Emily Helen Butterfield
By Theodore Behling, Logan Hamel, Brittney Saull and Merced Souter
The continuing struggle to become a defined women architect is significant. “In an attempt to help orient architecture among the major professions a survey was taken in 2000 which confirmed that only 13 percent of women were registered architects”. The American Institute of Architecture (AIA) is a largely known and supported institution, which has grown significantly in the past few centuries. “Statistics state that 9.1 percent of the AIA’s regular memberships are that of women. Progress for women architects is slow in growing: “In the 1970’s, there were about 50,000 working architects, of these architects 1,000 (2 percent) were African American, 1,500 (3 percent) were women and 95 percent were Caucasian males.’
Emily Helen Butterfield was born in 1884 in Algonac, Michigan to her parents Wells D. Butterfield and Helen Hassle. She attended Detroit public schools and Detroit Central High School. In school, art became a passion in her life at the young age of seven. During her teenage years she was able to study and explore art and architecture with her father Wells Butterfield. Due to the education she received from him, she was lead to the decision to go to Syracuse University studying architecture.
The College of Fine Arts at Syracuse University, founded in 1873, was the first coeducational degree-granting College of Fine Arts in the United States… granting bachelors and a few master’s degrees to painters, architects, and musicians of both sexes (Stankiewicz 48).
She graduated with her architecture license in 1907. While at Syracuse Butterfield was one of eleven founders of the fraternity Alpha Gamma Delta which was established in 1904. Butterfield created the coat of arms that symbolized International Collegiate Sorority. Emily Butterfield’s father, Wells Butterfield was a well-known Michigander, involved in the city’s government and he established his own architecture firm “Butterfield and Butterfield” and upon his daughter graduating as the first licensed Michigan female architect, she apprenticed with her father’s firm starting in 1917 (Lee 16). In most cases if a woman was the wife or close relative to a male architect, her chances were much higher that she would be taken seriously versus those without any form of networking springboard. The father daughter relationship in the fifteenth and sixteenth century Renaissance in art was an important way for women to make it in the art world. Being born into a family of artists was another way women could work as artists. Many women artists are famous today due to the influence of their fathers. Sofonisba Aguissola was one of six daughters to her famous artist father who believed women should be educated so all the girls learned to paint. Sofonisba was the most talented and worked for the Spanish court. Lavinia Fontana worked in her father’s studio and had to give all her earnings to her father. Elisabetta Sirani was accused of signing her father’s work because she was such an accomplished artist. Maria Robusti was educated by her father in art and music and Artemesia Gentileschi worked in her fathers’ atelier and almost like Elisabetta Sirani, Artemesia and her father’s works were often confused (Salomon 1998).
Emily Butterfield was not only an architect, but she also had a passion for watercolor paintings. The subjects of these watercolors were depictions of Michigan’s natural landscapes. She exhibited these works at the J.L. Hudson gallery which was a department store in Detroit where several floors were turned into an art gallery from 1963 to 1974 (J.L.). She also exhibited work at the Detroit SCARAB Club in the 1920’s and again in 1987. This club was founded in 1907 by artist and art lovers who met regularly to discuss art and socialize. It has regularly held exhibitions since 1911 and membership for women was officially allowed in 1962 (Detroit). In 1949 Emily Butterfield had a one woman exhibit of 40 of her watercolors at the Toledo Artists Club which was founded in 1943 and in 1979 moved to the Toledo Botanical Gardens in Toledo, Ohio (Toledo).
Emily Butterfield was also an author (Lee 17). Butterfield’s children’s book, The Young People’s Story of Architecture, is an educational book on the history of architecture intended for a young audience. It includes illustrations of architectural designs specific to each period discussed in the book (Butterfield). She also wrote articles about architecture for magazines’ such as House and Garden as well as Town and Country. The article “Know the Style of Your House” covers how one can specifically identify which style of house one would live in based on characteristics of 40 different architectural styles. A few of the styles mentioned include French Renaissance, Quebec, English Manor, Dutch Colonial, Swiss, and Belgian and Dutch. (Butterfield)
American Architecture evolved a great deal between when the United States first became colonized to the twentieth century when Emily Butterfield practiced architecture. As time went on many styles changed depending on what was in style and what fit best at the time. Before, houses had to be modified to incorporate things like plumbing and heating. Houses were rather simple and differed by region. However, as time progressed and technology and older forms of architecture were remembered, both ideas were mixed to make houses that would not only incorporate plumbing and heating, but look more magnificent than anyone could have imagined (Watkin 1996).
At the turn of the nineteenth century America saw a significant amount of transformations in its architecture. In this period we saw the first national style of the United States emerge with the Greek revival, in which all the levels of the buildings are permeated. Several years after, the Gothic revival developed. Gothic styles are associated with religion and nature as you see in many churches from Medieval Europe. This style became very popular in the mid 1800’s and buildings from churches to residential buildings were made in this style (Kostoff 1985).
The most important style to come out of this era was The “Corporate Style”. This sort of architecture laid the foundations for what would become the first factories and corporations, and was considered by many to be a style-less style. High Victorian Gothic Architecture came next and incorporated English gothic styles and became widely used in public and residential architecture (McAlester 1984).
From the late nineteenth to early twentieth century urban houses began to become incredibly narrow usually 15-20 feet across to 30-40 feet back. Bedrooms were largely an invention of the late nineteenth century and therefore had to be incorporated into the structure of the building. The square feet of lots reduced drastically to incorporate room for plumbing and heating. Floor plans also had to be changed to allow pipes to be able to run up through certain sectors of the house into all the others; and back to the water or heat source. It didn’t so much change the exterior of the house as it did the interior (Watkin 1996). Emily Butterfield as well as other architects needed to incorporate all the technological changes of this time period.
While working for her father, Emily Butterfield designed 26 Methodist churches, her most famous being the First United Methodist Church in Farmington, built in 1921. Butterfield and her father designed the church in the Neo-Gothic style. This style is characterized by steeply pitched roofs, steep cross gables, and windows with a pointed arch shape (McAlester 197). The church was designed in a way to accommodate to the lifestyles of the community. “This was considered a ‘new’ movement to build a church for weekday activities. The church has had two additions and is still functioning today” (Lee 1). As well as the additions the church underwent changes such as the removal of the auditorium which was significant to the community in the twenties, thirties, and forties. The auditorium was a popular meeting place in Farmington for the community due to its use for many activities including “graduation exercises, basketball games, pageants, plays, concerts, and school board meeting.” (Cathedral Directories 4). During World War II the church was used as a bomb shelter (Cathedral Directories 4). The First United Methodist church was awarded a Michigan Historical Marker on November 11, 2007 (Cathedral Directories 5). Emily Butterfield and her father Wells Butterfield were given the land where the church was originally built as part of their payment for their work (Cathedral Directories 5). After receiving this land they built houses on the property and moved to Farmington and became members in the First United Methodist Church (Cathedral Directories 5). Together they also designed an English stone style clubhouse at the Glen Oaks Country Club in 1925. The clubhouse was deemed a historical monument on September 16, 1987 (It’s History). Today the Glen Oaks Country Club is a popular venue for weddings, wedding receptions, golf outings, and banquets.
The history of these relationships in the art world can be related to Emily Butterfield and her father. As a woman studying architecture in the twentieth century it would have been quite a struggle to be successful without the right tools and connections. Those few women who did get into the public sphere were often overlooked; many of whom never gained recognition for their achievements or very little compared to how much they deserved for their contributions to the craft. Evidence of this is seen in architecture's history and is still present today. Butterfield is a prime example of this. Amongst the collaborative work with or without her father, he had received credit on historical accounts. Her achievements include state-wide solo exhibitions as a woman watercolor artist, The First United Methodist Church becoming historical landmark, several of her published books being widely acclaimed, which led to initiation into the Michigan Women’s Study Association and Hall of Fame. The majority of her buildings are still in use by various organizations, finally her work is seen as just that, hers. That is not a small feat by any means, and yet one will not find her name in a history book, nor in a book other than those she herself wrote in regards to architecture.
The continuing struggle to become a defined women architect is significant. “In an attempt to help orient architecture among the major professions a survey was taken in 2000 which confirmed that only 13 percent of women were registered architects”. The American Institute of Architecture (AIA) is a largely known and supported institution, which has grown significantly in the past few centuries. “Statistics state that 9.1 percent of the AIA’s regular memberships are that of women. Progress for women architects is slow in growing: “In the 1970’s, there were about 50,000 working architects, of these architects 1,000 (2 percent) were African American, 1,500 (3 percent) were women and 95 percent were Caucasian males.’
Emily Helen Butterfield was born in 1884 in Algonac, Michigan to her parents Wells D. Butterfield and Helen Hassle. She attended Detroit public schools and Detroit Central High School. In school, art became a passion in her life at the young age of seven. During her teenage years she was able to study and explore art and architecture with her father Wells Butterfield. Due to the education she received from him, she was lead to the decision to go to Syracuse University studying architecture.
The College of Fine Arts at Syracuse University, founded in 1873, was the first coeducational degree-granting College of Fine Arts in the United States… granting bachelors and a few master’s degrees to painters, architects, and musicians of both sexes (Stankiewicz 48).
She graduated with her architecture license in 1907. While at Syracuse Butterfield was one of eleven founders of the fraternity Alpha Gamma Delta which was established in 1904. Butterfield created the coat of arms that symbolized International Collegiate Sorority. Emily Butterfield’s father, Wells Butterfield was a well-known Michigander, involved in the city’s government and he established his own architecture firm “Butterfield and Butterfield” and upon his daughter graduating as the first licensed Michigan female architect, she apprenticed with her father’s firm starting in 1917 (Lee 16). In most cases if a woman was the wife or close relative to a male architect, her chances were much higher that she would be taken seriously versus those without any form of networking springboard. The father daughter relationship in the fifteenth and sixteenth century Renaissance in art was an important way for women to make it in the art world. Being born into a family of artists was another way women could work as artists. Many women artists are famous today due to the influence of their fathers. Sofonisba Aguissola was one of six daughters to her famous artist father who believed women should be educated so all the girls learned to paint. Sofonisba was the most talented and worked for the Spanish court. Lavinia Fontana worked in her father’s studio and had to give all her earnings to her father. Elisabetta Sirani was accused of signing her father’s work because she was such an accomplished artist. Maria Robusti was educated by her father in art and music and Artemesia Gentileschi worked in her fathers’ atelier and almost like Elisabetta Sirani, Artemesia and her father’s works were often confused (Salomon 1998).
Emily Butterfield was not only an architect, but she also had a passion for watercolor paintings. The subjects of these watercolors were depictions of Michigan’s natural landscapes. She exhibited these works at the J.L. Hudson gallery which was a department store in Detroit where several floors were turned into an art gallery from 1963 to 1974 (J.L.). She also exhibited work at the Detroit SCARAB Club in the 1920’s and again in 1987. This club was founded in 1907 by artist and art lovers who met regularly to discuss art and socialize. It has regularly held exhibitions since 1911 and membership for women was officially allowed in 1962 (Detroit). In 1949 Emily Butterfield had a one woman exhibit of 40 of her watercolors at the Toledo Artists Club which was founded in 1943 and in 1979 moved to the Toledo Botanical Gardens in Toledo, Ohio (Toledo).
Emily Butterfield was also an author (Lee 17). Butterfield’s children’s book, The Young People’s Story of Architecture, is an educational book on the history of architecture intended for a young audience. It includes illustrations of architectural designs specific to each period discussed in the book (Butterfield). She also wrote articles about architecture for magazines’ such as House and Garden as well as Town and Country. The article “Know the Style of Your House” covers how one can specifically identify which style of house one would live in based on characteristics of 40 different architectural styles. A few of the styles mentioned include French Renaissance, Quebec, English Manor, Dutch Colonial, Swiss, and Belgian and Dutch. (Butterfield)
American Architecture evolved a great deal between when the United States first became colonized to the twentieth century when Emily Butterfield practiced architecture. As time went on many styles changed depending on what was in style and what fit best at the time. Before, houses had to be modified to incorporate things like plumbing and heating. Houses were rather simple and differed by region. However, as time progressed and technology and older forms of architecture were remembered, both ideas were mixed to make houses that would not only incorporate plumbing and heating, but look more magnificent than anyone could have imagined (Watkin 1996).
At the turn of the nineteenth century America saw a significant amount of transformations in its architecture. In this period we saw the first national style of the United States emerge with the Greek revival, in which all the levels of the buildings are permeated. Several years after, the Gothic revival developed. Gothic styles are associated with religion and nature as you see in many churches from Medieval Europe. This style became very popular in the mid 1800’s and buildings from churches to residential buildings were made in this style (Kostoff 1985).
The most important style to come out of this era was The “Corporate Style”. This sort of architecture laid the foundations for what would become the first factories and corporations, and was considered by many to be a style-less style. High Victorian Gothic Architecture came next and incorporated English gothic styles and became widely used in public and residential architecture (McAlester 1984).
From the late nineteenth to early twentieth century urban houses began to become incredibly narrow usually 15-20 feet across to 30-40 feet back. Bedrooms were largely an invention of the late nineteenth century and therefore had to be incorporated into the structure of the building. The square feet of lots reduced drastically to incorporate room for plumbing and heating. Floor plans also had to be changed to allow pipes to be able to run up through certain sectors of the house into all the others; and back to the water or heat source. It didn’t so much change the exterior of the house as it did the interior (Watkin 1996). Emily Butterfield as well as other architects needed to incorporate all the technological changes of this time period.
While working for her father, Emily Butterfield designed 26 Methodist churches, her most famous being the First United Methodist Church in Farmington, built in 1921. Butterfield and her father designed the church in the Neo-Gothic style. This style is characterized by steeply pitched roofs, steep cross gables, and windows with a pointed arch shape (McAlester 197). The church was designed in a way to accommodate to the lifestyles of the community. “This was considered a ‘new’ movement to build a church for weekday activities. The church has had two additions and is still functioning today” (Lee 1). As well as the additions the church underwent changes such as the removal of the auditorium which was significant to the community in the twenties, thirties, and forties. The auditorium was a popular meeting place in Farmington for the community due to its use for many activities including “graduation exercises, basketball games, pageants, plays, concerts, and school board meeting.” (Cathedral Directories 4). During World War II the church was used as a bomb shelter (Cathedral Directories 4). The First United Methodist church was awarded a Michigan Historical Marker on November 11, 2007 (Cathedral Directories 5). Emily Butterfield and her father Wells Butterfield were given the land where the church was originally built as part of their payment for their work (Cathedral Directories 5). After receiving this land they built houses on the property and moved to Farmington and became members in the First United Methodist Church (Cathedral Directories 5). Together they also designed an English stone style clubhouse at the Glen Oaks Country Club in 1925. The clubhouse was deemed a historical monument on September 16, 1987 (It’s History). Today the Glen Oaks Country Club is a popular venue for weddings, wedding receptions, golf outings, and banquets.
The history of these relationships in the art world can be related to Emily Butterfield and her father. As a woman studying architecture in the twentieth century it would have been quite a struggle to be successful without the right tools and connections. Those few women who did get into the public sphere were often overlooked; many of whom never gained recognition for their achievements or very little compared to how much they deserved for their contributions to the craft. Evidence of this is seen in architecture's history and is still present today. Butterfield is a prime example of this. Amongst the collaborative work with or without her father, he had received credit on historical accounts. Her achievements include state-wide solo exhibitions as a woman watercolor artist, The First United Methodist Church becoming historical landmark, several of her published books being widely acclaimed, which led to initiation into the Michigan Women’s Study Association and Hall of Fame. The majority of her buildings are still in use by various organizations, finally her work is seen as just that, hers. That is not a small feat by any means, and yet one will not find her name in a history book, nor in a book other than those she herself wrote in regards to architecture.
