*Photograph courtesy of © PJ McDonnell, The Paul Rudolph Heritage Foundation Archives*

GREAT BUILDINGS: FROM BIOGRAPHY -TO- HISTORY

In our first earlier posts about the Burroughs Wellcome Building, we’ve looked at it from multiple viewpoints: its most significant features, its overall history, its use in Film and Television, and as an example of the creative process in architecture (from concept-to-details).

Buildings have biographies—just like people—and those articles could be said to be primarily “biographical”. But, just like any a person’s life story, a building is also subject to assessment—the judgement of discerning historians, as well as it’s occupants, visitors, critics, and journalists. This process starts from the time the design is unveiled, and continues through the years of its existence and memory.

Here, we’ll let several architectural historians speak: offering their insights into the building’s design, physical presence, spatial-sensual qualities, and its relation to the users’ needs and experiences.

THE ART AND ARCHITECTURE OF PAUL RUDOLPH

By Tony Monk

“Stretching expansively across a wooded hillside ridge in North Carolina, this large corporate headquarters and laboratory complex for the intranational Burroughs Wellcome company typified Paul Rudolph’s dramatically sculptural style. In response the the client’s need for a distinctive image to represent the company’s performance, Rudolph designed a building which was intended to be a forceful extension of the hillside itself. Inside he created a spatial and structural solution that was uniquely original and possessed ultra-modern space-age characteristics.”
“The most dramatic feature of this design was the all-pervading characteristics that were created by the sharply angular slopes to the walls and columns. Surprisingly these were built at 22-1/2 degrees to the vertical, a device which Rudolph said echoed step inclines of the hills around the site. These interesting geometric forms were repeated extensively around the building—in windows angled downward, in the sloping seats and solid balustrades. Even the cupboards and service doors in the corridors . . . . were all built at this very steep angle.”
“A decade after this development was completed (in 1972), Paul Rudolph as asked to extend the premises to incorporate medical offices and a large dining room for the staff. He continued the theme of the angled supports, but this time used V-shaped twin columns, which created a crystalline rhythm throughout the extension. The sizeable restaurant was generally single-storey around the perimeter but then rose up dramatically to five storeys in the middle to provide roof lighting at the center with various mezzanine levels skirting this interesting space.”
“Together, the soaring internal areas, punctuated by the balconied walkways, and multi-level offices, pierced with unexpected floods of light, all contribute to make this one of Paul Rudolph’s best works.”
“The headquarters is both a credit to and a reward for the enlightened client who commissioned and then recommissioned Paul Rudolph to design this amazingly original modern building. . . .” — excerpted from: The Art and Architecture of Paul Rudolph, by Tony Monk, West Sussex, Wiley-Academy, 1999

PAUL RUDOLPH: THE LATE WORK

by Roberto de Alba

*The “new wing” of the Burroughs Wellcome building (with V-shaped frames), referred to by historian Roberto de Alba. Image © the estate of Paul Rudolph, The Paul Rudolph Heritage Foundation*

“…Rudolph devised an elongated hexagonal module that gives the building a strong horizontal reading on the long elevations. The module reveals its hexagonal geometry in the short elevations., pulling out of the building in interesting ways to express its ability to expand.”
“The interior spaces are a direct by-product of the diagonal structural geometry and are simply stunning. The entry lobby is a thing of the future. The space soars, exposing three levels of balconies, which maintain the diagonal lines of the A-frame. The lab spaces are unusual in their high ceilings and natural illumination (by skylights). It is not surprising that the futuristic interiors of the building were the setting for the movie Brainstorm.”
“The new wing adopts some of the themes of the original building, transforming them in interesting ways. The hexagonal module reappears in the long elevation, reinforcing the linearity of the wing. The A-frame of the original turns into a V that is exposed and repeated in parallel along the length of the wing.” — excerpts from: Paul Rudolph: The Late Work, by Roberto de Alba, New York, Princeton Architectural Press, 2003

The “ziggurat” character of the building, mentioned by Stimpson, is captured in this photograph. Image courtesy of Joseph W. Molitor architectural photographs. Located in Columbia University, Avery Architectural & Fine Arts Library, Department o… — The “ziggurat” character of the building, mentioned by Stimpson, is captured in this photograph. Image courtesy of Joseph W. Molitor architectural photographs. Located in Columbia University, Avery Architectural & Fine Arts Library, Department of Drawings & Archives

A FIELD GUDE TO LANDMARKS OF MODERN ARCHITECTURE IN THE UNITED STATES

by Miriam f. Stimpson

“A dynamic and expressive design was created for this administrative headquarters. Rhythm and space are achieved through the use of strong external forms arranged in a contemporary “ziggurat fashion.” Lighting within the interior spaces effectively adds to the building’s design. The interaction of bold forms with the rolling hillside is intriguing as well as harmonious. The building is one of its kind in the nation.” — adapted from: A Field Guide to Landmarks of Modern Architecture in the United States, by Miriam F. Stimpson, Englewood Cliffs, Prentice Hall, 1985

HABS: THE HISTORIC AMERCAN BUILDINGS SURVEY

The Historic American Buildings Survey (HABS), founded in 1933, is part of the Historic Documentation Programs administered under the National Parks Service. HABS is charged with documenting America's architectural heritage. Their report on Burroughs Wellcome (Report No. NC-418), written by architectural historian Vyta Baselice, is currently the most comprehensive survey and assessment of of the complex.

The full report can be accessed here. It is well worth quoting extensively—and it is our pleasure to present a selection of excerpts from it:

“The Burroughs Wellcome Corporation Headquarters in Research Triangle Park, North Carolina was designed by Paul Rudolph starting in 1969 and completed by the Daniels Construction Company in 1972. Planned as an “M.I.T. of North Carolina” this area between Raleigh and Durham was developed starting in the 1950s as a center for high-tech corporate research to attract and keep a highly educated, white-collar population in a Jim Crow state. Research Triangle’s ability to lure the pharmaceuticals giant Burroughs Wellcome, a company with roots in nineteenth century England, away from their suburban New York headquarters solidified the area’s status as a significant economic center no longer merely on the regional, but now also on the national scale. The design and construction of the new Wellcome Headquarters building was a significant affair and was meant to make a statement regarding the company’s new modern image and illustrate the advanced state of laboratory research and pharmaceutical work in the Research Triangle. Paul Rudolph worked with the corporation to design facilities that would accommodate a wide range of functions. . . .”
“The building is notable for its futuristic design, frequently described as Brutalist, marked by an exposed concrete and aggregate exterior and slanted steel columns that intersect in V-shapes and give the structure its distinctive appearance.”
“The structural system employed in the building also showcases the architect’s interest in industrial construction methods and the use of prefabricated panels for exterior and interior partitions. Rudolph likewise experimented with the integration of novel materials and exterior treatments. . . .”
“In terms of interior design, the building offers expansive multi-story gathering spaces with spot lighting exposing the irregular structural system. Bright carpets that blended red, orange, and pink colors were installed in communal areas to add to the drama of the headquarters. Other spaces that received extensive attention include research laboratories with state of the art equipment and custom-fitted cabinetry. . . .”
“. . . . raised in the South, the architect had the ideal background to design a world-class building in North Carolina that was global and radical in its approach yet sensitive to local work and life patterns. In addition to his professional expertise and reputation, Rudolph brought excellent customer service. Burroughs Wellcome leadership noted the architect’s “bedside manner of a sympathetic physician” and his ability to “cushion us against the shock-waves of certain mundane realities that have a habit of looming larger and larger.”
“Despite the challenging construction process, Burroughs Wellcome was nonetheless completed in 1972 and applauded instantly for its bold appearance. The structure’s distinctive architectural character is most clearly visible at the entrance to the building. The façade is a playful arrangement of angular forms that appear to grow out of the core structure. While visually provocative, the façade fails to reveal its organizational logic. It instead suggests that the sculptural complex must serve an intrinsically futuristic and forward-thinking function whose true nature cannot be fully comprehended from the exterior. One therefore must enter the structure and learn about its activities in order to understand the architectural arrangement. In this way, Rudolph’s design contradicts the famous “form follows function” rule, first suggested by Louis Sullivan in the nineteenth century. The exterior’s formal gymnastics are accomplished through a careful arrangement of exposed structural members. Indeed, the bold white columns that sit at a 22.5-degree angle are particularly important in breaking up the building’s forceful horizontality. Other design elements, like the white window beams, repetition of the concrete panels, and even the flag pole, echo the slanted verticality of the structural columns and add to the productive tension of the design.”
“In addition to the structure, Rudolph’s careful selection of construction materials, which were limited primarily to metal, glass, and concrete, add to the building’s distinctive appearance. As discussed above, the metal superstructure, comprised of A-frames that are painted white, breaks up the building’s horizontality. Rudolph did not treat the building’s windows in a conventional manner – instead, they appear as entire surfaces that follow and accentuate the building’s shape. At times, they wrap around the structure, much like Le Corbusier’s ribbon windows at Villa le Lac. The glass is also tinted and the scale and positioning of the windows follows a rhythm established by the concrete panels. Finally, the precast concrete panels with a carefully selected medium-size grey tint gravel contribute most significantly to the design’s distinctive character. And the concrete mix is employed not only on the façade, but all throughout the building’s interior as well as some of the sidewalks that are immediately adjacent to the structure. Most notably the aggregate was also used for the reception desk.”
“Although the building is visually compelling, Rudolph’s interest in curating the visitor’s experience by playing with scale and volume is significant and typically understated, especially in photographic representations. However, this is an important aspect of the overall architectural experience, particularly the entrance, and reflects the influence that Frank Lloyd Wright had upon Rudolph’s work. Upon climbing up a set of concrete stairs up to the level of the structure (or by exiting one of the two executive carports), the visitor will encounter the large structural columns. The first columns and space encountered are distinctly smaller and compressed. As the visitor proceeds to the entrance, both the volumes and columns progressively increase in scale until the first major gathering space opens up to reveal the grand scale of the building. The third-floor balcony, which hovers over this front plaza, adds to the drama and spectacle of the design. Archival photographs reveal that the main plaza was used as an events space with seating arranged facing the glazed wall. The door to the building is notably missing from this grand space and instead is situated to the side out of sight, underneath a sizeable horizontal plane. “
“Upon entering the building, the visitor’s movement and experience are once again carefully curated in a familiar arrangement of volumes that progressively increase in size, finally revealing an impressive lobby whose height extends three levels. While undoubtedly striking, the lobby appears to be taller than it actually is due to Rudolph’s design of openings that employ the 22.5-degree angle and decrease progressively thus heightening the visitor’s sense of verticality. The lobby is an architecturally distinctive space, notably different in character from the exterior forms, that creates a cave-like environment. The laboratory wing of the structure contains a similarly open multi-level communal space.”
“Modernist architects often hoped that unusual architecture that challenged common work and living practices would encourage greater creativity and efficiency. Paul Rudolph and Burroughs Wellcome were not an exception. The design integrated some novel solutions for creating multi-purpose spaces. For example, the large auditorium located off the lobby had a mechanism that would have brought about partitions to bifurcate the large space into two for smaller viewing audiences. While actual creative output is difficult to measure, the company’s attitudes were clearly displayed in photographs of workers and their daily activities. For example, company photographs commonly featured the building as a framing device, which in one case took up more of the portrait than the workers themselves. Similarly, when advertising one of the company’s products, employees were shown interacting with the building in a creative way, climbing atop the different layered roofs and hanging out with their colleagues. Even when engaging in other types of work-unrelated leisurely activities, like participating in company-sponsored health programs or playing softball, workers could not avoid the presence of the distinctive structure. The building’s design therefore served as a tool to maintain company presence throughout the workers’ daily experiences.”

AMERICAN ARCHITECTURE: IDEAS AND IDEOLOGIES IN THE LATE TWENTIETH CENTURY

By Paul Heyer

“The dynamics of diagnonal, tapered space are further explored in the more complex program for the corporate headquarters of Burroughs Wellcome. Here, within the diagonal movement of interior space, Rudolph says that “growth and change is implicit in the concept. It is the idea of a building never finished where one can pull out parts.” Architecturally it is a delineated and tightly resolved attitude that, in spirit at least, somewhat parallels that of [John] Johansen’s more “as built,” loosely conceived and less seemingly-manipulated and open-ended approach. The building’s diagonal volume is an upward extension of the crest of a ridge on which it is built. The set back floors allow for a continuous system of skylights at each floor to pull light deep into interior spaces while enabling ceiling heights to be raised to fifteen feet at the building’s exterior edges, increasing the sense of space in movement with the interiors. As the linear planes of the building are bunched in an end expression of solid, shifting, tubelike elements, they visually evoke the idea of modular elements, although in fact they are the product of conventional steel frame construction. The groping and combining of modular elements as and expression of a technological capability, a sound idea if one not so economically possible in reality, is a notion that continues to preoccupy Rudolph and in many ways give impetus to the shifting planes that impinge upon rather than elementally define space.” — excepted from: American Architecture: Ideas and Ideologies in the Late Twentieth Century, by Paul Heyer, New York, Van Nostrand Reinhold, 1993

NORMAN FOSTER

Finally, since Rudolph’s drawings for the Burroughs Wellcome building are so compelling, here is a quote from Norman Foster. He has the advantage of a long perspective on Paul Rudolph—an historical viewpoint—going all-the-way back to the time when he had been a student and employee of Rudolph’s, while studying at Yale.

“Many of the these drawings, especially the perspective sections, would encapsulate in a single image the range of Rudolph’s concerns as an architect. There was his quest to define and model space with light and planar surfaces; his interest in climate and the relationship between structure and services; his exploration into modularity and the potential of prefabrication—a later interest in high density urban mega-structures.” — Norman Foster, from the foreword to: The Art and Architecture of Paul Rudolph, by Tony Monk, West Sussex, Wiley-Academy, 1999

Rudolph’s perspective-section drawing through the body of the building (with its famous entry lobby), indicating the dynamic spaces within. Image © the estate of Paul Rudolph, The Paul Rudolph Heritage Foundation

YOU CAN HELP SAVE BURROUGHS WELLCOME !

Burroughs Wellcome’s loss would be a disaster—a titanic waste of our nation’s cultural heritage.

When a great building is destroyed, there are no second chances.

NOW, THERE ARE TWO THINGS YOU CAN DO:

Sign the petition to save Burroughs Wellcome. You can sign it here.
We’ll send you bulletins about the latest developments. To get them, please join our foundation’s mailing list: you’ll get all the updates, (as well as other Rudolphian news.)—you can sign up at the bottom of this page.

A good example of the powerful drawings, in which Rudolph explored and conveyed his vision—as spoken of in Norman Foster’s quote above. This is his perspective rendering of the dining area (about which historian Tony Monk wrote)—a dynamic space whic… — A good example of the powerful drawings, in which Rudolph explored and conveyed his vision—as spoken of in Norman Foster’s quote above. This is his perspective rendering of the dining area (about which historian Tony Monk wrote)—a dynamic space which was constructed as part of the 1976 extension. That addition has been demolished, and now the main part of the building is under threat too. Image © the estate of Paul Rudolph, The Paul Rudolph Heritage Foundation