Category: Architecture

LEAP Ambassadors Make it to Carnegie Hall!

Carnegie Hall

Not everyone can say they made it to Carnegie Hall–but, following a recent trip to the Southern Legislative Conference, the LEAP Ambassadors can! While in the charming historic town of Lewisburg, West Virginia, Ambassadors toured the downtown and its curtilage, coming across Lewisburg’s own Carnegie Hall, one of four continuously used Carnegie performance halls in the world.

While the Hall was actually closed, the organization’s Box Office Manager, Sheila Hutchinson, cheerfully offered us a tour, allowing us to see the building and learn about its operation. The Hall was originally constructed in 1902, with almost $27,000 coming from Andrew Carnegie, and another $10,000 coming from the local community.

For the past 35 years, the Carnegie Hall Inc, a non-profit organization, has operated the building.

The repurposed building now serves as a performance venue, gallery space, and arts education programming open to the community–and passersby, including ourselves! 

As we entered the 400-seat auditorium, we were had the pleasure of meeting Cathy Rennard, the president of the non-profit; and Mary Leb Foster, the Performance Director. They were extremely kind to share their experiences from working at Carnegie Hall, including their preparation for their upcoming musical, The Hunchback of Notre Dame.

Their work involves not only the things you typically think about when running a theatre (sets, sales, casting), but also community building, something close to our heart. The staff work hard to earn community buy-in, to collaborate with community stakeholders, and to offer a point of pride for West Virginia.

Thank you for the tour and your commitment to the Lewisburg community! 

An Architectural Tour in Southwestern Pennsylvania

Working on little sleep, and following an eighteen-hour first day, LEAP Ambassadors arose at 6am to explore architecture in and around Pittsburgh, with a stop at PPG Place, a mural by Richard Haas, and two major works by Frank Lloyd Wright.

PPG Place

Our first stop was PPG place, a six-building, “glass gothic” design by Philip Johnson.

As part of our LEAP travels, we had seen Johnson buildings in Houston, and we had watched a documentary on him in preparation for this trip, but PPG place was a place like no other.

Completed in 1984, its towering glass spires and sleek facades embody Johnson’s signature postmodern style, blending classical elements with contemporary materials. Its gothic detailing pay homage to Pittsburgh’s industrial heritage, its all-glass encasing embraces the future with innovative design, and its central plaza allows for a nice place to gather, which we did!

Richard Haas Mural
As a teenager, Haas spent a summer apprenticing for Frank Lloyd Wright, so it is no surprise that his murals take on an architectural quality. Indeed, Haas’s website describes him as an “architectural muralist,” an apt sobriquet.

We know Haas primarily through his 15 works in Huntsville, but we’ve also seen his work in Fort Worth, which is a masterpiece. So it was with excitement that we tracked down his Pittsburgh mural, which is near the corner of Sixth and Fort Duquesne Boulevard.

As you might expect, it features an industrial scene, an homage to Pittsburgh steel-making history, with nods to its central location at the juncture of multiple rivers.

It’s always a pleasure to see Haas’s work, but this was especially true today, when we would also have a chance to see the work of his former boss, Frank Lloyd Wright.


Kentuck Knob

The first of our Frank Lloyd Wright site visits was to Kentuck Knob, which is nestled in the mountains of southwestern Pennsylvania. Designed in 1953, Kentuck Knob embodies Wright’s principles of organic architecture, seamlessly blending with its natural surroundings–and, in this case, adorned with a healthy helping of artwork, by artists such as Anthony Caro, Scott Burton, and George Rickey. We learned much of this thanks to our wonderful tour guide, Jan.

Among Wright aficionados, Kentuck Knob is known as a “Grand USoNian.” Wright’s USoNian homes were designed for middle-class residents. They were, relatively speaking, affordable, while still serving as an interesting, sculptural domicile.

Kentuck Knob had Wright’s characteristic overhanging eaves…

…adorned with clerestory windows;

…a double carport (he hated garages, which he regarded as receptacles for junk); and a “compression and release” entrance to the house.

The home follows is structured as a series of parallelograms, giving the home an interesting look and an aesthetic cohesiveness.

We were particularly struck by the beautiful living room with floor-to-ceiling windows (which could also serve as doors to the patio), beautiful Wright-designed furniture, and the unique touches for which Wright was famous.

But it was the way the home interacted with the environment that we most enjoyed. The home is about five miles from Fallingwater, and the owners wanted their own “water element,” so they added a small rockfall and pool on the patio. The home is also perched on the brow of the hill, not atop the hill. Wright did this to ensure that the home merged with the environment (rather than overtaking the environment), and with a short walk along the property, we were able to see the beautiful art-adorned grounds and a view that even real-estate agents could not exaggerate.

Fallingwater

After visiting Kentuck Knob, another of Frank Lloyd Wright’s masterpieces, we headed to Fallingwater. Seeing Kentuck Knob had piqued my interest, and I was even more excited to explore another of Wright’s creations.

Frank Lloyd Wright was a fascinating and complex architect, known for his innovative USoNian homes—affordable, stylish, and functional houses for middle-class Americans. He also pioneered organic architecture, harmonizing structures with their natural surroundings, which Fallingwater epitomizes. Designed in 1935 and built directly over a waterfall in 1938 for the Edgar J. Kaufmann family, this house, which blends stone, concrete, steel, glass, and wood, celebrates what Wright termed “organic architecture.”

With the help of our tour guide, Millie from West Virginia, we approached the house. At first sight, Fallingwater was magnificent. Wright’s design philosophy was evident in the “hidden” doorway, a narrow entrance that transitioned into open spaces meant to connect inhabitants with nature. The structure is supported by concrete beams that project out over the waterfall, creating an impression of weightlessness.

The entrance repeated Wright’s “compression and release” philosophy, and he continued the cantilever motif, making much of the furniture and design elements an echo of the home’s overall design. The living room’s open design encouraged social interaction while the more intimate upstairs rooms offered privacy. The master bedroom, with its large balcony over the waterfall, provided a serene and breathtaking view.

We noticed Wright’s attention to detail, such as the seamless glass-to-glass windows, which eliminated barriers between the indoors and the natural world, as well as the art work in the home–much of which also repeated the cantilever design.

Indeed, art was a theme throughout the house, with a Picasso, several Audubon works, and a Diego Rivera (Frida Kahlo was a guest at the house!).

Our tour concluded with a view of the waterfall from across the home, capturing the full splendor of Wright’s integration of architecture and nature.

We all sat momentarily, taking in the beauty and snapping photos, cherishing the experience.

On the Outskirts of DC, the Center of Education

Cinthia Villarreal

To experience DC fully, we thought it important to visit just outside of the nation’s capital and explore a work by Frank Lloyd Wright, the Pope-Leighey House, and Old Town Alexandria.

Interestingly, Old Town Alexandria was, for many years, part of Washington, DC, but it was ceded back to Virginia in 1846. George Washington had a house in Alexandria, and he, in fact, surveyed the streets, which are laid out in a grid pattern.

It was a pleasure to see the historic buildings, the red-bricked streets, and the beautiful harbor area while learning more about the nation’s history and George Washington.

We also had the opportunity to see history of a more recent version: the work of Frank Lloyd Wright.

The Pope-Leighey house is the essence of what Wright believed a home should be. It is a “Usonian” home, so designated by Wright to reflect its fundamental democratic and American nature. Like almost all of his houses, it embodies a horizontal motif, embodying, Wright believed, the non-hierarchical society in the United States. Moreover, as a Usonian, it was designed to be affordable.

To keep them affordable, Wright kept them small, while still incorporating his unique touches.


Wright was a firm believer that a home’s first purpose is to provide shelter from the outdoors. He exemplified this by having a low roof as one entered the house, in order to transfer the person to a sense of confinement and safety–shelter.

Beyond the entrance, however, the interior opens in the central living area, where the need for mere “shelter” gives way to higher order needs of family togetherness. This sense of “compression and release” was central to Wright’s architectural philosophy, and this has been, over the decades, adapted to the “open-floor concept” of today.

Another aspect of huge importance for Wright is connection with nature. He wanted his design to blend with the outdoors, to be one with its surroundings, which he achieved at times by using materials from the immediate surroundings for the material structure of the home.

He also utilized “transitional spaces” to usher people from the outside of the home to the inside. So, the outside eaves might provide light, similar to outdoor windows.

The indoors, too, might have windows in unusual places, to allow for light from the outdoors.

And, in the “community spaces,” the windows would be large (and they often opened, as doors) to allow full interactivity with nature.

Wright’s Usonian designs definitely stand out to us compared to the historical houses we have visited and will visit throughout this week. Nonetheless, this was a great opportunity for us to expand out limited knowledge in architecture and see how history, art, and social living interact.

Shear Madness is Sheer Fun!

by Cinthia Villarreal

As LEAP Ambassadors, we do our best to maximize our experiences. This means taking as many opportunities as possible in a given location. So, following a day of conference sessions, we took advantage of a free evening to see “Shear Madness” at the beautiful Kennedy Center.

As we entered the building, a majestic, jaw-dropping hall with worldwide flags hung from the tall ceiling greeted us…

…and at the end, windows from top to bottom with a red dragon on it allowed us to see into the Potomac River.

To add to it, the sun setting on the other side of the building gave us an amazing reflection inside the hall and an awesome view of the D.C. skyline. 

While wandering around the building, we were able to recognize the artists of the various art pieces at the patio. Throughout the trip, we have seen numerous works of Lichtenstein so, even though not a fan favorite, we still felt proud to recognize his art. 

This trip we have learned and gotten to know the work of Joel Shapiro. Using rectangular abstracts of human figures, Shapiro captures movement of the human body.

Olivia and I saw Debra Butterfield’s work on our Southwest trip at the Texas Tech campus and were ecstatic to see her work again, and in the other side of the country, too. 

As we entered the Kennedy Center’s lobby, beautiful chandeliers showed the way into the theatre… 

…and we were ready for the play to begin.

The play takes place in a present-day Georgetown in retro styled beauty salon where Tony Whitcomb and Barbara DeMarco, the hair stylists; Mrs. Shubert; Eddie Lawrence, an antique dealer; and Nick O’Brien, an undercover police officer, are introduced to the public.

As Tony and Barbara are at work, they get sidetracked and wrapped in current gossip, frequently unbothered about their costumer’s time or even safety. Suddenly a piano starts playing and Tony begins to complain about Isabel, the upstairs elderly neighbor who is also a worldwide recognized pianist. 

Suddenly, the group is told that Isabel has been mysteriously murdered and everyone becomes a suspect to an open crime.  As the interrogations begin, the crew starts acting suspiciously and begin to throw each other under the bus with the police in order to not be the main suspect. 

What truly made this experience one-of-a-kind, is when Officer O’Brien turned to the public for their insight on the case. With this, the play became interactive, and the crowd begins calling the actors out for lying, covering each other, or acting suspicious. He then invited the public to ask questions, which forced the actors to come up with the answer impromptu, and consequently, start improvising with jokes about current affairs and even about the audience. 

Being new to the theater world, I never thought I would find the theater so captivating and humorous.  It was amazing to witness the true skills needed for improvisation and I seriously admire the actor’s professionalism and readiness for staying in character without knowing what was to come.

In a small way, it’s like being a LEAP Ambassador, grabbing opportunities as they come, even when we don’t know what might be around the corner!