MESSAGE FROM THE EXECUTIVE DIRECTOR

Tools of the Imagination

OR MOST PEOPLE, THE WORD “ARCHITECTURE” (it was used to draw accurate elliptical connotes a physical product—a build- shapes), but also for its delicate beauty. Fing or perhaps a group of buildings rep- Complementing these practical but elegant resenting a particular culture or historical instruments are computer monitors run- period. But architecture is also a process. ning astonishingly complex design soft- Designing a building requires frequent test- ware, revealing how contemporary archi- ing of specific ideas, followed by adjustments tects are exploiting electronic technology to the design, followed by more testing. to produce evermore sophisticated repre- Through a combination of logic, intuition, sentations of their ideas. application of technical knowledge, occa- This issue of Blueprints features sional visionary leaps, and old-fashioned two articles inspired by the Tools of the trial and error, architects gradually develop Imagination exhibition. Susan Piedmont- Chase W. Rynd plans that lead to the physical manifestation Palladino, who served as guest curator for of their creative work. the exhibition in cooperation with curatorial Like many other processes, archi- associate Reed Haslach, offers an entertain- tecture requires tools, and throughout the ing history of erasing, a vital but easily over- history of design, specialized tools have looked aspect of the design process. Kevin been developed to address those needs, Klinger describes how cutting-edge architects while other, common tools have been are already exploring the next step in digi- appropriated and sometimes adapted for tal design, using programs that feed design architectural purposes. In the National information directly into the manufacturing Building Museum’s current exhibition, and construction processes. Both articles Tools of the Imagination, we explore the illuminate the fact that, while tools are a somewhat hidden history of the various means to an end, they also often entail devices that allow architects to express interesting stories in themselves. their ideas to the general public, to clients, to review agencies, and ultimately to the people who will build the structures. Featuring hand drawings, drafting tools, computer renderings, and animated Executive Director demonstrations of computer-aided design National Building Museum software, the exhibition appeals to many different audiences. P.S. I am also pleased to report that, thanks The curatorial team for the exhi- to the financial support of Autodesk, Inc., bition tracked down a number of fascinat- the Museum and Princeton Architectural ing artifacts, such as a volutor—a remark- Press will be co-publishing a book based ably specialized device from the mid-19th on Tools of the Imagination. The book, century that enabled architects to draw which is expected to be published in spring the spiral “volutes” on the capital of an 2006, will be available in the Museum Shop Ionic column. There is also an early 19th- and elsewhere. century brass ellipsograph, which is notable not only for its mechanical ingenuity

blueprints 1 FEATURE THE INVISIBLE HISTORY OF ERASING

The Invisible by Susan Piedmont-Palladino History of Erasing

Susan Piedmont-Palladino is an architect and HE VIRTUAL WORLD IS ALL ABOUT SECOND associate professor of architecture at Virginia Tech’s CHANCES. Even the most casual comput- er user has become accustomed to Washington/Alexandria Architecture Consortium. T being able to undo, backspace, and even She served as guest curator for the National Building retrieve things from the recycle bin, all Museum’s exhibition Tools of the Imagination. with a keystroke or two. Changing one’s mind has become very easy... at least inside the electronic world. Even Humpty the realm of the visible. But another set of prising that the Age of Enlightenment also Dumpty can be put back together again. All tools does just the opposite; they make gave us a better eraser. Joseph Priestley, the king’s horses and all the king’s men things disappear, either permanently or better known for identifying the element could not do it in the nursery rhyme, but provisionally. It has not always been easy oxygen, is credited with discovering that there are websites where you can “shake to remove a line from a sheet of paper, and what was then known as caoutchouc, the the screen” to make him fall, and then the quest for a better eraser has involved material that actually comes from the rub- move his pieces around until he becomes an unlikely cast of characters. Joseph ber tree, could be used as an eraser. While the familiar egg once more. Had the royal Priestly, Edward Nairne, Charles Goodyear, writing a version of his History of the staff used a computer simulation prior to Arthur Dremel, and Bette Nesmith Graham Present State of Electricity around 1767, his great fall, they might have realized are among the scientists and inventors Priestley had to draw his own illustra- there was a problematic relationship from the last two centuries who have con- tions, and while teaching himself the prin- between the egg and the wall. Designers tributed to the invisible history of erasing. ciples of drawing, realized he needed to know that it’s best to solve these problems know something about erasing. Allegedly before construction, because the real world grabbing a block of caoutchouc instead of has no “undo” command. Erasing the Old-Fashioned Way a piece of bread, he found he could use it The activity of design is a long An architect in the 1720’s who wanted to to “rub out” his mistakes. Calling the sub- process of doing, undoing, and redoing in make changes to his sketch would have stance “rubber,” he gave drafters every- the media of drawing and modeling, had limited options. Had he drawn in ink, where an indispensable tool, and saved because that is where things can be taken he would have picked up a sharp knife and future generations from having to devise above / A sampling of #2 pencils apart and put back together again. That scraped away the lines, being careful not verb forms of caoutchouc. used by architect Paul Rudolph. to damage the paper. Had he drawn in pen- It was instrument maker and Photo by Reed Haslach, items courtesy of above / An array of erasers used by “Stale crumb of bread is better, if you are simple “undo/redo” action is at the root of the Library of Congress architect Paul Rudolph. At top are making a delicate drawing, than India-rub- all computer commands pertaining to mod- cil, he would have crumbled some bread inventor Edward Nairne, however, who chucks used in electric erasers. top / A historic advertisement for At right, just above the bottom row ber, for it disturbs the surface of the paper ifications, but architects had been correct- and gently ground the graphite away. Not saw a business opportunity. He surmised the Dremel® electric eraser. of erasers, is a metal eraser holder less: but it crumbles about the room and ing and reconsidering for a long time only was this a waste of bread, as the ever- that it was not only amateurs like Priestly, Courtesy of the Dremel Company shaped like a classic Volkswagen Beetle. Photo by Reed Haslach, items courtesy of makes a mess; and, besides, you waste the before the undo/redo command ever frugal architect and writer John Ruskin but professional drafters, as well, who the Library of Congress good bread, which is wrong... ” appeared on a computer screen. The histo- pointed out a century later, but it must might like an easy way to reconsider their Ruskin’s Elements of Drawing ry of design is told through the pencils, have made for a messy drafting room. The lines. Nairne, whose discoveries and inven- pens, compasses, straight-edges, and soft- 18th century was a restless time, full of tions rivaled his contemporary Priestley’s, ware that bring the architect’s ideas into discovery and invention, so it is not sur- began selling rubber erasers. While better

2 blueprints blueprints 3 THE INVISIBLE HISTORY OF ERASING THE INVISIBLE HISTORY OF ERASING

Deleting Digitally Computer-Aided Drawing/Drafting, or CAD, software has an array of commands and In 1963, while electric erasers whirred on buttons for various degrees of obliteration, Mylar, the newly developed polyester each with an icon chosen to express most drawing film, a young doctoral candidate succinctly the action involved. SketchUp, at MIT was teaching a computer to draw. the user-friendly three-dimensional draw- The TX-2 that Ivan Sutherland used to ing program by @Last Software, uses the develop his groundbreaking graphic program familiar image of Hyman Lipman’s inven- “Sketchpad” was hardly faster than a tion as the icon for its erase button. skilled draftsman, but the impending revo- SketchUp’s eraser even behaves a bit like lution in drawing, and erasing, was just its imagesake; it can be used to rub out, becoming clear. Sutherland wrote in his soften edges, or smudge lines, just like the dissertation: “It has turned out that the eraser on the end of a real pencil. properties of a computer drawing are Lipman’s pencil—what a software devel- entirely different from a paper drawing oper might now call a line tool with inte- not only because of the accuracy, ease of grated delete function—was ultimately drawing, and speed of erasing... but also deemed to be insufficiently inventive to primarily because of the ability to move deserve its patent, but it has achieved elec- drawing parts around on a computer draw- tronic immortality as the iconic image of ing without the need to erase them.” Move creativity and its reconsiderations. lines around on the surface of a drawing, AutoCAD uses this same icon for without having to erase them? That would the simple “erase” command, but as a soft- ® above / Ivan Sutherland, inventor of than bread crumbs, rubber had its own ones crowning many of his vast pencil have sounded like magic to the architects top left / A portion of the AutoCAD the Sketchpad graphic program, ware suite for complex design and produc- toolbar, showing the eraser icon at his computer in 1963. problems. In its raw state rubber is sensi- trove. Less familiar are a few long, skinny of the 1960’s. The only way an architect at left. Reprinted with permission of MIT Lincoln tion projects, AutoCAD has many more Courtesy of Autodesk, Inc. tive to temperature, becoming hard when tubular chucks for use in an electric eraser. could “move drawing parts around” with- Laboratory, Lexington, Massachusetts steps between making a line and deleting cold, and soft when warm. Worse still, it If the previous centuries contributed better out erasing them was move the paper above left / A portion of the it. Lines and shapes can be erased, copied, Autodesk® Revit® toolbar, showing tended to smell as it aged. In 1839 Charles chemistry to the history of erasing, the itself, lay another sheet of tracing paper moved, and offset; entire drawings can be the “Demolish” icon Goodyear, another familiar name from the 20th contributed more power. The electric down and draw something else. toward the right. filed, purged and deleted. Even erasures Courtesy of Autodesk, Inc. history of technology, developed the vul- eraser was invented by Arthur Dremel, Sutherland’s program promised a future can be un-erased with the OOPS command. ® canizing process which stabilized rubber, whose company is still headquartered where when architects and designers could above / A portion of the SketchUp Perhaps in a nod to the seriousness of Version 4 toolbar, showing the eraser making possible the production of both it was founded in 1932, in Racine, Wisconsin. change, move, modify a drawing in part or icon at the bottom. The new version architectural practice, the word itself, of SketchUp® uses an art eraser as automobile tires and erasers. Twenty years Dremel developed a line of rotary-motor, completely, without removing it forever in “OOPS,” does not appear on screen. the icon. later, Hyman Lipman patented the most hand-held power tools. With chemically a pile of papers. Courtesy of @Last Software, Inc. Instead, the architect has to confess his familiar writing and drawing instrument impregnated chucks in a Dremel electric Sketchpad pioneered what is now mistake by typing “oops” in the “com- when he developed the method for attach- eraser and a thin metal eraser shield, an known as graphic user interface, or GUI, mand” line at the bottom of the screen. As ing tiny pink erasers to the tops of pencils. architect such as Rudolph now had a cor- which is the way almost all of us relate to the software developed, AutoCAD users By the time architect Paul rection tool to match the efficiency of his our computers. GUI lets all of us interact began to ask for an “extended OOPS” to Rudolph established his office in 1952, his technical pens. Drawing quickly and pre- with the virtual world without having to allow the retrieval of more than just the tools included no breadcrumbs, but plenty cisely, and erasing and redrawing equally type in long strings of coded commands. most immediately erased elements. The of rubber erasers. Some are the familiar as quickly, Rudolph and his modernist Instead, we point, click, and double-click “help” section does caution the user, how- chunks of pink or white, various blobs of peers were reaching the limits of speed in on displays of icons, those cartoonish sym- ever, that not even an extended OOPS can kneaded gray, and of course the little pink the production of hand drawings. bols in the tool bars of programs. retrieve a purge.

4 blueprints blueprints 5 THE INVISIBLE HISTORY OF ERASING THE INVISIBLE HISTORY OF ERASING

Autodesk’s new software, Revit, Level 63 is where those items in a project takes a different approach to the graphics go that have been revised, moved, and oth- on the screen. Referred to as Building erwise exiled, but that the design team Information Modeling software, Revit pro- may not want to delete just yet. duces not so much a drawing of a building Faster, easier, more accurately... as a virtual construction. An architect these have been the guiding values driving working in Revit still needs to be able to innovation in both drawing and erasing modify or eliminate elements, but since it technologies. Even retracing earlier design is not really a drawing, an eraser does not decisions has been made more efficient; seem to be quite right. Modifying a virtual Microstation lets users revisit the design construction requires a virtual sledgeham- history of an element, with each version mer so Revit has a hammer as its icon for listed in chronological order. But speed virtual demolitions. A click on the “demol- and accuracy are more important in some ish” icon converts the cursor itself into a phases of design than in others and the hammer, and any element touched by the design history of an element can some- poration, makers of Wite-Out, proudly hammer turns into dotted lines. Or is it times be represented on a single drawing. boasts that their product “holds like a pen” virtual dust? A click on the “undo” icon Billie Tsien, of TWBTA, warns that trouble for a “comfortable correcting experience.” restores the element to solidity, which nei- can hide in a computer drawing. The clean Yet, the correcting experience is ther the king’s horses nor his men could screen never shows the distress that paper rarely comfortable. Deciding which ideas accomplish for Humpty Dumpty. shows when it has been scraped, erased, can stay and which must go is at the core Operating systems often have and drawn over. Borrowing a tool more of architectural judgment, and one is a desktop icon for “trashcan” or “recycle common to pre-computer office work, never comfortable doing it. Architects’ stu- bin,” yet most CAD software does not TWBTA regularly uses correction fluid not dios are stuffed with sketches of designs include a similar location within the pro- so much to erase elements, but to draw that never found their way into built gram for elements that may be interesting attention to the areas that need work. form, but nonetheless had enough value to but are not immediately useful. What can Correction fluid was developed to be invisi- save them from the electric eraser, or the an architect to do with a beautiful stair- ble, but architects have a long tradition of delete button. The eraser—along with all case that doesn’t fit in a newly downsized appropriating tools made for one purpose of its digital descendents—is the tool of room? Or a stone fireplace too expensive and putting them to use for another. In re-design, as the pencil is a tool of design, for the current project, but too thoroughly this case, Bette Nesmith Graham, better letting the architect draw and re-draw detailed to delete? Some architects have known as the mother of musician Mike toward the solution. The drawing paper or

developed their own techniques for this: Nesmith (yes, the one from the 1960s pop the refreshed screen may appear to be top / An electric eraser used by making “junkyard” files where those items group The Monkees), was also the prover- blank, but the imagination of the archi- Tod Williams Billie Tsien Architects. Photo by Evan Ripley top / A sketch of the façade of “I have rewritten—often several times— can be stored. Veteran users of Bentley bial mother of invention as a post-war sec- the American Folk Art Museum by tect, the ultimate external storage device, every word I have ever written. My pencils above / An eraser shield used by Tod Williams Billie Tsien Architects, Systems’ Microstation all know about retary. Thinking like a painter who wants is filled with all of those ideas that have Tod Williams Billie Tsien Architects. showing marks with Wite-Out outlast their erasers.” Photo by Evan Ripley near the bottom. “Level 63,” the truth of which is less mys- to redo a section of a canvas, she was hop- been moved to the “junkyard,” “saved-as,” Photo by Evan Ripley Vladimir Nabokov terious than it sounds. “Levels” refers not ing to conceal her mistakes, but there are whited-out, exiled to Level 63, rolled up in above / A Wite-Out pen used by to the floors of a building, but to the levels architects who use the substance for pre- a tube, but never entirely erased... • Tod Williams Billie Tsien Architects. of information that can be layered onto a cisely the opposite reason. Now, correction Photo by Evan Ripley drawing. There are 63 levels, but only 62 of fluid comes in a pen-like tool, which is them contain information that will appear more in keeping with the way architects on a printed drawing. Thus, the enigmatic draw than the painterly fluid. The BIC cor-

6 blueprints blueprints 7 FEATURE RETOOLING THE ARCHITECTURE MACHINE Retooling the Architecture Machine Innovations of Digitally-Driven Architecture

by Kevin R. Klinger

Kevin R. Klinger is associate professor of architecture and fellow of the Center for Media developing and producing a built work. We Retooling Fabrication Design at Ball State have perhaps arrived at a new “Architec- Innovative building fabrication techniques University, and currently ture Machine,” slightly different from the (i.e., the processes of manufacturing the serves as president of one suggested by Nicholas Negroponte in various physical components of buildings) ACADIA, the Association his 1970 book by the same title. that were once considered at the experi- for Computer Aided In the recent book Architecture in mental edge are becoming commonplace the Digital Age: Design and Manufacturing, Design in Architecture. and are changing the definition and orga- editor and author Branko Kolarevic asserts, nization of architectural practice. “Digital technologies are enabling a direct Increasingly, the design process entails a correlation between what can be designed kind of “conversation” between digital and what can be built, thus bringing to the visualization and digital production. The forefront the issue of the significance of project is developed digitally and enters information, i.e. the issues of production, multiple feedback loops from conception communication, application, and control through final construction. of information in the building industry. By right / Communication and collaboration In the years which have been devoted in my IGITAL TECHNOLOGY IS RAPIDLY SHIFTING Once the design information is top left / An assembled integrating design, analysis, manufacture, building skin “panel” at exchange between Professor Kevin own life to working out in stubborn materials the way architecture is designed and ready for translation into physical form, Klinger, Ball State University students, and the assembly of buildings around digi- A. Zahner’s fabrication facility and stone fabricators. a feeling for the beautiful...a hope has grown made. With a raft of software now at the digital files used to generate the project in Kansas City is hoisted Courtesy of Kevin Klinger D tal technologies, architects, engineers, and and ready to be loaded on stronger with the experience of each year, their disposal, architects can create a digital are then prepared so as to drive the fabri- builders have an opportunity to fundamen- a truck for site delivery. amounting now to a gradually deepening model of a building and all of its elements, cation process. The cladding of the Porter Courtesy of Kevin Klinger tally redefine the relationships between and Zahner conviction that in the Machine lies the only and in turn use this three-dimensional House Condominium, a recent project in conception and production. The currently top / Digital tools (CNC milling future of art and craft—as I believe, a glori- information to construct actual building New York by SHoP Architects, is an innova- ous future; that the Machine is, in fact, the separate professional realms of architec- machines and laser cutters) at components using machines driven by CNC tive example of this in practice. Digital Ball State University College metamorphosis of ancient art and craft; that ture, engineering, and construction can be of Architecture and Planning (computer numerical control) and other information was fed directly into a digital- we are at last face to face with the machine integrated into a relatively seamless digital Fab Lab Director, Josh advanced manufacturing techniques. ly controlled two-dimensional cutter to Vermillion digitally fabricates —the modern Sphinx—whose riddle the collaborative enterprise…” prototypes of design work. Increasingly, buildings are being prefabri- produce the zinc panels that line the build- Courtesy of Ball State University artist must solve if he would that art live. Technologically driven change cated within factory settings reminiscent ing’s façades, creating a smooth transition has always been a catalyst for new ideas in above / SHoP Architects’ Frank Lloyd Wright, of the automobile-, airplane-, and ship- between the design and the fabrication Porter House renovation and “The Art and Craft of the Machine.” architecture, and today, digital technology addition with zinc panel skin. building industries. Both the ways in process, and eliminating the need for typi- The computer numerical Address to the Chicago Arts and Crafts Society, is a key agent for innovation in design and which we think about architecture and the cal “shop drawings” (drawings prepared by control (CNC) cutter used to at Hull House, March 6, 1901. construction. The central requirement is fabricate the zinc panels instruments and techniques we use to mea- the fabricator to confirm that a given prod- allowed each panel to be the clear, reliable, and consistent exchange sure, observe, envision, represent, and uct will be consistent with the architect’s unique in shape. of information among all parties involved Courtesy of SHoP Architects fabricate architecture, are changing dramati- intentions). cally as we retool all of the mechanisms for in creating a given project.

8 blueprints blueprints 9

RETOOLING THE ARCHITECTURE MACHINE RETOOLING THE ARCHITECTURE MACHINE

Similarly, digitally-driven archi- Varying degrees of digital fabri- tecture today entails many experiments cation are employed in SHoP’s innovative that suggest promising new directions for practice. The recently completed Camera the future of design. Innovative represen- Obscura is an example of a 100 percent dig- tational devices are evolving which allow itally fabricated project. Rather than using new forms of organizing and visualizing the traditional plans, elevations, and cross- complex data—a necessity for directing sections to explain how to assemble the machines to follow multiple levels of oper- building, SHoP used three-dimensional dia- ations during the fabrication process. grams directly generated from the comput- These representational devices reveal rela- er model to explain where each assemblage tionships unable to be considered in the was located in the completed structure. At original conception of the project, and pro- the 2003 ACADIA conference at Ball State vide visual feedback during a dynamic University, SHoP partner Chris Sharples ing, Skanska International for the construc- design process. Concepts of efficiency, nest- likened this innovative process of assembly tion, A. Zahner for fabrication of the metal ing, unfolding, surface optimization, and to a “very large model airplane kit, just like skins, CAPCO for the structural steel, John material tolerances all grow out of the when you were a kid.” A. Martin for the structural engineering, need to direct machines to cut, bend, and and others. The digital master model was at fold precise physical shapes. However, the center of this exchange with all of the these representations also inform the Retooling Communication participants weighing in at various stages. design process as feedback for new design Exchange of information is central to the iterations before final fabrication. reveal hidden layers and produce analyti- bottom left / Screen capture of a Ball State University master’s thesis building enterprise. Communication and cal narratives of our visual observations. student project demonstrating a collaboration between architects, manufac- Retooling Software As William Mitchell outlined during the “sectioning” technique to develop Retooling Observation a three-dimensional product from turers, fabricators, material suppliers, and SmartGeometry, Revit, Digital Project, nascency of digital image production in his two-dimensional sheet material. contractors is key to the success of digital- CATIA, Solidworks, Rhinoceros, Maya, Pro Observations of existing places can be book The Reconfigured Eye: Visual Truth Courtesy of Ball State University ly-driven architecture. All participants Engineer, FormZ, SurfCAM, MasterCAM are recorded visually through sketches, con- in the Post-Photographic Era, [digital above / Ray and Maria Stata Center at MIT, CATIA model, 2001, Gehry must be willing to collaborate in order to just some of the new modeling and structed perspectives, camera obscura ren- images] can be used to yield new forms of Partners, LLP. benefit from this exchange, and therefore, machining software products that are derings, photography, and video, with dra- understanding, but they can also disturb Courtesy Gehry Partners, LLP, Los Angeles architects must engage in new methods of quickly becoming part of a standard toolkit matically different results. Today, when and disorient by blurring comfortable communication. The medium of exchange for digital practices. Over the years, vari- we observe the natural world through a boundaries and by encouraging transgres- is most frequently a virtual environment ous software programs have become much digital lens, it can alter our perception of a sion of rules on which we have come to Tools of the Imagination (for communication, modeling, and manu- more mutually transparent, thus facilitat- place, and can even augment our under- rely.” Augmented visions render observa- is made possible by: facturing). This “tool of the imagination” ing the import/export of data. In fact, standing of it. Digital devices reveal layers tion of the world in new terms, and repre- Patrons sent new techniques for digitally attuned is literally an entire digital platform for most serious digitally-driven architects end of information concealed within the cap- Autodesk Inc. information exchange that traces a project up developing their own particular soft- tured scene. To see a place clearly, one practices. Bentley Systems, Incorporated from conception through fabrication and ware and/or code. must open one’s eyes, ask oneself ques- management of assembly. The important tions, and distill what the eyes see. To Supporters Retooling the Future: A New Architecture Machine McGraw-Hill Construction question remains, how will we participate know a place truly, one must explore and Retooling Representation in the exchange? The roles of the partici- analyze what the eye doesn’t see. Digitally The Association for Computer Aided Design Contributors top / SHoP architects’ completed pants are still in flux. New legal devices In the late 20th century, prominent “paper augmented observation techniques—such in Architecture (ACADIA) was formed in Business Software Alliance Camera Obscura: 100% of the com- Microsoft ponents were digitally fabricated. and contractual arrangements in the build- architects”—those known primarily for as motion capture, serial digital photogra- the early 1980s for the purpose of facilitat- Hewlett-Packard Company Courtesy of SHoP Architects ing enterprise must be delineated in order their ideas and proposals, rather than com- phy, filtered video/images, digital collage, ing communication and critical thinking center / Representation for fabrication to facilitate these innovative practices. pleted buildings—relied heavily upon and multimedia imaging—can be used to regarding the use of computers in architec- Associates and assembly of “sectioned” rib struc- ture, planning, and building science. To Fross Zelnick Lehrman & Zissu, P.C. ture and panels for Camera Obscura For now, the MIT Stata Center experimentations in representation. A by SHoP Architects. in Cambridge, Massachusetts, designed by number of these “paper architects” (such understand how digital tools have evolved, Donors Courtesy of SHoP Architects it is informative to examine the shifts of Gehry Partners (as seen in the exhibition as Daniel Libeskind, Zaha Hadid, Rem Norbert W. Young, Jr. bottom / Wireframe of Apse-Traction Tools of the Imagination), serves as an Koolhaas, Peter Eisenman, Thom Mayne, topics discussed in ACADIA’s conferences project (a collaboration between Dean Marchetto Architects and the Product excellent case study of digital exchange and Bernard Tschumi, et al.) are now and publications as computing shifted Architecture Lab at Stevens Institute of actively engaged in building, leading the from mainframes to PCs and software pro- Technology, directed by John Nastasi). occurring at a significant number of levels Courtesy of John Nastasi throughout the design and construction profession, and demonstrating that experi- grams became ubiquitous. ACADIAn themes top right / Engineer from Zahner using processes. The participants in this innova- mental representation methods they used today are about Smart Architecture (build- CATIA and ProEngineer softwares to tive digital exchange included Gehry in the past are today directly informing ings that use electronics, for example, to design a titanium building skin. Courtesy of Kevin Klinger and Zahner Partners working with CATIA software and the design processes in their built work. maximize occupant comfort and minimize Gehry Technologies for the computer model- 10 blueprints blueprints 11 RETOOLING THE ARCHITECTURE MACHINE MEMBER PROGRAM

require proficiencies. It would be impossi- ble to elaborate on all of these techniques in the limited space of this article, but the list gives the reader a sense of the broad Construction Watch Tours range of distinct skills that now comprise true digital literacy. Stepping into the Building Process by Paul Killmer New non-traditional programs are emerging, such as the Product- Architecture Lab at Stevens Institute of Technology, directed by John Nastasi. HE NATIONAL BUILDING MUSEUM puts its Traditional architecture programs as well mission to “explore the world we build are evolving such as illustrated in this Tfor ourselves” into literal practice with article. Significant research is occurring at its distinctive and popular Construction places like Columbia University with Cory Watch Tours. A hallmark of the Museum’s above / Algorithmically derived “Trusset,” energy consumption) (2005), Digital programming since the institution’s begin- a gusset plate space-truss structural Fabrication (2004, in partnership with the Clarke and Phillip Anzalone. Ball State system designed and fabricated by ning, these tours provide members an up- Cory Clarke and Phillip Anzalone, AIA Technology in Architectural Practice University is exploring the potential for a co-directors, Avery Fabrication and post-professional degree in digital fabrica- close understanding of the construction Material Conservation Lab, Columbia group ), and Digital Discourse (2003). and design of many of Washington’s fasci- University. Scholarship ranges from computational tion as well as a digital fabrication Master Courtesy of Cory Clarke and Philip Anzalone of Architecture concentration linked to nating building projects—from bridges and tools to visualization, representation, embassies to museums and condominiums. bottom right / Designers and fabricators observation, theory, pedagogy, and practice. other concentrations in sustainability, etc. digitally recording fabrication processes. Countless other programs are presently Few institutions in the U.S. offer such a reg- Courtesy of Kevin Klinger It is obvious that well-developed exploring potentials of digital fabrication ular and varied array of construction tours. digital skills will be absolutely necessary Usually offered twice a month, for future innovative design, construction, within the architecture curriculum. We are just beginning to scratch the surface. Construction Watch Tours normally last and architectural practice. To develop a between two and three hours. Each tour is digital acumen for innovative design, con- We have embarked upon a great new age of architectural exploration limited to approximately 25 Museum mem- struction, and architecture, one needs a bers. Often, the projects visited aren’t open strong and broad skill set. We can no brought on by critically examining the to the public even after they are complet- Tours have included visits to the longer think about CAD-related software in affects of digital tools, and the machines ed. Because the tours are led by developers, new embassies of Nigeria, Slovenia, Ethiopia, the simple terms we have known; rather, they control; as Wright suggested a centu- architects, and contractors, they offer Switzerland, and Ivory Coast. Members we must learn a fleet of software, coupled ry prior: “whose riddle the artist must direct access to key figures who are shap- have received special access to the National with an armada of digital skills, and still solve if he would that art live.” This new ing our built environment. Museum of the American Indian and the retain critical objectivity regarding each age of exploration will significantly trans- Construction Watch Tours high- U.S. Botanic Garden on the Mall and to the program’s value and limitations. The list form both the practice of and the thinking light special construction methods and National Museum of the Marine Corps in of digital skills necessary to operate these about architecture—indeed, digital tech- innovative technologies used in the build- Quantico, Virginia. Other tours have focused “tools of the imagination” continues to nology has already significantly launched ing process. Participants touring the Music on sustainable design projects, including grow: two-dimensional composition, vector a retooling of the way architecture is con- Center at Strathmore in Bethesda, Maryland, the Greenpeace USA headquarters and the graphics, image manipulation, three- ceived and buildings are created. • top / A Construction Watch Tour for instance, learned about that building’s offices for Environmental Defense. The of the new Katzen Arts Center at dimensional modeling, surface modeling, American University. huge glass curtain wall. Some tours have Museum also chartered a boat for a river Photo by National Building Museum staff solid modeling, parametric modeling, focused on “green” building strategies, tour of the massive Woodrow Wilson Bridge, video editing, motion graphics, rendering, above / Members tour the National while others have examined preservation now under construction in Virginia. Park Seminary in Silver Spring, animation, VRML (Virtual Reality Maryland. of historic buildings. Early this year, the Construction Watch Tours are a Modeling Language), three-dimensional Photo by National Building Museum staff Museum organized an all-day bus tour to valuable benefit of membership in the printing, stereolithography, database James Madison’s Montpelier, in Virginia, National Building Museum. If you are not development, scripting, GIS (geographic for a look at the complicated preservation already a member, join today, so that you information systems), web interface, fabri- efforts underway there. This summer, can enjoy these ongoing opportunities to cation, performance analysis, and lighting members toured the restoration of the his- get behind the scenes at major construc- simulation are a just few areas that may toric residence of the Turkish ambassador. tion projects in the Washington area. •

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HONOR AWARD ANNUAL GALA 2005 Honor Award Gala a

Fellows Huntington National Bank The Associated General Lafarge North America Contractors of America Lerner/Cohen/Tannenbaum Families Beers & Cutler McWilliams/Ballard, Inc. Big Success Bresler & Reiner The Morningstar Foundation Charter One Bank Nixon Peabody James G. Davis Construction Parking Management Corporation PN Hoffman Nearly 900 people filled the National Honor Award Contributors Benefactors Hensel Phelps Construction Company Perkins+Will Forest City Enterprises Marriott International Building Museum’s elegant Great Hall on Pillsbury Winthrop Shaw Pittman Hon. Patrick J. Tiberi, above / Museum chair Carolyn Brody Co-Chairs The Whiting-Turner Contracting Mike Goodrich U.S. House of Representatives and executive director Chase W. Rynd June 1 to celebrate Forest City Enterprises, Portland Cement Association Shalom Baranes/ Company International Masonry Institute Hon. Ed Case, congratulate Albert Ratner on his Prudential Mortgage Capital Company recipient of the Museum’s Honor Award Shalom Baranes Associates, McKissack & McKissack U.S. House of Representatives acceptance of the 2005 Honor Award. Architects Kevin Roche, John Dinkeloo Photo by F.T. Eyre Patrons NATIONAL ASSOCIATION Hon. Eleanor Holmes Norton, for 2005. Forest City, a major real estate & Associates U.S. House of Representatives Robert H. Braunohler/ Carolyn and Kenneth D. Brody OF REALTORS® Louis Dreyfus Property Group Chase W. Rynd below / The Great Hall, elegantly development firm headquartered in Fannie Mae Foundation Fund of J.E. Robert Companies Hon. Michael E. Capuano, Sidney M. Bresler/ Skidmore, Owings & Merrill U.S. House of Representatives decorated for the award gala. Cleveland, earned the award for its long- The Community Foundation for the Trammell Crow Photo by F.T. Eyre Bresler & Reiner National Capital Region SMWM Hon. Anthony A. Williams, ULI – the Urban Land Institute standing commitment to revitalizing Carolyn Schwenker Brody/ Turner Construction Company Swidler Berlin Mayor, District of Columbia National Building Museum Wal-Mart Realty Thornton-Tomasetti Group Linda W. Cropp, Chairman, American cities, its growing focus on Dennis J. Cotter/ Council of the District of Columbia Sponsors TIAA-CREF sustainable design and planning, and its James G. Davis Construction Friends Hon. Sharon Ambrose, Corporation Abercrombie and Fitch Turner Construction/ Council of the District of Columbia track record in developing successful Anonymous (2) Tompkins Builders Bruce S. Fowle/ The American Institute of Architects Hon. Marion Barry, Arent Fox public-private partnerships to create Fox & Fowle Architects Associated Builders and Contractors US Bank Council of the District of Columbia Peter C. Forster/ Bank of America thriving communities across the United Bender Foundation Western Development Corporation Hon. Kwame R. Brown, The Clark Construction Group Shalom Baranes Associates, Westfield Group Council of the District of Columbia Matthew and John Bucksbaum Architects Michael J. Glosserman/ Hon. David A. Catania, States. Remarkably, since its founding Calvin and Jane Cafritz WCI/ The JBG Companies Bloomingdale’s Renaissance Communities Council of the District of Columbia in 1921 as a lumber company, Forest City The Clark Construction Group Frederick A. Kober/ Boston Properties Leonard A. Zax/ Hon. Jack Evans, The Christopher Companies has remained under the leadership of The Walt Disney Companies Rhonda Butler and David Brunner Latham & Watkins Council of the District of Columbia A. Eugene Kohn/ Figg Engineering CB Richard Ellis Hon. Adrian Fenty, the interrelated Ratner, Shafran, and Kohn Pedersen Fox Associates Council of the District of Columbia Fox & Fowle Architects Centex Construction Company Honorary Committee Miller families, who have been widely Norman L. Koonce/ Hon. Jim Graham, GMAC Commercial Mortgage Central Station Development Hon. Daniel K. Inouye, The American Institute of Architects Council of the District of Columbia recognized not only for their business Goldman Sachs Corporation U.S. Senate Thomas C. Leppert/ Hon. Vincent C. Gray, Delon Hampton & Associates Chase Commercial Real Estate Hon. Paul S. Sarbanes, acumen, but also for their philanthropic The Turner Corporation Council of the District of Columbia The JBG Companies Banking U.S. Senate Brian T. McVay/ Hon. Phil Mendelson, endeavors. Clark Charitable Foundation Hon. Barbara A. Mikulski, Cushman & Wakefield of Frederick A. Kober Council of the District of Columbia Greater Washington Cooper Carry U.S. Senate While the Honor Award presents A. Eugene Kohn Hon. Vincent B. Orange, Sr., Robert A. Peck/ Hon. Dianne Feinstein, Louis Dreyfus Property Group Cushman & Wakefield of Greater Council of the District of Columbia an opportunity for the Museum to pay Greater Washington Board of Trade Washington U.S. Senate Hon. Kathleen Patterson, MacFarlane Partners Hon. Michael DeWine, tribute to those who have made significant M. Kirk Pickerel/ Design-Build Institute of America Council of the District of Columbia Associated Builders and Contractors Lynne Maguire and Will Miller U.S. Senate DLA Piper Rudnick Gray Cary Hon. Carol Schwartz, contributions to the built environment, it Richard M. Rosan/ McGraw-Hill Construction Hon. Wayne Allard, Eakin Youngentob Associates Council of the District of Columbia Urban Land Institute National Association of Home Builders U.S. Senate is also the centerpiece of the Museum’s Economics Research Associates Stephen E. Sandherr/ National Association of Real Estate Hon. Richard J. Durbin, annual fundraising activities. This year, The Associated General Investment Trusts Enterprise Companies U.S. Senate Contractors of America the gala brought in $1,000,000, breaking National Basketball Association Fleischman and Walsh Hon. George V. Voinovich, Mitchell N. Schear/ U.S. Senate Ohio Savings Bank Freddie Mac the seven-figure threshold for only the Charles E. Smith Commercial Realty, Hon. Ralph Regula, a division of Vornado Realty Trust Charles E. Smith Commercial Realty, Gensler Architecture, Design and second time in the award’s 19-year history. Planning Worldwide U.S. House of Representatives James W. Todd/ a division of Vornado Realty Trust Goldberg Companies, Inc. Hon. David L. Hobson, These funds help to make the Museum’s The Peterson Companies Robert A.M. Stern Architects U.S. House of Representatives Greenstein DeLorme & Luchs exhibitions and education programs Robert A.M. Stern/ Target Corporation Hon. Sherrod Brown, Robert A.M. Stern Architects Sharon and Jim Todd Gary L.Gross and Harley I. Gross U.S. House of Representatives possible, and the board and staff express Steven A. Wechsler/ The Tower Companies Harris Nesbitt Hon. Michael Doyle, National Association of Hines U.S. House of Representatives their deep gratitude to all who contributed Real Estate Investment Trusts Walker & Dunlop/ Green Park Financial Holland & Knight Hon. Steven C. LaTourette, to this year’s event. Norbert W. Young, Jr./ U.S. House of Representatives McGraw-Hill Construction Hon. Stephanie Tubbs Jones, Leonard A. Zax/ U.S. House of Representatives Latham & Watkins

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FINANCIAL SUPPORT SUPPORT

Elizabeth and Martin David This Old House Ventures, Inc. Christine Gill Restoration East, LLC Mr. and Mrs. Arnaud de Borchgrave Peggy and Ken Thompson Giuliani Associates Marilyn and Stan Ross Gilbert E. DeLorme, Esq. Truland Foundation Grimm + Parker Architects Bruce Ross-Sheriff Debartolo Holdings, LLC vda Paul Gunther Mansoor Saleh Zahir Dhalla Verizon DC GWWO Inc. Architects Adrienne Schmitz Hussein M. Dharsee WDG Architecture, PLLC Harney Woodworking, Ltd. Aniko Gaal Schott Doracon Contracting, Inc. Walker & Dunlop/ Harvard Jolly Architects PA Rhea S. Schwartz Christopher Dorval Green Park Financial Josephine D. Hearld Susan W. Schwartz Ambassador and Mrs. Mr. and Mrs. R. Beverly R. Webb Heller & Metzger, P.C. Margaret A. Seaver Robert W. Duemling Pete and Judy Welch Matthew Herrington Peter W. Segal EHT Traceries Inc. Wilmer Cutler Pickering Hale Robert Holleyman, II SGA Architects and Dorr LLP Thank You! Lois and Richard England Mary Ann C. Huey Gilaine and Larry Shindelman Neal L. Wood Jennifer and Farus Farmanali J. Ford Huffman Daniel K. Shogren and Norbert W. Young, Jr., FAIA Cynthia R. and Charles G. Field Elise Hughes Jennifer L. RIse Leonard A. Zax/Latham & Watkins Leonard Forkas, Jr. Hugh Newell Jacobson, FAIA Siemens Corporation $50,000 and above D.C. Commission on the Arts Design-Build Institute of America The Eckert Family Foundation Ann and Thomas Friedman Rich Jensen and Beth Goodrich Stefanie Zeldin Sigal and $250–$999 Robert K. Sigal D.C. Office of Planning & Humanities Fannie Mae Foundation Fund of Envision Design PLLC Gilbane Building Company Andrew Joskow Anonymous Robert Silman Associates, PLLC Fannie Mae Foundation of EDAW, Inc. The Community Foundation for Mr. and Mrs. Ronald I. Dozoretz Greenebaum & Rose Associates Amir Badrudin Kanji the National Capital Region Mary Achatz SKB Architecture & Design The Community Foundation for Figg Engineering Group Fentress Bradburn Architects HKS Architects Nazim Karim the National Capital Region Fox & Fowle Architects, PC The Max and Victoria Dreyfus Hanley-Wood, L.L.C. Brian Aitken Mr. and Mrs. Albert H. Small Foundation, Inc. Fross Zelnick Lehrman & Zissu, P.C. Ramzan Karimi Forest City Enterprises Mike Goodrich Hickok Warner Cole Architects Jamil Alibhai Nancy Somerville Eakin/Youngentob Associates, Inc. Mr. and Mrs. M. Arthur Gensler, Jr. Nooruddin Karsan Turner Construction Company Delon Hampton and Associates Hines The Honorable Mahlon Apgar, IV Alexander C. & Tillie S. Speyer Economics Research Associates Mr. and Mrs. Carl Gewirz Keane Enterprises, LLC Foundation United Technologies Corporation International Association of Bridge, Michael L. Horst Charles H. Atherton, FAIA Enterprise Companies Graycor Companies Rashida Khakoo Ben S. Stefanski, II The Museum thanks The Whiting-Turner Contracting Structural, Ornamental, and Elise Jaffe Atlantic Decorating, Inc. Company Reinforcing Iron Workers David C. Evans, Esq. Hargrove, Inc. Kishimoto.Gordon.Dalaya P.C. Dennis Stubbs Plumbing the following indi- Mr. and Mrs. Subzali Jinah Rita Balian The JBG Companies Fleischman and Walsh The IDI Group Companies Duane Kissick Patti Swain Almas Jiwani George Gregory Barnard viduals, companies, $25,000–$49,999 Japan-United States Friendship Barbara and Herb Franklin Independence Excavating C.M. Kling & Associates, Inc. Carolyn Tager Mary Roberta Jones Beery Rio Architects & Interiors Commission Gensler Architecture, Design Lehman-Smith + McLeish PLLC Paulette and John Korns associations and The Associated General , Shehenaz Bhanji Keene Taylor Contractors of America Frederick A. Kober & Planning Worldwide National Architectural Trust Mr. and Mrs. Salim Juma Kvell Corcoran Architects, P.C. Richard C. Blumenstein Renae and David Thompson agencies for gifts Vicki S. and Edward P. Bass A. Eugene Kohn, FAIA Goldberg Companies, Inc. National Capital Planning Almas Kanini Anita T. Lager Pam and Jay Bothwell R.M. Thornton, Inc. of $250 or more Mr. and Mrs. Arturo E. Brillembourg MacFarlane Partners Goldman, Sachs & Co. Commission Susan L. Klaus Jeffrey C. Landis, AIA and Bowie-Gridley Architects, PLLC Trace Inc. Carolyn and Kenneth D. Brody Mead Family Foundation Greenstein DeLorme & Luchs, P.C. National Society of Professional Eric Lamb/DPR Construction Julia Monk-Landis, AIA, AISD received from Engineers The Honorable and Mrs. Albert Twanmo The Morris and Gwendolyn Cafritz Will Miller and Lynne Maguire Harley I. and Gary L. Gross Larson Family Fund Harold Leich Polshek Partnership Architects Richard R. Burt Aziz Valliani November 2004 to Foundation National Association of Real Estate Harris Nesbitt Lasalle Bank Richard H. Levy Reed Smith LLP Mr. and Mrs. William N. Cafritz Venturi, Scott Brown & Associates May 2005. These Penny and Jim Coulter Investment Trusts The Haskell Company Lewis Group of Companies Kathleen and Peter Linneman Emerson G. and Delores G. Marcia Camarda Versar Inc. The Jewish Historical Society of NATIONAL ASSOCIATION Hensel Phelps Construction Co. Rafael V. Lopez and Linda I. Marks Linowes and Blocher LLP generous gifts Greater Washington OF REALTORS ® Reinsch Foundation Capstone Communications, LLC Moez Virani International Masonry Institute Linda B. and Jonathan S. Lyons William C. Louie provide essential The Martha and Bronson Ingram National Basketball Association Chase W. Rynd Jan D. Carline Voorsanger & Associates McKissack & McKissack Barbara M. Macknick Carolyn M. Mackenzie Foundation National Children’s Museum Moshe Safdie and Associates, Inc. Cass & Associates Architects, P.C. Boyd Walker support for the McWilliams/Ballard, Inc. Martinez & Johnson Architecture Hanif Mamdani Rehman Jinnah, All American Mobile National Endowment for the Victor O. Schinnerer & Co., Inc. Chernikoff and Company Sarah and Luke Wassum McKennon Shelton & Henn LLP David P. Manfredi Museum’s exhibi- Moyez Khimji Humanities The Morningstar Foundation United Arts Organization of William F. Clinger, Jr. Watt, Tieder, Hoffar & Fitzgerald LLP Mid-City Urban, LLC Marks, Thomas Architects tions, education Lt. Col. & Mrs. William Karl Konze Nixon Peabody LLP Occasions Caterers Greater Washington, Inc. Columbia Woodworking, Inc. Stan Watters Mr. and Mrs. F. Joseph Moravec David D. Marquardt, AIA Lafarge North America Inc. The Peterson Family Foundation Parking Management, Inc. Walton Street Capital Gianne Conard, AIA James V. Waugh and programs, and Zimmer Gunsul Frasca National City Bank Michael L. Marshall, AIA Louis Dreyfus Property Group Portland Cement Association Cesar Pelli & Associates, LLP Cooke Skidmore Consulting Group Kate Meenan-Waugh National Concrete Masonry Grace R. Mayer endowment funds. The McGraw-Hill Skidmore, Owings & Merrill LLP Perkins & Will David E. Cooper Patty and Robert Webb Association Joan Meixner Companies/McGraw-Hill Charles E. Smith Commercial PN Hoffman, Inc. $1,000–$2,499 Katy and Scott Weidenfeller Some of the contri- National Multi Housing Council Jerome M. Cooper Construction Realty, a division of Vornado Abdulmalek J. Merchant Prudential Mortgage Capital Co. Ai Cox Graae + Spack Architects Gareth Wells and Janet E. Ziffer butions listed below National Association of Home Realty Trust NFL Charities Col. Theresa A. Meyer and Kevin Roche, John Dinkeloo Altoon + Porter Architects Anne Sprunt and Drury B. Crawley Louise W. Wiener are in partial ful- Builders Target & Associates Mr. and Mrs. Alan Novak Bob Ranck American Institute of Architecture Husein Cumber Beverly A. Willis, FAIA Geoffrey Raynor and Kim Baldi Sharon and Jim Todd The History Channel Save our Students Ted & Lea, Jim & Wanda Pedas George H. Miller fillment of larger Janet and David Curtis Laura Wirkkala Sarah and Ross Perot, Jr. History Grant Program Mr. Thomas N. Armstrong, III Irene and Abe Pollin J.C. Milner Dirk J. Debbink, PE pledges. Catherine B. Reynolds Foundation $5,000–$9,999 Shaw Pittman J. Aron Charitable Foundation, Inc Pritzker Foundation Ann K. Morales Sara Nomellini Delgado, AIA Matching Gifts David M. Schwarz Abramson Family Foundation, Inc. SMWM ARUP PSA-Dewberry M. Howard Morse Susan and Bernard G. Dennis Bank of America Foundation Robert A.M. Stern Architects LLP American Planning Association STUDIOS Architecture RATHGEBER/GOSS Mueser Rutledge Consulting Joseph A. Baldinger The Morris and Gwendolyn U.S. Department of Housing and ASSOCIATES Brenda M. Derby American Society of Civil Engineers Sunrise Foundation The Bernstein Companies Almas Nanji Cafritz Foundation Urban Development Jaquelin T. Robertson, FAIA Dimella Shaffer American Society of Swidler Berlin LLP Bernstein Management National Conference of State ExxonMobil Foundation Landscape Architects Thornton-Tomasetti Group, Inc. Ellen and Russell Rosenberger George Cameron Eaton, AIA Historic Preservation Officers Beyer Blinder Belle Architects The Ford Foundation $10,000–$24,999 Terry W. Antonello Tompkins Builders & Planners, LLP Deborah L. Rosenstein/The Fattehali Eboo National Trust for Historic Christopher Companies Preservation Abercrombie & Fitch Arent Fox Trammell Crow Company Robert H. Braunohler EDSA SK&I Architectural Design Group, Ann K.R. Nitze The American Institute of Architects Shalom Baranes Associates, Conrad Egan US Bank The Cafaro Company LLC Autodesk, Inc. Architects Eighth Day Design, Inc. Robert K. Oaks WCI/Renaissance Communities Cerami Associates Bill Sawicki Bank of America Beers & Cutler, PLLC Mark D. Ein Henry Otto Wal-Mart Stores, Inc. CertainTeed Corporation Nizam Shajani Bender Foundation Boston Properties Embassy of the Netherlands PerLectric, Inc. Champion Tile Sharma General Engineering Deborah Berke & Partners CB Richard Ellis, Inc. Washington- PIP Printing $2,500–$4,999 Farin Chatur Contractors, Inc. Richard F. Evans Architects LLP Baltimore Multi-Housing Team Jillian Hanbury Poole Harold L. Adams, FAIA Christie’s America Darrell Sheaffer Ronald L. Ewing Mr. and Mrs. David Bender/ Centex Construction Company, Inc. Grace and Philip A. Fleming Quadrangle Development Co. Blake Real Estate, Inc. Mark L. Baughman The Christopher Companies Barbara Spangenberg Charter One Quality Engraving and Design James H. Callard christopher consultants, ltd. Ambassador Carl Spielvogel and Whit Fletcher Bloomberg Clark Charitable Foundation, Inc. Barbaralee Diamonstein- Nancy McElroy Folger Eden W. Rafshoon David L. Brunner and Rhonda Butler Cannon Design James C. Cleveland Construction Industry Round Table Spielvogel The Ramji Law Firm Crawford/Edgewood Managers, Inc. Perry C. Cofield, Jr. Phyllis Freedman Clark Construction Group, LLC Cooper Carry Inc. Stanley Martin Commercial, Inc. Bruno Freschi, OC, FRAIC Rasevic Construction Co. Cushman & Wakefield of Greater Dimick Foundation Contemporary Electrical James G. Davis Construction Services, Inc. StreetSense Wally Reed, Jr. and Mary Ellen Taylor Washington, Inc. Corporation Dorsky Hodgson + Partners General Typographers, Inc. Tara Consulting William Regan EMCOR Facility Services Leo A Daly Robert J. Geniesse, Esq.

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MUSEUM NEWS MUSEUM NEWS

Returning to the Board of Trustees after a three-year hiatus is WHAYNE S. QUIN, New Trustees a partner in the law firm of Holland & Knight. Quin’s areas of expertise include land use, zoning, urban planning, building

JOAN BAGGETT CALAMBOKIDIS is president of and housing codes, preservation, trans- The following distinguished professionals STEPHEN E. SANDHERR, chief executive offi- the International Masonry Institute (IMI), portation, and other real estate matters. and business leaders have recently been cer of the Associated General Contractors a labor-management trust fund that over- He recently served as chairman of elected to the National Building Museum’s of America (AGC), first joined the organiza- sees training and promotion for the union Children’s National Medical Center and has Board of Trustees: tion’s staff in 1984. After a brief stint in Whayne S. Quin masonry industry. Before joining IMI, she been on the boards of Jubilee Enterprise of private practice with the law firm of had a varied career in governmental affairs Greater Washington and the Free the WILLIAM B. ALSUP III joined Hines in 1979, Thompson, Mann & Hudson and as a staff and public service, having served as assis- Children Trust. A graduate of Vanderbilt and is now a senior vice president of the attorney for the National Association of William B. Alsup III tant to the president and director of politi- University, he received his law degree from company, with responsibility for the devel- Home Builders, he returned to AGC in 1991 cal affairs under President Bill Clinton and the University of Virginia. opment, acquisition, leasing, and manage- and was promoted to his current position chief of staff of the Democratic National ment of properties in Washington, DC and in 1997. Sandherr received a B.S. in politi- Committee. She is currently on the board of PHILIPPE ROLLIER is president and CEO of along the East Coast. An active participant cal science from the University of Scranton the National Democratic Institute for Lafarge North America, the largest produc- in Museum programs for several years, and a law degree from The Catholic International Affairs, and was a member of er of cement and concrete in the United Alsup holds a Bachelor of Science in econom- University of America. the US delegation observing the national States and Canada and a major supplier of ics from Hampden-Sydney College, and an elections in Bosnia-Herzegovina in 1999. mineral aggregates and gypsum. He went Philippe Rollier MBA from the University of North Carolina. Calambokidis is a graduate of the to work at Lafarge’s Paris headquarters in University of Alabama. 1969, and subsequently held senior execu- FRANK ANTON is president of Hanley Wood, tive positions with the company in the LLC, which produces a variety of maga- Frank Anton MELISSA A. MOSS is senior vice president and United Kingdom and Canada. In 1999, he zines, trade shows, conferences, websites, personal investment counselor for Capital was appointed an executive vice president and information resources serving the resi- Guardian Trust Company’s Personal of Lafarge Group. Rollier holds both an dential and commercial construction mar- Investment Management division. She was engineering degree in agronomy and an kets. He formerly served as editor and pub- previously the president and CEO of MBA from the Institut d’Etudes Politiques lisher of Builder magazine, the company’s Women’s Consumer Network, a direct mar- in Paris. flagship publication. Anton is a member of keting and Internet company that she the board of American Business Media and founded after a 20-year career in politics Stephen E. Sandherr serves on the executive committee of and government, including a stint as direc- Harvard University’s Joint Center for tor of the Office of Business Liaison at the Housing Studies. He is a graduate of US Department of Commerce. One of the Joan Baggett Calambokidis Dartmouth College and holds a master’s founders of the Democratic Leadership degree in journalism from Northwestern Council, Moss now serves on the boards of University. Wolf Trap and the National Partnership for Women and Families. She holds an under- Mystery Building graduate degree from UCLA and a master’s degree from Harvard University. Several different buildings have borne the same name as this struc- ture over time. Can you identify the building, its location, and its Melissa A. Moss architect? Send responses to:

Mystery Building National Building Museum 401 F Street, NW Washington, DC 20001 Correct reponders will be credited ? in the next issue of Blueprints.

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Celebrating 25 Years

e’ve been talking about it for months, and now it’s finally here—the Museum’s 25th Anniversary Bash! So grab your party hat for this silver-themed celebration sure to knock your socks off! The party on Saturday, October 29, 2005, begins at 8:00 pm Wwith a full night of live entertainment, dancing, gourmet munchies, neon cocktails, a luxury auction and raffle, celebrity guests, noted architects and designers, and more. When the revelry ends at midnight—complete with fireworks!—you could be going home with a raffle or auction win, like a vacation package, a private dinner with foreign ambassadors, a weekend getaway, items from noted architects, or even a new set of wheels! For an extra treat, support the Museum at the Minaret level and join the VIP reception, or sign on as a Tower or Spire and gain access to private lounges, get a great view from an exclusive fourth-floor balcony celebration, and take home special gifts for your guests.

Single tickets start at $75 for members ($95 for nonmembers). Higher support levels include multiple tickets and a myriad of extra benefits: Pinnacles ($125; $150 nonmembers), Minarets ($425; $500 nonmembers), Domes ($1,275; $1,500 nonmembers), Towers ($4,500; $5,000 nonmembers), and Spires ($9,000; $10,000 nonmembers). All proceeds support the Museum’s exhibitions and education programs. For more information on support levels and benefits, or to purchase25 tickets, call 202.272.2448, x3559 or visit www.nbm.org. 25 25

MEMBERSHIP APPLICATION

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

BY PHONE: 202.272.2448 ADDRESS BY INTERNET: www.NBM.org

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

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