Getting a Green Roof

In the Architectural Forum of January 1932, an advertisement announced that 160,000 pounds of 16-ounce Anaconda Copper had been used for the newly opened Kingswood School Cranbrook. There are copper gutters, cornices, louvers, moldings, and chimney covers, but most impressive is the 90,000 square foot batten seam copper roof.

Kingswood Roof Construction Copyright Cranbrook Archives

Workers assembling the roof structure above Unit A, the classroom wing of Kingswood School for Girls. The copper roof behind them is already installed. No barrels of uric acid can be spotted in construction photos. c. 1931. Copyright Cranbrook Archives.

There was just one problem with the new copper roof: it was installed with rolls of bright, new-penny-orange, sheet copper. Eliel Saarinen wanted a green roof, and I think he wanted it quickly.

Yes, he could have waited for the shiny new copper to patinate naturally from rain, humidity, and time. But who has the patience for natural aging when you have an architectural tour de force to complete? Instead, Saarinen turned to chemistry. Using a historic technique common in Europe, the contractor, A. C. Wermuth, directed his workmen to collect their urine in small jars and transfer it to barrels on site. These barrels were then hoisted to the ridge line of the roof, where the pungent catalyst was poured down the copper slope and then spread evenly with brooms.

Science did the rest, and Saarinen got his verdigris color which the Architectural Forum described as a “neutralized complement” to the warm tan brick and buff Mankato stone walls which “harmonized admirably with the heavy foliage of the location.”

Kingswood Early Slide c 1940 Copyright Cranbrook Archives

Color slide of Kingswood School for Girls showing the harmony between landscape, building mass, and materials. c. 1940-1945. Copyright Cranbrook Archives.

The story of more than just rain tinkling on the roof is recorded in Archives as told to former archivist Mark Coir by Dominick Vettraino, who grew up at Cranbrook and served as our landscaper, fireman, superintendent, and jack-of-all-trades. I was asked about the story of peeing-on-the-roof this week by an Upper School chemistry teacher, who’d heard the rumor and is now using it in her lessons for students stuck at home. You, too, can run the experiment: you just need to have a glass, a penny, and be hydrated!

Just like rust develops on iron, patina develops on copper when left exposed to the elements. The copper sulfate on the surface reacts to oxygen in the environment. Unlike rust, the patina actually protects and preserves the copper. However, copper doesn’t turn green quickly: it can take twenty to thirty years for copper to become green! Uric acid can significantly speed up the process. The fact that the Kingswood roof is quite green in early color photos does reinforce the idea that they used a catalyst to age the roof.

The entire copper roof was recycled and replaced in two phases, from 1998 to 2002 and from 2005 to 2007. In the replacement, the copper patination was not accelerated. The fact that the replacement roof is still not green, seventeen to thirteen years on, is to be expected. The roof quickly changed from bright orange to dull brown, and then slowly toward the purplish black you see today. However, I am noticing this spring that when you look at the section of 2002 roof at an acute angle, it’s distinctly turning green at the seams!

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Progress on the new roof. Phase one, completed in 2002, is at the far left and already dull brown. The original (though urethane coated) roof is at right. The new copper roof is shining at the center. May 27, 2006. Courtesy of C.A.S.S. Sheet Metal Specialist, Detroit.

The current color of the roof disappoints many graduates, but in time, it will return to the beautiful green color Saarinen and Wermuth achieved through their very affordable, if not very polite, method. And if you were at Kingswood between 1988 and the new roof replacement: you weren’t seeing a green patina, but a mint-green urethane coating sprayed on the entire roof to (unsuccessfully) slow the leaks!

—Kevin Adkisson, Curatorial Associate

PS: Between the joined “Studio #3” and “Dorm # 2” at the Academy, built in 1932 and 1936 respectively, there is a visible difference between the color of the two copper roofs where the patination has never matched. This can be attributed to different batches of copper. In the new Kingswood roof, every delivery of copper sheeting and copper solder delivered to the site was tested for quality and composition: we wouldn’t want the roof to change color irregularly.

Marthe Julia LeLoupp

Marthe Julia LeLoupp, born October 10, 1898, in Plogoff, Finistere, France, was an original faculty member of Kingswood School, where she taught French from 1930-1956. Having completed the Diplȏme de fin d’études at the Lysée Brizeaux, Quimper, Finistere, France in 1917, LeLoupp then completed her BA at Macalester College, St. Paul, Minnesota in 1920. She later completed graduate work at the University of Chicago (1929-1931) where she worked on an MA Thesis: Influence du Breton sur le français régional en Bretagne. With teaching experience in schools and colleges in Minnesota, South Dakota, New York, New Jersey, and Indiana, LeLoupp arrived at Cranbrook in 1930.

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Marthe LeLoupp, 19 Feb 1952. Photographer, Harvey Croze. Cranbrook Archives.

Correspondence with LeLoupp in the Kingswood School Records is limited but suggests that she would return to France each summer. A letter from LeLoupp, written in Paris on September 17, 1939, tells how she left America in June with ticket safely tucked in her purse for a return September 6th on the Normandie. But, the declaration of war had made this impossible and her ticket had been passed, initially to the DeGrasse to sail on the 13th and then to the Shawnee, due to depart Bordeaux on the 22nd. The Shawnee, she explains, had been, “sent to the rescue of a few hundred thousand American citizens, who are anxiously waiting for transportation westward.”  On arriving to Bordeaux on September 22, 1939, Le Loupp writes that they were told, to their great dismay, that the Shawnee would not sail until the 26th. While LeLoupp’s letters were on their way to Cranbrook, Ms. Augur [Kingswood School Headmistress, 1934-1950] was searching for LeLoupp, first sending a telegram and then consulting the American Consul. LeLoupp’s mother returns Ms. Augur’s telegram with a letter explaining her daughter’s situation. Discovering this story recently, I wondered at the extraordinary resonance with current concerns for travelers, and for those unable to complete their journeys.

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Telegram, Ms. Augur to Mlle. LeLoupp, September 23, 1939. Cranbrook Archives.

Despite the harrowing circumstances, LeLoupp did eventually make it across the Atlantic. She continued to teach French at Kingswood School until July 1956, when she writes from Bénodet in France to request to be released from her 1956-57 contract due to poor health, ending the letter, “I find it impossible to express my regret in words.” Not much else is known about LeLoupp’s time at Cranbrook, except that she lived for twelve of her years at Cranbrook in the apartments above Kingswood School, which were converted in 1945 from the ballroom known as Heaven. In the KBC [Kingswood Brookside Cranbrook] Quarterly of May 1973, LeLoupp was remembered thus,

“a “beautiful person” with a “super smile”. She was “sweet and kind” and always beautifully dressed in classic tweeds. Peering over her bi-focals at her students and reciting in her strong French accent the terrible weekly dictes that no one could understand, she was one of those who inspired her girls to excellence or accomplishment in French that is still one of Kingswood’s greatest assets”.

Laura MacNewman — Associate Archivist

 

Lisa Frank’s Cranbrook Years

When I’m talking with visitors to Cranbrook about our many famous alumni, there is perhaps only one graduate whose legacy and name recognition so divides responses between “Who is that?” and “Oh-my-gosh, really?!”

If the visitor was born before 1982, they likely have never heard of her. If they’re born after 1982, they almost certainly know her—even if they don’t know she’s a real person: Lisa Frank.

Lisa Frank from Kickstarter A typical example of Lisa Frank’s art: unicorns, golden retrievers, pandas, and rainbows, c. 2005-2015. Copyright Lisa Frank, Inc.; courtesy of Pinterest.

Lisa Deborah Frank graduated from Kingswood in 1972. For kids in the 80s and 90s, her iconic neon designs decorated our backpacks, Trapper Keepers, pencils, folders, and stickers. Anything that you might possibly need for the daily rigors of preteen life, Lisa Frank could provide. Rainbow kittens and neon unicorns adorned practically everything, and you’d be forgiven if you chalked these creations up to the work of some anonymous office supply conglomerate with a cadre of slightly nutty illustrators.

But no. Lisa Frank is very much a real person and artist, and she has led her company, Lisa Frank, Inc., as a successful commercial art studio since 1979. Her Day-Glo depictions of flora and fauna were sensational, ubiquitous, and often imitated but never equaled. Despite her success at brightening elementary schools across the globe, as an artist and businesswoman she has been a reclusive figure. So who exactly is Lisa Frank?

In 2015, Cranbrook Kingswood alumna Carly Marks interviewed Lisa Frank at her Tucson, Arizona headquarters for the art magazine Foundations, one of the only in-depth interviews Frank has ever sat for. Frank had this to say about her time at Kingswood (1966 to 1972):

“They had real people teaching, accomplished artists. We sat in the original Saarinen chairs. I don’t think we realized what we were surrounded by. I can tell you I wouldn’t be who I am without that experience.”

There was also art at home: Lisa Frank’s father served on the board of the Detroit Institute of Arts and had an impressive collection in their Palmer Woods (Detroit) house, including works by Jasper Johns, Josef Albers, Richard Anuszkiewicz, and Jean Arp. One of Frank’s proudest moments was when her father hung one of her Kingswood-era paintings in the house—not because it was his daughter’s painting, but because he liked the work itself.

At Kingswood, Lisa Frank served on the Woodwinds yearbook staff as the advertising coordinator, among other activities. She also took advantage of the art opportunities, telling Foundations, “I had a senior show of the paintings I made…They were up on the wall, I sold out, and received a ton of commissions. Lee Iacocca, former president of Chrysler, bought a painting.”

Lisa Frank Kingswood Work Courtesy of Carl Marks Foundation MagazineUntitled. Lisa Frank, c. 1971-1972. Painted while Frank was a student at Kingswood School for Girls. Photo courtesy of Carly Mark for Foundations magazine, 2015.

Frank’s work at Cranbrook was abstract, using acrylic on Masonite or canvas, and sometimes incorporating paper on the canvas for additional texture. Although the work was nonrepresentational, the bright colors that would become her brand’s signature are present in these early paintings.

Lisa Frank Kingswood Work Courtesy of Carly Marks-Foundations MagazineUntitled. Lisa Frank, c. 1971-1972. Painted while Frank was a student at Kingswood School for Girls. Photo courtesy of Carly Mark for Foundations magazine, 2015.

Her success in the Kingswood senior show led to early independence: “I lived on those earnings forever. When I was in high school [my dad] was paying for all my materials. When I got the commissions he said, ‘You’re paying for all the supplies.’ Then when I told him I was going to the University of Arizona he said, ‘That’s fine and I love you all the same but I’m not going to support you.’”

In college, Frank supported herself by selling Native American art and jewelry. She noticed what sold and what didn’t, and she encouraged the artisans she represented to make certain pieces for commercial sale. Her knack for knowing what designs would sell extended into her own art.

As she recalls, “At first I didn’t want to do unicorns. The artist in me said no. Then I thought, wait a minute, this is commercial art. Let’s do what’s going to sell.”

She started a line of jewelry made up of plastic fruits assembled with hot glue guns. She sold this line, called Sticky Fingers, at gift shows, and its success led to the establishment of her eponymous business. She entered into the pin/button market, painting licensed figures like Felix the Cat or Betty Boop, along with her own colorful animals with big eyes. These buttons were mass produced in Asia and imported to the U.S. Her breakout moment came in 1982, when teen mall staple Spencer’s Gifts ordered a million dollars’ worth of colorful Lisa Frank-designed stickers. She was only 28 years old.

Panda Painter by Lisa Frank courtesy of Carly Marks-Foundations MagazinePanda Painter, Lisa Frank, c. 1982-85. Frank worked with markers, acrylics, and airbrush. By 1989, the production had shifted to computer design. Artwork was created by various artists (including Rondi Kutz, Senior Designer, and Frank’s then-husband James Green, CEO) but always approved by Lisa Frank. Courtesy of Carly Marks for Foundations magazine, 2015.

Her success skyrocketed, and her technicolor art expanded onto the menagerie of product I remember from my own elementary school bookstore in the late 1990s. Since the very beginning of the company, Frank has served as the art director and sole source of product approval. Even with so many thousands of products, she and her team spend hours making each piece of new art. One thing Lisa Frank does not want? Repetition.

To her, using the same imagery over and over is not only bad business, its insulting to the customer. As she notes, “believe it or not, the consumers with less money have a keener eye than the ones with more. Consumers with less money only have so much to spend. For this reason they are critical and want to buy the best of the best. I’ve always appealed to the masses because, I felt so lucky to grow up in a beautiful world, and believe just because someone has less money, why should they not be offered the best of the best, as well?”

Lisa Frank Trapper Keeper Today Show (2) Trapper Keeper depicting Markie (unicorn) in Airfluff Island, Lisa Frank, Inc., c. 1990-2000. Markie was one of the early characters from Lisa Frank. According to Frank, Markie enjoys butterflies, exploring, collecting starts, cloud hopping, and dreams. Courtesy of Today.

As for her unique, technicolor style? “I think the reason I made what I made is because I’m unconventional,” she explained. “I am who I am. You read stuff about me; people think it was all influenced by drugs. You couldn’t do what I did if I was on drugs. . . I was running my business. You can’t be just a creative; you have to be a businesswoman, too. You have to have the motivation to get there.”

Lisa Frank Panda Painter Scented Stickers Nicole Flickr Panda Painter Scented Sticker sheet, Lisa Frank, Inc. c. 1990-2000. Panda Painter is seen here surrounded by rainbows and gumballs. Gumballs are a common Frank motif, inspired by a childhood gift of an antique gumball machine from her father. Copyright Lisa Frank, Inc.; scan courtesy of Nicole on Flickr.

Even at the helm of a multi-national, billion dollar company, Lisa Frank is still focused on her art: “I feel like I’m fortunate enough to live my passion…There’s a big commitment to making beautiful quality work.” She continues, “I mean, yes, it’s a business but it’s more important that the art is beautiful.”

Lisa Frank Halloween Stickers Nicole Flickr Halloween sticker sheet, Lisa Frank, Inc. c. 1993-2000. The signature bright colors of Lisa Frank are printed using a proprietary four-color print process that keeps the colors from muddying. All licensees producing Lisa Frank, Inc. materials must sign confidentiality agreements as the ink mixtures are a closely-held secret. Copyright Lisa Frank, Inc.; scan courtesy of Nicole on Flickr.

While Lisa Frank’s heyday may be over (the 2000s were especially difficult), she has continued to put out new product. In this moment of 90s nostalgia, Lisa Frank continues to bring joy and brightness to the world. In fact, you can now stay in a Lisa Frank-designed hotel room!

Lisa Frank was awarded the Distinguished Alumna Award in 1994 from the Kingswood Alumnae Association. Perhaps one day we’ll even get an original Lisa Frank for Cranbrook Art Museum!

Kevin Adkisson, Curatorial Associate

A Final Reflection (2002-2018)

The “bananas went a-missing” and Kingswood School’s Chiquita Banana Scholarship. The thief who stole the (attributed to) Rembrant Peale portrait of George Washington and the mysterious return of Perseus on the porch of the Thornlea Studio Archives. Gates and andirons and architectural details like the lead conductors at Cranbrook House designed by New York metalsmith Oscar Bach. Cranbrook’s mid-century modern Edison House, the House of the Poet (never realized thank goodness!), Chanticleer Cottage (which used to be the chicken house), Walnut Cottage, Tower Cottage, and Brookside Cottage (also known as the Honeymoon Cottage or Stonybrook) which evolved from the original pump house.

Unidentified man on bridge (no, it is NOT George Booth) with the pump house in the background, ca 1915

And the people! The Italians who literally moved mountains of dirt and rocks, graded the roads, and built the stone walls and beautiful rock gardens that lined the campus.

Landscape architect Edward Eichstaedt, who designed the original planting plan around Jonah Pools and later worked on landscape design for Eero Saarinen’s General Motors Technical Center. The women who left their mark at Christ Church Cranbrook – Kathryn McEwen, Hildreth Meière, and silversmith Elizabeth Copeland. Cranbrook School’s art teacher John Cunningham and his mosaics (which can still be seen today) Kingswood School’s French teacher, Marthe Le Loupp, and Brookside’s dietician Flora Leslie.

Eichstaedt’s 1934 Planting Plan for the Lower basins

Notable national celebrities connected to Cranbrook: Leonard Bernstein, Dave Brubeck, Amelia Earhart, Henry Ford, Eleanor Roosevelt, and Anne Morrow Lindbergh to name just a few. But perhaps most interesting to me was learning the stories of those not so well known: Ebba Wicks Brown – the first registered female architect in the state of Oregon who came to Cranbrook to study architecture with Eliel Saarinen. Colonel Edwin S. George, a Detroit businessman and philanthropist who was affiliated with Cranbrook in a variety of ways – most notably for his contributions to the Institute of Science. Myrtle Hall – the first African American model at the Cranbrook Academy of Art and Cleo Dorman – another model who was infamous for collecting paintings of her done by famous artists. And so many, many more names still swirling around in my brain.

Curatorial scholars at work

Perhaps my greatest joy here has been to help researchers find the answer to their questions, and to guide them towards collections that they might not have thought of – which has often led to a change in the course of their research. I am very proud of the fact that Cranbrook Archives has an international reputation for exemplary service and for being so organized and easy to use. I will miss working with the many students, faculty, staff, researchers, and scholars as you have taught me as much, if not more, than I have taught you. Thank you for that.

And, thank you to the Cranbrook Kingswood Senior May students and the many archival graduate students who have worked on projects over the years, and a special thanks to the most amazing volunteers! We couldn’t have accomplished all that we have without you.

Graduate student (left) and dedicated volunteers at Thornlea Studio Archives

I will close my final Cranbrook blog post by doing what I have tried to do my entire 16 year career here – promote Cranbrook Archives. In the archival profession, one constant issue many of us face is how to demonstrate to our institutions and constituents the importance of an archives – why archives matter. I could wax on, but instead I leave you with this article in the hopes that all who read it will have a new appreciation for the work that archivists do every day to preserve institutional memory. History matters. Archives matter. I am proud that I played a small role in preserving Cranbrook’s rich history.

And on that note, I bid adieu.

Leslie S. Edwards, Head Archivist (2002-2018)

“Smoking and Coking”: The Kingswood Senior Cabin

In March 1940, Kingswood girls were invited to party at Cranbook School’s senior cabin. (George Booth had given the boys the gift of the senior cabin in December 1927.) While the girls had known about the cabin, their visit really brought home the fact that they did not have one to enjoy for themselves. Spearheaded by then sophomore, Mary Adie ‘42, the Kingswood girls began to push for their own cabin.

Henry Scripps Booth supported the idea and was the architect. The cabin had an open floor plan with a fireplace, bathroom, and a small kitchenette. Bench seating lined the window wall that looked out over the brook. The Cranbrook Foundation paid for the structure which cost $2392. The Kingswood School Board of Directors felt that student involvement would help stimulate class and school spirit, and that the cabin would provide an informal respite from the rigors of the school day. The girls raised money and paid for furnishings themselves (from Sears), and even made curtains to decorate the space. Each successive senior class left their mark by adding something to the décor. Mr. Wentz made a wrought iron screen for the fireplace which featured the Kingswood seal. Mrs. Dow contributed a combination radio-Victrola which was very popular as it played twelve records simultaneously! And eventually, the girls even got a telephone.

View of the Senior Cabin (left) with the Western Playfield Shelter, 1963. Courtesy Cranbrook Archives

Once the plan was approved, a location was determined. Then Headmistress, Margaret Auger stated: “I thought I was very clever” when she sited the cabin on the edge of the Kingswood School grounds – close enough where there could be adult supervision, but far enough away so it did not seem as if the faculty was spying on the students. Ground was broken November 19, 1940, and the girls had a housewarming party May 9, 1941 with juniors and the outgoing seniors. The party became an annual “right of passage” which transferred the rights to use the cabin from one class to another. The cabin was so popular that initially there was a column in The Clarion called “Cabin Close-ups!”

Kingswood Seniors hanging out, Feb 1957. Notice the décor.

The cabin was used for a variety of leisure activities. Bridge club was held on Wednesdays, which was the only time that girls were allowed to smoke on campus. Auger’s smoking rule was that students could smoke cigarettes at the cabin, but only on Wednesdays, when faculty member Josephine Waldo was there to supervise. (She, by the way, was a smoker herself). The catch was that if Auger found out that the girls smoked on any other day of the week, she would close the cabin. By far, one of the best parts was that the girls could drink cokes – by the case full! During exam weeks, girls took study breaks at the cabin and revived themselves by “smoking and coking.” In 1964, smoking at the cabin ended when Michigan State law outlawed cigarette smoking for  minors under the age of eighteen.

Smoking and Coking, Dec 1952. Courtesy Cranbrook Archives.

As time went on, various updates and changes were made to the cabin. However, by 1966, the foundation of the building had begun to erode. In the early 1980s, the cabin was only used as a restroom facility for Kingswood School outdoor events, end of year parties for the Girls Middle School field hockey team, and by Academy of Art students as a space to build the models for the Design in America: The Cranbrook Vision 1925-1950 exhibition. The cabin faced increased neglect. There was not enough interest or funds to maintain or repair it and it in the mid 1990s it was demolished. The boys’ Senior Cabin still stands today.

Leslie S. Edwards, Head Archivist

Photo Friday: Aim High and Go Forth to Serve!

Congratulations Cranbrook Kingswood Seniors!  The following was printed in the 1931 The Crane as part of a farewell editorial to the senior class from Cranbrook School student Mark Beltaire ’33:

“The world is the only fitting arena for your triumphs, and we, who expect to follow say ‘Be brave, be honorable, and above all, be sincere!’ “

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Kingswood School Commencement, 1983. Richard Hirneisen, photographer.

 

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Cranbrook School Commencement, 1963. Harvey Croze, photographer.

 

“A ship is safe in harbor, but that’s not what ships are built for.” — John A. Shedd

Marthe Le Loupp, 1930. Courtesy Cranbrook Archives.

Marthe Le Loupp, 1930. Courtesy Cranbrook Archives.

As the newest Cranbrook archivist it is my privilege to support our researcher’s investigations into the Cranbrook archival collections. On any given day we might review school yearbooks, catalog historic photographs, or learn about one of Cranbrook’s earliest scandals. After only two weeks, my husband has taken to assigning all credit for my cheerful and inquisitive demeanor to the adventuresome interactions I engage in at the archive. “You’re welcome!” is often my knee-jerk response.

Paths are a funny sort of thing—laid out to direct us, guide us, and ensure we don’t run astray. Life’s paths (kind of like research in an archives) often lead us to places we never imagined. This was the scenario in which Mademoiselle Marthe Le Loupp (1898-1987) found herself when she embarked on her return to Cranbrook from her annual trip back home (Plogoff, France) in 1939.

Marthe Le Loupp taught French language at Kingswood School Cranbrook from 1930-1956. As one of the original seven faculty members (classes were actually taught the first year in Brookside School), Le Loupp came to Cranbrook after completing three quarters of graduate study in French at the University of Chicago. A stern but well-liked teacher, Le Loupp led many Kingswood girls to excellence awards from the Michigan Chapter of the American Association of Teachers of French.

Le Loupp remained close with her family while living abroad and returned to France every summer. In 1939, Le Loupp’s return vessel, the SS Normandie, was reassigned under the WWII war effort and she was unable to return to Cranbrook for the start of the fall semester. Ultimately, she was able to secure passage via alternative methods.

Correspondence from Kingswood School to the American Consul, 1939. Courtesy Cranbrook Archives.

Correspondence from Kingswood School to the American Consul, 1939. Courtesy Cranbrook Archives.

When people think about WWII they don’t usually think about a French schoolteacher in Bloomfield Hills, Michigan, but in reality, maybe we all should think about the effects that war has on common folk. Our daily lives may seem unaffected, but this is not the truth now, as it was not the truth for Mlle Le Loupp and countless other teachers and staff at Cranbrook.

Le Loupp retired from Cranbrook in 1956 due to poor health. She lived the remainder of her years in Bénode, Finistère, France until her passing in 1987.

The opportunity to rediscover countless histories, such as this, is among the many honors of working in the archive here at Cranbrook. An honor I look forward to sharing with students and scholars in my daily work.

Belinda Krencicki, Associate Archivist

The Green Lobby: A Cranbrook Gem

Cranbrook’s largest installation of Pewabic Pottery tile is at Kingswood School, boasting several fireplaces, and all of the dormitory bathrooms (forty-nine total), and most notably the infamous Green Lobby. Pewabic was not, nor was it ever intended to be a commercial manufacturer. And although the pottery was incredibly prolific, it was envisioned as an Arts & Crafts pottery, where each piece of tile was hand-molded.

As a result of its high quality craftsmanship, Pewabic had issues producing the amount of tile needed in the timeframe for the installation and completion of Kingswood School. The contractors responsible for installing the tile were forced to travel to Detroit twenty-six times for small batches of tile; in other words, as the pottery produced the tile batch by batch, the contractor would pick them up in an effort to maintain their scheduled completion date! Unfortunately this caused financial issues between Pewabic and the contractor due to the delayed production and inevitable delayed installation, not to mention the extra time and travel needed to obtain the batches which hindered the completion of the building.

Kingswood School Green Lobby, photographer PD Rearick, 2015

Kingswood School Green Lobby, photographer PD Rearick, 2015.

Despite these issues, the Green Lobby remains today as one of the gems of Cranbrook’s campus and is a favorite of students, faculty, and visitors alike. In 1931, the lobby featured a Pewabic fireplace, wainscoting, and flooring, as well as the staircase and railing to the second floor. However, when the lobby was restored in 1997, new floor tiles needed to be installed. Unfortunately, the floor tiles we see today are reproduction, not Pewabic though the original fireplace, wainscoting, and stairwell remain.

Green Lobby stairwell leading to the second floor, photographer PD Rearick, 2015.

Green Lobby stairwell leading to the second floor, photographer PD Rearick, 2015.

Stefanie Dlugosz-Acton, Collections Fellow, Center for Collections and Research

 

 

The Name Game

From the beginning of Cranbrook’s history in 1904, place names at Cranbrook have evolved and changed. Once the Booths turned the original mill pond into a lake, they named it first Glassenbury Lake (after Glassenbury, England), then it was known as Cranbrook Lake for a very short time, and ultimately Kingswood Lake. The man-made Jonah Lake (or Lake Jonah as it is also known) was originally called Lake Manitou. Brookside School was originally called Bloomfield Hills School and Cranbrook School was Cranbrook School for Boys. Although Brookside School retains its name, since 1985 when the boys and girls schools merged, they are jointly known as Cranbrook Kingswood Schools.

Building names have also changed, often due to an alteration in use or sometimes because they were dedicated to an influential or long-time faculty member.  The Garden House became the Cranbrook Pavilion and is now St. Dunstan’s Playhouse. The Cranbrook School academic building became Hoey Hall after former Headmaster Harry Hoey and what was originally called the “Arcade” is now known as the Peristyle at the Cranbrook Art Museum. Lyon House was first called Stonelea (after its owner Ralph Stone, a long-time friend of George Booth), then Belwood, then the Kyes House before being acquired by Cranbrook.

And even Cranbrook Educational Community is not our first name. In 1927, the Booths established The Cranbrook Foundation as the legal and financial entity that oversaw the then six institutions: Brookside School, Christ Church Cranbrook, Cranbrook Academy of Art, Cranbrook Institute of Science, Cranbrook School, and Kingswood School.

So, what is really in a name? How do we name our campus buildings and landmarks going forward and what legacy will we be imparting with them?

That said, I wish you all a Happy New Year! Or should I say Bonne année? Feliz Año Nuevo? Or maybe Xin nian kuai le?

(And thank you Stefanie Dlugosz-Acton for getting me thinking about names at Cranbrook!)

From the Virginia Kingswood Booth Vogel Papers.

From the Virginia Kingswood Booth Vogel Papers.

Leslie S. Edwards, Head Archivist

Think Snow!

Kingswood School Headmistress residence, 1955.

Kingswood School Headmistress residence, 1955.

Boys from Cranbrook School playing hockey outdoors, 1928.

Boys from Cranbrook School playing hockey outdoors, 1928.

Brookside children ice skating, 1928.

Brookside children ice skating, 1928.

Academy of Art students, Florence Chang and Margueritte Kimball cross-country skiing at Cranbrook, 1944.

Academy of Art students Florence Chang and Margueritte Kimball cross-country skiing at Cranbrook, 1944.

Christ Church Cranbrook, ca 1938.

Christ Church Cranbrook, ca 1938.

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