An Interview with Liz McEnaney, Executive Director of the SS Columbia Project

Photo by Gene Witkowski

We recently interviewed Liz McEnaney about the restoration of the SS Columbia, the oldest surviving excursion steamship in the United States and a historic landmark. McEnaney is an architectural historian, preservationist and educator, teaching at Columbia University and, recently, in the ICAA’s New Heights architecture education program for middle school students. She also serves as the Executive Director of the SS Columbia Project; the project is restoring the historic ship, which was built in 1902 and features numerous classical design elements, so that it can serve NYC and the Hudson Valley as a space for a wide array of public events and education.

Photo by Gene Witkowski


What is the SS Columbia, and why is it significant?


For nearly a century and a half, lakes, rivers, bays and sounds all across the United States had a grand tradition of excursion steamboats offering the chance to get out on the water for the day. Columbia is the oldest remaining steamboat from that tradition – the last of her kind. Built in 1902, she was designed to carry 3,200 passengers on her five decks and is adorned with mahogany paneling, etched and leaded glass, a grand staircase, and an open-air ballroom.

SS Columbia arrives in Ohio to begin renovations


You are an urban historian and preservationist. How did you become involved in a maritime preservation project?


I worked on a documentary film (Hudson Rising) about planning issues in the Hudson Valley. The story of this region is really the story of the Hudson River and the connection between the waterfront cities and towns. I had heard that there were efforts to restore a steamboat and revive the great Day Line tradition. So, I bought a ticket to go see the boat in Detroit, where she was docked and to meet Richard Anderson, the founder of the SS Columbia Project. After seeing Columbia, it was impossible not to imagine what she will be like when she’s restored and in service again. I was hooked.

Photo by Beth Neely


The SS Columbia features numerous classical design elements, including gilded mouldings, a grand staircase, etched and leaded glass windows, and an open-air ballroom. Can you tell us more about the design?


Columbia was designed by Frank Kirby, a Cooper Union graduate who went on to become one of the most acclaimed architects of day excursion boats, including the Hudson River boats Hendrick Hudson and Washington Irving. Kirby partnered with painter and interior designer Louis O. Keil. We were able to track down Kirby’s original 1902 drawings, which guided the stabilization and repair of the boat’s hull in the shipyard. We’re still searching for all of Keil’s interior drawings.

Photo by Beth Neely


The SS Columbia is over 100 years old, constructed in 1902. What is the long-term vision for the boat?


Columbia will revive the great tradition of Hudson River excursion vessels. She will be a new cultural venue – a floating platform on the River for arts, culture and entertainment that reconnects New York City to the Hudson Valley. The boat will make trips from her homeport in New York City to cities and towns upriver, and will be used for STEAM (Science, Technology, Engineering, Art, and Math) educational initiatives. And, with 30,000 square feet of useable space, including a ballroom that holds over 500 people for seated dinners, the project will be self-sustaining as an events venue.

1902 photos of the SS Columbia, Image via the Library of Congress


You’re leading a comprehensive bow-to-stern restoration effort for the SS Columbia. What parallels do you see between your preservation work with buildings and the SS Columbia?


We’ve got a fabulous crew working on the project, and Ann Loeding, a tugboat captain with years of experience preserving historic vessels, is spearheading the restoration efforts. There’s a great similarity between preservation work on buildings and maritime preservation. Columbia has undergone significant structural alterations to her deckhouse over her years of service. Our challenge is to remove the later additions so that we can access her original “bones” in this case an innovative steel box frame that supports wood frames, beams and decks – and restore her to her original appearance using modern materials so as to comply with today’s Coast Guard regulations. As is the case with restoration and adaptive reuse of buildings, we aim to balance historical accuracy with contemporary amenities.

Crowds boarding the SS Columbia in Detroit in 1902, Image via the Library of Congress


What is the project’s current status, and what’s next for the SS Columbia?


This summer, we are launching a series of events that begin to tie New York State together. Buffalo, Hudson Valley and New York City artists and cultural organizations will partner on programs that highlight the richness and resources of New York State. The highlight of the series, and the first public event on board Columbia, is a site-specific theater piece created by the Buffalo-based company Torn Space Theater in partnership with the New York City-based company Temporary Distortion. The event will attract over 1,000 people and will involve 25 artists. See Torn Space’s website for more information on the event.

To learn more about the SS Columbia project, visit

Photo by Gene Witkowski

Photo by Joe Gutt

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Upcoming Travel Programs at the ICAA: Highbrow Gardens of the Lowlands

De Wintertuin van de Usulinen (source: Flickr)

This July, the ICAA will travel to the low countries of Belgium and the Netherlands. Guests will have the rare opportunity to visit the places that have influenced renowned landscape architects, their works, and private nurseries. The gardens on this tour, juxtaposed with the landscape paintings of the Dutch Golden Age, are works of art in their own right.

Before the late Mien Ruys forged her illustrious landscape architecture career, she grew up in her parents’ Moerheim nursery – the chapters of her childhood punctuated by the perennials’ annual bloom. Our group will visit Kasteel van Oostkerke, whose gardens are an expression of Ruys’ horticultural vision.

Guests will also visit Die Wiersse, a house and garden enveloped by oaks, beeches, and protective moats that has been passed down through the same family since 1678. Die Wiersse’s deep roots and enduring legacy demonstrate the prevalence of horticultural study in the region.

Het Loo Palace in Apeldoorn, Netherlands (source: Flickr)

The group will also view the private gardens of Piet Oudolf. Oudolf, with a handful of Dutch designers, has helped take landscape design from a local to global enterprise. He was invited to show his work at the 2010 Venice Biennial. His gardens’ precise selections and compositions are adaptable to the changing seasons. The visit to Oudolf’s gardens this summer will reveal some of the most thoughtfully curated moments of his designs.Travelers on this tour will have the envious opportunity to visit Jacques Wirtz’s home and private garden. Wirtz’s garden began as a nursery intended to store plants for his firm’s projects, and has grown into a borderless sanctuary where diverse plant species freely coexist. Outside the nursery, the irreplicable sight of Wirtz’s pillow hedges rolls across the estate.

During a visit to the museum of the Canals, guests will have a chance to see the gardens of Michael van Gessel. The subtlety of van Gessel’s touch in designing his historically conscious parklands represent a horticultural sleight of hand, rightly suggesting that what his meticulous designs achieve is nothing short of magic.

De Wiersse in Vorden, Netherlands (source: Flickr)

The visit will also include an exclusive look into the private gardens of eminent interior designer, Axel Vervoordt, an architectural tour of Bruges, a trip to the Royal Palace and Gardens of Het Loo, and others. As the tour makes its way through the lowlands of Europe, the group will get more than a taste of the region’s unique architecture, art, and especially, landscape designs. The landscape architects, whose gardens will be seen, are not only expert gardeners, but also artists who work with perhaps the most complex medium: nature.

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Buongiorno! Daily Updates from the ICAA Rome Drawing Tour

Follow the ICAA daily from June 5th through June 11th as we study the architecture, urbanism and landscapes of Rome through observational drawing and watercolor. The tour is led by Alexander Creswell, acclaimed watercolorist; Ben Bolgar, Senior Director at the Prince’s Foundation – London; and Selena Anders, Professor at the University of Notre Dame. Daily blog posts are provided courtesy of tour participants.

Piazza Navona

June 11th, by Rebecca Levitan: Our last day in Rome began with a return to Piazza Navona, our first sketching location. While some members of the program had risen early to sketch the piazza in depth, others arrived later to work on a series of quick sketches in pencil, pen or watercolor. For all the participants, the return to Piazza Navona was a great way to reflect on all that we had achieved in the past week. However, Alexander Caldwell was not yet content with the group resting on their laurels and had a full day planned.

Roman street view

For our next activity, the group was asked to complete the very challenging exercise of drawing while walking.  The exercise called for an intense acceleration of our methods of careful observation and meticulous study, and we produced very quick sketches while moving. It was very interesting to see which details of the urban landscape the class members chose to depict along their route. The walk terminated at the church of Sant’Ivo alla Sapienza, a few streets away from Piazza Navona. Designed by Carlo Borromini, the church (specifically its intricate lantern) was the subject of our next series of watercolors.

Collection of student drawings

After lunch, the group visited the church, Sant’Ignazio, and this time ventured inside to work on watercolor representations of its immensely elaborate Baroque interior. After finishing this final assignment, all class members reconvened for a group critique and assessment of the notebooks. This was certainly a highlight of the class—it gave us all the opportunity to gauge our own progress and admire the work of others. Our day ended with a beautiful dinner at a restaurant in Rome’s historical Jewish Ghetto, where we tasted a renowned signature dish of fried artichokes and enjoyed our final moments together.

The lantern of Sant’Ivo alla Sapienza (photo and student watercolor)

ICAA Rome Drawing Tour participants and instructors

June 10th, by Fay Edwards: After a busy day spent negotiating rainy weather and public transport, Friday was a lovely change of pace. We began by walking towards Villa Borghese through the Piazza di Spagna and along Via del Babuino. Today’s lecturer, Selena Anders, helped set the scene by taking us by the old urban residence of the Borghese family. Big enough to constitute an urban block, the building is now home to various international agencies.


Before ascending the hill to the Villa Borghese, Selena gave us a brief history of Piazza del Popolo. The Piazza del Popolo, or people’s square, was redesigned in the neoclassical style by architect Guiseppe Valadier between 1811 and 1822. This Piazza is significant not only for its design, but also for its location. It is the starting point of the Via Flaminia, a road of ancient Roman origin that leads to Northern Europe, and the hinge by which three import roads intersect – Via del Babuino, Via del Corso, and Via di Ripetta.

Galleria Borghese

Leaving this urban space behind, we climbed up to Villa Borghese and made our way through the beautiful park towards Galleria Borghese. As the clouds played tricks with the facade of the building, we sketched and painted as many of the buildings details as we could before breaking for a delicious lunch hosted by the ICAA.

The Temple of Aesculapius

Following lunch, we made our way to the Temple of Aesculapius. Set behind a lake, this scene challenged us to consider how to capture water and reflections in our sketches and paintings. To conclude the day, Alexander Creswell led us to the lookout ‘Passeggiata del Pincio’ for an incredible vista of Rome as the sun started to set. We spent the rest of the afternoon trying to draw out the most important details from this very complex scene…to varying degrees of success!

ICAA Rome Drawing Tour students sketching the Arch of Drusus

June 9th, by Raphaela Papaléo Farias: The group visited the area of the Appia Antica, one of the limits of the ancient walls of Rome, as well as the Museo delle Mura, located beyond the “Porta S. Sebastiano” of the Aurelian Walls. We enjoyed learning about the depths formed by the arch lines, which contour the museum’s design. We studied the proportions of the depth in large-scale and the lights and shadows offered by the site. We made a quick, but accurate, sketch of the Arch of Drusus, which is an old arch from the Antoninianus aqueduct, located in front of the Museum.

Students walk beneath the arches of the Aurelian Walls

Finally, we settled in front of the Mausoleum of Cecilia Metella, built in the time of Augustus, where we could contemplate the natural landscape in relation to the architecture. The shading technique we used with graphite and watercolor made it a challenge to achieve a balanced representation of the design and the landscape on a sheet of paper.

The Mausoleum of Cecilia Metella





The Pantheon

June 8th, by Fay Edwards: As the memory of the ancient city of Ostia Antica settled like the dust on it’s cobblestone roads, we found ourselves under the huge dome of the Pantheon. Looking up into this vast space, Alexander Creswell, our watercolor instructor, encouraged us to imagine the body of air and light that it encompassed. Rather than methodically drawing in each detail, Alex drew our attention to the shadows that played amongst them. From a quick sketch we moved to a simple watercolor that attempted to highlight the space between the physical details.

Students sketching the Pantheon

A quick sketch of Bernini’s Elephant and Obelisk, more affectionately called the Little Elephant or il pulcin in Italian, at Piazza della Minerva was a light-hearted break, which allowed us to draw and paint the curves and quirks of this comical figure. Again, the objective of the study was to show the way light helped to define the shape of the subject.

The Piazza della Minerva (left), Bernini’s Little Elephant (right)

A quick walk through the Roman ghetto, formerly an enclosure for Rome’s Jewish population, led us to a collection of temples in the Forum Boarium. The Forum Boarium is home to the oldest surviving marble temple in Rome, the Temple of Hercules.  As the light of the day gently faded, we all found a little spot to apply the lessons of the day to these impressive monuments.

The Forum Boarium

ICAA Rome Drawing Tour participants painting at Ostia Antica

June 7th, by Winston Grant-Preece: Today was all about ancient Roman civilization and, in particular, a Roman settlement called Ostia Antica. Ostia Antica, which served as a harbor city for ancient Rome, features extremely well-established residential structures: the periodic flooding of the River Tiber deposited silt on the city, helping to preserve it.

Ostia Antica (Photo courtesy of Winston Grant-Preece)

The city itself contains extraordinary mosaics and impressive Roman structures which, because of their relatively good condition, show us just how urbane the Romans were. The Romans were able to create this dense urban area by consolidating residential and retail functions and creating a complex of insulae, buildings often comprised of retail space on the ground floor and apartments above.

Inside the ancient theatre of Ostia Antica

Under the guidance of Alexander Creswell and Ben Bolgar, we produced a set of three watercolor drawings of Ostia Antica. We began by painting a ruined temple, then moved on to paint a street scene, and finally rendered more detailed views of the ruins. The goal with these watercolors was to focus on light and shadow and the warm reds and browns of the ancient stonework. While this exercise proved challenging due to the rustic, broken, and fragmented nature of the ruins, it was ultimately a truly valuable experience.

Watercolor by Winston Grant-Preece

Piazza del Campidoglio

June 6th, by Rebecca Levitan: After a weekend of sketching in pencil, the group had its first introduction to watercolor on Monday with Alexander Creswell. The adjustment was a welcome one for those eager to begin painting.

Practice watercolor sketch
by Rebecca Levitan

The day began with a stroll to the Piazza del Campidoglio, on one of Rome’s famous seven hills and the location of a complex of buildings and sculpture designed by Michelangelo near the end of his career. Ben Bolgar and Selena Anders walked the group through the important aspects of the Piazza’s mythological and Renaissance history. The irregular shape of the piazza, and the monumental equestrian sculpture of Marcus Aurelius provided welcome challenges for the artists.

After a lunch break in the historic area of Monti, the group headed below modern street level into the Roman Forum. Braving intense sun, Selena led the group through some of the Forum’s most famous monuments. The group then settled near the triumphal Arch of Septimius Severus. Built in the early third century AD, the tripartite arch was erected by the Roman emperor Septimius Severus to celebrate his military victories over the Parthians, an event memorialized in some of the sculpture that adorns the monument.

The arch is a favorite subject for watercolor artist Alexander Creswell and was thus a fitting place for him to introduce the group to some of his techniques, such as the representation of shadow, as well as direct and reflected light. The group began by attempting single or two-tone watercolor sketches of aspects of the monument. Some moved on to more elaborate watercolors in other parts of the Forum.

A student sketching in the Piazza del Campidoglio

To end the day, the group reconvened at the Hotel Santa Chiara for a presentation by Alexander Creswell about his own process and some of his series of massive watercolors, which include Italian landscapes, as well as documentary watercolors of interiors, and even capriccios (fanciful hybrids) of several sites or modifications of world landmarks. It was a fascinating end to the introduction to watercolor, which illustrated how far the medium can be pushed, both in scale and technical achievement.

ICAA students touring the Roman Forum

Fountain of the Four Rivers (Image: / Bengt Nyman)

June 5th, by Eric Stalhiem: The first full day of the ICAA’s 2016 Rome Drawing Tour began at 9:00 am at Piazza Navona, where we focused on Bernini’s Fountain of the Four Rivers. Each participant did a series of two to three 15 to 20 minute vignettes focused on a specific figure within the fountain sculpture. Beginning with the figure of the Nile – its head shrouded and adjacent a palm tree – I then moved on to the Tiber, then the Ganges, and finally, the Danube River.

Theater of Marcellus

After drawing for two hours, we adjourned for a lunch break and reconvened at Santa Maria della Pace. Here, we focused on one-point perspectives in the Bramante cloister attached to the church of Santa Maria della Pace. We culminated the first day at the Theater of Marcellus complex, where we were given the freedom to draw the structure in as many drawings, forms, and presentations as we wished. I chose an architectural approach, representing the building in elevation, section and plan.


Student drawing the Cloister of Bramante

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Michael Mesko brings classical orders to contemporary application

By Jiajing Lily Sun

On May 10th and 11th, the ICAA offered a two-day advanced course on how to dissect classical order components and how to study architectural masterpieces through the lens of proportions and ratios. Instructor Michael Mesko and Teaching Assistant Kellen Krause presented a detailed illustration on different varieties of columns and capitals canonized by Giacomo Barozzi da Vignola even since the Italian Renaissance period. Mesko also took the steps further by teaching how to integrate these classical orders into an architectural entity with perfect proportions.

ICAA Instructor Michael Mesko

The course highlights practical application of the orders, extending them into contemporary architecture design. “One way to think about the orders is, they are modular,” Mesko explains. “There is always a ‘module’ which everything else revolves around.” For instance, the diameter of the lower ⅓ section of a classical column can be the module and, by multiplying the number with various fractions, the architect can obtain the exact height of the columns and the dimension of the pedestal supported by them. This methodology can be applied to any type of architecture, ancient or modern, public or domestic, to determine the scales and proportions of an entire building with unfailing visual harmony.

Michael Mesko and Teaching Assistant Kellen Krause working with a student

The course series serves as a great opportunity for like-minded professionals to hone their design skills and deepen their understanding of classical architecture. Like sorting puzzlepieces, during the class the students explored the unlimited possibility of combining various patterns of the orders, conjuring up the idealized plans, and eventually found the key piece to interweave all the elements tightly.

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2016 Arthur Ross Award Winners Remind Us that there is No Future without the Past

Robert A.M. Stern with ICAA President, Peter Lyden (Image: Jared Siskin / PMC)

On Monday, May 2nd, the ICAA welcomed over 400 guests in New York City to celebrate the 35th annual Arthur Ross Awards. Established in 1982 by the late Arthur Ross and Henry Hope Reed to recognize excellence in the classical tradition, the 2016 award recipients included Duncan G. Stroik (Architecture); Anne Day (Fine Arts, Photography); Robert A.M. Stern (Education); Paula Wallace and the Savannah College of Art and Design (Stewardship); and Ciudad Cayalá (Civic Design).

A twice-honored Arthur Ross Awards recipient and Dean of the Yale School of Architecture for the past 18 years, Robert A.M. Stern told those in attendance: “As pleased as I was to receive an Arthur Ross Award for my work as an architect in 1991, I’m perhaps more so pleased to be recognized for my work as an educator. Architecture in my view is a conversation across time, and in order to say something new in a comprehensible and enduring way, architects must learn its many languages.”

Thomas Aquinas College Chapel, designed by Duncan G. Stroik (Image: Stephen Schafer)

Stern played a key role in reintroducing classical principles to architecture education during his tenure at Yale (as a Yale alumnus myself, this has brought me great joy to witness over the years). However, as Stern observed during his acceptance speech, he was not alone. Others, including the late Arthur Ross, helped build a community seeking to educate today’s practitioners of classicism, as well as the next generation of architects, designers, builders, and enthusiasts. Today, this community continues to grow through membership and participation in the Institute of Classical Architecture & Art.

Duncan G. Stroik, who won this year’s Arthur Ross Award for Architecture, is also an educator, having served on the faculty of the Notre Dame School of Architecture since 1990. Stroik participated in a May 1st panel discussion, which was generously hosted by Robert A.M. Stern Architects and included other Arthur Ross Award recipients (watch the full panel discussion here). I was especially encouraged by the eagerness Stroik expressed during the panel discussion for Notre Dame and the ICAA to work more closely together on joint programming, such as student awards that would draw participation from emerging architects and designers nationally. I love this idea, and think there is tremendous opportunity for the ICAA to champion classicism at universities across the country.

2016 Arthur Ross Awards panel discussion hosted by Robert A.M. Stern Architects (Image: RAMSA)

It is difficult to speak at length about architecture and arts education in the United States without referring to the 2016 Arthur Ross Award winners for Stewardship: the Savannah College of Art and Design (SCAD) and its President and Co-Founder, Paula Wallace. In the late 1970s, SCAD renovated the former Savannah Volunteer Guard Armory to serve as its first classroom and administration building. Today that building is named Poetter Hall after Wallace’s parents, May L. Poetter and Paul E. Poetter, who also co-founded the school. During the last several decades, SCAD has expanded into dozens of historic buildings throughout the city — transforming Savannah itself into a center of innovative arts education while preserving the integrity of its architecture.

ICAA Board Chairman, Mark Ferguson, with 2016 Arthur Ross Award Winner (Stewardship) Paula Wallace, President of the Savannah College of Art and Design (Image: Jared Siskin / PMC)

While accepting the Arthur Ross Award, Ms. Wallace told guests of the ICAA: “At SCAD we do care about architecture. We care about human lives that inhabit these historic structures throughout the ages, and at SCAD we are stewards of history and light the past for our students.”


Poetter Hall, Savannah College of Art and Design (Image: SCAD)


Cannes Film Festival Dresses

Cover image by Anne Day for The New York Public Library: The Architecture and Decoration of the Stephen A. Schwarzman Building, written by Henry Hope Reed and Francis Morrone

According to Anne Day — 2016 Arthur Ross Award recipient for her work in photography — her education began when she was hired by ICAA co-founder Henry Hope Reed to re-photograph Herbert Small’s 1910 guide to the Library of Congress as the original negatives had been lost. Day went on to serve as principal photographer for numerous books by Henry Hope Reed, as well as the Classical America series publication, Edwin Howland Blashfield: Master American Muralist. In describing Day’s talent, ICAA Board Chairman Mark Ferguson told awards ceremony guests in attendance: “Her visual inquiries of people and places have trained her eye to see the human dimension in architecture and the empathetic quality of traditional buildings …. Her images transcend journalism. They are works of art. They echo the quality we find in great buildings.”

One of the most inspiring stories illuminated by this year’s awards ceremony was that of Ciudad Cayalá in Guatemala, winner of the 2016 Arthur Ross Award for Civic Design. The town, which merges traditional Spanish colonial and Mayan design influences, was brought to fruition by a team including previous Arthur Ross Award winner, architect, and urban planner Léon Krier; the Leal family, led by developer Hector Leal; and the Town Architects of Cayalá, Maria Fernanda Sánchez and Pedro Pablo Godoy of Estudio Urbano.

According to Sánchez, who accepted the award on behalf of the project, “Cayalá is physical proof that traditional architecture and urbanism can bring us closer to the ideals of order, courtesy, respect, peace, freedom, and contemplation of beauty.”

Ciudad Cayalá, Guatemala (Image: Waseem Syed)

Cayalá brings the best aspects of traditional design and planning to a region of the world whose built environment has long been neglected. Today, Cayalá is a destination for Guatemalans and visitors from abroad; its traditional architecture is not symbolic of the past but rather a beacon of hope and future progress.

The notion that classicism connects us with the future, as well as the past, emerged as the unofficial theme of the awards ceremony. In my own opening remarks, I quoted a 2011 speech by the The Prince of Wales – himself an Arthur Ross Award recipient – who commented on the future of Great Britain: “We can enhance it and leave it behind in a way that reflects where we come from but also where we’re going, because the two are interlinked.  We can’t have a future without the past.  There has to be a sense of timelessness, a living tradition that helps to maintain that sense of identity and belonging.”

Mark Ferguson complemented this sentiment in his closing statement, saying: “At the Institute we celebrate our place in the historical continuum. We ask you to join us, to conserve the past in order to invest in the future, to build by tapping into the deep-seated ideas in our most cherished buildings, and to preserve old covenants so future generations will also enjoy the best our long heritage has to offer.”

The 35th Annual Arthur Ross Awards Ceremony was a tremendous success. If the enthusiasm and excitement among the awardees and supporters of the ICAA in attendance was any indication, the future of classicism will be bright.


For the first time ever, the Arthur Ross Awards ceremony has been filmed and published online. Watch the full presentation below. 

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Monthly Newsletter: May at the ICAA

Welcome to our monthly newsletter, including articles, news, and programming from the ICAA and the classical design community. To receive an email version of our newsletter, sign up today.


Peter’s Reflections
2016 Arthur Ross Award Winners remind us that
there is no future without the past

Ciudad Cayalá, Guatemala
(Image: Waseem Syed)

ICAA President Peter Lyden reflects on the inspirational work of the individuals and organizations recognized by the 2016 Arthur Ross Awards, the enthusiasm among the ICAA supporters in attendance, and the optimistic future of classical architecture and art.



Travel with the ICAA to France, Scotland, the Netherlands and More
2016 Upcoming Dates & Destinations

Kinross House, Scotland
(Image: JThomas /

JUNE 3-12 The French Riviera

JUNE 4-11 Great Houses & Gardens of Scotland

JULY 10-16 Gardens of the Netherlands & Belgium

SEPTEMBER 9-17 Private Paris during the Biennale des Antiquaires

SEPTEMBER 29 – OCTOBER 2 Classicism on Chicago’s North Shore

OCTOBER 15-22 Private Chateaux of the Loire Valley



Inspired Places & Spaces
Inspiration from our Paris Drawing Tour

Bibliothèque Sainte-Geneviève

The ICAA hosted its inaugural Paris Drawing Tour from April 24-30th, led by architect Kahlil Hamady and designer Leslie-jon Vickory, alongside renowned watercolorists, Bernd Dams and Andrew Zega.

Rebecca Allan, MFA joined the ICAA in Paris for the tour and wrote about the group’s daily experiences, which included visits to the Bibliothèque Mazarine, Musée Nissim de Camondo, the Fondation de Coubertin, and more.



2016 ICAA Rome Drawing Tour
Student Scholarships & Spaces Available 

Tempietto by Donato Bramante
(Image: Bruno / Flickr)

Join the ICAA on its annual Rome Drawing Tour, June 4-11. Acclaimed watercolorist, Alexander Creswell; Senior Director at the Prince’s Foundation – London, Ben Bolgar; and Notre Dame Professor, Selena Anders, will guide participants through sites such as the Forum Boarium, the Campidoglio, Santa Maria sopra Minerva, and the Arch of Constantine.

Scholarship opportunities are available for students interested in the program.



Continuing Education
Upcoming Courses Nationwide 

Learn more about upcoming Continuing Education opportunities in New York and throughout our Chapters nationwide, including New England, Ohio & Lake Erie, Texas, and Washington Mid Atlantic. 



Lectures, Tours & Events
Upcoming Programs in New York

Interior Designer and ICAA Board Member,
Alexa Hampton

Explore upcoming public programs, including:

MAY 14 Brooklyn Heights: Walking Tour with Francis Morrone (sold out)

MAY 26 Peter Harrison Talk with John Fitzhugh Millar

JUNE 1 Breakfast & Books Lecture with Alexa Hampton at the Rizzoli Bookstore

JUNE 8 Spring Social at The Museum of the City of New York



Awards & Prizes
Upcoming Dates & Deadlines

May 16 Philadelphia: Trumbauer Awards Call for Submissions Begins

June 16 Northern California: Julia Morgan Awards Ceremony

Rieger Graham Prize: Brendan Hart Selected as Winner



Arthur Ross Awards Symposium, May 1st
Three Part Video Series 




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