History
During the time in office of President John F. Kennedy, planning was undertaken to consolidate most of the Department of Labor's offices, then scattered around more than twenty locations. As part of the effort to improve and redevelop the Pennsylvania Avenue corridor, it was decided to create an entirely new building for the Labor Department in that area. The building was designed by the joint venture of Brooks, Barr, Graeber and White of Austin, Texas, and Pitts, Mebane, Phelps and White of Houston, Texas. The principal construction contractor was the J.W. Bateson Company of Dallas, Texas.
Construction on the New Labor Building (NDOL) began in the middle 1960s. When finished in 1975 the new building contained over one million square feet of usable space and cost $95 million. It was one of the first federal buildings to obtain air rights so that it could be constructed over a freeway, I-395. The ceremonial cornerstone for the NDOL was laid on October 18, 1974, with President Gerald R. Ford and Secretary Peter J. Brennan presiding. In February 1975 the first wave of employees moved in.
After a number of years, the name “New Labor Building” no longer seemed appropriate. Finally, an employee suggested that the building should be renamed for the former Secretary of Labor, Frances Perkins, and the idea was warmly accepted. Senator Carl Levin of Michigan also played a significant role in the notion. The ceremony to rename the NDOL and dedicate it as the Frances Perkins Building was held on April 10, 1980 – the 100th anniversary of her birth. President Jimmy Carter and Secretary of Labor Ray Marshall presided over the ceremony; Senator Levin was present as well, as was Susanna Coggeshall, the daughter of Perkins. A plaque on the building said that Perkins' "legacy of social action enhances the lives of all of us." On the same day, the United States Postal Service issued a new 15-cent stamp bearing the likeness of Perkins.
Read more about this topic: Frances Perkins Building
Famous quotes containing the word history:
“I believe that in the history of art and of thought there has always been at every living moment of culture a “will to renewal.” This is not the prerogative of the last decade only. All history is nothing but a succession of “crises”Mof rupture, repudiation and resistance.... When there is no “crisis,” there is stagnation, petrification and death. All thought, all art is aggressive.”
—Eugène Ionesco (b. 1912)