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                    <text>A faint studio portrait of a child centered within a decorative card border.</text>
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                  <text>A selection of photographs and architectural drawings from the Zina Bethune collection on Louise Bethune, circa 1860-1962</text>
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                  <text>Bethune: every woman her own architect Louise Blanchard Bethune (1856–1913) is widely considered to be the first woman to practice as a professional architect in the United States. This digital collection explores Louise Bethune’s life and work through photographs and architectural drawings selected from the Zina Bethune collection on Louise Bethune, circa 1860-196 2. Louise Bethune played a key role in the architectural firm that she founded, going well beyond simply designing buildings to supervising budgets and onsite work—a highly unusual role for women of the day. Louise let her work and deeds speak for her support of women’s right to work outside the home and to be equitably recompensed for their efforts. In her architecture, family life, and public and private behavior she spoke to a new generation of professional women. The Hotel Lafayette is by far the most significant Bethune structure. The building was initially conceived in 1899 to meet the anticipated demand from the 1901 Pan American Exposition. Its restoration in 2012 was enormously important for Buffalo. The first building in New York State to be saved through state and federal historic tax credits, its restoration coincided with the most substantial economic expansion the Queen City of the Lakes had witnessed in decades. Bethune’s restored opus has come to embody the Lady Architect’s finest work during the Queen City’s finest years and symbolizes what is to come. The bulk of The Zina Bethune collection on Louise Bethune collection was gifted to the University Archives by Sean Feeley (husband of Zina Bethune) in 2017, as facilitated by Kelly Hayes McAlonie. Additional materials were gifted to the University Archives by Kelly Hayes McAlonie and Jon Morris. The foundation of this collection rests with materials pertaining to Louise Bethune and her work as an architect. These include several portraits of Bethune, from approximately age 3 to 55; a typewritten biographical manuscript by Bethune written near the end of her life; her genealogy research of the Blanchard and Bethune families; and architectural plans for three of Bethune’s works in Buffalo, New York. The collection also documents Louise and Robert Bethune’s son, Dr. Charles William Bethune. For a complete description of the collection, please view the &lt;a href="http://findingaids.lib.buffalo.edu/repositories/2/resources/883"&gt;finding aid&lt;/a&gt;.</text>
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                  <text>&lt;a href="http://findingaids.lib.buffalo.edu/repositories/2/resources/883"&gt;Zina Bethune Collection on Louise Bethune (MS-0262)&lt;/a&gt;</text>
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                <text>Sepia-toned photographic studio portrait of Louise Blanchard Bethune as a child</text>
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                <text>Sepia-toned, rather faded studio portrait of Louise Blanchard Bethune as a young child, seated, with short hair, positioned in the upper portion of a softly toned oval frame. The photograph is mounted on a card featuring an ornate gold-colored border.  A handwritten inscription of "J. L. Bethune" appears beneath the framed portrait. This is because Louise Bethune's original first name was "Jennie" .</text>
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                <text>&lt;a href="http://findingaids.lib.buffalo.edu/repositories/2/resources/883"&gt;Zina Bethune Collection on Louise Bethune (MS-0262)&lt;/a&gt;&lt;br /&gt;Page 27 of a tintype and cabinet card album, circa 1875</text>
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                <text>&lt;a href="https://rightsstatements.org/page/CNE/1.0/"&gt;COPYRIGHT NOT EVALUATED&lt;/a&gt;. The copyright and related rights status of this Item has not been evaluated. Please refer to the organization that has made the Item available for more information. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. This digital collection is made available for research and educational purposes. Researchers are responsible for determining copyright status, and securing permissions for use and publication of any material. Copyright for items in this collection may be held by the creators, their heirs, or assigns. Researchers are required to obtain written permission from copyright holders and the University Archives prior to reproducing or publishing materials, including images and quotations. For inquiries about reproduction requests and permissions, please contact the &lt;a href="http://library.buffalo.edu/archives/"&gt;University Archives&lt;/a&gt;. If you believe material in our digital collections infringes copyright or other rights, please review our &lt;a href="https://library.buffalo.edu/about/policies/information-use/notice-and-takedown-policy.html"&gt;Notice and Takedown Policy&lt;/a&gt; for information on how to report your concern.</text>
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                  <text>Bethune: every woman her own architect Louise Blanchard Bethune (1856–1913) is widely considered to be the first woman to practice as a professional architect in the United States. This digital collection explores Louise Bethune’s life and work through photographs and architectural drawings selected from the Zina Bethune collection on Louise Bethune, circa 1860-196 2. Louise Bethune played a key role in the architectural firm that she founded, going well beyond simply designing buildings to supervising budgets and onsite work—a highly unusual role for women of the day. Louise let her work and deeds speak for her support of women’s right to work outside the home and to be equitably recompensed for their efforts. In her architecture, family life, and public and private behavior she spoke to a new generation of professional women. The Hotel Lafayette is by far the most significant Bethune structure. The building was initially conceived in 1899 to meet the anticipated demand from the 1901 Pan American Exposition. Its restoration in 2012 was enormously important for Buffalo. The first building in New York State to be saved through state and federal historic tax credits, its restoration coincided with the most substantial economic expansion the Queen City of the Lakes had witnessed in decades. Bethune’s restored opus has come to embody the Lady Architect’s finest work during the Queen City’s finest years and symbolizes what is to come. The bulk of The Zina Bethune collection on Louise Bethune collection was gifted to the University Archives by Sean Feeley (husband of Zina Bethune) in 2017, as facilitated by Kelly Hayes McAlonie. Additional materials were gifted to the University Archives by Kelly Hayes McAlonie and Jon Morris. The foundation of this collection rests with materials pertaining to Louise Bethune and her work as an architect. These include several portraits of Bethune, from approximately age 3 to 55; a typewritten biographical manuscript by Bethune written near the end of her life; her genealogy research of the Blanchard and Bethune families; and architectural plans for three of Bethune’s works in Buffalo, New York. The collection also documents Louise and Robert Bethune’s son, Dr. Charles William Bethune. For a complete description of the collection, please view the &lt;a href="http://findingaids.lib.buffalo.edu/repositories/2/resources/883"&gt;finding aid&lt;/a&gt;.</text>
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                  <text>&lt;a href="http://findingaids.lib.buffalo.edu/repositories/2/resources/883"&gt;Zina Bethune Collection on Louise Bethune (MS-0262)&lt;/a&gt;</text>
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                <text>Bethune, Bethune &amp; Fuchs, Architects</text>
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                <text>Scale drawing sheet of Police Station No. 2, Buffalo, New York designed by Bethune, Bethune &amp; Fuchs, Architects, circa 1887</text>
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                <text>Scale drawing sheet on linen of Police Station No. 2 at 401  Seneca Street, Buffalo, New York with details of the staircase, wainscoting, main office front desk, portable vestibule, and boiler room designed by Bethune, Bethune &amp; Fuchs, Architects in 1887. The worn, yellowed sheet of drafting paper contains multiple technical drawings arranged across the surface, including elevations, cross-sections, and detailed sketches of structural components. Various elements such as doors, windows, stair railings, support columns, and building facades are labeled with handwritten notes and measurements. The lower portion of the paper shows significant discoloration and wrinkling, suggesting age and handling over time.</text>
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                <text>&lt;a href="http://findingaids.lib.buffalo.edu/repositories/2/resources/883"&gt;Zina Bethune Collection on Louise Bethune (MS-0262)&lt;/a&gt;</text>
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                <text>&lt;a href="https://rightsstatements.org/page/CNE/1.0/"&gt;COPYRIGHT NOT EVALUATED&lt;/a&gt;. The copyright and related rights status of this Item has not been evaluated. Please refer to the organization that has made the Item available for more information. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. This digital collection is made available for research and educational purposes. Researchers are responsible for determining copyright status, and securing permissions for use and publication of any material. Copyright for items in this collection may be held by the creators, their heirs, or assigns. Researchers are required to obtain written permission from copyright holders and the University Archives prior to reproducing or publishing materials, including images and quotations. For inquiries about reproduction requests and permissions, please contact the &lt;a href="http://library.buffalo.edu/archives/"&gt;University Archives&lt;/a&gt;. If you believe material in our digital collections infringes copyright or other rights, please review our &lt;a href="https://library.buffalo.edu/about/policies/information-use/notice-and-takedown-policy.html"&gt;Notice and Takedown Policy&lt;/a&gt; for information on how to report your concern.</text>
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                  <text>Bethune: every woman her own architect Louise Blanchard Bethune (1856–1913) is widely considered to be the first woman to practice as a professional architect in the United States. This digital collection explores Louise Bethune’s life and work through photographs and architectural drawings selected from the Zina Bethune collection on Louise Bethune, circa 1860-196 2. Louise Bethune played a key role in the architectural firm that she founded, going well beyond simply designing buildings to supervising budgets and onsite work—a highly unusual role for women of the day. Louise let her work and deeds speak for her support of women’s right to work outside the home and to be equitably recompensed for their efforts. In her architecture, family life, and public and private behavior she spoke to a new generation of professional women. The Hotel Lafayette is by far the most significant Bethune structure. The building was initially conceived in 1899 to meet the anticipated demand from the 1901 Pan American Exposition. Its restoration in 2012 was enormously important for Buffalo. The first building in New York State to be saved through state and federal historic tax credits, its restoration coincided with the most substantial economic expansion the Queen City of the Lakes had witnessed in decades. Bethune’s restored opus has come to embody the Lady Architect’s finest work during the Queen City’s finest years and symbolizes what is to come. The bulk of The Zina Bethune collection on Louise Bethune collection was gifted to the University Archives by Sean Feeley (husband of Zina Bethune) in 2017, as facilitated by Kelly Hayes McAlonie. Additional materials were gifted to the University Archives by Kelly Hayes McAlonie and Jon Morris. The foundation of this collection rests with materials pertaining to Louise Bethune and her work as an architect. These include several portraits of Bethune, from approximately age 3 to 55; a typewritten biographical manuscript by Bethune written near the end of her life; her genealogy research of the Blanchard and Bethune families; and architectural plans for three of Bethune’s works in Buffalo, New York. The collection also documents Louise and Robert Bethune’s son, Dr. Charles William Bethune. For a complete description of the collection, please view the &lt;a href="http://findingaids.lib.buffalo.edu/repositories/2/resources/883"&gt;finding aid&lt;/a&gt;.</text>
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                  <text>&lt;a href="http://findingaids.lib.buffalo.edu/repositories/2/resources/883"&gt;Zina Bethune Collection on Louise Bethune (MS-0262)&lt;/a&gt;</text>
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                  <text>University at Buffalo Libraries believes these works to be in the U.S. public domain. These works may not be in the public domain in other countries.</text>
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                <text>Architectural floor plan for the first floor of Police Station No. 2, Buffalo, New York designed by Bethune, Bethune &amp; Fuchs, Architects, circa 1887</text>
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                <text>Architectural blue print on linen  laid flat, designed by Bethune, Bethune &amp; Fuchs, Architects, of the first floor plan for Police Station No. 2 at 401 Seneca Street, Buffalo, New York, circa 1887. The image features detailed floor plan drawings across its full length. The sheet is yellowed and worn, with visible creases and water stains. The left side contains labeled rooms, staircases, and structural notes, while the right side shows a grid-like layout labeled as a “new cell front.” Handwritten annotations appear throughout, indicating measurements and design details.</text>
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                <text>&lt;a href="http://findingaids.lib.buffalo.edu/repositories/2/resources/883"&gt;Zina Bethune Collection on Louise Bethune (MS-0262)&lt;/a&gt;</text>
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                <text>&lt;a href="https://rightsstatements.org/page/CNE/1.0/"&gt;COPYRIGHT NOT EVALUATED&lt;/a&gt;. The copyright and related rights status of this Item has not been evaluated. Please refer to the organization that has made the Item available for more information. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. This digital collection is made available for research and educational purposes. Researchers are responsible for determining copyright status, and securing permissions for use and publication of any material. Copyright for items in this collection may be held by the creators, their heirs, or assigns. Researchers are required to obtain written permission from copyright holders and the University Archives prior to reproducing or publishing materials, including images and quotations. For inquiries about reproduction requests and permissions, please contact the &lt;a href="http://library.buffalo.edu/archives/"&gt;University Archives&lt;/a&gt;. If you believe material in our digital collections infringes copyright or other rights, please review our &lt;a href="https://library.buffalo.edu/about/policies/information-use/notice-and-takedown-policy.html"&gt;Notice and Takedown Policy&lt;/a&gt; for information on how to report your concern.</text>
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                <text>Aged architectural blueprint and elevation printed on blue paper with white lines detailing the proposed business block of the Bricka and Enos  Building at Nos 621-625 Main Street, Buffalo, New York, designed by Bethune, Bethune &amp; Fuchs, Architects. The drawing includes detailed floor plans, structural elements, and labeled sections arranged in a grid-like layout. Faint text appears in the lower left corner, and the edges of the blueprint show signs of wear, including creases and small tears.</text>
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                <text>&lt;a href="http://findingaids.lib.buffalo.edu/repositories/2/resources/883"&gt;Zina Bethune Collection on Louise Bethune (MS-0262)&lt;/a&gt;</text>
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                <text>Bethune, Bethune &amp; Fuchs, Architects</text>
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                <text>First floor plan of the Lafayette Hotel, Buffalo, New York, designed by Bethune, Bethune &amp; Fuchs, Architects, 1901</text>
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                <text>Diazotype architectural drawing created by Bethune, Bethune &amp; Fuchs, Architects of the first floor of the Lafayette Hotel, 1901. The image shows a large, aged architectural blueprint laid flat on a surface. The drawing includes labeled rooms such as a kitchen, dining room, grill room, bar room, and lobby. Various structural elements, measurements, and symbols are visible throughout. The edges of the blueprint are frayed and darkened, with sections missing or deteriorated, giving it an overall weathered appearance.</text>
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                <text>&lt;a href="http://findingaids.lib.buffalo.edu/repositories/2/resources/883"&gt;Zina Bethune Collection on Louise Bethune (MS-0262)&lt;/a&gt;</text>
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                <text>&lt;a href="https://rightsstatements.org/page/CNE/1.0/"&gt;COPYRIGHT NOT EVALUATED&lt;/a&gt;. The copyright and related rights status of this Item has not been evaluated. Please refer to the organization that has made the Item available for more information. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. This digital collection is made available for research and educational purposes. Researchers are responsible for determining copyright status, and securing permissions for use and publication of any material. Copyright for items in this collection may be held by the creators, their heirs, or assigns. Researchers are required to obtain written permission from copyright holders and the University Archives prior to reproducing or publishing materials, including images and quotations. For inquiries about reproduction requests and permissions, please contact the &lt;a href="http://library.buffalo.edu/archives/"&gt;University Archives&lt;/a&gt;. If you believe material in our digital collections infringes copyright or other rights, please review our &lt;a href="https://library.buffalo.edu/about/policies/information-use/notice-and-takedown-policy.html"&gt;Notice and Takedown Policy&lt;/a&gt; for information on how to report your concern.</text>
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                <text>Lafayette Hotel site plan of foundations and sewage,  Buffalo, New York, designed by Bethune, Bethune &amp; Fuchs, Architects, circa 1941-1981</text>
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                <text>Diazotype architectural drawing of site plans for the Lafayette Hotel's foundation and sewage, designed by Bethune, Bethune &amp; Fuchs, Architects, circa 1941-1981. The image shows an aged architectural blueprint with yellowed edges and extensive tearing and discoloration. The drawing features a large grid of evenly spaced square symbols that appear to represent structural footings or column bases. Faint measurement notations and lines connect various points across the layout. Several areas of the document are cracked or missing, especially along the edges, and some sections of the blueprint are darkened, obscuring parts of the technical details</text>
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                <text>Second floor plan of Police Station No. 2, Buffalo, New York designed by Bethune, Bethune &amp; Fuchs, Architects, circa 1887</text>
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                <text>&lt;a href="http://findingaids.lib.buffalo.edu/repositories/2/resources/883"&gt;Zina Bethune Collection on Louise Bethune (MS-0262)&lt;/a&gt;</text>
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                <text>Juxtaposed photographic studio portraits of Charles William Bethune, son of architects Louise Blanchard Bethune and Robert Armour Bethune, circa 1910-1950.</text>
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                  <text>Bethune: every woman her own architect Louise Blanchard Bethune (1856–1913) is widely considered to be the first woman to practice as a professional architect in the United States. This digital collection explores Louise Bethune’s life and work through photographs and architectural drawings selected from the Zina Bethune collection on Louise Bethune, circa 1860-196 2. Louise Bethune played a key role in the architectural firm that she founded, going well beyond simply designing buildings to supervising budgets and onsite work—a highly unusual role for women of the day. Louise let her work and deeds speak for her support of women’s right to work outside the home and to be equitably recompensed for their efforts. In her architecture, family life, and public and private behavior she spoke to a new generation of professional women. The Hotel Lafayette is by far the most significant Bethune structure. The building was initially conceived in 1899 to meet the anticipated demand from the 1901 Pan American Exposition. Its restoration in 2012 was enormously important for Buffalo. The first building in New York State to be saved through state and federal historic tax credits, its restoration coincided with the most substantial economic expansion the Queen City of the Lakes had witnessed in decades. Bethune’s restored opus has come to embody the Lady Architect’s finest work during the Queen City’s finest years and symbolizes what is to come. The bulk of The Zina Bethune collection on Louise Bethune collection was gifted to the University Archives by Sean Feeley (husband of Zina Bethune) in 2017, as facilitated by Kelly Hayes McAlonie. Additional materials were gifted to the University Archives by Kelly Hayes McAlonie and Jon Morris. The foundation of this collection rests with materials pertaining to Louise Bethune and her work as an architect. These include several portraits of Bethune, from approximately age 3 to 55; a typewritten biographical manuscript by Bethune written near the end of her life; her genealogy research of the Blanchard and Bethune families; and architectural plans for three of Bethune’s works in Buffalo, New York. The collection also documents Louise and Robert Bethune’s son, Dr. Charles William Bethune. For a complete description of the collection, please view the &lt;a href="http://findingaids.lib.buffalo.edu/repositories/2/resources/883"&gt;finding aid&lt;/a&gt;.</text>
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                  <text>University at Buffalo Libraries believes these works to be in the U.S. public domain. These works may not be in the public domain in other countries.</text>
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                <text>Color-tinted photographic portrait of Dalson Wallace Blanchard, the father of American architect Louise Blanchard Bethune, circa 1860</text>
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                <text>Color-tinted photographic portrait of architect Louise Blanchard Bethune's father Dalson Wallace  Blanchard, an older man shown from the shoulders up, facing to the right, circa 1860.  The man has light-colored hair, a full white beard, and light blue eyes.  He is dressed in a formal suit jacket with a white shirt and a dark bow tie. The background is a smooth, pale blue tone, and the portrait appears softly colored or hand-tinted.</text>
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                <text>The description and alternative text may have been partially generated using an AI tool and may contain errors or omissions. </text>
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                <text>&lt;a href="http://findingaids.lib.buffalo.edu/repositories/2/resources/883"&gt;Zina Bethune Collection on Louise Bethune (MS-0262)&lt;/a&gt;</text>
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            <description>Information about rights held in and over the resource</description>
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              <elementText elementTextId="1910198">
                <text>&lt;a href="https://rightsstatements.org/page/CNE/1.0/"&gt;COPYRIGHT NOT EVALUATED&lt;/a&gt;. The copyright and related rights status of this Item has not been evaluated. Please refer to the organization that has made the Item available for more information. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. This digital collection is made available for research and educational purposes. Researchers are responsible for determining copyright status, and securing permissions for use and publication of any material. Copyright for items in this collection may be held by the creators, their heirs, or assigns. Researchers are required to obtain written permission from copyright holders and the University Archives prior to reproducing or publishing materials, including images and quotations. For inquiries about reproduction requests and permissions, please contact the &lt;a href="http://library.buffalo.edu/archives/"&gt;University Archives&lt;/a&gt;. If you believe material in our digital collections infringes copyright or other rights, please review our &lt;a href="https://library.buffalo.edu/about/policies/information-use/notice-and-takedown-policy.html"&gt;Notice and Takedown Policy&lt;/a&gt; for information on how to report your concern.</text>
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                <text>State University of New York at Buffalo. University Libraries</text>
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                  <text>Bethune: every woman her own architect Louise Blanchard Bethune (1856–1913) is widely considered to be the first woman to practice as a professional architect in the United States. This digital collection explores Louise Bethune’s life and work through photographs and architectural drawings selected from the Zina Bethune collection on Louise Bethune, circa 1860-196 2. Louise Bethune played a key role in the architectural firm that she founded, going well beyond simply designing buildings to supervising budgets and onsite work—a highly unusual role for women of the day. Louise let her work and deeds speak for her support of women’s right to work outside the home and to be equitably recompensed for their efforts. In her architecture, family life, and public and private behavior she spoke to a new generation of professional women. The Hotel Lafayette is by far the most significant Bethune structure. The building was initially conceived in 1899 to meet the anticipated demand from the 1901 Pan American Exposition. Its restoration in 2012 was enormously important for Buffalo. The first building in New York State to be saved through state and federal historic tax credits, its restoration coincided with the most substantial economic expansion the Queen City of the Lakes had witnessed in decades. Bethune’s restored opus has come to embody the Lady Architect’s finest work during the Queen City’s finest years and symbolizes what is to come. The bulk of The Zina Bethune collection on Louise Bethune collection was gifted to the University Archives by Sean Feeley (husband of Zina Bethune) in 2017, as facilitated by Kelly Hayes McAlonie. Additional materials were gifted to the University Archives by Kelly Hayes McAlonie and Jon Morris. The foundation of this collection rests with materials pertaining to Louise Bethune and her work as an architect. These include several portraits of Bethune, from approximately age 3 to 55; a typewritten biographical manuscript by Bethune written near the end of her life; her genealogy research of the Blanchard and Bethune families; and architectural plans for three of Bethune’s works in Buffalo, New York. The collection also documents Louise and Robert Bethune’s son, Dr. Charles William Bethune. For a complete description of the collection, please view the &lt;a href="http://findingaids.lib.buffalo.edu/repositories/2/resources/883"&gt;finding aid&lt;/a&gt;.</text>
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                <text>Color-tinted portrait photograph of architect Robert Armour Bethune as a young man, circa 1880</text>
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                <text>Color-tinted studio portrait photograph of Canadian architect Robert Armour Bethune as a young man seated on a large rock against a softly painted backdrop resembling an outdoor landscape, circa 1880. He is the husband and architectural partner of the first female professional architect in the United States Louise Blanchard Bethune. Robert A. Bethune wears a dark suit, a white shirt, a bow tie, and a fur hat. One hand supports his chin while the other rests on his knee. The boots, the textured ground, and the hand-tinted color of the portrait suggest an older, studio-styled photograph.</text>
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                  <text>Bethune: every woman her own architect Louise Blanchard Bethune (1856–1913) is widely considered to be the first woman to practice as a professional architect in the United States. This digital collection explores Louise Bethune’s life and work through photographs and architectural drawings selected from the Zina Bethune collection on Louise Bethune, circa 1860-196 2. Louise Bethune played a key role in the architectural firm that she founded, going well beyond simply designing buildings to supervising budgets and onsite work—a highly unusual role for women of the day. Louise let her work and deeds speak for her support of women’s right to work outside the home and to be equitably recompensed for their efforts. In her architecture, family life, and public and private behavior she spoke to a new generation of professional women. The Hotel Lafayette is by far the most significant Bethune structure. The building was initially conceived in 1899 to meet the anticipated demand from the 1901 Pan American Exposition. Its restoration in 2012 was enormously important for Buffalo. The first building in New York State to be saved through state and federal historic tax credits, its restoration coincided with the most substantial economic expansion the Queen City of the Lakes had witnessed in decades. Bethune’s restored opus has come to embody the Lady Architect’s finest work during the Queen City’s finest years and symbolizes what is to come. The bulk of The Zina Bethune collection on Louise Bethune collection was gifted to the University Archives by Sean Feeley (husband of Zina Bethune) in 2017, as facilitated by Kelly Hayes McAlonie. Additional materials were gifted to the University Archives by Kelly Hayes McAlonie and Jon Morris. The foundation of this collection rests with materials pertaining to Louise Bethune and her work as an architect. These include several portraits of Bethune, from approximately age 3 to 55; a typewritten biographical manuscript by Bethune written near the end of her life; her genealogy research of the Blanchard and Bethune families; and architectural plans for three of Bethune’s works in Buffalo, New York. The collection also documents Louise and Robert Bethune’s son, Dr. Charles William Bethune. For a complete description of the collection, please view the &lt;a href="http://findingaids.lib.buffalo.edu/repositories/2/resources/883"&gt;finding aid&lt;/a&gt;.</text>
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                  <text>&lt;a href="http://findingaids.lib.buffalo.edu/repositories/2/resources/883"&gt;Zina Bethune Collection on Louise Bethune (MS-0262)&lt;/a&gt;</text>
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                  <text>University at Buffalo Libraries believes these works to be in the U.S. public domain. These works may not be in the public domain in other countries.</text>
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                <text>Series of sepia-toned studio portrait photographs from Page 25 of the Blanchard family cabinet card album, undated.</text>
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                <text>Two rows of sepia-toned photographic family portraits from Page 25 of the Blanchard family cabinet card album, undated. It includes two rows of photographs, with portraits of architect Louise Blanchard  Bethune and members of the Blanchard family. The album presents a decorative album page containing six individual portrait photographs arranged in two horizontal rows of three. Each photograph is set within an arched or oval frame shape against a wood-grain patterned background. The top row shows three head-and-shoulder portraits of male individuals of varying ages in the Blanchard family. The bottom row displays the three portraits of architect Louise Blanchard Bethune at various ages: one showing her as a child standing next to an ornate chair, one showing her in a head-and-shoulder portrait as an older child or adolescent, and one showing her as a young girl standing next to another young female friend holding hands.</text>
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                <text>&lt;a href="http://findingaids.lib.buffalo.edu/repositories/2/resources/883"&gt;Zina Bethune Collection on Louise Bethune (MS-0262)&lt;/a&gt;</text>
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                  <text>Bethune: every woman her own architect Louise Blanchard Bethune (1856–1913) is widely considered to be the first woman to practice as a professional architect in the United States. This digital collection explores Louise Bethune’s life and work through photographs and architectural drawings selected from the Zina Bethune collection on Louise Bethune, circa 1860-196 2. Louise Bethune played a key role in the architectural firm that she founded, going well beyond simply designing buildings to supervising budgets and onsite work—a highly unusual role for women of the day. Louise let her work and deeds speak for her support of women’s right to work outside the home and to be equitably recompensed for their efforts. In her architecture, family life, and public and private behavior she spoke to a new generation of professional women. The Hotel Lafayette is by far the most significant Bethune structure. The building was initially conceived in 1899 to meet the anticipated demand from the 1901 Pan American Exposition. Its restoration in 2012 was enormously important for Buffalo. The first building in New York State to be saved through state and federal historic tax credits, its restoration coincided with the most substantial economic expansion the Queen City of the Lakes had witnessed in decades. Bethune’s restored opus has come to embody the Lady Architect’s finest work during the Queen City’s finest years and symbolizes what is to come. The bulk of The Zina Bethune collection on Louise Bethune collection was gifted to the University Archives by Sean Feeley (husband of Zina Bethune) in 2017, as facilitated by Kelly Hayes McAlonie. Additional materials were gifted to the University Archives by Kelly Hayes McAlonie and Jon Morris. The foundation of this collection rests with materials pertaining to Louise Bethune and her work as an architect. These include several portraits of Bethune, from approximately age 3 to 55; a typewritten biographical manuscript by Bethune written near the end of her life; her genealogy research of the Blanchard and Bethune families; and architectural plans for three of Bethune’s works in Buffalo, New York. The collection also documents Louise and Robert Bethune’s son, Dr. Charles William Bethune. For a complete description of the collection, please view the &lt;a href="http://findingaids.lib.buffalo.edu/repositories/2/resources/883"&gt;finding aid&lt;/a&gt;.</text>
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                  <text>Bethune: every woman her own architect Louise Blanchard Bethune (1856–1913) is widely considered to be the first woman to practice as a professional architect in the United States. This digital collection explores Louise Bethune’s life and work through photographs and architectural drawings selected from the Zina Bethune collection on Louise Bethune, circa 1860-196 2. Louise Bethune played a key role in the architectural firm that she founded, going well beyond simply designing buildings to supervising budgets and onsite work—a highly unusual role for women of the day. Louise let her work and deeds speak for her support of women’s right to work outside the home and to be equitably recompensed for their efforts. In her architecture, family life, and public and private behavior she spoke to a new generation of professional women. The Hotel Lafayette is by far the most significant Bethune structure. The building was initially conceived in 1899 to meet the anticipated demand from the 1901 Pan American Exposition. Its restoration in 2012 was enormously important for Buffalo. The first building in New York State to be saved through state and federal historic tax credits, its restoration coincided with the most substantial economic expansion the Queen City of the Lakes had witnessed in decades. Bethune’s restored opus has come to embody the Lady Architect’s finest work during the Queen City’s finest years and symbolizes what is to come. The bulk of The Zina Bethune collection on Louise Bethune collection was gifted to the University Archives by Sean Feeley (husband of Zina Bethune) in 2017, as facilitated by Kelly Hayes McAlonie. Additional materials were gifted to the University Archives by Kelly Hayes McAlonie and Jon Morris. The foundation of this collection rests with materials pertaining to Louise Bethune and her work as an architect. These include several portraits of Bethune, from approximately age 3 to 55; a typewritten biographical manuscript by Bethune written near the end of her life; her genealogy research of the Blanchard and Bethune families; and architectural plans for three of Bethune’s works in Buffalo, New York. The collection also documents Louise and Robert Bethune’s son, Dr. Charles William Bethune. For a complete description of the collection, please view the &lt;a href="http://findingaids.lib.buffalo.edu/repositories/2/resources/883"&gt;finding aid&lt;/a&gt;.</text>
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                <text>Sepia-toned studio portrait photographs of unidentified early Blanchard family members from Page 21 of the Blanchard family cabinet card album, undated.</text>
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                <text>Sepia-toned studio portrait photographs of unidentified early members of the Blanchard family, ancestors of the architect Louise Blanchard Bethune   from Page 21 of the Blanchard family cabinet card album, undated. The image shows two rectangular portrait openings set into a decorative wood-grain mount. The left opening contains an oval-framed illustration depicting a man with short, curly hair, dressed in dark clothing with a high collar. The right opening holds a photographic portrait showing a woman facing slightly to the side, wearing a dark garment and a textured hat adorned with a decorative element.</text>
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                <text>&lt;a href="http://findingaids.lib.buffalo.edu/repositories/2/resources/883"&gt;Zina Bethune Collection on Louise Bethune (MS-0262)&lt;/a&gt;</text>
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                  <text>Bethune: every woman her own architect Louise Blanchard Bethune (1856–1913) is widely considered to be the first woman to practice as a professional architect in the United States. This digital collection explores Louise Bethune’s life and work through photographs and architectural drawings selected from the Zina Bethune collection on Louise Bethune, circa 1860-196 2. Louise Bethune played a key role in the architectural firm that she founded, going well beyond simply designing buildings to supervising budgets and onsite work—a highly unusual role for women of the day. Louise let her work and deeds speak for her support of women’s right to work outside the home and to be equitably recompensed for their efforts. In her architecture, family life, and public and private behavior she spoke to a new generation of professional women. The Hotel Lafayette is by far the most significant Bethune structure. The building was initially conceived in 1899 to meet the anticipated demand from the 1901 Pan American Exposition. Its restoration in 2012 was enormously important for Buffalo. The first building in New York State to be saved through state and federal historic tax credits, its restoration coincided with the most substantial economic expansion the Queen City of the Lakes had witnessed in decades. Bethune’s restored opus has come to embody the Lady Architect’s finest work during the Queen City’s finest years and symbolizes what is to come. The bulk of The Zina Bethune collection on Louise Bethune collection was gifted to the University Archives by Sean Feeley (husband of Zina Bethune) in 2017, as facilitated by Kelly Hayes McAlonie. Additional materials were gifted to the University Archives by Kelly Hayes McAlonie and Jon Morris. The foundation of this collection rests with materials pertaining to Louise Bethune and her work as an architect. These include several portraits of Bethune, from approximately age 3 to 55; a typewritten biographical manuscript by Bethune written near the end of her life; her genealogy research of the Blanchard and Bethune families; and architectural plans for three of Bethune’s works in Buffalo, New York. The collection also documents Louise and Robert Bethune’s son, Dr. Charles William Bethune. For a complete description of the collection, please view the &lt;a href="http://findingaids.lib.buffalo.edu/repositories/2/resources/883"&gt;finding aid&lt;/a&gt;.</text>
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                <text>Sepia-toned studio portrait photographs of architect Louise Blanchard Bethune's parents: Dalson Wallace Blanchard and Emma M. Blanchard, from Page 2 of the Blanchard family cabinet card album, undated.</text>
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                <text>Sepia-toned studio portrait photographs of Dalson Wallace Blanchard and Emma M. Blanchard, parents of architect Louise Blanchard Bethune from Page 2 of the Blanchard family cabinet card album, undated. The portrait photographs are presented within a decorative wood-grained frame, each with an arched opening. The left portrait of Louise Bethune's father Dalson Wallace Blanchard presents the image of an older man with white hair and beard, dressed in formal attire. The right portrait shows Louise Bethune's mother Emma M. Williams Blanchard with short, curly hair wearing dark clothing. Two empty nameplate areas are found below the portraits' separate arched openings.</text>
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                <text>&lt;a href="http://findingaids.lib.buffalo.edu/repositories/2/resources/883"&gt;Zina Bethune Collection on Louise Bethune (MS-0262)&lt;/a&gt;</text>
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                <text>Sepia-toned studio portrait photograph of two men, one seated, one standing from Page 13 of a tintype and cabinet card album of the Bethune family, circa 1875.</text>
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                <text>&lt;a href="http://findingaids.lib.buffalo.edu/repositories/2/resources/883"&gt;Zina Bethune Collection on Louise Bethune (MS-0262)&lt;/a&gt;</text>
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                <text>&lt;a href="http://findingaids.lib.buffalo.edu/repositories/2/resources/883"&gt;Zina Bethune Collection on Louise Bethune (MS-0262)&lt;/a&gt;</text>
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                <text>&lt;a href="http://findingaids.lib.buffalo.edu/repositories/2/resources/883"&gt;Zina Bethune Collection on Louise Bethune (MS-0262)&lt;/a&gt;</text>
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                <text>&lt;a href="http://findingaids.lib.buffalo.edu/repositories/2/resources/883"&gt;Zina Bethune Collection on Louise Bethune (MS-0262)&lt;/a&gt;</text>
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                <text>Sepia-toned studio portrait photograph of future-architect Robert Armour Bethune as a young man, circa 1890</text>
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                <text>Sepia-toned studio portrait photograph of future-architect Robert Armour Bethune as a young man from page 11 of the Bethune family cabinet card album, circa 1890-1900.  He is seated on a stone-like prop in a studio environment and is wearing a dark suit with a bow tie and a textured hat. He holds an item in one hand while the other hand rests under his chin.  Artificial rocks and grass are arranged around the subject, and a painted landscape studio backdrop fills the background.</text>
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                <text>&lt;a href="http://findingaids.lib.buffalo.edu/repositories/2/resources/883"&gt;Zina Bethune Collection on Louise Bethune (MS-0262)&lt;/a&gt;</text>
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                  <text>Bethune: every woman her own architect Louise Blanchard Bethune (1856–1913) is widely considered to be the first woman to practice as a professional architect in the United States. This digital collection explores Louise Bethune’s life and work through photographs and architectural drawings selected from the Zina Bethune collection on Louise Bethune, circa 1860-196 2. Louise Bethune played a key role in the architectural firm that she founded, going well beyond simply designing buildings to supervising budgets and onsite work—a highly unusual role for women of the day. Louise let her work and deeds speak for her support of women’s right to work outside the home and to be equitably recompensed for their efforts. In her architecture, family life, and public and private behavior she spoke to a new generation of professional women. The Hotel Lafayette is by far the most significant Bethune structure. The building was initially conceived in 1899 to meet the anticipated demand from the 1901 Pan American Exposition. Its restoration in 2012 was enormously important for Buffalo. The first building in New York State to be saved through state and federal historic tax credits, its restoration coincided with the most substantial economic expansion the Queen City of the Lakes had witnessed in decades. Bethune’s restored opus has come to embody the Lady Architect’s finest work during the Queen City’s finest years and symbolizes what is to come. The bulk of The Zina Bethune collection on Louise Bethune collection was gifted to the University Archives by Sean Feeley (husband of Zina Bethune) in 2017, as facilitated by Kelly Hayes McAlonie. Additional materials were gifted to the University Archives by Kelly Hayes McAlonie and Jon Morris. The foundation of this collection rests with materials pertaining to Louise Bethune and her work as an architect. These include several portraits of Bethune, from approximately age 3 to 55; a typewritten biographical manuscript by Bethune written near the end of her life; her genealogy research of the Blanchard and Bethune families; and architectural plans for three of Bethune’s works in Buffalo, New York. The collection also documents Louise and Robert Bethune’s son, Dr. Charles William Bethune. For a complete description of the collection, please view the &lt;a href="http://findingaids.lib.buffalo.edu/repositories/2/resources/883"&gt;finding aid&lt;/a&gt;.</text>
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                  <text>University at Buffalo Libraries believes these works to be in the U.S. public domain. These works may not be in the public domain in other countries.</text>
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                <text>Sepia-toned family portrait photograph of architects Louise Blanchard Bethune and husband Robert Armour Bethune with their son Charles William  Bethune, circa 1895</text>
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                <text>Sepia-toned family portrait photograph of professional architects Louise Blanchard Bethune, her husband Robert Armour Bethune with their son Charles William Bethune, circa 1895.  The family group is standing close together outside on a snowy day. Robert A. Bethune, at left, wears a dark coat and hat.  Louise Blanchard Bethune, in the center, wears a light-colored coat with decorative details on the upper front. Their son young Charles William Bethune, the youth at far right, wears a long coat and a striped knitted hat. Behind them are wooden and brick buildings with snow on the roofs and icicles hanging from the edges.  A metal fence is partially visible in the foreground on the right side.</text>
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                <text>&lt;a href="http://findingaids.lib.buffalo.edu/repositories/2/resources/883"&gt;Zina Bethune Collection on Louise Bethune (MS-0262)&lt;/a&gt;</text>
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                <text>Bethune, Louise, 1856-1913</text>
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              <elementText elementTextId="1910216">
                <text>&lt;a href="https://rightsstatements.org/page/CNE/1.0/"&gt;COPYRIGHT NOT EVALUATED&lt;/a&gt;. The copyright and related rights status of this Item has not been evaluated. Please refer to the organization that has made the Item available for more information. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. This digital collection is made available for research and educational purposes. Researchers are responsible for determining copyright status, and securing permissions for use and publication of any material. Copyright for items in this collection may be held by the creators, their heirs, or assigns. Researchers are required to obtain written permission from copyright holders and the University Archives prior to reproducing or publishing materials, including images and quotations. For inquiries about reproduction requests and permissions, please contact the &lt;a href="http://library.buffalo.edu/archives/"&gt;University Archives&lt;/a&gt;. If you believe material in our digital collections infringes copyright or other rights, please review our &lt;a href="https://library.buffalo.edu/about/policies/information-use/notice-and-takedown-policy.html"&gt;Notice and Takedown Policy&lt;/a&gt; for information on how to report your concern.</text>
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                    <text>Midwest Zen
Issue 3 | December 2022

A publication of Great Wind Zendo
Danville, Indiana

�Midwest Zen
Issue 3 | December 2022

Published 2022 by Great Wind Zendo

Editor: Kristin Roahrig

Address all correspondence to:
Midwest Zen
Great Wind Zendo
52 W Broadway Street
Danville, Indiana 46122-1718
MidwestZen@greatwindzendo.org

The digital version of this publication can be downloaded at no cost from
our website at greatwindzendo.org/MWZ.
The works included and the opinions expressed herein are those of the
individual authors, who are solely responsible for their contents. They do
not necessarily reflect the opinions and positions of Great Wind Zendo.
Midwest Zen © 2022 by Great Wind Zendo. All rights revert to the
author upon publication.

Printed in U.S.A.

Cover: detail from photograph by Jay Tuttle.

�Contents

Contents

ESSAYS

ART &amp; PHOTOGRAPHY

David Whyte

Silence

3

Neil SchmitzerTorbert

Do We Really Want to Sit?

7

Sally Hess

Horses and Zebras

13

Gail Sher

Beginner’s Mind

26

Zuiko Redding

Practice and Enjoyment

33

Kyoku Lutz

World Peace Ceremony at the
Frühlingsmond Zendo,
Hanover, Germany

35

Tonen O’Connor

Gassho

45

David Whyte

Sitting Zen
Nakasendo Poems

1
39

Joshua St. Claire

Free Form Haiku

Yuan Changming

A Puti Poem: Meditating

11

Daniel Thomas

Practicing
Two Voices
What Evening Can’t Dispel

21
22
23

Darrell Petska

In the Round
Old Man Rocking

31
32

Tonen O’Connor

Buddhist Peace Fellowship
New Year’s Day Gathering

43

POETRY

6

Jay Tuttle

Photographs

Front cover,
49

Lisa Summers

Photographs

2, 24, 25

Kristin Roahrig

Photographs

5, 12

�Lisa Summers

Gail Sher
Beginner’s Mind
"Beginner's Mind" is a term especially connected to
Shunryu Suzuki Roshi because of his book, Zen Mind,
Beginner's Mind . It's a term people casually use with the
sense "everyone knows what that means." But I wonder.
Let's take a moment to consider what you think
"Beginner's Mind" means. Can you articulate your
relationship with it? Is it a principle by which you live? Is
it something you hardly think about?
When Suzuki Roshi first saw the published copy of Zen
Mind Beginner's Mind, he said: "It looks good . . . I didn't
write it but it looks nice." It's true he didn't actually write
this famous book. Suzuki Roshi arrived in San Francisco
in 1959 to serve as priest for the Japanese Soto Zen
community in San Francisco. While living alone in their
large temple on Buchanan Street, he started sitting zazen
in the morning and evening. Gradually people, curious
about anything “Zen” (word spread quickly through the
local art-scene grapevine) joined him and the sittings
became more frequent and more formal. A few satellite
groups also sprang up—in Mill Valley, Berkeley and Los
Altos. Roshi would go there once or twice a week for zazen
and to give talks. Eventually the woman who hosted the
group in Los Altos, Trudy Dixon, began, with Roshi's
permission, recording the lectures. After an extremely
lengthy period of transcribing and editing, Zen Mind,
Beginner's Mind was published. People love it, but I'm not
sure how many finish it because it is actually not so
simple.
“Beginner’s Mind”—the words—have become
commonplace. Yet it’s the fresh new breath—the “mind” of
this phrase—that Suzuki-roshi so emphasized. Staying
with this—first finding it and then how to bring ourselves
again and again back to it, is at the heart of his legacy.

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�Gail Sher
But it isn’t easy. Not because IT isn’t easy but because
the cultural values with which it contends make it
extremely challenging. I refer to setting goals, to winning,
to achievement, to progress—these are all de-emphasized
because the mind behind their direction is at crosspurposes with a beginner's mind.
Reb Anderson Roshi, a close disciple of Suzuki Roshi says
that Roshi considered his main job as a Zen priest to
encourage people to practice upright sitting. For him, Reb
says, the most pure and direct way of sustaining the
Buddha treasure was just to be fully himself in each
moment. His way of protecting the Dharma treasure was
to practice wholeheartedly with no gaining idea. And his
way of protecting and sustaining the Sangha treasure
(Buddha, Dharma &amp; Sangha: the "Triple Treasures" of
Buddhism) was what he called group practice—practicing
together in harmony with others. When you consider that
for Roshi, anyone being fully themselves means to be
rooted in their fundamental Buddha-nature and that to
do this one would have no gaining idea (because there is
nothing to add to one's Buddha-nature)—THIS in itself
would be Beginner's Mind.
When Roshi says "In the beginner’s mind there are many
possibilities, but in the expert’s there are few," by
"beginner" he means our fundamental selves, and from
there being anything the situation requires. The phrase
has a kind of innocence and lack of calculation or
contrivance about it.
It's ironic. Suzuki-roshi loved Americans because "they
don't know anything about Zen so they're receptive to the
teachings." Yet at the same time Americans are steeped in
gaining ideas. If you talk about upright sitting, for many
people their first thought is "I don't have time," by which
they mean "I can't afford not to accomplish something

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Gail Sher
even for 15 minutes." Most of Roshi's first students were
artists who were operating differently already.
"At first the effort you make is quite rough and impure, but
by the power of practice the effort will become purer and
purer. When your effort becomes pure, your body and mind
become pure. This is the way we practice Zen."
Let me give an example. When I was seventy-five my
husband gave me a banjo for Christmas. My back was
weak. My hands were stiff. There were many obstacles,
but I just thought, “Well, I have always wanted to play the
banjo. If I practice every day, every day I will have the joy
of the banjo. Even one tune will be amazing.
Before I started playing, I could hardly believe that I, Gail,
would ever be able to play the banjo. But day after day I
just did the things from my lesson and now, a few years
later, I actually can play a few tunes. And it doesn’t seem
special. It is just me, nothing special. Day after day it’s
just me figuring out how to get the strap over my head
and the banjo so that it doesn’t slip. There are so many
considerations, if I let them, they could get annoying. But
I just say “Nevermind. This is what it takes.” In the end I
get my tune, which at best doesn’t sound too bad. Deep
inside I am very satisfied.
Beginning at seventy-five has many advantages. I am not
thinking, “Boy, if I practice really hard I could win a
competition.” I’m not thinking, “Too bad I can’t play fast
like her.” Instead I am thinking, “Every day I can try as
hard as I can and since I can’t do better than that, I will
have done my best.”
In this way it becomes a “practice.” Every morning for half
an hour. Practice is about HOW—how to simply stay with
how—making sure I have the half hour, that I have what I

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�Gail Sher
need with me, that I know what to do during that time,
that I’m alert.
It’s easier to have a beginner’s mind at seventy-five than
at fifteen. At fifteen one is full of fantasies, notions,
looking around, trying things on. At seventy-five you can
just be yourself.
Anyway, playing the banjo is not really about playing the
banjo. Playing the banjo is about sharpening the MindThat-Plays-the-Banjo. Correct Mind creates correct
playing, whether that be awkward, faulty, kindergartenish.
Correct Mind knows that there is nothing to know. This is
important to understand. Knowledge (information) and
Wisdom (spirit) are not the same. Playing the banjo is a
Wisdom practice. You being YOU is the Wisdom practice
of returning to the Source. Actually, when you think
about it, it’s the Source that plays the banjo.
Wisdom practice means NOT KNOWING. Suzuki Roshi
calls it Beginner’s Mind. If you want to do something fully
you need the real you. The real you lives inside (behind or
underneath) all of your knowing—touching the spot of
JUST YOU—first recognizing it, then touching it and then
becoming it in your stillness.

Gail Sher
The word “practice”—you can turn anything into a
practice—means turning it into a relationship. In the case
of my banjo it is a Self-relationship, with the banjo being
a mirror. “Oh I don’t really feel like practicing today,” I
may think but because it’s a “practice” I get to see my
mind when it is reluctant, but I practice anyway. If it were
not a practice, I might just do what I feel like, risking the
whole prospect which could easily fall away.
“Tell me about 'There is nothing to know' when it comes
time to change the strings” you could rightfully ask.
Because, while for big mind there is nothing to know,
small mind needs lots of information. It’s the way you
hold the details, however, that makes the difference. The
details are just details. Just as the waves of the sea are
the “practice of the sea,” so are the information and skills
required to play an instrument—or to sit zazen.
"In the beginner’s mind there are many possibilities but in
the expert’s mind there are few" simply describes a way of
holding these details.

"Our ‘original mind’ includes everything within itself. It is
always rich and sufficient within itself."
Roshi means that we have everything that we need to
begin and continue with our practice.
"The goal of practice is always to show up and to keep a
beginner’s mind." It means that endlessly we stay with
that fresh effort because boredom (laziness of mind) is
always remediable.

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�BIOGRAPHIES
Yuan Changming edits Poetry Pacific with Allen Yuan at
poetrypacific.blogspot.ca. Credits include 12 Pushcart
nominations, 15 chapbooks &amp; appearances in Best of the Best
Canadian Poetry (2008-17) and Poetry Daily.
Sally Hess was introduced to Buddhism at the Zen Community of
New York in 1984. She received lay ordination from Dai-En Bennage
Roshi in 1994 with the Dharma name Daisen.
Kyoku Lutz is a Dharma successor of Rev. Hoko Karnegis,
Sanshinji, and leads the Frühlingsmond Zendo, in Hanover,
Germany. She is a Doctor of Educational Science with training in
Systemic Family Therapy and Counseling.
Tonen O’Connor is the Resident Priest Emerita of the Milwaukee
Zen Center. Her most recent literary adventure was editing and
writing an introductory essay for Ryokan interpreted by Shohaku
Okumura.
Darrell Petska is a retired university editor and 2021 Pushcart
Prize nominee. His poetry appears in 3rd Wednesday Magazine,
Buddhist Poetry Review, Verse Virtual, Soul-Lit and widely
elsewhere. (conservancies.wordpress.com).
Rev. Zuiko Redding is pastor of Cedar Rapids Zen Center, a Soto
Zen temple in Iowa. She has two cats, Roy and Sam. You can see the
Center at www.cedarrapidszencenter.org.
Kristin Roahrig resides in Indiana where she engages in writing
and photography.
Neil Schmitzer-Torbert began his Zen practice in Minneapolis
while studying neuroscience in graduate school. Today, he teaches
psychology at Wabash College and shares reflections on practice
and science at neuralbuddhist.com.
Gail Sher received lay ordination from Shunryu Suzuki Roshi in
1970. She is a poet, writer, teacher and psychotherapist in the San
Francisco Bay area. Her weekly talks on Zen practice are at
gailsherdharmatalks.com..

Joshua St. Claire is a corporate controller from rural Pennsylvania.
His haiku have appeared in several international journals and he
believes that small poems can contain the universe.

Lisa Summers lives in rural Indiana and teaches in a women's
prison. She enjoys capturing the world she wanders with
photographs and in writing.
Daniel Thomas’s second poetry book, Leaving the Base Camp at
Dawn, was published in 2022. His first collection, Deep Pockets, won a
2018 Catholic Press Award. More info at danielthomaspoetry.com.
Jay Tuttle finds the mix of art and science in photography very
appealing. Making photographs that others enjoy are a great pleasure
in his life. Enjoy more images at jaytuttlephotography.com.
Poet David Whyte grew up with a strong, imaginative influence
from his Irish mother among the hills and valleys of his father’s
Yorkshire. The author of eleven books of poetry and four books of
prose, he holds a degree in Marine Zoology, and leads workshops and
walking tours around the world.



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                    <text>6 Minute Building Stories

6 Minute Building Stories (6Mbs) is an informal and fun
gathering featuring presentations by esteemed speakers
from diverse cultural disciplines. Speakers share their
building story with 18 images. The total time allotted
for each slide is 20 seconds and, as the slide changes,
so does the related verbal content.

When: Thursday March 22, 2018
6:00pm - 9:00pm

Where: Torn Space Theater

612 Fillmore Avenue, Buffalo NY 14212
Guest Emcee:
Christopher Romano,

Faculty, Department of
Architecture, University at
Buffalo &amp; Director, Studio
NORTH Architecture

Details:

- $5 Admission
- Cash Bar (cash only)
- Light Fare Provided by Joe’s Deli / The Buffalo Catering Co.
- Art Raffle: Buffalo Architectural Plaster Casts by David Zielinski
- 50/50 Split
- Support BAF’s Little Free Library program by donating a new
or gently used book and receive 1 free entry into the Art Raffle

Spring 2018 Speakers
Dan Shanahan, Artistic Director, Torn Space
Theater &amp; Professor, Daemen College
Chris Hawley, Urban Planner &amp; Historian
Susan Cholewa, Real Estate Developer and
Black Rock Activist

E. Frits Abell
David Zielinski, AIA, Senior Associate,
Cannon Design

Joseph Lyons, Owner/Operator, Joe's NY

Deli, LLC, Joe's Deli (Hertel, Elmwood, Maple,
Fidelis), Buffalo Catering CO, Joe's deli OCH INC.

Terra Courtney, Urban Farmer

Kevin Purdy, Writer for Wirecutter

Larry Smith

Thank You To Our Sponsors:

Interested in sponsoring or speaking at our next 6Mbs event? Contact us at info@buffaloarchitecture.org

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                    <text>Good evening! My name is Denise Juron-Borgese. I am an
architect, a Project Manager in Development with Ciminelli
Real Estate Corporation and the President of Buffalo
Architecture Foundation.
I am so delighted to be here tonight, graciously hosted by the
Western New York Book Arts Collaborative and celebrating

6 Minute Building Stories with you!

1

�Many thanks to
•Eric Jackson-Forsberg and Khrista Richardson of WNYBAC for
working with us on this collaboration;
•to our esteemed presenters for sharing their Building Stories
with us;
•to our devoted and enthusiastic volunteers;
•to Lloyd’s Taco truck for joining us outside; and
•to our generous sponsors: the Buffalo/Western New York
Chapter of the American Institure of Architects, Baer &amp;
Associates, MidCity Office Furniture and Rigidized Metals.
.

2

�It is my pleasure and privilege to introduce you to Buffalo
Architecture Foundation—its mission and its programs, in
particular, Building Stories.
Buffalo Architecture Foundation, or BAF, is a not-for-profit,
public charity dedicated to inspiring the exploration of
architecture and how it shapes our lives.

3

�It is my pleasure and privilege to introduce you to Buffalo
Architecture Foundation—its mission and its programs, in
particular, Building Stories.
Buffalo Architecture Foundation, or BAF, is a not-for-profit,
public charity dedicated to inspiring the exploration of
architecture and how it shapes our lives.

4

�Buffalo Architecture Foundation invites the community to
discover architecture, to become stewards of the built
environment and to advocate for design excellence.
This mission is implemented through 3 main programs:
Architecture+Education, the Pro Bono Publico Awards and
Building Stories.

5

�Architecture+Education is an innovative, award-winning,
collaboration between local architects and educators using
hands-on architectural concepts to teach students math,
science, history, art and technology within the New York State
curriculum.
Founded as an initiative of AIA in 2000, Arch+Ed brings great
momentum to the foundation.

6

�The bi-annual program kicks off with an all-day, intensive
symposium structured to develop creative lesson plans that will
be implemented during two months at select Buffalo Public
Schools.

7

�Architecture+Education culminates in a wonderful exhibition of
student work at a local gallery.
The program actively engages students from UB’s School of
Architecture &amp; Planning and recently began a collaboration with
Young Audiences of Western New York on expanding its
outreach into more classrooms.

8

�The Pro Bono Publico Awards recognize exemplary Pro Bono
Services provided to not-for-profit clients by Citizen Architects,
as well as by allied practitioners in the construction industry,
engineering, interior design, landscape architecture and
planning.
This award is presented at the annual AIA Design Awards and
honors achievements in Design Excellence and Distinguished
Service.

9

�The very first Pro Bono Publico Awards were bestowed last
November.
Matthew Zinski and Michele Han were the recipients of the Pro
Bono Publico Award in Design Excellence for the Capoeira
Cultural Arts Center and Sol Rise Homestead.
Their transformation of a formerly abandoned residence and
adjacent vacant lots will serve two unique uses: a not-for-profit
organization promoting Afro-Brazilian culture and an urban
farm.

10

�Robert Stark, Principal of Chantreuil | Jensen | Stark Architects,
was the recipient of the Pro Bono Publico Award in
Distinguished Service for the Buffalo Fire Boat Visitors Center
and Firehouse.
The proposed project includes the renovation of Buffalo Fire
Department Engine 20 into a boathouse and visitor center for
the Edward M. Cotter, America’s oldest working fireboat and a
National Historic Landmark.

11

�And now, on to Building Stories.
Buildings Stories is a multi-media, personal history project
documenting and sharing individual experiences with
architecture, construction, landscape and planning throughout
Western New York.
Building Stories submissions are featured on the foundation
website, BuffaloArchitecture.org, and comprise a brand new
University at Buffalo Libraries digital collection that can be
accessed online at UBdigit.

12

�Every building has a story. Endearing and enduring and stories.
Building Stories highlight the power of place.
By inviting you to share your unique Building Story with Buffalo
Architecture Foundation, we are seeking to reveal fresh
perspectives, to spark new conversations, to encourage and
collect stories that might not otherwise be articulated.

13

�I hope that you will visit us at BuffaloArchitecture.org to learn
more about the foundation, join us in building appreciation
from the ground up and consider sharing your own story.
Donations
It is now my pleasure to introduce you to my fellow BAF Board
Member, 6Mbs Chair and Assistant Professor of Interior Design
at Buffalo State College, Bhakti Sharma.

14

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                    <text>Tuesday, October 23, 2012

6 Minute Building Stories

6:30p.m. to 8:30p.m.

featuring presentations by

is an informal gathering
esteemed speakers from
diverse cultural disciplines.

11/1\1 111\C
WeStern New York
Book Arts Collaborative
468 Washington Street, Buffalo, NY 14203

Free Admission
Cash Bar

Building Stories is a

multi-media

project documenting and sharing

personal history

profound individual

BUILDING
STORIES

experiences with architecture, construction, landscape
and planning throughout

Western New York.

SPEAKERS
Aaron Bartley, Executive Director of
PUSH Buffalo

Lisa Ludwig, Managing Director of
Shakespeare In Delaware Park

Anthony Chase, Assistant Dean of the
School of Arts and Humanities at Buffalo
State College and Host of Theatre Talk
onWBFO

Christine Peters, Executive Director of
the Roycroft Campus Corporation
David J. Swarts, President/CEO of the
Buffalo &amp; Erie County Botanical Garden

Steve Cichon, WBEN News director and
author of "The Complete History of
Parkside" and "lrv! Buffalo's Anchorman"

Doug Swift, Developer, Larkin
Development Group

Courtney Creenan, Design Team
Member of Elevator Bat Silo City

Rocco Termini, President of Signature
Development

Chris Fritton, Studio Director at the
Western New York Book Arts Center

Tim Tielman, Executive Director of the
Campaign for Greater Buffalo and
Principal of The Neighborhood Workshop

Dennis Galucki, The Center for the Study
of Art, Architecture, History &amp; Nature
SPONSORS
MIDCITY

For a

Better Day

BUFFALO
ARCHITECTURE
FOUNDATION

at the OfficeTM

BAER

OFFICE
FURNITURE

&amp; ASSOCIATES LLC

AlA BUFFALO/WNY

Co nstruction Consultants

~ RIGII:::»IZE~IVIE 1~1
C

0

R

P

0

R

Building appreciation from the ground up!
Join us at www.BuffaloArchitecture.org

A

T

I

0

S

N

See the Building Stories digital collection at

~LIBRARIES
University at Buffalo The State University ofNew York

�</text>
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                    <text>Buffalo Architecture Foundation, or BAF, is a not-for-profit,
public charity dedicated to inspiring the exploration of
architecture and how it shapes our lives.

1

�Buffalo Architecture Foundation invites the community to
discover architecture, to become stewards of the built
environment and to advocate for design excellence.
This mission is implemented through educational activities and
events engaging citizens of all ages.
BAF currently has 3 main programs: Architecture+Education,
the Pro Bono Publico Awards and Building Stories.

2

�Buildings Stories is a multi-media, personal history project
documenting and sharing individual experiences with
architecture, construction, landscape and planning throughout
Western New York.
Building Stories submissions are featured on the foundation
website, BuffaloArchitecture.org, and comprise a brand new
University at Buffalo Libraries digital collection that can be
accessed online at UBdigit—the result of a wonderful recently
cultivated partnership.

3

�Building Stories highlight the power of place.
Sample entries include some images from Painting for
Preservation, “Why I Love the Peace Bridge,” “Buffalo
Underground: An Excursion into the Depths of Scajaquada
Creek,” and “Grandpa Braun’s House,” a fond remembrance of a
Northampton Street home and the family that once lived there.
Why develop a program like Building Stories?

4

�Western New York was, is and will be the site of distinguished,
world class architecture--landmarks by the masters.
And the region was, is and will be home to wonderful vernacular
buildings--the handiwork of true crafts men and women.
These buildings, from the profound to the sentimental, are
significant threads in the tapestry of our lives.
Every building has a story.

5

�Good architecture endures and endears.
To endure is to be lasting, to be durable.
To endear is to make esteemed, precious, beloved.

6

�To endure is also to bear pain without flinching—to withstand
neglect and deterioration until a vision, a restoration, a
renovation can provide rebirth.

7

�Good architecture endures and endears.
It protects and shelters us, while engaging and enriching our
daily lives.
Every building has a story.
Enduring and endearing stories.

8

�By inviting you to share your unique Building Story, Buffalo
Architecture Foundation is seeking to reveal fresh perspectives,
to spark new conversations and to collect stories that might not
otherwise be articulated.
By connecting with the community so personally through these
stories, BAF is directly enlisting the public in its mission to
discover architecture, to become stewards of the built
environment and to advocate for design excellence.
Please visit BuffaloArchitecture.org to learn more about the
foundation, join BAF in building appreciation from the ground
up and consider sharing your own story.

9

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Buffalo Neighborhoods, City of Buffalo, 1968.

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Jeannette
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Third-year
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University
Toronto, ON

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Michael LaValley
Registered
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Young + Wright
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Buffalo, NY

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Andrew Ferrarelli
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Stanev Potts
Architects
Philadelphia, PA

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Philadelphia, PA

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Kara Stock and
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Buffalo &amp; Erie
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�READING ROOM,
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Caroline O’Donnell, RA
CODA
Ithaca, NY

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Design Development thru
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Fabrication thru April 2018
Installation no later than
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�Thank you to our sponsors:

Interested in sponsoring or speaking at our next event? Contact us at
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��Maria Furgiuele

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•Founded 2003
•Led by Design Professionals
• 100+ Volunteers
$3,000,000+ in pro bono services and grants
have benefited area communities and the city
as a direct result of our projects and activities.

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Hungerford Complex | 1115 East Main Street, Rochester NY 14609 | www.CDCRochester.org | 585.271.0520

MISSION STATEMENT

The mission of the Community Design Center Rochester is to be a resource, assisting
municipalities and citizens of the Greater Rochester Region in defining, understanding,
promoting and implementing concepts of design excellence and sustainability for the built
environment and public realm.
New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature.

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EDUCATION
ADVOCACY
PREDEVELOPMENT FUNDS
CHARRETTES
DESIGN RESOURCE

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1961

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NOW

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�Station 55
Adaptive reuse in Rochester, NY

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Annual Series featuring national thinkers, practitioners and leaders

�RESHAPING ROCHESTER AWARDS
An event honoring exemplary regional initiatives and projects

�DEVELOPMENT/DESIGN FUND
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Dazzle School

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Help communities create vision for their neighborhoods

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Homer, NY building rehabbed from a CDCR drawing

After

Before

Proposed

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Events
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Fee for Service
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Fundraising
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�“Cities have the capability of providing something for
everybody, only because, and only when, they are created
by everybody.”
― Jane Jacobs, The Death and Life of Great American Cities

THANK YOU

www.CDCRochester.org
Facebook.com/CDCRochester | Twitter.com/CDCRochester

�Doug Swift

�������������������Curt Maranto

�Children Change Everything
From Disney to the Roycroft
One kid at a time…

������������������Leslie Zemsky

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Haley Hartmans (Sutton Development)
Robert Stark (Principal at CJS Architects)
Rachel Adams (Associate Curator of UB Art Galleries)
Joe Ebert (Designer and Cultural Critic)
INTERMISSION
Michael Tunkey (Principal at Cannon Design)
Sara Witschi (Development Manager at Ciminelli Real Estate)
LaLuce Mitchell (Architect and Preservationist at Flynn Battaglia Architects)
Jenifer Kaminsky (PUSH Buffalo)
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�������������������Robert Stark

�������������������Rachel Adams

���Etu #3 What is a LFL?

�A Concrete
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Twitter: @bufarchfound
Instagram: @bufarchfound
http://www.youtube.com/channel/UChuSqiptUynjrq0U5xldaqQ
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����������������������Christopher Less

�������������������Tom Yots

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�������������������Jake Schneider

�������������������Barrett Gordon

�������������������Christopher Romano

�������������������Thank You

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                <text>4/28/2016</text>
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            </elementTextContainer>
          </element>
          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
            <elementTextContainer>
              <elementText elementTextId="1666016">
                <text>Hart, Daniel</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="37">
            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="1666017">
                <text>Buffalo Architecture Foundation</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="42">
            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
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              <elementText elementTextId="1666019">
                <text>video/mp4</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="44">
            <name>Language</name>
            <description>A language of the resource</description>
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                <text>en</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="51">
            <name>Type</name>
            <description>The nature or genre of the resource</description>
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                <text>Image;Moving image</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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              <elementText elementTextId="1666022">
                <text>LIB-APL001-0218-16-0428-6Mbs-Hart-VIDEO</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="96">
            <name>Date Modified</name>
            <description>Date on which the resource was changed.</description>
            <elementTextContainer>
              <elementText elementTextId="1666023">
                <text>4/28/2016</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="105">
            <name>Is Part Of</name>
            <description>A related resource in which the described resource is physically or logically included.</description>
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                <text>Buffalo Architecture Foundation Building Stories Collection</text>
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            </elementTextContainer>
          </element>
          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="1912919">
                <text>&lt;a href="https://rightsstatements.org/vocab/InC/1.0/"&gt;IN COPYRIGHT&lt;/a&gt;. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s).  </text>
              </elementText>
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          </element>
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      </elementSet>
      <elementSet elementSetId="12">
        <name>Streaming Video</name>
        <description>Elements needed for streaming video for the VideoStream Plugin</description>
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          <element elementId="154">
            <name>Video Filename</name>
            <description>Actual filename of the video on the video source server</description>
            <elementTextContainer>
              <elementText elementTextId="1666025">
                <text>LIB-APL001-0218-16-0428-6Mbs-Hart-VIDEO.mp4</text>
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            </elementTextContainer>
          </element>
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