fall 2006 newsletter
Fall 2006 Newsletter
This year has seen many changes for the architectural history program. I am very pleased to welcome Mirka Beneš and Michael Holleran, who will assume permanent faculty positions in the School; Kevin Harrington, who will join us as the 2006-2007 Ruth Carter Stevenson Chair; and Francesco Passanti, who will be a Research Fellow. I am also pleased to report great strides by our current and former graduate students: Timothy Parker received this year's Carter Manny Award from the Graham Foundation for Advanced Studies in the Fine Arts; Monica Penick was awarded the American Association of University Women Dissertation Fellowship; Kate Holliday received word that her dissertation on Leopold Eidlitz will be published by W. W. Norton; and William Owen Harrod's book Bruno Paul: The Life and Work of a Pragmatic Modernist (Stuttgart and London: Edition Axel Menges) was published late last year.
We also have several new faculty books out or on the way: Anthony Alofsin's book, When Buildings Speak: Architecture as Language in the Austro-Hungarian Empire, 1867-1933 was published by the University of Chicago Press in October; Richard Cleary's Bridges (Norton/Library of Congress Visual Sourcebooks) (New York: W. W. Norton) and my Paul T. Frankl and Modern American Design (New Haven and London: Yale University Press) will appear in the coming months. It is a rich and challenging year ahead, and we all look forward to it. — Christopher Long
Anthony Alofsin, Roland Gommel Roessner Centennial Professor, received the 2006 Wright Spirit award from Frank Lloyd Wright Building Conservancy for his outstanding contributions to scholarship on the architect, which include the exhibition and catalog Prairie Skyscraper (New York: Rizzoli, 2005) on the H. C. Price Tower in Bartlesville, Oklahoma. The award, the group's highest honor, was also presented in recognition of his five-volume, Frank Lloyd Wright: An Index to the Taliesin Correspondence (New York: Garland Publishing, 1988). Professor Alofsin is on leave this fall with fellowships at the MacDowell Colony and the American Academy in Rome. His book, When Buildings Speak: Architecture as Language in the Austro-Hungarian Empire, 1867-1933, was published by the University of Chicago Press in October.
Mirka Beneš, who joined the faculty this fall, teaches and publishes in the history of landscape architecture, with secondary fields in history of architecture and painting. From 1988 to 2005, she taught as a historian of landscape architecture at the Graduate School of Design, Harvard University. She offers lecture courses and seminars that cover the whole history of landscape architecture from Mediterranean Antiquity to Contemporary Landscape Architecture, and her field of scholarly research focuses on the city of Rome and its countryside in the early modern period (1400-1800), its villas, gardens, and parks; its agrarian landscapes; its social-geographical structures; and its urban and suburban development. Her teaching and research interests, however, cover a broader scope: she also publishes on issues of historiography, on modernism in landscape architecture (ca. 1900-1950), and on early modern French gardens; and a new area of her research is on Islamic gardens, with a focus on Persia.
Professor Beneš' scholarship and teaching emphasize methodological and historiographical questions, on which she has also published, and her interests in interdisciplinary history include geography and agriculture, economic functions and social uses of garden spaces, cultural perceptions of landscapes, and landscape painting and representation. She is co-editor, with Dianne Harris, of Villas and Gardens in Early Modern Italy and France (Cambridge University Press, 2001).
Professor Beneš first trained as a painter, then took her B.A. degree at Princeton University and her Ph.D. at Yale University, both in the history of art and architecture. She lectures at conferences and universities in the U.S. and abroad, has received many grants and awards, and has been a fellow of Dumbarton Oaks Center for Landscape Studies in Washington, D.C., and twice a Rome Prize Fellow at the American Academy in Rome.
Richard Cleary, Associate Professor and Page Southerland Page Fellow in Architecture, was on leave during the 2005-2006 academic year working on "The Art, Science, and Craft of Organic Architecture: Frank Lloyd Wright and Building Technology," a study supported by fellowships from the National Endowment for the Humanities and the American Council of Learned Societies. He is on a Faculty Research Assignment this fall and will resume regular teaching and advising duties in January.
While on leave, Professor Cleary published "Lessons in Tenuity: Frank Lloyd Wright's Bridges" (Proceedings of the Second International Congress on Construction History, Malcolm Dunkeld et al., eds., Construction History Society (UK), 2006) and spoke on the subject at Cornell University and a joint meeting of the School of Engineering at Case Western Reserve University and the Cleveland chapter of the American Society of Civil Engineers. He contributed an autobiographical essay for a book about faculty active in the University of Texas Seminar on British Studies ("I've Followed the Muses," chapter in Wm. Roger Louis, ed., Burnt Orange Britannia: London: I. B. Tauris and Austin: Harry Ransom Center, The University of Texas, 2005) and appeared as a "talking head" in a CD-DVD, Fallingwater (Planet Architecture series produced by Tim Sakamoto, Los Angeles: in-D, 2006). His ongoing research on architecture in Texas led to an article, "Texas Gothic, French Accent: The Architecture of the Roman Catholic Church in Antebellum Texas," which will appear in the March 2007 issue of the Journal of the Society of Architectural Historians. His book, Bridges, is scheduled for publication at the end of this year.
Kevin Harrington, Ruth Carter Stevenson Chair for the 2006-2007 academic year, is visiting from the Illinois Institute of Technology in Chicago, where he is Professor of Architectural History. This fall he is teaching classes in the School of Architecture on Chicago's Architecture and Urbanism and on the German-American architect Ludwig Mies Van der Rohe.
Born in Rochester, New York, Professor Harrington majored in history at Colgate University (B.A.) and studied the History of Architecture and Urban Development at Cornell University (M.A., Ph.D.). His doctoral thesis was published as Changing Ideas on Architecture in the Encyclopedie, 1750-1776.
Professor Harrington's research focuses on Chicago's architectural and urban development in relation to modern architecture and the modern city, especially considering the ways Chicago is typical or unique. He is currently working on the design of the IIT campus by Ludwig Mies van der Rohe. He has published on Mies and his IIT & Bauhaus colleagues Ludwig Hilberseimer and Walter Peterhans, as well as on other topics. He and Franz Schulze recently published the fifth edition of Chicago's Famous Buildings. Professor Harrington has been a visiting professor at the University of Illinois Chicago and the Brandenburg Technological University in Germany. He has also taught, lectured, or given papers at universities and museums at home and abroad. On several occasions, he has taught with the IIT College of Architecture semester abroad program in Italy and France. He has also offered testimony in support of landmark designation of many buildings in Chicago and conducted or participated in Historic American Buildings Survey projects in Rhinebeck and Rochester, New York, and Calumet, Michigan. Professor Harrington has served as an editorial board member for the Journal of Architectural Education, a board member of the Society of Architectural Historians, President of the Chicago Architectural Club, and as Secretary of the Board of Directors of the Ernest Hemingway Foundation of Oak Park. He and his wife, Elaine, have taken up residence this year in the Arthur Andersen apartment at the Charles Moore Center.
Michael Holleran, who joined the UT School of Architecture faculty in fall 2006, was previously at the University of Colorado College of Architecture and Planning, where he served as Associate Dean of Research, Associate Professor of Planning and Design, and Director of the Colorado Center for Preservation Research. He has also taught in Architecture and Landscape Architecture at the Rhode Island School of Design. Professor Holleran practiced for twelve years in Providence, Rhode Island, as a partner in Everett . Clarke . Holleran Associates, a planning, architecture, and landscape architecture firm working mainly on preservation projects. His public service has included chairing the Landmarks Preservation Board in Boulder, Colorado; and serving on the board and chairing the Public Policy committee of Colorado Preservation, Inc., a statewide preservation advocacy group. He is a board member of the national Recent Past Preservation Network and of the Heritage Society of Austin.
Though a preservationist, Professor Holleran likes to say that in his "academic heart" he "is an historian." His book, Boston's 'Changeful Times': Origins of Preservation and Planning in America (Johns Hopkins University Press, 1998) puts the early preservation movement into its larger context of accelerating environmental change and emerging controls on urban development. Richard Candee, in the Journal of the Society of Architectural Historians, called it "the best book to date on the origins of today's American preservation movement." It won awards from the Society of Architectural Historians, the Society for American City and Regional Planning History, and the Society for the Preservation of New England Antiquities (now Historic New England).
Professor Holleran is now working on his second book, on irrigation canals in the urban landscape. Historians have treated irrigation as an agricultural development, but from the earliest European settlement, the American West has been an urban region, and irrigation canals served urban as well as rural purposes, appearing in urban as well as rural fabric. Irrigation made distinctive cultural landscapes in Western settlements, giving rise to oasis cities, with an intimate relationship to flowing water. Water drove the emergence of community institutions, from civil self-government to policing. Urban institutions in turn reshaped canals around issues of safety, public health and flood hazards. Now they have become green infrastructure, adapted to new uses as recreational and wildlife corridors and as secondary water systems sustaining urban landscapes. In the United States, these stories have been treated as local idiosyncrasies, yet they are universal among cities in arid regions around the world. The book will address these issues.
Christopher Long spent much of the past year putting the final touches on his new book, Paul T. Frankl and Modern American Design, which will be published by Yale University Press in the spring of 2007. Professor Long is also working on two other books, a study of the German-born designer Kem Weber, who decisively influenced the development of modern design in California, and a monograph on Adolf Loos's famed Haus am Michaelerplatz (1909-11), in Vienna. He will be on leave in the spring of 2007 to work on these and other projects.
Among Professor Long's recent publications are "Wiener Wohnkultur: Interior Design in Vienna, 1910-1930," in Mark Taylor and Julieanna Preston, eds., Intimus: Interior Design Theory Reader (Chichester, England: Wiley-Academy, 2006): 187-93; a review of Modern American Silver-20th Century Design, by Jewel Stern, in Burlington Magazine CXLVII, no. 1239 (June 2006): 427-28; a review of Gottfried Semper and the Problem of Historicism, by Mari Hvattum, in Harvard Design Magazine 24 (Spring-Summer 2006): 106-8; a review of Karel Honz'ik: Beyond the Horizon of Objectivity, edited by Dita Dvor'akov'a-Robov'a, in Centropa 6:1 (January 2006): 82-83; a review of Czech Architecture and Its Austerity, by Rostislav Sv'acha, in Umen'i: Journal of the Institute of Art History, Czech Academy of Sciences 53 (2005): 606-7; and review of Warped Space: Art, Architecture, and Anxiety in Modern Culture, by Anthony Vidler, in Harvard Design Magazine 23 (Fall-Winter 2005): 114-16. In addition, Professor Long recently completed several pieces: a review essay, "The Wiener Werkst"atte at 100," review essay, forthcoming in Studies in the Decorative Arts; a review of Ernst Plischke: The Complete Work, by August Sarnitz and Eva Ottillinger, forthcoming in Journal of the Society of Architectural Historians; an article, "The Vienna Secessionsstil and Modern American Design," forthcoming in Studies in the Decorative Arts; a review of In Wien erbaut: Lexikon Wiener Architekten, by Helmut Weihsmann, forthcoming in Centropa; "Victor Gruen," forthcoming in Encyclopedia of the City, edited by Roger Caves (London: Routledge); and a review of Architecture and Truth in Fin-de-siecle Vienna, by Leslie Topp, forthcoming in Studies in the Decorative Arts.
Professor Long also continues to serve as a consultant on decorative arts for a number of private collectors and auction houses, including Richard Wright in Chicago, and Sotheby's in New York. He and his wife, Gia, spent the late summer in Abiquiu, New Mexico, soaking in the cool air.
Francesco Passanti, who joined us this year as a Research Fellow with the Architectural History program, is preparing a book on Le Corbusier during the years 1907-1925, which straddle the first World War.
Born in Torino, Italy, Passanti studied mechanical engineering at the Politecnico di Torino (M.S. 1963) and history of architecture at Columbia University in New York (M.Phil. 1978). He taught history of architecture from 1987 to 1994 in the program of History, Theory, and Criticism within the architecture school of the Massachusetts Institute of Technology, and has also taught at the Graduate School of Design, Harvard University.
Passanti's work on Le Corbusier deals with two decades of his develpment, between the time when he left decorative arts school, in 1907, and the time when he had emerged as a leading modernist architect, in the mid-1920s. Specifically, it focuses on the process by which Le Corbusier constructed his own concept of architecture during those two decades, layering personal insights and borrowed discourses from a vast range of disciplines, in a long open-ended process. What were the components that went into the concept? What evolving criteria governed the selection? How did this additive process result in a synthetic whole that could act as a new paradigm of architecture? And what contradictions did this process embed into the modernist concept of architecture, thus undermining its synthetic power in the long term? These are some of the questions that the new book will pursue.
Professor Danilo Udovicki-Selb had a very busy year, publishing a number of articles and reviews and delivering several papers. In November 2005, he published an essay, "Between Modernism and 'Socialist' Realism: Invocations and Imaginaries at the Rest Homes and Sanatoria of the Northern Caucasus, 1928-1938," in The Architecture of Hospitals, edited by Cornelis Waagenar, (Groningen: Groningen University Press, 2005). The piece focused his on his discovery in the Northern Caucasus of Russia of a significant 1938 work by Moisej Ginzburg. The publication is part of the proceedings of an international congress held in Groningen in the spring of 2005.
In December, Professor Udovicki-Selb published the lead article "Les Engagements de Charlotte Perriand pour L'Exposition de 1937 `a Paris: Le Corbusier, 'Les jeunes '37' et le Front Populaire," in the exhibition catalogue of the Centre George Pompidou in Paris dedicated to the French Modernist and co-founder of the UAM, Charlotte Perriand, He also gave an address at the opening of the exhibition on December 6. In his capacity as a regular critic Carlo Olmo's Giornale di Architettura (Turin), he published an essay in the September 2006 issue on Daniel Libeskind's Denver Museum of Art.
Professor Udovicki-Selb's other scholarly activities this year included a paper at the annual conference of the Society of Architectural Historians in Savannah and a paper at the March 2006 international symposium "La colline de Chaillot et ses palais." held in Paris. Professor Udovicki-Selb took part as the result of a personal invitation by the Director of French Museums and Monuments. The proceedings are due at the end of the year. Professor Udovicki also presented a paper at the DOCOMOMO international conference in Istanbul and Ankara entitled "Other Modernisms." He took part in the activities of the Center for American Architecture and Design with two colloquia. In August, he was elected to the Executive Committee of the Center for European Studies of the University of Texas at Austin. His research was funded with seven grants from the School of Architecture, the Center for Russian, East-European and Eurasian Studies (CREEES), the Center for European Studies (CES), and the University.
This past summer, Professor Udovicki-Selb taught in the interdisciplinary Study in Italy program as Instructor and Ground Director. He continued to coordinate the activities of the UT interdisciplinary Modernism Study Group with Professor Linda Henderson in Art History.
David Bentley is starting his first year in the Ph.D. program, with a concentration in Historic Preservation. He continues to work on the subject of his master's thesis, the preservation of the Scenic Loop Playground, a recreational resort of the 1920s, twenty miles north of downtown San Antonio. The presentation of his research on the history of the development to the Grey Forest City Council encouraged their appointment of the Grey Forest Area Historic Preservation Committee to pursue listing as a district in the National Register of Historic Place. The committee has recently completed a survey of all of the structures within the bounds of the original development and was instrumental in an effort to preserve the width and character of the last remaining original section of the Scenic Loop Road as it passes through the city. David continues to provide technical assistance to the committee and is preparing the nomination application to the National Register. He is also working on an article on the history of the development based upon his thesis research.
David continues his architectural practice on Nantucket with his wife Elizabeth Churchill. Their current projects include the relocation and renovation of the Sankaty Head Beach Club, a unique recreational facility from the 1940s, which rests on a bluff threatened by erosion. Their most recent design column, 'Rose-Covered Cottages', appeared in the July/August 2006 issue of Coastal Contractor Magazine.
Tara Dudley, a fourth-year doctoral student, is sitting for her qualifying exams this fall. This past April, Tara presented a paper on the influences of free people of color on the architecture of antebellum Louisiana at the Society of Architectural Historians Annual Meeting in Savannah, Georgia. She is also developing this topic into her doctoral dissertation. Her article on the residences of entrepreneur Madam C.J. Walker and her daughter A'Lelia "Seeking the Ideal African-American Interior: The Walker Residences and Salon in New York" will appear in this fall's issue of Studies in the Decorative Arts. Tara's interests include African-American architects and design at the turn of the twentieth century and nineteenth-century interiors. Outside of academia, she has put her master's degree in historic preservation (May 2003) to use working as a private-sector architectural historian and participating in various cultural resource management projects.
Richard Gachot is entering his second year of the Architectural History Program. He spent the summer in Florence on the Study Abroad Program with Professor Udovicki-Selb on a Mebane scholarship. While there, he conducted independent research on Italian Rationalist architecture in Rome, Florence, and Como. Later, he led a ten-day course in New York City with nine Lamar University design students. Richard was recently appointed Director of the Interior Design Program at Lamar and is currently teaching studio and design history courses.
In the fall, with the aid of a George M. Page Endowed Fellowship, he will begin his thesis on the Russian 'emigr'e architect Nicholas B. Vassilieve. The Zimmerli Museum at Rutgers University has asked him to contribute an article on Vassilieve to its Journal on Russian Art. His scholarly interests include early twentieth century French, Soviet, and American modernism and their cross-cultural exchanges. He lives in San Marcos with his wife and two daughters.
Vladimir Kulić had a busy year of teaching and researching his dissertation, Land of the In-Between: Architecture and Politics in Socialist Yugoslavia 1945-65. He also presented his work on several occasions. In April 2006, he gave a talk entitled "The 'Other' Modernism or Ur-Modernism? Dušan Grabrijan, Juraj Neidhardt, and a Modern Architecture for Bosnia," at the 59th Annual Meeting of the Society of Architectural Historians in Savannah. On September 28, he presented another paper, "Shifting Otherness(es): Foreign Perceptions of Architecture in Socialist Yugoslavia," at the 9th International Conference of DOCOMOMO in Ankara, Turkey. In August 2006, he also co-chaired a session on the "Socialist City" at the conference of the European Association for Urban History in Stockholm.
After a long delay, Vladimir's article "Žene u arhitekturi: imena, brojevi, stratetegije" [Women in Architecture: Names, Numbers, Strategies], came out in the book Mapiranje mizoginije u Srbiji II [Mapping the Misogyny in Serbia, Vol. 2], edited by Marina Blagojević (Belgrade: AŽIN, 2005). Another article, "Politika arhitekture" [Politics of Architecture], was published in the Slovenian architectural journal Arhitektov Bilten [XXXV, no. 167/168 (November 2005): 82-87]. His piece about the visual rhetoric of an icon of Yugoslav modernism, the building of the General Staff and Ministry of Defense in Belgrade, is in the final stages of production and is expected to appear in 2007: "Architecture and the Politics of Reading: The Case of the Generalštab Building in Belgrade" will be published in the book Visible Culture: Design Artifacts and Participated Meaning, edited by Leslie Atzmon (West Lafayette, Indiana: Parlor Press, forthcoming 2007).
In Spring 2006, Vladimir developed a new course on the History of Architectural Engineering, which he taught at the School of Architecture. For the current academic year, he won UT's Livingston Fellowship, which will allow him to complete the research for his dissertation and focus on writing. Currently, he is touring the former Yugoslavia for a final round of research, as well as meeting his many friends in the region.
Laura McGuire will spend 2005-2006 as a University Continuing Fellow. Laura's current areas of research interest are nineteenth and twentieth century color aesthetics in English and American architecture, the popularization of modern industrial design before World War II, and the history of visual and material culture in the United States. She is in the midst of research for her thesis, "The Color of Home: Nineteenth Century Values in Frank Lloyd Wright's Prairie Palettes." She has had a busy summer of writing, completing two articles. The first, "A Picture House in Space and Time: Frederick Kiesler's Film Arts Guild Cinema," will be published this spring in Studies in the Decorative Arts, in a special issue on modern American design. The second, "The Wonderful Drama of Wunda-Wool Twist: Postwar Home D'ecor Advertising, Desire, and the Creation of Theatrical Space," is currently in revision. In addition to her thesis research, Laura is continuing her work on Viennese-born architect and designer Frederick Kiesler and the commercialization of modern design in the United States between the world wars. This fall, she plans to begin a new article on Kiesler's 1930 book Contemporary Art Applied to the Store and Its Display. Laura spent the summer as a research assistant at the pleasant oasis of the Charles Moore House in Austin, helping director Kevin Keim complete his manuscript for his forthcoming book A Grand Old Flag: A Visual History of the Stars and Stripes, which will be released by DK Press in June of 2007. Kevin and Laura are considering collaboration on a book on the history of World's Fairs also for DK Press. In her spare time, she enjoys relaxing at home with her husband Tom, who is professional musician and graduate student at the UT School of Social Work, and their in-house zoo of two large dogs and three somewhat overweight cats.
Timothy Parker received the 2006 Carter Manny Award from the Graham Foundation for Advanced Studies in the Fine Arts, to work on his dissertation, "The Modern Church in Rome: Architecture, Theology, and Community, 1945-80." Having already visited over forty Catholic parish churches in Rome, he is now focusing on a group of six for further research and documentation. His overriding aim in this project is to address the struggle for modern identity as manifest in architectural, theological, and liturgical forms and ideas. Timothy was also a finalist for the 2006 Charlottle W. Newcombe Doctoral Dissertation Fellowship from the Woodrow Wilson Foundation and a finalist for the 2005 Rome Prize from the American Academy in Rome.
Timothy's recent scholarship includes a review essay on Richard Kieckhefer's Theology in Stone: Church Architecture from Byzantium to Berkeley, and R. Kevin Seasoltz' A Sense of the Sacred: Theological Foundations of Christian Architecture and Art, forthcoming in Journal of the Society of Architectural Historians 65, no. 4. In February, he presented a poster, "Catholic Churches in Post-World War II Rome: The Struggle for Material Expression of Modern Religion," at the 94th Annual Conference of the College Art Association in Boston. In March, he gave a talk at the 2006 American Academy of Religion, Southwest Region Meeting in Dallas, on "Contested Modernism: Gaetano Rapisardi's S Giovanni Bosco". Also, his proposal for poster presentation at the IXth International Docomomo Conference, Ankara, Turkey, was accepted. This past year, Timothy lectured on nineteenth century Unitarian architecture at the First Unitarian Universalist Church and he is scheduled for a three-lecture series on paradigm changes in religious architecture at Good Shepherd Episcopal Church. With fellow doctoral candidates Vladimir Kulić and Monica Penick, he has been busy planning a symposium on post-World War II architecture, Sanctioning Modernism, to be held in the School of Architecture in the spring. He lives in Austin with his wife Heidi and their daughter, Olivia, who is in second grade at Bryker Woods Elementary School.
Monica Penick was awarded a 2006-2007 American Association of University Women (AAUW) American Dissertation Fellowship, which will support the completion of her dissertation "Livable Modernism in Postwar America: House Beautiful's Pace Setter House Program, 1945-65." In September, she presented a paper, "Contextualized Pattern: Alfred Browning Parker and the Pace Setter Textiles," at the annual conference of the Southeast Chapter of the Society of Architectural Historians.
Monica has also been busy with the publication of a book review of Cold War Hothouses: Inventing Postwar Culture from Cockpit to Playboy by Beatrice Colomina, Annmarie Brennan, and Jeannie Kim, eds., in Studies in the Decorative Arts (Spring-Summer 2006), and writing a forthcoming article to also be published in Studies in the Decorative Arts. She will participate in the 2007 University of Texas School of Architecture Symposium Sanctioning Modernism as a co-chair and panelist for the session titled "At Home with Modernism." Still putting her Master's degree in Historic Preservation from UT Austin to good use, she is active as an independent architectural historian and historic preservation consultant, most recently working to nominate downtown Nacogdoches, Texas, to the National Register of Historic Places.
Kate Holliday, who received her Ph.D. in December 2003, is currently teaching architectural history at Southwestern University and is a Research Associate with the Humanities Institute at the University of Texas at Austin. Kate specializes in American architectural history and theory, with a particular eye toward interactions between the New World and the Old in the colonial and modern periods. Her article, "'Build More and Draw Less': The AIA and Leopold Eidlitz's Grand Central School of Architecture," appeared in the September issue of the Journal of the Society of Architectural Historians. In the 1860s, the AIA rejected Eidlitz's proposed Grand Central School with its German-influenced polytechnical curricula and endorsed William Ware's French Beaux-Arts-inflected design courses at MIT. The associated debate has broad implications that reflect persistent tensions in the American profession about access to architectural education, the relative merits of science and art, and the proper role of practicing architects in that education.
Kate's review of an exhibit in Washington, D.C. on the German-American architect Adolf Cluss will appear in the December issue of the JSAH. In Spring 2007, "Humanism and Modernism: The Curtain Wall Metaphor in the Work of Ralph Walker," which discusses Walker's use of art and texture to humanize the design for the Irving Trust Building at 1 Wall Street in New York, will appear in the Russian art history journal Pinakotheke in a themed issue on the 1920s in the U.S. and Russia. Kate also has completed two other articles, one entitled "Whose City Hall Is It? Architecture and Identity in New Orleans" and the other "The Discourses Between Two T-Squares: Leopold Eidlitz's Satire of Professionalization in American Architecture."
Kate also has a book contract with W. W. Norton to publish her monograph on the Prague-born New York architect Leopold Eidlitz. Tentatively titled Leopold Eidlitz: Architecture and the Organic Ideal, the book discusses Eidlitz's theory and practice, showing that he imported German and Central European ideas about architecture to America cloaked in the guise of American transcendentalism. The idea of "organic" architecture, so central to the tradition of architecture in America, is associated almost exclusively with the later work of Sullivan and Wright. But a close examination of Eidlitz's work shows, in fact, that his desire to unite science and art contains the seeds of the organic theory that would come to inform this rich tradition in American architecture. In buildings like the New York state capitol at Albany, designed in partnership with H. H. Richardson, and the Tweed Courthouse in New York, Eidlitz pursued an imaginative and colorful reinvention of historical form language that brought structure to life.
Kate will present several papers in the upcoming months. She will chair the session "Unraveling the Textile in Modern Architecture" at the Southeast chapter of the Society of Architectural Historians annual meeting at Auburn University in September. In November, she will speak on a panel, "Beauty and the City," at the Texas State Architects meeting in Dallas concerning Ralph Walker and his application of "humanism" to skyscraper design. In the late fall, she will give a talk on Eidlitz's peculiar book Big Wages and How to Earn Them, sponsored by the Humanities Institute. And in April 2007, she will present a paper at the Society of Architectural Historians meeting in Pittsburgh entitled "'A Copiousness of Invention': Influence and Collaboration in the Eidlitz and Richardson Firm."
During the past year, W. Owen Harrod (Ph.D., December 2001) continued both his architectural practice and his scholarly research. A new article, "Unfamiliar Precedents: Plywood Furniture in Weimar Germany," will appear in Studies in the Decorative Arts in the coming year. This article traces the development of plywood molding technology by the German aeronautical industry during the First World War, its commercial exploitation in the Weimar Republic (when it served to limit German reliance on expensive imported materials), and its ultimate employment in German jet and rocket aircraft projects during the Second World War. Such military applications, in Germany, Great Britain, and the United States, facilitated a postwar infatuation with molded plywood as an inherently modern material, an occurrence that paralleled developments in Weimar Germany three decades earlier.
The theme of "unfamiliar precedents" is one of considerable interest to Owen, and closely related to his earlier work on Bruno Paul (published as Bruno Paul: the Life and Work of a Pragmatic Modernist). For all his research, Owen is still making new discoveries regarding Paul and his career.
He has also recently completed a first draft of a new article "Berlin versus the Bauhaus: The Vereinigte Staatsschulen f"ur freie und angewandete Kunst and the Mainstem of German Modernism" for submittal to the Journal of the Society of Architectural Historians. This article emphasizes just how limited the canonical history of the modern movement remains. There are countless discoveries waiting to be made by enterprising historians. This fact is underscored by Owen's discovery, during a recent trip to Munich, of prints of two otherwise unknown illustrations by Bruno Paul, dating from his time as a caricaturist for the influential and avant-garde publication Simplicissimus. These illustrations, one of which is included here, were found in the program for a festival organized in 1903. This program, perhaps the only one of its kind still extant, he found in an antique bookshop in Schwabing, the Munich artist's quarter, the very neighborhood where it was published 102 years before.
News from the Alexander Architectural Archive
Beth Dodd, Curator
William Allin Storrer Collection
Noted Frank Lloyd Wright scholar, Dr. William Allin Storrer, donated his manuscript, research, and reference archive consisting of photographic prints, negatives, slides, drawings, papers, books, and periodicals on which he based his groundbreaking publications: The Architecture of Frank Lloyd Wright: A Complete Catalog; The Architecture of Frank Lloyd Wright: A Guide to Extant Structures; and The Frank Lloyd Wright Companion. Storrer produced the first comprehensive catalog, along with a definitive numbering system, of Wright's nearly 500 built works. The third edition of the catalog identifies in photo or drawing every extant constructed project. For more information, see UT Feature story and slide show co-authored by Professor Anthony Alofsin at http://www.utexas.edu/features/2005/wright/index.html.
Karl Kamrath Papers
The family of Karl Kamrath donated material covering the design stage and post construction photography of Kamrath's career. Materials include: presentation and sketch drawings, sketchbooks, photographic prints, negatives, slides, papers, and books. Of particular interest is the MacKie and Kamrath job file that documents 1,000 projects between 1938 and 1983. This collection joins the Karl Kamrath Library of books, magazines, and ephemera relating to architect Frank Lloyd Wright that was donated to the the Architecture and Planning library in 1987. (http://www.lib.utexas.edu/taro/utaaa/00065/aaa-00065.html).
Ayres and Ayres Collection
The heirs of Ayres and Ayres recently donated an additional installment to the Ayres and Ayres collection. The gift consists of papers, drawings, photographic material, scrapbooks, and clippings illuminating the careers of two of San Antonio's most prolific architects-Atlee B. and Robert M. Ayres. Photographs comprise the bulk of the accession. This series is arranged into five sub-series: A. Personal Papers (6 linear inches); B. Professional Papers (2 in.); Office Records (13.5 in.); Project Files (8 in. and 9 rolls of drawings); Art and Artifacts (1.5 in.). The bulk of the material dates from 1893 to 1974. (http://www.lib.utexas.edu/taro/utaaa/00041/aaa-00041p1.html).