TWO CENTURIES OF ARCHITECTURAL DRAWING

Calder Loth

Calder Loth

CLASSICAL COMMENTS
by Calder Loth

Senior Architectural Historian for the Virginia Department of Historic Resources. Member of the Institute of Classical Classical Architecture & Art‘s Advisory Council.

In 1992, the Virginia Museum of Fine Arts opened an exhibition of architectural drawings titled The Making of Virginia Architecture. The exhibition displayed 118 drawings by Virginia architects as well as non-Virginians such as Thomas U. Walter and Frank Lloyd Wright, who had designed Virginia buildings. Serving as curators were Charles Brownell, William Rasmussen, Richard Guy Wilson, and myself. For this Classicist Blog essay I am sharing a dozen selected drawings from the exhibition spanning some 200 years and displaying a range of drawing techniques from simple sketches to elaborate watercolor presentation drawings. While we exhibited five drawings by Thomas Jefferson, I have not included any Jefferson drawings here since they are well known and have been published numerous times. One of the exhibition’s special treasures, shown below, was George Washington’s own drawing for the expansion of Mount Vernon.

The ICAA strives to keep alive the tradition of architectural drawing. In the age of CAD and computer imaging, hand drawing and rendering risk becoming a lost art. It is hoped that the various images shown below will inspire an appreciation of the role hand drawing has played in the creation of noteworthy works of architecture.

 

Mount Vernon, Fairfax County, Virginia
George Washington, architect

Elevation drawing of west front, 1774 or later
Pen and writing ink on paper; 6 3/8 X 8 inches
Mount Vernon Ladies’ Association, Mount Vernon, Virginia

 

George Washington’s simple drawing of Mount Vernon’s west elevation is testament to the fact that, like Jefferson, the farmer, soldier, statesman, and first U.S. President, was also an amateur architect. The drawing illustrates how the house was to be configured following Washington’s extensive alterations and additions made between 1774 and 1787. The expansion included additions on either end with their own separate entrances, all covered by a broad hipped roof crowned by an octagonal cupola. The elevation reveals that Washington intended a symmetrical arrangement of the bays, but the irregularity of the original dwelling’s openings prevented him from achieving it. Regrettably, we have no drawing by Washington of the opposite side with its celebrated ‘piazza,’ Washington’s unique innovation.

 

Newmarket, Caroline County, Virginia (unbuilt)
Architect unknown

Presentation drawing, late 18th century
Pen and India ink, and watercolor on paper with later watercolor insertions; 11¾ X 18 inches
Virginia Historical Society, Richmond, Virginia

 

John Baylor, a member of Virginia’s plantation aristocracy, planned a replacement of his family house with what would have been one of the grandest mansions ever erected in the state. Baylor apparently acquired a taste for monumental architecture while being educated in England and likely acquired this drawing from an architect while there. Although not a particularly polished scheme or delineation by English standards, it nonetheless would have outshone most anything built in America at that time. The drawing reflects the refined neoclassicism of Robert Adam, even incorporating niches with classical statues on either side of the front door and colonnades connecting to dependencies. Baylor affixed this drawing to his copy of The Architecture of M. Vitruvius Polio (London, 1771) where it now remains. Construction of the house never progressed beyond some foundation work. Someone at a later date attempted to ‘enhance’ the drawing by adding the garish trees.

 

Study for a Monument and Church, Richmond, Virginia (unbuilt)
Benjamin Henry Latrobe, architect

Elevation and plan details, 1812
Pencil, pen and India ink, and watercolor on paper; 18½ X 13¾ inches
Maryland Historical Society, Baltimore, Maryland

 

Richmond’s catastrophic theater fire of 1811, in which seventy-two leading citizens including the governor perished, led the city to plan a permanent monument with an attached church for the disaster site. Benjamin Henry Latrobe, who had already provided numerous designs for the city, produced this finely delineated proposal, a composition unlike anything seen before in America. It called for a domed neoclassical church fronted by the monument over a crypt containing the remains of those who died in the fire. The monument itself consisted of a low-profile Egyptian-style structure with battered sides and topped by a stepped pyramid. The scheme proved too costly, and despite Latrobe’s efforts to simplify, it was passed over in favor of an equally avant garde design by Robert Mills, Latrobe’s pupil. Mills’s submission, known today as Monumental Church, was built absent a proposed rear tower and is regarded as one of the country’s premier early architectural landmarks.

 

Bremo, Fluvanna County, Virginia
John Neilson, architect

Presentation drawing, ca. 1817
Ink and watercolor wash on ruled paper; 14 X 20 inches
Special Collections, University of Virginia, Charlottesville.

 

Thomas Jefferson assembled numerous skilled builders for the construction of both Monticello and the University of Virginia. One of them, John Neilson, a native of Northern Ireland, proved to be an accomplished architect as well as draftsman. Neilson executed for Jefferson a number of watercolor drawings of university buildings. These drawings were long attributed to Jefferson’s granddaughter, Cornelia Randolph, but research by Richard Cote has firmly assigned them to John Neilson.[1] In 1816, Jefferson’s friend, Gen. John Hartwell Cocke, engaged Neilson to assist with the design of his new plantation mansion, Bremo. As shown in Neilson’s elevation (now also properly attributed), the design is a cohesive essay in Jeffersonian Palladianism, a distinctly American architectural idiom learned by Neilson through his involvement with Jefferson’s projects. The house was originally built with a flat roof and parapets, but constant leaking forced Cocke to cover it over with the present hipped roof in 1836.

 

Alexandria Courthouse, Alexandria, Virginia
Robert Mills, architect

Presentation drawing, 1838
Pencil, pen and India ink with watercolor on paper; 15 X 20¼ inches.
Signed and dated: Robt. Mills/Archt. Pub. Bldgs/City. Washington July 17, 1838.
National Archives, Cartographic and Architectural Branch, Alexandria, Virginia

 

Robert Mills arrived in Washington from his native Charleston in 1800 as a nineteen-year old to assist James Hoban with the completion of the White House, for which Hoban was the supervising architect. Several months later, Mills came under the tutelage of Thomas Jefferson and enjoyed access to the numerous architectural books that Jefferson brought to Washington and kept at the White House. Mills produced ink and watercolor renderings for Jefferson, and refined his rendering skills when he joined Benjamin Henry Latrobe’s office in 1803. The influence of Latrobe’s lean classicism and rendering techniques can be seen in Mills’s luminous presentation drawing for the Alexandria courthouse. Mills would use the simplified Greek Doric order seen in the courthouse drawing in a number of his works. The courthouse was demolished in 1905.

 

Morven Park, Leesburg, Virginia
Edmund G. Lind (Lind & Murdoch), Baltimore, architect

Presentation drawing, 1861
Pencil, pen, India India ink, brown ink, and watercolor on paper; 22¾ X 36¾ inches
Inscribed lower left: LIND & MURDOCH ARCHs; lower center: MURDOCH & RICHARDS. DELs, 1861.
Westmoreland Davis Memorial Foundation, Morven Park, Leesburg, Virginia

 

This astonishing image was prepared to show the proposed remodeling of an existing country house. The house incorporated an 18th-century dwelling enlarged in the 1830s with the construction of the porticoed center section and flanking two-story wings. In 1859, its new owner, Thomas Swann, the former president of the B&O Railroad and governor of Maryland, hired Baltimore architect, Edmund G. Lind, to remodel the house in the newly popular Italianate manner. Lind complied by adding the bracketed window hoods and four tall Italian Villa-style towers, a treatment made fashionable by Queen Victoria’s Osborne House. The towers were built, but, alas, were removed in the 1890s by Swann’s daughter. Regrettably, no photograph has surfaced showing the house with its towers. The rendering, executed by Lind’s associates, William T. Murdoch and William T. Richards, remains the sole record of this amazing composition and is a rare example of a polished presentation drawing of the antebellum period.

 

Handley Library, Winchester, Virginia
James Stewart Barney (Barney & Chapman), New York, architect

Presentation drawing, ca.1904
Signed lower left: E. Eldon Deane
Watercolor and ink on paper; 23½ X 29½ inches
Handley Library, Winchester, Virginia

 

This splendid Beaux-Art work is the result of a bequest to the city of Winchester by Judge John Handley of Scranton, PA, who made a fortune in coal investments and developed an affection for the small Shenandoah Valley community and its Scotch-Irish heritage.  The handsomely rendered presentation drawing by E. Eldon Deane helped Barney’s firm secure the commission. The library was completed in 1913 largely as illustrated. Triangular in plan, the library is fronted by a heroic, triple-arch entrance that recalls both the New York Public Library and Palladio’s Loggia del Capitaniato. With its smartly dressed visitors and fine carriage, the drawing signals the impression that this grandiose work would fit comfortably in any European capital. It also is a demonstration of the exceptional quality of architectural rendering of the period.

 

Waverley Hill, Staunton Virginia
William Lawrence Bottomley, (Bottomley, Wagner & White), New York, architect

Presentation drawing, 1928
Mechanical print of charcoal drawing on paper with colored pencil added; 11 X 24 inches.
Private Collection

 

The fashionable New York architect, William Lawrence Bottomley, developed a large following in Virginia, receiving some forty commissions in the commonwealth between 1915 and 1956 for new works or for alterations and additions. Bottomley specialized in interpretations of Virginia’s colonial architecture, declaring “this old southern ideal of country house architecture [is] one of the finest things we have and it is still vital.”[2] Although on a hilltop site with splendid views of the Shenandoah Valley countryside and Blue Ridge Mountains, Waverley Hill took the form of a James River plantation house extended to a five-part composition. Ever the eclectic, Bottomley introduced a Maryland touch with the front doorway, based on the entrance of the Hammond-Harwood house in Annapolis. The rendering presents the house well settled in with mature landscaping. The house was built as shown.

 

Carillion Tower (Virginia War Memorial), Richmond, Virginia
Ralph Adams Cram (Cram & Ferguson, Boston), architect; Carneal, Johnston & Wright, Richmond, associate architects

Working drawing elevations, 1931
Pencil on tracing paper, 41½ X 30 inches
Collection of Ballou, Justice & Upton Architects, Richmond, Virginia

 

The architectural landmark of Richmond’s Byrd Park, the Carillion was dedicated in 1935 as a memorial to the Virginians who served in World War I. A competition for the design was held in 1925 with Paul Cret’s submission for a granite arcade judged the winning entry. Ground-breaking for the Cret scheme took place but construction was halted three months later in order to consider options for a carillon, which public sentiment determined to be a more suitable monument. The resulting substitute design by Ralph Adams Cram called for a 200-foot-tall Georgian-style brick campanile with limestone detailing. As stated at the time, the style was chosen because “The Commonwealth of Virginia is the great southern exponent of that noble Colonial architecture.”[3] Built as designed, the Carillion houses fifty-three bells cast by John Taylor & Co. of England.

 

National Airport, Arlington, Virginia
Howard L. Cheney, Washington, D.C., architect

Preliminary presentation drawing by Hugh Ferris, ca. 1939
Charcoal on tracing paper, 11¼ X 17½ inches
Avery Architectural and Fine Arts Library, Columbia University, New York City

 

This drawing by the visionary artist, Hugh Ferris, captures the new-found drama of commercial air flight. The activity, noise, and wonder of a modern airport are all felt. Though trained as an architect, Hugh Ferris achieved fame as an architectural renderer. His bold futuristic depictions of skyscrapers influenced the designs of many of these works. National Airport (now Reagan National Airport) was established largely through the urging of President Franklin Roosevelt who recognized the need for the capital city to have adequate air service. The original concept for the terminal was for a streamlined appearance. Roosevelt, however, preferred a more traditional image, and suggested that the façades should reflect Mount Vernon, not far away. Hence, the terminal was decked out with a range of square piers on the west elevation and cylindrical columns on the runway side. Ferris’s drawing was a preliminary study for a now lost finished rendering. Howard L Cheney served in the Office of the Supervising Architect in the Public Building Administration.

 

Dulles International Airport, Chantilly, Virginia
Eero Saarinen, architect

Preliminary sketch, 1958
Pencil on tracing paper; 18 X 34½ inches
Museum of Modern Art, New York City, Gift of Aline Saarinen

 

The thrust and soaring qualities of modern jet flight are brilliantly captured in Saarinen’s nimbly dashed pencil sketch showing his preliminary concept for what would be the nation’s first all-jet airport. The sketch shows the forward leaning piers that would be incorporated into the final design, but not the suspended curved roof that defines the terminal today. Saarinen later described the finished roof, saying it “resembles a huge continuous hammock suspended between concrete trees.”[4] With its progression of tall piers, Saarinen intended to make the terminal a monumental modernist entrance to the nation’s capital city. Moreover, the terminal was to be devoid of the ‘fingers,’ that snaked from the central check-in area, using instead the concept of the ‘mobile lounge’ that transported passengers directly from the terminal to their airplanes. More than fifty years later, the Dulles terminal still projects the dynamism displayed in this early sketch.

 

Observatory Hill Dining Hall Additions, University of Virginia, Charlottesville
Robert A.M. Stern Architects, New York, architect; Marcellus Wright, Cox and Smith, Richmond, associate architects

Presentation drawing by Andrew Zega, 1989
Watercolor on Paper; 19½ X 34 inches. Signed and dated: Andrew Zega, 1989
Collection of Robert A. M. Stern Architects, New York City

 

Robert A. M. Stern’s 1984 twin additions were made to a 1974 dining hall, a vacuous modernist structure spanned by large shed roof. The airy design was part of the university architecture school’s Dean Jaquelin Robertson’s effort to have new buildings reflect the university’s Jeffersonian heritage. Stern complied by breaking the composition into pavilion-like sections  framed by paired Tuscan columns and incorporating Chinese lattice panels, all supported on a brick arcade. The different units were visually integrated by a Tuscan entablature. The composition shown in this drawing was applied to both the north and south elevations of the existing dining hall. The watercolor rendering was produced by Stern draftsman Andrew Zega five years after the work was completed to record the project. Unfortunately, the need for a larger dining facility resulted in the demolition of the entire complex in 2004.


[1] Charles Richard Cote, The Architectural Workmen of Thomas Jefferson in Virginia. Doctoral dissertation (Boston University, 1986).
[2]
Quoted in The Making of Virginia Architecture (Virginia Museum of Fine Arts, Richmond, Virginia, 1992) p. 370
[3]
  Ibid., p. 380.
[4]
Eero Saarinen quoted in “Dulles International Airport.” Architectural Record (July 1963).

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National Curriculum Conference 2014

Over the weekend of July 17-20, thirty-three participants representing ten ICAA Chapters and five affiliated schools gathered at the College of Architecture & Planning at the University of Colorado Denver for the third National Curriculum Conference. The College of Architecture & Planning at UCD and the ICAA Rocky Mountain Chapter co-hosted this year’s conference.

2014 National Curriculum Conference. Photo credit: Tom Matthews

The National Curriculum Conference serves as a forum to facilitate dialogue and to share knowledge among ICAA instructors, chapter leaders, and educators at schools and partnering institutions.  The conference is vital to the development of ICAA education on a national scale.

A reception at the historic Hudson Moore Estate, hosted by Don Ruggles, President of the ICAA Rocky Mountain Chapter, commenced conference activities.  Guests were invited to tour the circa 1931 residence, designed by local architects Fisher & Fisher, and recently remodeled and restored by D. H. Ruggles & Associates, P.C.

Mark Ferguson, Chair, ICAA Board of Directors gives opening remarks.

Welcoming remarks from Dean Mark Gelernter, College of Architecture and Planning at the University of Colorado Denver, and Don Ruggles, President of ICAA Rocky Mountain Chapter

The work of the conference began Friday morning with presentations outlining the work of  ICAA Education and programs in classical design in the following ICAA Chapters and schools:

ICAA Chapters:
Chicago-Midwest Chapter; Charleston Chapter; Washington Mid Atlantic Chapter; Florida Chapter; Utah Chapter; New England Chapter; Rocky Mountain Chapter; Southern California Chapter; Southeast Chapter

Affiliated Schools:
University of Notre Dame; American College of the Building Arts; Boston Architectural College; Judson University; University of Colorado Denver

Elizabeth McNicholas presents on educational programming in the Chicago-Midwest Chapter.

 

Patrick Webb speaks about the curriculum at the American College of Building Arts in Charleston, S.C.

Christine Franck presents on the proposed initiative Center for Advanced Research in Traditional Architecture.

Christopher Miller from Judson University speaks about classical design education at the university level.

Friday afternoon’s schedule featured presentations on progress in development of coursework in two newly added core subject areas: Composition & Design and Materials & Methods.  ICAA instructors and professors from affiliated schools presented on essential topics, skills, and resources and how these subject areas may be introduced in education programs.

The second day of the conference focused on refinement and development of ICAAs courses in core curriculum areas of Elements, Proportion, Drawing/Delineation, and Literature of Classical Architecture; and on best practices for teaching core content.

Cameron Kruger, Domiane Forte, and Sheldon Kostelecky discuss teaching methods for Drawing & Delineation.

Presentations and discussion at the 2014 NCC.

Joel Pidel and Marvin Clawson make a virtual appearance for their presentation on the Literature & Theory of Classical Architecture. Photo Credit: Tom Matthews

Closing discussions were framed around ways to: capitalize on strengths of the core curriculum; advance coursework in areas needing further development; and on ways to expand our network of instructors.  Conference action items will serve as the basis for continued work in the coming year.

As part of the conference, ICAA Rocky Mountain Education Chair, Tom Matthews, treated participants to a walking tour highlighting classical buildings in Downtown Denver.  The tour featured special access to Denver’s landmark Campanile inspired, Daniels & Fisher Tower, where the owner of Clocktower Events, welcomed participants to visit the observation balcony and clock level to enjoy panoramic views of the city.

Participants on a Walking Tour of Downtown Denver

Cameron Kruger takes participants on a tour of the College of Architecture & Planning building. Photo credit: Tom Matthews

The clock at the top of Daniels & Fisher Tower in downtown Denver.

ICAA National staff shared a letter from Alvin Holm, long-time classical design educator and friend of the ICAA, who was unable to attend the conference.  He had this to say about the significance of the NCC:

“I am personally thrilled to see how far the movement has come from the humble beginnings under Henry Reed’s sponsorship with Classical America in the ‘sixties. I like to think that my early work at the National Academy in New York is in part a little murmur of what has now become something of a mighty chorus across the country.

Henry would be thrilled! His remarks, however, would be characteristically understated, perhaps something like “rather good, actually”. When we celebrate his legacy in Philadelphia this Fall in a small gathering at the Franklin Inn, I will certainly point to this conference as an example of the giant steps we are making toward The New American Renaissance of which he dreamed and did so much to achieve.”

Group shot on the steps of the Byron White U.S. Courthouse.

We thank the 2014 NCC participants for their time, expertise and commitment to classical design education, and look forward to continuing the work of the conference in the coming year.

Our deepest thanks are due to all who made this year’s conference possible, including: the ICAA National Curriculum Committee, the Rocky Mountain Chapter planning team of Christine Franck, Cameron Kruger, and Tom Matthews, Don Ruggles, and Dean Mark Gelernter and the College of Architecture & Planning at UCD for hosting the conference and providing ICAA with use of UCO facilities.  Our very special thanks to Bill Harrison and Harrison Design Associates for sponsorship of  the 2014 National Curriculum Conference.

 

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Announcing a New Benefit for the ICAA Community

The ICAA is pleased to announce a collaboration with the Designers & Books Online Book Fair. This program allows members of the ICAA community to receive special discounts on books about architecture, art, design, and photography released by important publishers in these fields. This is an ongoing program and additional publishers and books will be added to the Online Book Fair site each month.

To receive the special discounts noted below, please use this partner code, which is special for the ICAA community, when checking out: 14BRXAA

AMMO Books: 50%

Applied Research + Design: 50%

Carnegie Hill Books: 10% (rare and out-of-print) [will be added later this month]

DoppelHouse Press: 40%

Gestalten: 35%

Goff Books: 50%

Lars Muller Publishers: 35%

Laurence King Publishing: 50%

MIT Press: 40%

Modernism 101: (rare and out-of-print): 10%

ORO Editions: 50%

Paintbox Press: 20%

Prestel Publishing: 35%

Princeton Architectural Press: 50%

Schiffer Publishing: 35%

Strelka Institute: not applicable

Wolfsonian-Florida International University: 40% [will be added later this month]

Check-out occurs on the website of each individual publisher, which gives you the chance to browse additional books from the publishers and sign up for newsletters and social media updates that may interest you.

In addition to new and backlist books, the Online Book Fair also includes rare and out-of-print dealers, which will also offer special discounts.

If there are publishers or books you are interested in that you don’t find on the Online Book Fair site, you can let Designers & Books know using this email link so your suggestions can be addressed.

The Online Book Fair is a Designers & Books project. We hope you will find it to be an enjoyable place to browse and discover books, and to buy new additions for your library.

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World-Class Architects & Designers Discuss “Winning” Entries for Newman Awards

Colorado has an impressive display of architectural beauty, much of which harkens moments of luxury, classicism, and rustic comfort. It is this architecture that holds the region’s history and appeal. But how do great architectural designs like the ones Colorado is known for, come to fruition? We asked the jury of the Rocky Mountain Chapter’s 2014 Robert & Judi Newman Awards for Excellence in Classical & Traditional Design to share with us what they are looking for in award winning projects.

Jurors Michael Imber, Suzanne Tucker, and Dr. Mark Gelernter

The 2014 Newman Awards jury consisted of Michael Imber, FAIA; Suzanne Tucker, ASID; and Dr. Mark Gelernter, Professor of Architecture and Dean, University of Colorado Denver Graduate School of Architecture. They joined honorary jurors, Robert and Judi Newman in reviewing over 40 submissions in the categories of Commercial, Civic & Institutional Architecture, Residential Architecture, Interiors, Landscape Design, History & Journalism, Artisanship, and Student Award.

The jurors review submissions for the 2014 Newman Awards

When asked “What is it that you are looking for to deem an entry an award recipient?” the word cohesiveness came up time and time again. The jurors stressed the importance of having a complete and cohesive submission in all aspects, even down to the small details like lettering. Just as significant, is that the submission is well executed in the traditional design language and approach.

Each juror offered up ideas on what recipe other architects and designers might follow to have their design stand out from the rest:

Suzanne Tucker: Look at the submission logically and at what will have the most impact. Consider the story behind the project, use the best photography, and present the project in a way that flows clearly and logically.

Michael Imber: Focus on the ideas that reinforce the project and make it better. Being able to go back, edit, and clarify what is important about the project, and understanding what goes into the process to make the whole project shine.

Dr. Mark Gelernter: A design jury values: 1) The overall appearance of the submission – all of the details need to be pulled together in one composition or dominant idea. 2) Plans that are organized and clear, with a logical way of walking through the space. The less successful projects are those that are not pulled together as a harmonious whole.

The judging process for the 2014 Newman Awards

With more submissions this year than last, it is evident that there is a rising tide of interest in contemporary classicism throughout the Rocky Mountain region. Dr. Gelernter, who served on the jury for a second year in a row, noticed a wider range of traditional design languages being used with more confidence across all award categories this year. The level of the student submissions showed particular promise. The thoughtfulness, understanding of history, attention to detail, and overall execution of the student work made the jurors excited for the future of architecture in Colorado.

A Pre-Award Honorary Gala will be held on Thursday, August 21, 2014 from 4:30–7:30 pm at the Materials Marketing Showroom, located within the Denver Design District, where all submissions for the 2014 Newman Awards will be on display. Winners of the Newman Awards will be recognized at an evening ceremony held on September 17, 2014 in Denver. Details for both events can be found on the Rocky Mountain Chapter website.

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To Henry

Books from the Henry Hope Reed Collection

It’s an appropriate time for an update from the ICAA Library since this June coincides with the upcoming distribution of The Classicist No. 11 (many, many boxes are scheduled to land at our distributors next week).

The most recent volume of the The Classicist is dedicated to the memory of Henry Hope Reed, Jr. and features the Henry Hope Reed Honor Roll, a page dedicated to acknowledging the individuals and firms who generously made contributions in honor of Henry’s memory.

These contributions go directly towards the development of the Henry Hope Reed, Jr. Classroom, the ICAA Library, the Historic Plaster Cast Collection, and the Dick Reid Teaching Collection.

As the ICAA Librarian & Archivist, I wanted to say thank you to all of those individuals and firms who donated in Henry’s honor. Your contributions allow the library and collections not only to function but to flourish; from obtaining basic library supplies to maintaining our library management software to purchasing preservation supplies for our rare books.

Lately, one of my main library tasks is cataloging the Henry Hope Reed Collection, the approximately 300 books donated by Henry to the ICAA.  So far, there are 150 cataloged. (For a full list of these books, please contact collections@classicist.org.)

While cataloging the Henry Hope Reed Collection, it has been remarkable to see how many books were given to Henry by the authors, how many were dedicated to him, and how many included special letters or inscriptions. 

All of these notes express the impact that Henry had on these authors’ lives and careers, and are testaments to Henry’s influence and his legacy. 

To give you an idea, here are a few of the book inscriptions from the Henry Hope Reed Collection:

“To Henry, who was right on the mark before so many others. -Christopher”

Christopher Gray, author of Changing New York: The Architectural Scene

 

“To Henry Hope Reed, who has been a constant source of encouragement and invaluable help, and whose crusade for the ‘best remaining’ architecture has my undying support.”

Ben Hall, author of The Best Remaining Seats

 

“For Henry Hope Reed, with my thanks for sharing your knowledge and love of Manhattan with me. -Mary Black, 20 November, 1973″.

Mary Black, author of Old New York in Early Photographs

 

“For Henry, who helped teach New Yorkers to see the treasures in their midst. We are all heirs to his effect. With great respect, David. 31 May 2001. “

David W. Dunlap, author of Glory in Gotham

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The 33rd Annual Arthur Ross Awards

The Institute of Classical Architecture & Art  (ICAA) presented the 33rd annual Arthur Ross Awards for Excellence in the Classical Tradition on Monday, May 5 in New York City.

Over 400 guests were in attendance to celebrate the achievement and contributions of this year’s winners in the following categories:

Architecture
David M. Schwarz Architects, Washington DC

Artisanship
Dennis Collier, Bangor, Pennsylvania

Stewardship
Salve Regina University, Newport, Rhode Island

Sculpture
Edward J. Fraughton, South Jordan, Utah

History/Journalism
Stephen Fox, Houston, Texas

Board of Directors Honor
Jacob Collins, New York

Further cause for celebration was the formal introduction of recently hired president, Peter Lyden, who joined the ICAA in March. Previously the Chief Philanthropic Officer at the American Museum of Natural History, Peter brings a passion for classical architecture as well as a vision for the future of the ICAA.  In his brief remarks, Mr. Lyden thanked the sold-out crowd and paid tribute to Janet Ross and the Arthur Ross family. He noted, “Each of you in this room has the capacity to bring beauty into the world and thus nurture the human spirit. Your greatest impact and contribution is educating future generations in the classical tradition.”

Established in 1982 by Classical America advocate, Arthur Ross (1910-2007) and its president, Henry Hope Reed (1916-2013), the Arthur Ross Awards were created to acknowledge excellence in the classical tradition. From the beginning, the awards have brought to bare the achievements of architects, painters, sculptors, artisans, landscape designer, education, publishers, patrons, and others dedicated to preserving and advancing the classical tradition.

Adele Chatfield-Taylor, jury chair, acknowledged her fellow jurors Miriam Ellner, Francis Morrone, Deborah Nevins, Peter Pennoyer, Don Ruggles, Gil Schafer, Charles Warren, and Eduard Zepsa for their insight and dedication.

The awards ceremony was conducted by ICAA board Chairman, Mark Ferguson, and the dinner was co-chaired by Suzanne Santry, Bunny Williams, and Suzanne Tucker. The architectural table centerpieces were created for the event by Jonathan Preece of Bunny Williams, Inc. At the end of the evening, guests received advance copies of The Classicist No. 11.

All photos © Mia McDonald Photography

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