Handwork and Symbolism in St. Dunstan’s Chapel

In Cranbrook Archives’ Christ Church Cranbrook Records, there is a binder on two needlepoint projects undertaken between 1957 and 1964, the first of which focuses on replacing the cushions and kneelers in St. Dunstan’s Chapel. It gives insight into the design process, symbolism, and handwork, as well as providing much information that would be of interest to the sociology of gender roles and art.

St. Dunstan’s Chapel, Christ Church Cranbrook. The Chapel’s first service was Easter Sunday 1926; the current configuration of the Chapel dates to 1934. Photograph by Kevin Adkisson, August 2021. Cranbrook Center for Collections and Research.

The project, a collaboration of the Women’s Auxiliary and the Altar Guild, began in June 1957 when a Needlepoint Committee was convened to oversee the project through its planning, implementation, and dedication. The project was inspired by a similar project at Washington Cathedral where women across the nation contributed 461 pieces of needlepoint to the Cathedral, including altar pieces for Bethlehem Chapel which were worked by women of Michigan.

Twenty designs from the Washington Cathedral project were displayed in the Exhibition of Ecclesiastical Needlepoint at the Detroit Institute of Arts in February 1958 prior to their dedication at the Cathedral. Rt. Rev. Richard S. Emrich commended the idea to all churches in Michigan.

Catalog for the Exhibition of Ecclesiastical Needlepoint at the Detroit Institute of Arts, February 1958. Courtesy of Cranbrook Archives, Cranbrook Center for Collections and Research.

St. Dunstan’s Chapel was selected as the most appropriate place for the women of the church to use their handwork for its adornment, since St. Dunstan is the patron saint of Arts and Crafts. St. Dunstan, born in Glastonbury, Somerset, in the tenth century, is commemorated in St. Dunstan’s Chapel with a stone from Glastonbury Abbey where he served as abbot.

Initially, the Committee decided to seek designs for the project by opening a contest for Cranbrook Academy of Art students, with Henry Scripps Booth, Pipsan Saarinen Swanson, Ken Isaacs, and Marion Leader as judges. Harry Soviak (Painting 1957/MFA 1959) won the competition. However, there were problems in implementing the design in terms of types and quantities of wool, and the Committee sought to consider more traditional designs before making a final choice.

Henry Scripps Booth, Ken Isaacs, Pipsan Saarinen Swanson (seated), and Marion Leader judging entries from Academy of Art students to the needlepoint contest for St. Dunstan’s Chapel at Christ Church Cranbrook. April 19, 1957. Photograph by Harvey Croze. Cranbrook Archives, Cranbrook Center for Collections and Research.

Rachel T. Earnshaw of the Needlework Studio, Inc., of Bryn Mawr, Pennsylvania was contacted for information on how to proceed. Earnshaw had won first place for her designs for the Chapel of the Holy Spirit at Washington Cathedral. Having been sent some information and images of St. Dunstan’s Chapel, she advised on symbolism as well as offering guidance on canvas, wool, and stitches.

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Out of the Ordinary: Cranbrook and the Chair

Last week, I was happy to welcome a small group tour into the reading room to view archival materials about chairs. After the tour request appeared in my inbox, I learned a lot about chairs in a short time and found a new appreciation for this commonplace object. 

As I searched and gathered materials for the display, I began to see how imagination and inspiration can transform an ordinary thing from complete obscurity to one of curiosity and sometimes great celebrity.  

Florence Knoll in Eero Saarinen’s Grasshopper Chair in the Dallas Original Showroom, 1950. Courtesy of Cranbrook Archives

The chair has been creatively reinvented time and again according to the social context of its use, the cultural meaning imbued in it, or the inspiration from which its design sprang. Just think throne, pew, sofa, deck chair, chaise-lounge, and so on. 

Take one of Cranbrook’s most iconic chairs – Eliel Saarinen Cranbrook School dining hall chair. Designed to withstand use by teenage boys, it combines durability with sophistication and has stood the test of time as they are still in use after 94 years. At the back of each chair is a bronze crane insert, a symbol that subtly gives identity to the community using the chair.

Cranbrook School Dining Hall, October 1936. Courtesy of Cranbrook Archives.

The 1940s and 1950s saw a flourishing of chair design from Academy of Art graduates, including Florence Schust Knoll BassettRalph Rapson (the first Cranbrook-trained designer to work for Knoll), Charles Eames, Benjamin Baldwin, Harry Weese, and Ruth Adler Schnee. The Organic Design in Home Furnishings competition at the Museum of Modern Art in 1941 generated many of these designs, including collaborative entries from Baldwin and Weese, as well as Eames and Eero Saarinen. 

Interestingly, Eero’s later chair designs are all much inspired by nature—the Grasshopper chair, the Womb chair, and the Tulip Chair.  

Eero Saarinen sitting in the prototype of his Womb Chair at his Vaughn Road home. 18 June 1947. Photographer: Harvey Croze. Courtesy of Cranbrook Archives.

Inspired by nature in a different way, Finnish architect and furniture designer Olav Hammarstrom has a variety of designs that are born of the possibilities to which natural materials lend themselves. Hammarstrom worked with Alvar Aalto and Eero Saarinen and Associates, working on projects such as the Baker House dormitory at MIT and the furnishings at the GM Tech Center. Married to Head of the Weaving Department Marianne Strengell, he designed their house in Wellfleet on Cape Cod, as well as houses for friends and colleagues, along with chairs to go in them.

Bamboo Experimental “Basketchair” by Olav Hammarstrom. 10 February 1956. Courtesy of Cranbrook Archives.

Furniture design was also the focus of another Academy affiliated designer, Pipsan Saarinen Swanson. Working in partnership with her husband, architect J. Robert F. Swanson, Pipsan typically designed the interiors while he designed the structure and exterior.

Chair designed by Pipsan Saarinen Swanson. December 8, 1945. Photographer: Harvey Croze. Courtesy of Cranbrook Archives.

But Robert Swanson also designed furniture. Perhaps the most surprising thing I learned was that Swanson invented a ‘Stackable Chair,’ patented in 1957. A form we take for granted nowadays, these chairs can still be found in many buildings and classrooms on Cranbrook’s campus.

The “Stackable Chair” by J. Robert F. Swanson, 1957. Courtesy of Cranbrook Archives.

It was a great pleasure to share these archival stories with our guests and to explore Cranbrook’s part in the story of the chair. In the process I learned to see an everyday thing in a new light and how creativity can transform the ordinary into the extraordinary. 

Laura MacNewman, Associate Archivist, Cranbrook Center for Collections and Research

Exploring Africa with Dr. Hatt

In the summer of 1961, Dr. Robert Hatt, Director of Cranbrook Institute of Science (CIS) from 1935 to 1967, took a field trip to Africa to study small mammals in South Rhodesia (now Zimbabwe). Using his travel journals, photographs, and his published articles, we can follow his field work, analysis, and conclusions quite closely.

On his trip he kept one scientific journal and one for general observations from region to region, which provides a rich source for social, political, geographical, and anthropological insights into the region’s society.

Dr. Hatt and his wife, Sue, set off for Africa on July 1, 1961, traveling from New York to Dakar then through Ghana, Nigeria, and the Congo, arriving at the Atlantica Ecological Research Station (AERS) in Salisbury, (now Harare, Zimbabwe) on July 21st.

CISB5117b
Dr. Robert Hatt and his wife, Suzannah at the Atlantica Ecological Research Station in South Rhodesia, now Zimbabwe. August 1961. Courtesy of Cranbrook Archives.

Upon arriving at Salisbury airport, they were met by Rudyerd and Louise Boulton. Rudyerd, an American ornithologist and the Director of AERS, had invited Hatt to undertake the study with financial support from the New York Zoological Society. Hatt began his field study journal at this point, writing,

“The house is charming, stone walled, 1 storey, good garden beyond. The lab building attached still under construction but RB had my desk set up and equipped—a dozen volumes on mammals in a book shelf, ready to work. RB & I went out with my collector, Kenny, and made an incomplete circuit of the property, setting 15 Sherman traps out near stream.”

Journal #44, Africa. Robert T. Hatt Papers (1999-14)
Atlantica Ecological Research Station, South Rhodesia (now Zimbabwe). July 1961. Courtesy of Cranbrook Archives.

It is fascinating to see his research data in its raw form, which can be compared with his account in the CIS newsletter and a more formal and scientifically dense report in a published journal, later reproduced in Zoologica.

Hatt studied the small mammal population of Zimbabwe from July 21 until the beginning of September, similar to the research he conducted in Michigan and other regions (his doctoral dissertation was on a type of red squirrel). In Zimbabwe, he contributed to an understanding of the local fauna, which presents a nuisance to agriculture and animal husbandry.

With assistance from his wife, he captured mice, rats, shrews, and elephant shrews which were measured, weighed, and marked in the ears with a serial number to recognize them if recaptured. In the first three weeks of field work, they had marked and released over 150 animals with 65 recaptures, some recaptured 3 or 4 times.

Journal #44, Africa. Robert T. Hatt Papers (1999-14). Courtesy of Cranbrook Archives

Hatt variously notes these small mammals as generally uncooperative with the study, and remarks,

“This matter of ear marking is not to the animal’s liking and despite my use of rubber gloves and plastic handling boxes, rare is the morning in which I am not given some identifying perforation of my own by their sharp teeth.”

Cranbrook Institute of Science Newsletter, Vol. 31, No. 2, October 1961, p.13
Dr. Robert T. Hatt and his assistant, Kenny, handling mice. August 1961. Courtesy of Cranbrook Archives.

Hatt describes the landscape of the 150-acre Station as a combination of grassland and Brachystegia woodland, noting the prevalence of “picturesque kopjes” which provided good lookout sites and defensive structures for Bushmen and Bantu prior to the British colonial settlement of Salisbury in 1890. Most interesting are the “Bushmen paintings” that evidence early occupation of the area. One location, Somerby Farm, is recorded both photographically and in his manuscripts. This group of paintings indicates the presence of elephants, hippopotamus, buffalo, hartebeest, kudu, and reedbuck.

Somerby Farm Cave Paintings, South Rhodesia (now Zimbabwe). August 1961. Courtesy of Cranbrook Archives

The Hatts left Salisbury on September 4th, heading first to Arusha, Tanzania; then to Nairobi, Kenya; Uganda; Khartoum, Sudan; and finally to London.

Hatt’s small journal includes his observations along the way and his comments include the cockroaches in their first hotel bathroom, types of trees, cocoa tree disease, termites, religious missions, types of goats, museums, meetings, markets (and what was for sale in them), local people, anthropological marks of beauty, and signs on shops and wagons. The latter include “Aim High,” “Do Good,” “Still it makes me laugh,” “Give all to God,” and “Forget me Not.”

One comment on his journey from the Ivory Coast to Accra made me smile, as I could relate to the experience of plane food:

“Our plane, DC-3, was “First Class” and we were obliged to pay $50 extra for upgrading our ticket (Nigerian Airways). All we got for it was one whiskey and a sandwich which I wouldn’t eat.”

Journal #43, Africa. Robert T. Hatt Papers (1999-14)
Kiva Volcano and Travelers’ Rest in Kisora, Uganda. September 1961. Courtesy of Cranbrook Archives

Often archives hold information on individuals, institutions, and society that were not the original purpose of the document, and this is true with Hatt’s Papers. His field journals yield rich information not only on his process of data collection and analysis, but they also provide a lot of description of human geography and regions that he visited, as well as biographical insights into Hatt himself. The CIS collections are a wonderful resource for many avenues of study, and we would welcome researchers to come and explore these wonderful and valuable resources.

Laura MacNewman, Associate Archivist, Cranbrook Center for Collections and Research

Editor’s Note: This Sunday, join the Center for a fascinating discussion with Elizabeth Rauh, Assistant Professor, Modern Art and Visual Cultures, American University in Cairo for her talk, “Iraq en Route: A Photographic Journey, 1952-1953.” Rauh has conducted a year-long study into the photographs Dr. Hatt took on his 1952 trip to Iraq, and her presentation will weave together Hatt’s images with the history of both ancient and mid-twentieth century Iraq.

References

Hatt, Robert Torrens. The Mammals of the Atlantica Ecological Research Station, Southern Rhodesia, reprinted in Zoologica, Scientific Contributions of the New York Zoological Society, vol.48, issue 2, Summer 1963

Hatt, Robert Torrens. ‘Hunting Africa’s Smallest Game,’ Cranbrook Institute of Science Newsletter, Vol. 31, No. 2, pp.10-14

Observing Landscapes: Topography and Photogrammetry

One of my favorite items in the collections of Cranbrook Archives is George Booth’s hand drawn map of Cranbrook, which he created over a 24-year period between 1904 and 1928. It is the earliest topographical record of Cranbrook and visually documents his ideas and plans for developing the landscape. In 1951, George’s son, Henry, created annotations to accompany the map, which are useful both in deciphering the map and identifying locations. Henry’s notes on what was envisioned and what was implemented during those early years, are a good starting point from which to venture into the manuscript collections for verification.

Cranbrook Map drawn by George G. Booth between 1904 and 1928.
Courtesy of Cranbrook Archives

As Cranbrook’s landscape evolved from a family estate into a center for art and education, the means of recording and viewing the topography was assisted by developments in aerial photography, known as photogrammetry. Talbert Abrams, a native of Michigan, is regarded as a key contributor to this field of photography, as he founded the Abrams Aerial Survey Corporation in 1923. The earliest aerial photograph of Cranbrook I could locate is from circa 1918.

Aerial photograph of Cranbrook estate and environs, circa 1918.
Courtesy of Cranbrook Archives

In the Cranbrook Photograph Collection there are many aerial photographs taken by Abrams, as well as other photography firms, ranging from the 1920s through the 1990s. Since the purposes of aerial surveys are manifold, correspondence provides some insight into why they were commissioned and how they were specifically used, for example, as publicity and advertising. In 1932 Cranbrook’s public relations manager, Lee A. White, engaged Cranbrook School Headmaster William Stevens to select an image for the coming year’s brochure, and aerial views appear in all the early Cranbrook brochures. Aerial surveys have also been used to assess and understand the landscape prior to making a change to it. This was the case in 1961, when a topographic map and aerial photography were requested for the Off-Street Parking Study.

Letter from Keith A. Smith to Arthur B. Wittliff, November 1961.
Courtesy of Cranbrook Archives

Correspondence between Arthur Wittliff, Secretary for the Cranbrook Foundation Board of Trustees, and Abrams Aerial Survey Corporation, provides intriguing details about the scale of the photography and the material base of the prints. The images below are from a December 6, 1961 set of 12 double weight velvet prints of aerials covering 1 square mile at a scale of 1 inch per 600 feet.

Aerial photograph ASP-5 taken by Abrams Aerial Survey Corporation on 6 December 1961.
Courtesy of Cranbrook Archives

ASP-5 (above) shows the intersection of Cranbrook Road and Lone Pine Road, and includes Kingswood School and Lake, the Institute of Science, Cranbrook House, Brookside School, Christ Church Cranbrook, and the Academy of Art and Academy Way. ASP-10 (below) shows another view of Cranbrook and its environs, encompassing the Institute of Science, Academy of Art, and Cranbrook School.

Aerial photograph ASP-10 taken by Abrams Aerial Survey Corporation on 6 December 1961.
Courtesy of Cranbrook Archives

When looking across the topographical history of Cranbrook from George’s map through aerial photographs, it is always fascinating to discern the changing landscape alongside the features that are unchanging. And, for me, the great inspiration of George’s map is that, although each individual project necessitated getting into the weeds and meticulous details, his ideas were always guided by situating them within a bigger picture.

Laura MacNewman, Associate Archivist, Cranbrook Center for Collections and Research

De Profundis: Olga Milles’ Drawings of the Soul

Olga Milles lived in the very depths. In her art, almost exclusively devoted to portrait painting, she sought to draw out the character from the depths of her models and to find the soul behind the façade. Using a variety of techniques including charcoal, crayon, pastel, watercolor, tempera, and oil in her work, Olga was considered an artistic prodigy and developed her talent from a young age, yet her art is largely unknown. In 1988, twenty-one years after her death, Cranbrook Art Museum hosted an exhibition in collaboration with Millesgården, Olga Milles Emerges, to exhibit examples of her art from both museums’ collections.

In the foreword to the exhibition catalog, Staffan Carlén, former Director of Millesgården, describes her as having an intuitive talent that produced factual character studies of extreme precision, with an “overwhelmingly melancholic” tone. In reading Inger Wahlöö’s account of Olga’s life, based on correspondence at Millesgården, Carlen’s interpretation of Olga’s artwork can almost be read as a profile of Olga herself:

“Sparseness of shadowed areas and stretched areas disrobe the faces and make them appear in a serious, introverted nakedness. Her efforts are primarily directed towards interpreting the character of the soul. This she did with great coloristic refinement, and with tenderness in the form. In her drawings, there is consistently a sensitive enlargement of the mouth, sometimes in interaction with the dreaming mood of the eyes, sometimes as a tension-filled contrast of unconscious sensuality.”

Staffan Carlen, Olga Milles Emerges
Print of Drawing of Carl Milles by Olga Milles, 1917. Courtesy of Cranbrook Archives.

Born Olga Granner in 1874 in Leibniz, Austria, she had two brothers and two sisters. She had a deep loyalty to her family, whom she visited for several months every year, except during World War II. Having been born and raised in the Catholic church, she initially aspired to become an art teacher in a convent. However, in early adulthood, Olga questioned what it meant to be disobedient to the church and broke away, while cultivating an increasingly ascetic life.

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Harold Eugene Edgerton, Papa Flash

The topic of Cranbrook visitors has been a regular one in the Archives this winter as my colleague, Kevin Adkisson, prepares for his History of American Architecture: Cranbrook Visitors lectures. There have been many famous visitors to Cranbrook over the years, and while Kevin is focused on architects who came to the Academy of Art, many other interesting guests were associated with the Institute of Science.

The Institute has frequently welcomed scholars from near and far to present on the latest research in their field. These include paleoanthropologists, Mary and Louis S. B. Leakey; primatologist, Dian Fossey; archaeologist, J. Eric S. Thompson; father of ecology, Pierre Dansereau; biologist, Joseph S. Weiner, and professor of electrical engineering, Harold Eugene “Doc” Edgerton. I thought it would be interesting to take a look at the work of Dr. Edgerton, dubbed “Papa Flash” by Jacques Cousteau.

Poster for Harold E. Edgerton’s 1979 lecture Moments of Vision: An Inventor Speaks (P.19.011). Courtesy of Cranbrook Archives.

Edgerton, Professor of Electrical Engineering at Massachusetts Institute of Technology, presented his lecture Seeing the Unseen at the Institute in 1950, and returned in 1979 to present Moments of Vision: an Inventor Speaks. His work was also included in an exhibition, Flash! The Invisible World Revealed in 1960. The Newsletter – Cranbrook Institute of Science of October 1979 reports that Edgerton invented the stroboscope, which made stop-action and high-speed photography possible.

The December 1960 CIS newsletter tells us that, “’stroboscope’ literally means ’whirling viewer’ and employs very rapid flashes from a strobostron, a gas-filled tube, in which light can be produced repeatedly by electrical discharges from condensers. A camera synchronized with the light can make photographs at speeds of less than one millionth of a second, stopping action which is much too fast for the human eye to see.”

Edgerton’s system of photography, first introduced in 1931, has revolutionized the way we see the world–and the way we see the moon! Edgerton adapted his invention to specialized instruments in many fields, including underwater photography, aerial reconnaissance, and nuclear-test measurement.

The Newsletter – Cranbrook Institute of Science, Vol. 49, No. 2. October 1979. Courtesy of Cranbrook Archives.

The stroboscope helped enable underwater photography, allowing us to see this otherwise unseen world. The CIS newsletter describes how “aquanauts” used his equipment to resolve underwater mysteries, such as finding the iron-clad Civil War vessel, Monitor, which was discovered off the North Carolina coast near Cape Hatteras, as well as searching for the Loch Ness monster. Edgerton also made ten voyages with Jacques Cousteau on the Calypso, and the 1960 newsletter reports that he had previously been on four deep sea explorations with Cousteau, capturing images of sea life as deep as four miles.

Edgerton’s association with the MIT began in 1926, when he entered as a graduate student, being awarded a Master of Science degree in 1927 and a Doctor of Science degree in 1931. He was appointed Professor of Electrical Engineering in 1934 and continued beyond his official retirement in 1977. His first public association with Cranbrook came in the December 1949 CIS newsletter, where his camera equipment’s ability to create photographic records of hummingbirds and bats in flight, circus performers in mid-air, and stroboscopic analysis of tennis and golf players was documented. Many of these images were displayed at the December 1960 photographic exhibition, which featured thirty years of Edgerton’s work, and included enlargements from his original negatives of ultra high-speed photography of the splash of a milk drop.

Cranbrook’s institutions have long played host to national and international leaders in science, the arts, and many other fields. It is wonderful that Edgerton shared the progress of his fascinating research and discoveries with the Institute of Science.

—Laura MacNewman, Associate Archivist, Cranbrook Center for Collections and Research

Sources:
The Newsletter, Cranbrook Institute of Science, Vol. 19, No. 4, December 1949.
The Newsletter, Cranbrook Institute of Science, Vol. 30, No. 4, December 1960.
The Newsletter, Cranbrook Institute of Science, Vol. 49, No. 2, October 1979.

The Heartbeat of the Nation

In August 1989, Cranbrook became a National Historic Landmark. America’s highest designation for a place of outstanding historical significance, it was no small feat for Cranbrook to become Michigan’s twenty-second National Historic Landmark (there are only forty-two today). So, what exactly is a National Historic Landmark, and how did we become one?

National Register of Historic Places plaque on the Kingswood Campus. Photographs by Kevin Adkisson, Cranbrook Center for Collections and Research.

Statutory provision for historic preservation began in America in 1906 with the Antiquities Act, which was further developed by the Historic Sites Act of 1935. Administered by the Department of the Interior, this Act was enacted to document and protect sites of national significance. In 1960, the National Park Service began administering the survey data from the Historic Sites Act, and the National Historic Landmark designation was introduced.

The National Historic Preservation Act of 1966 expanded the 1935 Act to local and state sites. This created the National Register of Historic Places, which began to identify, evaluate, and protect America’s historic resources. Many thousands of buildings have since been added to the National Register. In June of 1972, Cranbrook’s application was prepared by an Assistant Historian at the Michigan Department of State in Lansing, and the nomination was based on Cranbrook’s significance as a complete district of educational and architectural structures.

National Register of Historic Places plaque at Brookside.

To be eligible for designation on the National Register (a step below the National Historic Landmark status), the nominated site must have in its architecture, archeology, engineering, or culture integrity of location, design, setting, materials, workmanship, feeling, and association.

National Register of Historic Places plaque at Cranbrook School.

In addition, sites on the National Register must meet one of four criteria: be associated with events in the lives of significant persons; embody distinctive characteristics of a type, period, or method of construction; represent work of a master and high artistic values; or have or be likely to yield information important to prehistory or history. Once these criteria are evaluated and met, the site may be listed.

National Register of Historic Places plaque at Cranbrook Institute of Science.

Cranbrook was added to the National Register in March 1973, and it was at this point seven National Historic Landmark signs were ordered to be placed at each of the original Cranbrook Institutions and on Cranbrook House. (Christ Church Cranbrook was included in the designation, even though it would formally split off as a separate entity later in 1973 with the formation of Cranbrook Educational Community.) In writing to inform us of the designation, Samuel Milstein at the Department of Natural Resources eloquently wrote that:

“The State of Michigan is very proud of the fact that the property is qualified for this designation. The National Register records the story of the Nation, and is a list of distinction identifying those properties by which present and future generations can sense the heartbeat of the United States.”

Letter from Samuel A. Milstein to Cranbrook Institutions, March 30, 1973. National Register for Historic Places Records.
Non-official National Historic Landmark plaque at Christ Church Cranbrook, on right. The official plaque was changed at some point.

This language echoes that of George Booth in speaking to Cranbrook School in 1928, in which he emphasizes the importance of finding the treasure at your feet, the building up of an ethos of service from the local to the national to the global:

“If we feel our first loyalty to our State and are determined in every way we can to enrich it; if we never fail to see that we must give; if we are resolved to strive only for that which is worth while, then will our State have a place in the Nation, of which we will all be proud. The stronger and more glorious each of the States may be, the stronger and more glorious the Nation; and hence, the better and finer our opportunity for service to the world.”

Address by George Booth given on “Founders’ Day” at Cranbrook School for Boys, October 26, 1928. Cranbrook Archives.

But of course, our story doesn’t end with the National Register. In June 1987, the Chief Historian of the National Park Service (NPS) wrote to Cranbrook’s president, Dr. Lillian Bauder, to inform her that they were studying the property to determine its potential as a National Historic Landmark. Only 3% of sites on the National Register of Historic Places receive the higher honor of becoming National Historic Landmarks.

National Register of Historic Places plaque at Cranbrook Academy of Art.

The designation process follows three steps: study, including a visit to the property; review by the NPS Advisory Board; and a decision of designation by the Secretary of the Interior. The study was completed in February 1989 and the Advisory Board made its recommendation to Secretary Manuel Lujan in May. Cranbrook was designated a National Historic Landmark in August 1989.

The Cranbrook House sign was swapped from a National Register of Historic Places sign to a National Historic Landmark sign, encompassing all of the Cranbrook district.

National Historic Landmark plaque for the entire Cranbrook Educational Community next to the front door of Cranbrook House.

The work of the Center for Collections and Research is embedded in the obligations of historic preservation in caring for and maintaining the community’s history, but also in articulating its meaning and value. Our mission nicely parallels the goals of the National Historic Landmark program. Even without such recognition, all who visit Cranbrook know it is a special place—but sometimes it is nice to have a plaque say so, too.

Laura MacNewman, Associate Archivist, Cranbrook Center for Collections and Research

Collection Highlight: Robert Hall Merrill Papers

With the new year approaching and the impending conjunction of Saturn and Jupiter, it seemed timely to take a look at the collection of Robert Hall Merrill Papers, which were opened to researchers in 2017.

Merrill was an engineer who developed an interest in archaeology, becoming an authority on the Maya calendar, particularly focusing on time measurement. Merrill was associated with the Institute of Science in the 1940s and 1950s, but the Merrill Papers in Cranbrook Archives document over fifty years of his research, graphs, findings, and conclusions.

Merrill’s graph of Venus phases. Courtesy of Cranbrook Archives.

The Maya were an agricultural civilization and used observations of the sun, moon, and Venus to determine ideal dates for planting and harvest. The calendar, which is comparable in its exactitude to the Western system of time measurement, is based on the movement of the sun. Archaeologists access and interpret this knowledge through writing, represented by characters or pictures, and astronomical markers which have been uncovered by geologists.

Astrolabe Rubbing. Courtesy of Cranbrook Archives.

Merrill graphed the phases of the sun, moon, and the planets to decipher the calendar. By applying engineering methods to archaeological studies, Merrill developed a device for photo-surveying in 1941. The device enabled vertical photographs of large areas of artifacts, which facilitated documentation of the excavation process which had previously been recorded by sketching.

Maya Sun Calendar Cycles Chart. Courtesy of Cranbrook Archives.

The correspondence and publications in the collection document his work with numerous scholars around the world, including the Maya archaeologist J. Eric S. Thompson, who was a visiting scholar to Cranbrook Institute of Science between January and April 1967.

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One Competition, Many Designs: Ralph Rapson and the Jefferson National Expansion Memorial

Of the 5,000 plus architectural drawings in Cranbrook Archives, one of my favorite series is the work of Ralph Rapson. His drawings convey a seemingly endless stream of unique inspiration, and his letters to his friends and colleagues are always wonderfully lively and convivial. Rapson’s work covers diverse projects including residences, embassies, businesses, and competitions.

Today, I want to share some examples from just one architectural competition to showcase this creativity: Rapson’s studies for his entry into the Jefferson National Expansion Memorial competition.

Ralph Rapson’s preliminary study for a submission to the Jefferson National Expansion Memorial competition in 1948. This is very similar to his final submission.

A decade before the Memorial competition, Rapson had been invited to study architecture and urban planning at Cranbrook Academy of Art by Eliel Saarinen. Saarinen had been much impressed by Rapson’s submission to the George G. Booth Traveling Fellowship at the University of Michigan in 1938. After studying at the Academy between 1938 and 1940, Rapson collaborated on various projects with Saarinen and his associates before moving to teaching positions in Chicago during the early 1940s and at MIT in 1946.

Ralph Rapson, January 1943. Cranbrook Archives

In March 1947, the Jefferson National Expansion Memorial Association announced an ‘Open Two-Stage Competition’ to design and execute a memorial located in St. Louis, Missouri. The first stage of the competition was open to all architects who were citizens of the United States and the second stage was limited to five competitors as selected by the jury in the first stage.

The competition brief was distributed to some 1,100 architects and students around the country. 172 entries were received by the September 1, 1947 deadline. Cranbrook Archives.

In the architectural drawing set for Rapson’s submission, there are nineteen conceptual studies. These have recently been digitized and added to the Ralph Rapson Projects in our Digital Collections online. Below is a selection of his studies that show the diversity and breadth of Rapson’s creative vision:

It is interesting to see Rapson work out his ideas in ink and colored pencil about what shape, materials, and structure might best serve as a memorial to Jefferson’s Louisiana Purchase and America’s westward expansion.

In addition to Rapson, Cranbrook alumni and faculty including Charles and Ray Eames, Harry Weese, Gyo Obata, and both Eliel and Eero Saarinen submitted designs. Of course, it was Eero’s monumental stainless steel arch that won the competition and remains an iconic landmark to this day.

There is much to see and learn from Rapson’s drawings for just this one project. As we hold sets of drawings for another 87 of his projects, stay tuned to the Kitchen Sink—there is so much more to see and say about Ralph Rapson.

Laura MacNewmanAssociate Archivist, Cranbrook Center for Collections and Research

Eds. Note: On Tuesday, October 27, 2020, Associate Curator Kevin Adkisson will deliver our next Uncovering Cranbrook virtual lecture. This month’s lecture, Eero Saarinen and Yale University: Education and Architecture, will examine the younger Saarinen’s time at Yale as both a student of architecture and designer of three important campus buildings. Tickets are available now for the 10:00am and 7:00pm EDT lectures.

All’s well that ends well

This is a story about a wonderful discovery and a trial of patience. A few years ago, I processed the F. Shirley Prouty Collection on Johannes Kirchmayer, which documents the life and work of her great uncle and contains many years of meticulous research. It was a wonderful collection to work with, and a trove of information on architects and craftsmen of the American gothic revival.

Two of the most outstanding of these are architect Ralph Adams Cram and woodcarver Johannes Kirchmayer, who worked together on many projects. This week I made a wonderful new discovery of another product of their hearts, minds, and hands: a silver and gilt portable font initially commissioned as a gift for the Detroit Museum of Art (now the Detroit Institute of Arts) by George Booth. Cram designed it and Kirchmayer created the sculpture models and chasings for it; then, the piece was executed by silversmith James T. Woolley and decorated by enamellist Elizabeth Copeland.

Silver gilt font completed in 1920 for Detroit Museum of Art. Ralph Adams Cram, Johannes Kirchmayer, James T. Woolley, and Elizabeth Copeland. Cranbrook Archives.

In February 1918, Cram designed the font, which George Booth hoped to have ready for display at the General Convention of the Episcopal Church, to be held in Detroit for the first time in October of 1919.

The making of the font did not follow the anticipated timeline, but rather than a story of delay and disappointment, it becomes a story of patience and its reward.

During the spring, Booth visited Boston and left the Cram blueprint with Woolley. On May 1st, he enquired to know Woolley’s interest in executing the design and an estimate of cost, to which Woolley replied positively, quoting $450 excluding the enamel parts. Giving the commission to Woolley, Booth advised him to confer with Cram or his assistant, Mr. Cleveland, and that Copeland will complete the enameling work.

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