THOLOS | VOLUME 10 1

FEATURE

Dancing by Dawn’s Early Light

COOL TOOLS

Capitol Materials Cart

HIDDEN HISTORY

Rediscovering Blackjack
2 

CONT

TABLE OF

Hidden History Feature

8 16

4 QUESTION & ANSWER

with Acting Architect of the Capitol 

Christine A. Merdon, P.E.

8 HIDDEN HISTORY

Rediscovering Blackjack

6 PROJECT UPDATES

Thomas Jefferson Building

12 BEHIND THE SCENES

House Office Moves
THOLOS | VOLUME 10 3

ENTS

Employee Spotlight Behind the Scenes

24 34

16 FEATURE

Dancing by Dawn’s Early Light

30 COOL TOOLS

Capitol Materials Cart

24 EMPLOYEE SPOTLIGHT

Preparing for the Moment Opportunity Knocks 

34 BEHIND THE SCENES

Senate Office Moves
Q

&

A

with Acting Architect of the Capitol 

Christine A. Merdon, P.E. Q: You have previously stated that working for the Architect of 

the Capitol is a lifelong dream come true for you. What lit your spark 

of passion for tackling the mission to “serve, preserve and inspire”? A: My mother is my biggest role model. She is an immigrant who moved to 

the United States, supported three children working as a hairdresser while also 

earning college degrees at night. Her journey, in my view, is the American dream. 

Inspiring others through my service by preserving our national monuments is my 

way of giving back for all that this nation has given my family. 
THOLOS | VOLUME 10 5

Q: In addition to the remarkable work you do on the U.S. Capitol, 

Supreme Court, House and Senate office buildings, Library of 

Congress facilities and the U.S. Botanic Garden, what other 

projects informed your executive skills?

A: During my time in the private sector, I worked on major 

construction projects: 

• Washington Nationals Major League Baseball Stadium 

• O’Hare Airport Modernization Program 

• Los Angeles Unified School District 

• Martin Luther King, Jr. National Memorial 

• Smithsonian Institution’s National Museum 

for African American History 

• Abraham Lincoln and Thomas Jefferson 

Memorial Renovations 

• White House Military Office 

 These experiences taught me many things, the most 

important being perseverance. Many of these projects 

were difficult, but moving forward with determination 

and doing it regardless of the challenge ultimately led 

to the team’s success. These experiences are relevant 

to our projects on the Capitol campus. 

Q: What is your vision for the Architect of the Capitol? 

A: I am committed to successfully meeting the agency’s 

mission with a progressive focus on people, projects and 

preservation. I want to foster an atmosphere of accessibility

and transparency to attract and retain talented employees 

who are engaged and passionate about their work; support 

projects that are forward-focused and incorporate a broad 

view of the structure and needs of the Capitol campus; and 

position the agency as an authority on historic preservation. 

Q: What’s the most rewarding part of your job?

A: I get to do something different every single day. There is never 

a boring week, and there is always a new challenge to tackle. The 

team at the Architect of the Capitol are some of the best tradesmen, 

craftsmen, architects, engineers and service providers in the 

world. It is a dream to work with them in our nation’s capital. 
6 

T H O M A S J E F F E R S O N 

BUILDING

WEST MAIN PAVILION ROOF & AT TIC 

The Architect of the Capitol’s Library Buildings and Grounds jurisdiction recently completed two major 

projects for the Thomas Jefferson Building. The work was a team effort with nearly every construction 

trade shop from the Library Buildings and Grounds involved in one or both of the projects. 

Library Buildings and Grounds replaced the roof of the Jefferson Building’s west main pavilion. The 

project included replacing about 9,000 square feet of copper roofing, installing six additional roof 

drains, and replacing the catwalks and the Great Hall’s skylight.

The project to renovate the Jefferson attic included unique spaces that once housed the House 

page school and had been unoccupied since 2011. Renovations included 16 former classrooms and 

assembly space totaling 8,400 square feet. Work included lead abatement, plaster repairs and the 

installation of new carpet, electrical systems and data infrastructure. The space is now home to 

offices and meeting space. 

PROJEC T UPDATES

Photos by AOC Photo Branch & Library Buildings and Grounds Jurisdiction
THOLOS | VOLUME 10 7

Donna Blake prepares the last coat of paint for walls 

located in the Jefferson Building’s attic. 

A view of the newly installed copper roof on the 

Jefferson Building’s west main pavilion roof. 

Will Guzman installs cornice trim in the 

Jefferson Building’s attic. 

The House page school’s chemistry lab before (left photo) and after (right photo) recent 

renovations by the AOC’s Library Buildings and Grounds jurisdiction.
8 

Rediscovering Blackjack

Written by Erin Courtney | Photos by AOC Photo Branch 

& Capitol Building Jurisdiction

Numerous iconic moments emerged in the aftermath 

of the assassination of President John F. Kennedy: Jackie 

Kennedy refusing to take off the blood-stained dress 

following the murder; the toddler of the 35th president 

saluting his father’s casket; or young Caroline kneeling in 

the Rotunda and touching the flag-draped remains. The 

most persistent memory for many Americans was the 

energetic and riderless horse who pranced through the 

streets of Washington, D.C., behind the caisson. 

HIDDEN HISTORY
THOLOS | VOLUME 10 9

The horse was Blackjack, a Morgan and American 

Quarter mixed-breed horse. Born in January of 

1947, Blackjack entered the Third United States Infantry 

Stables at Fort Myer on November 22, 1953. The 

spirited horse was deemed too difficult to ride and 

began service as a caparisoned (riderless) horse for 

funerals at Arlington National Cemetery. During 

his tenure, Blackjack took part in the funerals of 

Presidents Herbert Hoover, John F. Kennedy and 

Lyndon B. Johnson as well as General of the Army 

Douglas MacArthur.

His participation in President John F. Kennedy’s 

funeral made him a household name. The feisty 

horse struck a nerve. He danced and pawed at the 

Blackjack on the East Front Plaza of the U.S. Capitol Building next to the casket of President John F. Kennedy. Photo courtesy of AOC Photo Branch Archives 

HIS ENERGY SEEMED TO EMBODY 

THE NATIONAL FEELING THAT 

THE YOUNG PRESIDENT FROM 

MASSACHUSETTS WAS TAKEN TOO 

SOON AND HAD MORE TO GIVE
10 HIDDEN HISTORY

ground wearing a cavalry saddle, sword and backward 

boots in the stirrups, symbolizing the end of Kennedy’s 

tenure. His energy seemed to embody the national 

feeling that the young president from Massachusetts 

was taken too soon and had more to give. 

 

In the years that followed, Blackjack was memorialized 

in a variety of ways. The saddle, stirrups, sword and 

boots used in the funeral are in the John F. Kennedy 

Presidential Library and Museum. Statues, books and 

even a Facebook account exist for feisty Blackjack. 

During a recent renovation at the U.S. Capitol Building, 

members of the Architect of the Capitol uncovered a 

long-forgotten painting of the famous horse. Today 

the room houses functions of the House Clerk, but 

it previously housed the Capitol Building Paint Shop 

and later part of the Flag Office. 

The former supervisor of the paint shop, Joe Sarafin, 

regularly used the space as a studio to hone his craft. 

A painting of the Thomas Jefferson Memorial by former AOC employee Joe Sarafin was revealed during a recent renovation. 
THOLOS | VOLUME 10 11

“Joe would use the walls of the shop to practice different 

techniques, color schemes and paint products. He was 

extremely talented,” said Kevin Grooms, manager of the 

painting section. 

Karen Livingston, former Flag Office supervisor, confirmed 

Blackjack’s popularity on the Capitol campus. When she 

joined the office more than 20 years ago, her desk was 

directly beneath the painting. “Congressional staff regularly 

brought groups of constituents to our office to see the 

painting of Blackjack and the painting of the Thomas 

Jefferson Memorial located on the opposite wall.” 

Dwayne Thomas, facilities operations specialist and Kristy 

Long, deputy superintendent of the Capitol Building, 

worked with their team to frame out the paintings rather 

than recover the space with drywall after the discovery. “It 

would be a shame to cover over the paintings again. It is a 

piece of history and a fantastic celebration of AOC talent. 

I’m so happy we found it,” said Long. 

IT IS A PIECE OF HISTORY AND 

A FANTASTIC CELEBRATION

OF AOC TALENT

Former AOC employee Karen Livingston poses with the Blackjack 

painting while holding the painting it was based on.

An AOC painter examines the Blackjack painting uncovered 

during a recent renovation.
House

Office

Moves

The U.S. House of Representatives just 

underwent one of the biggest transition 

cycles in recent history. The Architect of the 

Capitol’s House Office Buildings jurisdiction 

is heavily involved in the corresponding 

work — this includes overseeing the lottery 

process for suite selections to moving all of 

the affected offices. The moves involve nearly 

every House trades shop as it takes a team 

effort to make sure every member has an 

office within one month.

Carpenters | Electricians | Painters | Locksmiths 

Masons | Electronics Mechanics | Plumbers 

HVAC Technicians | Laborers | Custodians 

Sheet Metal Mechanics | Recyclers | Building 

Inspectors | Maintenance Mechanics | Elevator 

Mechanics | Architects | Move Coordinators 

Front Office Staff | Information Technology 

Specialists | Safety Specialists

AOC STAFF

BEHIND THE SCENES

12 

Photos by Dewitt Roseborough
HVAC

GETTING THE JOB DONE

Managing move logistics | Removing pictures and shelves | Relocating power for new suite layouts 

Changing or re-lamping lights | Repairing plaster and painting suites | Changing locks and providing

 keys | Cleaning rooms | Un-installing, moving and re-installing TVs | Installing cable/TV and legislative clocks 

Tapping in new water filtration lines for office water coolers | Completing preventative maintenance 

on radiators and induction units | Moving boxes, flags and pictures | Hanging pictures and other 

memorabilia | Shredding papers and recycling items

THOLOS | VOLUME 10 13
THE LOTTERY & SUITE SELECTION 

The House Office Buildings Superintendent’s Office 

as designated by the House Office Building Commission 

is responsible for overseeing the lottery and suite 

selection process that assigns suites to members of 

Congress and their staff. Every two years following 

the election, newly elected or re-elected members 

and their staff review offices that have been vacated 

by previous members of Congress. These offices were 

occupied by members who retired, resigned, lost their 

primary or lost in the general election. These vacated 

offices are eligible for selection by members based on 

seniority and their selected number during the lottery 

process. Nearly every office is different, from window 

views to square footage and layouts. Members and 

staff can use the Architect of the Capitol’s suite selection 

website to see details of each available suite, before 

the lottery. 

Members can choose a suite in order based on their 

seniority and selection in the lottery of members 

that share their same seniority. The lottery position is 

determined by members selecting a number out of a 

box. Members then select a suite before it goes to the 

next person in the lottery. After making a selection, 

staff from that office meet with representatives of 

the Architect of the Capitol (AOC) and the House 

of Representatives Chief Administrative Officer 

(CAO) to layout their office, pick furniture, choose 

paint colors, and select carpet and drapes (if 

eligible for selection). Members who select a new 

suite give up their old offices, making it available 

for selection by another member. This creates a 

chain effect lasting until the members-elect pick 

from the remaining available suites. AOC and 

CAO move coordinators manage each chain. The 

move process begins in November, and all related 

work must be completed prior to the new Congress 

being sworn-in in early January. 

Superintendent Bill Weidemeyer oversees the lottery and suite 

selection process for House members.

AOC House Office Buildings employees work together to shrink 

wrap boxes, ensuring a safe move.

Assistant Superintendent Barron Dill assists congressional 

staff with selecting a suite.
BY THE NUMBERS

15,000+

COMPLETED 

WORK ORDERS

278

TOTAL MEMBER

MOVES

15+

NUMBER OF ROOMS 

THAT CAN BE 

INVOLVED IN ONE

COMMITTEE MOVE

167 STOREROOM

MOVES

20

COMMITTEE/

LEADERSHIP

MOVES

THOLOS | VOLUME 10 15
16 HEADER
THOLOS | VOLUME 10 17

DANCING BY DAWN’S

EARLY LIGHT

Written by Franklin Bradley

Photos courtesy of AOC Photo Branch Archives

FEATURE

Did you know that the 15,000-pound bronze Statue of 

Freedom, standing atop the 9 million pounds of cast iron 

of the U.S. Capitol Dome, dances every day?

This motion has long been known. The fifth Architect of 

the Capitol, Edward Clark, replied to a query by stating, 

“The statue on the Capitol has a motion.”

While her limbs don’t move, the entire structure atop the 

U.S. Capitol moves in a slow circle every day. Despite this 

constant movement, the Dome still stands strong.

How is this possible?
18 FEATURE

MANY QUESTIONS. ONE ANSWER.

The answer is in the Dome’s design, created by 

Thomas U. Walter. Walter was the Architect of the 

Capitol from 1851-1865, during the extension of 

the U.S. Capitol to accommodate a Congress that 

was growing as the country expanded. His drawings 

showed that the original wooden Dome, clad in 

copper, would be too small and get overwhelmed 

by the mass of the extended building. However, 

Walter couldn’t simply build a larger dome where 

the old one stood. First, he had to solve many 

intertwined problems. Walter found a single 

solution for all of these issues that was as elegant 

as the final structure he designed, but it also 

created the movement in the Dome.

LARGER, BUT LIGHTER

Walter knew that any new dome would have to sit 

on the existing base, a ring of sandstone blocks 

atop the Rotunda. This opening was smaller in 

Dome construction from the East Front showing the cast iron columns standing on brackets outside the original sandstone Rotunda walls. 
THOLOS | VOLUME 10 19

circumference than needed for a dome tall 

enough to be proportionate to the enlarged U.S. 

Capitol. The sandstone posed another problem: 

it couldn’t bear the weight or the expansion 

forces of a larger dome made of traditional stone 

or masonry materials.

Walter had traveled to Europe and studied the 

large domes there, including the dome atop St. 

Paul’s Cathedral in London, which weighs 132 

million pounds — too great for the Rotunda 

walls to support. Additionally, the weight of the 

dome would thrust outward at the base, exerting 

expansion forces, much like pressing down on 

the top of an inflated balloon causes it to bulge. 

The most common solution is to surround the 

dome with heavy masonry reinforcements that 

contain these forces.

However, previous builders couldn’t accurately 

calculate how much reinforcement was needed. 

Walter had also visited the masonry dome of St. 

Peter’s Basilica in Rome, where this expansion 

force caused large cracks to form 200 years after 

construction, showing the weakness of stone, 

which is much stronger when being pressed on 

than when being pulled to expand. Ultimately, 

several tension rings had to be placed around 

the dome to stabilize it.

The sandstone ring at the base of Walter’s new 

Dome lacked the mass needed to restrain such 

forces or the strength of the stone used in St. 

Peter’s. If he couldn’t find a way to keep the 

Dome construction from the East Front with the crane rising above the 

original sandstone Rotunda walls.

Dome construction from the West Front, showing the Dome skirt as a dark 

line below the Dome columns.

IF HE COULDN’T FIND A WAY TO KEEP THE DOME 

FROM THRUSTING OUTWARD, THE SANDSTONE

COULD ALSO CRACK AND EVEN FAIL
20 

Dome from thrusting outward, the sandstone could 

also crack and even fail.

HOT HIGH-TECH SOLUTION: CAST IRON

Even if he could build a lighter Dome that sandstone 

could support, Walter would still have to control 

the expansion forces and place this towering, wider 

structure on a narrower perch. The solutions to 

these three problems were intertwined and relied 

on a material that had been in use for more than 

2,000 years, but its use in constructing large buildings 

had only just begun when Walter started his 

design: cast iron.

Anyone who has used cast iron cookware wouldn’t 

consider it lightweight compared to modern steel 

or even aluminum pans, but Walter accurately 

estimated that his iron Dome would have a total 

weight that was approximately 7 percent of the 

similar-sized St. Paul’s Cathedral dome. The weight 

reduction is the result of technological, architectural 

advances from the cast iron construction boom, 

such as cast iron columns that are much more slender 

than masonry supports.

METAL IN MOTION

In addition to allowing for lighter construction 

than masonry, cast iron also expands more than 

stone or brick when it is heated. The result is that 

any structure built with iron, or any metal, must 

THE STATUE OF

FREEDOM THAT 

STANDS ATOP THE 

DOME BEGINS 

A DANCE AT DAWN 

EVERY DAY

Meigs’ journal sketch of a bracket for the Dome columns. 

Thomas U. Walter’s drawings detail the many pieces of iron that are 

connected in a way that secures them and allows for motion. 
THOLOS | VOLUME 10 21

accommodate for expansion and 

contraction when the metal gets 

cold. One of these accommodations 

that most people have encountered 

is expansion joints in bridges.

These joints often appear as metal 

strips running across the roadway, 

sometimes filled with rubber. By 

creating a space into which the 

metal structure of the bridge can 

expand, these joints are a way of 

avoiding the buckling and bulging 

that would occur without them. 

However, Walter surely didn’t want 

rubber rings to stripe his beautiful 

design, so he would have to find 

another way to accommodate the 

motion caused by the expansion 

and contraction of the iron.

Before he did that, Walter still had 

to ensure that he could place his 

wider Dome atop the narrower 

Rotunda walls. 

INGENUITY FROM BOTTOM 

TO TOP

Walter’s design details 36 columns 

surrounding the base of the Dome 

that resemble the intricately carved 

stone monoliths of Greek and 

Roman temples. Unlike their ancient 

ancestors, however, Walter’s cast 

iron columns would be light enough 

that they could stand outside the 

Rotunda walls on iron brackets 

attached to a brick structure built 

atop the sandstone base.

This makes the base of the Dome 

appear broader than the opening 

of the Rotunda while retaining the 

interior dimensions. The illusion 

continues below the bases of the 

Thomas U. Walter’s design for the bracket Meigs sketched and the column and brick

structure it connects. 
22 FEATURE

cast iron columns in a structure referred to as the 

Dome “skirt.” The iron skirt, which appears to be 

a solid base for the Dome, is actually a hollow 

structure that visually connects the new Dome to 

the original roof of the U.S. Capitol.

Inside the Dome structure, 36 cast iron ribs, 

corresponding to the exterior columns, stand on 

top of the walls, bearing the weight of the upper 

Dome. This weight is carried down the curved 

portions of the ribs and thrusts outward where 

they become vertical, mirroring the columns 

standing above the skirt. An ingenious compression 

ring designed by Montgomery C. Meigs, engineer 

of the U.S. Capitol during Dome construction, 

contains the thrust and converts the expansion 

to a compression force, pressing in on the ring of 

sandstone blocks that form the Rotunda walls.

OUT OF MANY PIECES, ONE DOME

Cast iron allowed Walter to create a lighter and 

broader Dome that the existing foundation could 

support while controlling the expansion forces 

that threatened the traditional masonry domes 

he had studied.

However, still, it moved.

Although it doesn’t happen often, temperatures 

in Washington, D.C., can drop to zero during the 

winter and rise to 100 in the summer. A 10-footlong piece of cast iron heated by 100 degrees

will grow by about 1/16th of an inch. This amount 

of expansion is manageable, but Walter had to 

accommodate it in his design.

Rather than building in a few large expansion 

joints, however, Walter designed the iron 

structure to be assembled from many pieces 

of iron. They attach through connections that 

simultaneously secure them and allow a small 

amount of motion. Through these thousands of 

links between pieces, Walter’s Dome absorbs 

most of the motion of the metal.

However, at dawn, while the western side of the 

Dome still faces the cold darkness of the fading 

night, the sun heats the eastern side. As the sun 

rises through the day, the southern side of the 

Dome rises in temperature faster than the shaded 

northern portion. At sunset, the eastern side is 

already cooling while the western side is absorbing 

the last heat of the sun before night falls.

This uneven heating is what causes the Statue 

of Freedom to move slightly toward the west at 

dawn, as the eastern side of the Dome expands, 

to the north at midday, and the west in the 

evening, as the sun sets. During the night, the 

Dome returns to a uniform temperature and a 

neutral position.

DANCING BY DAWN’S EARLY LIGHT

Even on the hottest of days, however, it would 

be difficult to discern this motion. Mr. Clark’s 

report stated that, “The statue on the Capitol 

has a motion...The entire length of the line of 

oscillation of the plummet from the eastern limit

to the western limit is only four and a half inches.”

It may be only a few inches, but still, as you 

admire the uniquely American ingenuity of 

Walter’s cast iron design, you will know that this 

solid structure and the Statue of Freedom that 

stands atop it begin a dance at dawn every day.
THOLOS | VOLUME 10 23
24 

PREPARING FOR THE MOMENT

WRIT TEN BY ERIN NELSON | PHOTOS BY LUKE WALTER

OPPORTUNITY KNOCKS

EMPLOYEE SPOTLIGHT
THOLOS | VOLUME 10 25

AFTER 12 YEARS OF SERVICE WITH THE VIRGINIA ARMY NATIONAL 

GUARD AND TWO TOURS IN IRAQ, ANDERSON ALLEYNE BEGAN HIS 

CAREER WITH THE ARCHITECT OF THE CAPITOL (AOC) IN 2013. HE 

WAS HIRED AS A NIGHT SHIFT LABORER IN THE CAPITOL BUILDING 

JURISDICTION AND WAS RESPONSIBLE FOR MAINTAINING THE 

BUILDING’S SOUTH-SIDE FLOORS. 

After a year in that position, he applied for 

a job in the House Office Buildings’ Elevator 

Shop. Thanks to key preparations he made 

along the way, he got the job and has been 

promoted every year since then. This is his 

story — one he hopes inspires others in their 

professional journeys.

When Alleyne applied for the House elevator 

mechanic helper position, he met his future 

supervisor, Paul Miller. Miller has spent 

the majority of his 30+ year federal career 

with the AOC. He has been a champion of 

the AOC’s creation of programs that help 

promote agency employees such as the 

Architect’s Mobility Program, Student Loan 

Repayment Program and opening positions 

to in-house employees only. Miller is a huge 

proponent of hiring from within, “When we 

hire people from outside the agency, we are 

overlooking diamonds in the rough within 

the agency. You just have to find them. They 

are there.” 

And for Miller, those “diamonds in the 

rough” are the employees who have prepared 

in advance for their next opportunity. He 

explained, “I think employees sometimes 

wait for an opportunity instead of already 

being prepared for when the opportunity 

presents itself. No one came into the elevator 

trade knowing how to work on elevators, 

but if you have a strong work ethic, come to 

work willing to take instruction and attend 

training, you can succeed.” 

Fortunate for Alleyne, he had made those 

advanced preparations. He was one of 

several qualified candidates for the job, but 

for Miller, two things made him stand out — 

his electrical background and strong work 

ethic. Before beginning his career with the 

AOC, Alleyne earned a degree in electrical and 

electronic engineering technology at Virginia 

State University — a key step that helped 

prepare him for this job. 
26 EMPLOYEE SPOTLIGHT

Alleyne was hired as an elevator mechanic helper 

and has taken full advantage of the career-ladder 

wage-grade position by participating in on-thejob training and taking agency-sponsored courses. 

Today, he is a full-fledged elevator mechanic and 

an inspiration to both Miller and his colleagues. 

His success has been noticed, and naturally that 

garners some questions from others hoping to 

replicate it. His advice is simple, “Don’t give up.” 

Alleyne has seen many colleagues apply for 

a position once or twice, but then never apply 

again. He says it’s all about timing, “You might not 

get it the first time, but you cannot give up. Some 

people keep applying, and they’re always the ones 

that succeed. It’s easy to get discouraged, but you 

have to keep trying.” 

WHAT MOTIVATES

ALLEYNE TO KEEP 

LEARNING AND 

M O V I N G F O R WA R D? 

W I T H O U T PAU S E, 

H E A N S W E R E D, 

“M Y FA M I LY — M Y 

T H R E E S O N S A N D 

M Y W I F E.”

Alleyne uses a multimeter to diagnosis a problem with an elevator controller. 
THOLOS | VOLUME 10 27

A SENSE OF TEAMWORK HELPS REMIND US ALL OF OUR 

COMMON MISSION — TO SERVE, PRESERVE AND INSPIRE.

Alleyne’s story is one of success, but he 

admits some days bring more challenges 

than others. He chooses to see them as 

educational opportunities, “You don’t 

always have the answers to the problem. 

Sometimes you have to take a step back 

and see what you did wrong, see what you 

did right and try to resolve the problem. 

Sometimes you can’t fix an issue on your 

own, and I’m not afraid to ask for help. I’m 

still learning. The day that I stop learning

is the day that I stop progressing.”

What motivates Alleyne to keep learning 

and moving forward? Without pause, he 

answered, “My family — my three sons and 

my wife. Some days are good days. Some 

days are bad days. But I put that key in 

the door, look upstairs and see my sons 

looking over the foyer and hear, ‘Good 

morning, Dad!’ That makes it all worth it.”

His family focused mentality and time in 

the military offer some insight into why 

Alleyne’s favorite part of his AOC job is the 

teamwork. Even though he works at night 

when fewer employees and people are 

around, there is still a sense of community. “I 

know we’re all doing it for the same purpose. 

We’re all one team, and it’s nice to be a 

part of that team,” he said. 

Indeed. A sense of teamwork helps remind 

us all of our common mission — to serve, 

preserve and inspire. Miller believes that 

mission becomes even more achievable 

when we provide opportunities to those 

who are already living it every day. He 

credits the AOC’s leadership with sharing 

that vision from the top down, but also 

notes supervisors like him have an important 

role to play as they sit on interview panels 

and make hiring selections. He has been 

encouraged by how far the AOC has come, 

“The agency has come a long way in ensuring 

the room for growth is there for our own. When 

we make the investment in our employees, we 

all reap the rewards.” 

Miller is also grateful that he’s had the 

support of his supervisor — House Office 

Buildings Assistant Superintendent Dan 

Murphy. “Dan has made sure that we have 

the support and resources we need to do 

the best job we can while providing our 

employees with those growth opportunities 

whenever possible,” Miller shared. 

As the person responsible for coordinating 

the operation, maintenance, repair and 

replacement of the House’s mechanical 

and electrical systems and equipment, Murphy 

is acutely aware of the unique skills required 
28 EMPLOYEE SPOTLIGHT

to care for the historical materials and 

equipment that encompass the Capitol 

campus. Often those unique skills are not 

readily available from an outside workforce, 

which is why it is so important for the 

AOC to develop its own employees. 

Murphy believes every employee is a valued 

member of the AOC team, “Everyone is a 

master at something. You just need to find 

it. Each of our employees brings something 

special and different to the AOC. Everyone 

has something to teach and something to 

learn. We must all be open to learning and 

available to teach.”

Paul Miller (left) and Anderson Alleyne (right) are two AOC employees that embody its mission to 

serve, preserve and inspire. 
E VERYONE HAS 

SOME THING TO TEACH 

AND SOME THING 

TO L E A R N. 

W E M U S T A L L B E O P E N 

TO L E A R N I N G A N D 

AVA I L A B L E TO T E AC H.

THOLOS | VOLUME 10 29
30

COOL TOOLS

The United States Capitol doesn’t just rely on 

its impressive architecture and symbolism. It 

is an active campus bustling with excitement 

and the business of the people of the United 

States. In recent years, the Architect of the 

Capitol (AOC) has added first-rate, museum-quality 

attractions and tours, spaces to promote and 

assist the work of Congress, and experiences 

to inspire current and future generations.

In the fall of 2018, the AOC hosted its first ever 

Capitol Hill Day to showcase the talents of its 

employees and encourage our neighbors to do 

so too. Capitol Visitor Center (CVC) education 

specialists facilitated hands-on activities and 

assisted with demonstrations that appealed to 

visitors and Capitol Hill neighbors of all ages. 

Members of our trade teams showcased their 

expertise in electrical systems, masonry, sheet 

metal, woodcrafting and painting. The Capitol 

Grounds and Arboretum team highlighted 

the Olmsted Plan and the gorgeous features 

of the grounds, from living trees and plants to 

historic fountains and walls. The United States 

Botanic Garden team encouraged visitors to 

participate in a wide variety of activities. 

Attendees also got a sneak peek at one of the 

agency’s largest construction projects, the 

Cannon Renewal.

Capitol Hill Day was a success. Adult, Family 

and Youth Program Coordinator Thuvia Martin 

 CAPITOL 

MATERIALS

 CART

 Written by Erin Courtney | Photos by Chuck Badal
THOLOS | VOLUME 10 31

noticed the public’s keen interest 

in the trade tables and wanted 

to build on its success. Martin 

reached out to the Capitol Building 

jurisdiction to request sample 

materials and to get background 

information that could be shared 

with the visitor services staff.

“During the Dome Restoration, 

an old piece of the Dome was 

always popular with visitors. On 

Capitol Hill Day, the trade displays 

were popular as well. We really One of the trade trays used on the Capitol Materials cart.

Kenneth Armstrong, a member of the Capitol Building’s Sheet Metal Shop, examines a piece of metal.
32 COOL TOOLS

wanted to capture what folks connected with,” 

said Martin.

The Capitol Building jurisdiction brainstormed 

and came up with easy-to-use trays for the CVC’s 

educational carts. The trays allow visitors to see 

and touch elements of the building often out of 

reach or hidden to an untrained eye. 

“The job of the shops is to do work where you 

can’t see it. Their goal is to create in such a way 

that the work is not noticed. This project helps 

Visitors to the U.S. Capitol Building interact with guides using the Capitol Materials cart.
THOLOS | VOLUME 10 33

bring to light the amazing talents of 

members of our team that are vitally 

important but often hidden from the 

public,” said Historic Preservation Analyst 

Benjamin Roberts.

Launched on February 1, 2019, the new 

Capitol Materials Cart Program showcases 

a variety of Capitol trades, including 

masonry, sheet metal, paint and woodcrafting. “This collaboration was near 

and dear to all of our hearts. It is special 

and gratifying that the tour guides will 

be showcasing the full story of the AOC 

and the U.S. Capitol Building,” said Deputy 

Superintendent of the Capitol Building 

Kristy Long. Each tray was designed 

and built by the AOC team using items 

already available in their shops. Visitors 

can now see — and in many instances 

touch — plaster ornament casts, gavels, 

molding, copper roof seams, varieties of 

stone, brick and tiles, cast iron, as well as the 

gilding and faux painting processes. Each 

piece is held on the tray with heavy-duty 

magnets to permit guides to reorganize 

trays as needed and to allow visitors 

to hold the items. It is a feature that helps 

guides educate visitors on weights, textures 

and historic tradecraft processes.

“This was a wonderful collaboration and 

a great learning experience about how 

we all fit together. The trays are so much 

more than I could have ever hoped for. 

They look spectacular,” said Martin. 

Capitol Building Mason Shop employee Wilfredo Jovel-Reyes polishes a section 

of marble. 
BEHIND THE SCENES

SENATE OFFICE

MOVES

Every two years, the Senate Office 

Buildings jurisdiction takes on one 

of its biggest responsibilities, the

Senate election-year office moves.

Written by Elizabeth Yoder

Photos by Thomas Hatzenbuhler

34 
THOLOS | VOLUME 10 35

The jurisdiction, in partnership with the Senate 

Committee on Rules and Administration and 

the Senate Sergeant at Arms, works diligently 

behind the scenes to renovate office suites for 

senators and committees of each new Congress. 

The Superintendent of the Senate Office Buildings, 

Takis Tzamaras, describes the Senate moves as 

“our opportunity to make a great first impression 

on new members, strengthen our relationships 

with existing members and create contemporary 

office spaces which carefully preserve the 

historic fabric of the Senate buildings.”

During the election-year moves, the Senate 

jurisdiction demonstrates that it is truly a trusted 

partner of Congress — providing exceptional 

design, planning, execution and craftsmanship 

while working under tight deadlines to meet 

the needs of the Senate community.

Throughout the moves process, the Senate 

jurisdiction follows a comprehensive quality 

system procedure focused on safety and 

high client satisfaction, as well as excellent 

communication, timely drawings, accurate 

scope of work, and quality construction for 

each and every Senate move.

(left to right) Senate Move Coordinator Bonnie Holod, who is also the supervisory architect in the Senate Office Buildings jurisdiction, 

works with Michael Gass and Paul Bosch, wood crafters with the Senate Wood Crafting Branch, to hang artwork in a senator’s office.
36 BEHIND THE SCENES

Office suites in each of the three Senate buildings 

vary in style, from the Russell Building’s historic 

fireplaces and soaring 20’ windows to the Hart 

Building’s contemporary two-story offices with 

modular furniture.

After the fall election in even-numbered years, 

senators have the opportunity to relocate their 

staff and operations to the office suites of 

outgoing members. The selection process is 

determined by seniority, with senators assigned 

a four-hour time window to select a new suite, 

if they desire. 

Senators and staff use the Architect of the Capitol’s 

online selection tool, Senate Suites, to learn 

more about available suites and select their 

new offices. Senate Suites is an online program 

developed through tremendous collaboration 

between the Senate Committee on Rules and 

Administration, the Senate Superintendent’s 

Office, the AOC Information Technology Division, 

and the AOC Photography Branch. The application, 

which is similar to online real estate property 

search engines, allows users to search for preferred 

suite attributes, mark and track favorites, take 

360-degree virtual tours, schedule suite walkthroughs, and officially select a new suite.

Once a suite has been selected, the Senate 

Superintendent’s Office assigns a Senate move 

coordinator to act as the single point of contact 

for the senator’s office and facilitate all aspects 

of the move.

Senate safety specialists review hazmat documentation and perform a detailed site survey 

to incorporate important safety features into 

the construction drawings and work site so that 

everyone involved with the project understands 

potential safety concerns.

SELECTING THE SUITE

DESIGNING THE SPACE
THOLOS | VOLUME 10 37

An AOC designer works with the senator and 

staff to plan the layout of the new suite within 

a one-week timeframe. Based on eligibility 

requirements, the office may choose paint, 

carpet, window treatments and furniture from the 

Senate jurisdiction’s inventory for the new space. 

Once the senator has approved the plan, the 

Senate move coordinator distributes detailed 

construction drawings to the various trade 

shops which will renovate the suite. Drawings 

are also provided to the Senate Sergeant at Arms 

for installation of IT and telecom equipment.

(Top) Tim Steadman, a painter with the Senate Painting Branch, prepares office walls in 

the Dirksen Building for new paint.

(Left) Luis Aquino, an upholsterer with the Senate Upholstery Branch, hangs draperies on 

a large office window in the Russell Building.
38 BEHIND THE SCENES 

The Senate Superintendent’s Office determines 

the renovation schedule based on efficiency 

and the complexity of the project, which typically 

includes necessary deferred maintenance work, 

important infrastructure upgrades, and possible 

abatement of asbestos and/or lead hazards 

from the area, with the AOC Construction 

Division assisting the jurisdiction on larger 

abatement projects.

Senate jurisdiction staff also use the opportunity to 

correct any Americans with Disabilities Act (ADA) 

accessibility issues and Office of Congressional 

Workplace Rights findings; perform needed 

plaster repairs, HVAC maintenance and plumbing 

upgrades; and install sprinklers and other fire 

and life safety features, as needed, to bring the 

suite up-to-date with current building codes. 

During the construction process, the senator 

continues to work from his or her former office 

or temporarily works from a new member suite 

which is accessible immediately after the election 

and accommodates the new senator and up to 

15 staff.

RENOVATING THE SUITE

Lowell McCain, Jr., of the Senate Upholstery Branch, works on a historic chair in the Senate upholstery shop.

Senate Move Coordinator Alyssa Perron, who is also the energy 

engineer in the Senate buildings, discusses the suite’s furniture 

layout with Jerry Coats, material handler leader with the Senate 

Furniture Branch.
THOLOS | VOLUME 10 39

During the suite renovation process, numerous 

Senate trade shops closely collaborate to build 

partition walls to better serve the needs of office 

staff; repaint the space, often using striping and 

other decorative painting techniques; install 

energy-efficient lighting and new carpeting; 

hang coordinating blinds and custom draperies, 

particularly for the large windows in the Russell 

Building; and craft woodworking projects and 

custom millwork for specific parts of the space.

Once construction is complete, the Senate Day 

Labor, Night Custodial and Floor Care Sections 

thoroughly clean the suite in preparation for 

the move. 

The move itself takes less than 12 hours and 

begins just after midnight. The Senate Furniture 

Branch moves in the larger furniture items first; 

then, as light dawns, material handlers transport 

packed moving boxes from the former Senate 

office to the new space. 

By 1 p.m. that afternoon, the move is complete, 

the office is fully functional, and the senator 

and his or her staff can resume their work in the 

new suite.

Once the move is complete, the Senate move 

coordinator transfers the office to the care of 

the Senate Service Center — which serves the 

Senate community 24 hours a day, seven days 

a week — and a Senate building inspector 

assigned to assist the Senate office with any 

office-related needs. 

The Senate Superintendent’s Office is dedicated 

to sustainability throughout the Senate moves, 

with the goal of reducing, reusing and recycling 

90 percent of construction and demolition 

debris each year. The Senate jurisdiction also 

maintains a Recycle and Reuse Center to enable 

Senate offices to donate unneeded office supplies, 

maximize Senate resources and minimize 

unnecessary waste.

According to the Assistant Superintendent for 

Tenant Services, Paul Kirkpatrick, “The Senate 

office moves involve tremendous collaboration 

between the Senate trade shops, other AOC 

divisions, and Senate committees and support 

offices. They truly show the AOC working as one 

team, one mission to create awe-inspiring facilities, 

deliver extraordinary service and preserve the 

priceless buildings entrusted to our care.”

COMPLETING THE MOVE

Brady Fleming, electrician leader with the Senate Electrical Branch, 

stands on a lift to adjust large lights in the Russell Building.
Communications and Congressional Relations

U.S. Capitol, Room SB-16

Washington, DC 20515

Tholos Winter 2019

The Architect of the Capitol strives 

to meet its mission 24 hours a day, 

365 days a year to serve Congress 

and the Supreme Court, preserve

America’s Capitol, and inspire

memorable experiences for all who 

visit the buildings and grounds.

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directed to AOC Communications 

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www.aoc.gov

Dome construction from the 

East Front showing the original 

Rotunda sandstone walls under 

the Dome columns.

Photo courtesy of AOC Photo 

Branch Archives