blueprintsVolume XXV, No. 3 National Building Museum

On Paper, It All Makes Sense

in this issue: The Art of Drawing: An Interview with David Macaulay The Tell-Tale Drawing: An Interview with Marco Frascari Seeing by Drawing: A Pictorial Essay museum news: Creative Partnerships

Summer 2007 in this issue On Paper, It All Makes Sense

The National Building Museum’s latest exhibition, David Macaulay: The Art of Drawing Architecture, is the springboard for the theme of this issue of Blueprints. Macaulay has consistently used drawing as a tool for telling stories—not just about the history and technol- ogy of buildings themselves, but also about the people who create and use those buildings. As the major features in this issue demonstrate, there is often much more to architectural drawings than meets the eye.

left to right: Worm’s Eye View of Skyscraper, Underground, c. 1976. One-point Perspective Sketch, Underground, 1976. both images © David Macaulay; photo by Christopher Benson.

From the Executive Director

Adding to Your Collection

In 2001, in conjunction with Dale Chihuly’s an exhibition on the work of sculpture, Cobalt Basket Set with Poppy Cesar Pelli, the National Build- Red Lip Wraps (2001) ing Museum invited the archi- Photo by Scott Leen. tect to create a special drawing of our historic structure to be In another development, famed glass artist reproduced in limited num- Dale Chihuly has offered to donate one of his bers and sold through the Museum Shop. signature sculptures to the Museum for the Cesar graciously accepted the invitation, purpose of raffling it off to raise funds for the and soon created a colorful and distinctive exhibition David Macaulay: The Art of Drawing rendering of the building’s main façade. The Architecture. Dale was inspired to make the do- high-quality prints made from this original nation because he and David are both gradu- were a big hit, and sold out very quickly. ates of the Rhode Island School of Design. The piece is valued at $20,000 and raffle tickets Given the success of Cesar’s drawing, I are available for $100 each. For more informa- thought, why not turn this idea into a new tion, contact Melissa Slaughter at 202.272.2448, tradition? Drawing of the Great Hall. © Antoine Predock. ext. 3200 or [email protected]. Toward that end, I am pleased to announce Our sincere thanks to both Antoine Predock that Antoine Predock, recipient of the AIA choice to produce a new drawing for us—and and Dale Chihuly for their generosity! Gold Medal for 2006, has created the second for you, the Museum’s members and friends. of what we expect will become an ongoing series of original drawings commissioned by As expected, Antoine’s finished drawing, Sincerely, the Museum. Antoine has spoken at the Na- showing a view of the Great Hall, is stun- tional Building Museum several times, and ning. We expect limited-edition prints of the his work has been featured in our exhibi- drawing to go on sale in the Museum Shop on tions. He draws beautifully and evocatively, [DATE?]. Check our website or visit the shop and I immediately thought of him as an ideal for more information as that date approaches. Chase W. Rynd 2 6 9 12 17

The Art of Drawing Architecture 2 In an interview with guest curator Kathleen Franz, David Macaulay talks about the accidental genesis of his fabled career as an architectural illustrator and explains the process behind his popular books. The Tell-Tale Drawing 6 Architect and scholar Marco Frascari discusses the sometimes hidden meanings of drawings and what they reveal about those who drew them. Seeing by Drawing: A Pictorial Essay 9 Most architectural drawings are intended as straightforward depictions of existing or proposed buildings. Others, however, serve primarily as vehicles for visual analysis and the exploration of imaginary environments. This pictorial essay offers a sam- pling of historic and contemporary drawings that go well beyond direct representation. Collections Corner 12 Drawings from the Northwestern Terra Cotta Collection hold the “key.” Museum News: Creative Partnerships 13 Reports on a few of the exciting Museum programs and initiatives made possible by strategic collaboration with other organizations. Museum Support 16 • Profile of a loyal donor. • List of recent donors—with thanks! Mystery Building 17 “Clock Watch.” shop NBM! Why do things work the way they do?

Why does a car move National Building Museum Editorial Board faster when going down a steep hill? How do ma- Catherine Crane Frankel, Director of Exhibitions and Collections chines move heavy loads? Scott Kratz, Vice President for Education With The Way Things Work, Bryna Lipper, a game based on David Director of Marketing and Communications Macaulay’s best-selling G. Martin Moeller, Jr., book of the same title, Senior Vice President and Curator children, 10 and up, learn Chase W. Rynd, Executive Director Shar Taylor, Vice President for Development to solve these and other mechanical problems Blueprints as they play. Featuring Editor-in-Chief, G. Martin Moeller, Jr. hands-on activities and Managing Editor, Johanna Dunkel chock full of engaging Designer, Jennifer Byrne materials for curious kids, The Way Things this game of science and Blueprints is the quarterly magazine of the National Building Museum. Work Game. engineering combines physi- Photo by Museum staff. Subscriptions are a benefit of Museum membership. cal experimentation with a board game, allowing Blueprints ©2007. All rights reserved. ISSN 0742-0552 children to discover the workings of gears, levers, fulcrums, ramps, scales, and other simple machines. Paper contains 50% recycled content including 25% post-consumer waste. $22.50 Museum members / $25.00 nonmembers. Visit the Museum Shop during Museum hours or The National Building Museum explores the world we build for ourselves—from our homes, call 202.272.7706. skyscrapers, and public buildings to our parks, bridges, and cities. Through exhibitions, education programs, and publications, the Museum seeks to educate the public about achievements in architecture, design, engineering, urban planning, and construction.

The Museum is supported by contributions from individuals, corporations, foundations, associations, and public agencies. Summer 2007 blueprints  An Interview with David Macaulay The rt of Drawing Architecture

by Kathleen Franz Kathleen Franz is guest curator of David Macaulay: The Art of Drawing Architecture. She is assistant Aprofessor and director of public history in the Department of History at American University.

ince 1973, David Macaulay has delighted readers of everyday things. He uses drawing to deconstruct with his accessible and often humorous illus- buildings and other large-scale structures, to render trated stories of architecture and engineering city streets transparent, to take readers below the history. Author of more than 20 books, Macaulay surface of things, and to explain the invisible workings Shas won numerous awards for his unique visual of the built world. narratives, including a Caldecott Medal for Black and White (1991). In 2006, he was awarded the prestigious The National Building Museum’s current exhibition, MacArthur Fellowship for his “exceptional creativity.” David Macaulay: The Art of Drawing Architecture [on view through January 21, 2008], examines the artist’s Macaulay’s work defies simple classification, occupy- creative process as a form of visual archeology—a ing the creative intersections between illustration and metaphor for excavating past architectural practice architecture, history and archeology, storytelling and through drawing. Featuring a substantial number criticism. His most recent architecture book, Mosque of sketches, sketchbooks, and finished drawings, the (2003), treats readers to unexpected and often breath- exhibition explores Macaulay’s use of drawing as an taking views of a fictional sixteenth-century landmark. integral part of his process for researching, record- Macaulay not only explains the construction of a ing, and explaining architecture. classical Ottoman mosque, but also engages the reader through a historical narrative and stunning illustrations. In conjunction with the exhibition, I recently discussed Macaulay’s work with him. Dedicated to pen and ink, rather than computer programs, Macaulay argues that hand drawing is a tool for enhancing visual literacy, promoting careful obser- vation, curiosity, and recognition of the complexity below: David Macaulay sketching the fourth floor of the National Building Museum’s historic home. Photo by F.T. Eyre.

 blueprints Summer 2007 Drawing Architecture

Kathleen Franz: You describe yourself as an explainer of things. How so?

David Macaulay: Well, it’s what I ended up doing. I don’t think it was my intent from the beginning at all. But as I was steered into architecture books, I realized that I was making architecture—old and new—accessible through drawings. To make architecture accessible, you have to offer a fairly full explanation of how things come about, why things end up looking the way they do, why we feel the way we do about certain pieces of architecture. It meant figuring out how to [identify] those things that really needed to be explained, that were essential to understanding the process and the finished form, and then making the buildings come alive somehow. So, yes, as a teacher either in book form or in the classroom, I’m always explaining.

Franz: How were you steered into doing architecture books? top: With his latest book, Macaulay: I realized after graduating from architecture it would be much more interesting to have a children’s Mosque (2003), Macaulay story about architecture than one about gargoyles. used the medium of great school that I wanted to illustrate books. . . but [not] about architecture to help foster architecture. I had a quite different direction planned—a a deeper understanding much more playful, fantastic career of purely imaginative Franz: What drew you to architecture school in the of Islam. © David Macaulay; picture books. And the first idea that had any kind of first place? photo by Alan Sprecher. merit was a story about gargoyles set in the Middle Ages. Macaulay: When you’re a junior in high school and It looked to me like people in the children’s book world know almost nothing and they tell you that pretty soon were having a good time. I thought I wanted to be part you’re going to have to go somewhere else and, in of that group, but I didn’t know much about anything theory, you should be thinking about the rest of your life, other than what I had learned in architecture school. So, your career…. I was in Cumberland, Rhode Island, there was a natural tendency for me to move towards 20 minutes from the Rhode Island School of Design. something that I felt some kind of kinship with. So I thought, as someone who had always drawn and was curious about how things were made, it seemed Franz: So your work marries architecture to storytelling? sensible to study architecture. I got accepted and I went off to study architecture, [but] by my fourth year Macaulay: Right. In retrospect it doesn’t seem surprising. I knew I didn’t want to be an architect. I set a story in a medieval town where a cathedral was being built so I would have these background images Franz: Why not? and it would [provide] a reason for gargoyles to be carved. So, what my editor, Walter Lorraine [at Houghton Macaulay: Well, there was a formal apprenticeship that Mifflin], did was very adroitly suggest that I forget the followed graduation; you worked in an office with a gargoyles and concentrate on the building because what bunch of people. How frequently you actually got a he saw in those background scenes was something that chance to work on something really interesting would he had not seen anyone trying to do. And he thought be the big issue. I decided I wanted to work on some-

Summer 2007 blueprints  his work for the Suleymaniye. It took me into the technology and the stone-cutting and how Ottomans built vast structures in an environ- ment which is prone to earthquakes, but then there was [also the question of] the whole reason for [the buildings’ creation]. Wealthy Ottomans were basically encouraged to put their wealth into these foundations that would build not only a new mosque, but also a school and a soup kitchen and a public bath and basically the kinds of things that could bring a devastated neighborhood back to life.

Franz: The sketchbooks for Mosque seem almost interrogative; you’re asking questions and then using the sketchbook to answer them.

Macaulay: The great thing about sketching is it forces you to really look at things, to stop and pay attention. Things aren’t necessarily self-explanatory. I might see under the eave of the roof, for instance, bricks coming out at a particular angle. Now I can’t tell whether they’re square bricks that are set deeply into the wall with just these little triangular corner points coming out above: Centering for Central thing more personal. So once I graduated, I did a bunch or whether they’re triangular bricks made just Dome of Mosque, Mosque, of stuff: I taught art in public school and I did some 2003. © David Macaulay; photo for that purpose and so on. But I wouldn’t even freelance illustration work and began to think more by Christopher Benson. have thought about that if I hadn’t sketched it, if about this book idea. And then there I was, three years I hadn’t started to look at the details. right: This exploded view later in 1973, with the publication of the book of the St. Paul’s Cathedral Cathedral, coming back to architecture. dome for Building Big Franz: You created a paper model to help (2000), demonstrates how envision the mosque. Why? Macaulay’s illustration lift Franz: When you draw, you are rebuilding the building the exterior off a building to on the page. reveal how it was construct- Macaulay: Yes, the first reason for the paper ed. © David Macaulay; photo by models is to get the proportions down. Once Christopher Benson. Macaulay: Absolutely. From the very first presentation you’ve got the model then obviously you can I made, when I was sidetracked by what I knew would rotate it in front of you. You can move your be a classic story of gargoyles, the first thing I did was eye up and down it and observe the change go back and start re-reading some of my architecture in perspective as you move from, let’s say, books. Then I made a set of drawings on tracing paper the corner of the top of the wall down to the that started with nothing—just a site. In fact, [I started base of the wall. The models are very simple. with a story of] a town, with an old church that had They’re not pretty models, but they’re very burned down. Then I drew as if I was recording a useful models. process that was actually happening out my window.

Franz: Why not just use a computer? It’s sort of like stop-motion photography. The thing that makes it interesting and engaging is that you don’t Macaulay: My heart just did a little always put the camera in the same place. The reader flutter there. Because I want to be is being shown what it feels like to be part of the in control and I don’t want someone process of putting the building together. else’s program telling me what I can and cannot do. There’s too much to be learned. Franz: You do a lot of historical research for your books. In building a model, you’re learning about the Could talk about the research process for Mosque? proportions, you’re not thinking about how to draw a line or an edge using your mouse or your stylus. Macaulay: I had been to Istanbul to do some filming for public television and was reacquainted with the Franz: How did Great Moments in Architecture, which buildings. As we looked at the Blue Mosque and Hagia melds humor and architecture, come about? Sophia, I thought, these are wonderful pieces of architec- ture. And then September 11th happened and I thought, Macaulay: Actually it was done to provide artwork for it’s time to explain one of those buildings as a kind of an exhibition. It was supposed to be just a collection of window into a culture that we don’t know enough about. drawings for a show that I was invited to have in New So, I approached it by reading everything I could get York [exhibiting and selling] drawings from Cathedral, my hands on and, in this case, reading about Sinan the City, and Pyramid. But I didn’t want to. So, I decided to architect of the Golden Age of the Ottoman Empire and

 blueprints Summer 2007 create a kind of phony art history book and I Franz: After drawing for some 30 years are there still drew them pompously and I did all the cross- challenges for you? hatching and all that sort of stuff to give them a sort of integrity, but underneath it all was just Macaulay: Oh man, that doesn’t change. I mean the total nonsense. I really love working those two books take me longer now than ever because I think things together, make it look serious, with plate I’m more demanding—I have higher expectations. On numbers, sketch numbers, notes at the back—I the good side I think I’m getting better at it but I’m not mean, really turn it on its head and making the im- getting faster. So the projects take longer and longer. ages themselves undercut the seriousness of the It’s supposed to work the other way, isn’t it? overall appearance. Franz: Your next book is on the human body. Will it be Franz: Was Great Moments a pastiche of similar to the architecture books? the 18th-century draftsman Giovanni above: Created as a Battista Piranesi? Macaulay: Well it is bound to be similar in certain ways. companion to the But in the end it’s about how we work. We start with cells documentary film series of the same name, Building Macaulay: Oh yes, absolutely. The and then move into circulation and respiration and then Big (2000) focused on de- space and the volume and whatnot digestion and then into the brain, which is a long section. I sign problems and solutions in Piranesi’s images is so fantastic started it because I felt completely ignorant of the subject. behind common, yet large- scale, constructions such and part of my desire in making those I’m getting older and things will start breaking down. I’m as bridges and skyscrapers; drawings with all the pen and ink and the going to start feeling a little more pain here or there. But such as the Commerzbank cross etching was to do some of that kind of where is it coming from? And why? And how? So I was in Frankfurt, pictured above. © David Macaulay; photo by Piranesi stuff, and create some big spaces sort of driven by my realization of my own happy ignorance. Alan Sprecher. and turn relatively modest structures into imposing ruins. It has been the hardest thing I’ve ever done. The level of complexity here is way beyond anything I’ve tackled Franz: A strong archeological thread runs in the past. Now maybe that’s why the books are taking through all of your work. Is this just fun longer because I’m open to those kinds of things now. for you, or is it also a way to critique architecture? Franz: Will you write a book on your own creative process?

Macaulay: I think it’s mostly fun. Macaulay: I think it has to be done by somebody else [For example, the book called] if there is to be one, but every one of my books is about Unbuilding was a way of present- my creative process in a way. ing architecture that was a little different. I didn’t want to build Franz: But now you can rest on your laurels …. another building from the ground up. So I thought, Macaulay: I can’t find my well, just take it apart. It’s laurels. the first [of my subjects] that was a real building. Franz: What about the MacAr- It’s the first time I actually thur award? did have to pay attention to people’s names and dates Macaulay: Well the interesting and things of that nature. thing about the MacArthur is But with the archeology, that it gives you a chance to I just always thought that do something that you’ve al- was really fun—discover- ways wanted to. I can’t think of ing things, and then anything I would rather do than having to figure out what I’m doing. The MacArthur what the connection has allowed me to relax a little is between them be- bit on the body book, not have cause there’s no one to crank it out to meet some above: Macaulay frequently there to tell you anymore. kind of artificial deadline. That’s what the MacArthur has uses drawing to re-imagine [In Motel of the Mysteries], I done for me, which is an extraordinary gift. • the built environment, as seen here in this unpub- just thought it would be kind lished sketch commissioned of playful to take something that we could look at now, by The Washington Post David Macaulay: The Art of Drawing Architecture is and then seeing how somebody at some distant time (c.1982–1984). © David made possible by American Society of Civil Engineers; might misinterpret and misrepresent it. Macaulay; photo by Christopher Skidmore, Owings & Merrill LLP; Dale Chihuly; Lamy Benson. writing instruments; Beyer Blinder Belle Architects We take all that stuff for granted and once things are & Planners, LLP; Edward W. Rose III Family Fund of presented to us in so-called history books written by The Dallas Foundation; STUDIOS Architecture; Turner scholars, we assume this must be the truth. And I think Construction Company; Blick Art Materials; Sunrise it’s always wise to be a little skeptical and be willing to Foundation; The American Architectural Foundation; ask questions. How did they know that? Why did they and other generous contributors. decide that? Why did they call it sacred?

Summer 2007 blueprints  An Interview with Marco Frascari The Tell -Tale by Martin Moeller

Marco Frascari is a practicing architect and the director of the School of Architecture at Carleton University in Ottawa, Canada. A na- tive of Mantua, Italy, he studied in Venice under the famed modernist Carlo Scarpa (1906-78) before coming to the United States, where he received a master’s degree from the University of Cincinnati and a doctorate from the University of Pennsylvania. He subsequently taught at several universities in the U.S. and Europe. Frascari’s scholarly interests include the history and theory of architectural drawing and the potential of good design to enhance human happiness.

Martin Moeller: How did you become interested in the theoretical implications of architectural drawing?

Marco Frascari: It started when I was working with Carlo Scarpa and seeing how he used drawing as a form of communication with both students and outsiders. His drawings were performances.

Scarpa probably had synesthesia [an unusual condition in which normally distinct senses or per- ceptions overlap—e.g., the association of a particular flavor with a specific color, or of a certain sound with an abstract shape]. For him, the purpose of a drawing was not just to depict what any human could see, but somehow to convey the totality of what we feel. Students in his class would make drawings in which, of course, the trees were green and the bricks were red, and so on. But Scarpa did not like this. He was not interested in a drawing as a representation of a real building; for him, the drawing should express some essence—some perceptual presence of an architectural idea—rather than just pretending to be a photographic substitute.

left: TK MARTIN

 blueprints Summer 2007 Tell -TaleDrawing

I did not understand all this at the time. Later, when I discovered synesthesia and its implications for design, “If I want to see things, I do not trust anything I learned that all children are synesthetic, but we lose else. I put them in front of me, here on paper, it just by growing up. Consequently, architects have to rediscover these child-like qualities and, by using draw- to be able to see them. I want to see, and for ing, have to perceive all dimensions, because we design buildings for totality—acoustics, smells, and so on are all this I draw. I can see an image only if I draw it.” part of the architectural design. What a drawing can do, by color or by manipulation of ink, is to achieve for the — Carlo Scarpa architect not only a visual rendering, but also an under- standing of other perceptions that you don’t visualize. Moeller: You talk about Scarpa, Moeller: Did such complex drawing techniques carry Rusconi, Ridolfi. As an Italian you through to Scarpa’s actual construction documents? may be biased, but do you think the concept of drawing as an ana- Frascari: You had to produce some credible drawings in lytical tool is a peculiarly Italian order to bill the client. Scarpa would sometimes start a phenomenon? project by saying, “I have to have a door like this,” even before deciding on the basic design of the building. Well, Frascari: There is a particular if you have a client who is expecting a house, you can’t tradition of analytical drawing in just show a sketch of a beautiful door and expect to get Italy. Contrary to what you might paid. Scarpa often did not bill until the end of the project, expect, this was even evident because it was not until then that he actually well before the Renaissance. Of had something real to show. course, the major achievements in drawing in the Gothic period Moeller: How did your study of architectural drawing were all French and German, and proceed beyond Scarpa? there were relatively few from Italy, but the Italian ones, rather than Frascari: I became interested in understanding the full showing the finished building, potential of drawing. There was one amazing set of draw- tended to show the construction ings that captured my eye early. It was done in 1590, in process. The scaffolding used to Venice, by Giovanni Antonio Rusconi. He created unique build the structures, for instance, drawings showing the process of construction of a often would appear on the draw- particular building in different phases and at different mo- ings. The character of the drawings ments. The idea was borrowed from Vessalius’s famous themselves actually suggested a anatomical drawings of that period. Rusconi gives the building under construction. viewer a very peculiar understanding of the structure because he can show what is not visible in the finished As for why this tradition might be building. so closely associated with Italy, I think there may be a linguistic explanation. The word above: TK MARTIN There was also Mario Ridolfi, who was a very good friend “design” comes from the Italian word disegno, and you of Scarpa. He did many drawings on tracing paper, but might assume that that word derived from Latin, but in he used both sides of the paper. Unlike Scarpa, Ridolfi Latin there was no such word. Rather, the Italian word was an ink pen guy—his fingers were always covered slowly arose within the field of architecture—not the other with ink. He had an ability of sketching that was very fine arts—and it was related to what was called “designa- close to the process of making a building.

Summer 2007 blueprints  top: TK MARTIN tion” (disegnare equals designare). If you think about it, Moeller: You also wrote an essay on the “tell-tale above: TK MARTIN the designer is the one who “designates” where things detail,” arguing that study of the smallest elements can go. In the pre-Renaissance era, one might draw a inform our broader understanding of buildings. Some “plan” of a building by putting poles in spots “desig- of the most interesting drawings throughout history nating” the corners of the actual structure to be built. have been details. “Design” was much more broadly understood to be a craft—an ongoing and circular process—than it is now, Frascari: I was reading an article in which [Richard] when it is generally associated with a finished object Rogers was talking about his experience with [former that may be regarded as a work of art. Gradually, the business partner Renzo] Piano, who was the son of a modern sense of the word emerged, and became builder. Piano, he said, would always start the design understood as l’arte del disegno—the art of design. process with details. Rogers would always start from totality. Either method can lead to beautiful architec- Moeller: You have written about the idea of “the ture, but I think it is extremely important to recognize well-tempered drawing,” alluding to Johann Sebastian that both exist. And each requires its own kind of Bach’s collection of musical compositions titled The drawing. Erich Mendelsohn, for instance, started from Well-Tempered Clavier. What do you mean by that term totality, but Otto Wagner started from detail, and they with respect to drawings? produced radically different drawings. Mendelsohn represented shadow and form, and not the tectonics of Frascari: The phrase “well-tempered” has to do with construction; Wagner was the opposite. But eventually word “temperature.” In Italian, the word “tempo” means the two meet in the middle. both “weather” and “time.” The drawing process takes time, and once it is completed, the drawing itself must Moeller: How would you assess the impact of the digital also weather. A good building should grow more beauti- revolution and changes in architectural practice? ful as it weathers. In the same way, a well-tempered drawing is one that has weathered well. It is not just the Frascari: Modern computer drawings are so ascetic. gradual change in color of the paper and ink, but even They look like the “clean environments” where they the change in humidity in the room where you are work- make chips and computer equipment. ing will have an influence. For me, there is the setting of a powerful synesthetic condition between the weather- The authority of hand drawing has been lost a bit. ing of a drawing and the weathering of a building. Now, with computers, someone has to do a translation between the image constructed by the architect and Real architectural drawings are very dirty. Scarpa’s the actual building to be built. [The engineering firm] drawings were on the table for a long time, and they ARUP does a very good job of this, transforming the show a building up of layers. This is true even in ink architect’s drawing so it can represent the real act of drawings, but the ink drawing in the end looks very clean construction. They do these amazing drawings—the like a building does at end of construction, but even on construction to allow the construction, as it were. the ink drawings you can often see traces of the “con- struction” of the drawing, which can be very revealing. When architectural drawings became merely legal documents, they lost most of their power. But, com-

 blueprints Summer 2007 continued on page 12 A Pictorial Essay

Seeing by Drawing by Martin Moeller

The following images constitute a brief essay illustrating the use of architectural drawing as a tool for analysis or imagination over the past few centuries.

The Round Tower, Plate III From the Carceri Series (1749) Giovanni Battista Piranesi

Trained in architecture, engineering, and printmaking, Giovanni Piranesi gained fame in the 1740s for his highly romanticized etchings of ancient and contemporary Roman buildings. Thanks in part to their exaggerations of scale and often fanciful compositions, these etchings fueled the popular fascination with classical antiquity and inspired the burgeoning neoclassical movement in architecture.

Today, Piranesi is best known for another series of images called the Carceri d’Invenzione (Imaginary Prisons). The fantas- tical and ominous interior spaces of the Carceri constituted an unreal yet believable world, powerfully represented in two dimensions on paper.

Summer 2007 blueprints  Perpendicular Section of an Underground Chamber of the Gothic House. . . (after 1814) Jean-Jacques Lequeu

Jean-Jacques Lequeu was, along with Claude-Nicolas Ledoux and Étienne-Louis Boullée, one of the great French “vision- ary” architects of the late 18th and early 19th centuries, notorious for often utterly impractical, absurdly overscaled, but visually stunning schemes for buildings, monuments, and infrastructure. Of the three, Lequeu produced the strang- est body of work, including both architectural renderings and numerous drawings of the human form, whose character ranges from quasi-scientific to unabashedly pornographic.

The drawing reproduced here shows the interior of a struc- ture that Lequeu called “the haunt of the magicians.” In its surprising visual juxtapositions and obvious—though not necessarily comprehensible—symbolism, this rendering presages the work of the surrealist movement.

Construction of Trylon and Perisphere (c. 1938) Hugh Ferriss

Few non-practicing architects have had as profound an influence on the profession as Hugh Ferriss. His iconic renderings of landmark buildings helped to define public perceptions of early modern architecture, and his series of drawings exploring the compositional implications of New York’s 1916 zoning law directly shaped the city’s skyline and set the tone for skyscraper design until the Great Depres- sion.

Ferriss produced several renderings of the theme struc- ture—commonly called the Trylon and Perisphere—for the 1939 New York World’s Fair, including this heavily stylized depiction of the two giant forms under construction. The drawing includes a number of people, some of whom are obviously working while others are merely standing around as if admiring the audacity of the project.

Sugar Daddy (1992–95) Daniel Castor

The rather dour Amsterdam Stock Exchange, designed by Hendrik Berlage, has been unpopular with the Dutch public since it opened in 1903. But it has long intrigued the American architect Daniel Castor, who was awarded a Fulbright scholarship in 1992 to study the complex structure.

In order to convey the fascinating intricacies of Berlage’s design, Castor developed a series of innovative drawings that depict solid forms and voids si- multaneously. These “jellyfish drawings,” which render walls transparent and give spaces substance, help to explain the building’s convoluted circulation paths and other eccentricities. Shown here is a drawing called Sugar Daddy—so named because the area illustrated is relatively rich with ornament—which traces the elaborate spiral path between an exterior entrance and the vestibule to the Chamber of Commerce above.

10 blueprints Summer 2007 New American City— Sky Harbor Airport (2006) Wellington Reiter

Many a great city derives character and identity from its relationship to a river, lake, or sea. With no such body of water nearby, Phoenix has long suffered from a certain placelessness. Inspired by the name of the city’s airport, Sky Harbor, Wellington Reiter, who is dean of the College of Architecture and Environmental Design at Arizona State University, created a series of drawings exploring the possibility of turning the transportation hub into an urban focal point, serving the same purposes as aquatic harbors elsewhere.

Reiter’s drawings exhibit a clear debt to Piranesi, with heavy line work yielding a literal and figurative darkness evoking strong emotional responses. The Sky Harbor images offer both utopian and dystopian visions for the proposed civic Gabriel Façade, center, in which the airport is not only an exciting urban gateway, but also an Place de la Concorde (1997) instrument of surveillance and control. Ron Witte

The Gabriel Prize, named for the 18th-century French architect Ange-Jacques Gabriel and presented annu- ally by the Western European Architecture Founda- tion, provides the winning individual with a stipend to spend three months studying architecture and landscape in France. Each winner is required to produce three renderings of an appropriate subject of his or her choice.

Gabriel’s works included the façades of two buildings lining the north side of the Place de la Concorde in Paris. The 1997 prize recipient, architect and teacher Ron Witte, created renderings showing the façades of these palatial buildings in stark isolation. The draw- ings, while revealing the extent of Gabriel’s design, also allow a simultaneous reading of the façades as the skins of individual buildings and as the coherent edge of a large outdoor space.

Home of Norma Desmond From the Movie Sunset Boulevard (2007) Mark Bennett

At first glance, artist Mark Bennett’s translations of fictional set- tings from television shows and movies into precise architectural plans may appear to be nothing more than campy celebrations of pop culture. After all, it is hard for the viewer not to laugh after recognizing some telltale element that evokes a strong memory of a favorite episode or scene.

In fact, Bennett’s drawings are remarkable achievements. They are the products of skillful analysis of diverse and sometimes contradictory visual clues, turning imagined forms and spaces into credible architectural environments. His work thus repre- sents the full potential of drawing as a medium to present ideas, visions, and information that would be difficult to convey by other means.

Summer 2007 blueprints 11 continued from page 8 collections highlights puter or not, one thing is true today that has always been true—the architect rules construction with the use of well-constructed and well-weathered graphic representations. Key Drawings in the I once designed a villa close to Verona, Italy, which Northwestern Terra Cotta Collection included a spiral stairway. One day I got call from the contractor. “Architetto,” he said, because in Italy by Chrysanthe B. Broikos, Curator we are addressed with our professional title just as a doctor would be in the U.S., “we don’t have wings; we cannot fly.” At first I did not understand, but then he largest and most he explained. You see, when I did the design for the significant holding in the stair, I started from the main floor, and projected ev- T National Building Museum’s erything down and up from there as necessary, and it permanent collection is the turns out that the contractor could not physically get 50,000-drawing Northwestern to these key points, which were on the second level, Terra Cotta Collection. At the to use as baselines in construction. “Oh, you’re right,” beginning of the 20th century, I responded. Clearly, through the act of construc- architectural terra cotta was the tion, he had discovered something that I had not preferred material for detail- considered while creating my drawing. That’s fine, as ing commercial structures. long as we have a system for working through these The Northwestern Terra Cotta things when they arise. Company (1877–1956), headquar- tered in Chicago, was one of the Moeller: As a professor and director of an architec- nation’s leading manufacturers ture school, how are you integrating hand drawing of this specialty product—a mix into the curriculum? of clay sculpted or molded into a custom design and then fired in Frascari: It is very important that we are teaching a kiln or furnace. drawing. I want students to discover the possibility of synesthesia, and discover the tactility of the drawing. To direct production and instal- The digital world is so far away—you use only two lation, the company’s drafts- fingers (at least I do). It is another dimension away men transformed architectural from the real act of drawing. blueprints into comprehensive “shop drawings” that provided There is a beautiful description in Cesariano’s 14th- instructions for the company’s century translation of Vitruvius’s De architectura [now sculptors and mold makers. Ev- commonly known as The Ten Books of Architecture] ery project necessitated the cre- that says that, when you are drawing on a piece of ation of a “key” drawing which paper on your table, the compass walks on the paper outlined the building’s form and just as the architect walks on a field covered with identified the intended location snow. As you go around, the foot marks this and of the terra cotta cladding or marks that; you can do that on snow, on plaster, or ornament. For quick and easy on paper. It’s like the joke about letting your fingers reference, the terra cotta was do the walking. often rendered in color. Each key drawing also pinpointed Really, we are exposing our students to the role of the secondary drawings where drawing in architectural thinking, helping them to specifications and exact dimen- understand that drawing is the best way to conceive sions were detailed. a building. • top: Key drawing of the Ironically, the key drawing—often the first drafted— West Elevation, Holy Family remained incomplete until all of a project’s terra cotta Church, Cincinnati, Ohio; elements had been scaled on secondary drawings. Only 1914. Ink-on-linen shop drawing drafted by Mr. then could the final references and page assignments Bergmann, Northwestern be transferred to the key. Terra Cotta Company. Gift of Edward J. Mertes. The drawings reproduced here are for the Holy Family above: Detail of Towers Church in Cincinnati, Ohio, designed by J.F. Sheblessy. (Sheet 10), Holy Family On the key drawing, “Sheet 10” is listed as the page Church, Cincinnati, Ohio; 1914. Ink-on-linen shop relating to the church’s bell towers, and section JB drawing drafted by B. Hey- identifies the urns at the corner base of each tower. On den, Northwestern Sheet 10, each section of the urn is further delineated. Terra Cotta Company. Gift of Edward J. Mertes. Notice, for example, how the urns are supported by tripods—a refinement not shown on the key. Together, these layered, puzzle-like drawings reveal the complex, labor-intensive process behind construction with architectural terra cotta. • 12 blueprints Summer 2007 museum news Museum Honors Stanford Engineering Professor with Turner Prize

by Scott Kratz, Vice President for Education

contingent from the National Building Museum traveled to Palo Alto, California on February 1 to Abestow the fifth Henry C. Turner Prize for Innovation in Construction Technology on Dr. Paul Teicholz, founder of Stanford’s Center for Integrated Facility Engineering (CIFE). Teicholz, who has more than 40 years of experience in academia and the engineering industry, joined the ranks of previous Turner Prize recipients structural engineer Leslie E. Robertson; architect I.M Pei; engineer and builder Charles A. DeBenedittis; and the U.S. Green Building Council, the first institution to receive the prize.

The Turner Prize was endowed by The Turner above: (from L to R) David M. Corporation in 2002 and recognizes an invention, an Witold Rybczynski Wins Schwarz, Chair of Vincent innovative methodology, or exceptional leadership Scully Prize Jury; Witold Rybczynski, Vincent Scully in construction technology by an individual, team of Prestigious Scully Prize Prize winner; and Vincent individuals, or organization. Scully during the presenta- tion of the eighth Vincent by Scott Kratz, Vice President for Education Scully Prize. Photo by F.T. Eyre. Norbert Young, president of McGraw-Hill Construction and chair of this year’s Turner Prize jury, remarked that n January 17, 2007, scholar, profes- Architect Moshe Safdie, in a tribute to “[Teicholz] has created industry-wide improvements in sor, and architect Witold Rybczyn- Rybczynski, described him as a “voice of modeling, project management, and business processes Oski was awarded the Museum’s plain talk. He is not afraid to expose the by integrating information technology with the eighth Vincent J. Scully Prize, named nakedness of the emperor. His belief is [?] architecture, construction, and engineering fields.” in honor of the esteemed teacher and that architecture is measurable and that author who has spearheaded the debate it can be understood and appreciated by The Museum thanks Stanford University for hosting about the future of American cities the public at large.” Upon receiving the the presentation and enabling Teicholz’s west coast for more than 50 years. Mr. Rybczyn- award, Rybczynski presented an original colleagues, family, and friends to celebrate his ski joins an impressive group of past lecture on the history of urban planning, accomplishments. • awardees comprising Scully himself, which was well received by the audience the late Jane Jacobs, Andrés Duany and of more than 450 people. He concluded Elizabeth Plater-Zyberk, Robert Venturi by exploring the intersections between and Denise Scott Brown, His Highness city planning and economics, and in The Aga Khan, His Royal Highness The classic “plain talk” fashion, reminded Prince of Wales, and Phyllis Lambert. listeners that, ultimately, it is the market that drives what gets built, and it is the As David Schwarz, chair of the Scully role of architects and planners to offer Prize jury stated in his opening remarks the public the best possible options from at the award presentation, the prize re- which to choose. • cipients “have caused us to think about the places we live, and more impor- tantly, they have helped us learn to care about them. In doing so they help each and every one of us build a future that can be worthy of our past.” above: The 2006 Turner Prize recipient, Dr. Paul Teicholz discusses his research, career, and the future of the engineer- ing industry with Bob Tatum, Stanford engineering professor, during the Turner Prize ceremony. © Mike Abbott Photography.

Summer 2007 blueprints 13 museum news continued

The National Building Museum eagerly pursues strategic partnerships with like-minded organizations in order to offer the most compelling programming possible. The brief articles in this section describe some recent activities that have been conducted in partnership with outside groups.

Taking L’Enfant on the Road by Bryna Lipper, Director of Marketing and Communications

hen Enrique Peñalosa, the former mayor of Bogotá, Colombia, delivered the second annual WL’Enfant Lecture to an enthusiastic audience in November 2006, the partnership between the National Building Museum and the American Planning Association entered an exciting, new phase. Held at New York’s Cooper Union, this was the first official Museum lecture program to take place outside of Washington, D.C. The third lecture in this traveling series is sched- uled to take place in Chicago in the fall of 2007.

The L’Enfant Lecture was established by the APA and the Museum in 2005 to enliven dialogue about urban and regional growth and to foster communities of above: 2006 L’Enfant Lecture on City lasting value. The inaugural speaker, Sir Peter Hall, Planning and Design speaker, Enrique Peñalosa, former mayor of Bogota, set the tone for future programs with an ambitious Columbia. Photo by TK. and broad discussion of sustainable cities. Peñalosa built on this auspicious beginning by offering a candid presentation about initiating social change through urban policy and transportation. While the speaker for 2007 is yet to be announced, both partners Women in Architecture anticipate an exciting program in Chicago—a city with an unparalleled legacy of urban and architec- by Jaime Van Mourik, Public Programs Coordinator tural design. • n 1866, when the first archi- ture Foundation is exploring this tecture degree program was discrepancy and related questions. I established at the Massachusetts On March 15, in celebration of Institute of Technology, all of the International Women’s Day, the enrolled students were, of course, Museum and the Foundation held men. Since then, university demo- the second annual program focus- graphics have changed dramati- ing on the achievements of women cally, and now more than 50% of in the architecture profession, Correction the students in U.S. architecture providing a forum for discussion of Two images in the Museum’s 2006 Annual programs are women. Yet women how this rich history can inform Report taken by Ann Elkington were incorrectly currently account for only 11% of contemporary practice. This year’s credited to F.T. Eyre and Museum staff. The the members of the American Insti- program was moderated by Wanda photos were DAP 13 on page 19 and Design tute of Architecture. Bubriski, director of the Beverly Apprenticeship Program on page 22. Willis Architecture Foundation, Why is there such a drastic drop and included Museum curator Su- off in numbers between academia san Piedmont-Palladino, Columbia and professional practice? A part- University professor Gwendolyn nership begun in 2006 between Wright, and Concordia University the National Building Museum professor Cynthia Hammond as and the Beverly Willis Architec- panelists. •

14 blueprints Summer 2007 Framing a Capital City

by Scott Kratz, Vice President for Education

ashington, D.C. is distinct among American cities. From Pierre Charles L’Enfant’s revolu- W tionary plan for the new capital in 1791, to the audacious vision of the 1901–02 McMillan Plan, to more recent proposals to expand the scope of the National Mall, Washington has been shaped by a constant struggle to balance the permanence of monuments and memorials with the dynamic needs of a living city.

On April 10 and 11, the National Building Museum, in collaboration with the U.S. Commission of Fine Arts and the National Capital Planning Commis- sion, convened prominent scholars, designers, and policymakers to discuss the future of federal plan- ning for the city in the 21st century. The keynote to the symposium was delivered by David Childs, FAIA of Skidmore, Owings & Merrill. Childs’s presenta- tion, which explored the past, present, and future of planning in the capital, was the first annual Charles H. Atherton Memorial Lecture, commemorating the life and legacy of Charles Atherton, who served for almost four decades as secretary of the Commission of Fine Arts.

The following day’s symposium explored such critical issues as sustainability, the siting and design of me- morials, protection of public open space in an era of enhanced security, and the integration of the federal presence into the community.

Proceedings from the day’s events can be found on our website at www.nbm.org. •

How Can You Get MORE Information About These Programs? Would you like to hear one of the panel discussions from the Framing a Capital City Symposium? Are you interested in learning more about past Scully or Turner Prize winners? Visit the National Building Museum’s website, top: (from L to R) Robert Ivy, Editor-in-Chief, Architectural www.nbm.org, where you can access transcripts, Record; Lawrence J. Vale, professor of Urban Studies and photos, and press materials for past events and Planning, Massachusetts Institute of Technology; Judy Scott view a listing of upcoming public programs. Feldman, chair of the National Coalition to Save Our Mall; and author Michael Z. Wise during the Commemoration Visit the website often for up-to-date and Symbolic Narrative session at the Framing a Capital programming information. City Symposium. above: A session during the free, all-day Framing a Capital City symposium. Photo by F.T. Eyre.

Summer 2007 blueprints 15 museum support The Museum thanks the fol- $25,000 and above Hellmuth, Obata + Kassabaum $5,000–$9,999 Hargrove, Inc. lowing individuals, companies, Hines HRH Construction Anonymous Baltimore-Washington Brick associations and agencies for Hypo Real Estate Capital The IDI Group Companies The Bayport Foundation of Distributor Council gifts of $250 or more received Corporation Lafarge Andersen Corporation BE+K Building Group from February 1 – April 30, Island Capital Group, LLC Steven L. McClain, President, Marilyn and Michael Glosserman Davis Brody Bond Aedas 2007. These generous gifts The JBG Companies National Architectural Trust MASCO Corporation Design Cuisine provide essential support for the Lt. Col. & Mrs. William K. Konze NATIONAL ASSOCIATION Foundation Greenstein DeLorme & Luchs, Museum’s exhibitions, educa- Meridian Investments, Inc. OF REALTORS® U.S. Department of Housing P.C. tion programs, and endowment Neighborhood Investment Fund, National Engineers Week and Urban Development The Haskell Company funds. Some of the contribu- Office of the Deputy Mayor Foundation Weiser LLP Horning Brothers tions listed below are in partial O’Connor Capital Partners Emerson G. and Delores G. JMA fulfillment of larger pledges. J.E. Robert Companies Reinsch Foundation $10,000–$24,999 Louis Dreyfus Property Group Robert A.M. Stern Architects Restore Media LLC National Cherry Blossom The Associated General LLP Skidmore, Owings, & Merrill LLP Festival, Inc. Contractors of America STUDIOS Architecture Bob and Deby Wulff Reed Smith Bender Foundation, Inc. Taconic Investment Partners Zimmer Gunsul Frasca Michael and Deborah Salzberg Boston Properties LLC Architects, LLP Philanthropic Fund Carolyn S. Brody Turner Construction Company Stroock, Stroock & Lavan LLP Fannie Mae U.S. Department of Labor $1,000–$2,499 Gwathmey Siegel & Employment and Training $2,500–$4,999 Akridge Associates Architects Administration The American Architectural Delon Hampton & Associates Vornado Realty Trust BOMA International Foundation Paul Hastings The Broad Foundation

donor profile Suman Sorg, Sorg & Associates by Tim Carrigan, Donor Relations Coordinator

uman Sorg, president of Sorg & Indonesia; and Kuwait. The firm’s Associates, and her husband Scott portfolio also includes residential, Shave been generous contributors to educational, and civic buildings in the National Building Museum since the Washington, D.C. area and around 2000. In addition to their philanthropy, the country. Suman served on the panel in last year’s Women in Architecture symposium, When asked recently why she supports sharing her experience with aspiring the Museum, Suman replied, “The young architects, and also sat on the National Building Museum is every- advisory board for the Museum’s D.C. thing a museum should be and do; it Builds lecture series. informs, educates, preserves artifacts, and engages a wide variety of patrons “Suman and Scott Sorg are gracious ranging from local area residents to and enthusiastic friends of the Museum. visitors to the District of Columbia We greatly appreciate their active who come here from all over the interest in our programming, espe- world. As an architect, I am delighted cially considering that they manage to have such an important venue in an extremely busy practice involving our nation’s capital that is focused on high-profile projects around the world,” the built environment, an important noted Chase Rynd, Executive Director. aspect of our lives, whether we are laypeople or industry professionals.” Established in 1986, Sorg & Associates provides architecture, urban design, The Museum could not achieve its interior design, planning, and construc- success without the annual support tion phase services in both the private of our Corinthian members, the Board above: Suman Sorg, and public sectors. The firm’s recent of Trustees, and staff are grateful to President of Sorg & Associates. Photo by projects include new U.S. embassies Suman, Scott, and Sorg & Associates Matt Houston. in Bridgetown, Barbados; Katmandu, for their ongoing support. • Nepal; Kabul, Afghanistan; Surabaya,

16 blueprints Summer 2007 American Institute of Katherine Wolf and Robert Corcoran Johns Hopkins University Daniel K. Shogren and Architecture Students R. Beverly R. Webb Cox Graae + Spack Architects Andrew Joskow Jennifer L. Rise American Society of United Arts Organization of Steve Dalton, Tishman Joanne M. Kelly SK&A Structural Engineers, Landscape Architects Greater Washington, Inc. Construction Corp. C.M. Kling & Associates, Inc. PLLC Bohlin Cywinski Jackson Tiffany A. Delgado Sue A. Kohler Joseph D. Steller Davis A. Buckley, FAIA $250-$999 Duany Plater-Zyberk & Co. Peter T. and Maybelle Kou Patti Swain City of Helsinki Edge Construction, Inc. Brian D. and Janine Kraft Keene Taylor Carolyn Alper C.J. Coakley Co., Inc. EnviroHomeDesign Benjamin B. and Debra G. Lacy John Thomann Carolyn Altman Janet and David Curtis Phyllis Freedman David L. Miller Trace Inc. The American Institute Gensler Cris Fromboluti, AIA George H. Miller United Way of the of Architects Don A. Hawkins, FAIA Mark Giuliani, RA Miller, Miller & Canby National Capital Area Baines Construction Hickok Cole Architects Thomas Glass Mueser Rutledge Consulting Venturi, Scott, Brown BeeryRio, Inc HKS Architects Lewis J. Goetz, FAIA, FIID Engineers & Associates BOE Architects, PLLC HUMANITIES COUNCIL OF Bucky Green Philip D. Muse, AIA Scott and Katy Weidenfeller Sara Ann Bounds WASHINGTON, D.C. GWWO, Inc./Architects The New York Community Trust Andrew S. Weinstein Capstone Communications, Alexander H. and Bruce Hayes and Jo Flemming Robert K. Oaks Dean Westman and L.L.C. Roberta R. Jeffries Josephine D. Hearld Charles Pankow Foundation Andrea Putscher The Catholic University Kimball Hill Homes Hord Coplan Macht, Inc. PIP Printing Ann L.B. and David Williams of America Whayne S. Quin. Esq Howard University Plants Alive! Inc. Doryan L. Winkelman and Chernikoff and Company Barry Rice Arhcitects Mary Ann C. Huey Andrew S. Potts Melanie Ferrara CHJ3 Architecture SmithGroup J. Ford Huffman Rasevic Construction Co. Merrill Wright Ray Colbert and Jeff Surprenant Barbara Spangenberg Alana and Henry W. William Regan ColePrevost Torti Gallas and Partners, Inc. Huffnagle, IV Danielle Roberts Interiors Gianne Conard, AIA Walter P Moore Catherine and W.T. Ingold SGA Architects

Board of Trustees

Chair Founding Trustees mystery building Michael J. Glosserman Cynthia R. Field Herbert M. Franklin Executive Director Edward T. Hall this issue’s mystery... Chase W. Rynd Nancy Stevenson Previous Mystery Building Beverly Willis Secretary Honorary Trustees Pretty Darned Mysterious David C. Evans Harold L. Adams The spring issue’s Mystery Building challenge Treasurer Howard M. Bender M. Arthur Gensler Jr. proved to be a toughie. Only one respondent Robert H. Braunohler Thomas J. Klutznick correctly identified the pictured structure as the Stuart A. McFarland Elected and Voting Trustees Robert McLean III Kandahar International Airport terminal in William B. Alsup III Elizabeth B. Moynihan Frank Anton Kandahar, Afghanistan. Marilyn Perry Thomas N. Armstrong III James W. Todd David S. Bender Mallory Walker Commissioned by the U.S. Agency for Internation- Deborah Berke Leonard A. Zax al Development (USAID), and designed by Pacific William M. Brennan Carolyn Schwenker Brody Ex Officio Trustees Architects and Engineers, Inc., the airport was Joan Baggett Calambokidis dedicated in December 1962. With its audacious, Donald A. Capoccia Alphonso Jackson, Kent W. Colton U.S. Department of Housing repeating parabolic roofline and robust, buttress- ? and Urban Development Dennis J. Cotter like concrete arches at ground level, the terminal Gilbert E. DeLorme Dirk Kempthorne, design is elegantly exuberant, yielding what Christopher Dorval U.S. Department of the Interior Clock Watch John P. Gleason, Jr. Barbara Boxer, would seem to have been a fashionable and quite Mike Goodrich Senate Committee on Environment and Public Works memorable structure in its day. This time, your challenge is to Delon Hampton Gary P. Haney James Oberstar, identify the building from which this Philippe Hardouin House Committee on Alas, the building was doomed to obscurity, photo was taken (not the building Robert W. Holleyman, II Transportation and Infrastructure Joseph F. Horning, Jr. thanks to its remote location and the fact that its visible in the background). Lurita Doan, raison d’etre—to provide a refueling stop for air Gerald M. Howard General Services Administration Mercy Jiménez David L. Winstead, routes through central Asia—disappeared with Once again, responses will be Frederick A. Kober General Services Administration, the advent of long-range passenger jets. A. Eugene Kohn Public Buildings Service accepted by e-mail or regular mail. Deryl McKissack Stephen T. Ayers, To be eligible for a prize (reserved Hollis S. McLoughlin Architect of the Capitol Melissa A. Moss The Kandahar International Airport was correctly Allen Weinstein, National Archives for the first five correct respondents Robert A. Peck and Records Administration identified by Nathaniel Martin, of Washington, D.C. only), send an e-mail to mystery- Whayne S. Quin Stephen M. Ross James H. Billington, [email protected]. You may also The Library of Congress Deborah Ratner Salzberg respond by regular mail, though Stephen E. Sandherr Cristián Samper, you will not be eligible for the prize. Robert A.M. Stern Smithsonian Institution The mailing address is: Norbert W. Young, Jr. Richard Moe, National Trust for Historic Preservation Christine McEntee, Mystery Building, National American Institute of Architects Building Museum, 401 F Street, NW, Washington, DC 20001 Summer 2007 blueprints 17

Reinventing the Globe: A Shakespearean Theater for the 21st Century Extended until October 8, 2007

The exhibition Reinventing the Globe: A Shakespearean Theater for the 21st Century was launched with an opening reception on January 11, 2007. The event, like the exhibi- tion itself, was characterized by a melding of elements from Shakespeare’s era and the present day. Held in the Pension Commis- sioner’s Suite, the reception featured “mod- ern Elizabethan” fare, fanciful bouquets of wildflowers, and the contemporary folk music of the duo Flutar. More than 150 friends of the Museum attended, including several of the architects whose hypothetical 21st- front cover: Floating Exhibition images clockwise from top left: century Shakespearean theaters were Skyscraper, Underground, 1976. David Macaulay: featured in the exhibition. © David Macaulay; photo The Art of Drawing Architecture by Christopher Benson. through January 21, 2008 Described as “refreshing and insightful” above: Curator Martin Reinventing the Globe: by The New York Times, the exhibition has Moeller leads a tour A Shakespearean Theater for of the Reinventing been extended until October 8, 2007. the Globe exhibition the 21st Century during the opening extended through October 8, 2007 reception. Photo Museum Staff. Cityscapes Revealed: Highlights from the Collection right (clockwise): Long-term © David Macaulay, photo by Christopher Benson; by Washington: Symbol and City permission of the Long-term Birmingham Shakespeare Library; collection of the National Building Museum; photo by Liz Roll.

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