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THE Ambrkian Arciiitectcrat' Fotjndatlon THE AMBRKiAN ARCIIITECTCRAt' FOtJNDATlON "That Exceptional One: Women in American Architecture, 1888-1988" is organized and circulated by the American Architectural j Foundation and the AIA Women in Architecture Committee. The exhibition will premiere on • May 15,1988, at die AIA National Convention | and Design Exposition in New York City before traveling nationwide during its three-year tour. The American Institute of Architects, founded in 1857, is a voluntary not-for-profit member- i ship organization representing more than 54,000 architects and architectural profession- i als in nearly 300 state societies and local chapters stretching from Maine to Guam. The mission of the American Architectural ] Foundation, the publicly oriented arm of the ( AIA, is to advance the quality of American j architecture by stimulating the public's aware- ness and understanding of architecture and its related arts. "I cannot, in whole conscience, recommend architecture as a profession for girls. I know some women who have done well at it, but the obstacles are so great that it takes an exceptional girl to make a go of it. If she insisted on becoming an architect, I would try to dissuade her. If then, she was still determined, I would give her my blessing—she could be that exceptional one." Pietro Belluschi, EilA, 1972AIA Gold Medalist, from the 1955New York Life Insurance Company brochure, "Should You Be an Architect?" Contents 5 A Message from the President of The American Institute of Architects 6 A Message from the Chair of the AIA Women in Architecture Committee 7 Preface 9 "That Exceptional One: Women in American Architecture, 1888-1988" 27 AIA Archive of Women in Architecture 41 Selected Bibliography WHHW A Message from the President of The American Institute of Architects The American Institute of Architects is priv- past decade alone, reflecting the priority placed ileged to sponsor this major national exhibi- by the AIA to breaking down once and for all tion on the history of women in architecture. barriers to equality and full participation "That Exceptional One: Women in American within the profession. Architecture, 1888-1988" serves not only as a The AIA is proud to sponsor this exhibition tribute to the contributions already made by in the hope that it will be not only educa- women to the designed environment, but as a tional, but inspirational, accelerating the visible, tangible expression of the commitment momentum of change and drawing more and of the AIA to expanding even further the role more talented young women to a career in of women within the architectural profession. architecture. But "That Exceptional One" is A particularly auspicious time for this exhi- not only a testament to a century of social bition, the year 1988 marks the 100th anni- progress; it is an acknowledgment of a cen- versary of the election of the first woman to tury of architetcural achievement, a celebra- membership in the AIA, American architec- tion of the enrichment of hundreds of cities ture's professional society. In 1888 Louise and towns through the creative talent and Bethune began the long, and sometimes ardu- professional skill of Americas women architects. ous, process of winning acceptance for women within a traditionally all-male profession. Her accomplishments foreshadowed those of thou- sands of dedicated women who followed her, and today still serve as an inspiration for those who seek even greater participation by women in architectural practice. Importantly, Ted P. Pappas, EAIA the number of women members of the Insti- President tute has increased over a thousandfold in the The American Institute of Architects 5 A Message from the Chair of the AIA Women in Architecture Committee 'That Exceptional One: Women in Ameri- In the 23 years since Belluschi penned can Architecture, 1888-1988" takes its name "Should You Be An Architect?" the profession from a 1955 article for young students written has changed dramatically. More women are by AIA Gold Medalist Pietro Belluschi, EAIA, enrolling in schools of architecture, more who wrote that he could not in "whole con- women are graduating and entering the archi- science recommend architecture as a profes- tectural workforce, and more women are suc- sion for girls." cessfully practicing architecture. This statement has very personal meaning Throughout the United States, women con- for me. In 1955, I was twelve years old and tribute to the profession in a variety of ways. had decided to become an architect. My par- They are intern-architects, firm principals and ents had the good grace not to mention that partners, educators, designers, production the field did not have many women, and even managers, computer specialists, business man- put me in touch with Louise Hall, AIA, for agers, and representatives for government agen- advice on what courses to take. cies and corporate clients. Having gone to the public library to read This exhibition is the culmination of more on my chosen profession, I was stunned several years of work by the AIA Women in by Belluschi s pronouncement. The belief that Architecture Committee and is intended as a architecture was an unsuitable career for celebration of the accomplishments of women women was reiterated many times by my over the past century. school principal, guidance counselor, and numerous others. In the end, none of these voices dissuaded me, but I will always recall the frustration and dismay I felt that afternoon in the library. Presented in its historical context, the title was selected to show the changing composi- tion of the profession. Today, women are no longer "exceptions" to the "rule" of the tra- Ortrude B.White, AIA ditionally male-dominated profession and need Chair not be "exceptional" to be an architect. AIA Women in Architecture Committee 6 Preface "That Exceptional One: Women in American Chair of the Department of Fine Arts at Tufts Architecture 1888-1988" commemorates University; Elizabeth Grossman, Assistant Pro- the 100th anniversary of the election of the fessor of Art and Architectural History at the first woman, Louise Blanchard Bethune of Rhode Island School of Design; James Stewart Buffalo, New York, to membership in The Polshek, AIA, Principal, James Stewart Polshek American Institute of Architects. The idea for and Partners; Anne Radice, Director, National this exhibition on a century of achievements Museum of Women in the Arts; Carol Sakata, by women came from the AIA Women in AIA, Women in Architecture Committee repre- Architecture Committee. sentative; Helen Searing, Alice Pratt Brown We are grateful to the many institutions and Professor of Art and Architectural History at individuals who have generously allowed the Smith College; Richard Guy Wilson, Associate American Architectural Foundation access to Professor of Architectural History at the Uni- their repositories and material. We thank the versity of Virginia; and Tony P. Wrenn of The AIA Archives; the AIA Archive of Women in American Institute of Architects Archives. 1 Architecture; The Art Institute of Chicago's Therese Ildefonso, Project Director and Staff Ryerson and Burnham Libraries; The Boston Executive, AIA Women in Architecture Com- Athenaeum; The Buffalo & Erie County Histor- mittee, and Judith Schultz, Curator of Exhibi- pass ical Society; California Polytechnic State Uni- tions, the American Architectural Foundation, versity's Special Collections, University Archives; deserve special recognition for their herculean The California State Archives; Harvard Univer- efforts to develop, coordinate, and produce sity's Frances Loeb Library and The Schlesinger "That Exceptional One: Women in American Library, Radcliffe College; The Library of Architecture, 1888-1988." Special thanks also Congress; The MIT Archives; The MIT Museum; go to Tony P. Wrenn for his continued interest The National Archives; The National Park and support for the exhibition and women in Service; The New York Historical Society; architecture and to Marilyn Montgomery, The Skidmore, Owings & Merrill Archives; Director of Development, the American Archi- Smith College's Sophia Smith Library, Archives tectural Foundation, for her expertise. At the and Special Collections; The University of outset, Beverly Sanchez and Mary Means helped California at Berkeley's College of Environ- provide vision for the exhibition. Susan Hecht mental Design; and, The University of provided powerful enthusiasm for the project California at Santa Barbara's University Art during critical periods of development. Museum, Architectural Drawing Collection. Those who also deserve recognition include We are indebted to the exhibition advisory Laura Greenberg for animating the exhibition committee for their guidance: Carol Ross Bar- script with her prose; Lisa Hartjens for ney, AIA, Women in Architecture Committee enlivening the exhibition panels through her representative; Margaret Henderson Floyd, research for images; Beth Miles for enriching 7 We also thank the many AIA Ann M. Dunning, AIA Rosemary Muller, AIA the exhibition with her design; Matilda chapters and members who Lyn Heme Eisenhauer, AIA Northeastern Minnesota - McQuaid for her consummate and tireless contributed to the exhibition Kristine K. Fallon, AIA Chapter/AIA fabrication: Barbara Flammang, AIA Kathleen Page, AIA research for this exhibition during 1984-1986; Florida North Chapter/AIA Nancy Peacock, AIA and, Vivian Lea Young, Elizabeth May, and Sponsor Frewen Architects, Inc. Nina Pence, AIA The College of Fellows Fund of Joan E. Goody, AIA Wilson Pollock Jr., EMA Millie Riley for their invaluable services. the American Architectural Charles Gwathmey, EUA Madie Rider, AIA We also express our gratitude to those indi- Foundation«fj\- Elsie M. Hurst, Hon. AIA Jean Rose, AIA The Graham Foundation for Indianapolis Chapter/AIA Patricia Sapinsley, AIA viduals who submitted material to the AIA Advanced Studies in the DirkLohan, BUA Kate Johns Shaw, AIA Archive of Women in Architecture. These mate- Fine Arts Harry B. Mahler, SUA Karen Lee Sobol, AIA The National Endowment for Nancy McAdams, AIA Janet W. Solinger rials enabled the AIA Archive to establish a the Arts Margaret McKenzie, AIA Cheryl Stewart, AIA significant collection.
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