DOCSLIB.ORG

THE Ambrkian Arciiitectcrat' Fotjndatlon

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

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.
Recommended publications
  • MIT Museum Announces New Exhibition of Holograms and the 9Th International Symposium on Display Holography

    MIT Museum Announces New Exhibition of Holograms and the 9Th International Symposium on Display Holography

    Press Advisory Contact Josie Patterson 617-253-4422, [email protected] Press Images - PDF MIT Museum Announces New Exhibition of Holograms and the 9th International Symposium on Display Holography CAMBRIDGE, MA - The MIT Museum announces the opening on June 27, 2012 of The Jeweled Net: Views of Contemporary Holography, an exhibition created in conjunction with the 9th International Symposium on Display Holography, co-sponsored by the MIT Museum and the MIT Media Lab. Over 20 holograms created by international artists, as well as several from the MIT Museum collections, will be on display, and will remain open to the public through September 28, 2013. The exhibition presents a rare opportunity to view selected works from the world-wide community of practicing display holographers. The MIT Museum holds the world’s largest and most comprehensive collection of holograms and regularly invites artists to showcase new work at the Museum. "This new exhibition is an example of our expanded commitment to support public engagement with practicing artists through exhibitions and programs," says Seth Riskin, who will give talks and tours throughout the coming year in his role as the MIT Museum’s Manager of Emerging Technologies and Holography/Spatial Imaging Initiatives. The Jeweled Net: Views of Contemporary Holography surveys state-of-the-art display holography, and showcases the artistic and technical merit of individual works of art. Selected by a panel of experts, the holograms on display represent artists from Germany, Italy, the UK, Canada, Australia, Japan, and the US. Holography has given birth to a new field of science during the past six decades, and as well, to a group of 'pioneers' who have found a new media upon which human vision in three dimensions is transferred.
  • ORAL HISTORY of NATALIE DE BLOIS Interviewed by Betty J. Blum

    ORAL HISTORY of NATALIE DE BLOIS Interviewed by Betty J. Blum

    ORAL HISTORY OF NATALIE DE BLOIS Interviewed by Betty J. Blum Compiled under the auspices of the Chicago Architects Oral History Project The Ernest R. Graham Study Center for Architectural Drawings Department of Architecture The Art Institute of Chicago Copyright © 2004 The Art Institute of Chicago This manuscript is hereby made available to the public for research purposes only. All literary rights in the manuscript, including the right to publication, are reserved to the Ryerson and Burnham Libraries of The Art Institute of Chicago. No part of this manuscript may be quoted for publication without the written permission of The Art Institute of Chicago. ii TABLE OF CONTENTS Preface iv Outline of Topics vi Oral History 1 Selected References 143 Curriculum Vitae 146 Index of Names and Buildings 147 iii PREFACE It is not surprising, despite the fact that architecture was a male-dominated profession, that Natalie de Blois set her sights on becoming an architect early on. Surrounded by the talk and tools of the trade, she continues an unbroken chain of three generations of Griffin family achievements and interest in building. De Blois was headed for MIT but was diverted by the Depression to Columbia University, where she studied architecture. After graduation, de Blois began her fifty-year career in architecture in 1944 at the office of Skidmore Owings and Merrill, New York. It was in that office, under the wing of Gordon Bunshaft, that de Blois blossomed. She worked with Bunshaft on important and challenging projects and her pleasure in that she thought was reward enough. However, as one of the few women in architecture at that time, she suffered the slights and indifference to which women were often subjected.
  • Download File

    Download File

    MANAGING TRANSPARENCY IN POST‐WAR MODERN ARCHITECTURE Makenzie Leukart Submitted in partial fulfillment of the requirements for the degree Master of Science in Historic Preservation Graduate School of Architecture, Planning and Preservation Columbia University (May 2016) Dedication This thesis would not have been possible without the support of my advisor, Theo Prudon. His guidance and depth of knowledge about modern architecture was vital to my own chaotic process. Special thanks is given to my parents, who made this educational journey possible. I will never forget your sacrifice and your unconditional love and support. Thank you for the frequent pep talks in moments of self‐ doubt and listening to my never‐ending ramblings about my research. Especially to my mother, who tagged along on my thesis research trip and acted as both cheerleader and personal assistant throughout. To Zaw Lyn Myat and Andrea Tonc, it’s been a long 4 years to get to this point. I could not have made it through either program without your friendship, especially during the last few months as we inched towards the finish line. Additional thanks is also given to those who aided me in my research and facilitated access: Belmont Freeman, Richard Southwick, Donna Robertson, Edward Windhorst, Frank Manhan, Louis Joyner, Tricia Gilson, Richard McCoy, Erin Hawkins, Michelangelo Sabatino, Mark Sexton, Robert Brown and the entire Historic Preservation faculty and staff at Columbia. I Table of Contents Introduction ................................................................................................................................
  • Extreme Customization

    Extreme Customization

    William J. Mitchell, Frank T. Piller, Mitchell Tseng, Ryan Chin, Betty Lou McClanahan (Editors) Extreme Customization Proceedings of the MCPC 2007 World Conference on Mass Customization & Personalization October 7-9, 2007 at the Massachusetts Institute of Technology October 11-12, 2007 at the HEC Business School Montreal www.mcpc2007.com Notes 2 Proceedings of the 2007 World Conference on Mass Customization & Personalization Contents Welcome to the MCPC 2007 .......................................................................................................6 MCPC 2007 Conference Overview & Schedule ........................................................................7 About the MCPC Conference Series .......................................................................................12 MCPC 2007 Conference Team..................................................................................................13 MCPC 2007 Hosting Organizations .........................................................................................16 MCPC 2007: Sponsors & Supporters of the MIT Conference ...............................................17 The MIT Smart Customization Group ......................................................................................18 MCPC 2007 Conference Presentations ...................................................................................19 1 Keynote Plenary Presentations.......................................................................................20 2 MCP Showcase & Panel Sessions ..................................................................................24
  • Case 3:15-Cv-30024-MGM Document 1 Filed 02/12/15 Page 1 of 32

    Case 3:15-Cv-30024-MGM Document 1 Filed 02/12/15 Page 1 of 32

    Case 3:15-cv-30024-MGM Document 1 Filed 02/12/15 Page 1 of 32 IN THE UNITED STATES DISTRICT COURT FOR THE DISTRICT OF MASSACHUSETTS WESTERN DIVISION NATIONAL ASSOCIATION OF THE DEAF, on behalf of its members, C. WAYNE DORE, CIVIL ACTION NO. CHRISTY SMITH, LEE NETTLES, and DIANE NETTLES, on behalf of themselves and CLASS ACTION COMPLAINT FOR a proposed class of similarly situated persons DECLARATORY AND INJUNCTIVE defined below, RELIEF Plaintiffs, v. MASSACHUSETTS INSTITUTE OF TECHNOLOGY, Defendant. Plaintiffs, the National Association of the Deaf, on behalf of its members, and C. Wayne Dore, Christy Smith, Lee Nettles, and Diane Nettles, on behalf of themselves and a proposed class defined below, by and through undersigned counsel, file their Class Action Complaint for Declaratory and Injunctive Relief and respectfully allege as follows: INTRODUCTION 1. Defendant Massachusetts Institute of Technology (“MIT” or “the Institute” or “Defendant”) makes available a variety of online content on websites that have received, to date, at least 125 million visitors.1 MIT makes thousands of videos and audio tracks publicly available for free to anyone with an Internet connection, on broad-ranging topics of educational or general interest. With only a few keystrokes, anyone can access videos ranging from campus talks by President Obama, Noam Chomsky and other “Laureates and Luminaries,” to introductory classes 1 MIT, About OpenCourseWare, http://ocw.mit.edu/about/ (accessed February 3, 2015). Case 3:15-cv-30024-MGM Document 1 Filed 02/12/15 Page 2 of 32 in topics such as computer programming, to higher-level classes in topics such as business and mathematics, to educational videos made by MIT students for use by K-12 students.
  • The Juilliard School

    The Juilliard School

    NEW ISSUE — BOOK-ENTRY ONLY Ratings: Moody’s: Aa2 S&P: AA See “RATINGS” herein In the opinion of Orrick, Herrington & Sutcliffe LLP, Bond Counsel, based upon an analysis of existing laws, regulations, rulings and court decisions, and assuming, among other matters, the accuracy of certain representations and compliance with certain covenants, interest on the Series 2018A Bonds (as such term is defined below) is excluded from gross income for federal income tax purposes under Section 103 of the Internal Revenue Code of 1986. In the further opinion of Bond Counsel, interest on the Series 2018A Bonds is not a specific preference item for purposes of the federal alternative minimum tax. Bond Counsel is also of the opinion that interest on the Series 2018A Bonds is exempt from personal income taxes imposed by the State of New York or any political subdivision thereof (including The City of New York). Bond Counsel expresses no opinion regarding any other tax consequences related to the ownership or disposition of, or the amount, accrual or receipt of interest on, the Series 2018A Bonds. See “TAX MATTERS” herein. $42,905,000 THE TRUST FOR CULTURAL RESOURCES OF THE CITY OF NEW YORK Refunding Revenue Bonds, Series 2018A (The Juilliard School) The Refunding Revenue Bonds, Series 2018A (The Juilliard School) (the “Series 2018A Bonds”) will be issued and secured under the Revenue Bond Resolution (The Juilliard School), adopted by The Trust for Cultural Resources of The City of New York (the “Trust”), as of March 18, 2009, as supplemented, including as supplemented by a Series 2018A Resolution Authorizing not in Excess of $50,000,000 Refunding Revenue Bonds, Series 2018A (The Juilliard School), adopted by the Trust on October 11, 2018 (collectively, the “Resolution”).
  • 2019Community Involvement Report

    2019Community Involvement Report

    MIT LINCOLN LABORATORY COMMUNITY 2019 INVOLVEMENT REPORT Outreach Office MI T LINCOL N LABORATORY A Decade // of Achievement 2018 Lincoln LaboratoryTA Outreach T 6 April 2007– 6 April 20192017 NUMBERS Donated to the American Military Fellows at AScientistsNNUAL & R engineersEPORTS WHoursEBSITE per year supportingLAUNCHED IN CAPABILITIES TECHNICAL Heart Association Lincoln Laboratory volunteering STEM BROCHURES EXCELLENCE AWARDS 300 11 12,15 20080 5,21117 55 10 Care packages Dollars given to the Jimmy Fund Dollars raised for Alzheimer Dollars raised by Laboratory ACTS OOKS EPORTS DAUGHTERS & SONS DAYS DIRECTOR’S OFFICE Fsent to troops B byMIT Laboratory R cyclists Support Community since 2009 employees in 2019 since 2015 MEMOS PROOFREAD 1607 110,792 20+ 549,283 10 1,20620,175$0 Students seeing Students touring Charities receiving Lincoln Laboratory OUTREACH PLAQUES & STUDENTS IN SSTEMTUDENTS demonstrations IN OUR STEM PROGRAMS Lincoln Laboratory donations K-12 STEM programs REWARDS PROGRAMS FAIRS CREATED NOW IN STEM COORDINATED MAJORS 14,00080,000+ 2560+ Money donated to Summer Internships Staff in Lincoln PEN LINCOLN ToysMI Tfor OTots drive STEM PROGRAMS Scholars LABORATORY 37 HOUSE 120 JOURNALS 940 2 274 50 1,0007 200 9 JAC BOOKLETS LLRISE CYBERPATRIOT Contents A MESSAGE FROM THE DIRECTOR 02 - 03 04 - 37 01 ∕ EDUCATIONAL OUTREACH 06 K–12 Science, Technology, Engineering, and Mathematics (STEM) Outreach 23 Partnerships with MIT 28 Community Engagement 38 - 59 02 ∕ EDUCATIONAL COLLABORATIONS 40 University Student Programs 45 MIT Student Programs 52 Military Student Programs 58 Technical Staff Programs 60 - 85 03 ∕ COMMUNITY GIVING 62 Helping Those in Need 73 Helping Those Who Help Others 79 Supporting Local Communities A Message From the Director Lincoln Laboratory has built a strong program of educational outreach activities that encourage students to explore science, technology, engineering, and mathematics (STEM).
  • Graphicstudio: Uncommon Practice at USF at Tampa Museum of Art

    Graphicstudio: Uncommon Practice at USF at Tampa Museum of Art

    Graphicstudio: Uncommon Practice at USF at Tampa Museum of Art “Graphicstudio: Uncommon Practice at USF” is the most ambitious and comprehensive show to feature works from the workshop since the survey exhibition of the early years of Graphicstudio at the National Gallery of Art in Washington D.C. in 1991. The exhibit features forty-five years of more than 110 original works by an international array of 45 of the 108 artists who have worked in residence at Graphicstudio. On view February 1 through May 18, 2014, this exhibition was co-organized by the Tampa Museum of Art and the USF Contemporary Art Museum and curated by Jade Dellinger. Highlighting both technical and conceptual breakthroughs, the exhibition includes seminal works spanning Graphicstudio’s forty-five year history (by Robert Rauschenberg, Jim Rosenquist, Ed Ruscha, Allan McCollum, Louise Bourgeois, Jim Dine, and others) with some of its most recent collaborative endeavors by (Christian Marclay, Mark Dion, Teresita Fernández, Los Carpinteros, and Trenton Doyle Hancock). According to Margaret Miller, the Director of Institute for Research in Art – Contemporary Art Museum and Graphicstudio, the exhibition is an opportunity for viewers to see a survey of works that represent leading international artists and affirms that printmaking is a primary medium for many contemporary artists. The exhibition chronicles several aesthetic and technical conversations among artists of different generations. Often times, it is the invention of a new technology that transfixes the artists in residence. As former director, Alan Eaker noted, “It has always been the primary concern of Graphicstudio to make art that was phenomenal and along the way develop the technology to accomplish it.” Founded in 1968 as a non-profit, university-based, collaborative art making facility, Graphicstudio remains unique in its commitment to aesthetic and technical research in the visual arts.
  • I 2 1994 National Register of Historic Places Registration Form Interagency Resources Division National Park Somcf

    I 2 1994 National Register of Historic Places Registration Form Interagency Resources Division National Park Somcf

    NPS Form 10-900 (Rev. 10-90) United States Department of the Interior National Park Service I 2 1994 NATIONAL REGISTER OF HISTORIC PLACES REGISTRATION FORM INTERAGENCY RESOURCES DIVISION NATIONAL PARK SOMCF . J. , , This form is for use in nominating or requesti nations___ for individual properties and districts. See instructions in How to Complete n"eNational Register of Historic Places Registration Form (National Register Bulletin 16A). Complete each item by marking "x" in the appropriate box or by entering the information requested. If any item does not apply to the property being documented, enter "N/A" for "not applicable." For functions, architectural classification, materials, and areas of significance, enter only categories and subcategories from the instructions. Place additional entries and narrative items on continuation sheets (NPS Form 10-900a). Use a typewriter, word processor, or computer, to complete all items. 1. Name of Property historic name Hillandale (Main Residence and Gatehouse) other names/site number 2. Location street & number Main Residence; 3905 Mansion Court. N.W. Gatehouse; 3905 Reservoir Road. N.W. city _ Washington _ state District of Columbia code DC zip code 20007 county N/A code N/A vicinity X not for publication N/A 3. State/Federal Agency Certification As the designated authority under the National Historic Preservation Act of 1986, as amended, I hereby certify that this X nomination __ request for determination of eligibility meets the documentation standards for registering properties in the National Register of Historic Places and meets the procedural and professional requirements set forth in 36 CFR Part 60. In my opinion, the property X meets __ does not meet the National Register Criteria.
  • Past the Parapets of Patriarchy? Women, the Star System, and the Built Environment

    Past the Parapets of Patriarchy? Women, the Star System, and the Built Environment

    Past the Parapets of Patriarchy? Women, the Star System, and the Built Environment Cynthia Hammond, Concordia University, has On June 10, 2009, the Beverly Willis received awards for her writing on the roles Architecture Foundation (BWAF) premiered a played by such women as Florence Nightingale short documentary at the Guggenheim Museum and Catherine Bauer Wurster in the in New York as part of the events related to the development of institutional and modern upcoming retrospective on the American architecture, showing how their production was architect, Frank Lloyd W right (1867-1959). This embedded within larger questions of nation, film, entitled A Girl Is a Fellow Here: 100 colonialism, and gender. She holds a Women Architects in the Studio of Frank Lloyd three-year, Emerging Scholar award (FQRSC) Wright, presents for the first time an account of for the study of Montreal's public, modernist 6 of the more than 100 women who, as buildings and spaces. architects, helped to build Wright's reputation as the greatest American architect of the Abstract twentieth century. The launch was followed by Twenty years after architect Denise Scott a panel discussion about how such an Brown challenged the patriarchal exclusion of important omission has endured. The film is a women from the "star system," what is the brief but potent counterthesis to the myth of status of women in architecture today? Drawing Wright's solitary and unique genius, a narrative examples from architectural history, recent that has many echoes in a recent spate of films statistics and current initiatives, the author devoted to individual, male architects.
  • ARTIFACTS University of Washington / Seattle USA Autumn 2008

    ARTIFACTS University of Washington / Seattle USA Autumn 2008

    ARTIFACTS UNIVERSITY OF WasHINGTON / SEATTLE USA AUTUMN 2008 SCHOOL OF ART DIVISION OF ART / DIVISION OF ART HISTORY / DIVISION OF DESIGN Welcome to the new Artifacts If you are holding this newsletter in your hands, The online version includes the material in the the change of format is obvious. What once was printed newsletter, but it also has all the other ma- tabloid is now letter size. This switch has hap- terial you have come to look forward to: faculty, MORE ONLINE pened for two reasons. One is that we want to staff, and student news; an article about our study by going to the newsletter now make Artifacts available online, and letter abroad programs; alumni notes; photos; and small link at : art.washington.edu size documents fit this format better. The second articles about past and future activities and achieve- reason involves economics and ecology. We must ments. Please let us know what you think of the • Alumni Notes spend less on the newsletter in order to preserve new format, both paper and online, by emailing [email protected]. • Transitions in the SoA funds for other needs, so we are printing both a smaller size and fewer pages. This, of course, also • Study Abroad A link to the online newsletter is at the top of every uses less paper. web page on the SoA website: • Faculty News The printed version of Artifacts will now typically And much more! art.washington.edu contain the notes from the director, the calendar of upcoming events, and our acknowledgement of donors. It will regularly be sent to our donors and SUPPORT the parents of current students.
  • Changing Shape

    Changing Shape

    Cashen and Katz Skidmore, Owings & Merrill CHAPTER 312 WhiteSkidmore, chapter Owings title & Integrated networks Merrillpractice: culture of white Architects Building on the legacy of technological and architectural Fredrik Nilsson, aldj kasdjf lsdkjf sdfk sdlfj sdlkfj sdlfj innovation sdlfj dsdsdsj sdjf lsad Daniel Cashen and Neil Katz Since its foundation in 1936, Skidmore, Owings & Merrill (SOM) inform key aspects of SOM’s current culture and practice. In recent has pushed the idea that architectural production thrives on years, the firm has leveraged the speed and flexibility afforded by collaboration. The firm has incubated historic alliances among technologically enhanced methods of communication, practitioners of varied expertise, leveraging the creative energy of experimenting with new combinations of software that allow for these interactions to keep the firm at the forefront of the industry. studio members of different disciplines to visualize and respond Over the decades, these moments of synchrony among SOM studio to each others’ workflows. In its search for new opportunities for members have yielded prolific results, from the development of the exchange and collaboration, the firm has consistently turned to glass curtain wall, the structural tube, and computer-aided design, fields and discourses adjacent to architecture – such as structural to iconic built works such as the Lever House in New York City, the engineering, computer science, information science, sustainability Sears Tower and Hancock Center in Chicago, and the Hajj Terminal engineering, and urban planning – to generate and guide at King Abdulaziz International Airport. With a more than 80-year architectural invention. legacy of innovation, SOM continues to strive to establish and improve industry standards and shape the twenty-first-century With its size and reputation, SOM is uniquely positioned to cityscape.