. She is a frequent speaker and author of Jeffrey Wilde and Brenda Derby Memorial Fund, articles on livable communities, affordable housing, his summer the Board of Trustees of the National Building Museum please contact the Development department, and urban forestry. • elected the mayor of the District of Columbia, Adrian M. Fenty, 202.272.2448, ext. 3800. • Tas a new ex officio trustee. Although the Museum has a national mandate, it is also strongly committed to serving the local community left: Brenda Derby at the 2002 dedication of the Museum’s and recognizes the importance of the nation’s capital as a forum and information desk to her husband and fellow Museum model for built environment issues. The Museum has worked with volunteer, Jeffrey Wilde. Photo by Museum Staff. D.C. government agencies on various projects and, in that respect, the mayor’s appointment formalizes an already active partnership.

Since taking office less than a year ago, Mayor Fenty has demonstrated a commitment to revitalizing neighborhoods by improving waterfront Lady Bird Johnson 1912–2007 access, planning for new parks and recreation centers, restoring historic landmarks, and encouraging affordable housing development. The Fenty administration has also set a goal of making Washington built environment that combines form ington, D.C. From grand initiatives for the a sustainable city and significant efforts are under way to retrofit and beauty is a just reflection of our revitalization of Pennsylvania Avenue to modest municipal buildings with green roofs, plant thousands of trees, and “A civilization. . . Lady Bird Johnson is efforts to plant flowers at local schools, Mrs. create more public transportation options. the person who has shown us that this is so.” Johnson had a hand—quite literally, in the These were the words of then-National case of planting flowers—in the physical The new mayor has also proven himself to be a good friend of the Building Museum chairman Kent W. Colton, improvement of the nation’s capital. It was for National Building Museum. “What impresses me is that Mayor Fenty as he presented Mrs. Johnson with the these reasons that the Museum selected her to clearly appreciates the vital role of cultural institutions in this city,” Museum’s 1995 Honor Award. She was the receive its highest honor. Fittingly, each guest said the Museum’s executive director, Chase W. Rynd. “Whenever I first woman to receive the award. attending the award gala that year was given have encountered the mayor since his election, he has always had a a gift bag including a package of wildflower above: Kelly Caffarelli, positive and supportive word about the National Building Museum’s The former first lady is still remembered seeds and tulip bulbs to take home and plant. President, The Home Depot work. It is great to have a mayor who so readily recognizes our for her campaign to beautify the nation’s Foundation. Photo courtesy of The Home Depot Foundation contributions to civic life.” highways, the results of which are now often Lady Bird Johnson died at the age of 94 this taken for granted but would not have been past July. Fortunately, her contributions to top right: Adrian M. Fenty, The Museum is honored to welcome Mayor Fenty to its board. • possible without her persistent advocacy. the enhancement of the American landscape Mayor of Washington, D.C. above: Lady Bird Johnson Photo courtesy of the Executive Less widely recognized today are her efforts to will continue to bloom. • during the Museum’s 1995 Office of the Mayor. promote good design and planning in Wash- Honor Award ceremony. Photo by Lynn Horner Keith.

16 blueprints Fall 2007 Fall 2007 blueprints 17 museum support The Museum thanks the following Centerline Capital Group MARPAT Foundation, Inc. NATIONAL ASSOCIATION Kramer Levin Naftalis & Frankel LLP Century Housing New World Aviation Weidlinger Associates, Inc. ExxonMobil Foundation The McDonald Family individuals, companies, as- Coastal Construction Group McGraw-Hill Construction OF REALTORS® Laquer Foundation Cohen, Freedman, Ecinosa Kay and Robert Oshel Weiss, Handler, Angelos & Matching Gift Programs Foundation, Inc. sociations and agencies for gifts Freddie Mac Foundation McKissack & McKissack Neighborhood Investment Fund, Metropolitan Valuation Services & Associates Poor Richard’s Charitable Trust Cornwell, P.A. Christine E. Fisher McCain McMurray of $250 or more received from John Moriarty and Associates, Inc. Mead Family Foundation District of Columbia Office of Miller & Long Co., Inc. Custom Design Concepts Power Design, Inc. Beverly A. Willis, FAIA Shirlee and Howard Friedenberg Joan Meixner May 1 – July 31, 2007. These MacFarlane Partners National Association the Deputy Mayor for Planning Moss and Associates Architecture + Interiors Pritzker Foundation Neal L. Wood Patrick Gallagher, Gallagher Mr. and Mrs. F. Joseph Moravec generous gifts provide essential Stuart A. Miller, President and of Home Builders and Economic Development Ocean Land Investments, Inc. Dalberg Global Development Pulte Homes & Associates Kathy J. and Richard B. Nettler $250–$999 support for the Museum’s exhibi- CEO, Lennar Corporation National Endowment for the Arts Perkins + Will Real Estate Board of New York, Inc. Advisors Real Estate Systems GannettMatch Community Jane W. and Frederick North Mary Achatz and Thomas Wells tions, education programs, and Patton Boggs LLP Jane and Daniel Och Pillsbury Winthrop Shaw Related Cervera Realty Services Davis Carter Scott Implementation Group, LLC Foundation of Louisville Linda and Rob Obenreder Thomas Adcox endowment funds. Some of the Time Warner Inc. Olympia Plumbing Corp. Pittman LLP Rodel Fire Protection Systems, Inc. Eagle Bank Lisa S. Roberts and Allan Greenberg, Architect LLC Peak Corporation The American Institute of contributions listed below are in Wachovia The Peterson Family Foundation Portland Cement Association Starwood Capital Group Emerald Realty Advisors David W. Seltzer H3 Hardy Collaboration Susan Piedmont-Palladino Architects partial fulfillment of larger pledges. Proskauer Rose LLP Rockwood Capital Corporation Stearns Weaver Miller Weissler Herbert M. Franklin, Esq. Leslie E. Robertson Architecture, LLC and Douglas R. Palladino $10,000–$24,999 Arent Fox PLLC Regions Bank RTKL Urban Foundation/Engineering, Roger Fry and and Sawteen See The Hellman Company, Inc. Martin H. Poretsky Jayne and Leonard Abess and BBGM/Architects & Interiors $100,000 and above Sub-Zero/Wolf- Skidmore, Owings & Merrill LLP LLC Associates Architects S.H. and Helen R. Scheuer Family William L. Hopkins and Sharon and Stephen Rigelsky City National Bank of Florida Sally and Sanders Berk The Home Depot Foundation Westye Group SE Jessica and Henry Townsend Vila & Son Landscaping Full Circle Real Estate Marketing Foundation Inc. Richard B. Anderson Rippeteau Architects, P.C. Bear, Stearns & Co. Inc, The Beverly Willis Architecture National Capital Arts and Sharon and Jim Todd U.S. Commission of Fine Arts Corporation Hickok Cole Architects David M. Schwarz/ Iberia Tiles Corporation Adrienne Schmitz Bovis Lend Lease LMB Foundation Cultural Affairs Program and the Wachovia Multi-Family Capital WDG Architecture, PLLC Washington Real Estate Michael L. Horst Architectural Services Inc. Iittala, Inc. Bernard Slosberg Carolyn S. Brody Robert P. Brennan U.S. Commission of Fine Arts Investment Trust JSA Scotia Capital Michael A. Joy Smith, Thomas & Smith, Inc. Citi Property Investors $5,000–$9,999 $2,500–$4,999 Bridger Conway LLC National Endowment Wells Fargo Kohn Pedersen Fox Associates PC The Shooshan Company George J. Kelly Stanley Martin Commercial, Inc. Clark Construction Group, LLC The American Architectural All Stage & Sound, Inc. Marcia Camarda for the Humanities Wells Fargo Insurance John P. Kyle Robert Silman Associates, P.C. Barbara S. and Donald Tucker, RA, EDG Commerce Bank of New Jersey Foundation Bank United The Catholic University of America Turner Construction Company Services, Inc. Lacy, Ltd. Skidmore, Owings & Merrill LLP Gordon E. Kirkpatrick Luke Wassum The Continental Group, Inc. BB&T Berkowitz Dick Pollack and Brant Cherry Hill Park Landesbank Baden-Wuerttemberg South Dade Lighting, Inc. Michael Kolakowski and Sarah Fairbrother $50,000 to $99,999 Credit Suisse The Capital Group Companies Bloomingdale’s $1,000–$2,499 Douglas Cohn lee)sallee & company, inc. Julien J. Studley, Inc. Hank Koning, FAIA; Margaret Watson and Paul Brown Fannie Mae Eastdil Realty Company Charitable Foundation Catherine and James Callard The Apple Organization Columbia Woodworking, Inc. Lessard Group, Inc. Syska Hennessy Group, Inc. Julie Eizenberg, AIA The Whiting-Turner Contracting U.S. Department of Energy, Forest City Washington Clark Construction Group, LLC Cannon Design Architectural Digest-Mexico David E. Cooper Linda B. and Jonathan S. Lyons Thornton Tomasetti Anita T. Lager Company Office of Energy Efficiency Gary Brock Atlanta, LLC The Development Group The Cantor Seinuk Group, Inc. Balfour Beatty Construction Mr. and Mrs. Donald Coupard McCormack Baron Salazar, Inc. Tishman Construction Corp. George C. Lancaster Robert Zuraski and Renewable Energy Greenberg Traurig, LLP Edward W. Easton/ Capform, Inc. Ben Barnes Group Eugene and Mary Covert Richard Meier Partners of D.C. M.K. Lanzillotta and Elizabeth Monnac HSBC Bank USA, NA The Easton Group Cooper, Robertson & Partners Bernstein Global Wealth Dorsky Hodgson + Partners $25,000 to $49,999 Steven G. Messing Titon Builders Inc. Mary E. Lawrence and Peter Buck Holland & Knight H. J. Foundation, Inc. Betsy Koban The Durst Organization Management Ginny Dyson Bank of America Miami Curtain Wall Consultants U.S. Department of Labor, Carolyn M. Mackenzie LaSalle Bank HSMM of AECOM Mohamed Harasani Architects Bonstra Haresign Architects LLP George Cameron Eaton, AIA The Morris and Gwendolyn National Electrical Contractors Employment and Training The Massirman Group Lehman Brothers KPMG LLP Hub International Fortun Pam and Jay Bothwell Steven Ehrlich Architects Cafritz Foundation Association Administration The Litwin Foundation KINCH Construction Central Concrete Supermix, Inc. Newseum Wagner Roofing donor profile Protecting Your Legacy: they have demonstrated The Benefits of Planned Giving International Masonry Institute a strong commitment to by Christina Berkemeyer, Director of Individual Giving advancing the Museum’s By Tim Carrigan, Donor Relations Coordinator mission of celebrating the hroughout our nation’s history, major philanthro- built environment, and pists have used planned giving tools like trusts, he International Masonry Institute (IMI) has we are grateful for their wills, and annuities to ensure that their personal been a generous sponsor of the National Building dedication to our cause.” T TMuseum since 1999. Over the years, the insti- legacies support the civic needs of future generations. Only in recent years, however, have those same types of tute has provided nearly a half-million dollars in When asked recently philanthropic tools become available for donors at all support for a wide range of Museum initiatives and why the Museum is income levels and financial capacities to support their programs, including the exhibitions Masonry Variations important to her both own favorite charities. and Cityscapes Revealed, the Honor Award, the Vincent personally and profes- Scully Prize, and The Corinthians. In addition, IMI’s sionally, Calambokidis In addition to making a simple bequest, modern president, Joan Calambokidis, has been an active responded, “The International Masonry Institute member of the Board of Trustees since 2005, and planned giving initiatives can include establishing a has enjoyed a long and rich relationship with the © IconicPhoto/Bill Katzenstein living trust; setting a schedule of planned donations; currently serves as a co-chair of the Development National Building Museum based on not only the right: The BAC/IMI National making one-time gifts of real estate, stock, or IRAs; or using a variety of other Training Center will show- Committee, as well as a member of the Executive outstanding job the Museum does in its educational vehicles to ensure that the donor’s personal financial needs and philanthropic case all of the masonry and Education Committees. The new BAC/IMI National Training Center in Bowie, programming both for the professional design and crafts and offer career-long priorities are both met. By utilizing this option, donors give the National Building Maryland, will showcase all the masonry crafts, plus development community, but also the unparalleled training to BAC members. Museum an enduring source of financial stability to promote and explore the Photo courtesy of IMI. The International Masonry Institute offers train- the career-long training available to BAC members. work it does in educating and inspiring young people building arts for generations to come. ing for craftworkers, professional education for Dubbed “BAC University” by BAC president and IMI about the building arts.” opposite: Joan Calambokidis, masonry contractors, and free technical assistance co-chair John J. Flynn, the campus features a 61,000- President, International As the new director of Individual Giving, I look forward to sharing with you Masonry Institute. Photo to the design and construction communities. IMI is square-foot training facility and 46,000-square-foot The Museum could not achieve its success without information about the range of planned giving options that can benefit you and courtesy of IMI. a strategic alliance between the International Union dormitory/conference center. the annual support of its Industry Partners, your family, as well as the Museum. We hope that planned giving will emerge as a of Bricklayers and Allied Craftworkers (BAC) and and the Board of Trustees and staff are grateful vital component of the Museum’s future financial strength. their signatory contractors, promoting high-quality “The Museum is incredibly fortunate to have the to Calambokidis and the International Masonry masonry construction. International Masonry Institute and its affiliates Institute for their ongoing support. • The Museum ultimately relies on private support to realize its mission. If any of the as partners,” remarked Chase W. Rynd, executive ideas or planning opportunities presented in this article are of interest to you please director. “Through their generosity and leadership, contact me at 202.272.2448, ext. 3501, or via email at [email protected]. • 18 blueprints Fall 2007 Fall 2007 blueprints 19

collections highlights mystery building Board of Trustees

Chair Honorary Trustees Michael J. Glosserman Harold L. Adams Howard M. Bender Gift of the Robert C. Lautman Photography Collection The Clock Struck 35 Executive Director M. Arthur Gensler Jr. Chase W. Rynd Thomas J. Klutznick Stuart A. McFarland by Chrysanthe B. Broikos, Curator he Summer 2007 Mystery Building Treasurer Robert McLean III Robert H. Braunohler Elizabeth B. Moynihan challenge, “Clock Watch,” drew a Marilyn Perry record-breaking 35 correct responses! Elected and Voting Trustees James W. Todd T Mallory Walker The mystery photo was taken from inside William B. Alsup III Leonard A. Zax one of the clock towers of the Musée Frank Anton Thomas N. Armstrong III d’Orsay in Paris, France. Built as a train David S. Bender Ex Officio Trustees station to serve the Universal Exhibition Deborah Berke Alphonso Jackson, William M. Brennan U.S. Department of Housing of 1900, the building was converted into a and Urban Development Carolyn Schwenker Brody museum in the 1980s under the direction Kelly Caffarelli Dirk Kempthorne, of Italian architect Gae Aulenti and the Joan Baggett Calambokidis U.S. Department of the Interior French firm ACT. Donald A. Capoccia Barbara Boxer, Dennis J. Cotter Senate Committee on Gilbert E. DeLorme Environment and Public Works As promised, the first five people who Christopher Dorval James Oberstar, supplied correct answers via e-mail each Mike Goodrich House Committee on received a prize, in this case a National Delon Hampton Transportation and Infrastructure Gary P. Haney Lurita Doan, Building Museum coffee mug. The five Philippe Hardouin General Services Administration prize winners were: Alyson Fletcher, Robert W. Holleyman, II clockwise from top: David L. Winstead, Manassas, VA; Ken Nathanson, Bethesda, Joseph F. Horning, Jr. General Services Administration, all photos by Robert Lautman: Gerald M. Howard Public Buildings Service Pavilions at the American MD; Ken Goldman, Potomac, MD; Jennifer Mercy Jiménez National Exhibition, 1959, Stephen T. Ayers, Bain, Alexandria, VA; and Eric Mucklow, Frederick A. Kober Architect of the Capitol Sokolniki Park, Moscow, A. Eugene Kohn Arlington, VA. Allen Weinstein, Soviet Union; Florence Deryl McKissack Holis Hand Chapel, Mt. National Archives and Hollis S. McLoughlin Records Administration Vernon College (now part The other correct respondents were: Agnes Artemel; Bill Baldwin; Rex M. Ball; Melissa A. Moss James H. Billington, of George Washington Wanda Bubriski; Néstor Gabriel Cerami; Morris J. Chalick; Susan R. Dombrowski; Robert A. Peck University), 1970, Washing- The Library of Congress Carl Thomas Engel; Pam Frugoli; Elizabeth Goldfarb; N. Graham Guedon; Bruce Haglund Whayne S. Quin ton, D.C.; Self portrait, 1951, Stephen M. Ross Cristián Samper, Smithsonian Institution Washington, D.C and Tisha Egashira; John Horuath; Nancy Kenney; Dick Larm; Larry Levine; Kelly Malloy; Deborah Ratner Salzberg Tina May; Jeffrey Meck; Stephen A. Merrill; Tom Petty; David G. Rabkin; Randolph Rea; Stephen E. Sandherr Richard Moe, Robert A.M. Stern National Trust for he legendary—and active—Washington-based While keeping one foot Darrel Rippeteau; Eugenia and Stephen Ryner; Dan Snyder; Cornelia Strawser; Historic Preservation Norbert W. Young, Jr. architectural photographer Robert C. Lautman planted firmly in modern Henry Townsend; Anne Vaughn; and Betsy Wolf. • Christine McEntee, Tis donating his photographic archives to the design, Lautman has also Founding Trustees American Institute of Architects National Building Museum. The extensive collection garnered accolades for his Cynthia R. Field Adrian M. Fenty, Herbert M. Franklin Mayor of the District of Columbia of 30,000 (and counting) prints, transparencies, and work in historic preserva- Edward T. Hall negatives documents American architectural trends tion, including his illustra- Nancy Stevenson during the second half of the twentieth century and, tion of books on Monticello this issue’s mystery... Beverly Willis coincidentally, provides a remarkable record of and Mount Vernon. He is a the metropolitan area’s growth and development. recipient of the American I’ve Got the (Greek) Key The images capture a wide range of commercial, Institute of Architects residential, and institutional projects dating from (AIA) Gold Medal for A classic Greek key pattern is 1948, when Lautman opened his first studio. Architectural Photography among the varied sculptural motifs and is an honorary that adorn this wonderful structure. As a young photographer, Lautman quickly gained member of the AIA. Can you identify the Mystery the respect of the area’s up-and-coming modernist Building and its location? architects, including Charles M. Goodman, Arthur Lautman’s passion for architectural photography H. Keyes, Hugh Newell Jacobsen, Warren J. Cox, and developed during his postwar apprenticeship Responses will be accepted by e-mail George E. Hartman, all of whom became life-long with one of New York City’s leading commercial or regular mail. To be eligible for a clients. Lautman is known for capturing vantage photographers, Richard Wurts, who mentored the prize (reserved for the first five points that yield unusually evocative images of his combat photography veteran. In 1983, Richard and correct respondents only), send an subjects, including daring aerial views, a skill that his wife Geraldine Wurts donated upwards of e-mail to [email protected]. builds on his experience with the U.S. Army 20,000 prints and negatives to the National Building You may also respond by regular Paratroopers during World War II. In the 1960s, Museum. The internationally recognized Wurts mail, though you will not be eligible work for developer James Rouse sent Lautman across Brothers Photography Collection documents early- for the prize. The mailing address is: the country and helped expand his growing national and mid-twentieth-century American building. Now, reputation—as did his commissions from prominent thanks to the generous donation of the Lautman Mystery Building architecture and shelter magazines. Collection which seamlessly complements the Wurts National Building Museum Brothers Collection, the Museum is the repository of 401 F Street, NW two closely linked, major photographic archives. • Washington, DC 20001 20 blueprints Fall 2007 ? Fall 2007 blueprints 21

New Daily Offering Family Tool Kits!

Come “check out” what everybody’s talking about: the National Building Museum’s new Family Tool Kits! Featuring fun for ages 3–11, each kit is loaded with cool things to help families explore the Museum’s historic home by seeing, moving, touching, and doing!

Three different tool kits are available:

Patterns: Here, There, and Everywhere! (ages 3–7) helps develop awareness of patterns using musical instruments, stamping and rubbing activities, and a scavenger hunt.

Eye Spy: What Can You Find with Your Little Eye? (ages 7–10) includes drawing activities, custom puzzles of the Museum, and Eye Spy games. Exhibition images clockwise from top left: Constructor Detector (ages 8–11) uses simple carpentry Lasting Foundations: and measuring tools to develop estimation and deductive The Art of Architecture in Africa through January 13, 2008 reasoning skills. David Macaulay: The Art of Drawing Architecture through May 4, 2008 Tool Kits regularly receive rave reviews, such as “Great idea! Wish all museums were this interactive in getting kids Washington: Symbol and City to think creatively.” The Tool Kits are free to members, so Long-term make sure to try one on your next visit to the Museum. The River Has Two Sides (Investigating Where We Live) Free for members. $5 for nonmembers.Tool Kits are for through November 25, 2007 rental and on-site usage until 4:00 p.m. daily. Building Zone Long-term Cityscapes Revealed: Highlights from the Collection Long-term top: A group uses one of the Museum’s new family Tool Kits in the Great Hall. Photo by Museum Staff.

left: © Jerome Vogel; © David Macaulay, photo by Christopher Benson; collection of the National Building Museum; photo by Museum staff; © Liz Roll; photo by F. T. Eyre

National Building Museum Nonprofit Organization U.S. Postage Paid 401 F Street NW Washington, DC 20001 Washington, D.C. 202.272.2448 / www.nbm.org Permit No. 488 Red Line Metro, Judiciary Square