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 ARCHITECTURE pIus
The International Magazine of Architecture Ju ne 1973

Editor-in-Chief Pete r Blake, FAIA 6 Books

Managing Editor Ann Wilson
9 News +
Art Director Charlotte Winte r Reports and reviews from around the world .
Ruth Gosser, Asso ci ate
14 Palacio of Commerce
Senior Editors Stanley Abercro mbie The Iturbide Palace, a distingu ished Mexico City landmark, has bee n
El len Perry Be rke ley transformed into a handsome bank by architect Ric ardo Legorreta.

James D. Morgan, AJA 20 Urban renewal goes underground

Marguerite Villecco New York City's proposed Second Avenue subway would trigger an
exciting urban experiment if architect Ada Karmi-Me lamede's ideas
Editor-at-Large Paul Grotz, AIA are realized .
Field Editors
30 A bridge to health
Bombay Charles M. Correa, Architect
James Ste wart Pol shek has designed a mental health services
Buenos Aires Leonardo Aizenb erg, Architect center that spans a Columbus, Indiana creek.
London John Donat, ARIBA AAdip
36 Beyond Golden Lane, Robin Hood Gardens
Melbourne Neil Clerehan , FRA IA
Alison and Peter Smithson have completed a large housing block in
Milan Vanna Beccian i London that is the product of twenty years' thought.
Munich Detlef Schreiber, BOA, DWB By Anthony Pang aro.
Paris Gill es de Bu re 46 Learning from hamburgers
Tokyo Yasuo Uesaka, Arch itect A survey of White To wer restaurant architecture from 1926 to
the present. By Paul Hirshorn and Steven lzenour.
News Editor Virg inia Dajani
56 Art in the wilderness
Chief Researcher Marie-Anne M. Eva ns
George Staempfli , a New York gallery owner, has a recently-
Editorial Assistant Patricia Lee Ellis completed house in New Mex ico that is filled with primitive art.
By Rosalind Constable.
Contributors Ivan Chermayeff
Frarn;:oise Choay 67 Letters
Rosalind Constab le 68 Films
George Cserna
George Dudley, AJA 70 Product Literature
C. Richard Hatch 72 Advertising Index
Samuel Kaplan
Burnham Kelly, AJA
Cover design based upon a photograph of
Leo Lionni Robin Hood Gardens by Alison and Peter Smithson.
Wal ter McQuade, FAIA
Roger Montgomery
Charles W. Moore
Roger Schafe r
Vincent Scul ly Jr.
Bernard P. Spring, A JA

Advertising Sales Manager Donald T. Loc k

Circulation Manager Richard J. Brogan
Production Director Elai ne E. Sapoff
Administrative Assistant Robin Nowalk
ARCHITECTURE PLUS JUNE 1973 VO LUME 1 NUMBER 5.
Publisher Richard W. Shaver Publi shed monthly by Informal Publishing Corporation . Richard A. Hasha gen, Pres ident;
Ric hard W. Shaver, Exe cut ive Vice President; Paul M. Wehrlin, Vice President; Rich ard J.
Gash, Treasurer. Executive and Editorial offices at 1345 Sixth Avenue , New York, NY
10019. Ph one: 212 489-8697. Telex: RCA 224232 C IC-UR.
Business Publications Audit, Inc. (BPA) applied for July, 1972. Publication available,
without charge , to all qualified , prac tici ng registered architec ts and/or assoc iation-
affiliated specification writers throug hout the wor ld . Paid subsc ript ion s for indi viduals in
the f ield served available at an international rate of $ 18/1 year , $27/2 years, $36/ 3 years .
Others at $24/ 1 year. Students and faculty members of accredited sc hoo ls of arch itecture,
$12/ 1 year. Single copies , $3 per issue. Cont rolled circulation pa id at Wash ington, D.C.
and pending at New York, N.Y.
For all subscription information, including change of address, write Circu lation Depart-
ment, Architecture PLUS, 1345 Sixth Avenue, New York, New York 10019.
© 1973 by Informal Publi shing Corporat ion. All rig hts re se rved.

5
Archigram ed ited by Peter Cook, supported by strate clea rly one part of this process. keep going on that pattern because that's what
Warren Cha lk, Den nis Crompto n, David Greene, "My son helped pack and fold Archigram 7! they're expected to do. But maybe wha t Archi-
Ron Herron , and Michae l Webb . Publ ished by T hey' re in the image business and they have gram figures is that these architects will not be
Praeger Publishers, New York. 1973. 144 pages. been blessed with th e power to create some of interested in it really and that they should try
Illustrated. $12.50. to reac h students or young people. Yes, but don' t
the most co mpelling images of our time-urban
identity, spatial integri ty, alienation, and all students always turn out this kind of stuff any-
Reviewed by Les Levi ne
that. There's been nothing much like Archigram way? Yes, but th ey don' t have as much think-
since Frank Lloyd Wright, Mies and Corbu. ing behind it. Usually what happens with archi-
" Suddenly th e dialogue started and has not tecture students, from \\·hat I've seen, is that
stopped yet. As expressions of common hidden they mistake design for a rchitecture. What you
sub-conscious longings, Archigram became part see with architecture stud ents a lot is a great
of a new architectural vernacular." deal of 'groovy' graphic design with not much
The first illuminated gospel serio us thought behind it and the discourse that
for the coming of the un-architect Marshall McArchigram they're invol ved in is always very shallow.
The first four pages of Archigram's new book , After reading such a choice lush of gush (easily Whereas in this book, I think the discourse is
celebrating the group's 10th anniversary, are 50 ti mes as long ) where can a reviewer begin- intense and good and powerful, but th ey've us ed
taken up with co mments from Arata Isozaki, Well-what do you think about the cover? A a medium which has created the worst sense of
Reyner Banham, Hans Holl ein and Peter Blake. music book or science fiction or a book about that word 'groovy.' It's 'groovy' for the sake of
All of these comments are praising revie\\·s of another world. Is there any harm in that? Do being 'groovy.' You think they've been looking
Archigram. In ge nera l, what they had to say a rchitecture books have to look boring? No, but at bad art like pop art and op art and minimal
was: if I was in a bookstore, it wou ld just be some- art and tech art too much? That page is very
"Then Archigram struck and my world hasn't thing I would pass over. But the interesting much like a Bridget Riley with that sort of
been the same since. I really would not have thing about Archigram for me is that they have opti cal effect. But it's impossi ble for anybody to
known where to look if it had not been for over a number of years created some kind of be pop today because th e whole pop thing has
Arch igram. Everything, absolutely everything, pop discours e on what archi tects should see and lost curren cy. There's a lot of pretty extraordi-
sudd enl y became architecture . So we all owe the way people should look at architecture. nary writing in here, extraordinary from a point
something very important to Archigram : the Essentially it's conceptual architecture. of view of ways of looking at things and express-
dram atic broadening of our perceptions, our The book is innovat ive from the point of view ing a certain kind of phenomenology of the
visions. And beca use of what they have done, of architect ural discou rse; it a ttacks a ll the wo rld and th e way it's made and the way you
the " ·orld of architecture in this century and the genres of a rchitecture. In a way it says th at can look at the way it's made. And all of a sud-
next will never again be quite as projected. a rchitec ture is a locked-in system, so what you den it's over-burdened by this intense concern
Whether they like it or not, the Archigram have to do is a pproach it from a sensing, feeling, with the medium of design . It looks to me like a
gang is a gang of wide-eyed poets. opening up of your mind towards man y things cross between pop art and a Letraset catalog. I
"Archigram's esthetic is not functiona list nor outside that system and look at them differently. think they should mak e real models and photo-
is it mere id le fantasies . It is at once daring, But what seems to be happening here is that graph real models of their ideas rather than this.
hil a riou <;, angry and socially concerned, enough while they're doing that, they've created their Yes, but th ey've don e this. An argument could
to ask questions like, 'Do we reall y need cities?' own genre which is as boring or even more bor- be, so what! It is confusing because the subject
Primari ly th ey are concern ed with th e develop- ing than so me of the genres they' re attacking. they're deal ing with is con fusing to some degree.
ment of ideas by way of d esign as th e mode of The book itself as a physical object, not what There's a lot of confusion within the structure
experiment. They disintegrate th e stru ct ure of they're talking about because what they're talk- of what they're concerned with . Architecture
their work from within almost as soon as it can ing about I think is damn interesting-you could and urban d esign and media design , and the
be defined . This is consistent with their attitude descri be it as a Whole Earth Catalog . It comes way media influences design and architecture
toward change and their mistrust of 'definitive' off like a video freak catalog or hom emade and urban design is somewhat of a confusing
architecture. graphics. Have they swallowed the McLuhan subject. But that's th e point. If these people have
"In this society where inform at ion is privi- pill-whole-and given birth to Marshall Mc- broken down enough con fu sion already so that
leged above all els.e, Archigram has created the Archigram? The pages remind me conceptually they can ge t it togeth er in ll"ords, their layouts
only style capable of inducing radi cal change. of profiles of neuroti c art students. The arbitrary should elim inate any fur ther confusion.
They have directed a virtual shower of projects grap hi c outlines look like the edge of a jigsaw
'Way-out' In England
at th e en tire wo rld and m aintain that shower puzzle and don't make much sense in terms of
over a period of 10 yea rs. Their work has been the stru cture of the book, and they don't attack I don't think there's any reason to make an
totally divided from the pat terned logic archi- the structure of a book to make you think, this exc use to defend the graphics. The y' re not
tecture has created within itself. Archigram has is a new way to cope with a book, because one graphic designers. They just want to be 'cool.'
established a new st ructure of values, a new is very much aware of this kind of layout and They want to be 'hip' and 'with-it.' I really
syntax and demons trated the possibil ity of an mixing of things. think that th is is their idea of being 'cool.' But
independent sub-culture. Pre-established sys- then there might be the problem that they're
tems of every kind are disintegrating before our 'Groovy'
English so that they create a formalism about
eyes. What Archigram has done is to demon- It should reach the people who are already being 'cool' beca use this is a very form al, struc-
working so that they can consider these prob- tured approach to being 'with -it.' And the Eng-
lems in their futur e work because usually estab- lish sensibil ity is to formalize everything. Eng-
Les Levine is an artist, a professor of environ-
lished architects set up one pattern and by th e land is the only country in the world where
mental design at New York University, and Presi-
dent of the Museum of Mott Art, Inc . in New tim e th ey reach 50, when they' re really doing a hippies were accepted as a norma l eccentric
York. lot of work and have a lot of business, they just element within society. Hippies didn't repre-

6
sent any kind of revolu tion in England. There better to direct it to the people instead of the
is a form alist way of being 'way-out' in England. professionals because th e people are the ones
But Go rdon Bunsha ft wouldn't wa nt to read who are going to make the final dec isions about
this book. But Gordon Bunshaft is not exactly what th ey want anyway.
at the center of any rad ical archit ec tu ra l devel-
Media soup
opment. Anyone who can put up a few impos-
ing, gigantic bui ldings in some of th e most im- Running a review in Architecture PLUS , al-
portant cities in the world certainly has to be most exclusively criticizing the form at although
considered, right? Yes, but what Archigram is sim ul taneously p raising the writing, is going to
saying, is that putting up a few gigantic build- reall y put peop le off even more. I think you
ings in the most important cities in the world , should st ress the good and und erplay the bad.
is not rea ll y what it's all about. T he easies t Sure, I like what th ey're doing, and I use 'like'
thing in the wo rld in th is society, that is so in a ve ry definitive way, not just as a question of
geared towards the m aking process, is to go tas te. I use it because I've rea d what they do
ahea d an d build and m ake, but not enough peo- and I think it has quality. T he aca demic's view
ple stop and think long enough to figure out the would be to approach it by trying to und erstand
ou tcom e of all this building and m aking. Exac t- th e stru cture. Now the easiest way to under-
ly, and th a t's why they should read th is. I think sta nd th e structure is to sim plify the structure
in this d ay and age, an a rchitect is not needed to the point where it has absolute perfect for m.
as a builder or a mak er. Build ers th emselves a re The problem here is that the st ru cture and the
pretty good at building and making. And maybe form are so at odds with one ano ther that th ei r
an architect in this day and age should be som e- m essage is almost wiped out by their m edium. I
body who 's really seriou sly thinking about wha t think it \\'Ould be unfair not to say that. I think
is going to be m ad e and the eff ect it will have criti cism sho uld be constru ctive discourse and
on society and on individual personal feeling in so me kind of fee dback to th e maker, but I also
the long run. But realis tica ll y th ere will still be think th at this book should be rea d. I hope I've
archit ects, so this should be read by the archi- sa id that. I say, if you have this book in your
tects who are still going to keep designing th ese hands today and you are a person who has the
things. But these people who are m akers will not possibili ty to affect d esign or a rchit ecture or any
consider this book because of th e way it's put kind of urban planning, you a re in the sa m e posi-
togeth er. Exactly! Exactly! Well, what about tion as the individual in p re-Gutenberg days
Wa lt Disney's work because he's the only per- who had the Bibl e in his hands. It's th e first
son who is considera te of .... . . But I don't illuminated gospel fo r the co ming of the un-
wa nt to get into Wa lt D isney because I'm do- a rchitect. And illuminated gospels have always
ing a book review of Archi gram and I don 't been confusin g. You have access to an extra-
want to review Disney Wo rld. ordin a ry kind of thinking and if you disrega rd
that kind of thinkin g, yo u're cutting off a chan-
A kind of phenomenology
nel. The channel is a littl e m ixed up, but there
Archigram presented a ve ry powerful kind of is certainly a lot of inform at ion com ing through
turbul ence within th e notion of wha t architec- that channel. So ,,·ha t I'm saying is, as an over-
ture is as a concept. They weren't so much in- a ll obj ect, Archi gra m's book doesn' t succeed
volved in the idea of what people should be because it's a ll m1·ed itself to be 'groovy' to the
building and m aking, bu t how people should be point of boredom , on the one hand with its
think ing abo ut what th ey' re making and how gra phics and \1·ith its over- fascinat ion \1·ith mix-
they should be thinking a bout 11·hat is a lready ing elem ents toge th er to th e point where you've
made. And relative to th a t, what kinds of societa l go t MEDIA SOUP. But on the other hand, the
systems force the kind of developm ent in arc hi- cont ents, wha t they rea ll y have to say and what
tecture th a t is occurring a ll the tim e. And I th ey' re thinki ng abou t and what they're con-
think th at's what an a rchitect sho uld be doin g. cern ed with, is vital to any considerat ion tha t an
He should be thinking, wha t is the societal p rob- a rchitect or plann er should have at this moment .
lem of archit ect ure right now? Wh at do people
Archigram has made them have them
wa nt of a li ving space, of an office, of a factory,
of a subway, of a ca r ? How can yo u m ake a I think we need Archigram . But I want them
symbioti c relationship between man and his to ge t to the point wh ere we won't have to go
environm en t? And it seems to m e th a t Archi- th rough a ll th is jum ble to ge t their ideas. Their
gra m has crea ted turbu lence in a sys tem th at has co nce rns a rc crucial. They're conce rns tha t peo-
blinded itself to th e fact that its product is used ple shou ld have had and Archi gra m has made
by hum an beings, th at are not sys temic- peo ple them have th em , but as a book th ey have put
that arc subj ect to all kinds of in-ffo11·s of in for - toget her a muddlin g object. In a 11·ay it seems
mation, emotions, habits, th a t by the ir nat ure to be saying, " Instea d of sitting down and talk-
create a kind of phenom enology that does n't ing a bout th e p roblem, try standin g on your
coll a te eas il y with sys tem ic st ructures. Maybe it's tongue and ll'hist li ng Dixie."

ARC HITE CTURE PLUS JU NE 1973 7

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RE ADER SER V IC E NU M BER 179

 news+
Last month, at the annual convention of the American Institute of
Architects in San Francisco, there were the usual speeches and pre-
sentations and other intellectual offerings of varying quality (or lack
thereof). There was also a brief talk by Sam Hurst, the clean of the
School of Architecture and Fine Arts at the University of Southern
California. Hurst aclclressecl himself to the "Challenge of Change",
and proceeded to ask some fairly challenging questions (e.g., What
if the AIA were to call for the nationalization of the housing in-
dustry?). And he concluclecl with this one: "What if this conven-
tion cleclarecl itself to be the last annual national convention for
a three-year period, and initiated a new three-year cycle .. . with
enormous conservation of public and professional energy?" All the
thousands of compulsive convention-goers present were, predict-
ably, stunned. And, of course, that was the encl of it.- PETER BLAKE

The top of the world is in Toronto

Comparison of the world's towers. Below, 6-story sky pod

grow to a formidable 1,805 feet,

leaving behind (o r below) all other
co ntenders for the world's tallest
st ructure.
Between 1,100 ft . and 1,200 ft. , a
six-story "sky pod" will house
broadcasting studios, sightseeing
dec ks, and a revolving restaurant
which CN (Canadian National
Rai lways) officia ls are threatening
to name "High Dive." A slender
steel transmission mast will occupy
th e top 305 feet.
Below the "sky pod" the tower
The art of one-upmanship knows will be slipform ed post-tensioned
no bounds, or at least no height concrete. Above that it will be
limits. Metro Centre, a 15-yea r de- stru ctural steel. Cost is estimated at
velopment on 190 acres in Toronto, $21 million .
is nursing its first seedling-a bean- Elevators in glass-faced shafts
stalk called CN Tower that will will carry visitors for a one-minute

Many of the news reports and comments are fr om our regular field editors:
John Donat (London), Gilles de Bure (Paris), Detlef Schreiber (Munich),
Vanna Becciani ( Milan) , Charles Correa (Bombay), Neil C lerehan ( Mel-
bourne), Yasuo Uesaka ( Tokyo), and Leonardo Aizenberg (Buenos Aires) .
Plus correspondents are identified by their initials; other con t rib utors by
their full names. The remainder is contribu ted by our New York staff .

ARCH ITEC TURE PLUS JUNE 1973 9

ascent to the pod for dramatic sandro Mendini, Bruno Munari,
views stretching 75 miles. ECCO COME SI CIRCOLERA NEL CENTRO DI MILANO Herbert Ohl and Joseph Rykwert,
T he site is being excavated has given equal awards to a num-
through 35 feet of overburden into ber of these projects.
20 feet of rock. Special forms will One of them which is expected
be set and a concrete shaft poured to be put into effect by the Munici-
continuous! y, around-the-clock, us- pality of Milan is called "Milan
ing the slipform method. The tower Instead of Milan" (this ti tie may
is expected to rise at the rate of 16 have lost something in translation) .
feet a day. To maintain non-stop I t is the work of a team composed
operation, sets of forms will be of Gae Aulenti, Nanni Cagnone,
elevated by a ring of "climbing Corrado Cresciani, Antonello Man-
jacks" around the structure. As th e iscalco, Elsa Milani, Roberto Pier-
forms move up they will leave a accini, Luigi Respighi, Richard
continuous extrusion of hardened Sapper, Sandra Severi Sarfatti,
reinforced concrete. The tower is Takashi Shimura, and Maurizio
scheduled for 1974 completion. Turchet.
Consulting architects are John The plan calls for the establish-
Andrews/Webb, Zerafa, Menkes, men t of bicycle routes and of mov-
Housden. ing sidewalks for pedestrians, as the
first stage in a comprehensive traffic
solution. An indispensable premise
Managua-off to the side? Headl ine, Corri ere d '/nformazione, April 30. Map shows area affected is the eventual exclusion of all
A commission of experts, estab- private cars from the central busi-
lished at the request of the Govern- ness distric t, and the construction
ment of Nicaragua and operating of subway lines and multilevel
under the auspices of the Organiza- roads .
tion of American Sta tes, the Inter- In the past, cars moved slug-
american Development Bank and gishly through Milan at an esti-
the World Bank, have studied the mated five kilometers an hour. In
problem of the reconstruction of the Aulenti plan, one now leaves
Managua, capital of Nicaragua, his car in a free parking lot at the
which was destroyed during the edge of town, and uses the subway,.
earthquake of December 3, 1972. bicycle routes or moving sidewalks,
The commission experts do not which would take him wi thin 200
represent any government or or- meters of any central destination.
ganization in particular; they were Piazza Cavo ur, bus iness as usual. Below, proposed moving sidewalk " tubes"
This plan marks the end, in
chosen for their abilities in various Milan, of an old Italian custom-
fiel ds. The commission consists of driving onto the sidewalk whenever
Rubens Costa, president, Bank of traffic becomes unpleasant.-V. B.
Housing, Brazil; John Dyckman,
professor of Urban Planning, Uni-
versity of California; Nicolaus Metric inches closer
Ambraseys, professor of Seismic The U.S . Department of the In-
Engineering, Imperial College of terior has announced that it will
London; Pierre St. Amand, seis- prepare 31 quadrangle maps of
mologist, Naval Station, China part of Alaska (Anchorage and
Lake, California; Carlos Acedo vicinity-an area of about 4,157
Mendoza, president, Foundation square kilometers) using the Inter-
for the Developmen t of Venezuela; national Metric System, instead of
and A. J. Harrison, Chief, Urban the "English" system (which even
Transportation Div., Dept. of the the English have abandoned) .
Human Environment of London. The project is the first U.S .
After a preliminary meeting in large-scale mapping job to be pub-
Washington, D.C. the experts went lished with metric units, in antici-
to Managua for a fi rst-hand assess- pation of the eventual conversion
ment, and looked over the proposal by the United States to the metric
already made by a group of Mexi- system.
can planners for the rebuilding of General Motors Corporation, the
the ruined city. Their recommen- largest manufacturer in the U .S.,
dations will be given to the Govern- has announced that it is switching
ment of Nicaragua, who will decide to the metric system for all its new
later if new Managua will rise on products. This action is seen as a
the site of the old, destroyed city, very powerful step forward toward
or be moved off to the side a few total metrification in the U.S. since
kilometers.-L. A. GM purchases tools, parts and
components from 40,000 other
companies-$14 billion worth last
Stop! One goes on foot
year; GM spokesmen are already
An international competition, talking about "supplier coordina-
City as a Significant Environment," tion" and metrification.
organized by the Association of In- Wilson Riles, superintendent of
dustrial Design (ADI) and the public instruction in California, has
Italian magazine Casabella, was announced that the schools in his
announced a year ago, and 122 state will switch to metrics in 1976.
entries from all over the world have Meanwhile, back in Washington,
now been sent to Milan. The jury, D .C., S. Scott Ferebee Jr., Presi-
composed of Yona Friedman, Ales- dent of the American Institute of

10
Architects, was speaking before a Another tango in Paris
government subcommi ttee: "W c Domus Magazine celebrates its
are opposed to rhe concept of evo- 45th anniversary at the Louvre's
lutionary metrification, or 'let it Museum of D ecorative Arts from
happen naturally'. Increas ing use May 31-September 23, 1973.
of the metric system without some Each of fi ve periods of the maga-
program of coordina tion co uld zin e's history is to be illustrated by
ca us e difficulties which might even- design works and music appropri-
tually reach disastrous propor- ate to that era. (The tango at the
tions." He said th a t archi tects Louvre sounds terrific.)
wou ld be able to convert in far less Gio Ponti founded Domus in
than ten years . The AIA has advo- 1928, and directs it still today in an
cated conversion to a m etric system ed itorial policy aimed at reflecting
since 1944. the cultural climate of the mpment
- a kind of documentary or maga-
Dead but not dirty zine verite dem onstrating how
architecture, art and contemporary
The Pentagon, in a pious concern design have developed in Italy and
for pollution problems, has sub- aro und the world.
mitted to the U.S. Council on En- Happy anniversary, Domus.
vironmental Quality a paper stat-
ing that the Bl strategic bomber
now being developed for long-range
nuclear bombing attacks, " as com-
pared to current military aircraft
... wi ll have less of an adverse en-
vironmental impact." It may drop
bombs, but its engine will be quiet
and "wi ll not emit smoke." That's
a relief.

Costly culture
A stabil e by Alexander Calder is
to be erected next spring in the
Church of the Miraculous Virgin, Navarte, Mexico, Felix Cande la, 1954 Antonio Sant'E lia 1914, Domus 1931
plaza of Mies von der Rohe's 42-
story Federal bu ilding now und er
co n structio n in Chicago . At
$325,000 this is going to be the
most expensive work of art ever
provided by the Federal Govern-
ment for a public building.
A model of the bright red, three-
legged, ten-ton, carbon steel stabile
was unveiled at the end of April,
and showed the legs as parts of a
complex of intersecting planes. "It
is supposed to be a stabile," said
Calder, "but wi th Chicago's wind
we have to be careful it do esn't be-
come a mobile."
T wo other major outdoor works
of art are more or less around th e
corner: the 50-ft. high metal sculp- Kenzo Tange, Domus 1965 House, Hans Scharoun, Domus 1943
ture by Picasso stands in the plaza
of the Civic Center, and a mural
by Marc C hagall is und er construc- Academi a The Dublin-born dean, an au- of Minnesota. Second prize ( $500)
tion in the new First National Bank Reginald F. Malcolmson will step thority on linear principles of city was awarded to John C. Leggitt of
plaza. down as dean of the Coll ege of growth, is currently researching Rhode Island School of Design,
The Feds have come a long way Architecture and Design a t the stu dies of suspended and ca ble and third ( $250 ) to Timothy L.
from the day in 1855 when Con- structures. His successor has not Hutchinson of Miami University
University of Michigan some time
gress hired Constantino Brumidi to next year, and resum e a teaching yet been named. (Ohio). Three honorable mentions
paint fr escoes for $8 a day. and research career there. were a warded to : Stephen W.
Ch ic ago's Ca lder stabile Malcolmson, dean at Michigan Wraight, California Polytechnic
since 1964, received several Ful- Student design competition State University, San Luis Obispo;
bright lec tureships ( 1968-69) in A program ll'hich combined music L. Grant Gay, Kansas State Uni-
Ecuador, Peru, Chile and Argen- and reuse of an existing structure versity; and Robert Jay Palmiter,
tina, and was awarded a Graham brought more than twice the usua l Jr., University of Notre Dame.
Foundation fellowsh ip for Ad- number of entries to the eleventh Jury members were Judith Edel-
vanced Studies in th e Fine Arts. annual InterRoyal Stud ent De- man of Edelman and Salzman,
He went to Chicago in 1947 to sign Competition. Sixty-seven stu- architects, chairman; O lga Gueft,
study architecture under M ies van dent designers submitted proposals editor of Interiors; Hans Krieks,
der Rohe at the Illinois Institute for an audio lounge to be built in- interior and furniture design er; and
of Technology, and later, as acting side a sixty-foot di ameter concrete James D. Morgan, Senior Editor,
director of the architecture depart- silo, forty-two feet high, located on Architecture PLUS. The program
ment there, worked with Konrad an agricu ltural college campus. was prepared by Architect John
Wachsm ann on p re fabricated The first prize ( $1,000) went to Varrachi. While the entries ranged
buildings. Jeffry Magnuson of the University between solid but uninspired tech-

ARC HITE CTURE PLUS JUNE 1973 11

nical solutions and fanciful ones The 1973 Rome prizes
that would not work acousticall y,
the jury felt the best entries had in The American Academy of Art in
common a strong app reciati on for Rome has announced the winners
human n eeds. They allowed maxi- of its Rom e Prize Fellowships in
architecture. They are: Marc
mum choice wi th minimum regi-
mentation, often wi th a touch of Balet, Waterbury, Conn.; Franklin
humor. The first prize winner in- David Israel, New York, N.Y.; and
cluded a sliding pole and the sec- Robert Livesy, Montclair, N .J.
ond sugges ted that the individual The Fellowships carry $4,620 a
listening spaces be recycled milk year and fr ee residence and studio
and bread tru cks p ark ed on the a t the American Acad emy in
bottom floor. Rome. The purpose of the prizes
is to encourage young American
artists and scholars by enabling
Progress is pigs . .. them to pursue their interests m-
It is a forward looking man who dependently in Rome.
fo r the las t 17 yea rs has been run-
ning his car on hi gh-octane pig
manure. The fu el has pushed Bri t-
is h inventor Ha rold Bate's 1955
ca r up to 78 mph ; it crea tes no
Rotch Traveling
poll utio n, and costs 3¢ a gallon .
Scholarship
Woo d and twine mas k, fro m Bete peop le Mask of Ba u le peo ple , Ivory Coast C raig D. Roney, Andove r, Mass. ,
Ba te says that pig manure (and
even its human equivalent) can is the winner of the 1973 $10,000
yield odorl ess methane gas and he Rotch Traveling Scholarship for
has devised an engine th at runs on travel abro ad, awarded annually,
methan e. He puts th e gas into since 1884. The Rotch scholar is
small steel cylinders in th e trunk chosen after a two-stage design
of his ca r, runs a hose from the •••
••• competition and personal inter-
cylinders to th e engine, and then views. To be eligible, a candidate
re li es on a small va lve th at works must be a U.S . citizen under 31
on suction created by th e carbu - years old, and have an architecture
retor and feeds the gas to the en- II degree from a Massachusetts
gin e. 1t I school or a degree from elsewhere
Bate sees his prospects as limit- and one full year of professional
less. One human crea tes enough experience in a Massachusetts
was te each day to make on e cu. ft. a rchitecture office.
of meth ane; 30 cu. ft. of manu re
equal s one gallon . (Urban dog
owners could even become loca l
hero es !) Ba te has lea rn ed th at
jl. The jury consisted of Peter
Blake, editor of PLUS, Barnett S.
Cruzen of Cruzen & Partners, and
Wm . J. Conklin of Conklin & Ros-
Britain produces 200 milli on tons
of asso rt ed manures each year :
" Im agine what it must be fo r the
who le world!"
I
African show , Bl ack Arts Ga lle ry, Houston. Me nil Fo un dation co llection
sant.
Past Rotch scholars include a
fe w names you might recognize-
Ralph Walker (1916), Louis Skid-
more ( 19 26 ) , Edward Durell

. . . and sailing ships •.. Stone (192 7) and Barnett S. Cru-

zen ( 1930) .
In another effort to conserve en- n
ergy, shippers a re reexa mining
comm ercial sailing ships. There are
now plans on the boards for a
400-ft. , 17,000-ton fre ighter with Co-op City
squ a r e-rigged sails. Comput ers The tenants of Co-op City in the
would set, reef and furl its sails and Bronx, New York, are suing the
push it a t 12 to 16 knots, while State of N ew York and the River-
auxiliary engines would hel p dur- bay Housing Corporation for
ing calms or in harbor areas. (T he
di esels in existing ships average
10 to 15 kn ots.)
The sailing ship is being de-
,,~ '' $ 115 million.
The huge non-profit housing
complex of 15,000 apartments is
owned by its tenants, who are
signed at the U ni ve rsity of Ham- charging " mismanagement."
burg's Schiffba u Institut an d, while Just pl ain old inflation is the
Visitors loo king at Za ire drinking j ar and South ern Ni geria Yoruba carvings
it will reca ll the sails of days of rea l cause of the raise in the
yo re, its opera ti on will be th or- Africa in Texas The Center is .in a renova ted monthly ca rrying charges, which
oughl y modern. It will use the la t- T he Black Arts Ga ll ery in Hous- movie house, the DeLuxe Theater, jumped from a very low (for New
es t naviga ti on aids, require a crew ton, Texas, opened an a rt show and opera tes as a cul tu re center for York City) $27 per room to ap-
even small er th a n on a no rm al in Apri l to mark th e fi rs t anni- the su rro un ding n eighborhood. Its p roximately $43 per room.
fr eighter tod ay, and will use com- versary of th e Black Arts Center, ma ny ac tivities incl ude creative Many people still think it's th e
put ers not onl y in its ri gging, but a compl ex of art ga ll ery, th eater, writing workshops, prod uction of best bargain in town, with its
in fi nding a ppropri ate weather an d and bookstore-libra ry. plays by high school stud ents, central air conditioning, parquet
directing th e ship th ere. T he de- The annive rsa ry exhibition will mov ies and ar t shows. fl oors, and room-to-eat-in kitch ens.
sign calls for four mas ts, each one have ceremon ial and domes tic ob- Iro nicall y, and quite appro- The tenants have engaged th e
200 ft. ta ll; sails would ro ll out j ects from Wes t Africa n tribal priately, the Black Arts Center is fa mous flamboyant lawyer, Louis
from the center of th e mas ts, whi ch societies; many of th e pi eces in th e housed in a theater which was Nizer, to represent them. And they
woul d rota te on comma nd by a show arc fro m the M enil family aban doned when racia l segrega- a nd he will see what they and he
kind of hyd ra uli c winch. coll ection of African art. tion was abolished . will see.

12
 Bombay while one si ts or sleeps outdoors.
In the Air I ndia housing project The houses are brick covered with
for its em ployees at Santa Cruz plaster, whitewashed each year
Airport, every tenant has a private after the monsoon season. The
garden entrance and individual a rchitects were Harry Weese &
outdoor stairs, washed by the rain Associates of Chicago, in collabora-
and dried by the sun. The arrange- tion with the National Design In-
ment of living spaces was largely stitute, Ahmedabad, India. T he
determined by local social custom . Ford Foundation assisted in the
Verandas insure a sense of privacy design costs.

~~J~
•••••
•••••
••••
••••
.....
•••••
Ahmadabad
The Central Bank of India, de- 20 feet above the street, will link
signed as a prototype for fu ture with adjoining buildings to create a
tower blocks in Ahmedabad, has pedestrian street removed from the
the largest precast post tensioned traffic below. A suspended restau-
beam structure in India for any rant is level with the pedestrian
multistoried office building. The plaza. Two floors below grade con-
clear span is 45 feet. The Central tain vaults, storage and parking
Bank occupies the ground floor and facilities. At the top is a penthouse
mezzanine; the six floors above are apartment with roo f garden. The
columnless office spaces. The plaza, architec t is B. V. Doshi.
continued on page 62

ARCHITECTURE PLUS JUNE 1973 13

A Palacio
of Commerce

Generally known to residents of Mexico

City as the Iturbide Palace, this distin-
guished landmark, in the hands of Mexican
architect Ricardo Legorreta, has now been
transformed into offices for one of the
country's most important private credit in-
stitutions, Financiera Banamex.
The palacio's original use was as the
residence of the Marquis de Jaral de Berrio,
and it was built in 1780 to the design of
Francisco Guerrero y Torres, one of the
most accomplished architects of Mexico's
colonial period. Only later did it come to be
Mexico's Viceroyal Palace, during which
time it was inhabited by Don Agustin de
Iturbide. Later uses, or misuses, of the
building included the housing of a College
of Mining and of a company hotel for the
General Diligences Company.
Almost two centuries of such varied oc-
cupancy had, of course, resulted in many
building modifications, and architect Leg-
orreta was presented with a landmark
somewhat bastardized. What to save and
what to eliminate were difficult decisions.
Legorreta's general policy was to return
the building, as far as possible, to its 1780
form. A major exception, however, was
that, for both esthetic and structural rea-
sons, he retained many of the changes made
by the architect Donde at the end of the
last century.
The central space, originally open to the
sky, had been covered with a distractingly
elaborate glass skylight. This was removed

Left, the ground floor reception area with a tapestry

by Sheila Hicks. Right, an upper floor gallery along
the side of the central courtyard .

ARCHITECTURE PLUS JUNE 1973 15

and replaced by Legorreta with a new roof
shaped somewhat like an airplane wing,
its smooth lower surface curving upward
to clerestory windows at two sides of the
court.
Several layers of fl oo r paving were
ripped up to reestablish original floor lev-
els: Mezzanines which had been built, for
commercial purposes, und er the arcades of
the main floor were removed . A small stair
and elevator that had taken the place of
the original grand stair were also removed,
and the grand stair rebuilt.
Obviously, not everything in the restored
building is authentic. Where the function
of banking offices demanded spaces or fur-
nishings for which no 1780 counterparts
existed, and in cases where there were no
reliable documents to show what the origi-
nal conditions may have been, Legorreta
has eschewed speculative period imitations
in favor of frankl y modern solutions. The
new courtyard roof, the simple fountain be-
neath it, the new doors, stairs and wooden
floorin g, the art works are all unashamedly
new. And although occasionally spiced with
a colonial chest or wardrobe, the office fur-
nishings are generally th e latest thing.
The end result accomplishes, with con-
siderable p a nache, Lego rreta's aim of
"keeping the original atmosphere of tran-
quility and colonial splendor. " Whatever
other owners and architects may come to
the Iturbide Palace in th e future, th ey will
find it, in this latest of its transformations,
as handsome as ever.

OFFICE OFFICE

~- ---- ~ ---- f!il _____ ~-- ---~

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ROOFED PAT10

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~ - --- -~-----~- ----~ --- -~
At top, a 19th ce ntu ry view of the building, then in
use as a Viceroyal Palace . Center, a section throu gh
the courtyard and the new roof form cove ring it.
Below, plan of the ground fl oo r. Oppos ite page, an
upper floor office area. The carpet design is by
archi tect Legorreta , and the painting on the far wa ll
by Pedro Coron el. GROUND FLOOR PLAN

16
 Top , a detail of the exterior stonework. Left, two
views of an office area typica ll y furnished with a
mi xtu re of new and co lonial objects. Right , the great
central courtyard with its new fountain .

18
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books that she carries around for presentations. The drawings ground-regulations rarely apply to underground development,
seem to cover every contingency, yet remain schematic in nature . and this is the essence of Ada Karmi's concept. The zoning now ex-
One of the most important things about this project is that it starts isting for Second Avenue is the same for the east and west sides
with a careful analysis of what already exists or is planned in the and limits construction to 30 residential floors and two stories
area a nd how these elements work together. of commercial space. Such uses may cover 40 percent of the
The givens for the project include the new subway. It will be site at the tower level and 66 percent at the base. This bulk is al-
built 60 ft. below street level and is expected to relieve some of the lowed only if the builder provides a plaza or arcade on 33 percent
congestion on the older, parallel Lexington Avenue subway line. of the site.
The spine project will not change established, major traffic pat- The new proposal would call for different standards on either
terns, nor will the city's existing street grid pattern be changed. side of Second Avenue (see drawing above ) . On the west side,
Only one-third of the edge sites on the avenue are now fully de- it would allow a building's tower to cover 50 percent of the site
veloped . The rest remain vulnerable to speculators. and a building's base to cover 100 percent. Instead of arcades,
The city has been a pioneer in using "incentive" zoning to get however, the developer would have to provide escalators to the
developers to provide social amenities in return for extra rental subways and 50 percent store space adjacent to the underground
space. But if the city decides to legislate new or special zoning re- spine; he would also have to construct the spine, an average 25 ft .
quirements for Second Avenue, it will have to develop an entirely underground, according to specifications; preserve townhouses in
new concept of what zoning is, says Raquel Ramati. Zoning all mid-block when required; and provide open space on intermediate
over the world deals primarily with buildings as they rise from the roof levels fo r residential portions of the buildings.

22
 2~ 4Ave

''
The east side proposal calls for mixed use structures, but 60
percent would be for residential use and only 40 percent for com- 9

'
mercial and institutional (including school and hospital ) struc-
• 5"~
tures. The new law would allow a 20 percent increase in bulk,
greater site coverage and no plaza or arcade requirements. But it
•1
would require escalators to the subways, a double-height pedestrian
route, a 50 percent space allowance for residentially-oriented
shops, and a roof plan that a llows sun to shine on the west side 2M" ltve ·

'~
of Second Avenue. Builders would also have to create street-level
openings so that strollers could see the townhouse gardens in back,
to preserve townhouses if required, and to create vest pocket parks
in mid-block areas.
The configurations of the buildings may seem a little odd. They
can overhang the sidewalks as long as the resultant profile does not
I
block sunlight from the opposite side. On both sides of the avenue,
building lobbies must be located 30 ft. above the ground, with cross
~
street, not avenue, access. I
../~'--
Ada Karmi and Raquel Ramati have received favorable reac-
tions and even enthusiasm from some of the developers they have
approached. They have also talked to local community boards and 2
will participate in a committee that the M unicipal Arts Society
is assembling. The community, developers, city p lanning agencies,
transit authority, American Institute of Architects and others will
be represented, and progress documented. If the project doesn't
succeed, Ada Karmi will know why.
One problem may be in explaining the proposal to the layman.
The new office for the Second Avenue Spine will prepare an ex-
hibition as one of its first projects. With it, Ada Karmi hopes to 3
make Second Avenue a popular issue for politicians and laymen
alike. But the concept is not easy for people to grasp, partly because
it is three-dimensional in nature, and its dimensions and amenities
change from one block to another.
The sketches at right illustrate some principles underlying the
proposal's conclusions:
1. Second Avenue and the subway below will act as parallel
systems that touch each other at predetermined points called sta- 4
tions . Every meeting point, or station, needs space for changing
e •
transportation modes and for related activities.
2. Second Avenue is one component of the overall Manhattan
grid system as a north-south connector to other boroughs. Changes
must therefore respect the avenue's total and regional functions.
3. If sidewalks were to remain as they are now, they could not
accommodate the numbers of future pedestrians. Additions to these
can be made above, at, or below ground level. On Second Avenue,
an extension at grade would not solve the problem, and there is
nothing to justify going up, so the spine plan calls for sidewalks
to go below grade, toward the subways.
4. The density of pedestrians intensifies near the station areas.
The pedestrian corridor should therefore vary in depth and width
accordingly. Cross streets create a similarly variable, but more com-
plex form.
5. Given the decision to extend the sidewalk below existing
grade, Ada Karmi then proposes a continuous pedestrian route
+30
connecting the stations in midtown (a 12-block project ) . The route
would slope from the station levels to just below grade at the mid-
point between stations. As the route varies in width and depth,
so do all the related elements, such as public spaces, commercial
areas and light and air exposure.
6. Within the lot line the route is a continuous space, open to -40
the outside. It houses the connections between the three major
levels: subway at -60 ft ., sidewalk at ± 0, and the lobby level at
+ 30 ft. Therefore this space is used simultaneously as a gate, a
6
•
threshold and a destination. The route may also be extended to
join areas of regional importance, other underground developments
or major activity areas. The main route is loca ted on the west side
of the avenue and is linked to the east side through underpaths
at two-block intervals.
7. The existing sidewalk would then return to its more leisurely
origins and become a ridge overlooking a pedestrian valley below.
How these concepts become an urban-scaled plan is de tailed in
the following pages.

ARCHITECTURE PLUS JUNE 1973 23

 •• •

Above (top) is a schematic section through the pedestrian spine side proposal. The upper left drawing depicts the geometry of
on the west side of Second Avenue. At m idpoint between the two the Second Avenue spine by superimposing each level of devel-
subway stations at 46th and 59th streets, the route climbs to its opment from -45 ft. to -15 ft. (see color key); it shows what
highest level and the correspond ing open space decreases, reflecting lies on either side of the route and the size of the route at each
the fact that pedestrian densities, and therefore pedestrian ac- level. Corresponding commercial areas are shown at each level.
tivities, are greatest at subway stations. At future stations, the route Each new mezzanine level steps up y2 floor at each block and
will descend to its lowest ( -45 ft.) level and the enlarged space re- becomes more narrow as the pedestrian walks further from the
sulting will contain tiers of underground shops, services and sight- subway stations. The lower left drawing shows the geometry of
seeing attractions. Such larger spaces will also offer the greatest the underground volumes as a whole and how these change con-
number of routes to and from the street sidewalk areas. siderably according to the level of the pedestrian route at a given
The second horizontal illustration is a plan detailing the move- point. The two drawings on the right are not superimposed; each
ment options within the spine. The west side enjoys continuous is an example of a pa rticular development level. The top section is
passage, uninterrupted by vehicular movement, but will have at - 30 (or about 56th St.) ; the lower is at - 20 (or 54th St.).
escalator connections to ground level at each cross street intersec-
tion above. The east side is quite different. The pedestrian levels
here are more constant than on the west side of the avenue because
there is no direct subway access on the east and because the
amenities on the east side are mostly service and convenience
shops for the area's residents. While there are underground con-
nections between the east and west mezzanines, the distance from
a subway station is not nearly as important in planning the east
side's development as in planning the west's.
The four small illustrations above are cross-sections of the west

24
 I I
•'I "
.. .
I
.Ir
.,
•rl

'I
I
'
I
II •
New York City seems ideally sui ted to this kind of spine develop- fact, only 23 percent of the avenue edge sites can be called hard,
ment at this time, in part because its population density requires and where these might confl ict with the proposed spine's con tinuity,
a corresponding concentration of services a nd in part because t:iey can be circum\·ented und er Second A\-cnue.
Second A\·enue will soon be made into a major tra nsportation The third (lower ) map illu strates how the underground mez-
corridor, with or without coherent plans for land development zan ines created by the Second Avenue spine p lan may be nat urally
a long the route. The top map on this page is a land use plan of integrated into the city's other transportation and major actiYity
central l\1anhattan, from the East to the Hudson R i\·ers, its areas . This is a plan of the design proposal itself. As the color key
east an d west boundaries respectively. It shows commercial devel - ind icates, the spine will ultimately form a continuous pedestrian
opment most prominently in th e center of the island; what it does space that will link t11·0 future subway stations in midtown. This
not show is that such comme rcia l enterprise is increasi ng rapidly space will connect th e existing sid ewalks, an elevator le\·el inside
and pushing major housing areas out and eventuall y away. On the bui ldings and a subway exit/entrance at -60 ft. The spine can
the east side, Second Avenue stands as a buffer zone between en- also extend to other und erground mezzanine levels in the city and
croaching commercial land uses and residential areas. The pro- to areas of regional importance, such as the United Nations and
posed spine project would preserve the com mercia l nature of the popular shopping areas around Bloomingdale's department
Second Avenue's west side whi le protecting the residential char- store. The circles, showing areas within 700 ft. (or a 3-rninute
acter of its east side. walk) from a subway station, nearly overlap and so demonstrate
The wrtical map a t right is a close-up of the project area out- that th e Second A\·enue spine would be easi ly accessible from
lin ed in the land use map. It shows that it is not too la te to exe rcise most points in east midtown Manhattan.
control over Second Avenue; the area has in fact been called the
last reservoir of Manhattan land still avai lable for major de\·elop-
rnent. The map's orange portions indicate hard (ful ly developed )
sites and re\·eal that these are far outnumbered by the black areas,
which a re now either underd eveloped or not yet developed. In

ARC HITECTUR E PLUS JUNE 1973 25

'"'' . All Fl~
~7~1 i__ l~=-,~~::=t.::~~:::.~.:'.J
rr ~,
1 _J
: D
- ·, (' .. -.../)

~ ...·..

•
- Hvt {or ca. .ilti/ed priio.1c. 144ovtv.. [Link]
1-td pr :t, il•J'OLti[ V!oF" 5F£-('.f tla..'f
f"rAillM-Ol/{CMt!1•• dlM"'({,(f-.

The plan at left is a close-up view of underground develop-

ment from 53rd St. to 59th St. Since the station at 59th St. will
attract huge numbers of people, this block corridor on the west
side goes down to - 40/45 ft., with at least four tiers of stores,
boutiques, restaurants, etc. The east side is a t - 15 ft . and has local
shops. The first drawing for this story is a section perspective of
activities at 59th St.
The top section above is at 54th St ., which extends down to - 20
ft. and does not have nearly the array of attractions that the 59th
St. area has. Since 54th St. is far away from the subway entrance,
there will be relatively few people using the pedestrian spine there.
The lower section illustrates the movement options available to
pedestrians in the underground areas. A person may go to street
level on either side of Second Avenue, go in to the buildings along
the avenues, to the p arking lots or subways, or to the sidestreet areas
in back of the avenue structures. A shopper could spend days just
inspecting the shops on each interior mezzanine level.
Opposite are two section perspectives drawn from different di-
rections. The top sketch is of the spine on Second Avenue's west
side at 56th St.; the lower version is a continuation of the same,
but diminished, corridor near 55 th St. Though only one block apart,
the sections show a marked difference in the spine's development.
:--Ii·------~
__ __
.

I
-
'~
'
I
I-

i
-~
I
llllllllll lWttl![Link] ----.__ ... IUWlll V\:lll!I M!i11 1111 11
'" "·
_,, /

I lr4Ar\ r ,-. 111 ~ .!!-~

.,,,-,,, "111 .u-.::,;~: ~.) I / v:,. ,. '\.
...
~

--""·.·.II
"' ;

T he section a t top was drawn facing west on Second Avenue at

58 th St. (see plan on p. 26 ) . T he superim posed lines indicate the
la rge number of entry a nd exit possibil ities at cross street inter-
sections. Pedestrians m ay rema in und ergro und a nd walk beneath
the cross street a t severa l levels, or they may ascend to sidewa lk
level or go di rec tly into the buildings th at line Second AYenue. All
sub way access and m ost m ajor commercial fac ilities a re on the
west si de. Ru t thi s secti on al so shows the changes th a t occur on
the west sid e of the avenue as the stree ts a re further removed from
th e subway; the spine loses dep th and wid th as well as pa tro ns.
The pla n contrasts the east a nd west sides of Seco nd Avenue.
T he west (top) side corres pond s to th e section above it a nd indi-
cates deve lopmen t a t -40 ft. Across the ave nu e, the spine descends
to - 15 ft. a nd th e a rea is more shallow, a nd of neighborhood scale
with a mid-block (off th e sidestreet ) entry to a small shopping a r-
cade; one m ust cross the avenue to catch a subway.
At right is a view of the Seco nd Avenue spine from the sid ewalk
above it. The pl a nners hope th eir proposal will restore th e sid ewa lk
to its origina l use of years ag-o-a pl easan t place for a leisurely
stroll-w ith the added excitement of a few peeks down into the new
underground wonderland possible every now and then.

28
A bridge to health

Columbus, Indiana-the town with an extraordinary collection

of buildings by the best American architects of the fifties and
sixties-is entering a new era. "Process buildings" have begun to
join the masterful but often self-conscious works that can be
found there. And even though the new projects, which are designed
by such firms as Roche and Dinkeloo, Mitchell/Giurgola, and
Hardy, Holzman and Pfeiffer, are seldom completely successful in
blending into the Columbus townscape-there is still a "museum"
quality about it all-they seem to be more modest, to be trying
harder to fit in.
It is perhaps in the nature of the process-oriented approach to
architectural design, as opposed to that based more on sculpture,
that the "set-piece" quality of the completed building is substan-
tially mitigated. Process, in the case of the Region Ten Mental
Health Center by James Stewart Polshek and Associates, pro-
foundly determined the form of the resultant building. And
Polshek insists it was the broadest possible connotation of "process"
that was involved , not just orderly manipulation of elements in
a pre-digested program handed him by his client.
In the first place, his client proved to be several agencies with
varying interests in the proposed structure. The National Institute
for Mental Health, for instance, provided guidelines for the design
of the center (but has sti ll not provided any funds to help build
it). State agencies, which in fact have funded 60 per cent of the
construction, also had a voice. The primary client was the Region
Ten (five Southern Indiana counties ) Mental Health Founda-
tion, whose sophistication, claims Polshek, allowed the design
development process to run its course objectively. Finally, because
the site chosen, adjacent to the Bartholomew County General
Hos pi ta!, was in the floodplain of Haw Creek (a stream running
through Columbus), the Corps of Engineers was also involved.
As a center providing comprehensive mental health services,
the building was to include in-patient facilities, out-patient coun-
seling offices, occupational therapy and administrative spaces.
The concept of a bridge over the creek was not arrived at easily.
Although he sensed possibilities when he first saw the site, Polshek
says that it was when he heard that the Corps of Engineers planned
to "straighten" Haw Creek, taking out two stands of mature
sycamores, that the idea of bridging came to mind as an ecologi-
cally sound concept. Since the building had to be built at bridge
height in any case (due to flash flood conditions), the tying to-
gether of the two banks not only meant saving the trees but
allowed people to enter the building from either side of the stream.
The east bank is adjacent to the hospital whi le the other entrance
gives patients and visitors easy access to a large park and main
streets. Unfortunately, provision for public passage across the
creek as part of the building was abandoned early in the design
stage.
Caseloads have so exceeded the .volume projected for the first
year that the building is already over-crowded. But rather than
handle the overflow by expanding this center, the organization
has established branches in the other counties served and plans
another unit for children and adolescents in Jennings County,
also to be designed by Polshek's office.
"A feeling of openness was an important symbolic goal in the
design," says Dr. George C. Weinland, director of the center and
one of those most deeply involved in the planning. Along both

30
sides of the building, especially on the upper floor, a window wall An entry bridge leads vi si tors and patients
which combines vertical and sloping glass opens patient rooms direc tl y to thEl reception area (above). Adjacent
to it on the lower floor of the wing bridging the creek
and offices (page 34) to the creek and trees along it. The ends is the administration section. Abov.e it are the
of the building, in contrast to the linear character of the long counse ling offices. In the wing of the east bank,
elevations, are very solid concrete elements. It is here, unfortu- occupationa l activities are on the lower fl oo r with
nately, that one feels most the "architecture" of the design. It is in-patient facil iti es above. There is also a baseme nt.
A two story space (right) joins the two wings and
here that Polshek seems to fall between two stools, perhaps one
is a focus of activity for the entire building.
should say, "schools."
Like so many other architects d'un certain age, he feels pulled
in two directions, by process but also by product. On the one hand ,
he has done a remarkable job of letting process and developed
program, with their potential for accommodating unforeseen
change, dictate and shape the design. In this case, his early interest
in becoming a psychiatrist and his work experience in hospitals
has helped him to be objective. But on the other hand, he still
sees himself as an "architect" who must make a formal statement,
who must tidy up the consequences of the process and program.
Unable to [Link] architectural history,, specifically Chenonceaux
in the Loire Valley, he has insisted on a symmetrical facade for the
wing crossing the creek (page 31) . The cantilevered concrete
masses at each end seem to follow from that decision. In his own
words, Polshek wa nted " to make the distinction between the east
entrance (mostly service and employees but some patients) and
the west entrance unclea r so there would not seem to be a 'front
door'." Furthermore, he says that he did not think so much about UPPER LEVEL

l
entering as being and working inside the building. In fact, late
in design the entry bridge was shifted to the diagonal and the
mass lightened as much as possible to provide more sense of
openness.
But this pastiche of modish yet brutal forms does not help.
What is basically an austere building becomes, at this crucial
point, a forbidding building. Where openness is most needed, to
welcome those approaching for the first time with fears enough,
there is none. What seems to have been overlooked "in the process"
is the basic humanistic concern for the people who will use the
building. In the case of a mental health services center, ~0<v
especially regrettable oversight.- JIM MORGAN "~'lj~==='-'~""""'-~-_.--_,d-~-~-~
'v~
MAIN LEVEL

32
 The patients' recreation room (above left) is directly
over the cafeteria. Both have views over the stream
(above) as well as throug h the aluminum window wal l
which is continuous on both sides of the second floor.
The window de tai l, which co mb ines sloping
and vertica l glass, works with the conc rete spandrel
to emphasize the linear q ual ity of the bui lding (right).

Facts and Figu res

Ouinco Consulting Center, Co lumbus, Indiana.
Owner: Region Ten Ment al Health Foundation.
Architects: James Stewart Polshek and Associates.
Associate-in -charge: Di mitri Linard. Eng ine ers:
Pfisterer, Tor and Associa te s (stru ctural); Dalton and
Dunne (mec hanical and electric al); Ramoot
Associates (subsurface inves tigation). Lan dscape
Architect: Clarke and Ra pua no, Inc. Inter io r design:
Polshek. Genera l contrac tor: Repp and Mundt.
Building area: 27,840 sq. ft. Building construction
cost: $1,135,763. All photog raphy by Balthazar
Korab except page 33, upp er left, Franc is Galbraith .
Bui ldin g Suppliers listed o n page 72.

34
Beyond Golden Lane, Robin Hood Gardens
London housing by the Smithsons is based on years of theory

By Anthony Pangaro

36
Left, looking south over Robin Hood Gardens' two
blocks of flats . The London docks and river are beyond.

Alison and Peter Smithson, London archi-

tects, planners and theoreticians, have at
last built an important block of city hous-
ing. The body of ideas which the Smithsons
helped establish is one of the profession's
most respected formal and ideological
models, looked to by many in the United
States as a tantalizing alternative to what
we have been content to build as publicly
assisted housing. Robin Hood Gardens, the
Smithsons' first concrete realization from
that model, is indeed far superior to most
American public housing of the past two
decades, and it deserves close scrutiny.
I consider it here from an American con-
text, from the point of view of the Ameri-
can social and environmental dilemma:
how does Robin Hood Gardens provide for
community, for privacy, and (a particu-
larly American question) for security? The
answer seems to be that, while we still have
much to learn from the Smithsons, the
built reality of Robin Hood Gardens is less
convincing than the theory behind it.
The Smithsons first came to interna-
tional prominence with their competition-
winning secondary school at Hunstanton in
1951. A straightforward work of steel and
glass, it was Miesian with a difference;
and for this difference a new phrase was
added to our vocabulary: the New Brutal-
ism. Five years later, a group of archi-
tects and planners led by the Smithsons,
by Candilis and Woods from France,
Bakema and van Eyck from Holland, and
others, was entrusted with the program for
the 10th assembly of the Congres Interna-
tionaux d'Architecture Moderne (CIAM)
in Dubrovnik. After the meeting, CIAM,
having grown diffuse and unwieldy, dis-
integrated, and the spirited new group,
called Team 10, took its place as the
theoretical establishment of the modern
movement. In further meetings, in many
published writings, and in specific unbuilt
proposals (beginning with the 1952 Deck
Housing project for Golden Lane), the
Smithsons have been conscientiously refin-
ing their concepts for housing.
Robin Hood Gardens is also the child of
the Greater London Council, an agency
well known for its extensive governing and
rebuilding efforts since World War II. The
Anthony Pangaro is an architect with the
design staff of the New York State Urban
Development Corporation and teaches at the
Columbia University School of Architecture.

37
Cou ncil owns more than 200,000 housing
units in London now, and their rents aver-
age about $45 per month.
The Council program for Robin Hood
Gardens was based directly (as many of
our American programs are based indi-
SECTION
rectly) on Parker Morris standards. In
196 1, the British Ministry of Housing and WOOLMO AE STREET

Local Government, chaired by Sir Parker --- - - !..': __ _

Morris, produced a beginning for housing
design standards. T hey considered, among
other things, family sizes and differing
needs, and the furnishings of an average
home; they translated these into dimen-
sional, cost, and other numerical parame-
ters. Like many other attempts to quantify
the building requirements of family life,
its intent was somewhat perverted when it
later became administrative law and not,
as intended, a minimum guideline. This
was especially true in the cases of the U.S. 's
FHA Minimum Property Standards and
Section 236 Minimum Room Sizes.
The site for Robin Hood Gardens is no
Sherwood Forest, but a slum clearance area
in London's East End, bordered by the Lon-
don Motorway as it emerges from the
Blackwall Tunnel, by a heavily trafficked
surface road, Cotton Street, and by the
more residential Woolmore Street. Com-
pleted last year, Robin Hood Gardens
houses 700 people in 210 dwelling units on
five acres of land.

The housing client

The Smithsons' earlier Golden Lane pro-

posal is the model on which Robin Hood POPLAR HIGH STREET
Gardens is based, and Robin Hood Gar-
dens may, in turn, become a model for so 100 200'
SITE PLAN
future building. Such models-along with
more abstract concepts such as "pedestrian
ways," "open space," and "mass housing"
-can be valuable parts of design method-
ology, but we must guard against their
prolonging myths of generalized human
use. We often symbolize behavior by formal
paradigms because we lack knowledge of
the necessary correlations between forn1
and behavior.
The abstract generality of such models
can distort our intent and make us ineffec-
tive as shapers of environment. Because we
derive our franchise from the occupant, the
crucial client of any publicly assisted hous-
ing, it is necessary to identify him, his be-
havior and his needs. We can then design

38
 Top left, the bui ldin
le~
show signs of wearg entrance
d and d'1rectory b th
a section through th:n vandalism. Center
perimeter of the d parking depression t,
the man-mad . [Link], the two s on the
Below left the hill in the central ope buildings, and
one bu ' .' ,e site plan. Below n space.
ild1ng s facade for , the concrete grid f
ms a backd rop to the hill.o

ARCHITECTURE PLUS JUNE 1973

39
Top , one of the "streets-in-the -air." Below left, a
circu lar concrete play area recessed in the art ificial
hill. Below rig ht, the depressed drive between
pa rking areas and bu ild ings. The building facade is
d ivided by two "st reet s." Opposite, three
tenants' uses of their ow n parts of a "street."

' --' '' 1,,_

' ~-
.
,,

40
 and test our intentions for his housi ng with Robin Hood Gardens, like Golden Lane
a ll the participation-observation and in ter- befo re it, is based on the idea of a "street-
view techniques m ade avail able to us by in-the-air," an d critical to the success of
those with sociological insight. the scheme is th e success of that "street."
Some recent feedback of this type has E,·cn in the Sm ithsons' visua lized multipli-
alerted us to dangers in the organization of cation of Golden Lane hous ing into Golden
highrise housing inten ded for use by fam - Lane C ity, with its pedestrian system a
ilies with child ren. Crim e, famil y disin- "multi-level continuous complex," these
teg ration and anomi e, once written off as "streets" co uld fu nc tion as in tended onl y if
characteristic of low income groups, are they did more th an link pedestrian paths-
sudden ly being correlated, in some degree, that is, on ly if th ey served as the physical
to building types themselves. li nks betwee n human activities.
The design solu tion that attempts to In the Robin Hood Gardens model,
recognize the occupant m ust deal with his neither th e streets nor the dwellings accom-
activities, activities often so basic that we modate activities usefu l for supervision or
overlook their significance. For example, socia li zation . The wide access galleries are
the observation and supervision of child re n primarily circulation spaces and a re only
from th e d welling; the sense of neighbor- incidentally avail ab le for neighborhood
hood and of security that comes from be- exchange. T he outdoor areas ad jacent to
ing able to see who comes and goes; the use the d\\'elling units miss their chance to serve
of the dwelling for simultaneous acti,·ities as front porches or stoop s because they
without conflict, and so on. Work for the a llow no definition of private territory or
New York State Urban De,·elopment Cor- any sense of occupant ownership . The
poration (the UDC ) by th e Cornell Center dwell ing units are a ll but disconnected from
for Urban Development Research, Coll ege the "street" (imagi ne the difference if there
of Human Ecology, has already verified were only a kitchen window on it, and a
many such factors as being of expressed im- real stoop ) , and turn away from the link
portance to residents . In that light, the to the rest of the estate .
post-occupancy evaluation of seven UDC The "street-in- the-air" is therefore only
housing developments is now in progress. a shadow of what it is meant to be-there
are no real p lay spaces (except the stair-
The street in the air wells ) , no gatheri ng spaces, and no ac-
tivity connections to indoor co mmunal
At the 1953 congress of CIAM, the spaces. It seems th a t once the presence of
Smithsons said that in modern urban so- shops, views of outside community life, a nd
ciety there are no natural groupings above th e automobile have a ll been taken away,
the level of the famil y. The consequence of th e thing th at remains is only a corridor.
their realization, because they believe tha t Given public housing budgets, a t least in
valid social entities can result from archi- America, it is unlikely that this can be
tectural decisions, has been a search for new otherwise. We often hypothesize that a
physical equivalents for the old levels of deck can be a street, yet the inclusion of
association in the hou se, the street, the dis- enough deck-level space for communal
trict and the city. The hierarch y of fu nc- activi ties is prohibitively expensive, and
tions outlined in C IAM' s 1933 Athens self-supporting commercial space would
Charter (work pl aces, living places, circu - not find an adequate market there. Even
lation places) needed to be rep laced, the our New York C ity tenant of last resort,
Smithsons noted, by a hierarchy of human a n Off-Track Betting parlor, would not
associations. Indeed, they said in T eam find enough exposure there.
JO Primer, the " idea of street, not the real- The real action at Robin Hood Gardens
ity of street . . . is important : th e creation is on th e ground , and the only real con-
of effective group-spaces . .. making the nection to it is via that great interrupter,
socially vi ta! life-of-the-street possible." the elevator (already in this case, in "civil-
Such thinking was logical enough and a ized" London, badly defaced and van-
real step forward, but, to the extent th at dalized). The spaces at ground level are
it overlooked the basic activities of those also generalized and impersonal, perhaps
using the built product, it was short of in theory because "people will decide what
the mark. to do with t hem. " Certainly some spaces

ARCHITEC TURE PLUS JUNE 1973 41

Right, the interior of a typical fla t. Below, typica l
partial floor plans. Fla ts are entered from the open
deck at their midd le level, which also contai ns
ki tc hen-d ining areas; living areas are eith er
on the floor above or the floor be low. Opposite, a
grade en trance to one of the fl ats set asi de fo r
the elderly. Above the entranc e, the narrow be droom
balcon y of another flat.

of this sort are needed, bu t, because these capacity of each particular site, and archi-
a re so isolated from any surrounding ac- tects can ba lance programs within density
tivity, they can only be ill-used or serve as ranges ap propriate for land cost amortiza-
a static stage fo r the built objects. Because tion as well as for social interaction.
of their size, the large number of their It may be said , of course, that density
potential users, their many access points is a quantifiable indicator of the threshold
and their disconnection from the dwelling necessary to encourage certai n relation-
units, these spaces do no t aid the socializa- ships among hum an activities. Below a
TYPICAL UPPER LEVE L
tion or security of the housing environ- certain minimum threshold, relationships
ment. Don't forget tha t I am talking about cannot occur because of improbability or
Robin Hood Gardens as a general organi- insuffi cient interaction; above a certain
OECK
zational model. As a specific case, much maximum threshold , rela tionships may be
of its site planning may be justified by dif- excl uclecl because of conflicts in use clue to
ficult constraints-in particu la r, the noise juxtaposi tio n . That is, the appro priate
and pollution of surrounding roadways, density for the occurrence of "neighbor-
and the lack of any other neighborhood hood" lies within certain limits. This range
open space. Even so, a connection between is one in which hum an contact is facilitated,
the open space and the d welling units is one where mechanical interve ntion is not
TYPICAL M IDDLE LEVE L
badly missed . Further, the spaces do not required. At the present time it seems clear
provide for a hierarchy of uses by different that the use of the elevator in many urban
and limited age or interest groups, each in situa tions and the use of the automobile
its particular physical relationship to the in much of the life of the suburb should be LIVING

dwelling or the street. limited in order to all ow a more adequate

What's missing is the life of th e conven - relationship of activities.
tional street. T he irony of this is that a basic
tenet of the Smithsons' theory has been The meaning of numbers
their proposition of the "street-in-the-a ir"
as a surrogate street, and yet the street's Can we be more specific about desirable
TYP IC AL LOWER LEVEL 20·
ve ry removal fro m the ground seems to de- density levels ? The well -known tragedy of
stroy its essence. How do we get into this St. Louis' Pruitt- Igoe housing should help
mess? Perhaps because of that other great reveal the fallacy of highrise family hous-
plann ing abstraction, d ensity. ing. It would be misleading, however, to
attribute the ills of the project to density.
The density myth At 55 units per acre, its density was hardly
high. It failed not because of population
I believe that we continue to work while density but, p artially, because of the dis-
suffering under the illusion th a t higher tribution of that density on the site (and
d ensity, per se, encou rages more activity also because of the large number of low
and therefore higher interaction. At the income fami lies concentrated in one sector
same time we feel that rampant access and of the city without adequate cultura l and
an open ground p lan signify, or even cause, social services) . T here was no neighbor-
an open society. And this numbers game, hood . T he physical distribu tion of spaces
as architects and some community groups ignored the pattern of human activity and
play it, brings with it the seeming obligation markedly contributed to the disaster. The
to provide the largest open space possible failings of incorrect activity relationships
in order to offset the highest density possi- all apply to Pruitt-Igoe, but density should
ble. More d ensity, more open space, more not become the scapegoat for incorrect
access ways. physical organization.
T he problem, however, is both quantita- I have al read y suggested that the maxi-
tive and qualitative-the numbers game mum threshold may be reached when
should never be played for its own sake. mechanical intervention is required. It is
Rather, we should first establish criteria for obvious to many that young children should
relationships between activities, spec ify the not have to use the elevator in getting to
resu ltant physical forms for each user play spaces. Pruitt-Igoe actually recognized
group, apply these to given site conditions, that fact and sough t to provide play spaces
and then measure density. In this manner, in proximity to sm all groups of dwelling
density will be d etermined by the holding units . Strangely enough, the d ensity of

42
 Bel ow, a corner of the garden side of one
of the blocks. Right, an "aco ustic" wa ll (intended to
refl ect traffic noise back to the street) is a
form idable visual barrier as we ll. Parking is on a
lower level between the wal l and the buil ding .

activity in those spaces was not enough to

sustain their continuous or varied use.
Their connections to the dwelling units
were incorrect: the play spaces became the
unobserved and inactive spaces which en-
courage vandalism and crime.
It is clear that other physical organiza-
tions are possible at the same density. Most
successful British housing projects are close
to the density of Pruitt-Igoe ( Bonamy
Street, 4 7 units per acre; Winstanley Road ,
45) , but all have a better physical organi-
zation. Recent study by the UDC staff to-
gether with the Institute for Architecture
and Urban Studies indicates that densities
up to 80 units per acre are possible with-
out elevator access.
At Park-Hill in Sheffield , England, the
density more than doubles that of Pruitt-
Igoe. Here the designers were ingenious in
trying to eliminate the disruption of activity
relationships caused by the elevator. First,
they tried to lift the conventional street as
an appropriate channel of public activity
from the ground in order to maintain a
correct physical connection from dwell ing
to access. Then they guaranteed density
along the "street-in-the-air" through the use
of a jJrivat e stair system from alternate
floors, and fina lly they extended most
streets thro ugh the length of the building
to adjoining grade.
A good try, but still not enough. The
elevator still interrupts activity even though
it is shifted to a better position. The Park-
Hill street is still little more than a corri-
dor. At such density ( 125 units per acre),
we seem unable to sustain neighborhoods
within construction cost limits because we
cannot economically transpose large ac-
tivity places from the ground.
In comparison, Robin Hood Gardens, at
about 40 units per acre, is of rather low
density, but it is the distribution of this
density and of open space that determines
the development's character and pattern
of use.

Community vs. privacy

Although R obin Hood Gardens fails as a

model for community, it does not as a
model for privacy. The anonymity of its
occupants is all but guaranteed, and, were
it not for the American problem of security,
its suitability as a design for mobile, small,
upper middle class families might be high.

44
Perhaps this anonymity makes the design
perfectly appropriate in a British context
or in a m iddle class context, although for
large fam ilies with chi ldren I doubt this to
be the case. Tak ing highrise dwellings from
the rich and giving them to the poor would
be an injustice.
The individual dwelling units of Robin
Hood Gardens must be discussed in rela-
tionship to the project's overall organiza-
tion. The units are small, even by U.S. fed-
eral standards (whereas the outdoor spaces,
by our standards, are very expansive) . The
units do, however, provid e through ventila-
tion and dual aspect, seldom achieved in
mu lti-story American construction. They
also allo w the useful separation of domains
for ch ildren and adults by their dupl ex
arrangement and by removing the dining
space from the living space, so that the
home can serve simultaneous and conflict-
ing activities.

Conclusion: getting beyond Golden Lane

The gap between theory and application,

between model and actuality, must be
closed. We observe that the things we build
don't work; is the theory behind them un-
fulfilled or is it wrong? As guiding prin-
cip les, the heuristic theories we presently
use are too general and too vague, present-
ing as models bare representations of what
we assume the physical framework of
behavior ought to be.
The task is to determine, and then to in-
sist upon, the set of amenities ap propriate
for a particular group in a particu lar con-
text. We cannot continue to let land eco-
nomics, in a realm of minimum standards
and maximum saturation, determine qual-
ity of life. This policy has clearly produced
unsatisfactory results .
The Smithsons were among the first to
express concern for the proper relationship
of the dwelling to the street, and for the
continuum from dwelling and street to
neighborhood to city. Now they have given
us at least a fragmentary physical mani-
festation of their intentions. It is imperative
that we thoroughly test it, both philosophi-
cally and socially, before we continue to
retail it.

Photographs : Sandra Lousada, Whitecross Studio

Ltd., except pages 38, 40 (bottom), 45 by Peter Blake.

AnCHITECTURE PLUS JUNE 1973 45

Everyone on the East Coast of the U.S. and project an image of cleanliness and neon sign was unique, although the mes-
knows them : gleami ng porcelain enamel speedy service by a multitude of subtle sage-"Hamburgers 5¢"-was basic.
boxes in downtowns ( 1) a nd along the (and not so subtle) architectural devices. To popularize the 5¢ hamburger White
roadside strips of the 40's and 50's, open Tower relied on an evocative name with
White Tower # 1
all night, serving hamburgers and coffee strong symbolic overtones. "White" implied
( 2) , but few are a ware of their remark- In the mid 20's Thomas E. Saxe, a recent whol esomen es s and cleanliness, and
able architectural history. graduate of the University of Minnesota, " towers" evoked social and gastronomic
The White Tower system, founded in saw promise in the idea of a chain of street prommence.
1926, is one of the oldest short order food corner lunch counters located in industrial After a year of modest local expansion
chains in the co untry. Its development par- and commercial areas and offering a lim- and architectural experimentation, White
allels that of the commercial vernacular of ited menu with fast service and moderate Tower established itself as a large chain
the last half-century. White Tower bui ld- p rice. The first 5¢ White Tower ham- in 1928 and 1929. This was essentially clone
ings are part of an extraordinarily complete burger was sold at Milwaukee #1 on No- by recognizing the potential of their work-
story of stylistic variation and ingenious vember 17, 1926. ing man's restaurant in industrial Detroit,
adaption to circumstances on one strict Milwaukee # 1 had most of the character- and then taking a big risk . In one year they
functional and symbolic theme. In tracing istic elements of all future White Towers. built over 40 White Towers there! These
their evolution from downtown sites to the The building has the form of a white glazed Detroit towers, built for less than $10,000
suburban commercial strips, a broad range brick block with an asymmetrically placed per building, were small a nd their interior
of architectural conditions is encountered. tower over the entrance ( 3). The goose- finishes were modest ( 5), but their ex-
Architectural decisions were always based neck exterior lamps transformed a "Tower" teriors all were in the glazed brick style that
on business and economic criteria, except by clay into an oasis of light by night. The was to become standard for the next five
when formal decisions affected business simple white interior was a first attempt at years. More impo rtant than architectural
"image." Wh ite Tower managed to main - creating an atmosphere of cleanliness both style was location and siting. In many pho-
tain its identity through many style changes real and imagined . A typical feature of tographs of early Detroit White Towers, an
this original tower was its monumentality, industrial giant (Chrysler, Sears) (6)
derived from its minimal decoration and looms in the background . In Philadelphia
Th e authors are both Philadelphia architects large-scale openings, and the two-dimen- a new station on the Broad Street subway
who lunch frequently at Philadelp hia #14. This sional effect of its facade ( 4 ), emphasized line would produce a new restaurant at the
deadpan dissertation m ay earn them an Honor - by the shallow tower and pseudo mission- top of the subway stairs. But Detroit in
ary Doctorate in Pop History-or it may not . style buttresses on either side. The detached 1928 and 1929 set the pa ttern of a clean,

3 5

2 6

-----

ARC HITECTUR E PLUS JUN E 1973 47

wholesome build ing, serving good food a t have no thickness as it stretched across the combination of the representational symbol
a popular price. In the next year the De- small box, knocking off the corners of the with abstract forms and details has been
pression made everybody a W hite Tower windows and just barely being contained by used frequentl y by W hite Towers to their
customer and success was assured. the black borders. But unlike m a ny build- advantage.
I n the early years T. E. Saxe concen- ings in the Moderne style, which carefully The Syracuse #1 porcelain tower, while
trated on d ay-to-d ay operations of White integrated a nd controlled graphics on the not quite as lavish as the New York #10
Tower while his father, J. E. Saxe, wheeled faca de, here the sign was elevated and il- ( 10 ), was a more direct development from
and dealed in the real estate aspects of the luminated as a separate extravaganza- t'1e glazed brick towers. In fact, it was as if
business, wh ich were not inconsiderable, "Hamburgers 5¢." a brick tower has been clad in porcelain
since White Tower bought and leased sites, New York #10 continued the experiment overnight, right down to the tripl ed pilaster
remodeled existing buildings, and some- with Vitrolite. It employed the same form motif on the towe rs. This transformation
times even moved their own ( 7) . In fact, and proportion as the standard glazed brick was not literally true in this instance, but
ease of movement was a lways part of W hite models as well as their corner tower, but became true as buildings were renovated
Tower design. was more expressive in its use of m aterial. over time.
Chrome trimmed pale green columns sup-
Porcelain enamel Applique towers
ported the beveled cornered tower. Slit
By 1933, White Tower had over 100 glazed windows became mirrors, and crenelations The next varian t of this style in 1935 and
brick towers spread across the industrial (on cornice as well as tower top) became 1936 strengthened the overall impact of the
cities of Central and Northeastern U .S. Its floral panels. The whole was whimsically towe r by eliminating the colored pilasters
clientele was fi rmly established . White topped off with a translucent hem isphere and floral app liques. Since the app lied fa-
Tower now moved to consolid ate its image which glowed at night (9). The "Ham- cade became increasingly popular in the
with its firs t major change of material and burger 5¢" sign was now baked into the built-up areas of older New England cities,
style. They first experimented with Vitro- Vitrolite panel above the window, where it a d evice was needed to make the tower
li te, a colored opaque glass. The most radi- became as much surface decoration as ad- stand out from the building of wh ich it was
cal experiment was a checkerboard Tower vertisement. The interior now fulfill ed the a part. T he trick of surrounding the white
sitting on a triangular corner site in Chi- promise of the facade by using the same tower in black paint or porcelain enamel,
cago ( 8 ). T he literal tower image ry was luxury ma terials-Vitrolite a nd stainless proved simple and effective. The most ele-
abstracted into a stepped Moderne motif. steel. The overall design image of the repre- gant example of this occurred at Hartford
The checkerboard pattern was of such sentational tower was contradicted by the #1 ( 1935 ) ( 11) where the black porce lain
colossal size and precision that it seemed to flush d etails of the International Style. This backgrou nd fo r the corner tower (here

7 10

11

48
jazzed up with stainless steel stripes) con- more luxurious it seemed ... A prominent Deluxe towers
tinued past the tower to provide a unifying theatrical designer in New York mentioned
base for the entire building, the tower's that they create gracious and ornate thea- O ccasionally White Tower built deluxe
pilasters echoed in the black porcelain ters so that when a person pays his buck and towers which more closely achieved the
enamel. The whole composition was set off a half admission, he feels that he is part "palace" image that they alluded to in their
with a Renaissance roundel over the main owner and he's in his own palace. It was buildings. In 1935, they hired B. Sumner
stair, in this case advertising the Hartford similar with White Tower. The more metal Cruzen of Jersey C ity, New Jersey, to de-
Academy of Hairdressing which resided on that was on ... people asked if Andrew si gn Paterson #l (16). He approached the
the Piano Nobile. Mellon was behind Wh ite Tower," says design with the vocabulary of the Interna-
Charles Johnson, White Tower architect. tional Style rather than the evocative im-
Hamburgers under glass, interiors
The interiors fulfilled the expectations of agery of hamburger salesmanship. The ob-
By simplifying their materials to white por- the exteriors. What was done on the exterior ligatory entrance tower, porcelain facades
celain enamel and stainless steel for decora- by word, symbol, and material, was clone in a nd goose-neck lamps were there, to be sure,
tion, the White Towers achieved a very the interior, except hamburgers were sub- but the overall curving shape, due to the
clean image. Due to the inexperience of stituted for symbols. A typical tower had triangular shape of the property, was en-
porcelain fabricators the stainless steel strips nine or ten seats at the counter, plus another tirely new to White Tower at the time. The
were necessary to mask the frequent control six or seven facing the window. Walls and large bands of curving glass, set flush with
joints. But the stainless steel also served ceilings were carefully detailed white por- the porcelain panels gave this giant tower a
another important function. The metal celain panels framed and edged in stainless giant scale. Rather than resolving the verti-
would shine, thus indicating a clean place steel ( 12 ). All fixtures, stools and trim were cality of the tower with pilasters or graphics,
to eat. The White Towers of the Depression also stainless steel, while floor and base were Cruzen chose the dramatic sweep of the
not only looked clean ; they were. There was patterned glazed tiles. The total effect of awning trough which connected the ex-
no shortage of men willing to staff the these shiny white surfaces was antiseptic and haust fans in the back to the asymmetrical
White Towers, and the buildings were com- wholesome, and a perfect foil for the display illuminated vertical on the tower. The styl-
pletely washed clown twice a week inside of graphic menu boards ( 13 ), real food ish touches were picked up inside as well,
and once a week outside. The glossy White under glass ( 14) and hamburgers prepared where the basic sparkling White Tower in-
Towers and the 30's movie palaces both at a grill consciously set where you could see terior was accented with special display
tried to transfom1 the everyday world into and smell you r hamburger cooking, served cases with rounded corners set flush in the
something special. "In those days, the more up by a Towerette topped off with a zig-zag wall, and a special stainless steel message
'gingerbread' there was on a building, the tower cap ( 15). board with recessed lighting fixture slung

12 15

14

13 16

ARC HITECTURE PLUS JUNE 1973 49

over the serving counter ( 17) . luted the traditional forms of the W hite streamli ned shape, and vertical chrome
Camd en #5 was a nother deluxe towe r T ower imagery with a modern vocabul ary stripes (borrowed from Paterson #1) gave
bought by White T ower in 194 1. It had that mad e them sophisticated formal com- the tower the appearance of a Hindu tem-
been buil t in 1936, its design based on the positions, but uneconom ical to build and p le. O n the whole, it was not successful
C ushma n Bakeries of New York. T he build- therefore poor White Towers. T hey did since its two-dimensional qualities always
ing was already a porcelain enamel box however become occasional sources of sty- made co rn er towers appear disjointed . T he
with a central tower and th e goose-n eck listic insp ira ti on . most successful example of this style was
lamps, a ll basic W hite T ower elements. Washi ngto n #3 ( 1936 ) ( 19) which ingeni-
Here it was, howeve r, a sophisticated exer- Further experiments ously transformed a center block site to an
cise in manipu lating roadsid e scale. T he In Novem ber of 1935 , C ha rles J. J ohnson a pparent corner by creating an alley aiong
o, ·er-large wra p-around windo\1·s imply a joined W hite Tower as its "in-house" archi- one side. Besid es creating the "corner" for
much larger building. T his contrast of a tect, a position he has held with great energy tower image purposes, it provid ed light for
small bui lding with large scale elements is a a nd inventiveness for over 37 years . H is the deep interior as well as providing the
basic dev ice for gaining attention along the work can be characterized by the econom- opportunity of exploiting the back of the site
highway (op posite, top) . An elabora te ef- ical expression of the symbolic and practical with a rental property.
for t was made to achieve the effec t. Th e needs of the Company. Econ omy and h is
White Towers on the strip
"cantilevered" windows were made to ap- design sensibilities di rected him towards
pear con tinuous by using radi usec1 glass simpler tower designs. In his fi rst year, how- In the mid- 30's, the phenomenon of the
corners (opposite, bottom ) , butt jointed, ever, his design s stru ck out in three d irec- roadsid e drive-in , which had its start in
and set flu sh with the porcelain skin . T he tions at once. In new, free-sta nding buil d- Califo rnia, was introduced by White T ower
co rners were actually supported by slender, ings like Baltimore # 1 or New York #18 in Camden , N.J., in the midst of early strip
recessed !a lly columns. Th e large scale of ( 18 ) , he merely polished the current design , commercial development such as car deal-
the streamlined facad e would still have con- by enlarging windows, abstracting the stain- ers, gas sta tions and tourist cabins ( 20 ) .
siderable impact on today' s fast-moving less steel decoration into pu re vertical and People thought W hite T ower was com mit-
motorists if a highway realignment hadn' t horizontal stripes, and thinning down the ting economic suicide by building Camden
made access impossible for half the passing black enamel base. T hese changes had the #2 on the roadside along Admiral Wilson
traffic. Camden #5 was demol ished un - effect of increasing the scale of the building. Boulevard, the major arterial leading to the
ceremoniously in th e summer of 197 1. I t H e also experimented with a two- Ben Franklin Bridge and Philadelphia. But
is interesting that these two buildings, one d imensional streamli ned tower, mostly on on opening day cars lined up through the
by design, the other by circumstance, di- towers built into existing buildings. I ts night to buy 5¢ hamburgers and experience

17 18

19 20

ARCH ITECTURE PLUS JUNE 1973 51

this taste of the streamlined fu ture. with the addition of a stream lined canti- tains recessed down spots and makes em-
These roadside towers had a new sym- levered high reader sporting neon decora- phatic the division between the windows
metrical design similar to Camden #5 with tion and advertising "restauran t" (22). The and doors below, and the porcelain enamel
large, wrap-arou nd windows and a stepped building sat in a sea of asphalt and was and tower above. The tower, a very differ-
tower over the central doorway. The build- serviced by an army of jauntily uniformed ent broad squat block, was really a tower
ings were kept close to the road so they car hops a nd supervisor equipped with rol- within a tower because of the large 'white
could act as signs. Although the windows lerskates. The facade of Marbett's and its tower' sign set in relief at the comer. The
were over-large and the building form sim- twin in Silver Spring, Maryland, was even- le tters were large, about 3 fee t high, and
ple, the large scale achieved in Camden #5 tually covered with all sorts of signs, applied made of white porcelain enamel with nar-
with over-la rge windows and normal sized a nd illuminated . T he building was a sign, a row black channels giving them an illumi-
door, was lost somewhat in the roadside signpost and the image of speed and mod- nated quality (opposite) . In the 50's the
towers by increasing the door height to line ern ity ( 23). The implied motion of Silver sign on Washington #2A became even more
up horizontally wi th the windows a nd by Spring # 1's streamlining makes it seem the dramatic when the letters were formed out
making the tower disproportionately smal l. speediest machine in the parking lot ( 24 ) . of tripled tubes of red neon.
The resulting smaller scale reduced the Unfortunately, the deluxe W hite Tower T he towers built just before and just
building's impact at 40 mph a nd called for failed econom ically where it succeeded vis- after the war reverted to the standard asym-
a change in approach from symbols and ually. The country just wasn't ready for metrical corner tower theme. The tower
large scaled openings, to symbols and signs. the 10¢ hamburger. was essentially a plain block with no decora-
T he problem of visibility on the strip was tion or graphics ( 26) . The facades were
Variations on deluxe towers
resolved in two deluxe roadside restaurants smooth porcelain planes, broken only by the
built in 1938. The first, Camden #3, was Johnson had time for one more experiment one "W hite Tower" sign above the window.
built directly across the road from Camden before the war brought an end to new con- When old brick towers like Detroit #6
#2 and called "Marbett's" to avoid direct struction. At Washington #2A ( 25 ) he ab- ( 1946) were covered with porcelain, their
competition (2 1) . It was a sizable porcelain stracted and simplified the deluxe tower planar austerity was reminiscent of the
rectangle, with horizontal windows and a themes to a fine edge. The windows were original 1926 building, M ilwaukee # 1. Ex-
cantilevered curving canopy of stainless en larged and the frames diminished and cept for their la rger windows and occasional
steel supporting the concealed exterior painted out, giving a big scale a nd curtain stainless steel bands, it was almost impos-
lamps. T his horizontal, a basic stylistic ele- wall openness to the long wall. Stainless steel sible to tell the new from the remodeled.
ment of drive-ins, was a break with the tra- trim was concentrated in the bold horizontal This fact helped unify the "White Tower"
ditional form of the White Towers. The cantilevered overhang (borrowed directly image among the various towers, some of
tower was no longer a symbol but a signpost, from the deluxe restaurants), which con- them nearing their 20th birthdays.

21 25

23

22 26

52
Post-war "classic" towers pushed to one end of the rectangle ( 29) . The building image is similar to a n Irish
The openings ll'ere proportionall y very Co untry Inn-the style is half tim bered-
After the war, Johnson developed the style la rge, an d combined with th e simple large rustic.
that was to serve White Tower extraordi- graphics, gave these tin y buildings a gigan- This radical change in symbols and image
narily well for almost 20 more years. Aided tic scale. T he effect of a si:--;-foot man enter- is typical of many other areas of the com-
by accurate porce lain enamel \vork he sim- ing the door which is only six foot-four mercia l vernacula r. There has been a turn-
p lifi ed the bui ldings to pure white cubes. inches high is startling to the poin t of per- ing away from the hard -edged , gleaming
The tower return ed to being both a symbol cep tu a l trickery ( 30 ) . These little, but big. materials and the streamlined automobile-
and a signpost as the stylish "White Tower" bui ldings are th e perfect combination of insp ired imagery of the 19.+0's and 1950's to
logo was redu nd antly put on the actual tower symbol for recognition, large scale natural materials and the rec-room mansard
white tower (27 ) . The le itmotif of "ham- openings for the highway, an d bold g raphics imagery of suburban residential design . We
burgers," banished in the 40' s when price to re inforce the message-hamburgers. might still be a nation on wheels but we see
rose above 5¢, returned as a sub-title above ourselves as a nation at home in a tasteful
The result of competition
the windows, u nderlined by a vestigia l strip suburban house, so our "palaces" have to
from the del uxe restaurants. As Charles The 60's brought extreme competitio n from be homey.
Johnson said : "We still liked the word fa st food chains such as McDonald's. At the W hite Towers have acquired their im-
'hamburgers.' Hamburgers, we think, brings same time many inner-city W hite To,1·ers pact a nd meaning from a conscious use of
in the business." As White Tower expand ed began to suffer as their neigh borhoods d e- style and symbol. The architectural styles,
its system to over 230 units in th e 50' s, t''. e te rio rated . They lost their economic viabil- the materia ls, the dresses on the towerettes,
new simp lified style, working equa lly well ity and were abandoned. In the early 60's, the cars parked outsid e, the prices, a nd the
for renovations and new buildings, rein- su burba n locations were chosen, and White signs a ll change. But while surface and style
forced the chain image. Tower had to find new ways to att rac t cus- change as a function of taste, the symbolic
Perhaps the most successful of these clas- tomers who drove a utomob iles. T he y de- tower rema ins constant as a function of
sic models were the 15 prefabricated towers, ,·eloped a new cha in of res taurants kno,1·n market and cultural image. Unlike many re-
10 ft. by 25 ft. in size, built by the Valentine as Brock's Eating and Drinking Houses. cent excursions into an architecture of
Company of Wichita, Kansas. Due to th eir Since the essence of success of the \Vh ite process and style, White Towers ne ve r con-
small size and method of construction, these Towe r chain was the simplicity and mod er- fu se abstract forms , or function , with sym-
buildings had to be visually and function ally ate price, Brock's a lso featured a simple bols. Towers have a strict reason for being-
as efficient as possib le. The inside dimen- lu ncheon and dinner menu, with liquor ham burgers-and they remain , in whatever
sions alloll'ed only one counter for 10 cus- service, a imed at the m idd le class residen - form , " d ecorated towers" (31 ) at the ser-
tomers ( 28) . The tower was O\'er-la rge and tial and business markets in the suburbs. vice of those ubiquitous meat patties.

27 29

- 30
.. •
1!:""'"'~"'~~7<>=- _ _ _ _ -
J

28 31

54
 . a st ark modern presence
Art in the in an undulating, age-old
and deserted land scape."

wilderness
By Rosalind Constable

George Staempfli has built his dream house

- in the wilds of New Mexico, eight miles
from Capitan, a tiny town on the edge of
Lincoln National Forest. It was built in an
incredible 90 days. Furthermore, the house
cost very little more than the original fairly
modest estimate. Nor is that all: George
Staempfli and his architect, Harvey S.
Hoshour of Albuquerque, New Mexico,
are today close friends . Compliments fly.
"George is the ideal client," says Hoshour.
The contractor, George Walters of Albu-
querque, also comes in for his share of
praise. "He is not just a prince among con-
111
tractors," says Staempfli, "he is a prince
among men ." It is all too good to be true.
And it is all true.
George Staempfli owns the Staempfli
Gallery in New York, one of the city's most
prestigious, with a leaning towards clear-
cut elegance, both in painting and sculp-
ture. Staempfli for some years had a "sec-
ond home" in Cadaques, Spain, a small
fishing village near the French border, sold
it when tourists became too numerous. He
and his wife, Barbara, ranged far and wide
in search of what they now wanted: a large
piece of land with no neighbors. Florida
and California were dismissed out of hand .
Arizona was considered, and Mexico itself,
before they began to explore New Mexico.
Santa Fe was too social, and Silver City too
expensive, as was land around Ruidoso, in
the southeastern part of the state, where
the booming Sierra Blanca Ski Area is op-
erated by the Mescalero Apaches. Finally
they found what they wanted nearby: 120
acres surrounded by Lincoln N a tional For-
est. "It was an incredible stroke of luck,"
says Staempfli. "We found the land in a
snowstorm New Year's Eve 1971, and put
down some money right away. We bought
in April, started building the 1st of May,
and moved in the 1st of August."
Hoshour admits it sometimes takes him
90 days just to draw up the plans. But
Staempfli asked him to fly to New York,
and the plans were virtually completed
over the weekend. Staempfli chose a New
Mexico-based architect for the very good
reason he would be familiar with local
conditions and problems. Harvey Hoshour

Rosalind Constable is an art critic now living

in Santa Fe. She has written extensively for
Time, Life, and Fortune, and is a Contributor
to Architecture Plus.

ARCHITECTURE PLUS JUNE 1973 57

 was recommended and, says Staempfli,
"very soon after seeing his own clean house
I asked him if he wanted to do ours. Luck-
ily he had time, and it worked out very
well."
"We wanted a house just as large as our
apartment in New York," says Staempfli.
"Two bedrooms, two bathrooms, and a big
living room." What he got is best described
(by Staemp fl.i himself ) as a matchbox on
stilts. The main house ( 72 feet long by
24 feet wide ) is built of stucco over wood,
and is balanced on a concrete block, the
extremities supported on steel I -beams.
The concrete block yielded a bonus, at al-
most no extra cost, of two rooms, one of
them now a utility room. "Picture win-
dows," uniformly 7 feet by 5 feet, frame the
last ridges of the Rocky Mountains to the
north, the Sierra Blanca to the south.
Harvey Hoshour comes by his "purity"
through having worked first with Harry
Weese, then with Mies van der Rohe in
Chicago, and with I. M. Pei in New York.
In 1962 he left New York and, accompa-
nied by a pretty French bride, moved to
Albuquerque. But Hoshour himself attrib-
utes his "purity" to his Pennsylvania Dutch
ancestry. "I come from a long line of Lu-
theran ministers, which is why I am such a
pure architect," he says only half-jokingly.
The glass, steel and concrete structures
(office buildings, small branch banks, pri-
vate houses) he has designed since mov-
ing to Albuquerque have earned him both
prizes and criticism from adobe-oriented
New Mexico. Ironically, Hoshour himself
lives in an adobe house, an old farmhouse
which he remodeled, the pure white walls
of the interior constructed and finished by
hand by Indians from nearby Santa Ana
Pueblo. The entire furniture of the large
living room consists of four Mies van der
Rohe (Brno) chairs and a Mies van der
Rohe glass table.
Not surprisingly, Hoshour tries to per-
suade his clients to preserve the purity of
his architecture by keeping furnishings to
a minimum. But Staempfl.i was determined
to furnish h is house to his liking. "I had
no intention of living with four chairs and
a table," he says. As a result there was, for
example, a slight hassle over the kitchen
stove. Hoshour had selected an electric
stove of exquisite simplicity. But it did not
have a self-cleaning oven, which Staempfl.i
insisted on. So he chose one himself. When

58
 The contrast between new and primitive
is seen not on ly in th e house but in its
furnishi ngs. Left above, looking southwest
from the sta ir hall towa rds the
Sierra Bl anca mountains. Left below, next
to a prefabricated fireplace, Staempfli's
co ll ectio n of ce remonia l clubs and
SECTION
paddles from South Pacific is lands.
0 On th is page , simp le cabinetwork hous ing
West Africa n wood carvings ,
con tempo rary bronzes an d carve d
uchus from the Sa n Blas Islands .

10 20'
PLAN

ARCHI TECTU RE PLUS JUNE 1973 59

 Hoshour saw it he shuddered. "It has
knobs!" he said. In an attempt to mollify
his outraged architect Staempfli told him :
"We have a white marble table in the liv-
ing room." "Thank God!" said Hoshour.
But Hoshour soon discovered that the
marble table was not the only furniture
in the living room. "I like certain com-
forts," says Staempfli. "I can get esthetic
enjoyment out of things that are not as
calculatedly pure as the things he likes."
In consequence, the large (23 feet square)
living room is comfortably splattered with
furniture, some of it designed by sculptors
Harry Bertoia and Isamu Noguchi, some
by Marcel Breuer. The white walls are lib-
erally covered with art and artifacts.
Because it is raised on stilts, and is built
on a hillock, Staempfli's house dominates
the pinon, juniper and cedar-studded land-
scape like a fire tower. But because of the
thick growth of spruce, pine and fir in
adjacent Lincoln National Forest it is
barely visible from the highway. It is only
on rounding a bend in the bumpy dirt road
that leads to the house that it becomes
visible : a stark modern presence in an un-
dulating, age-old and deserted landscape.
A logical question is why Staempfli did
not build a traditional New Mexican adobe
house, whose white interior walls would
seem an ideal background for the modern
art and ancient artifacts he has brought
to New Mexico. Explains Staempfli: "We
did consider adobe, simply because we felt
it might fit better into the landscape. But
with adobe we could never have had this
many large windows. I think an adobe
house is a place to feel secure in, against
your surroundings. And in this place I feel
secure with my surroundings. We don't
even have curtains." If Staempfli's sur-
roundings are mercifully free of humans,
they are filled with wildlife: bears, badgers,
bobcats, hares, deer etc., as well as an
occasional mountain lion in the Sierra
Blanca.
Staempfli, like many European children,
was in love with the American West. "We
lived, dreamed and played Indians," he
recalls. Now he is actually living only 25
miles from the Mescalero Apaches Res-
ervation where once, in imagination, he
lived as a boy.

Photographs: Annette Del Zappa.

Building suppliers listed on page 72.

60
 Left below, a Kwoma carved head from
New Guinea. Left above, a stai r hall
window frames a view of the Vera Cruz
mountains between paintings by Murie l
Kalish and Ono Sato. Below, a teak
sculp ture by Takao Kimura on an open
balcony with stuccoed walls and teak fl oor.

61
ARCHI TECTURE PLUS JUNE 1973
news+ Argentine stadium
The winning entry in the competi-
tion for a sports stadium, held by
the City of La Plata, Argentina,
continued from page 13 was submitted by a team of three
architects: Antonio Antonini,
Gerardo Schon and Eduardo
Zemborain.
The project requirements in-
cluded meeting International Soc-
cer Federation guidelines, and
flexibility, allowing the grandstand
to be divided into two sections for
spectacles of lesser magnitude.
The covered section consists of
a continuous graded area 63m. by
160m.
The roof is a suspension type
metal structure, projecting 21m.
in both directions.-L. A.

What are you working on

these days-Monticello?
Have you been secretly envying
Perry, Shaw and Hepburn their
commission to restore Wi lliams-
burg? Now you can build the Gov-
ernor's Palace yourself. Or the
White House. Or Mont icello.
Several Williamsburg model kits,
=
in cardboard, at 1/s" 1', are avail-
able from Freund Enterprises, P.O.
Box 800, Brooklyn, N.Y., 11202,
for as little as $3.65. And for even
=
less money, at the scale of ~fo" 1',
Monte Enterprises, P.O. Box 2391,
New Bern, N.C., 28560, offers th e
Robie house, the R enwick Gallery,
an d others mentio ned above. If
you're really ambitious (o r abso-
lutely out of 1rnrk ), Monte can sup-
ply you with the 13-building village
cross roads of Cooperstown, N.Y.
Gove rn or's pa lace

Glass partitions and fluorescent cei ling lights create prisms White House
Prisms in Wall Street
A new branch of the Dresdner tion to the ceiling. This solution
Bank (a wholesale, as opposed to has the double effect of not inter-
a retail, bank) has opened in New rupting the clea r view of the light-
York City's financial district. patterned ceiling, and of creating
The lighting system is the most a prismatic effect-a result of the
important element of the design diagonal ligh ting pattern crossing
concept. It harmonizes with the the right-angled grid of glass-
mu] ti-angled perimeter shape of topped partitions-with a startling Monticello
the space and emphasizes its visua l im pact.
uniqu eness. The angle is strongly The colors are simpl e and
articulated by means of continu- subtle: off-white through gray to
ous, regularly spaced, flush troughs small accents of black. Designers:
of fl uorescent ligh ting. Interior Concepts, Inc. of N.Y.
All interior partitions stop 4Y2 "Five into Three," a sculpture
ft. below the ceiling. Where pri- eight feet tall and 27 feet long, of
vacy is essential, clear glass with- brushed aluminum, is by the New
out mullions continues the parti- York artist, Tania.

62
 scribes and defines the pedestrian of four floors. All housing is lo-
zone. Interior streets are only for cated in four sections near the
services and access to parking center of the complex.
areas. The pedestrian walks, sepa- Commercial and government
rated from vehicle roads, are on offices are found in a band of
two levels : one 5,60m. high con- buildings.-L. A.
necting the public a reas, and the Rumor has it that several sub-
other 3,00m. high giving access to m imons from the U.S. we re
the residential buildings. "passed over" on ideological
The living units are con tained grounds by a jury made up largely
in towers of 21 floors and walk-ups of Cuban and Chilean judges.-Ed.

India design competition

The all-India middle-income hous- ment Design Facility (Mathur,
ing competition was concluded in Pereira, Gan ju and Bhan); and the
Apri l. Staged by the Delhi Devel- K alkaji th ird prize wi nn er, Suresh
opment Authority on the truly re- Goel & Associates.
markable initiative of its vice-chair- Commendable as were the efforts
man, Mr. Jag Mohan, this design of both the DDA and the prize-win-
co ntest drew a great number of ni ng entrants, th e fact remains that
entries, not only from all over India th e 5,000 rupee purchase price is
but from Indians working in the strictly a middle income figu re, at
U.K., the U.S. and elsewhere. least five times as much money as
Three sites were given to the 40 percent of the Indian population
competitors, and each had its own ca n afford. What India needs, in
range of prizes. The largest site was order to solve the housing prob-
Dilshad Garden ( 35 acres); the !ems of lower income groups, is
next was Malviya Nagar (22 acco mmodations which will not
acres ); and the smallest was Kai- cost more than $100 for each fam-
kaj i ( 16 acres). The entrants were ily. And $100, alas, will not even
asked to submit integrated layout purchase brick and concrete for a
plans, including parks, shops and simple dwelling. All we can afford
playgrounds. The housing units here are patterns of sites and ser-
were to vary in size from 25 sq .m. vices. But perhaps Jag Mohan will
to 60 sq.m .; and in cost from 5,000 make this problem th e basis of the
to 20,000 rupees ($700 to $2,800). next DDA competition.-C. C.
Since the densities specifi ed in the The Consulate of India in Wash-
The main facade restored Interior, bank offic es resid ential areas were in the range ington explains that the "purchase
of 280 persons per acre, most of the price" of the housing built by the
Reynolds Metals Company 1973 design prizes winn ing schemes were reasonably government, such as those d e-
The bombed-out and burned shell prize money with their school, the clever lowrise high-density solu- scribed above, buys a 99 -year lease
of a Renaissance-style railway sta- Unive rsity of Arkansas. tions. Shown are two of th e win- on the unit; th e government re-
tion in Braunschweig, West Ger- The students' solar mechanical ners, both from the Kalkaji site: tains ownershijJ of the land, and
many, has been handsomely recon- system utilized thin aluminum Kalkaji 2nd p~·ize winn er, Environ- ev entually reclaims th e dwelling.
structed for use as bank offices; bonded to transparent plastic to Third prize, Kalkaji scheme, Suresh Goel, architect
and its designer, Hannes Wester- form concave mirrors reflecting the
mann, has won the 1973 R. S. sun 's rays into a solar collector.
Reynolds Memorial Architecture
Award of an original aluminum
sculpture (by Richard Hunt of Santiago's new town
Chicago) and $25,000. The award The Chilean Government, in a
is given annually for "a distin- joint effort with the International
guished architec tural design in Union of Architects, last year
which a significant use is made of sponsored a design competition for
aluminum ." a most ambitious project-the to-
The jury, consisting of Max 0. tal redevelopment of 25 hectares
Urbahn, past president of the AIA, of downtown Santiago, capital of
Worley K . Wong of San Francisco, Chile.
and Willi Walter of Zurich (last The first prize was won by a
year's winner) praised the German team from Argentina: Architects
architect for "the sensitive way in Enrique Bares, Santiago B6,
which he restored the classic rail- Tomas Garcia, Roberto Germani
way building for a useful purpose, and Emilio Sessa. Design problems
as offices of Norddeutsche Landes- included the integration of public
bank." areas, housing structures, parking
A prefabricated solar living unit facilities, some green area, com-
has won for its designers the Rey- mercial and office spaces into one Second prize, Kalkaji scheme , Environment Design Facility, arc hitects
nolds award of $5,000, given annu- complex with half the area com-
ally to architecture students "for mitted to housing. In addition,
th e best original architectural de- commercial and public spaces had
sign in which creative use of alumi- to be sufficient to serve the entire
num is an important contributing ci ty.
fa ctor." A major artery-Norte-Sur Ave-
The winners, Raymond D. Snow- nue-bisects the center of the
den and Steven Lee Kinzler, both town, and a double perimeter-ring
fifth-y ear students, will share the of vehicular circulation circum-

AR CHITECTURE PLUS JUNE 1973 63

 Israel
The Negev University Student
Residence is a concrete oasis re-
sponding to its desert environment.
Nine angled structures form a
spira l of links around a plaza with
an open-air forum below grade,
each lin k a self-contained entity of
seven stories. The circulation
towers cantilever outward like big
eyes (l eft) watching the nearby
town of Bersheeba. The facade
with the whimsical windows is ac-
tually a shell with access corridors
between it and the "structure" in-
side, protecting the interior spaces
from th e hostile desert climate: in-
tens e glare by day, quite cold by
night. Three of the nine buildings
are completed and occupied; an-
other three are under construction.
Clinic, cafeteria, shops, laundry,
discotheque and other communal
facilities are at ground level. In the
plan (above) three-story units form
a square around the spiral. These
perimeter units and the three-leaf
clover shape representing a 14-story
tower, a re larger apartments for
m arried students and instructors.
The architects are Ram Karmi,
Ada Karmi-Melam ede, and Pelleg
Associates.

64
A few things from Milan Subway in Saint Germain
The Lampiatta has been d esigned A ne11· sub11·ay sta tion has jmt been ( Reseau Express R egio nal ) is, of
by De Pas-D'Urbino-Lomazzi, and opened in Saint Ge rm ain en Laye , co u rse, not going to so h- e the hor-
produced by Stilnova of Milan. a suburb wes t of Paris. Multi col- rendou s traffic circulation problem
Fo ur cuts in the trunk of th e lamp ored panels of til e and elegant 1d1ich has been build ing up in and
a llow the reflector to be inserted at chandeli ers are pa rt of an ambi- around Paris for yea rs ( and for
va ri ous convenient positio ns. Photo tious decora tion sc heme. This 11·as 1d1ich P ar is has long been famou s)
shows all four variations. most certa inly not a bad id ea to but it will help, and that littl e bit
Th e travertine and crystal table ha,·e been execu ted ju st before th e of progress is mu ch appreciated by
is ca lled " Oberon" and was de- elec ti ons. thP long-sufferin g French citizen,
signed by Silvana F. Bertoldi of The construction of this one un- including thi s m '•a ry trave ler.-
Mi lan. - V. B. derground station o f th e RER G. de B.

Oberon above, Lamp iatta below

LaVerne Coll ege, a privately sup-

ported li beral arts school in Cali-
fornia, need ed more space--and
fa st. Their architects, The Shaver
Partnership, solved the probl em
with a permanent lightweight
structure. It's cheap to build and
to mainta in , and simple to erect.
The tensile skin, a tough, strong
fiberglass coated with Teflon, is
li fted by the a ttachment cone, dis-
tributing weight and stress uni-
form ly. The structural bea m is
reinforced concrete.

Painting the town Rene Be rtho lo , left; Anne Rochas, above

Paris has another painted wal l. Af- most ly blue wall is situated between fond of this art form. This one is Photographs: Page 1O (top) Corriere d'
ter Morellet's now fam ous one on two elementary schools. painted in bright prima ry colors, lnformazione. Pa ge 12 Hickey & Rob-
the Plateau Beaubourg, it is the The sponsor of the wall is a a nd is located in Va lence, a small ertson. Page 13 (top) M. S. Sal-sanghi;
Portuguese painter, Ren e Bertholo, (bottom) Pra ntal K. Patel. Page 62 (cen-
builder, M. de Hody, who is a spe- town south of Lyon. It's a parking
te r) John Bechtold. Page 63 (bottom
who puts color on the old wa lls. cia list in the renovation of old lot wa ll , 300 m ete rs square. Anne right) Studio New Light. Page 64 Ri-
Located in the rue Dussoubs, in houses. Rochas designed it, and with help carda Schwerin . Page 65 (left cente r)
the hear t of where Les Halles used One good paint job deserves from a friend, Gerald Perrier, she Rodolfo Facchini ; (bottom left) Jean
to be, this delightfully cheerful , anoth er; it seems we are beco ming painted it, too.-G. de B. Pie rre le Bihan .

ARCH ITECTURE PLUS JUNE 1973

65
Footnote
Christo (the other one , the sculptor who likes to wrap up things, including
things as big as Australia) is alive and well and operat ing
in Milano. Or so it seems ; as of a few weeks ago, most of Milan's
Duomo had been wrapped up in polyethelene to facilitate repair work
on its crumbling facades. (They are crumbling either
because of the newly excavated subway nearby , or because the wooden
pile-foundation s are rotting, or because everything
else in Italy is crumbl ing .) In any event, the Duomo has never looked
better-or more mysterious, anyway.
 11·ill , in my o pinion, commit suicid e tcctu ral F arum it opened up to me Cancel my su bscription- I'm al-

Letters and co nt ribute to th e d ea th of th e

nobl e art of architecture.
Why can 't you ret urn to exam-
pl es of tom1 planning a nd buildings
th e wealt h and so phi stica tion of
11·orld archit ec ture a nd th e relation
of a l I the a rts to our own a rt. It wa s
sad that the origina l Plus had to
ready non-plu ssed with PLUS for
its hand ling of an A-plus building
( re. Boston City Ha ll ) . D o you
really 1rnnt to ca ter to t he " un-
shaped by basic human values' fold a fter three iss ues but I suppose tra in ed eye"? There a rc som e re-
Wh y not publi sh exa mples wh ere th a t this is often th e fate of a good markabl e successes in Miami and
harmony, protection, enclosure, id ea born before its time. Disneyl a nd.
\·iew, orien tatio n, materials, func- I believe that with th e auspiciou s CHARLES H. WHEEL E R
tion , econo my a nd adaptation to first ed ition of Arch itecture PLUS Arch itect, Paris
th e existing environm ent arc th e it is off to a flying start wh ich will P.S. If yo u publish my letter, don't
do minant factors ;i ca rry forw a rd its a im s a nd ideals cancel my subsc ript io n as I won't
\Vh y not show examples by un- fo r many years to co m e. get to sec it.
known , an onymou s ar c hit ects, HARRIS AR~ l ST R0='1 G

exa mpl es chosen by non-architects? Architect, St. Loui s I a m most gratified at the univer-
HA NS ASPL U N D sa lit y to 11·hich PLUS is committed.
E ll en L eopold's article on th e 7-t 7 Pro fesso r of Architecture
In m y experience I ha ve p erused I have read the lette rs from your
was \·cry interesting and informa- U ni1·ersit y o f Lund, Sweden m a n y, man y architec tural maga- rea ders and have to agree with
tive . It be longs in your fi ne thought- zines, but I cannot remember an th em that A rc hi tec ture PLUS fill s
prornking magazine . But sh e mu st JI! hy not, indee d ;i ( F or an exam- issue as interesting as th e March
ple, see I he JI! hite T owe r articl e in a Jong r ecognized void. It is lik e
not draw concl usions that doll"n - 1973 issu e of Archit ect ure PLUS. Architect ural R eview, Architec-
gracle the architectural profession I his issue.)-Ed. ROBERT E. SPAULDING
ture Aujourd'h ui, and fa/Jan Archi-
Archit ec t, ~It. Prospect, I ll.
w ithou t doing a mea ning ful study tec t all roll ed up into one .... It al-
o f archi tec tural design as practi ced Wh y Th e Pop'
In response to my article on the ready a ppea rs to m e to be the
by large a rchit ec tural firm s. Sh e Niagara co mpetiti on in your April number on e a rch itec tural -urban
With toil et tissue , yo u skirt ed the
\1·ou ld be surprised at the compu- journal in the \1·orld .
! SSU C iss ue, I have recei\·cd tll"O letters
te ri zed techniques th a t are em- requesting that furth er credits be C HARLE S A. BLESS I NG
Of the tall es t Boston topic ,
p loyed in ana lyzin g, stru ctural de- Di rector-Secretary
\V e'r e 1rnn de ring ll"h et hcr your given. The submi ss ion attributed to
sign, a nd specification writing. But City Plan Commission, Detroit
ne11·s editor Paul Willen should have been at-
the prac ti ce of architecture is more Congrat ulati ons! I have just seen
H as sp ent the past year in the tribute d equally to him a nd to
than ad vanced techno logy. Too
tropi cs. Virendra Girclhar. The subm ission Arch itect ure PLUS. Looks like a
oft en our people, after studying at
The Han coc k Tower attrib ut ed to Ru sse ll C. Lewis was grea t potentia l for a truly interna-
length in our a rchit ectural scho ols,
H as go ne q uit e sour act ually a team effort by his gro up , tiona l flavor.
emerge with a ma sters degree in
vVe thou ght we'd just let you know, Planning Research Organization for .J AMES M. S l!IL STONE
" non-archit ecture." They often be- Pres ident ,
For by th is poem , a Better Environm ent ( PROBE),
co me advocates of mechani cal sys- A rchitectural Concrete Con sultants
\/\/ e hop e to show 'em the other m embers of which are Dallas, Texas
tems and technology as the mea ns
\>\That 11·as tota ll y omitted Willi am Ahlstrom , Mark Attwood,
for reso lving all of socie ty's d esign Errata: We regret the misspelling
From yo ur repo rt. Paul C hu Lin, and T ed Nolte.
problems. Shelter for people is in our April issue of the names of
CHA RLE S HILGEN H U RS T
more than an assembly of minimum Wh y th e pop' ! New York State Urba n Development Guatemalan architects Jose and
Ii fe-s upport systems. Wh en Pan At the Hancock Toll"e r. Corporation Raul Minondo.
American wants a single airl in e Why th e pop ;i !
termina l building to be erected to It's a real glass shower.
enhan ce and serve an existing com- You've clone no se rvice just m ade
munity of people it selects an ex-
pe ri enc ed architectural firm to de-
us more nervou s at th e sight ,
It's the Plywood Palace,
VOLCLAY® PANELS
sign th e project. The result is wha t Not \l\/ond erland, Ali ce,
we call "a rchitecture. " Th e differ- It's a God dam sham e. ALL BENTONITE
ence betw ee n architecture and en- \V c' re im·o lved,
gin ee rin g should be und erstood by \ ·Vc'rc the local gen try, FOUNDATION WATERPROOFING
our journalists and it do es n' t h elp \/\/ c' re conce rned FOR CONCRETE WALLS-UNDER SLABS
to cla rify the issue by s u ggcs tin ~ Fo r the shiny Lower.
that beca use the 747 is wonderful Please tell us soon that the truth is Effective-Economical
a rchitec ts shou ld be replaced by en- n ear at hand,
gin ee rs.
Install with ease in all seasons
'Cau se, Peter, we' re a t the bottom,
HOWARD B. CAIN Why th e pop'!
Performance proven on major projects
Architect, Cleveland
VI UIA BARR Coast to Coast Service
Cambridge, i\lass.
I h ave read with great pl easurc
your h a ndsome first issue of Archi- For detailed comment on the Bos-
tecture PLUS. You shou ld be very t on J ohn Ha ncock To wer, see the
proud of this accomplishm ent. I AjJril 1973 issue, page 76.- ED.
w ish I could think of some criticism
to pass on, but you ha\·en't left m e I hea rtil y agree ll"ith Editor Blake's
any oppo rtuniti es. opening sen tence in hi s editorial:
Mrs. Miller and I look forward " ... thi s \1· i!l be a magazine th a t
to enjoying future iss ues . int erprets a rchitecture in th e broad-
IRWIN ~!ILLER es t possibl e sense-geographica ll y,
Cha irman, Cum mins Engine Co . Inc. conceptual! y, technologi ca lly,philo-
Co lumbus, Ind. sophica ll y." Yes, indeed . Subway System, Washington, D.C .
MAURICE LAV ANOUX Deleuw, Cather & Company, General Engineering Consullant
I wonder if you have the courage to New York
For information call or write:
pub lish my eva luation of Architec-
ture PLUS, which na turally is of
g reate r use in your p ages than in
As a "collaborator" listed on th e
masthead of the original Plus, I
AMERICAN COLLOID COMPANY
a ny of the other Am erican a rchi- was d eli gh ted to receiv e the new Building Materials Division
tectural magazines . . . . Architecture PLUS . W hen the 5100 SUFFIELD COURT SKOKIE, ILL 60076
If your publication continues origin al Plus arrived in December Area: 312-583-0400
only to ex hibit the exh ibitionists, it 1938 as a su pplement to the Archi-

ARCHITECTURE PLUS JUNE 1973 READER SERV ICE NUMBER 180 67

Film Review

The Built Environment: have been (except for animations) film was completely without any
A Film Festi val on ly two films left in the festival, cu riosity abo ut, or even interest in,
Reviewed by Doroth y Alexander Ousmane Sembene's Borom Sarret its subj ect. Instead, it gave us a
and Michael and Sanford Wurm- visual rerun of that fa miliar sixties
fe ld's Primaries 1970, both fine stereotype , ticky ta c ky boxes.
films (descri bed belo w), but two Another in the genre that Andrew
films just don' t make a festival. Sarris has called "we're good,
As it was, a conveni ent catalogue they're plastic" was the fourth prize
of cinematic cliches was compiled. winner of the evening, A Trip
Most of the films shown were loud Through the Brooks H ome. This
in a ll the senses of that word- neat little rip-off of "a couple
visua ll y loud, aurall y loud, mean- whose re tirement dreams have
ingfully loud. T hey zoomed and come true" managed to suggest
flickered and stopped and zapped that, whi le it is wildly unfashion-
until the senses reeled, and you able to consider Blacks as non-peo-
were left looking for th e Chinese ple, it's perfectly okay in the case
jar that "still moves perpetua ll y of Mr. and Mrs. Brooks. .
in its stillness." But ~his do esn' t Tuesday was trav elogue night,
mean that a ll the work shown was with a long, lush look at H olland in
equall y irritating or pointl ess, and Geo rge Sluizer's H old Bac k the
the whole thi ng a waste of tim e. Sea; an unb eli evably hokey excus e
In some way, the event did become to visit Easter Island ca lled East er
a whole thing and began to func- I sland R ises; as well as th e green
tion like some creaking megalopoli- fields and quiet lanes of England in
tan structure, overcoming the sum a wonderfull y dull , decent English
of its parts. pitch for preservation titled A Fu-
Each of the five evenings was ture for th e Past . First prize winner
given a loose category. Each eve- of this evening was an an ima ted
ning a d ifferent jury selected four fi lm Garbage. The nex t night's au-
fi lms in order of excell ence. Appro- dience found the combination of
pri a tely, because of this ju ry st ru c- first prize and garbage very funny ,
ture, the re were no grand prize win- which, I guess, says something
ners. Each evening the audi ence about the location of our heads.
Happily some hisses for the heroes was informed that the jury of the Speaking of garbage, Wednesday
previous evening had wrest led on was devo ted to "City Life" and I
T he arriva l of the first full-fledg ed the floor " into the wee hours" to half expected a horror show of rats
North American architect ural film co me to a decision. This, togeth er and ga rbage seasoned with a pinch
fes tiva l at Columbia U ni ve rsity, wit h the size and responsiveness of of riot and ra pe. Not so; it was an
Apri l 16 to 20, happened to coin- the aud iences, gives an indication internation al grab bag of as pects of
cid e with a certa in restl essness in that, whatever was happening, a city life, whi ch, I guess, is what we
the air. Leaves were about to ap- lot of en ergy was being exchanged . were there for. There was a fri endly
pear. T he nights were prem a turely I n only one instance did th e lookatNewYork, The City (whi ch
warm. choice of the jury, the response of it is) by Mark Johnson, Young
T he event, sponsored by the the crowd and my own response Filmmakers Foundation, Inc . This
Graduate School of Archi tecture co mbine in a sustained Bravo! And was the single film in which stop
and Plann ing assisted by a grant th is clearly for the finest. film motion seemed forgivable and even
from The National Endowment shown, Borom Sarret, so maybe funny.
fo r th e Arts, was in tend ed to pro- th ere is so mething to be said for the There are those who go to the
duce environmental consciousness- democratic process. Esalin Institute to touch and feel
raising through visua l media. If, Monday was devoted to "View- and smell , but you can get it all for
for me at least, the festival as points on Archi tecture." It was th e 35¢ on th e New York subway. None
consciousness-raiser was somewhat most co nventionally a rchi tectural of this came across in th e lyrical
overshadowed by previous tableaux of the five eveni ngs. Some of the ( unintentionlly?) Scenes From
vivants in the same locale, the f es- fi lms actua ll y showed architects' New York City Transit, which
tival still had some interestin g work, amo ng whic h that of Gaudi , stressed the currently fas hionab le
aspects. Goff and Ka hn. T he first prize win- idea of alienation.
To begin with, if the zoom lens ner, however, was My House by A Swedish film , D esc ription of
had been outlawed, th ere wou ld Pete r Sim mons . Described in the the System of Parking Automation,
cata logue as "a doc um entary st udy succeeded in tra nsc ending the
Dorothy Alexand er, our ro ving film of th e housi ng development, West- ste reotype of automation as meta-
critic, is an architec t practicing in lake, Califo rnia," this short (five phor for madness, so fam iliar in
New York. minutes ) , fuzzil y black and white The approaching ca rt grows gradua ll y the last decade, on!y to fa ll in to
con tinu ed on page 71

68
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to rated areas such as lobbies, exit ways and stairwells. Formica offers a whole line of versatile panel sys-
Choose from 15 matching woodgrain and pattern designs, tems to meet your interior surfacing needs. For complete
plus a variety of spline sizes and accent color strips. information, see Sweets Architectural or Light Construc-
Engineered to repel abuse, FORMICA® brand tion Files 9.12/FO, contact your Formica representative
panel systems resist peeling, chipping, cracks, crazing and or write Dept. AP-6.

wall paneling

© 1973 Formica Corpo ration, Cincinnati, Ohio 45202 subsidiary of [Link] C: Y A N A ...,. z D -=::::,

READER SERVICE NUMB ER 178 69

Product Literature

ACRYLICS COATINGS door locks and builder's fasteners. a broad range of appli cations in-
Swedcast Division, Swedlow, I nc. Devoe Paint D ivision of Celanese Reader Service Number 260. cl uding roofing and weathersealing,
has prepared folde r including da ta Coatings Company has issued a is given by Follansbee Steel Corp.
INSULATION
sheets on their commercial acrylic specification manual for their com- Reader Service Number 270.
sheet. plete line of protective and decora- A bro chure outlining shipping infor-
mation and specifi cation data on SEALANTS
Reader Service Number 24 1. tive coatings for all types of sur-
faces and environments. Johns-Manville fiber glass building The enti re family of General Elec-
BU ILD ING SYSTEMS Reader Service Number 251. insulation can now be ob tained. tric silicone rubber sealants is de-
Three new systems brochures for se- Reader Service Numb er 261. scribed in four-page p amphlet re-
DECORATIVE GLASS cently released.
lecting and specifying building ma- KITCHEN, LAUNDRY , WAS HROOM
terials have been released by Sonne- Pittsburgh Corning Corporation 15- Reader Service Number 2 71.
EQUIPMENT
born Building Products Division of page booklet contains selection a nd
General Ele ctric Co . provides a SEATING
Contech, Inc. application information on decora-
tive glass block. colorful, 24-page idea stimula tor J G Furniture Co., Inc. has prepared
Reader Service Number 24 2.
Reader Service Number 252. containing illustrated kitchen and a specifica tions catalog for their
CARPETING laundry concepts for large and small aud itorium seating.
U n usual design possibilities crea ted a reas. Reader Serv ice Number 272.
The Jute Carpet Backing Council by Plexiglas™ mirror are illustrated Reader Servi ce Number 262.
has announced the 15th printing of in six-page pamphlet released by SECURITY SYSTEMS
their architectural guide specifica- Rohm and Haas Company. A toilet compartmen t catalog for Hager Hinge Company has pub-
tion for glue-down installation of Reader Service Number 253. 1973, inclu ding additi ons to their lished "Building Security into Build-
double jute-backed carpets. lamin ate d plastic pro d uct line, has ing Plans." The booklet lists facts
Reader Service Number 243. DOORS been released by Bo brick Wash room a bout major components and op-
Amarlite, the architectural products Equipment, Inc. tional security equipment available
Construction a nd performance speci- division of Anaconda Aluminum, Reader Service Number 263. from Hager.
fications , and installation recom- presents the n ew Safetyline concept LIGHTING Reader Service Number 273.
mendations are provided in pam- of aluminum framed glass entrances
phlet on Milstar® carpet developed in litera ture now available. Wide-Lite Corporation has an- SIGNAGE
by Deering Milliken, Inc. Reader Service Number 254. nounced a new indoor luminaire for J as. H. Matthews & Co. has prepared
Reader Service Number 244. HID lamps offering a computer-de- a color catalog on thei r identification
DRAWINGS signed reflec tor and optional high- sys tems, featuring custom designed
Hercules Incorporated offers 24- A booklet of drawing shortcuts de- strength film lens. packages using unified signage, pic-
page brochure providing perform- signed specifically for architects is Reader Service Number 264. torial systems and color-keying.
ance characteristics, construction, in- offered by Eas tman Kodak Company.
PANELING Reader Se rvice Number 274.
stallation, and specification informa-
Reader Service Number 255.
tion for Herculon® fiber . Application and spe cifica tion data WALL COVERINGS
Reader Service Number 245. FENC ING for fl ex ible fire panel is given in a James Seeman Studios, Inc. displays
An entirely new, 12-page color book- 10-page brochure issu ed by BASF . their supergraphic murals screen-
CE ILING SYSTEMS Reader Service Number 265.
let, "Redwood Fe nces" is now avail- printed on vinyl in color booklet re-
Insta llation data for the Gold Bond able from the California Redwood cently released.
Panelectric ceiling system, compris- Fire-test paneling tha t meets build-
Association. Reader Service Number 275.
ing a radiant heating system as an ing codes and safet y requirements
Reader Service Number 256 .
integral part of a gypsum drywall for interior cons truction is available WALL SYSTEMS
ceiling, is given by Gold Bond Build- FLOORING now from Marlite, Division of Ma-
U-Forms In ternational, Inc. makes
ing Products Division of Natio nal The 1973 edition of Azrock's catalog sonite Corpora tion.
availa ble information on a new
Gypsum Company. of resilient fl ooring products, con- Read er Service Number 266.
struct ural wall system that cu ts
Reader Service Number 246 . taining information on sizes, gauges, PLUMBING FIXTURES heating and coo ling energy require-
uses , installation, and light reflec- ments while increasing investment
CERAM IC TILE Eljer Pl umbingware Divis ion, Wal-
tance values, is now being offered. return.
lac e-Murray Corporation, has avail-
Udono, Ltd. of J apan offers details Reader Service Number 25 7. Reader Service Number 276.
able a specif ying guid e for archi-
on their na tural tile and pebble
GLASS tects covering their lin e of hospital/ A 12-page brochure containing
stone .
institutional plumbing fixtures and specification, performance, and test
Reader Service Number 247. A comprehensive guide to archi- fittings. da ta on lnryco wall systems is of-
tectura l glass p rodu cts for windows Reader Service Number 267.
From Milan, Ital y Cedit Ceramiche and doors is ava ilable from PPG In- fered by Inland-Ryerson Construc-
D'Italia offers brochure covering dustries. tion Products Company.
PLYWOOD
their complete line of ceramic tile. Reader Service Number 258. Reader Service Number 277.
Reader Service Number 248. A new , full-color brochu re introduc-
ing Finnish p lywood is offered by The Acordial -Group, Europe's larg-
HANDRAILING
The F innish Plywood Development est wall manufacturer, offers color
Elon, Inc. announces availability of Carlsta dt acrylic/wood handrailing
color catalog including specifica t io n Associa tion-USA. brochure on the Planacord mobile
combines the natural bea uty of fin e wall system with maximum sound in-
data for handmade Mexi ca n tile. Read er Service Number 268.
hardwood with the hardness of re- sulation.
Reader Service Number 249. inforced plastic, explains a new Alstergren P ty. Ltd. of Australia Reader Service Number 278.
brochure from Julius Blum & Co., provides pamphlet on prefinished
CHALKBOARDS WATER TREATMENT
I nc. plywood panels and p ar ticle board.
A new brochure is being offered by Reader Service Number 259. Read er Service Number 269. A new line of low priced reverse
the Alliance Wall Corporation which osmosis water treatment plants are
contains a color chart of all the firm's HARDWARE ROOFING announced by Ajax International
standard chalkboard colors. Konan Industries, Inc. of Japan has Specification information for Terne- Corporation.
Reader Service Number 250. available li terat ure on their lin e of Coated Stainless Steel, deve loped for Reader Service Number 279.

70
Film Review
continued from page 67

th a t worn sexist subplo t of bum- sual form of publi c transportation. emba rrassed as did, in that order,
bling fat her fi gure upstaged by sexy Th e story lin e, th e road, leads to a Side I ssue ( the American roadsid e
supe ri or Lolita. In thi s case, father bri ef but incisive look a t aspects of tastefull y draped with d ead and
and daughter trying to esca pe from his co mmunit y, beautifull y pre- decomposin g ani ma ls), Oakland
a pa rki ng ga rage of th e title after sen tee! visua ll y in a seq uence of Ed Ace, Th e House Construction
los in g the exit token. spare, hauntin g black and ll'hite H ome Movie, a nd th e first pri ze
T he tll'O ove rt propaganda films im ages-the curve of a road in \1·inner, Corridor. The last m ed th e
of the evenin g were both French , \1·h ich the approaching ca rt grows ca m era's repea ted pene trat ion o f
L a Cite D es Hammes, rep resentin g gra dually to do minate th e space; a the corri o r as a m etap hor fo r a ,
th e ri gh t (o r, all 's for the best in s::t rdine p ac k of roof tops; a begga r uh, univ e rsa l ex peri ence which just
thi s best of all possibl e wor lds) lookin g up a t Borom and Boro m didn't get it u p th ere lik e th e
and Hist oire d'un Crime rep resent- Side Issue: tas tefull y di scomposing looki ng back, his outs tre tched feet Stones' "Goin' Home".
in g the left (or, al l's for the worst cra dling th e su btitl e, " What's th e Ah well, nothing like four eve-
in this worst of all possibl e wo rlds). use of a nswe rin g? The re' re so many nings of four hours of film to scour
It wo uld be diffi cu lt to dec id e begga rs" ; or hi s memorably o rdi- out th e ol d cl eadll'oocl of th e mind.
\\·hi ch laid it on thicker but , pre- nary face \1· ith subti tle, " The new On Friday the first prize winn~rs
d ictably, at Colum bia , the left \\·as life m ay have brought me to th is \\·ere reshown , togeth er \1·ith some
ch eered, th e right \\·a s hissed , and slave ry ." A lth ough not exp li citl y classics, so m e11·ha t d isrupted by
nobody seemed to make the French stated, it seems from th e fr equ ent p ro bl e ms at the :Museum of Mod-
connection. repet itio n o f th e \l"Ords Borom Sar- ern Art film d epartm ent whi ch
The expected horror show on ly ret that thi s mi ght be a genera l ex- didn't provide the expec ted films.
surfaced once in Eddie, whi ch th e pression of prohibition, roughly In spite of \1·hich, Shirley Clarke's
cata logue listed as "an at tempt to mean in g "Blac k \\"Orker , keep out." Bridges Co R ound went around
dramati ze co nditi ons in \\·el fare ho- So t he man and hi s name are par- t\1·ice, and her 1959 Sk yscra /1 er per-
tels ... and th e needs of the eld erly Skyscraper: 1959 Fifth Avenue tic ul ar expressio ns of the uni ve rsa l fectly emb almed th e loo k of 1959
and lon ely li vin g there." Inste:icl , ex peri ence of oppress ion a nd po\\·- Fifth Avenu e. Il ut where \1·as tha t
\\· e were treated to seventeen t itil- er lessncss . Beca use the p eople who look? In the length of a skirt , th e
lat in g minutes in the life of a abuse, defraud and eventu a ll y d e- men wearing ha ts, the quality of
drunk en Irishm an ( rac ism, min e), feat Borom are a ll Black, the re is li ght or the buildings no longer
complete with roaches, shit in th e no One W ay co nfu sio n of class and th ere? The di sa ppoin tment of th e
bed and dozens and clozem of skin co lo r. Again, as in rea l life, the evenin g, howeve r, \\«lS C harl es and
emp ty bot tl es. But the Irishman
put on a tic \\·hen th e mo\·ie peo pl e
came ca lling, and I can't l1e lp \1·011-
SKYSCRAPER man Borom is neither good nor bad .
Up to a point , he has compassion .
The money th at he re fu ses the beg-
R ay Eames' H ouse ( 1955). I 've
know a bout the film for m aybe 15
years and thought how wonderfu l it
cl er in g where so m e o f those bottles ga r is \1·illingly ha nd ed ove r to a wou ld be. But it wasn 't wonderful,
came from. shaman \1·ho sin gs to him that his o r tom a toes-at-the-sc reen awful,
Racism as a subject never came ances tors \1·ere brave m en. Feelin g just discreetly sad. If I see the
up , exact ly, but there was the well- brave, he ta kes th e chance of en ter- Katsura d etached p alace, I don't
brecl Easte rn -accent ed vo ice-over in g symboli ca ll y " hi gh " forbidden lose my lunch; I don 't say, tha t was
in Festival of Playgrounds, saying grou nd a nd loses everythin g but his fifties or sixt ies or forties. The Villa
perfec tly pleasantly that, whil e ho rse wh ich he le::i ds slowly bac k to Savoye, I' m em ba rra ssed to say, is
th ere had been no (B la ck ) com mu- hi s own quarter, where hi s wi fe will the same way. Maybe the Eames
nit y participatio;i in the (form of ) go out to find the even ing meal in house isn't as bad-surely not-as
making th e playground , th e re wo ul d an er rand that is left to the imag i- the E ames film . Endless bea uti ful
be co mmunity in the MAINTAIN- nat ion, but whi ch h as always been objec ts, endless fr esh flowers, en d-
I NG of it. But th e Black co mmu- avai !able to th e oppressed. less breakfas ts wi th croissants. It
nity managed to demonstrate its Com ing down from thi s, Thurs- remind ed me of a vo ice on the
extrao rdin a ry res ilience as we ll, as d ay was concerned w ith "Ex peri- radio in the car going hom e, a
its abi lity to recognize a Ya le man , m ental Images." On the who le, the yo ung woman singe r ta lking a bout
in 0 ne IV ay, d escribed as "th e ex- fi lms shown seem ed m ore con- a so ng sh e had presum ed to write
plosive beginn ings of the Black cerned with under! ining precon- fot· Janice Joplin: a yea r ago I de-
end less fresh flowe rs
wo rkshop at the Yale G rad uate ce ption than with ex pandin g p er- cided to sto/J singing and went-in to-
School of Art and Architecture." cep tion. A no tab le exceptio n was a-meclitation-center. So exquisitely
In spite of th ese di stractions , the W urmfelcl Primaries wh ich won a nd se lf-consc iously uns elf -con-
W ed nescla y was domin a tee! by a no prizes but almost made th e eve- scious, so unimportantly important.
film about people and power a nd ning wor th sitting through. It con- An d J an i ce : Fr eedom's just
powerlessness . Borom Sarret, th e sisted of a scree n fu ll o f silence and an ot her wo rd for nuthin' left to lose
work of Ousmane Sembene, is set pure prim ary co lo r changing g rad- . .. What's that got to do with th e
in Da kar, Senegal. The Boro m Sar- ually, leavin g the viewer to figure Katsura d etach ed p alace? Som e-
ret of the title is a Black man who out what was ha ppening (which I thing? Truth is beautiful? No, no,
makes hi s li vin g with a horse and didn' t). It didn't try to make you babe, it may no t be beautiful, but
cart which functions as a rather ca- sick or confused or exhausted or it's not six ties or fifti es or forti es.

ARC HITECTURE PLUS JUNE 1973 71

Advertising Index
AllianceWall Corporation
Looking ahead
Battle Advert ising , Inc . . . . . . . . . .... . . . . . ... .. ..... . .. .. . BC

American Colloid Company

Cat Productions . . ....... . .. . . . . . . . ... . . . .. . .. . .. . . .. .. . .... 67

Eaton Corporation, Yale Marketing Department

Fuller & Sm ith & Ross, Inc ... .... . ...... . .. .. . . . .. ............. 8

ERCO Leuchten KG
Wirtschafts-und Werbeagentur B. Keysselitz ' .. . . . . . .. . . . ........ 4

Formica Corporation
Clinton E. Frank, Inc. .. . . ... . .. . 69

W.R. Grace & Company, Construction Products Division

Fuller & Smith & Ross , Inc. . .. . .... . ...... . .. .. 3

Staempfli Gallery
Ridgefield Advertising , Inc . . ... . ..... . ... ...... ... ..... . .. · .. . · 2

Thone! Industries, Inc.

APCL&K, Inc . . . . ... .. ... . ... ..• ... . ... .. .. . . .... . . . . .. . . · .. IBC

Ralph Wilson Plastics

Jack T. Holmes & Associates, Inc. . . . . ..... . ... . ....... . .... IFC-1

Advertising Sales Offices

Bllldal, Sweden John Bacos . Thick wind owless wal ls covered
Scandic Trading in a blend of dark brick;
Box 1010
Bi lldal, Sweden 43081 skyl ights admitt ing sun even
Chicago, U.S.A. Robert A. Jobson on gloomy winter days; extensive
625 North Michigan Avenue glazed openings for views
Chicago, Illin ois 6061 1
phone : 312-787-5858 of the leaden sky . .. " says Architect
Shin'ichi Okada of his Niigata
Cleveland, U.S.A. Charles S. Glass
32 West Orange Street Faculty, Nippon Dental College, to be
Chagr in Falls, Ohio 44022
phone: 216-247-5461
featured in the July issue of PLUS.

Frankfurt, Germany Manfred Wettlaufer

6232 Bad Soden/Ts.
Postfach 1566, Germany
regional phone: 06196 Building Suppliers
local phone: 26 3 26 STAEMPFLI RESIDENCE Concrete & Cement: Baker Forms Co.,
telex: Frankfurt/Main 413569 Louisville Cement, Ryerson . Acoustical
Arch itect: Ha rvey S. Hos hour. (Mate- Ma terials : Johns-Manvil le. Glass: PPG.
Milan, Italy Etas Kompass rials and manufacturers as submitted Ele vators & Electric Stairways: White-
Via Mantegna 6 by the architect.) Conc rete & Cement: Evans Elevator Co. Doors : PPG , Wey-
20154 Milan, Italy Huey Concrete Co. Structural Steel: erhaeuser, Emenco. Hardware: Sar-
phone: 347051/384798 Hausman Steel Co. Flo or & Deck Sys- gent, Hag er Hinge, Glyn Johnson.
te lex : 33152 Kompass tems: Blueher Lumber Co. Roof Mate- Interior Ma terials: Flintkote, Lees Car-
rials: Rubberoid. Therma l Insulation: pets. Pa int: Pratt & Lambert, Devoe.
New York, U.S.A. Annie Damaz, Special Representative Pueblo Wool, Celotex Shea th ing. Fen- Electrical Equip: Co ntinental. Lighting
Richard E. Kielb es tra tion: Donn Mfg. Glass: LOF. Fixtures: Metalux Corp . Plumbing Fix-
Donald T. Lock Interio r Partition s: U.S . Gypsum . Doors: tures: Am erican Standard . Heating
1345 Sixth Avenue Blue her Lumbe r Co. Hardware: Schlage. Boilers: H. B. Sm ith Co. Un i t Ventila-
New York, New York 10019 Interior Mate rials: Am erican Olean. tors, Radia tors, Convectors: Dunham-
phone : 212-489-8697 Paint: Sherwin Willi ams. Electrical Bush . Heating Valve s, Pip ing, Controls:
te lex: RCA 224232 CIC-UR Equ ip : Raywall. Ligh tin g Fixtures : Honeywell. Air Conditioning Compres-
cable: Publinform Lightol ier, Prescolite. Plumb ing Fix- sor, Fan Unit : McQuay, Inc. Diffusers,
tures: American Stan dard . Intercom Ducts, Pumps: Bel l & Gossett, Flygt
Tokyo, Japan Barbara Dorf Systems: NuTone. Ce il ing Materials: Corp., Ti tus Mfg . Special Fans & Ven-
Uesaka & Co llaborat ive U.S. Gypsum. Kitchen Equip: Whirl- tilators: Buffalo Forge Co., Clarage
9-3 Shoto 1 Chome pool. Finish Flooring: Bru ce Hardwood Fan Co. Intercom Systems, Radio & TV
Shibuya, Tokyo, Japan Floor. Furniture: Knoll. Other Products: Systems: Dukane Corp. Sprinkle r Sys-
phone: 469-3431 El Rey Stucco Co. tem & Fire Protection Equip : Standard
telex: KAGH l-J-24877, Tokyo Fire Hose Co., Simplex System. Ceiling
cable: Yasuesaka Tokyo QUI NCO CONSUL TING CENTER Materials: Johns-Manville, National
Gypsum. Water Coolers : Halsey Taylor.
Arch itects: James Stewa rt Polshek and Venetian Blinds & Shades : Alcan Alu-
Associ ates. (Mate rials and manufac- minum Co rp. Kitchen, Laundry, Lab-
turers as submitted by the architects.) oratory Eq ui p: Foremost-McKesso n
Pilin g : Lee Turzillo Contracting Co. Systems.

72