Modulightor is Made a Landmark and Gifted to the Paul Rudolph Institute For Modern Architecture

Paul Rudolph & Ernst Wagner in 1975. Photo from the Paul Rudolph Institute For Modern Architecture archives.

As the year draws to a close, we have two pieces of good news to share - and they both involve our headquarters: the Modulightor Building.

First, we are happy to report that the New York City Landmarks Preservation Commission voted unanimously to make the building a New York City landmark at this week’s hearing on December 19th. At the public hearing on November 28th, 2023 four people testified in support of designation and no one spoke in opposition. In addition, the commission received 30 written submissions in support of designation. The building now joins Rudolph’s 23 Beekman Place residence and the Hirsch (Halston) Residence at 101 East 63rd Street as New York City landmarks designed by the Mr. Rudolph.

The Commissioners had praise for Mr. Rudolph’s work. Vice Chair Frederick Bland said, “Rudolph was the reason I became and architect, so he’s an important guy for me. I think this is a great designation. Partly, because there are fewer and fewer Rudolph buildings around and he’s undeniably an important midcentury and later architect.”

Commissioner Jeanne Lufty noted Rudolph’s Modulightor was being reviewed by the Commission along with Ulrich Franzen’s 1957 Barkin, Levin & Company Office Pavilion. “Both of these projects are aberrations from their brutalist style and so they are a little more refined and they are definitely a little more expressive of what was going on at the particular time, and as Fred said we are so fortunate to sort of capture them and preserve them and recognize them and I am so happy to be part of that process,” she said.

“This is one of my favorite buildings,” said Commissioner Everardo Jefferson. “And the reason is, is the intricacy of it. And the exterior is so intricate and then you go inside and it becomes even more intricate. And you begin to wonder about the mind of this guy, how he was able to put these pieces together and move them around. Its just a marvelous experience.”

Commissioner Michael Goldblum said, “I was lucky enough to tour this building a few years ago and its really a marvel, not only because of its design - which is remarkable - but because of the integration of the architect’s own personality and history into every aspect of the building. Its his Taliesin in a way, he wanted it to kind of be this little idealized expression of his ideology and methodology built in a mid-block site of Manhattan of all places. And its really a remarkable site and the prospect that the interior could become designated as well is I think to be greatly anticipated. When you see work like this, its so mechanistic and designed - its rectilinear. His drawings are so crisp and sharp and then you go and you see how he did it. The technology was so loose and handmade and artisanal in a way. It kind of works against the design but it makes it more charming at the same time. It is really a fascinating building and greatly deserving of protection.”

“The architects have a lot to say about this one obviously,” said Commissioner Stephen Chu. “I’ve always loved his sensibility to human scale and if you look at this, essentially glass building, it has so much human scale to it. And you compare it to a lot of the developer buildings being done right now which are very flat. This doesn’t have a lot of depth though, yet that minimal depth is able to achieve shadow, light and human scale which is so wonderful.”

Commission Chair Sarah Carroll concluded with, “so I think we have a lot of support for this one… I think this would be a great addition to our very special New York City landmarks. And I want to thank the owners. We have been working with the Institute that runs the building and they have been very engaged and very supportive and we’ve had really wonderful exchanges and conversations about this during the calendaring. And we’re also talking about the interior which is not yet of age, but we’re talking to them and we’ll keep an eye on that until it does become eligible for consideration.”

Commissioner Chen moved to landmark the Modulightor building and was seconded by Commissioner Goldblum.

"New York City's streetscape has always served as a canvas for some of the world's most creative minds, and the buildings designated today highlight two exceptionally innovative designs by internationally prominent modern architects, one at the start of his career, and the other towards the end of it," said Landmarks Preservation Commission Chair Sarah Carroll in a follow-up press release by the Commission. "I'm pleased that the Commission has chosen to recognize these modern architectural gems, and grateful that they'll be preserved for future generations to come."

After the decision, Ernst Wagner gave the following comment:

"During his lifetime, Rudolph wished our residence at 23 Beekman Place would become a study and resource center for the architectural community. When that didn't happen, I promised him that I'd use the Modulightor building to fulfill his wish and then created the Paul Rudolph Institute for Modern Architecture. It is fitting that the Modulightor building – designed by and dedicated to Paul Rudolph – will be preserved as a living example of his genius. Thank you to the Landmarks Preservation Commission for ensuring future generations will get to experience and learn from his work."

The landmarking of the Modulightor building resulted in the second piece of good news to end the year: the Modulightor building was gifted to the Paul Rudolph Institute For Modern Architecture by Ernst Wagner.

As referenced in his above comment, Ernst founded the Paul Rudolph Institute For Modern Architecture to keep his promise to Paul Rudolph that a study center would be created to share Rudolph’s ideas about architecture with the public.

We are profoundly grateful to Mr. Wagner for his continuous support of our mission to protect Mr. Rudolph’s legacy and promote his ideas about modern architecture. His gift allows the Institute to ensure the Modulightor building remains a publicly accessible, living example of Mr. Rudolph’s work and ideas.

We’ve got more planned for the coming year, and thank you to Ernst, the team at the New York City Landmarks Preservation Commission and all of you for making this year especially notable!

The Seagram Building - by Rudolph?

The Seagram Building in New York City, under construction, designed by Mies van der Rohe. Photo: ReseachGate, Hunt, 1958

Mies van der Rohe’s Seagram Building is one of the loftiest of the high icons of Modernism. For decades, it was almost a sacred object. Indeed, several of his buildings - the Barcelona Pavilion and the Farnsworth House (as well as the Seagram) - were maintained in a bubble of architectural adoration.

Is reverence for Mies going too far? Actually, it’s architect Craig Ellwood at Mies van der Rohe’s National Gallery museum building in Berlin (caught while photographing a sculpture.) Photo: Architectural Forum, November 1968

SEEMS INEVITABLE

Mies is considered to be one of the triad of architects (with Wright and Corb) who were the makers of Modern architecture - a holy trinity! Given Mies’ fame - and the quietly assured, elegantly tailored, serenely-strong presence of Seagram (much like Mies himself) - it seems completely inevitable that he would be its architect. Like an inescapable manifestation of the Zeitgeist, it is hard to conceive that there might have been an alternative to Mies being Seagram’s architect.

Mies is watching! Photo: The Charnel House – www.charnelhouse.org

BUT WAS IT?

In retrospect, seeing the full arc of Mies’ career and reputation, it does seem inevitable. Whom else could deliver such a project? A bronze immensity, planned, detailed and constructed with the care of a jeweler.

But - as usual - the historical truth is more complex and messy (and more interesting).

GETTING ON THE LIST(S)

Several times,  Phyllis Lambert has addressed the history of the Seagram Building and her key role in its formation. But the story is conveyed most articulately and fully in her book, Building Seagram—a richly-told & illustrated, first-person account of the making of the this icon, published by Yale University Press.

Phyllis Lambert’s fascinating book on the creation and construction of the Seagram Building. Image: Yale University Press

Part of the story is her search for who would be the right architect for the building. In one of the book’s most fascinating passages, she recounts the lists that were made of prospective architects:

“In the early days of my search, I met Eero Saarinen at Philip Johnson’s Glass House in Connecticut. In inveterate list-maker, he was most helpful in proposing what we draw up a list of architects according to three categories: those who could but shouldn’t, those who should but couldn’t, and those who could and should. Those who could but shouldn’t were on Bankers Trust Company list of February 1952, including the unimaginative Harrison & Abramovitz and the work of Skidmore , Owings & Merrill, which Johnson and Saarinen considered to be an uninspired reprise of the Bauhaus. Those who should but couldn’t were the younger architects, none of whom had worked on large buildings: Marcel Breuer, who had taught at the Bauhaus and then immigrated to the United States to teach with Gropius at Harvard, and, as already noted, had completed Sarah Lawrence College Art Center in Bronxville; Paul Rudolph, who had received the AIA Award of Merit in 1950 for his Healy Beach Cottage in Sarasota, Florida; Minoru Yamasaki, whose first major public building , the thin-shell vaulted-roof passenger terminal at Lambert-Saint Louis International Airport, was completed in 1956; and I. M. Pei, who had worked with Breuer and Gropius at Harvard and became developer William Zeckendorf’s captive architect. Pei’s intricate, plaid-patterned curtain wall for Denver’s first skyscraper at Mile High Center was then under construction.

The list of those who could and should was short: Le Corbusier and Mies were the only real contenders. Wright was there-but-not-there: he belonged to another world. By reputation, founder and architect of the Bauhaus Walter Gropius should have been on this list, but in design, he always relied on others, and his recent Harvard Graduate Center was less than convincing. Unnamed at that meeting were Saarinen and Johnson themselves, who essentially belonged to the “could but shouldn’t” category.”

WHAT IF’S

So Rudolph was on the list and considered, if briefly. Even that’s something—a real acknowledgment of his up-and-coming talent.

Moreover, Paul Rudolph did have towering aspirations. In Timothy Rohan’s magisterial study of Rudolph (also published by Yale University Press) he writes: 

“Rudolph had great expectations when he resigned from Yale and moved to New York in 1965. He told friends and students that he was at last going to become a ‘skyscraper architect,’ a life-long dream.”

That relocation, from New Haven to New York City, took place in the middle of the 1960’s—about a decade after Mies started work on Seagram. But, back about the time that Mies commenced his project, Rudolph also entered into his own skyscraper project: the Blue Cross / Blue Shield Building in Boston.

Paul Rudolph’s first large office building, a 12 storey tower he designed for Blue Cross/Blue Shield from 1957-1960. It is located at 133 Federal Street in Boston. Photo: Campaignoutsider.com

It takes a very different approach to skyscraper design, particularly with regard to the perimeter wall: Rudolph’s design is highly articulated, what Timothy Rohan calls a “challenge” to the curtain wall (of the type with which Mies is associated)—indeed, “muscular” would be an appropriate characterization. Moreover, Rudolph integrated mechanical systems into the wall system in an innovative way.

A closer view of the Blue Cross/Blue Shield’s highly articulated façade and corner, seen nearer to street-level. Photo: Courtesy of the University of Massachusetts Dartmouth Library

And, Rudolph did end up fulfilling his post-Yale desire to become a “skyscraper architect”—at least in part. He ended up doing significantly large office buildings and apartment towers: in Fort Worth, Hong Kong, Japan, Singapore, and Jakarta. Each project showed him able to work with a variety of skyscraper wall-types, materials, and formal vocabularies. Rudolph, while maintaining the integrity of his architectural visions, also could be versatile.

And yet -

He was on that Seagram list, and we are left with some tantalizing “What if’s…

What if he had gotten the commission for Seagram—an what would he have done with it?

Paul Rudolph's design for MoMA’s ‘FAMILY OF MAN’ Exhibition

Paul Rudolph’s plan-perspective drawing for the layout for the Museum of Modern Art’s Family of Man photography exhibition, which opened in 1955. Image: Library of Congress

A SPECTACULARLY SUCCESSFUL EXHIBIT

The Family of Man was a photography exhibition held at the Museum of Modern Art in New York City in 1955. Edward Steichen—himself a distinguished photographer, and the curator of the show (and whose widow eventually became a Rudolph client)—had the prodigious task of making the selection from submissions from all over the world. It ended up being a sweepingly large show, with over 500 photographs, from 69 countries, and by 222 photographers.

Edwin Steichen, the Director of the Museum of Modern Art’s Department of Photography, facing the task of selecting & organizing photographs for the exhibit. Photo: MoMA

MoMA concisely describes the exhibit as follows:

This ambitious exhibition, which brought together hundreds of images by photographers working around the world, was a forthright declaration of global solidarity in the decade following World War II. Organized by noted photographer and director of MoMA’s Department of Photography Edward Steichen, the exhibition took the form of a photo essay celebrating the universal aspects of the human experience. Steichen had invited photographers to submit photographs for consideration, explaining that his aim was to capture “the gamut of life from birth to death”—a task for which, he argued, photography was uniquely suited. The exhibition toured the world for eight years, attracting more than 9 million visitors.

The show included photos that have become absolute “classics” in the history of photography, like this famous image of an American migrant worker and her children: Dorothea Lange’s photograph, “Migrant Mother”

Image: Library of Congress

By-the-way: MoMA’s point, about the exhibit touring the world, makes it more accurate to say that this was a set of exhibitions, for - after its initial showing at MoMA in 1955 (the one designed by Paul Rudolph) - copies or versions of the exhibit were shown all over the globe, in over 3 dozen nations (and sometimes in a several cities within a country). This included exhibits in some iron-curtain countries - which, itself, might be considered quite an achievement right in the heart of the Cold War.

The show has had further life as a book which, well over half-a-century since it came out, seems to have been continuously in-print—an amazing record. [And, not long ago, a special 60th Anniversary Edition was published.]

The meaningfulness of the show’s collection of photos---that particular selection, and the way they were organized—can not only be gauged by the attendance figures to the shows, but also by comments from readers of the book version. Here are two samples from readers (who commented on Amazon):

“I have read this book over and over again … and bought copies for my children and my aged grandfather. Since the MoMA republished it, all my grandchildren are getting a copy as birthday presents. The meaning of each photograph is easily understood by all cultures, and is a timeless portrayal of life from love, birth, living life and eventually, death.”

“In the maddening fast pace time we live in, where we are presented with false dichotomies and "news" that promotes division and futility of purpose this book - this magnificent book - draws the reader into a calmer, slower pace, awe inspiring appreciation for the beauty and wonder of our species. When I first opened its pages I was skeptical - prepared to be disappointed by another commercial knock off that pretends to be one thing and ends with a solicitation to buy into some self serving, blame evoking finger pointing view, on the one hand, or an unrealistic, romanticized characterization of a simple and simplistic view of the good old days. An hour into the book I was completely captured by the poets and artists portrayal of the human family.”

AN INTEREST IN EXHIBIT DESIGN

Rudolph created a number over exhibitions over the decades (including with the Museum of Modern Art, prior to the Family of Man show), and exhibit design seems to have been an ongoing interest of his. The Rudolph-designed duplex apartment, within the Modulightor Building, has a portion of Paul Rudolph’s library—and in it we found a copy of a book he owned on Franco Albini (1905-1977)—the multi-talented Italian architect.

Photo of the book in the Library of the Paul Rudolph Heritage Foundation

Albini was a prolific designer of exhibits, as shown in these spreads from the book:

Photo of the book in the Library of the Paul Rudolph Heritage Foundation

The book came out (and was acquired by Rudolph) decades after the Family of Man show—so we cannot say this publication influenced Rudolph. We only mention it as evidence of Rudolph’s ongoing interest in the topic of exhibit design.

A SUCCESSFUL EXHIBIT DESIGN

A plan of the Family of Man exhibit, with explanatory labels and notes. This version was in an article about the show that appeared in Popular Photography magazine.

Rudolph used about all imaginable methods & arrangements to display/mount/show the hundreds of photographs in the show—and sometimes it seems like he wanted to try every possible variation. Yet the show seems to have had coherence, and the multiple display techniques worked well with the photographic materials.

These many techniques included:

• Large-scale (wall-spanning) enlargements of a single photograph

• Wall mounting in a pattern of De Stijl-ian grids

• Suspension from rods (coming from the ceiling)

• Mounting on rods (coming up from the floor)

• Mounting over “island”-like, space-defining platforms

• Suspending within a vignette, created by a cyclorama of fabric, below a glowing circular ceiling

• Showing them against a transparent background window—so as to provide glimpses through the assemblage of photos, to the next space

• Suspended in groupings of large panels—and…

• And thickening the edges of those panels, to give them visual substance

• Collected together in smaller, more intimate sizes

• Isolating a single photo, so as to give it dramatic focus

• Placing a horizontal line of photos along curved convex walls—indeed, having two such matching walls face each-other, so as to create a compressed spatial transition into the next gallery

• Creating free-standing, curved, island-like display “objects”—with the photos placed at low viewing angles

• Cantilevering photos—fin-like—off the wall (at 90 degrees to the wall’s main plane

• Cantilevering photos—fin-like—off vertical poles

• Placing a giant photo on the ceiling

• Suspending large photos in visually-strong, contrastingly-dark wood framing elements

There are probably more, but the above list—and the below portfolio of installation images—will give you an idea of the inventiveness that Rudolph brought to this challenge.

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A BOOK ABOUT THE EXHIBIT?

We’ve mentioned the well-known Family of Man book which came out of the show (and the new, anniversary edition)—but the exhibit design, per se, certainly deserves its own monograph. Did such a book ever come out?

No and yes. There’s never been, to our knowledge, a book focused on the design of the show. But we did discover that a deluxe edition of the Family of Man book was published: a version which includes an “A special portfolio of photographs by Ezra Stoller” showing the exhibit installation. That section starts off with this page:

Photo of the book in the Library of the Paul Rudolph Heritage Foundation

Paul Rudolph’s participation in the exhibit had been fully acknowledged in MoMA’s own 1955 press release for the show—and it is also clearly indicated in the deluxe edition of the book:

Photo of the book in the Library of the Paul Rudolph Heritage Foundation

Here’s an example of the installation shots, as shown from a section of the book:

Photo of the book in the Library of the Paul Rudolph Heritage Foundation

Good news:  We have a copy of that deluxe edition in the library of the Paul Rudolph Heritage Foundation. But if you would like to have one of those deluxe editions for your own, it seems that copies do show up on the websites of on-line booksellers, like Abebooks and Amazon.