What makes Ohio Medical Indemnity Building, Worthington, ARCHITECT: Karlsberger and Associates, Architects, Inc., Columbus, Ohio GENERAL CONTRACTOR: G. W. Atkinson & Son, Columbus, Ohio MECHANICAL/ELECTRICAL ENGINEER: W. E. Monks & Company, Columbus, Ohio CEILING SYSTEMS CONTRACTOR: Myron Cornish Company, Columbus, Ohio LIGHTING/CEILING CONSULTANT: Stockwell Desian Associates. Columbus. Ohio >se ceilings for job? The way they do so ich so effic ٧ The new Ohio Medical Indemnity Building near Columbus, Ohio, is a showcase for Armstrong ceilings. A variety are used, because each has a special job to do in the different areas of this func- tionally designed building. Main work areas, for instance, use vaulted five-foot-sguare Lumi- naire modules, which provide excellent lighting quality. Dual-duct heating, ventilating, and air conditioning work through Luminaire’s hidden Supply-Air Linear Diffuser system. Demountable wall parti- tions also work perfectly with Luminaire. Low light areas, such as the main lobby, have handsome Armstrong Sanserra Travertone™ ceilings. Textured tiles give excellent acous- tics and match the beauty of the massive Ohio fieldhouse wall. The kitchen and rest rooms use Luminaire modules with Armstrong Ceramaguard®. This durable ceramic ceiling is immune to steam, grease, and frequent cleaning. All ceilings are engineered for easy installation and give two-hour- rated fire protection. For more information on how Armstrong can do the jobs for you, write Armstrong, 4206 Rooney Street, Lancaster, Pa. 17604. THE ARCHITECTURAL FORUM WHITNEY PUBLICATIONS, INC. EDITOR Peter Blake, FAIA MANAGING EDITOR Paul Grotz, AIA SENIOR EDITORS Ellen Perry Berkeley William Marlin Marguerite Villecco ART DIRECTOR Charlotte Winter ASSISTANT TO THE EDITOR Ann Wilson NEWS EDITOR Virginia Dajani EDITORIAL ASSOCIATE Marie-Anne M. Evans BOARD OF CONTRIBUTORS Donald Canty Ivan Chermayeff Rosalind Constable George A. Dudley, AIA Henry Fagin, AIP C. Richard Hatch Philip H. Hiss Lady Barbara Ward Jackson Samuel Kaplan Burnham Kelly, AIA Kevin Lynch Donlyn Lyndon, AIA Walter McQuade, FAIA Roger Montgomery, AIA Charles W. Moore, FAIA Roger Schafer Vincent Scully Jr. Patwant Singh Bernard P. Spring, AIA Douglas Haskell, FAIA CORRESPONDENTS Francoise Choay (Paris) Benita Jones (London) Leo Lionni (Milan) PUBLISHER Charles E. Whitney WHITNEY PUBLICATIONS, INC. Charles E. Whitney, President and Treasurer; George McClellan Whitney, Executive Vice-President; Jean McClellan Whitney, Vice- President; Ben. P. Marchetto, Vice-President /Production. Whitney Publications, Inc. also are the publishers of the magazines Interiors and Industrial Design, as well as the books in the Whitney Library of Design. TUR‏ يی a REEDY CREEK MAIN ENTRANCE ROAD FUTURE S. R. 530 —z 1 MILE CONSERVATION AREA 56 56 Site and development plan for all of Disney World. 57 Estimated growth patterns over the next 20 years. 58 EPCOT—still a vision for the future. RESIDENTIAL COMMUNITY RECREATION COMPLEX 25,000 VISITORS/1971 RECREATION COMPLEX 11,000 Employees 1,500 Hotel/Motel Units RESIDENTIAL COMMUNITY 625 Residents 1,000 Employees 1,000 Motel Units 250 Residential Units INDUSTRIAL PARK COMPLEX JETPORT 45,000 VISITORS/1976 RECREATION COMPLEX 12,500 Employees 3,000 Hotel/Motel Units RESIDENTIAL COMMUNITY 4,000 Residents 2,000 Employees 2,000 Motel Units 1,500 Residential Units INDUSTRIAL PARK 2,000 Employees ENTRANCE COMPLEX 500 Employees 500 Motel Units JETPORT 400 Employees ANNUAL DAILY AVERAGE DEVELOPMENT PLAN ENTRANCE 65,000 VISITORS/1981 RECREATION COMPLEX 14,000 Employees ' 4,000 Hotel/Motel Units RESIDENTIAL COMMUNITY 15,000 Residents 3,500 Employees 2,500 Motel Units 4,000 Residential Units INDUSTRIAL PARK 10,000 Employees ENTRANCE COMPLEX 2,000 Employees 2,500 Motel Units JETPORT 800 Employees 200 Motel Units EPCOT 3,000 Residents 1,250 Employees 1,000 Residential Units 100,000 VISITORS/1991 RECREATION COMPLEX 16,000 Employees 6,000 Hotel/Motel Units RESIDENTIAL COMMUNITY 16,500 Residents 4,000 Employees 3,000 Motel Units 4,500 Residential Units INDUSTRIAL PARK 20,000 Employees ENTRANCE COMPLEX 4,000 Employees 5,000 Motel Units JETPORT 2,000 Employees 500 Motor Units EPCOT 25,000 Residents 10,000 Employees 4,000 Hotel Units 7,500 Residential Units new lifestyles can be tested in practice a generation before they are likely to come into common usage. EPCOT, in other words, will be a huge laboratory for the testing of urban systems and urban con- cepts—a functioning community, inhabited by 20,000 people, and operating in the future—today. The initial concepts are vague: a vertical core, built on a multi- level platform containing trans- portation nodes, shopping, and community services; from this core-complex, streets or other transportation lines will radiate like the spokes of a wheel, and the pie-shaped areas between them will be filled in with resi- | dential communities. Obviously, all this is tenta- tive. For instance, bv the time EPCOT gets under wav, vertical cores on multi-level platforms mav have lost some of their present charm. Still, what an extraordinarilv imaginative idea to propose a vast, living, ever-changing lab- oratory of urban design! Not even Le Corbusier at his brash- est ever proposed anything so daring. Certainly, if EPCOT becomes the plaything of huck- sters, it will just be another architectural fashion show. But if EPCOT evolves out of that same astonishing mix of pragmatism, idealism, and busi- ness acumen that characterizes all of WDW to date, it could be one of the most influential re- search tools yet devised for a rapidly urbanizing world. Walt Disney’s heirs, conscious of the fact that EPCOT and the wilder- ness area are what the old man really had in mind, and that the rest was just the financial means to that end, seem determined to make it come true. They will certainly have the cash to do so. The earliest pro- jections for WDW suggested that Mickey Mouse Land would probably have 6 million visi- tors in its first year, and that 8 million would be highly opti- | mistic. At current rates, WDW will, in fact, have 12 million visi- tors in Year One, and the traffic | is backed up, bumper to bumper, all the way to Orlando, day af- ter day, even when school isn't out. So the management is con- tent and as adventurous as ever. What a wonderfully ironic no- | tion it is that, in this turbulent century, urban man might, just possibly, be saved by a mouse. —PETER BLAKE. 40 59 Part of the waterway and drainage system that provides an internal transportation route. 60 Wilderness trail. 61 Conservation area forms a canopy of trees over rare visitors. Only canoes are allowed now. 62 Plastic topiary in the Magic Kingdom. PHOTOGRAPHS: Walt Disney Produc- tions, except Numbers 1, 2, 7, 8, 10, 11, 15, 28, 32, 33, 41, 42, 47, 50, 61, 62 by Peter Blake; Numbers 12, 13, 27 by Casey Blake; Number 24 by Melvyn Kaufman; Numbers 43, 44, 49 by United States Steel. ETOS HEM 7 e. -THINKING WRIGHT Frank Lloyd Wright is being rediscovered as his views about our society and cities take on new meaning in the midst of urban chaos. BY JONATHAN BARNETT 42 Richard Weinstein, who is Director of Lower Manhattan Development for New York City, admires Frank Lloyd Wright extravagantly, and will say so on almost any occasion. Last fall, Richard was lunching with the Forum’s editor, Peter Blake, at one of those cavernous Wall Street restaurants where our fiduciary guardians consume their noonday martinis and seafood. During the meal, Richard chanced to remark that when he, Jaquelin Robertson and I first went to work as urban designers for New York City, we found Wright’s urban concepts far more relevant and useful than those of the other great “form givers of modern architecture.” I wasn’t present, but I can see Richard gesticulating over the white napery and Peter raising his eyebrows sardonically. Peter Blake, in case you’ve forgotten, wrote a charming memoir about Wright in which he puts forward the view that Wright was so Mr. Barnett, formerly Director of the Urban Design Group of the NYC Planning Department, presently Director of the Graduate Program in Urban Design at CCNY, wrote in consultation with Richard Weinstein and Jaquelin Robert- son who are, respectively, Directors of the Office of Lower Manhattan Development and of the Office of Midtown Planning and Development, Office of the Mayor, New York. May we rightly assume archi- tecture to be in the service of humanity? Do we not know that if architecture is not reared and maintained in such service it will eventually be damned? Frank Lloyd Wright, 1930 Above, San Marcos in the Desert, 1927. FORUM-JUNE-1972 influenced by 19th-century romanticism that his approach to anything beyond individual buildings was hopelessly unrealistic. For this reason, out of deference to the memory of a great man, Blake felt the less said about Wright’s concepts of cities, the better. “Very interesting,” said Blake. “Why don’t the three of you write an article for the FORUM explaining how Wright’s ideas in- fluenced you in preparing your zoning districts and other design proposals for New York?” Ever since, at regular intervals, we have received pointed little reminders from the FORUM, meticulously addressed to the three of us, asking where our manuscript was. Of course, admiration and discipleship are not the same. We had not saturated ourselves in Wright’s work the way some of our con- temporaries have absorbed Le Corbusier’s Oeuvre Complete. In fact, I felt the need to go back and do some homework. A short, concentrated course in Frank Lloyd Wright is quite an experience. Go through the anthologies compiled by Frederick Gutheim and Edgar Kaufmann; take a look at the book of drawings put together by Arthur Drexler, I think you will see that, while Peter Blake’s conclusion in “The Master Builders” was the logical one to make at the time, recent events have given us a new perspective. Today Wright appears much more of a prophet than an out-of-date romantic and his ideas about architecture now seem very much of a piece with his concepts of city design and social form. Why should any of this be a surprise? Mostly because our ideas about what to ex- pect from Wright have been molded by the concept of “modern architecture” as formulat- ed in books like Sigfried Giedion’s “Space, Time and Architecture’; Nikolaus Pevsner’s “Pioneers of the Modern Movement”; and J. M. Richard’s “Introduction to Modern Architecture.” Even if you don’t accept their concept of “modernity” (and the three of us do not), somehow the idea that Wright passed the torch of the ''new architecture” to Euro- pean architects about 1911 tends to linger in the mind and make people overlook much of what Wright said and did later on. One of the most interesting discoveries of my recent reading course was Norris Kelly Smith’s “Frank Lloyd Wright: A Study in Ar- chitectural Content,” which I had not read be- 43 Lexington Terrace Apart- ments, 1898, (top); American Ready-cut System housing, 1913 (bottom). fore, although both Jaque and Richard had. Smith’s book has not received the attention it should, probably because it was written for people who, already knowing quite a bit about Wright, tend to feel they don’t need to hear about those Froebel blocks again. Mr. Smith is a cultural historian who does not accept what he gently chides as the legendary saga of modern architecture; this leaves him free to consider aspects of Wright which get left out if you are only concerned with “progressive currents of thought.” For example, Mr. Smith spends a lot of time on the relationship between the architect and the established institutions of his time, and on the architectural consequences of the polarities in Western thought represented by Greek philosophy and the Bible. If you don’t see what all this has to do with Wright, you really ought to read Mr. Smith, who subjects Wright to a fascinating theoretical analysis and gives him a far more plausible place in history than he has ever been assigned. Even by the rather absurd scorekeeping system created by the concept of “modern architecture,” Wright does better than he is usually given credit for. The number of con- cepts that he formulated ''first' (or more definitively than other architects) is impres- sive, and not all of them have found their way into the sagas because they have no direct connection with other famous “firsts” that took place in Europe. Wright’s Lexington Terrace Apartments (1898) are at least as significant a formula- tion as anything in Tony Garnier’s Cite Industriele; Wright was working with a manu- facturer of industrialized housing as early as 1913; Wright was concerned with what we would now call planned unit development in the quadruple block project of 1902. The passage of time is beginning to show, however, that Wright’s most important “first” was not any of these, not the “corner win- dow” or the “carport” (which he named), not the foam rubber cushion or all-steel office furniture (as in the Larkin Building, 1904), not the precast concrete blocks, indirect lighting, radiant heating; but, rather, his ideas about urbanization and the forces shaping it. Consider that, in 1932, Wright’s book “The Disappearing City” outlined succinctly and lucidly the effects of the motor car on the patterns of urban growth. The point of the E * E. L. Doheny Ranch Develop- ment, 1921 (above). FORUM-JUNE-1972 Broadacre City formulation is not whether you like it or not, but that this kind of de- velopment has actually happened, and that we have missed much of the opportunity to give it a rational, ordered form. Far from trying to put back the clock, Wright understood how important the auto- mobile would be to Americans, and how necessary it was to plan for an urban pattern that takes the private car into account. Jaque Robertson was on the AIA's Na- tional Growth Policy Task Force, and he points out that there is much in their report which was anticipated by Wright more than forty years ago. Broadacre City's fundamental pre- mise is that automobile-based settlement pat- terns require the total integration of the man- made and natural environment. While there is much that still seems unfeasible about Broadacre City, Wright does not look as im- practically romantic today as the planners who expected Americans to put their cars away and settle for tightly organized communities along the pattern of the English village. Wright's ideas of 1932 are also timely in other ways. If you read “The Disappearing City," you will be surprised by how much of it would sound very up to date if it ap- peared, say, in the Sunday Magazine section of the New York Times. If there is such a thing as a “counter-culture,” and if its denizens ever bothered to read anything, they would find Wright's outlook very congenial. All those statements about getting away from the artificialities and anxieties of urban life, standing foursquare on the land, while harking back to Thoreau and Whitman, all this strikes a sympathetic note today. Wright understood that modern technology posed a new kind of threat to nature, creating a moral and ethical dilemma which is fundamentally different from the revelations about nature experienced during the Romantic Movement. You will also notice that, forty years ago, Wright had identified the impact of modern mass com- munications on urban decentralization, back when Marshall McLuhan was still in college. In 1932, the people who considered Wright romantic and irrational were worrying about whether the “International Style" would prove to be a truly universal form of architectural expression. If they thought about the car at all, it was about its functional appearance, not its effects on our cities. 45 Community Center, Point Park, Pittsburgh, 1947 (above). 46 Broadacre Citv also illustrates the integra- tion of buildings and landscape, which was, of course, one of Wright's lifetime preoccupa- tions although one tends to turn off all that rhetoric about “prairie houses,” which seems rather overblown when you reflect that most of the houses ended up on suburban lots. Norris Smith theorizes that Wright felt this contradiction very deeply, and that it was one of the considerations which ultimately drove him to leave Oak Park. After this deci- sive break in Wright’s life, he was freed to animate concepts which had only been sug- gested in his suburban houses. Take Taliesin in Wisconsin (1911); the project for the E. L. Doheny Ranch (1921), which had landscaped roadways running along the rooftops of his buildings; or take the proposal for San Marcos in the Desert (1927). Again, the full implica- tions of what he was trying to do are only becoming clear today. The latest Design Awards of Progressive Architecture indicate that many architects have become interested in the problem of making large building complexes integral with the landscape. This year, for example, a prize was awarded to a housing project designed as part of a dam; a few years ago, the first award went to a housing development de- signed as part of a hill. When you consider that Wright was working on the implications of such ideas more than 50 years ago, it is not so surprising that he got a bit peevish in his old age. But wasn’t Wright against the city? It is not all that clear that he really felt it neces- sary that cities give way to Broadacres. Even if he did, one part of his mind remained fascinated with creating architectural concepts in scale with the American city. His cathedral for a million people, suggested for New York City, his Mile-High skyscraper, envisioned for Chicago, both were attempts to design some- thing that would be for contemporary cities what the cathedrals were for the cities of medieval times. In his more practical big city projects, Wright showed that he could design at an urban scale and that he understood the dy- namics of the modern city perfectly well. His 1947 proposal for a Community Center at Point Park in Pittsburgh has a much more appropriate scale than the collection of small- er buildings now occupying the site, and it Civilization always seemed to need the city. The city ex- pressed, contained, tried to conserve what the flower of the civilization that built it most cherished. The city may be said to have served civili- zation. But the civilizations that built the city invariably died with it. Did the civiliza- tions die of it? Frank Lloyd Wright, 1930 Above, Crystal Heights, Washington, D. C., 1939. Illustrations courtesy Museum of Modern Art, New York FORUM-JUNE-1972 WASHINGTON would have made the city and the building part of one composition, where the highway enters the city and coils around upon itself — a concept that anticipates some of Louis Kahn’s proposals for Philadelphia. More pragmatically, the parking profits probably would have brought a lot of money for the municipality and, who knows, it might well have stimulated the downtown economy by introducing ample parking before Pittsburgh’s dispersal to the suburbs had really begun. Wright’s Crystal Heights design for Wash- ington, D.C., begun in 1939, actually stems from his 1929 St. Mark's-in-the-Bouwerie project for New York’s lower east side— three glass towers, clustered around an old church on a park-like site, combined with the structural organization from Wright’s National Life Insurance complex of 1921. Crystal Heights also shows that Wright understood the bad effects of conventional zoning which separates building types, causing whole city districts to be used only part of the day, weakening the interrelationships which are essential for the continued health of our urban centers. We feel quite proud of ourselves for help- ing to introduce mixed-use special zoning districts and redevelopment projects into New York, but old Mr. Wright was drawing them up when we were in our preschool days. Crystal Heights was a good, practical re- development scheme, too; it is very similar to the basic parti of several recent downtown renewal plans. That doesn’t necessarily mean that one takes Crystal Heights as the only model for mixed-use developments. One of the most depressing legacies of the “saga of modern architecture” is the idea that we are all on some kind of historical assembly line where one thing inevitably leads to another. Wright was an American and understood and shared American attitudes towards the automobile, the private house, and the skyscraper, which Le Corbusier and the other Europeans really have not. Wright was also a great architect and visionary whose importance today is not that we should all become his imitators and dis- ciples, but that we should feel free to test our ideas against the organizational concepts that Wright has defined in a very original and comprehensive way. 47 TWE TIET CENTURV CKS Paul Rudolph's approach to modular housing shows that the assembly line can be a human as well as economic asset It took only a month to fill the 148 housing units of Oriental Masonic Gardens. The 12-ft. wide modules, shipped 250 miles to the New Haven site, were stacked up in clusters, and softened by decent landscaping. Each can accommodate two to five bed- rooms. Based on cooperative owner- ship, residents have recognized the uniqueness of what they have, giving these homes a human as well as technological significance. FORUM-JUNE-1972 There are some human rights people take for granted. But there are others which have never been adequately assessed. Take the right to shelter. Every housing act since 1949 has promised “a decent home and suitable living environment for every American family.” But we have miles to go before that promise is kept, and the grating question persists whether this right, inalienable or not, will ever be guaranteed by law. Housing is still a commodity in this country. And where there have been risks in building it, as in the low and moderate income field, speculators expect (and get) rewards for taking those risks. Given this background, it may be hard to see how any architect could make a substantial dif- ference in helping solve the na- tion’s housing shortage. Yet, an architect, attuned to deeper hu- man needs, aware of another dimension of human rights, has been trying. Once again, he turns out to be Paul Rudolph with his “20th century bricks.” Mr. Rudolph’s “bricks” are modular housing units, factory- assembled with plumbing, wir- ing and finishes, and trucked to the site for installation. Modu- lars are not, of course, a new idea, but Rudolph has trans- formed our assembly-line capa- bility into a new idiom. The first built example of what Rudolph has been trying to do is the Oriental Masonic Gardens in New Haven, where his “bricks” were sponsored, natur- ally enough, by a black organiza- tion, Prince Hall Masons. Getting away from those stand-bys, the row house and the single-family dwelling, Rudolph clustered the 148 units in groups of four around a central utility core. Measuring 12 ft. wide and 27 to 51 ft. long, these range in size from two to five bed- rooms. The two and three-bed- room units (with one bath) con- sist of two modules, the upper one stacked at right angles to the lower one. The four and five- bedroom units (with two baths) have a third module stacked over the living room. In all cases, the upper modules extend out and create a sheltered porch. In ad- dition, each has its own 30 x 30 ft. courtyard enclosed with a six-foot-high garden fence of the same grooved plywood used for siding. / BE و‎ Pad al: ۳م‎ d In — eon : LS ab SITE PLAN Rudolph not only managed to create a sense of place and pri- vacv here, he managed to beat the box-like uniformitv of so much recent house construction. At New Haven, he accomplished this bv using vaulted ceilings, rising to ten feet, made of curved plvwood panels. These provide contrast to the lower eight-foot ceilings, allow clere- storv windows to let in extra light, and enhance the sense of space. In this wav, Rudolph takes the modular bevond its measurable three dimensions. Despite its delights, the proj- ect points up the problems of the modular housing industry. The most obvious question is cost. A few years ago, the “mod squad,” the 300 or so companies now engaged in production, were predicting a 20 percent labor savings on a $20,000 house; it turned out to be five to ten percent. Rudolph’s units ended up sell- ing for $21-23,000; that’s about as expensive as conventional on- site construction. The problem is that factory efficiencies have not yet been perfected to the point where modular units are competitive with traditional builders. There are a number of reasons behind this. One is that any sav- ings in labor at the factories is often off-set by high transporta- tion costs. For example, Ru- dolph’s modules were trucked 250 miles from a factory in Maryland; his plywood vaults, made in Connecticut, had to be shipped to Maryland. Another reason for high costs is that a modular plant has to serve a wide geographic area. Local code variations often cause costly fluctuations in factory output, and many major modu- lar procedures are operating at less than 50 percent capacity. Therefore, the problem is not that factory-built techniques and good design are incompatible; the problem is eliminating archa- ic barriers to factory efficiency, shipping limits and installation delays. Rudolph’s housing antici- pates what might be possible in design (and human) terms were all the other problems taken care of. He has demon- strated, once again, great per- sonal versatility in the face of a new design idiom—the as- sembly line. His modules worked with the required 12 ft. width limit for trucks in most states, 50 and he gave these families some- thing to care about, work for, and keep up, which is what cooperative ownership is all about—giving the poor, the dis- possessed and the downtrodden the chance to earn the rights we have denied them, including the right to shelter. How sincerelv we acknowledge this right has a lot to do whether or not thev will ever have (or even care about) access to all the others. Last vear, for example, over 500,000 new housing units came under some form of government subsidv; vet, official estimates show that from one-fifth to one- half of those funds never reached and benefited the people for whom the monev was in- tended. Instead, when not si- phoned off bv fraudulent means, these funds went to the specu- lators, the builders, the lenders, the attornevs, the insurance companies. In many instances, lower income families who have been gouged by slumlords also have found themselves gouged by well-conceived, badly man- aged subsidy programs. At New Haven, Rudolph has successfully delineated an alter- native to the subsistence-style surroundings the poor have been saddled with so long. They have their say in how it is run. They have a stake in seeing it improve. Such investments of time and care—call it “sweat equity”— is what decent housing should inspire, and it is the kind of action which may make poverty (and subsidies) less a burden for future generations. That, at least, is the hope everyone should be able to agree on. And, of course, the best hopes are built ones. FACTS AND FIGURES Oriental Masonic Gardens, New Haven, Connecticut. Architect: Paul Rudolph; job captain, Yuji Noga. Landscape ar- chitect: City of New Haven, Landscape Architecture Department. Engineers: Paul Gugliotta (structural); Hubbard Lawless & Osborne (mechanical, elec- trical). General contractor: Hercoform Inc. with George B.H. Macomber Co. Building area: approximately 175,000 sq. ft. Cost: $3,213,259. (For a listing of key products see p. 72.) PHOTOGRAPHS: Joseph W. Molitor, except p. 50, Northway Studio. By manipulating the modules, Paul Rudolph built drama and variety into the project. The plans (right) explain how the lower modules (containing living/dining/kitchen space) relate to the upper ones (containing bedrooms and baths). This stacked arrangement, the modules clustered at right angles, gives each family a sheltered porch. ) N SECOND FLOOR 3BR UNIT CLERESTORY \ FIRST FLOOR PORCH 1 3 k COURT COLL G S FOR NEW LIFESTVLES A dormitorv complex at Radcliffe College is designed around new concepts of campus living The Audrey Bruce Currier House was built for changing modes of campus living. The most ambitious dormitorv proj- ect at Radcliffe College (Cam- bridge, Mass.), the house is designed to promote social in- teraction and, at the same time, provide privacv for students and activities requiring it. The complex includes four five-story residences and one two-story central commons building, clustered in the shape of an E, with courtyards in be- tween. The commons (and en- try) building is the central gathering place for visitors and students; the dormitory units are designed for smaller, more inti- mate groups. Kitchenettes and lounges are located throughout the buildings, keeping the atmos- phere relaxed and the refresh- ments close by. When Architects Harrison & Abramovitz started work, they and the college concentrated on interior spaces first; the exterior afterwards. It was evident that campus lifestyles were chang- ing and the house was designed to change with them. If co- habitation arrives officially, Currier House will be ready. The central entry and com- mons area forms the center portion of the E configuration. At the tip is a lobby and mail room at ground level, with of- fices above. The mail area ex- tends backward to a one-story glass gallery that is the top level DORMITORY | DORMITORY L, — PLAN ENTRY BUILDING of a two-story lounge located below ground level. To the rear, and covered by a skylit terrace, are single-story dining areas. The dormitory buildings, each of which houses 80 students, have public areas on the ground floors. Student rooms above are of equal size, but varying shapes, and exposed concrete columns provide textural inter- est. A typical floor has pairs of single rooms separated by a bath, with larger suites (and kitchenettes) at the ends of the halls. The top floor has a large terrace all around it, with two- to four-student suites. The scale of the buildings relates to the Georgian architec- ture that is traditional at Rad- cliffe and the New England en- virons. The facade is brick and concrete, with the lower floors partially recessed beneath street level and the upper floors set back for continuous balconies. Audrey Bruce Currier was the daughter of Ambassador David Bruce and Ailsa Mellon Bruce. She was a philanthropist with a deep concern for cities and their people that was matched only by her and her husband Stephen’s personal modesty. He founded and funded Urban America, under which he as- sumed publication of the ARCHI- TECTURAL FORUM in 1965. In 1967, the Curriers and the pilot of their small plane were lost in the Caribbean. No trace of them has ever been found. DORMITORV Currier House is composed of five buildings (plan), with courtvards de- fining the separations. The street entrance to the complex (top) is over the terrace that covers the dining areas below, which are topped bv a skvlight. The campus entrance (photo, left) is through the two-story entry building, which extends backward to become the gallery of the living room (photo, right). The gallery provides a rear entrance level for persons com- ing into the buildings from the street. FACTS AND FIGURES Audrey Bruce Currier House, Cam- bridge, Mass. Owner: Radcliffe Col- lege. Architects: Harrison & Abramo- vitz (Paul Wingett, project manager). Engineers: Lev Zetlin Associates (struc- tural); Cosentini Associates (mechani- cal); Eitingon & Schlossberg Associates (electrical). Landscape Architect: Diane K. McGuire. General Contractor: Vappi & Co., Inc. Building Area: 156,000 sq. ft. Cost (including site and furnish- ings): $7.3 million. Photographs: Ezra Stoller ©ESTO. " ph NI t suma ٣ bic i "agna e n A NEW SPIRIT OF THE LAW Looking up precedents, Washington University’s law school built one The site plan shown below explains the relationship of the completed law school and social science building to the existing campus and to their proposed system for future growth. 1 | li ae ee "I | | 1 | = FUTURE EXPANSION 0 i FORUM-JUNE-1972 Cloistered in the chaos of St. Louis is the tree-shaded cam- pus of Washington University. Laid out in 1899 by Philadel- phia Architects Walter Cope and Emlyn Stewardson, its court- yards and quads range along a narrow east-west ridge. Laid up in Collegiate Gothic, its cren- elated granite walls are a little deceiving, however. Far from preserving academic sanctity, these walls are for scaling. And, between gulps of Budweiser and midnight oil, students are sport- ingly bent on doing just that. So apathy has not afflicted everything in St. Louis. The proof is in the parti of the new law and social sciences building at Washington University, de- signed by Architects Dolf Sch- nebli, George Anselevicius and Roger Montgomery, whose still- controversial concept won out over over 150 others in a 1965 competition (April '66). The competition program, in two parts, called for a 60,000 Sq. ft. law school and a 25,000 Sq. ft. addition to the old Social Sciences Center; second, it called for ideas about a build- ing system which could grow incrementally, handling future expansion of the two new struc- tures as well as future facilities for chemistry and engineering. The first part of the program concerned two and a half acres; the second part, another seven. The new complex, while avoiding any cosmetized con- formity with the existing cam- pus, amplifies its 19th century concept. There are courtyards. The various parts interconnect in a casual, if well-organized, manner. There is human scale. Instead of devising several dif- ferent solutions, the architects came up with a single design idiom to guide growth. Because the overall site drops off more than 50 ft. toward the northern fringe of the campus, the architects came up with a growth system which would be susceptible to both horizontal and vertical expansion. Because they had to accommodate every- thing from small offices (150 sq. ft.) to a huge library (32, 000 sq. ft.), they came up with a system in which spaces could be expanded or contracted. The result might have been modules run amuck. There is the structural module (19 ft. 6 in.) which runs (north-south) through the entire site. There is the planning module 55 (4 ft. 6 in.), generated by li- brary stack requirements, which runs (east-west) through the en- tire building. The structural module is open-ended. Column spacing does not have to line up throughout the complex, making future mutations of space easier. This module is spanned by a "folded plate" of concrete, which reads out as the zig- zagged roof contour you see in the pictures. The “plate” takes care of larger spans and such spaces as major classrooms, the courtroom (which is actually used and seats 350), lounges and seminar halls; a one-way rib system takes care of office and library stack space. Internal flexibility was en- hanced by placing the mechani- cal equipment topside. Hori- zontal ducts read as honestly as vertical chimneys do, becom- ing architectural elements in the process of expressing a func- tional one. These, like the con- crete plate roof, are finished in batten-seamed terne, painted a | terrifically shocking green. The window frames are yet another Shocking green. This is the only instance in the building where you feel it fails the university's expressed desire for a “fleeting visual image," whatever that is. Other examples of animation occur inside; some of the austere expanses of concrete have been livened up with glossy enamel colors that recall, none too positively, the shellacking archi- tecture took from l'art deco. A more natural form of ani- mation occurs in the spacious, multi-level courtyard, which you come upon from the center of the campus. Actually it is the roof of the law library, where most students spend non-class time cracking books and look- ing up case studies. The stacks are open; students and profes- sors alike can sally into them from the top and three sides. The structure holding up the classroom and office areas around the courtyard will be filled in eventually with two or three new library levels. The facilities and resources for both legal and social science study were conceived on an in- tegrated basis, leading to this integrated structural system. The social science program em- braces the departments of eco- nomics, sociology, anthropology and political science; the Insti- tute of Urban and Regional 56 CONFERENCE E ; EO || Jm (| os SECTION A-A E mim =s ADMINISTRATION PHE | == led سو لت لت بل‎ dra Dd y Ed, تتا‎ E à l3 == a 8 == 11 [ e bd aha 5 EES | | | li = ie te HN) od i 1 . ين‎ ۹۵ 0 : ag il EE EE TAT LIBRARV LEVEL 1101 SOCIAL SCIENCES —>|«—LAW SCHOOL The plans explain how classrooms, the courtroom and administrative offices are clustered around the open plaza (opposite, above), which is actually the roof of the library stack area. The unfilled concrete structure beneath the classrooms (section, right) will later become library space; the area beneath the courtroom (section, left) is part of the library’s reading room (opposite, lower right corner). With its raw, exposed concrete and ductwork, the building has all the flaws and strengths of a proletarian manifesto; a flaw in the form of an austerity, exhausting as it is arresting; strength in the form of spaces, flexible enough to discourage the dogma you get with most manifestos. Studies; and the Graduate Insti- tute of Education. These de- partments share twelve seminar rooms, various unassigned of- fices, a magazine library, gradu- ate study space and three small student lounges. This encour- ages a deliberate rubbing of elbows between students of law and of the social sciences. This intentional (and about- time) blending of disciplines is sorely needed in St. Louis. It takes under 30 minutes to get beyond the city limits. With 70 percent of the inner city’s housing rated below standard, with little or no interest in spending money for rehabilita- | tion, with suspicion of the con- trols that go along with federal subsidies, downtown is dying. In 1960, there were over 750,- 000 residents; 28 percent of them black. In 1970, there were less than 623,000; over 40 per- cent of them black. If you need statistics to explain what copping-out on a city means, | these are it. St. Louis broke in the West but is now so locked into de- | cline that even dissent has be- come futile. What you have left are some very spacious, very empty parks; the civic | hyperbole of Saarinen’s river- front Arch; the bombed-out ruins of the Pruitt-Igoe public housing project; Louis Sullivan's Wainwright Building; and Eads Bridge, a 19th century poem spanning a 20th century sewer. Apart from the never-ending squabble between the city and the 100 or so suburban jurisdic- tions around it, the last vestiges | of ferment seem to be at Anheuser-Busch. It might be a good idea for those people who are thinking of giving up on St. Louis to look over this building and what it stands for. From com- petition to completion, it has evolved as a forthright response to student motivation. Those motivations have to do with service to people, service which goes beyond accommodating present-day wants, service which shows people new ones. That kind of service is what the young lawyers and social Scientists here are preparing to render; the kind of service archi- tects should. That goal sug- gested the growth system you see now and has yielded, be- yond structure, a new symbol of intent for St. Louis. — WILLIAM MARLIN 58 Spanning the law library stacks is the windswept austerity of the multi-level courtyard which you come upon from the center of the campus (opposite, above). Inside, the austerity is partly relieved by multi-level spaces like the student lounge (opposite, below). FACTS AND FIGURES The Seeley G. Mudd Law Building and | Social Science Building, Washington University, St. Louis. Architects: Schnebli, Anselevicius, Montgomery. Associate Architects: William W. Rupe and Robert E. Matter. Landscape Ar- chitect: George Dickie. Engineers: Alper Associates (structural); Londe/ Gordon/Parker (mechanical, electri- cal). General Contractor: McCarthv Brothers Construction Co. Inc. Build- ing area: 121,000 sq. ft. Cost: $4,450,- I 000 (construction); $132,000 (furnish- ings and equipment). | (For a listing of key products see p. 72.) PHOTOGRAPHS: Balthazar Korab RT په‎ ۸ ٨858 a un A PTTL LLL hb bbb e | a^ JU l à ; H BANK THAT LURES -W CUSTOMERS The new Seamen's Bank combines the romance of the sea with modern elegance 60 It was a hard act to follow. But Architects Carson, Lundin & Shaw succeeded with style when they did an interior redesign for the Sea- men’s Bank for Savings. The bank took over space vacated by the reduced operations of the festive La Fonda del Sol restaurant in Manhattan’s Time/Life Building. The primary design limitation was the asymmetry of four col- umns that punctuate the floor area off centers. Otherwise the archi- tects enjoyed freedom, with the bank demanding only that the new design reflect the bank’s maritime heritage and that it contain 19 tellers’ stations. “We had no choice on the shape of the counter area,” says Arvin Shaw modestly. “It was the only shape that would accom- modate enough tellers and somehow work around those columns.” The counter area, faced with white-flecked, deep green marble, wraps around the columns like the profile of a great wave, leading visitors into and around the bank. The overhang shields a mez- zanine area housing the bank’s archives, supplies and accounting. The columns are played up, with mirror-finished stainless steel wraparound panels, making them a gleaming counterpoint to the marble hues and neutral-toned carpeting. A similarly mirror-clad service desk stands as an echo of the column finish and the counter shape. The furnishings are of an unobtrusive, classical design, matte black. For someone with an interest in the sea and ships, a visit to the Seamen’s Bank is special because the bank uses its offices to display a collection of maritime art and memorabilia. This branch features models of naval and merchant ships against the green marble, chosen for its resemblance to the ocean. The bank was founded in 1829 as a philanthropic institution to protect the earnings of merchant seamen from the neighborhood pubs, which were the usual repositories of such funds. The trus- tees of The Society for Promoting the Gospel among Seamen were the founders, and the bank was open to sailors exclusively until 1833; since then, the general public also could be saved. When this branch opened its doors, it had estimated its business volume for the first six months. In three weeks, business had already surpassed the six-month projection—often, says the man- ager, “because people see us and come in ‘just to look.’ Then they return and open an account.” Hd f L i SERVICE =. | 5 " i 1 حا‎ | E EN l ^ JS TIN jiem LT DESK OFFICERS OFFICE VAULT FACTS AND FIGURES The Seamen's Bank for Savings, New Vork Citv. Architects: Carson, Lundin & Shaw (J. D. Stephen, William Traut- man, associates in charge). Structural Engineers: Edwards € Hjorth. Me- chanical & Electrical Engineers: Syska & Hennessy. General Contractor: John Gallin & Son, Inc. Renovated Area: 8,033 sq. ft. (For a listing of key products used in this building, see p. 75.) PHOTOGRAPHS: Alexandre Georges. FORUM-JUNE-1972 The long sweep of tellers’ stations (far left) makes the bank seem larger than it is and directs a visitor's eye around the entire area. In the center of the floor (below) is a mirror- finished service desk, distinguished by overhead lighting producing intri- cate reflective patterns on the ceiling. (The bank, which also boasts a trough of light over the teller counters, won the 1971 Lumen Award from the Il- luminating Engineers Society.) Across from the tellers, the bank officers occupy a row of classic matte black furnishings, set off by a large ship on the far wall (middle photo). FORUM-JUNE-1972 N FOR FOR THERAPY Emotionally well spaces offer new outlets for emotionally disturbed children UPPER LEVEL LOWER LEVEL Each house, while complex in overall form, is essentially a set of repeated elements. The plans (above) help ex- plain the helical configuration of the ascending levels, each three steps above the other. The six sectors, emanating from the center, define the Individual rooms on the periphery of the structure as well as the central commons area where all activities are easily supervised. This isn’t just farmland. Walking around the 180-acre site of the Winnebago Children’s Home near Neillsville, Wiscon- sin, you would think you had made the return to nature. It’s all good therapy for the emotionally disturbed children living there. Cows are grazing on the hillsides. There is the Black River to wade in. You glimpse grain silos through the trees. And, sprouting from the contours like cubistic teepees are the Home’s four new resi- dences by Skidmore, Owings & Merrill. Put out to pasture, Architect Walter Netsch’s “field theory” has yielded architecture with emotion and intimacy. Instead of the long, antiseptic corridors of most institutional buildings, these houses are con- ceived for another, more com- passionate kind of surveillance, that of spontaneous interaction between children and teachers. Each holds ten children and their house parents. Four double and two single bedrooms are clustered around a large interior commons, where the real inter- action occurs. The bedrooms provide privacy and identitv— ceilings slope from a high ridge (diagonal to the room) down to a low point over the sleep- ing alcoves. Over the central commons, the diagonal gable roof spans the distance from the outside rooms to the troika of poles in the center. Level changes identify changes in function: six spatial sectors, composing the plan, emanate from its center. This generates a kind of helical configuration of levels, each three steps above the other, around the central fireplace. Beneath the higher portions of the buildings are outside cov- ered areas; a paved terrace, ad- jacent to the kitchen, for din- ing and recreation. There is also storage space beneath each building for bicycles, toboggans and other outdoor equipment. People are often disturbed by the world around them because of their sensitivity to it. The Winnebago program seeks to stimulate the child's innate qualities, those which broken homes (or fragmented surround- ings) discourage; it seeks to soften old blows, replacing isola- tion with interaction. Such simple wisdom shouldn’t be hard to come by (or build), unless you’re without emotion. 63 The interior spaces are animated, not static. Low areas give way to high ones; level leads to level; varied moods are articulated as surely as varied functions. Individual rooms overlook the commons area, tying them all together in a family-style arrangement (right, below). At the cen- ter, a troika of telephone poles lurch upward like the supports of some latter-day teepee (right, above). FACTS AND FIGURES Winnebago Children’s Home, Neills- ville, Wisconsin. Architects: Skidmore, Owings & Merrill (Walter Netsch, partner in charge; W. O. Rueter, de- sign; R. A. Sanchez, technical). Interior design: W. Punzio. General contractor: The Wergin Co. Inc. Building area: 3,200 sq. ft. (each of four buildings). PHOTOGRAPHS: Orlando Cabanban 64 (continued from page 23) FORUM-JUNE-1972 hearings on the pipeline subject would have been a “circus.” It is not a particularly enter- taining spectacle to imagine where the real circus will be if Interior’s faith in the oilmen’s competence isn’t borne out by experience in the field. DISNEYANA IN THE SIERRAS High in the Sequoia National Forest, halfway between Los Angeles and San Francisco, sits the exquisite Mineral King Val- ley, 7,800 ft. above sea level and surrounded by mountain peaks Productions plans to develop this alpine paradise into a year- round recreational complex, and Sierra Club, whose members are devoted to the protection of natural resources, hopes to pre- vent this from happening. When the U. S. Forest Service invited bids in 1965 for construc- tion of the commercial ski resort on the 80-acre site, Disney’s bid—which outlined a $35-million complex of hotels, motels, res- taurants, ski lifts and a nine- level garage—was chosen. The tourist count was going to be high—twice as dense as Yose- mite on a busy day. To accom- modate this flood of humanity, a fine highway was planned; access across Sequoia National Park was granted by then Inter- ior Secretary Stewart L. Udall. (Jan./Feb. '68, Mar. '69 issues) The Sierra Club, horrified at what all this would do to the fragile ecological balance of the valley, sued on behalf of its 78,000 members and the gen- eral public, and was granted a temporary injunction in 1970 from the Federal District Court in San Francisco. The Supreme Court has now overruled this decision on the ground that the club of citizens had no legal standing to sue, which we find puzzling: some groups have been successful in suing as citizens: witness the Hudson River Ex- pressway and the fiercely-fought Storm King Mountain cases in New York. Last month Walt Disney Pro- ductions announced a revised plan for the valley. No highway will cut through to Mineral King. Instead, a narrow-gauge, elec- trically - powered, cog - assisted railway is proposed, eliminating the need for the highway and, praise God, the nine-level park- ing garage. Cars will now be banned. The recreational facili- ties will be scaled down consid- erably to accommodate the limited number of people (about 4000) the train could carry up to the valley floor every day. Someone has pointed out that the revised plan means state costs will be only $2 million (to improve the primitive existing road) instead of $38 million it would have cost to build the originally-planned highway. Who pays for the cog railroad has not been determined. Michael McCloskey, executive director of the Sierra Club, has said the project as revised is still huge, and the public will have no guarantee that things won't expand once the hotels and restaurants are there. Says McCloskey of the Supreme Court's decision: “A technical setback, but by no means the end of the line. . ." EPA FIRM ON CLEAN AIR Will we have no new cars after three years? Henry Ford has said the automobile industry would have to suspend produc- tion in 1975 because the emission standards set up in the 1970 clean air act are impossible for Detroit to cope with. The decision of William D. Ruckelshaus, Environmental Pro- tection Agency chief, to deny The lady is a well-kept woman in May industry requests for a year’s postponement was praised by environmentalists and con- gressmen who sponsored the act. Paul G. Rogers (D. Fla.) called the decision “courageous, and the single most decisive action taken by EPA yet.” The automobile companies are now obliged to produce an en- gine with a 90% reduction in hydrocarbons and carbon mon- oxide from the 1970 models. Im- proved carburetion and a fast- release choke will accomplish part of the clean-up, but the stumbling block is where most of the cleaning would take place: the final converter containing the catalytic material, usually platinum, which causes hydro- carbons and carbon monoxide to break down to water and car- bon dioxide. Ruckelshaus appears to be very sympathetic to Detroit's catalyst headache, but felt that, after 2,000 pages of material submitted, the auto makers still hadn't proved that technology can't handle the emission con- trol problem. EN AR! THE LADY IN THE CUBE Artist/Architect/Visionary Paolo Soleri has sculpted this lady, which he calls “Il Donnone", for the Phoenix Civic Center. The cube represents shelter, and the woman, “the creature for whom the shelter is made." (They don't have women's lib yet in Arizona.) She is made of steel and will turn rust-red. Paolo Soleri is the designer/ director of Arcosanti, the future- structure city he is slowly build- ing out in the Arizona desert, with the help of architecture students who come every year to do construction work. UNIVERSITY APPOINTMENTS Montana State University an- nounces the appointment of Ilmar Reinvald as head of the School of Architecture at Boze- “MSU Dean Ilmar Reinvald man. He succeeds James Gough who was head of the school for five years. Estonian-born Rein- vald has won awards in several design competitions, and has an architecture practice in upstate New York. e David A. Crane, former chair- man of urban design of the Graduate School of Fine Arts at University of Pennsylvania, will become the first dean at Rice University’s School of Architecture. Crane is senior partner of an urban planning and architectural firm based in Philadelphia. Crane has, in turn, chosen Alan Y. Taniguchi, who is cur- rently dean of the School of Architecture at the University of Texas, Austin, to be the new director of the School. The University of Texas at Austin, on the other hand, know- ing that a good man is hard to find, has yet to find a dean to replace Alan Taniguchi, and has set up a search committee. In the meantime, Assistant Dean Sinclair Black has been appoint- ed acting dean. NEW ARTS COUNCIL PRESIDENT John B. Hightower, of recent fame as the director of the Mu- seum of Modern Art who got fired (Mar. ’72 issue), has been named to succeed John MacFad- yen as president of the Associa- ted Council of the Arts. In turn- ing over his office to the new president, MacFadyen said, “Ten years ago John Hightower 66 joined me on the staff of the New York State Council on the Arts and succeeded me as ex- ecutive director in 1964. My high admiration for him has increased consistently . . . John is deeply committed to promoting the role of the arts in the process of social change. I cannot think of anyone better qualified to lead ACA.” Mr. Hightower was selected for this post by an ACA com- mittee of three men: one of them is David Rockefeller, who, as a trustee of the MOMA, was quoted last spring as saying of John Hightower on the occasion of firing him, “A year ago we expressed doubts to him.” The ways of the great are ever mysterious. DIED Henry A. Pfisterer, on the fac- ulty of Yale’s School of Archi- tecture for over thirty years, died on May 26 at age 63. Pfis- terer was best known as an en- gineer of great virtuosity, and as an inspired and inspiring teacher of architectural engi- neering to hundreds of Yale graduates. Shortly before his death, the Yale Arts Association, an alumni group, named him the 1972 winner of its annual Medal. In the accompanying citation, the alumni told Pfisterer that “the bulk of the credit for Yale's long distinction in the structural engineering side of architectural education goes to you." COMPETITIONS PPG Industries Foundation has invited ten schools of architec- ture (one in each of the ten largest cities in the U. S.) to participate in a competition for a $25,000 grant. Entrant must simply state what the school would do with the money to im- prove the education of students in subjects relating to energy conservation as it affects con- struction and building operation. The nine non-winners will re- ceive $1,000 as a consolation prize. e The Federation of Artists of Applied Arts of Yugoslavia (FAAAY) announces an interna- tional competition DESIGN 72, with cash prizes totaling approx- imately $50,000. The aim of the competition is to bring together producers and good designers; and the Yugoslavs hope that improved design will result in increased market sales abroad. Items in all categories are eligible, from furniture, tex- tiles, lighting fixtures and plas- tics, to tools, tovs, readv-made clothing, and souvenirs. The competition is open and anonymous. FAAAY will have an industrial production option on the winning projects for a period of some months. Design- ers may enter works that have not yet been in serial production, or published. All projects should arrive in Yugoslavia by October 25, 1972. Participants may send $3 for full details to: Akcijski sekretariat za industrijsko obli- kovanje SPID-YU, c/o DLOS, Titova 21/1, 61000 Ljubljana. e American Institute of Steel Construction will sponsor a com- petition to encourage “the crea- tive use of structural steel'. Buildings of all classifications are eligible. They must be: 1) located in the U. S., 2) framed with domestically produced and fabricated steel, and 3) complet- ed after Jan. 1, 1970 and before Aug. 26, 1972. Winners will re- ceive stainless steel plaques. Deadline for submissions is Aug. 26, 1972. Write: American Insti- tute of Steel Construction, 101 Park Avenue, N.Y., N.Y. 10017. e Entries in the Portland Ce- ment Association’s White Ce- ment Architectural Competition are due July 31, 1972. Any build- ing featuring white cement con- crete as the principal material is eligible. The concrete can be precast, cast-in-place, any shape masonry, stucco, terrazzo, etc. Building must be located in and designed by architects having offices in the U. S. Construction must have been completed be- tween Jan. 1 and Dec. 31, 1971, with first occupancy during that time. Write: Portland Cement Assoc., Old Orchard Road, Sko- kie, Ill. 60076. e The Prestressed Concrete In- stitute is inviting entries in their competition for awards in design using precast and/or prestressed concrete, especially where used to achieve “esthetic expression, function and economy.” All reg- istered architects and engineers practicing in the U. S., its pos- sessions, and Canada are eligible to enter. Any kind of structure completed within the last three years may be entered. Deadline is July 10, 1972. Write: Pre- stressed Concrete Institute, 20 North Wacker Drive, Chicago, Ill. 60606. On Readers Service Card, Circle 31: ¡nor CUP د‎ CNQIQCIENMSHMCOIV BQUNQUS IN its simplicity and Implicit integrity, With a polished chrome-plated steel frame, the Club Tub is ovail- able in a wide selection of vinyls and soft fabrics. Compact. Comfortable. Luxurious. And like all [honet furniture... built to endure. see all the new excitement in contract furniture at a Thonet Center of Design. New York. Chicago. Los Ange- les, San Francisco, Dallas. Miami. Or write Thonet Industries, INC, One Park Avenue, New York, 10016. | Y 1 "mE. ud n prn j N M EEN sete Bes, THONET @ CENTER OF DESIGN ` HARDWARE: 20 UCT VI WN (continued from page 72) Manville. ACOUSTICAL MATERIALS: National Gypsum. FENESTRATION: Ceco. GLASS: PPG. INTERIOR PARTI- TIONS: U.S. Gypsum. ELEVATORS: Dover. DOORS: H.M. Coast Line Steel Products Co., Weyerhaeuser, Creson. Sargent, Hagar, Van- Duprin. PAINT: Pratt & Lambert. ELECTRICAL DUCTS & WIRING: Ana- conda Wire. ELECTRICAL EQUIP: Federal Pacific Electric Co. STANDBY EMERGENCY POWER: Kafolight Corp. LIGHTING FIXTURES: Prescolite, Light Craft, Omega. PLUMBING FIXTURES: American Standard, Beneke. UNIT HEATERS: Webster. UNIT VENTILA- TORS, RADIATORS, CONVECTORS: Vulcan. HEATING VALVES, PIPING, CONTROLS: Kunkle, Bell & Gossett, Honeywell. AIR CONDITIONING COM- PRESSOR, FAN UNIT: Carrier. UNIT AIR CONDITIONERS: McQuay. DIF- FUSERS, DUCTS, PUMPS: Titus. SPE- CIAL FANS & VENTILATORS: American Standard. SPRINKLER SYSTEM & FIRE PROTECTION EQUIP: Elkhardt. WATER COOLERS: Halsey Taylor. BOOK RE- TURN: Mosler. VENETIAN BLINDS & SHADES: Louver Drape, Inc. FINISH FLOORING & CARPETING: Commer- cial Carpeting Corp. AUDITORIUM SEATING: Heywood Wakefield. ADDI- TIONAL FURNISHINGS: Herman Miller, Knoll, G.F., Design Craft. UPHOLSTERY & DRAPERY FABRICS: Herman Miller, Knoll. BOOK SHELVING: Esty. FILES: Steelcase. CUSTOM CASEWORK: Som- mers Corp. SEAMEN’S BANK FOR SAVINGS. AR- CHITECTS: Carson, Lundin & Shaw. (Materials & Manufacturers as sub- mitted by the architects). STRUC- TURAL STEEL: Birk Iron Works. DOORS: J.W. Fiske, John Langen- bacher Co., Hub F.P. Door Co., Inter- national Steel Co. HARDWARE: Schlage, Corbin, Stanley, Eaton, Yale & Towne, Rixson. PANELING: John Langenbacher Co. STANDBY EMER- GENCY POWER: Light Alarms Elec- tronics Corp. LIGHTING FIXTURES: Gotham Lighting Corp., Neo-Ray. PLUMBING FIXTURES, TOILET SEATS: Crane, Eljer, Church Seat. UNIT HEATERS: Trane. HEATING VALVES, PIPING, CONTROLS: Honeywell. AIR CONDITIONING COMPRESSOR, FAN UNIT: Carrier. DIFFUSERS, DUCTS, PUMPS: Agitaire. WATER COOLERS: Filtrine. FINISH FLOORING & CAR- PETING: V’Soske Carpet, Travertine, Kentile Cork. FURNITURE & SEATING: G.F. Desks, Langenbacher, Knoll, Stow-Davis. UPHOLSTERY & DRA- PERIES: Lazarus Verel. DRAPERY HARDWARE: Kirsch. ACCESSORIES: C-Line, Habitat. MIRROR FINISH STAINLESS STEEL: J.W. Fiske. SIGNS: Spanjer Sign Corp. SKELETON CLOCK: Simplex. OTHER CLOCKS: Robert Benjamin. VAULT: Diebold. TELLER’S UNDERCOUNTER EQUIP: Watson Mfg. Co. On Readers Service Card, Circle 317 SONICWALL Who said you couldn't use wood folding partitions to control sound? You can now. With twin panel Sonicwal® Look it up today in your 1972 Sweet's Architectural File 10.2 Pa. After all, wouldn't you rather work with wood 2 PANELFOLD WOOD FOLDING DOORS AND PARTITIONS 10710 N.W. 36th Avenue, Miami, Florida 33167 Discover a priceless treasure in... po eR 1" x 1" Decorator Tile Earthy colors that seem burnished by time, splashed in contrasts, flecked and sumptuously shaded in a special process that gives them an authentic patina of age. A beautiful way to dramatize your most creative concepts, avail- able in eight dramatic colors with full trims. Write for complete color brochure. co ZU PRODUCTS i 1 3371 GLENDALE BOULEVARD = LOS ANGELES, CALIF. 90039 A (UA o) HON». e. AOR On Readers Service Card, Circle 318 -On Readers Service Card, Circle 316 BULGARIA WELCOMES I.U.A. FOR ITS ELEVENTH WORLD CONGRESS The International Union of Architects will this year hold their Eleventh World Congress in Sofia and Varna, Bulgaria, to discuss ''Architecture and Recreation.” The Congress will highlight working sessions, visits to the world-renowned Rila Monastery, the Valley of Roses, largest in the world, and the fabulous Black Sea resorts of Bulgaria, which have made this area the new Riviera of Europe. The I.U.A. Congress has scheduled its calendar plan and working program, including sightseeing tours from September 16th to October 4th. For additional information on the Congress, please contact The American Institute of Architects, 1785 Massa- chusetts Avenue, N.W., Washington, D. C. (202) 265-3113, or the Bulgarian Tourist office, 50 East 42nd Street, New York, New York 10017. (212), 661-5733. On Readers Service Card, Circle 319 75 The — issue of TheħArchitectural Forui: willbe an editorial encounter with an “architects architect? Whitney Publications, Inc. ویسود EA‏ sy a LA WIC FIL PRODUCT LITERATURE To order material described, circle indicated number on self-addressed Reader Service Card, facing page 74. AIR CONDITIONING General Electric Company offers 16- page publication covering their 1972 line of Zoneline TM heating/cooling package terminal units for residential and commercial buildings. A detailed table presents pertinent BTUH ratings and dimensional data. On Reader Service Card, circle 200. CEILINGS Armstrong Cork Company announces publication of two new four-page fold- ers featuring Mylar-Surfaced Fire Guard ceilings, which are especially applicable in areas where cleanliness is a necessity, and Travertone Fire Guard ceiling systems, available in a variety of tile surface patterns. On Reader Service Card, circle 201. DOORS Builders Manufacturing Company, a division of Jim Walter Corporation, has issued a 1972 product brochure featuring custom door frames, special frame units, custom metal doors, and fire doors and frames. On Reader Service Card, circle 202. Kinnear Corporation offers 1972 24- page booklet describing and illustrat- ing their rolling doors and grilles and introducing the new prewired door operator. On Reader Service Card, circle 203. DRYWALL SYSTEMS United States Gypsum Company an- nounces publication of 20-page interior systems selector providing efficient comparison of more than 60 partition, ceiling, and structural fireproofing assemblies constructed with U.S.G. drywall products. On Reader Service Card, circle 204. FORM WORK Symons Corporation announces pub- lication of four-page brochure detail- ing the Max-A-Form concrete forming system. The booklet describes the main features and components of the system and illustrates how it has been used on typical forming jobs. On Reader Service Card, circle 205, FUME EXHAUSTERS The New York Blower Company has available bulletin covering FRP fume exhausters, corrosion-resistant fans designed for tough fume-handling ap- plications. On Reader Service Card, circle 206. GLASS SPANDRELS PPG Industries, Inc. offers booklet describing glass spandrel and insu- lated spandrel panels for building ex- teriors. Design considerations are pre- sented and a performance table listing sizes, weights, and thermal and sound insulating properties for the various Spandrelite® heat-strengthened glass products is included. On Reader Service Card, circle 207. HARDWOODS J. H. Monteath Company features 46 unusual hardwoods, most of which can be furnished as lumber, plywood 78 or veneers, in “Creative Hardwoods” brochure now available. On Reader Service Card, circle 208. NATURAL STONE Delaware Quarries illustrates and de- scribes various quarried and guillo- tined stones in new five-page color pamphlet. On Reader Service Card, circle 209. OUTDOOR LUMINAIRES Holophane Company, Inc. announces publication of its new “Quick Ref- erence Guide to Outdoor Luminaires and Applications,” an illustrated booklet enabling easy selection of the most suitable type of lumiraire for virtually any outdoor lighting job. On Reader Service Card, circle 210, J. H. Spaulding Company offers speci- fication catalog containing complete information on mercury vapor, metal halide, high pressure sodium, incan- descent, quartz and fluorescent lu- minaires for outdoor lighting applica- tion. On Reader Service Card, circle 211, SEALANTS The Chemical Division of Thiokol Chemical Corporation announces pub- lication of a booklet entitled ''Seal- ants and Structures" which highlights basic information on the history and use of building sealants based on LP& liquid polysulfide polymers. On Reader Service Card, circle 212. UNIT HEATERS The Wing Company, a division of Aero-Flow Dynamics, Inc. provides complete design and application data on over 500 distinct unit-heater op- tions in 16-page bulletin now avail- able. On Reader Service Card, circle 217. WALLCOVERING L.E. Carpenter & Company offers a comprehensive guide showing 26 of the more than 60 original patterns in the extensive Vicrtex® line. Also il- lustrated are patterns from Carpenter's companion line, Vicrwall@. On Reader Service Card, circle 213. WASHROOM EQUIPMENT Bobrick Washroom Equipment, Inc. has issued a 44-page 1972 washroom and hospital equipment catalog dis- playing more than 600 stainless steel washroom accessories. On Reader Service Card, circle 214. Bradley Washfountain Company makes available full-color brochure on its complete lines of single- and two- handle faucets and tub-shower fittings. On Reader Service Card, circle 215. WASTE COMPACTORS American Waste Treatment Svstems, Inc., subsidiarv of Ground Water In- dustries, Inc., announces availabilitv of brochure containing specifications and illustrations on its new ''Dens-A- Pak” unit, a waste compactor de- signed for multiple unit residence and commercial applications. On Reader Service Card, circle 216. Ait f | ( ARMSTRONG CORK COMPANY Batten, Barton, Durstine & Osborn, Inc. .................. IFC BULGARIAN TOURIST OFFICE Europican Marketing, Inc. ......... 75 COLLINS & AIKMAN Gaynor € Ducas Adv. ............. ses ee IBC EATON CORP. Fuller & Smith & Ross, Inc. ................. .... 68-69 ELKAY MANUFACTURING COMPANY The Biddle Advertising Agency 17-18 ENJAY FIBERS AND LAMINATES COMPANY Lord, Sullivan & Yoder Adv. «2: sce oo aot net 19 GACO WESTERN, INC. Kraft, Smith € Lowe .............. ees. 74W-1 GREFCO, INC. BUILDING PRODUCTS DIVISION ۰. 20 INTERROYAL Ferber € Strauss, Inc. اا‎ 11 EEN CLOSERS: Alex T. Franz, ING. vs ass ووه‎ aan 70 LATCO PRODUCTS Albert Frank-Guenther Law Adv. Inc. ........ 75 MILLER, INC., HERMAN Odiorne Industrial Adv., Inc. ۰ 16 PPG FIBER GLASS DIVISION INSULATIONS Ketchum, MacLeod & Grove, Inc. هننن‎ 73 PPG INDUSTRIES Ketchum, MacLeod & Grove, Inc. ........... m 2-3 PANELFORD DOORS, INC. Bruce Advertising Agency ........... . 75 SARGENT 8 COMPANY Hepler & Gibney, Inc. .................. BC STANDARD DRY WALL PRODUCTS, INC. Owens & Clark Agency.. 74 TAYLOR COMPANY, THE HALSEY W. The Bayless-Kerr Co. ...... 12 THONET INDUSTRIES, INC. APCL&K Inc. .................. —S 67 TYLER COMPANY, W.S. The Griswold-Eshleman Co. ............. 9 UNITED STATES GYPSUM COMPANY Needham, Harper & Steers, Inc. ............ eee e 4 UNITED STATES STEEL CORPORATION Compton Advertising Inc. . 13-15 WHITNEY PUBLICATIONS, INC. ........sssss د‎ ٢ 74W-2, 76-77 ADVERTISING SALES STAFF NEW YORK 130 E. 59th St., New York, N.Y. 10022 (212)751-2626 John Mertens John H. Wolfe David W. Bentley William C. Little Laurence Ross Laurence D. Wyman CHICAGO 410 N. Michigan Ave., Chicago, Ill, 60611 (312)644-6763 John D. Murray, Midwest Manager William K. Murray CLEVELAND 32 West Orange St., Chagrin Falls, Ohio 44022 (216)247-4485 Charles S. Glass SOUTHERN REPRESENTATIVE: Paul E. Yergens, 6 Cedar Waxwing Road, Hilton Head Island, South Carolina 29928 (803)671-2740 LOS ANGELES 1830 West 8th St., Los Angeles, Ca. 90057 (213)388-0521 Cole, Sweeney & Anthony George Anthony Ronald J. Sweeney SAN FRANCISCO 85 Post St., San Francisco, Ca. 94104 (415)397-7279 Ronald G. Evans On Readers Service Card, Circle 30