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June 28–October 5, 2003
The Heinz Architectural Center
Nineteen projects by Pittsburgh-based or Pittsburgh-trained
architects and designers represent some of the region's most imaginative
and innovative solutions to how we might live, work, play, and build
in the 21st century. Each project is presented on a platform –
a physical and conceptual space for the introduction, display, and
dispersal of visionary ideas.
Goil Amornvivat, Thomas Morbitzer,
and Can M. A. Tiryaki, Regarding the Mihrab;
Burt Hill Kosar Rittelmann Associates, Environment Engineering,
David L. Lawrence Convention Center;
CBPD, Building As Power Plant;
Celento Henn Architects + Designers, Red House Communications;
dggp architecture (with Bruce Lindsey), Pittsburgh Glass Center;
D.I.R.T. studio (with AMD&ART), Testing the Waters;
EDGE studio, Carnegie Library of Pittsburgh, Main Library;
FISHER ARCHitecture, Fisher House;
Harry Henninger Jr. with Morgan Manufacturing, "The Phantom's
Revenge";
Julian Kinal, Plywood Landscape: Overhead Underfoot;
Klavon Design Associates, First Avenue Parking Garage and Trail;
Loysen + Associates, Carnegie Library of Pittsburgh, Brookline;
Arthur Lubetz Associates Architects, Small Man Strip Tease;
Christine Davis Consultants with Parsons Brinckerhoff Quade & Douglas,
The Hot Metal Bridge;
Pfaffmann + Associates, River Lofts;
William Shepler, Shepler House and Studio;
SPRINGBOARD Architecture, Communication, Design, The Maridon Museum;
studio d'ARC architects, Live / Work Studio II;
Michael Van Valkenburgh Associates and Mel Bochner, Carnegie Mellon
University Sculpture Garden.
The programs of the Heinz Architectural
Center are made possible by the generous support of the
Drue Heinz Trust. Additional support was provided by The
Juliet Lea Hillman Simonds Foundation and the Women's Committee.
General support for the exhibition program at Carnegie
Museum of Art is provided by grants from The Heinz Endowments
and the Pennsylvania Council on the Arts.
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July 5–November 16, 2003
Forum Gallery
Charles "Teenie" Harris photographed
the events and daily life in Pittsburgh's African American
community between 1936 and 1975 for the Pittsburgh Courier,
one of the nations' most influential Black newspapers.
In 2001, Carnegie Museum of Art acquired Harris' archive of nearly
80,000 photographic negatives, few of which are titled and dated.
The archive, a richly detailed record of public personalities and
events, and the daily lives of average people, is considered one
of the most important documentations of 20th-century African American
life. The museum is now seeking help from members of the community,
familiar with the history of the era, to identify the people, places,
and activities taking place in approximately 3700 images, many of
which have never before been on display.
Approximately 200 work prints and 3500 photocopied images will be
on view in the museum's Forum G allery from July 5 through November
16, 2003. To maximize community involvement with the project, Carnegie
Museum of Art and Carnegie Library of Pittsburgh will collaborate
on an extension of the program in neighborhood library branches,
where bound sets of all images will be available along with "memory
sheets" to record comments and recollections. Oral historians,
from the University of Pittsburgh's Department of History, will be
scheduled at all locations to record visitors' comments. The images
will also be shown in rotation on the museum's web site with links
to an on-line memory sheet that will be forwarded to the museum.
In addition, the museum's community liaison, Deborah Starling Pollard,
will give free slide-illustrated presentations about the project
to community organizations during this period.
The information that is gathered from this project will be entered
into the museum's collections database and will be available on-line.
The project is a collaboration among Carnegie Museum of Art, Carnegie
Library of Pittsburgh, and the University of Pittsburgh's Department
of History.
Generous support for the Teenie Harris Archive
Project has been provided by The Heinz Endowments, The
Pittsburgh Foundation, and The H. Glenn Sample Jr., M.D.
Memorial Fund through PNC Advisors Charitable Trust Committee.
General support for museum programs is provided by the
Pennsylvania Council on the Arts, The Heinz Endowments,
and the Allegheny County Regional Asset District.
This project is a collaboration among Carnegie
Museum of Art, Carnegie Library of Pittsburgh, and the
Department of History at the University of Pittsburgh.
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August 2–December
14, 2003
Treasure Room
Can you imagine a time when humble
candlelight signified power, prestige, and wealth? From
Ancient Rome through the 19th century, only the wealthy
could afford a well-lit home, as candles and their support–the
candlestick–were expensive and thus exclusive commodities.
The 67 candlesticks on view document the stylistic evolution
and variation of form in candlestick design in Scandinavia,
Great Britain, Europe, and North America from 1450 through
1800. All are made of base metal, a collective term used
for non-precious metals, such as brass, copper, bronze,
iron, steel, pewter, paktong, and other alloys. Although
less costly than gold or silver, these base metals gave
the impression of being precious and helped to convey
the status and wealth of a host or household at a time
when candlelight alone was a symbol of prestige.
The candlesticks on view are generously on loan from the collections
of C. Talbott Hiteshew and Carnegie Museum of Natural History.
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