Happy Birthday, Paul Rudolph — it's his 101st !

Rudolph in a happy mood, at the street level of one of his most compelling buildings: his about-to-be-completed Temple Street Garage in New Haven.

It’s October 23—and we celebrate Paul Rudolph’s Birth 101 years ago today (and invite you to do so too!)

This past year—Rudolph’s centenary—has been a year of “Rudolph-ian” accomplishment: in preservation, research, education, scholarship, and—perhaps most important—in creating a growing awareness and appreciation of the legacy of this great architect. But—

But rather than review the achievements of the last year (you can read of many examples in past articles on this blog) we thought it would be nice to just share some images of him—and different ones than you normally see.

Portraits of architects usually show them in a serious mode, with solemn expressions suitable for a person embarking on a great artistic or constructional task. Paul Rudolph was no exception: most pictures of him show a deeply thoughtful figure, or one engaged in disciplined, critical work.

But today we offer a couple of pictures of another, sunnier side of Rudolph—ones where the architect was clearly in a smiling, happy state.

Paul Rudolph in formal attire—with more than a hint of a smile. By-the-way: that’s not smoke in the background (as we had first thought—but Rudolph was never a smoker.) What’s [visually] suggesting smoke is light catching the curving edges of a topographic model., shown here tipped vertically to hang on a wall. Such models are part of the architectural design and presentation process—and this one might have been made, in Rudolph’s office, for one of his projects.

So Happy Birthday, Mr. Rudolph — and we look forward to your next century !

Not Just Perspectives (Rudolph Could Draw In Other Ways Too): The Axonometric FACTOR

A detail from Paul Rudolph’s drawing for the Colonnade Condominiums in Singapore (a project built in the final phase of Rudolph’s career, when he was doing much work in Asia.) While Rudolph is famous for his perspective drawings, here he is using an “axononmetric” drawing technique—which was unusual for him, but is not unknown in his graphic oeuvre. © The Estate of Paul Rudolph, The Paul Rudolph Heritage Foundation.

MASTER OF PERSPECTIVE

Well of course Rudolph could draw—beautifully, masterfully, with stunning skill. His fame is intertwined with his brilliant perspective drawings (including, and especially, his perspective-sections). He made them starting right from the beginning of his career—indeed, while he was still a student, as the below example shows:

“Weekend House for an Architect”—a school project of the mid-1940’s, when Rudolph was finishing his Masters at Harvard—and an early example of the intense perspective rendering style which he’d use for the rest of his half-century career (and for which he became famous.) © The Estate of Paul Rudolph, The Paul Rudolph Heritage Foundation.

While much has been written about Rudolph’s drawings, little-known is Rudolph’s own text on the topic, which speaks of his overall approach and attitude to drawing. The essay, “From Conception to Sketch to Rendering to Building" forms the introduction to the magnificent book, Paul Rudolph: Architectural Drawings. The book came out in the early 1970’s, and was published by the great Japanese architectural photographer, Yukio Futagawa. Futagawa had, in previous years, extensively photographed Rudolph’s work, and had also created a publishing firm (still extant) focused on architecture.

The best presentation of Paul Rudolph’s drawings is this large-format book, “Paul Rudolph: Architectural Drawings.” The cover features one of the perspective-sections for which the architect was so well-known—this one through the body of the Burroughs Wellcome headquarters building. The book was published by Yukio Futagawa (who had made superb photographs of Rudolph’s work—and whom Rudolph greatly admired.)

In that essay, Rudolph says:

“It should be noted that the drawings and renderings shown here were done over a period of almost thirty years, but the technique used for them has changed very little. During my school years and immediately thereafter I searched for a technique of drawing which would allow my personal vision to be suggested, and after a period of searching, arrived at the systems shown in this book.”

Rudolph’s drawings (and especially his use of perspective-section drawings) has been widely remarked upon—most extensively written about by the author of the comprehensive study of Rudolph, Timothy M. Rohan—particularly in an essay by him in a recent book devoted to Rudolphian studies. In an earlier post we addressed Rudolph’s focus on sections—and there you can find further information on that topic.

Perhaps Rudolph’s most famous drawing is this one, done near the height of his career: his perspective-section through the Yale Art & Architecture Building (now known as Rudolph Hall). Space, light, scale, and structure are conveyed simultaneously. There is a vivid sense of depth—and a strong effort is made to communicate spacial relationships among the various levels. © The Estate of Paul Rudolph, The Paul Rudolph Heritage Foundation.

BUT RUDOLPH DID USE OTHER TECHNIQUES…

A review of Rudolph’s drawings—which number in the hundreds-of-thousands—show that he used a variety of techniques:

• Plans

• Sections (including Site-Sections)

• Elevations

• 1-Point Perspective

• 2-point Perspective (including—though rarely—where the 2nd perspective is a vertical one, with the vanishing-point below-ground)

• Plan-Perspectives

• Section-Perspectives

• Diagrams

• Quick Sketches (ranging from schematic doodles to more advanced studies—the sorts of visual overtures a designer makes, for themselves, when considering an idea)

• Isometrics

• Axonometrics

That’s the graphic tool-kit of any architect—the “armamentarium” of all designers. Such techniques are used to solve problems, to present proposed solutions to clients and government bodies, and ultimately to communicate instructions and intentions to builders [and when H.H. Richardson said that the first principle of architecture is “Get the job!”, he could well have added that drawings are a marketing tool.]

Rudolph is most well-known for his section-perspectives—but he wielded all of the above. It is the last type of drawing on that list, axonometric—one rarely discussed in Rudolphian studies—which deserves attention.

PERSPECTIVE IS NOT THE ONLY WAY

Perspective drawing—that great innovation of the Renaissance—uses lines which seem to converge, and spaces the lines so that objects which are further away are drawn smaller. This gives perspective drawings a similarity to the way we naturally see.

But there are other ways to draw, used by designers, which don’t act in the same way as perspective drawings. It may seem counter-intuitive to use anything but perspective drawings, as they create a simulation which is closest to the way we perceive things—but there are times when one can covey a great deal of complex information by using other-than-perspective approaches.

Isometric drawings and Axonometric drawings are the main alternatives—and they can be combined with other techniques (like sections). Auguste Choisy, an historian and teacher of the French Beaux-Arts era, was famous for his ability to combine plan, section, and elevation into a single drawing—and thus convey architectural information about a building in a coordinated and concise way. Here’s an example from one of Choisy’s books of architectural history:

In the late 19th and early 20th century, Auguste Choisy (1841-1909) published several architectural history books, in which he used his technique of combining the plan, section, and elevation of a building (or a representative part of a building) into a single drawing. This example shows how informationally potent such a combination could be: much is conveyed—particularly how each aspect of the building coordinates with the others. In this drawing, Choisy is showing the various planes (plan, section, and elevation) as isometric views. Thus areas that would be squares or rectangles are modified into diamond-like shapes—but that seeming “distortion” allows Choisy to fit all the planes together in a coordinated way. Choisy also used axonometric drawings in his books.

How would Rudolph have come to know about such other-than-perspective drawing techniques?

Rudolph’s disparaging remark about his first architecture school (in Alabama, before he went to Harvard) has been frequently quoted. He is reported to have said that their “faculty was best when they left you alone.” That’s been taken to mean that he got nothing out of the traditional, classically-based curriculum which the school offered. Yet in his extended conversation with Peter Blake, another side emerges. Rudolph declared:

“I have always felt lucky that I started studying architecture in a school that followed the Beaux-Arts system.”

Choisy’s architectural history books were well-known within Beaux-Arts educational culture. It is possible that, in such a traditional school as Rudolph attended, he would have been exposed to them—including their drawings with their use of isometric and axonometric techniques.

ISOMETRIC VS. AXONOMETRIC

There’s some controversy about the exact terminology for those two related-but-different drawing techniques—but one thing is clear: they’re both part of the same family: Paraline drawings. Without getting into a full tutorial on drawing methodologies, it’s useful to distinguish them:

• In the family of Paraline drawings, sets of lines—for example: the lines that define all the vertical edges of the walls) are parallel to each other.

• With Isometric drawings, one main plane (like the plan or the roof) is distorted—for example: if a part of the plan would in reality be a square, then on the drawing it would be shown as a diamond-like shape. Also, all the vertical edges of the walls are perpendicular to the bottom of the drawing.

• With Axonometric drawings, the main plane (for example: the plan) would not be distorted: so a square would remain a square, and a rectangle would remain a rectangle. Also, the other sets of lines (like the vertical edges of the walls) are all parallel to each other.

Here’s a drawing that shows the difference between Isometric and Axonometric drawings.

Two approaches to drawing a rectilinear volume (which could be a brick, a building, a part of a building, or a room…):

The isometric Drawing, at the far-Left, distorts the top and bottom [plan] surface, and all the other planes too—making them into diamond-like shapes.

But the two examples of axonometric drawings shown here preserve the exact shape of the upper and bottom planes. Two variants are shown here: the Middle version, where the angle of the plan is tipped up equally on both sides (at 45 degrees); and the one at the Right, where the plan is tipped up un-equally (which leads to a more realistic look).

In both these versions of axonometric drawings, the vertical edges of the walls are perpendicular to the ground (the bottom edge of the drawing)—but sometimes, for clarity, other angles are used (like in the Edersheim Apartment example, below.)

AXONOMETRIC DRAWINGS BY ARCHITECTS

Axonometric drawings are beloved by generations of architecture students: they allow one to quickly create a convincing-looking drawing (one that has a sense of volume, but also maintains all the parts and proportions in proper relationship to each other). All one has to do is draw a plan, and then draw (“pull”) lines down from the corners to show the walls. Presto!—the drawing is ready to bring to class.

But professionals have also been using axonometric drawings for decades—and they’ve come in-an-out of popularity during the Modern movement in architecture. Some designers, like the ones associated with De Stijl, favored it (as it probably corresponded well with their overall rectilinear aesthetic.) Here’s an example from Theo Van Doesburg:

Study for “Design for Cité de Circulation,” a district with residential blocks by Theo van Doesburg: a pencil and ink drawing made circa 1929. It is a good example of an axonometric drawing: the planes of the buildings’ roofs and bases remain undistorted (in this case, a composition mainly of squares). The drawing shown, via Wikipedia, is in the public domain, as per PD-US or other provisions.

In the 1960’s-70’s, axonometric drawings came to prominence again, most notably in the work of James Stirling and Peter Eisenman (in the drawings for Eisenman’s early series of numbered houses).

Here’s a well-known example by Sterling:

James Stirling’s drawing for the Engineering Building at Leicester University—one of the most famous axonometric drawings of the post-World War II era. As with all axonometric drawings, the plan shapes (for example the rectilinear top surfaces the towers and terraces) are un-distorted: if they’re rectangles or squares in reality, then they’re shown as rectangles or squares in this axonometric drawing. As is frequently the case, the vertical lines of the walls are shown perpendicular to the ground.

RUDOLPH’S USE OF tHE AXONOMETRIC tECHNIQUE

Paul Rudolph did, from time-to-time, turn to axonometrics. But why, with his profound mastery of the perspective technique, did Rudolph sometimes use this alternative way of drawing?

To answer that, it would be good to look at some examples:

The Edersheim Apartment in New York

When we were creating 2018’s Paul Rudolph centenary exhibition, Paul Rudolph: The Personal Laboratory, one of the projects included was the apartment he had created for the Edersheim family: a complex of rooms occupying a full floor in a Manhattan apartment house. The program is complex, the rooms are plentiful, and each room is shaped to match its function (as was the custom furniture—built-in and freestanding—which Rudolph designed for those rooms.) Moreover, as is typical in New York City (even in luxury apartment houses like the one in which this apartment sits), there’s little room to spare. So all the above must be densely packed together—a challenge for any designer to work out. Then, once the design is solved, as it is a further of a challenge convey such a complex design to the client.

To make this whole assemblage of spaces understandable to the Edersheims, Rudolph created this drawing—an axonometric!

The Edersheim apartment, on New York’s Upper East Side—a Rudolph project from 1970. Rudolph used an axonometric view: and it looks as though the roof has been lifted-off and one is looking down into the apartment’s many multi-shaped spaces. Despite the complexity of the design, it is still understandable—and what helps create clarity is the fact that Rudolph here used the axonometric technique: the plan-shapes of the rooms are un-distorted, and also the building’s perimeter walls are drawn true to their actual shapes. © The Estate of Paul Rudolph, The Paul Rudolph Heritage Foundation.

Below is an enlarged portion of the above drawing, showing one of the most complex parts of the apartment. It’s a fine example of how an axonometric drawing can be used to show, with clarity, even intricate arrangements of spaces and architectural elements.

An enlargement of a portion of the above axonometric drawing of the Edersheim Apartment. © The Estate of Paul Rudolph, The Paul Rudolph Heritage Foundation.

The Colonnade Condominiums in Singapore

The Colonnade is one of the most sought-after places to live in Singapore, with each high-rise apartment demanding luxury-level prices. In this 1970 project, Rudolph wove together a multitude of multi-level apartments into a rich composition, whose overall effect is a shimmering geometric dance.

Paul Rudolph’s Colonnade Condominium in Singapore—a project of the early 1970’s. In the subsequent decades, he would do numerous projects throughout Asia.

To communicate his intentions—which included a complex arrangement of interleaving balconies and windows—Rudolph used a variety of types of drawings: plans, perspectives—and the axonometric drawing seen at the top of this article.

The Orange County Government Center in Goshen, NY

In the middle-1960’s, Paul Rudolph started upon one of his most compositionally and spatially rich government buildings—a civic brother to his Yale Art & Architecture Building. The structure—or rather, compound of structures—that he built in Goshen embraced a complex program to answer the civic needs of the region’s citizens: one could do anything there from getting a marriage license to being tried for serious crimes.

Paul Rudolph’s Orange County Government Center in Goshen, NYC—as seen before it was demolished and/or altered to the point where Rudolph’s design has been all-but-erased.

For this project, Rudolph used a variety of drawings to explore the design and convey his intent.

Did he use perspectives? Certainly—and here’s his perspective drawing for the exterior:

Paul Rudolph’s perspective rendering of the Orange County Government Center. © The Estate of Paul Rudolph, The Paul Rudolph Heritage Foundation.

Did he use any isometric drawings? Yes—and here’s his study of projecting and receding masses and window openings—a tour de force of levitating masonry.

An isometric drawing, by Rudolph, looking up at a portion of the Orange County Government Center building. © The Estate of Paul Rudolph, The Paul Rudolph Heritage Foundation.

But when it came to the roof—a complex landscape of rising, overlapping, and interpenetrating rectilinear masses (in a plenitude of sizes)—he used an axonometric view:

Paul Rudolph’s drawing of the roofscape and masses of Orange County Government Center. The three main masses of the building—left, top, and right right—surround a courtyard. Rendered as an axonometric, probably no other drawing technique would have as clearly conveyed the overall conception of the building’s massing, as well as the complexity of its composition. Rudolph, aware that dignity is as important as basic function (especially in civic buildings), created a modern version of a stately entry: there is an elongated plane, set high, spanning across the southern side of the courtyard (shown at the bottom-center of this drawing)—and that created a space-defining gateway to the complex. © The Estate of Paul Rudolph, The Paul Rudolph Heritage Foundation.

Paul Rudolph’s site plan for the Orange County Government Center. Something of the richness of the design is communicated by his using an axonometric view (conveyed by the shadows) to render the variety of masses from which the building is composed. N.B.: in this drawing, the body of the building has been turned 90 degrees, clockwise, from the view above. © The Estate of Paul Rudolph, The Paul Rudolph Heritage Foundation.

AXONOMETRICS FOR RUDOLPH?—iT’S A mATTER OF PRACTICALITY

Rudolph is sometimes characterized as the very embodiment of the heroically individualist genius architect. There’s a lot of truth in that—with consequences, good and bad. One of the negatives is that one can then get tagged as being impractical or hard to work with.

Paul Rudolph shows that this is not necessarily the case: he had a 50-year career, with over 300 commissions—and some clients report on what a pleasure it was to work with him (and some became repeat clients—the ultimate accolade in client relations.) Moreover, Rudolph got things built—all over the country, internationally, doing numerous types and sizes of building, and at every budget level—so he had a track record of being practical.

Architectural drawings—though they are artistic creations—are equally tools: the means by which an architect conveys his ideas to clients and builders. Edwin Lutyens, speaking of construction drawings, likened them to writing a letter, telling the builder what to do. Drawings must communicate with clarity, whether it be the specifics of a construction detail, a building’s overall composition, or even the flavor of a design. Rudolph most often chose perspective drawings as the most effective way to communicate his intentions—but as a practical architect, he knew there were other techniques which could be more effective in specific situations. Rudolph mastered those techniques and used them too—and as a result we have some fascinating axonometric drawings from him.

The Modulightor Building: A Star Of OHNY Weekend

The front of the Paul Rudolph-designed MODULIGHTOR BUILDING—a site much visited during the 2019 OPEN HOUSE NEW YORK weekend. Photograph © Joe Polowczuk, the Archives of the Paul Rudolph Heritage Foundation.

This last weekend--October 19th & 20th--the MODULIGHTOR BUILDING was a hot spot to visit during OPEN HOUSE NEW YORK.

OHNY is the annual NYC event when spaces throughout city—many of them not normally available for public visits—are opened to all. In 16 years (OHNY started in 2003) it has grown to a city-wide phenomenon, now with over 300 sites open across New York's 5 boroughs.

A sample page, from Open House New York’s website, showing a small portion of the over 300 sites that were visitable during OHNY’s 2019 weekend.—and this page includes the MODULIGHTOR BUILDING. OHNY sites span all of New York City’s five boroughs.

Paul Rudolph's MODULIGHTOR BUILDING has been a participant for most of that time, and this year we had over a thousand visitors—experiencing our Rudolph-designed building (inside and out), and learning about Paul Rudolph’s life and prolific career.

OHNY visitors entered through the building’s street-level MODULIGHTOR showroom—a space designed by Paul Rudolph. The architect was obsessed by light—natural and artificial—and co-founded the Modulightor Company to create fixtures which gave designers more flexible options. The triple-tier chandelier (at the upper-left in this view) is an example of an original Rudolph design.

Paul Rudolph’s career spanned a half-century, and was highly prolific—with over 300 projects to his credit. The top floor of the building featured an exhibit on Rudolph’s life and work. and included renderings, objects, plans, models, and original drawings by the architect.

Last year, for Rudolph's centenary, we created an exhibit here, which included models, original drawings, artifacts, and personal memorabilia from the collection of the Paul Rudolph Heritage Foundation. For this year’s hundreds of OHNY visitors, we re-mounted part of that show, and added newly acquired items (including some significant drawings by Rudolph) which were recently donated to us.

The Paul Rudolph Heritage Foundation’s Seth Weine (left) speaks with a visitor during OHNY weekend. They’re standing in the section of the exhibition devoted to Rudolph’s Beekman Place residence—and at a table filled with publications and artifacts from the library and archive of the Foundation.

One of the most popular parts of the show was that visitors could try-out chairs which Paul Rudolph had designed for his own use. Ever a creative force, when Rudolph needed furniture for his own home, he designed it himself--and OHNY visitors had fun trying Rudolph's unique designs. Rudolph's designs for a dining chair and a lounge chair can seem "challenging" to sit on--they look like floating planes of crystal---but visitors were surprised by how comfortable they were.

The Dining Chair, which Rudolph designed for his own NYC home on Beekman Place.

The Lounge Chair, also designed by Paul Rudolph for his home—a lower, wider version of the Dining Chair.

Dramatically positioned, on a platform over the staircase, is a model of Rudolph’s own home at 23 Beekman Place. Visitors seemed especially responsive to architectural models (especially examples like this, where a wall is “cut away” so that one can see the interiors)—and the Paul Rudolph Heritage Foundation had commissioned several for the exhibit.

Rudolph's 101st birthday is coming up (this week: October 23rd). So it was fitting that, as Rudolph's work enters another century of life, he was newly introduced to a over a thousand new pairs of eyes---via OHNY weekend!

On the second day of OHNY weekend, the latter half was rainy—but that did not stop a continuous stream of visitors from arriving. Some even stopped across the street to get a better view of the Paul Rudolph-designed facade of the MODULIGHTOR BUILDING.

Rudolph Writing: Quotations from an Architect

Paul Rudolph—at the writer’s task. It’s worth noting that the book which he’s leaning against is the the most complete monograph on the Yale Art & Architecture Building ever produced (other than the fine collection of photographs by Ezra Stoller). The book, published by Jaca in Italy, includes extensive analytical and measured drawings. © The Paul Rudolph Heritage Foundation.

When we were putting together the exhibits and catalogs for Paul Rudolph’s 2019 centenary, we infused them with quotations from the architect: ones which were pertinent to the various facets of the exhibits—and which allowed Rudolph to speak directly to the viewer.

In the course of that research for the centenary, and in subsequent work (answering questions from journalists, writing these blog posts…) we accumulated a trove of fascinating Rudolph quotations—on a great variety of subjects—and we thought it would be good to share them.

RUDOLPH’S FAVORITE

The first one we want to share is a passage that Rudolph seemed to value above all others: he used it (or variations of it) over the years, sometimes at the end of a speech. Reading it today—and experiencing its force it induces—one can see why:

"We must understand that after all the building committees, the conflicting interests, the budget considerations, and the limitations of his fellow man have been taken into consideration, the architect’s responsibility has just begun. He must understand that exhilarating, awesome moment.

When he takes pencil in hand, and holds it poised above a white sheet of paper, he has suspended there all that has gone before and all that will ever be." 

Paul Rudolph’s Pencils and Pens. Image: Library of Congress, Prints and Photographs Division

RUDOLPH QUOTATIONS

Here’s a selection of quotations from Rudolph’s various writings, speeches, and conversations. They indicate the many topics on which he focused, and are sometimes revealing of his creative process—the thinking of an architect who was both a practitioner and a teacher.

• “We desperately need to relearn the art of disposing our buildings to create different kinds of space: the quiet, enclosed, isolated, shaded space; the hustling, bustling space, pungent with vitality; the paved, dignified, vast, sumptuous, even awe-inspiring space; the mysterious space; the transition space which defines, separates, and yet joins juxtaposed spaces of contrasting character. We need sequences of space which arouse one’s curiosity, give a sense of anticipation, which beckon and impel us to rush forward to find that releasing space which dominates, which acts as a climax and magnet, and gives direction.”

• “The essential element in architecture is the manipulation of space. It is this essence which separates it from all other arts.”

• “Things are quite chaotic. We are faced with a vast change of scale, new building forms which have not really been investigated, and the compulsions of the automobile. When faced with the truly new, the serious architect must search for solutions equally dramatic.”

• “Architecture is a personal effort, and the fewer people coming between you and your work the better. … This is a very real problem, and you can only stretch one man so far. The heart can fall right out of a building during the production of working drawings, and sometimes you would not even recognize your own building unless you followed it through.”

• “…we tend to build boxes and call them buildings.”

• “I think every curve and line has to have real meaning; it cannot be arbitrary.”

• “I’m pleased that the building touches people, and part of that is that people’s opinions oscillate about it. That’s okay. The worst fate from my viewpoint would be indifference.”

• “In terms of how one goes about designing anything, you don't really know, or at least I don't know, until after the fact. There are so many elements that come into play that if you wait to figure out what it is you truly want to do once you have a project to work on there won't be enough time. You have to, as I see it, have a reservoir of things that you feel should be done and then you draw on that reservoir and hopefully apply elements from that reservoir in an intelligent fashion. Sometimes it doesn't work that way. Sometimes one is hell- bent for whatever reason to do certain things no matter what. That forcing can lead to obvious problems. You can have one hundred reasons why you do things after the fact. I'm just saying that for me it's a matter of getting your fingers on what you can and cannot do from a legal viewpoint, what it is the owner truly wants to do— but he doesn't necessarily tell you, you have to read between the lines— and what should be done ideally. … You have to know what's possible. Architecture is not a question of the purely theoretical if you're interested in building buildings. It's the art of what is possible.”

• “I can say that in spite of all the rationalizations that architects go through, including myself, you can pay no attention to what architects say, you can only pay attention to what they do. The reason for that is a very real one. I'm compelled: I have no choice about certain combinations of forms, material, space, or architectural considerations. They egg me on. I know what they are, by and large— but not all of them— and I can be very clear about what they are. Now I can't tell you why spiraling space or the movement of space is what is so compelling for me, but it is. I can't tell you why the cantilever, the juxtaposition of forces, and the light and the heavy in terms of structure, is compelling, but it is. I can't tell you why the purposeful placement of architectural elements so that they catch the light in certain ways is compelling, but it is. I can't tell you why certain combinations of handling scale, which is for me second only to space in its importance, is compelling, but it is. I can't tell you why asymmetry as a method of organizing things is so much more compelling than symmetry— I think I've worked on two symmetrical buildings— but it is. ... All I'm really saying is that the most rational architect in the world is not to be trusted at all because there is no such thing as true rationalism when you are speaking of architecture. I can only tell you that I am totally turned off by certain things: the whole of Postmodernism, to start with. I'm equally turned on by certain elements of architecture. I used to wonder about that myself, but now I no longer wonder. I think it's an absolute nature of architecture.”

• “Always, always, always, everything, everything, everything at the beginning. I'm a great believer in the big bang. You cannot isolate parts, ever. That's the reason why it's so important to know as much detail as possible at the very beginning.”

• “Every man wants to belong to a “place”; he wants to believe that he is in the most wonderful spot on earth and he takes pride in how and where he spends his time on this earth. Emotion is the most important determinant in architecture.”

• “I think everybody should nourish every last personal idiosyncrasy.”

• “Our domestic interiors are often dominated by storage of mechanical, electronic, entertaining, work-saving devices of all kinds. Since they must be continually replaced, the architectural accommodation influences and often dominates the interior space. Furniture and equipment become architecture.”

• “Decoration can be thought of as a precious assemblage of selected parts which is poured over the structure in such a manner that the parts adhere to important junctions—the junction of building to base, base to support, support to supported, building to sky and most important, building to user—as manifest at entry and opening.”

• “I'm very selective about who I'm interested in. I would go around the world to see a Corbu building or a Wright building. I wouldn't go across the street to see some things. It's really true. I know it sounds terrible, but it's absolutely true. Because I'm interested in feeling and understanding, I learn from traditional architecture; I don't learn from modern architecture by and large. That the reason why I feel really lucky that I've traveled as much as I have.”

• "To me, the Barcelona Pavilion is Mies’ greatest building. It is one of the most human buildings I can think of—a rarity in the twentieth century. It is really fascinating to me to see the tentative nature of the Barcelona Pavilion. I am glad that Mies really wasn’t able to make up his mind about a lot of things—alignments in the marble panels, or the mullions, or the joints in the paving. Nothing quite lines up, all for very good reasons. It really humanizes the building.”

• “Well, I am influenced by everything I see, hear, feel, smell, touch, and so on. The Barcelona Pavilion affected me emotionally. It is one of the great works of art of all time. I could not understand at first why it affected me as it did. I really never liked the outside of it. But the inside of the Pavilion transports you to another world, a more spiritual world.”

• “You must understand that all my life I have been interested in architecture, but the puzzle for me, in many ways, is the relationship of Wright to the International Stylists. Now perhaps for you that seems beside the point, or very, very strange. It has a little bit to do with when you come into this world, and that is when I came to grow. Wright’s interest in structure was, to a degree. a psychological one. I am fascinated by his ability to juxtapose the very heavy, which is probably most clear, almost blatant, too blatant, in Taliesin West with the very, very light tent roof. It isn’t that his structures are so clear, because they are not. It is that he bent the structure to form an appropriate space. He would make piers three times the size that they needed to be in order to make it seem really secure. Or he would make the eave line two or three inches deep by all sorts of shenanigans, from a structural point. My God, what did to achieve that, because he thought it ought to light. I would agree with him in a moment, but the International stylists would not. Well. they did and they didn’t. It was the bad ones who did not. They didn’t know how, didn’t know why.”

RUDOLPH WRITINGS

Rudolph wrote & lectured throughout his career—and if you are interested in learning more about his thinking, the most concentrated collection of the architect’s words are in a book edited by Nina Rappaport:

WRITINGS ON ARCHITECTURE by Paul Rudolph

It is published by the Yale School of Architecture and distributed by Yale University Press (and also available through Amazon.) The book contains not only essays by Rudolph, but also the texts of some of his speeches, as well as interviews.

Another Rudolph Project — Revealed!

Roofscape geometry, like this one, certainly promises a building of some interest. In this case the promise is fulfilled, as it turns out to be a design by Paul Rudolph: the Harrington Cancer Center in Amarillo, Texas. Image courtesy of Google: Imagery ©2019 Google, Imagery ©2019 Maxar Technologies.

ARCHITECTS AND HISTORY

We found that, for those seeking a complete view of Paul Rudolph’s many and varied projects, Rudolph did not make it easy.

• Yes: there are hundreds-of-thousands (literally!) of drawings and files.

• Yes: there’s Rudolph’s own register of projects (which he kept changing throughout his career—editing projects in and out.)

• And Yes: various studies and monographs have tried to give a full accounting of his oeuvre.

But even so: some projects remain just names and locations on a list—or not even that much (some are just titles of frustrating ambiguity).

A very few offices can afford to hire an in-house archivist, or think there’s a compelling reason to do so (Rudolph’s friend, Philip Johnson, was one such architect). Most firms are too focused on keeping the practice going to do more than the minimum to document projects enough to get them approved and built. In these ever-more-litigious days, that now results in mountains of documentation—but that was less the case during the era of Rudolph’s career.

Moreover, even in the context of an earlier era, firms could be more-or-less retentive (or cavalier) about what files they created and kept. We’d say that, record-keeping-wise, Rudolph was about in the middle: his prime goal was to get the buildings built, not to create piles of paper [this was confirmed to us by Rudolph’s former office manager, R.D. Chin.] There are project files of varying completeness—and he certainly did care for his drawings (Heinrich Klotz quoted Rudolph as calling them “his children”), but he regarded them as ultimately secondary—the important thing was the built architecture.

RUDOLPH IN TEXAS

We now introduce the little known Harrington Cancer Center in Texas.

“little known”?—well that’s not quite true, but it is another of those underdocumented Paul Rudolph projects for which there’s been frustratingly little information.

We had Harrington on our list of Paul Rudolph projects, but our first substantial knowledge of it was gained by way of Mark Gunderson’s article on Rudolph’s work in Texas. Here’s the passage from Mr. Gunderson’s essay which deals with Harrington:

In 1978, Dr. Phillip Periman (also a Yale graduate who attended the lectures of Vincent Scully) sent requests for qualifications to a number of architects, including Rudolph, I. M. Pei, Edward Larabee Barnes, and Philip Johnson, for the design of a new cancer research center in Amarillo. Rudolph received the commission for the Don and Sybil Harrington Cancer Center, with Wilson/Doche as associate architects, and integrated the new structure into the surrounding fabric of medical facilities. The building derives its intrinsic form from the parallelogram plan of individual exam rooms, which Rudolph proposed after intense consideration of the psychological aspects of such spaces on patients. The building is “let” into the site and falls towards the parking and entry level with two arm-like canopies over a pair of entry stairs. The brick and board-formed concrete vocabulary is again, as in the TICU project, contextually derived.

Excerpted from: Rudolph and Texas by Mark Gunderson, Texas Architect, 1998

REVEALING PHOTOS

We’re fortunate to have run into the photographs of Ben Koush, AIA, a registered architect, interior designer and writer, based in Houston, Texas. He has a strong interest in history, and is also a gifted photographer with an a sharp eye for vivid architectural views. You can see numerous examples of the images he’s captured on his Instagram page—and he’s given us permission to share the ones he’s taken of the Harrington Center.

Here are a few of them:

Photo © Ben Koush, used with permission.

Photo © Ben Koush, used with permission.

Photo © Ben Koush, used with permission.

We thank Mr. Koush for sharing with us this dynamic project—one with unique features (in a career of endlessly architectural invention.) The full set of Ben Koush’s Harrington photos is on our project page.

MORE ON HARRINGTON? YES, AND…

The Paul Rudolph Heritage Foundation’s website maintains a “project page” for each of Rudolph’s over 300 designs—and there’s one for the Harrington Cancer Center which gives some further information. If you have any information or documents on this project, we’d be grateful to know about that (and to add them to our records, and make them available for study.)

Meanwhile, if you’re headed to Texas, Paul Rudolph did a number of projects there (as described in Gunderson’s article)—-and if you’re going to be in Amarillo, you might want to drive by both Harrington and another of Rudolph’s lesser known works—his pyramid shaped television station headquarters.

Only a rendering? No! Rudolph’s television station in Amarillo was built—a pyramid for Texas!

This satellite view shows the geographical relationship between two of Rudolph’s projects in Amarillo: the Harrington Cancer Center (denoted by its street address: 1500 Wallace Boulevard) is at the far left. Rudolph’s pyramid-shaped KIIV-Channel 7 Television Station (denoted by its street address: 1 Broadcast Center) is at the far right. Some suggested travel paths between them are marked in blue—which is most convenient for Rudolph fans who want to visit these sites. Image courtesy of Google: Imagery ©2019 Google, Imagery ©2019 Maxar Technologies.

Successful (and Packed!) Opening of Shoreline Exhibit in Buffalo

SHORELINE: Remembering a Waterfront Vision

An exhibit featuring Paul Rudolph’s Shoreline Apartments - presented in partnership with the Paul Rudolph Heritage Foundation - opened in Buffalo last Friday. Shoreline is a development in the heart of downtown Buffalo—and would have included housing for various income levels, extensive community facilities, and a boat marina along the city’s lakeside edge—all planned and designed by Paul Rudolph—but only a portion of the proposed project was built.

The exhibit, at El Museo—which traces the erosion of an architectural, urban, and social vision for Buffalo’s waterfront—opened to a packed group of enthusiastic attendees.

Below are pictures from the exhibit’s preparation, opening, and of the some of the images and objects which are on-view—including a collection of impressive drawings, by Paul Rudolph, which convey his vision for the project.

NOTE: Further information about the exhibit (including location and hours) is at the bottom of this post.

Three key players: [left-to-right] Cheng Yang “Bryan” Lee, the museum’s curator; Liz Waytkus, Executive Director of DOCOMOMO US, and Barbara Campagna, leading preservationist—and co-curator of the exhibit. Photo by Joanne Campagna. [Photo by Barbara Campagna]

Two of the drawings that were put on display in the exhibition:

ABOVE: One of Paul Rudolph’s perspective renderings of the project, showing a near-street-level view of a line of the brick townhouses, along with the radially planned parking adjacent to the residence.

BELOW: Rudoph’s site plan drawing, showing his overall disposition of the townhouses, parking, and green areas in one section of the development.

Paul Rudolph’s work is © The Estate of Paul Rudolph, The Paul Rudolph Heritage Foundation.

William Vogel, El Museo’s executive director, works on the exhibit’s signage. [Photo by Barbara Campagna]

The venue for the exhibit: El Museo in Buffalo—and the public is welcome! [Photo by Barbara Campagna]

A view from the back of the exhibit space, looking towards the entrance—with attendees carefully studying the displayed materials. [Photo by Barbara Campagna.]

One of the numerous—and impressively large and detailed—drawings which Paul Rudolph created for the project. At the top is laid out the portion of the housing that was built. In the center is shown the boat marina—and the buildings that were to surround it: a mixture of housing of various heights, as well as community facilities. © The Estate of Paul Rudolph, The Paul Rudolph Heritage Foundation.

Barbara Campagna reported that it was a “Jam packed museum exhibit opening…”—and the photos testify the same. [Photo by Barbara Campagna]

More of Paul Rudolph’s drawings, as displayed on the exhibit’s walls—and in the foreground is one of Kurt Treeby’s architecturally-focused artworks. [Photo by Barbara Campagna]

A full view of one of the drawings shown in the above exhibit installation photo. Rudolph was a master perspectivist, and this is his overall rendering of the project. In the middle is the boat marina, from which multi-story apartment houses radiate. In he foreground (at the bottom of the drawing) are townhouses that line the outer edge of the peninsula that surrounds the marina. Just visible, at the top-right, is the portion of the housing that was constructed. © The Estate of Paul Rudolph, The Paul Rudolph Heritage Foundation.

Bryan Lee, the exhibit’s co-curator (far left), gives an overview of the Shorline project and exhibit. [Photo by Barbara Campagna]

In addition to drawings and artworks, photos of were included—including of its littlest residents, as well as interiors—and this gave a sense of life in Shoreline. [Photo by Barbara Campagna]

Included in the exhibit were examples of Kurt Treeby’s artwork. Here he bases one on a portion of a row of Shoreline’s Rudolph-designed townhouse. The tissue-boxification is Treeby’s commentary our our society’s throwaway attitude to our architectural heritage. For more on Treeby’s work—and to see further examples of his work in this mode—see our blog post about him. [Photo by Barbara Campagna]

Kurt Treeby—the artist with one of his works. [Photo by Barbara Campagna]

Shoreline—under construction.

Shoreline—built, occupied, and the plantings already coming in. Phase One occupies the center of the photo. You can see a portion of the further construction of project (Phase Two) in the upper-left corner.

A artifact of Buffalo’s history—and of the aspiration to use architecture to make better lives. [Photo from a post by Barbara Campagna]

SHORELINE: Remembering A Waterfront Vision

EXHIBIT VISIT & cONTACT INFORMATION

DATES:

The exhibit is open from October 4 to November 16, 2019

PUBLIC SYMPOSIUM:

A public symposium on October 25–26 will convene architects, urban planners, preservationists, and researchers to discuss Paul Rudolph’s design legacy in Buffalo and New York State, the social legacy of urban renewal and modernism, and preservation efforts surrounding these sites and structures. This event will take place at the Earl W. Brydges (Central) Library in Niagara Falls and at the Frank E. Merriweather (Jefferson) Library in Buffalo.

PUBLICATION:

El Museo has announced that a publication will bring together images, essays, and other findings from the project to tell the varied histories of the Shoreline Apartments—and the book will be published later this year.

LOCATION:

EL MUSEO 91 Allen Street, Buffalo, NY   14202

HOURS:

Wednesdays–Fridays: 12–6pm
Saturdays: 1–5pm
First Fridays: 7–9pm
and by appointment (please call or email)

ADMISSION:

Admission is free—but If you like what they do, help support their work.

TRANSPORTATION:

El Museo is accessible by NFTA Metro Rail (5-minute walk from Allen/Medical Campus Station) and Metro Bus routes 8 Main, 11 Colvin, 20 Elmwood, and 25 Delaware. Limited service on routes 7, 29, 64, 66, 67, and 69. Metered parking is available on Allen Street and Delaware Avenue.
NFTA Metro
Google Maps directions

CONTACT INFORMATION:

• website: http://www.elmuseobuffalo.org

• exhibit web page: http://www.elmuseobuffalo.org/exhibitions/shoreline-remembering-a-waterfront-vision-1/

• phone: (716) 464-4692

• email: info@elmuseobuffalo.org

Paul Rudolph's "Pyramid of Power" (Texas Style)

A night-time rendering of Paul Rudolph’s Channel 7 TV station headquarters building, designed for Amarillo, Texas.

The most well-known builders of pyramids were the Egyptians and several Mesoamerican civilizations—and even the Romans had one!

The Pyramid of Cestius in Rome, completed about 12BC. Photo by Livioandronico2013

Pyramidal structures can be found in other parts of the world—from Indonesia to China to Greece (and now Las Vegas).

But Texas too?

Yes—via Paul Rudolph’s design for the headquarters of a TV station in Amarillo, Texas—a project of his from 1980. For a long time, the Paul Rudolph Heritage Foundation had very little information on this building: we knew it was commissioned by Stanley Marsh—one of Amarillo’s lively characters and a patron of the arts—and we had an address for the building, and Rudolph’s intriguing rendering (which shows it at night, with an array of lights blazing upwards from the center.) We still don’t know much about the commission—it will bear further research—but we do have some fresh images to share.

The building—its formal name and address being “1 Broadcast Center”—is still the home of KIIV, Channel 7—the ABC/CW+ station in Amarillo. KIIV has a long history in Amarillo, having first signed on-the-air in 1957.

The context for the building:

A satellite view of the neighborhood where the pyramidal TV station is located in Amarillo, Texas. North is towards the top, and the building’s roof is marked by the red arrow. Amarillo’s Elwood Park is at the far left, and railroad lines are at the right edge of the photo. The several forking roads, which merge towards at the bottom of the picture, converge to form US Highway 287. Image courtesy of Google: Imagery ©2019 Google, Imagery ©2019 Maxar Technologies.

A closer-in satellite view, looking down on the TV station’s pyramidal roof:

To get a sense of the building’s scale, one can compare it with the cars which are parked to the North, East, and South. At the bottom of the picture (at the South, just below the line of parked cars) is an array of the numerous types of antennas used by the station. Image courtesy of Google: Imagery ©2019 Google, Imagery ©2019 Maxar Technologies.

Ben Koush, AIA, is a registered architect, interior designer, and writer, based in Houston, Texas. He has a strong interest in history, and—fortunately for us—is also a photographer. You can see numerous examples of the images he’s captured on his Instagram page—and he’s given us permission to share the ones he’s taken of Rudolph’s TV station:

Front view of the Eastern side of the TV station building: KVII, ABC’s Channel 7 in Amarillo Texas, designed by Paul Rudolph. Photo © Ben Koush, used with permission.

A diagonal view. As in Rudolph’s rendering, the Channel 7 logo (and name of the staton) is prominent at the pyramid’s apex. Photo © Ben Koush, used with permission.

A view of the South side, with the station’s many antennae in the foreground. Photo © Ben Koush, used with permission.

A view from below the pyramid’s roof. The steel structures appears to support an open mesh sheathing, and the enclosed body of the building seems to be composed of a metal & glass curtain wall system. Photo © Ben Koush, used with permission.

Scott Fybush, based in Rochester NY, has also allowed us to show his photo of the building. Mr. Fybush has professional experience across all facets of broadcasting, and, under the Fybush Media banner, provides consulting services including signal expansion strategy, allocations, FCC filings and station brokerage. Here’s an image he shared with us—with Texas’ “big sky” clouds forming a dramatic background:

The station, as seen from the North. Image courtesy of Scott Fybush.

We are grateful to both Mr. Koush and Mr. Fybush for permission to use their photos—which allow us to convey some of the power of this Rudolph design.

A Missed Opportunity — and Your Chance to Own a Rudolph Masterpiece

Paul Rudolph’s 1953 project in Sarasota: known as the “Umbrella House,” it is one of the most famous of his designs from the Florida phase of his career. Photograph by Francis Dzikowski, Archives of the Paul Rudolph Heritage Foundation

Who wouldn’t dream to…

• live in a famous example of the “Sarasota School”

• own a design that is one of the landmarks of Paul Rudolph’s career

• wake-up every day in a house that’s sensitively and creatively designed for the environment

Well, you could have! In the archives of the Paul Rudolph Heritage Foundation, we have a clipping of an ad from not-that-long ago: in 2005, you had your opportunity to fulfill your dream…

The ad’s copyrwriter was so right about the building’s significance and features.

The ad reads:

Parcel 6570 — Architectural Digest calls Paul Rudolph’s creation "one of the top five most remarkable houses from the 20th century." This auction represents a unique opportunity for the astute collector to purchase arguably the finest example of modern residential architecture still in private hands. Paul Rudolph’s UMBRELLA HOUSE, the pinnacle residence of the Sarasota School, is a superbly restored gem located only minutes from downtown Sarasota and Longboat Key. In Rudolph's signature style, the horizontal articulation of the house results in nine distinct levels. The house is elevated more than a foot off the ground on all sides creating a floating effect against the lush, tropical landscape. All of this and a location steps from the water in one of Florida's coveted communities surrounded by other examples of complementing architecture.

We’ve written an extensive article on Rudolph’s “Umbrella House”, giving its full background, and an architectural analysis—and also our website’s project page for the building has a wealth of photos and other information on it.

And who, upon going out, wouldn’t want to be greeted with this:

Photograph by Francis Dzikowski, Archives of the Paul Rudolph Foundation

And upon re-entering, who wouldn’t want to enjoy residing in this superb Modern interior:

Photograph by Francis Dzikowski, Archives of the Paul Rudolph Heritage Foundation

Not to mention the cache of living in an acknowledged landmark:

• On 2/4/2019 it was listed on the National Register of Historic Places

• But, even before that, it was designated a landmark by the city Sarasota:

Photo: Kelvin Dickinson, Paul Rudolph Heritage Foundation Archives

Too late! The Umbrella House was sold—and we can only envy the happy owners.

BUT IT’S NOT TOO LATE!

Another example of Rudolph’s residential work IS available:

the MILAM RESIDENCE—a significant home which achieved international recognition.

Architectural Record featured the house in it’s 1963 Record Houses issue. This is the opening page of the article about the house—and the layout featured a photo by Ezra Stoller. Image courtesy of: US Modernist Library of 20th century architectural journals.

If you’re interested in learning more about this distinguished house in Ponte Verda Beach, Florida, please contact:

Mr. Robert C. Champion (904) 755-4785 robertchampion@bellsouth.net

Further Gift of Paul Rudolph "Treasures"

Some Rudolph-ian items, recently on display at the Paul Rudolph Heritage Foundation. At the top-center is a print of a drawing by Paul Rudolph, showing his intentions for the structure and detail of a portion of the Deane Residence (built in Great Neck, NY). That drawing, as well as the Rudolph’s drawings for the Yale Art & Architecture Building (that are also shown here) were generously donated by R.D. Chin. Other items in this view (on the far right) are two faxes which Rudolph sent from Jakarta to the staff of his New York office (while he was traveling overseas to work with clients). In those faxes, he’d address various staff members, giving each instructions about the various projects they were working on.—and occasionally theses faxes would include small architectural diagrams. [It is worth noting that these were sent when faxing was the high-tech communications technology of its time: before e-mail, faxing was the fastest and most efficient way that businesses could use to send written and graphic information.]

A few months ago, RD Chin—an architect who had worked closely with Paul Rudolph—gave us a group of significant items to add to the archives of the Paul Rudolph Heritage Foundation. We showed that in a recent post—but now we want to extend our acknowledgement of Mr. Chin for a further act of generosity. He surprised us with the gift of additional Rudolph materials for our archives: drawings (renderings and construction documents), photographs, brochures, exhibit catalogs, and books.

Another view of our display of Rudolph materials—including some of the recent gifts from R.D. Chin. Among the examples is a high-resolution print of a rendering of the interior of Paul Rudolph’s Burroughs Wellcome headquarters (built in Durham, North Carolina), at the upper-left. Other recent gifts include a Rudolph rendering of the Dharmala Headquarters (built in Jakarta) at the top-center; and the plan of the Edersheim Pool House (bottom center). Other Rudolph documents, from the archives of the Paul Rudolph Heritage Foundation, are shown here: a vintage brochure for the Temple Street Parking Garage (featuring a Rudolph rendering) built in New Haven (shown at far-left); and an offprint of an extensive article on the Bond Center (built in Hong Kong) from a magazine for the Italian concrete industry (shown at bottom-left).

We are very grateful to RD Chin for adding these Rudolph “treasures”—the ones shown here, and many more—to the archives of the Paul Rudolph Heritage Foundation. The donation of materials like these help us move forward with several of our missions, including supporting the study of Paul Rudolph’s work and the preservation of his legacy. Each of the items is being cataloged and added into our database of Rudolph works.

NOTE: If any readers—including former employees or clients of Rudolph—would like to donate papers, drawings, documents, or memorabilia to the archive, we would like to talk to you! Not only may you qualify for a tax deduction for the value of the material, but we’d also like to show it off here on our blog. To learn more, contact us at: office@paulrudolphheritagefoundation.org

RD Chin, shown while working in Paul Rudolph’s office in New York, next to a model of the Concourse (built in Singapore). Just peeking out at the bottom of the photo, below the tabletop, is the top of one of the fork-shapedmetal drawing-board supports which Rudolph had designed and custom fabricated for his offices—they can be seen in photos of his New Haven studio, and they seem to have move with him to his subsequent office locations (as well as showing up in Rudolph’s perspective rendering of his New York office).

We also want to share a bit about R.D. Chin—architect and feng shui consultant:

R.D. Chin, Feng Shui Architect has a civil engineering degree (BSCE) from Tufts University and a masters degree in architecture (M.Arch) from the University of Pennsylvania.

• Mr. Chin had the privilege and honor to work with the late master architect, Paul Rudolph; he worked three periods in Rudolph’s office: 1981-1983, 1985-1989, and 1990-1996 — beginning as an apprentice to becoming his office manager.

• His feng shui training was under the tutelage of the late Grandmaster Lin Yun, Howard Choy, Master Raymond Lo, and other feng shui teachers. He also does residential and commercial consultations and performs blessing ceremonies. In addition, RD hosts a creative salon series where he shares his experiences of qigong and other meditative practices.

• He has worked on proposals for an urban planning and housing development in the Netherlands, a Feng Shui Proposal for the World Trade Center Memorial Competition, and his projects include the corporate headquarters for Felippo Berio Olive Oil, NJ; Standard Chartered Bank; and an affordable housing project for One Flushing, NY.

• He is author of Feng Shui Revealed, published by Clarkson Potter of Random House.

• Contact information—

  www.RDChin.com

  rdchin53@gmail.com

  (917)669-8099

New Exhibit documents the Erosion of Paul Rudolph’s Modernist Vision in Buffalo, New York

Paul Rudolph’s perspective drawing of the Buffalo Waterfront Housing Project (“Shoreline Apartments”)—this view foregrounds the higher-end housing (which was not constructed) which would have surrounded the marina. The complex of lower-rise apartments, which were built (and which are under ongoing threat), are lightly rendered at the top-right of the drawing. © The Estate of Paul Rudolph, The Paul Rudolph Heritage Foundation.

Located near Buffalo’s celebrated City Hall, the Shoreline Apartments is a housing complex designed by Paul Rudolph and completed in 1974. Featuring shed roofs, ribbed concrete exteriors, projecting balconies, and enclosed garden courts, the project combined Rudolph’s spatial radicalism with experiments in human-scaled high-density housing.

Paul Rudolph’s axonometric drawing for the Buffalo Waterfront Housing Project (“Shoreline Apartments”). This drawing shows a sample of the low-to-mid-rise apartments (which were built—and which are under ongoing threat), with adjacent parking. © The Estate of Paul Rudolph, The Paul Rudolph Heritage Foundation.

The complex has already been partly demolished, and the balance is seriously threatened. This has brought attention to the development—both locally and more broadly—and this focus has begun to produce results…

A SPECIAL EXHIBIT & SYMPOSIUM

Starting next month, The Paul Rudolph Heritage Foundation is partnering with Buffalo’s El Museo to present:

Shoreline: Remembering a Waterfront Vision

a special project that looks into the history of one of Rudolph’s residential designs: Buffalo’s Shoreline Apartments.

EXHIBITION: October 4 -to- November 16, 2019

The project will open with an exhibition of documents, drawings, photographs, and artworks, spanning from the original vision of the Buffalo Waterfront Development in the 1960’s to the eventual destruction of Shoreline in recent years.

SYMPOSIUM: October 25 & 26, 2019

A public symposium will convene architects, urban planners, preservationists, and researchers to discuss:

• Paul Rudolph’s design legacy in Buffalo and New York State

• the social legacy of urban renewal and modernism

• preservation efforts surrounding these sites and structures

Other public programs will be announced.

LOCATIONS:

The events will take place at two cities in the area—both with significant buildings by Paul Rudolph: Buffalo and Niagara Falls.

PUBLICATION

A publication is planned, to be issued later in 2019, which will bring together images, essays, and other findings from the project: it will tell the varied histories of the Shoreline Apartments.

The Shorelines Apartments in 1975, shortly after opening. The large Art Deco skyscraper, at the rear-right, is Buffalo’s City Hall. Image: Courtesy of EPA/Library of Congress

BACKGROUND

Located near Buffalo’s celebrated art-deco skyscraper City Hall, the Shoreline Apartments is a housing complex designed by architect Paul Rudolph and completed in 1974. It was originally part of the Buffalo Waterfront Development, an ambitious, mixed-income urban renewal project commissioned by the New York State Urban Development Corporation in 1969.

Aerial view (taken from the South East) of the Buffalo Waterfront Housing Project (“Shoreline Apartments”). Photo by Donald Luckenbill, © The Estate of Paul Rudolph, The Paul Rudolph Heritage Foundation.

Rudolph’s scheme featured an arrangement of:

• monumental, terraced high-rises flanking a marina

• a sprawling school and community center

• a series of low- and mid-rise apartment buildings meant to evoke Italian mountain villages

• green spaces woven through the site

Street view of the Buffalo Waterfront Housing Project (“Shoreline Apartments”), taken between 1973 and 1977. © Massachusetts Institute of Technology, photograph by G. E. Kidder Smith

“With few exceptions, Paul Rudolph’s buildings can be recognized by their complexity, their sculptural details, their effects of scale and their texture.”

So wrote Arthur Drexler, the famed director of the Museum of Modern Art’s Architecture and Design Department for the 1970 exhibition, Work in Progress—a show which included Rudolph’s designs for the Buffalo Waterfront Development and Niagara Falls (Brydges) Library.

In the end, only two phases of affordable housing (Shoreline and Pine Harbor Apartments) were built. Today they are among the most unloved buildings in Buffalo, because—like many public housing projects of that era—their inventive, complex forms and admirable social aspirations have been overshadowed by disrepair, crime, and vacancy. In 2013, the site’s owner proposed a phased demolition and replacement of Shoreline with new traditionally styled townhouses. Following failed attempts at landmarking the structures for preservation, the first round of demolitions began in summer 2015.

The ongoing threat to Shoreline Apartments represents not just the loss of an exemplary piece of Buffalo’s Modern architectural legacy, but also the demise of a certain perspective on architecture and the city—and the possibilities of positive government action. It tells a story of the aspirations of mid-century urban planning, the short-lived heroism of Modern and “brutalist” architecture, and the unrealized social visions of the past.

At a time of renewed interest in Moden buildings, this project asks critical questions in architecture and historic preservation:

• Whose buildings are important?

• Whose stories get told?

• What types of structures are considered worthy of maintenance and protection, and what others are left to deteriorate and die?

• Is there room in our cities for inconvenient reminders of a past (and “inconvenient populations”) we would rather forget?

Through the lens of the Shoreline Apartments, this project aims to inspire new conversations that might lead to a better understanding and appreciation of these misunderstood places.

EXHIBIT LOCATION

Museo Francisco Oller y Diego Rivera (“El Museo”)

91 Allen Street (between Delaware Avenue and Franklin Street)

Buffalo, NY 14202

(716) 464.4692

http://www.elmuseobuffalo.org/

info@elmuseobuffalo.org

SPONSORS AND KEY PARTICIPANTS

Shoreline: Remembering a Waterfront Vision is curated by El Museo’s curator, Bryan Lee, and prominent preservation architect Barbara Campagna, and presented in partnership with the Paul Rudolph Heritage Foundation.

This project is funded by the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature, and the Graham Foundation for Advanced Studies in the Fine Arts.

Paul Rudolph’s overall site plan of the Buffalo Waterfront Housing Project (“Shoreline Apartments”). The higher-end housing (which was not constructed), surrounded the marina, occupies the right side of he drawing. The complex of mid-to-low-rise apartments is on the left side of the drawing—and the left-most quarter of that section is what was actually built. © The Estate of Paul Rudolph, The Paul Rudolph Heritage Foundation.

Note: We thank El Museo, from whose web page Shoreline: Remembering a Waterfront Vision the above text was adapted.

From: Paul Rudolph — To: Philip Johnson

A detail from a snapshot of Philip Johnson (at left) and Paul Rudolph (at right) at a Yale architecture school jury in 1960. Photo: Stanley Tigerman

DISCOVERING TREASURES

One of the pleasures of archival research is the possibility of coming across surprising items—a bit like walking across a beach and tripping over a treasure. When we were preparing for last year’s Paul Rudolph centenary exhibits, we did a deep dive into our archives. This post is about one such item we came across (and we’ll be sharing more in future posts.)

What secrets lie beyond that door? The front facade of Philip Johnson’s home, at 242 East 52nd Street in Manhattan. Originally designed by Johnson—in his most Miesian phase—as a guest house for the Rockefeller family, it was later donated by them to the Museum of Modern Art (for the same use). It is now a NYC landmark. Among the later residents was Johnson himself, who made it his NYC home in the 1970’s. Photograph courtesy of galinsky.com

FRENEMIES

We’re often asked about the relationship, personal and professional, between Rudolph and Philip Johnson. Though Johnson was a dozen years older than Rudolph, and their origins and experiences growing up were very different (especially their economic backgrounds), they came to know each other rather well after World War II. Both had been in Harvard’s school of architecture (where Rudolph was a favorite of the program’s director, Walter Gropius)—and both became rising stars in the post-war/post-Bauhaus generation of American architects who were advocates for Modernism. When Paul Rudolph became Chair of Yale’s School of Architecture—he was in office there from 1958-1965—Johnson was invited by Rudolph to be a teacher or to join-in at end-of-term juries.

Philip Johnson was a mercurial personality, whose behavior could range from waspish and Machiavellian to loyal and generous. He was famous for his wit. Emily Sherman was a close friend of Rudolph, and spent time around both architects—and she says that Johnson could have had a career as a stand-up comedian. A facet of that wit was teasing—and Rudolph was long-term, friendly target.

We’ve discovered that Johnson designed a house for the Tuttle family, one that was not built—but Rudolph had the same client decades later, and completed one his most unusual houses for them. We wonder whether Johnson or Rudolph knew about each other’s work for the family—and, if Johnson did know of Rudolph’s success with the Tuttles, did it rankle Johnson? Even so, they were friends, and neighbors too: Johnson’s NYC home on Manhattan’s East 52nd Street (shown above) was close to Rudolph’s on Beekman Place—and they also sometimes dined together at Billy’s, a bar-restaurant about half-way in-between. Also, Rudolph was an occasional guest at Johnson’s Connecticut home, The Glass House.

HAPPY BIRTHDAY, BUT…

Johnson was born in 1906, a dozen years before Rudolph. But in very real way, those dozen years made a profound difference: Johnson was of another generation—one that was born into the world that World War One would sweep away. Rudolph was born well after, in an America that had become a world power, and he grows up during the 1920’s and 1930’s. So they are, in so many ways, very different.

Yet they did develop a long-term friendship, and, as evidenced the item below. In 1991 Rudolph was invited to Johnson’s 85th birthday. As you can see, Rudolph, himself well into his 70’s, was still busy with projects—maybe, on the night of Johnson’s party, a bit too busy….

A birthday note—via fax—from Paul Rudolph to Philip Johnson. Since Johnson was born in 1906, and the there’s a reference in the note to this being his 85th, birthday, it must have faxed over in 1991. From the archives of the Paul Rudolph Heritage Foundation, © The Paul Rudolph estate, Paul Rudolph Heritage Foundation.

Paul Rudolph: Traveling Man

The photo and signature page from Paul Rudolph’s US passport, issued in 1954. Rudolph was 35 at the time, and the home address he’s written into the passport indicates that he was then a resident of Sarasota. From the collection of the Paul Rudolph Heritage Foundation.

The extent to which an architect needs to travel, has rarely been focused upon. Yet if one is an active professional, then you’re constantly traveling:

• to meet potential and current clients (and to keep meeting with them during the design and construction phases of a project)

• to view (and sometimes help in the selection of) sites where construction is to take place

• to be present at meetings with the area’s various boards, committees, and inspectors

• reviewing the work of prospective contractors

• to visit projects during construction

• visiting sub-contractors—especially craftspeople and artists—at their studios or shops, to review the form, detail, process, and progress of custom-built items

• and—finally and hopefully—to be there during the dedication ceremony!

Add to these the other kinds of activities which add to many architects’ travel schedules:

• lecturing

• teaching and/or serving on juries

• attending conventions

• professional continuing education classes

• trying to visit, nationally and world-wide, the key monuments of architecture (another kind of self-education)

To some, all this travel is largely a pleasure. To others, it becomes a kind of trap: one finds oneself in an endless round of far-flung appointments, without a sense of ever arriving “home” (nor having the quiet time necessary to really think-through a project’s design challenges.) And it can be energy draining: when a young staff member expressed envy of his boss—a consultant with an international practice—about all the travel he got to do, we heard him respond: “You’ll feel that way—until you start doing it yourself!”

Rudolph, from what we can tell, embraced travel—or at least had to, in order to accomplish his career goals. Wilder Green, an early employee of Rudolph, worked in his Florida office for a year in the early 50’s—a time when Rudolph had already established himself as a residential architect, but was seeking to expand the kinds of commissions he was receiving (so as to explore other building types.) In a 1991 interview with Sharon Zane, Green recalls:

WG: . . . In June of '52 I went to Sarasota, Florida, and worked for Paul Rudolph for a year. I was the only person in the office. He had an office about two thirds of the size of this room, and he lived at the back of it. Almost the day I arrived, he left to teach somewhere and left the office in my hands, practically. So it was marvelous training, but it was kind of a baptism by fire. I learned a lot in that year--in the scale of what he was building, which wasn't that big.

SZ: What was he building at that time?

WG: He was building houses primarily, but not exclusively. He was building several houses but he was also gradually getting involved in small office buildings and he was also working on a kind of a marine mini Disneyland structure in Florida. He was very active in teaching at Pennsylvania and Yale.

SZ: That was a lot of traveling he had to do.

WG: All the time. He was trying to get out of Florida as much as he could.

SZ: What was he like to work for?

WG: Very high-strung, ambitious, brilliant, in many ways unsure of himself I think would be the best way to describe him. He had a very short fuse, and yet, if you did something right he definitely gave you credit, he was appreciative. He had a complex combination of human characteristics, but he was extremely talented, and I learned a lot from him.

So we see, from even early in Rudolph’s career, travel was involved both for work and teaching.

Not too long before, Rudolph had seen Europe for the first time, through receiving Harvard’s Wheelwright Prize for travel (he was there from mid-1948 -to- mid-1949)—a life-changing experience. And he continued to travel internationally. Here are some pages from his US passport (the one issued to him in 1954)—and one can see evidence of his international treks from the passport stamps:

Of course, in addition to work, there are all kinds of pleasures from travel. Rudolph was a great collector, and wherever he traveled picked-up objects—even occasionally real antiquities—that pleased his eye. Sometimes such acquisitions came about through serendipity, as in these washboards from Japan:

These wooden washboards, from Japan, all have slightly different forms. They are on display in the Paul Rudolph-designed duplex within the Modulightor Building. From the collection of Ernst Wagner.

As further evidence of Rudolph’s embrace of travel—unto the end of his life—is this item. In the archives of the Paul Rudolph Heritage Foundation is a small, red, hardcover ledger book:

It is labeled: “Travel Book 1990, 1991”

It records Rudolph’s travels and appointments from January 1, 1990 -to- December 6, 1991. While looking at it, the thing to remember is that Rudolph is well over 70 years old when this record was made—yet the book shows the great distances he’s still traveling, and frequently, mainly for work (and this is only the example what he’s doing in a single year):

• Boston

• Dallas-Fort Worth

• Amarillo

• San Francisco

• Bangkok

• Singapore

• Hong Kong

• London

• Jakarta

• Sydney

• Perth

• Istanbul

• Rome

And, especially to meet his clients in Asia, he wasn’t going to to these locations just once: the record shows him going numerous times.

Interspersed with all this air-travel, to-and-from New York City, is shown his many appointments in the New York area—both professional and social—meetings, lunches, or dinners with people who are integral to his practice & life: Mrs. Bass, Emily Sherman, Ron Chin, Errol Barron, Bert Brosmith, Carl Black, George Ranalli, the Edersheims, George Beylerian, Ezra Stoller… and many others (plus giving lectures at Pratt and Harvard.)

Here are a few sample pages:

You can imagine what a travel and meeting schedule like this would do to anybody—and the wear-and-tear to any human body. But one thing we can say for certain about Rudolph: He was determined.

An example of Paul Rudolph’s luggage. The layers of airport inspection stickers testify to his endless travel. From the collection of Ernst Wagner.

A note from Yasmine

A goup photo with Yasmine Rajkarnicar (seated) on her last day of volunteering at the Paul Rudolph Heritage Foundation.

INTRODUCTION

Volunteering at the Paul Rudolph Heritage Foundation matters and makes a difference - and we rely on volunteers to help us with our mission and to reach our goals. This year we were fortunate to have the help of several volunteers including Ethan Shapiro and Yasmine Rajkarnicar - who each brought a fresh perspective and a shared passion for Paul Rudolph’s work.

We received the following note from Yasmine Rajkarnicar. She recently returned to St. Cloud, Minnesota to study construction management at St. Cloud State University. Yasmine's enthusiasm and hard work were a great asset for us, helping with research and updates to our archives. It was also a plus that she loves brutalism :)

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A SUMMER WITH PAUL RUDOLPH

I stumbled across the Paul Rudolph Heritage Foundation’s webpage one day as Summer was coming to a close and I was feeling that my Summer had not been exactly fulfilling. The Foundation had people like Anton Garcia Abril, Normal Foster and Iwan Baan follow them on Instagram. And I was fascinated to learn that their office was inside the iconic Modulightor building - the epitome of Paul Rudolph’s architecture of interconnected complex spaces, giving the feel of levitating planes and spaces. Before I knew it, I had signed up for a volunteer-internship with the Foundation and I was on my way to New York City.

During my time at the Foundation, I had the chance to explore many of Paul Rudolph’s wonderful buildings. I researched about the current condition of some Paul Rudolph houses and updated the Foundation’s website. I wrote a report on the Niagara Falls Public Library that is currently being threatened with demolition. My research assignments led me to books such as Paul Rudolph: The Florida Houses, Paul Rudolph the Late Work by Roberto de Alba and magazines at USModernist. As I worked on Rudolph’s buildings, the story behind the design of each building came to life for me. I heard many interesting stories about Paul Rudolph’s life and his source of inspiration behind his buildings from his two best friends. The Foundation’s building is ornamented with Paul’s artifacts and drawings and it’s like a living documentary of Paul Rudolph’s life.

The office staff always seem like they are on an adventure or a mission of some kind, working on saving one building one day and another the next day. Kelvin Dickinson, the President of the Foundation, is always running from one state to another to gather more information or pictures of buildings threatened by demolition.

The office is busy with so many things going on and buzzing with exciting news about architecture and design. Everyone is constantly working on something and when we’re not working, we’re talking about Émilie du Châtelet or Ludwig Wittgenstein or Peter Eisenmann debates or Louis Barragan’s new documentary and of course, Paul Rudolph!

The Foundation also hosts many exciting events where a lot of design professionals, architecture enthusiasts and scholarly people come to socialize and network in this niche circle. I got to attend a ‘Women in Events’ party by peerspace, an open house party and Vladimir Belogolovsky’s (founder of the Intercontinental Curatorial Project) talk on the iconic Buildings of New York.

I learned so much more about architecture on the whole - concepts, issues and personalities. I didn’t expect to learn or do much at the Foundation, but I was actually given meaningful assignments and not just scanning or filing. I came out feeling inspired and transformed. I am not sure I actually did make a difference to the legacy of Paul Rudolph but what is important is that I felt like it in my own small way. Well, Mr. Rudolph ………...it’s been real! You just made my Summer of 2019!

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Like Yasmine, you too can share your passion for Paul Rudolph’s work by volunteering with us. Join our dedicated team and help us preserve and share Paul Rudolph’s legacy. If you would like to know more, please reach out to us at office@paulrudolphheritagefoundation.org

Tour Paul Rudolph's Light-Filled Library in Niagara Falls

An opportunity to take a deep look at the architecture of the Brydges Library in Niagara Falls—which has one of Paul Rudolph’s most luminous spaces.

NEXT WEEK: A SPECIAL TOUR OF A SPECIAL PLACE

Thursday, September 12, will be a tour of one of Paul Rudolph’s most luminous public buildings.

The Brydges Library—the central library of Niagara Falls, NY—was designed by Rudolph in 1969, at the height of his career.

A COMPELLING UNITY

The Brydges Library embodies most of what makes a Rudolph building so compelling…

• interesting, interlocked geometries that are bathed in (and guide and modulate) the light

• careful planning to arrange activities in a way that is enlivening and practical

• bold and expressive use of structure and materials

• sculptural mastery that brings the whole ensemble together into a forceful unity

The library’s entry facade, as seen in 1972, Joseph W. Molitor architectural photographs. Located in Columbia University, Avery Architectural & Fine Arts Library, Department of Drawings & Archives

As an architect, Rudolph was the embodiment of daring—yet his work was tempered by years of experience in building, planning, and working with institutional clients. Photo by Kelvin Dickinson, courtesy the Paul Rudolph Heritage Foundation © the estate of Paul Rudolph

While the library’s sculpturally rugged exterior is certainly memorable, it is the light-filled interior—rising up three storeys to prominent clerestory windows—which uplifts the spirit. Joseph W. Molitor architectural photographs. Located in Columbia University, Avery Architectural & Fine Arts Library, Department of Drawings & Archives

TOUR INFO

LOCATION: Earl W. Brydges Library Building

ADDRESS: 1425 Main St. Niagara Falls, NY 14305

DATE: September 12th

TIME: 3pm-5pm

RESERVATIONS: https://preservationbuffaloniagara.org/modernism-week/

BACKGROUND/DESCRIPTION: With the goals of city-wide revitalization and the provision of a larger library to its increased population, the city of Niagara Falls commissioned Paul Rudolph (a unanimous pick from a field of five finalists) to design this building, which was constructed from 1969-74. Each floor of the Brutalist structure has a distinct use, with library space on the first, an auditorium and offices on the second, local archives on the third, and mechanical equipment on the fourth, each getting smaller as they go up. Large dormers protrude from the roof, providing additional light and adding to the exterior’s dynamic, angled texture. Inside, the central space is open all the way up to the ceiling and is flooded by natural light from the clerestory windows.

MODERNISM WEEK

The tour is part of Buffalo/Niagara Falls’ MODERNISM WEEK in Western New York, which is put on by Preservation Buffalo Niagara—an organization established in 2008, committed to “bringing resources and results that ensure that our historic places thrive for generations to come.”

MODERNISM WEEK includes tours other great buildings in Buffalo and Niagara Falls, and you can see the full schedule (and make reservations) here.

MODERNISM WEEK, in the Buffalo-Niagara area, includes a number of beautiful sites, such as Louis Sullivan’s Guaranty Building in Buffalo. The above is an excerpt from their web page, which has the full schedule.

A KEY book on Paul Rudolph: hard-to-find---But available from us!

Roberto de Alba’s book on the work of Paul Rudolph.. It covers projects from the final phases of Rudolph’s half-century career—and was done with the architect’s input. Fortunately, copies are still available from the Paul Rudolph Heritage Foundation.

A KEY WORK

The above book is important. It is one of the keys to understanding Paul Rudolph’s oeuvre, and well worth obtaining [which is not easy—but we can help you with that.]

But to unfold why it is so important needs a little background…

THE TRAJECTORY

Paul Rudolph said that his career would parallel Frank Lloyd Wright’s: early and growing fame (in both cases reaching international dimensions), then a lull, then a late flourishing—and finally a rising appreciation as historical assessments are made of 20th Century architects. It appears that Rudolph’s projection was right about the waves & troughs of both Wright’s and his own success. We should be clear that the rises and falls, that Rudolph was referring to, were in the domain of professional and public acclaim (with its real consequences for the number of commissions that came in—or the lack thereof). But he was not speaking of his or Wright’s creative powers: those remained undiminished (no matter the state of their success).

THE 3 PHASES

Rudolph’s half-century career is generally seen to be in 3 phases (related to where, geographically, he was situated):

• Starting in Florida, right after World War II (centered in Sarasota—but extending throughout the state and beyond). In those years, he grew from being unknown-to-national stature.

• Respect for his work increased to the point where he was selected to be the Chair of Yale’s school of architecture. It was at a relatively young age for that position—40—and he held that office from 1958 -to-1965. In that time his professional practice became extremely active. So he wound-up his Florida office and re-opened his firm in New Haven, near Yale.

• Upon leaving the Chairmanship at Yale in 1965, he moved to New York. New York City remained his personal and professional home until his passing in 1997—though, for his work, he traveled nationwide and internationally.

Rudolph experienced his greatest success in the period that bridges from his time at Yale/New Haven -to- his initial five years in NYC: he had a chance to work on every kind of building type, do large-scale and prestigious commissions (including civic projects), and achieved world-encircling fame.

FAME, SUCCESS—AND THEN…

The archives of the Paul Rudolph Heritage Foundation have clippings and reprints of articles on Rudolph, primarily from that 1950’s-to-1960’s era when it seemed that editors and writers couldn’t get enough of him. His multiple commissions, intense work ethic (which produced an incredible number of designs,) and legendary drawing skills resulted in widespread coverage in the press.

Paul Rudolph, and his Yale Art & Architecture Building, on the cover of Progressive Architecture in 1964—at the height of his fame.

But, after that, the lull which Rudolph spoke of became very much the case: he was virtually ignored by the same media that had helped give him fame. He always had some work, but by the 1970’s the river of large commissions began to evaporate. Yet his career extended for yet another quarter-century, to the time of his passing in 1997—and indeed there was a final flourishing, with large and significant commissions coming in during Rudolph’s final decade-and-a-half (mainly from overseas.).

AND NOW: A RUDOLPH REVIVAL

We seem to be in the midst of a Paul Rudolph revival. Rudolph would have been 100 in 2018, and his centenary featured two exhibitions (and the publication of corresponding catalogs) and a series of exhibit-related events (all sponsored by the Paul Rudolph Heritage Foundation); and an all-day symposium at the Library of Congress; and the latest issue of the Journal of the Society of Architectural Historians features Rudolph’s Tuskegee Chapel on its cover (and contains a significant article on Rudolph by scholars Karla Cavarra Britton and Daniel Ledford,) In the previous year, a new anthology of Rudolph-focused papers had been published by Yale (“Reassessing Rudolph”.) All of this was preceded by Timothy M. Rohan’s comprehensive monograph on Rudolph, which had been published a few years before. And a new book on Rudolph, with an introduction by John Morris Dixon, has been announced for Fall 2019.

Two views of one of the exhibits occasioned by Rudolph’s 100th birthday: “Paul Rudolph: The Personal Laboratory.” The show was on display within the Rudolph-designed Modulightor Building in New York City, and featured original drawings and documents from the archives of the Paul Rudolph Heritage Foundation, loans from friends, prints from the Library of Congress, and models commissioned especially for the exhibit.

THE BIG GAP

While Rudolph was extensively written and talked about during his most successful, mid-century period (with numerous articles and several books focused on him), there was not much available about that last period of his work, from about 1970 until his passing in 1997. Yet Rudolph was endlessly creative and still energetic when engaging with the projects of those final years—including ones of increasing scale and urban complexity. They show a designer who was able to make buildings and spaces of elegance, structural boldness, visual and spatial richness—and to work on an international scale.

FILLING THE GAP: DE ALBA AND RUDOLPH

Filling that informational gap is “Paul Rudolph: The Late Work,” by Roberto de Alba—a book which deals with a period of Rudolph’s work that had been unjustly under-covered and under-documented.

Roberto had met Rudolph when he was a student at Yale, through working on a 1987 exhibit, which he and a team of Yale architecture students had created about Rudolph’s iconic Yale Art & Architecture Building. Later, he spoke to the architect about doing a book on the later part of his oeuvre, and Rudolph agreed. Rudolph helped select the projects to be included, and when Roberto delved into the office’s files he found a treasure of creativity.

Roberto’s describes his approach to the book:

“In 1994 I approached Mr. Rudolph with an idea for a book that would document his work from 1970 onward. He seemed intrigued by my initiative, and we began working on an outline for the book. During the next three years, I visited Mr. Rudolph regularly, fist at his new office on 58th Street and later at his residence on Beekman Place, where he stored a huge number of drawing. We began by identifying a number of projects that would well represent the breath of his practice during those three decades Once the list was finalized, I searched the archives and office records systematically for every bit of information I could find relating to those projects. Rudolph was surprised by my interest in selecting “design process” drawings to represent the project but granted me the freedom to do so.”

He further explains:

“I saw the drawings, particularly the pencil sketches, and still see them today as evidence of his enormous talent and love for the art of building.”

In addition to the projects shown—the body of the book—there are further treasures in this volume: Mildred Schmertz’s insightful Forward, the penetrating Introduction by Robert Bruegmann, and the transcript of a fascinating Conversation between Rudolph and Peter Blake.

A BOOK THAT’S HARD TO GET—BUT IS OBTAINABLE THROUGH US

Yes, copies of Paul Rudolph: The Late Work are purchasable through the usual on-line booksellers: but only at high prices—often hundreds of dollars.

But there’s some Good News about that:

The Paul Rudolph Heritage Foundation has copies available (and for a low price)—and you can order them on our website through this “shop” page.

Roberto de Alba’s book is a source for the study of Paul Rudolph—to see the level of creativity that Rudolph offered—even until his last days.

To give you a sense of the visual richness of the book, below are several selections: pages showing drawings and photos of some of Rudolph’s projects. On view here are: the Modulightor Building in New York; the Concourse Building in Singapore; and Rudolph’s own home: his “Quadruplex” townhouse & apartment on Beekman Place in NY (including a section drawing which shows the intensity with which he studied the possibilities for those spaces.)

PICASSO’S [SCULPTURE’S] COUSIN ?!? (and the RUDOLPH CONNECTION)

Picasso’s “Bust of Sylvette” sculpture in New York City’s Greenwich Village. Image courtesy of Art Nerd New York

Picasso’s sculpture—also named “Sylvette” —in Rotterdam. Image courtesy of Wikipedia, photo by K. Siereveld

AS WE WERE SAYING…

In a previous post we spoke about what we believed to be Paul Rudolph’s project for a visitors & arts center for the University of South Florida’s Tampa-area campus. It was to include a monumental concrete statue by Picasso—which, had it been constructed, would have been enormous: over 100 feet tall. Here is the perspective drawing for the proposed building, which shows the sculpture as part of the overall composition:

Rendering of the proposed visitors and arts center for the University of South Florida in Tampa. Picasso’s sculpture, which was to sit on the adjacent plaza, would have been a massive presence. Image courtesy of the USF Special Collection Library

What prompted us to explore this project is that visitors to the Modulightor Building in New York are intrigued by a Picasso sculpture which is on display within the building: a copy of the original maquette for that monumental sculpture:

Picasso’s maquette for the sculpture that was to go on the plaza of the University of South Florida. This authorized copy of the maquette is in the Modulightor Building in New York. Image © The Estate of Paul Rudolph, The Paul Rudolph Heritage Foundation.

That’s an authorized copy: Paul Rudolph obtained permission from Picasso to make it, because Rudolph admired Picasso’s sculpture so much.

In our earlier post, we’d given an art-biographical context these sculptures, noting other examples of Picasso’s work at monumental public scale. The prime example cited is his large work in New York City’s Greenwich Village: the concrete “Bust of Sylvette”:

Picasso’s Sylvette, in the midst of the I.M. Pei’s “Silver Towers” in NYC’s Greenwich Village. Image courtesy of Ephemeral New York

STILL, THEY’RE COUSINS…

Well, we’ve just heard about another sculpture by Picasso that we thought you’d like to know about—and this one has a similar title: “Sylvette”. It is located in Rotterdam, The Netherlands, and is in the city’s center, on a site on the Westersingel canal.

That ever-fascinating website, Atlas Obscura, has done a story about it (which drew our attention to the Rotterdam “Sylvette”), and it includes several photos showing the sculpture in its urban setting:

A screen grab from Atlas Obscura’s web page,showing the Picasso “Sylvette” in Rotterdam.

At the Sculpture International Rotterdam website, there are several pages on the sculpture, including a full essay, and also information on the various sites it has occupied in Rotterdam.

Is the Rotterdam sculpture a sister with the one in New York?

Cousins?

You decide!

A HALF-CENTURY LATER—AND RUDOLPH IS STILL AVANT GARDE

Underground Interiors, published in 1972, showcased some of the world’s most unique, quirky, and creative new interior designs—tangible manifestations of that experimental late 60’s/early 70’s era. A work of Rudolph’s was included—of course!.

UNDERGROUND—AND FAMOUS

We sometimes speak of Underground Culture: productions by independent makers, groups, and communities, which were created apart from the mainstream—and often in pointed challenge to it. The most well-known application of the term underground is in “Underground films”—like the kind originally associated with Andy Warhol and other independent filmmakers. Calling them “underground” allegedly came about because of where such films were first screened: literally, in basements—though the association of “underground” with secrecy and daring (and even Dostoevsky) may have given them some cachet.

Poster advertising several underground films, featuring one by Andy Warhol’s, for a showing in 1967. Poster courtesy of the Underground Film Journal.

The use of the term spread, and—while it certainly had a political face—”underground” was applied to all kinds of new and experimental things happening in the 60’s and 70’s:

• Underground Press

• Underground Music

• Underground Comics (of which Robert Crumb is the most famous practitioner)

• Underground Clubs

• And even a popular guide to offbeat restaurants, The Underground Gourmet

An example of “underground” culture extending into wider use: the great designers, Milton Glaser and Jerome Snyder, had a column in New York Magazine about restaurants that were out of the mainstream. Their recommendations were collected into a book, which used the zesty graphic style which they had pioneered. Image: Design of the book: by Glaser and Snyder

Even if you were labeled “underground”, that didn’t mean you couldn’t become famous—and Warhol, Pink Floyd, and Crumb are probably the most recognized example of that. Today marketers speak of an “underground brand” —and it’s a useful association (especially when promoting to the mainstream) to connect ones product with, in Ian Volmer’s superb phrase, “a soupçon of subversion.”

 UNDERGROUND DESIGN?

If films, music,media, and even restaurants could be “underground”, then why not design too?

By the mid-60’s, a spirit of cultural rebellion and lifestyle adventurousness was sprouting in every domain—and in just a few years designs with “experimental” color, layout, materials, and function were beginning to appear in design magazines. Ultimately, this included architecture—but buildings are expensive and clients are, on-the-whole, conservative. So this explosion of colorful creativity first manifest in interiors: after all, they’re more personal, temporary, and (compared to whole buildings) lower-budget—and thus more likely to be the sites, at least initially, for adventurous design.

A collection of these interiors was brought together for a 1972 book, Underground Interiors: Decorating For Alternative Lifestyles. It showed some of the most exciting designs to date, and the book was published by The New York Times.

The book’s writer-editor was Norma Skurka, Home Editor of the New York Times. The photographer, Oberto Gili, has a distinguished career taking photos of a great range of subjects—including interiors.

Oberto Gili—still an active photographer, with a creative portfolio—started the book project for the publisher L’Esperto. When they dropped the venture, it was picked-up by the New York Times’ long-time Home Editor (and prolific author) —who no doubt (having also worked for House Beautiful, Interior Design, and Contract magazines,) was aware of the most exciting interiors then being done—and together they completed the book.

 SURREALIST, RADICAL, POP, SPACE AGE…

Those are not our descriptions of the work they included in the book—they were the author’s, appearing unabashed on their contents page. While some of the designers and artistic personalities they included have fallen into obscurity, a number of them were already gaining prominence.

Before he achieved ultra-stardom in the world of fashion, Karl Lagerfeld was already making fascinating juxtapositions, as in his own apartment:

A spread from the book, showing Karl Lagerfeld’s combination bath-sitting room, and gym-bedroom, for his Paris apartment.

Dream, parade, or baking contest?—this Paris home offered them all at once:

A spread showing the Paris home of Antony and Dorothee Miralda offers treats that are visual (and possibly edible)

The book came out at in the midst of the US space program’s most active period—and some interiors embodied that futuristic flavor:

A spread from the “Space Age Habitations” section of the book, showing the home Victor Lukens designed for himself.

One of the most influential designers included in the book was Gamal El-Zoghby. “Minimalism” does not do justice to the careful thought and planning he brought to each project. His modulated spaces, carpet-covered platforms, deftly-detailed built-ins, and hidden storage (designed to lower the distractions of everyday life) inspired a generation of designers—and helped create the vocabulary for multi-level living spaces.

A page from the book showing an El-Zoghby design: a NY apartment for entertainer Jackie Mason.

RUDOLPH: AVANT GARDE AND TIMELESS ?

Paul Rudolph, most known for his muscular buildings, was also focused on interiors. He used his own home and office spaces as laboratories, trying out different spatial arrangements, lighting techniques, materials, and details—and, if pleased by the results of those experiments, he’s apply some of those lessons to the work he did for clients. [This was the subject of the Rudolph centennial exhibit, Paul Rudolph: The Personal Laboratory] Rudolph had a significant number of commissions for interior design, most often residential, but sometimes commercial (including an innovative dental office!)

In Rudolph’s design for a home of Mr. & Mrs. Elman in Manhattan, the walls remained unchanged—but he was able to shape the existing spaces through the placement of hanging light fixtures (of his own design) on an unexpectedly low plane, textures that flowed from floors to furnishings, and the creation of a living room that partakes more of landscaping than of traditional notions of room design.

Rudolph’s shows up too: a page in the Underground Interiors book.

Here’s the book’s caption, with what the author’s had to say about Rudolph’s interior:

Many of the rooms in the book (a sample of which we’ve shown above) are amusing, but also like they’re “of their time” [and maybe a bit too much so?] If “timelessness” is one of the criteria for good design, It’s hard to imagine—with some exceptions, like El-Zoghby—later designers choosing to create them.

What about Rudolph’s design?

It is nearly 50 years since he received the commission. Yes, back then, it was an era identified with “shag carpets”—and we all make fun of that. So if Rudolph were doing this interior today, he might dial-back the woolly-mammoth textures a bit.

But—

But the room still looks striking, enticing, fun—and quite livable and flexible: a place one would like to visit and hang-out. A place that could accommodate a large party, yet maintains a sense of intimacy. A place to unwind—and a place to be theatrical. A place to shock—and a place to relax. We contend that Rudolph’s design, overall, holds-up rather well, even a half-century after its conception—another sign of a master.

Our Search for the Unknown (and 4 Newly Discovered Paul Rudolph Projects!)

The “Kincade” is the name of a mid-1950’s house design by Paul Rudolph. It was published as a “Home-of-the-Month”—apparently part of a series of home designs available to the public through lumber yards and construction supply companies. This image is from a 1954 article in the Denton Journal.

WE HAVE A LITTLE LIST….

The Paul Rudolph Heritage Foundation is making a complete record of all Rudolph’s projects—and currently there are over 300 projects on it. To the maximum extent possible—that is to say, findable—for each project we try to include comprehensive info: its exact location, names of all participants, budget, primary materials, drawings, pictures of models, construction photos, as-built photos…

BUT HISTORY IS HARD

You’ll notice that we said “currently”, for the list is still still growing. Now that may seem to be a strange thing to say about the work of an architect who passed away over 2 decades go: it’s not as though he’s kept creating more works that we need to keep track of. So it’s reasonable to assume and ask: Wouldn’t the record be complete by now?

Well, it’s not that simple.

Creating an accurate catalog of all of Paul Rudolph’s work, and finding the above-mentioned full range of data & images for each project, is a more challenging task than you might expect...

On the one hand:

Rudolph did not make it easy for us. Yes, he made his own official lists of commissions and projects—and those would appear in monographs, or be given to journalists or potential clients. Across a prolific career that lasted more than half-a-century, Rudolph kept editing those lists: adding new projects as they arose, and deleting ones which he considered less important. That’s a natural process for any architect—but some of the projects on those ever-evolving lists are just names to us, without barely any traces in books about him (or the hundreds of articles written about Rudolph.)

Here’s an example. One list includes “Dance Studio and Apartments” For that project, who was the client and what was the scope? All we presently know about that project is that it was from 1978, and was located somewhere in the Northeast. Was a design offered? If you look at our “Project Pages”—and we make one for each Rudolph project that we know of (the’re like our on-line file for each of Rudolph’s works)—you’ll find that some project pages are rich with information & images. But our page for the “Dance Studio and Apartment” is just a “place-holder”, currently containing only the most skeletal of info. We’d love to see some photos or drawings—but none have been found [yet.]

One prime source, for those researching Paul Rudolph, is the Library of Congress’ archive of Rudolph drawings & files: it runs to hundreds-of-thousands of items (all made before computers entered architectural offices—so they were drawn by-hand or typed). While there’s a general inventory, the only way to really know what’s in the archive is to go there and look—so we make repeated visits to Washington to do research within those rich holdings. [Perhaps, in one of those research trips, we’ll find out something on that “Dance Studio and Apartment.” ]

Sometimes we do have just a little info about a project—a single drawing—which makes us want to see more. For example: Rudolph had international commissions, including a few for Europe. A magazine showed a drawing for a house proposed for Cannes: the Pilsbury Residence. But that drawing is all we’ve ever come across about it. What was the project’s history? Was it built? We’re keen to find out.

The Pilsbury Residence, a design from 1972. All we’ve seen—so far—of this project is this intriguing section sketch by Rudolph. It was published in a Japanese architecture magazine (in an issue entirely devoted to Rudolph’s work), and was designed for Cannes, France. It is one of Rudolph’s few works for Europe—N.B the dimensions seem to be in metric. The project’s name and proposed location is all that we know about it—so far. We’re hoping future research will reveal more. Image © The Estate of Paul Rudolph, The Paul Rudolph Heritage Foundation.

Then there are the times when it is clear that something’s been built—but we know little else. For example: Rudolph was asked to design an office for a prominent Texan, Stanley Marsh III, and we’ve been able to find a single image of it for our project page—but, so far, that’s all we know.

The office of Stanley Marsh III—an interior Rudolph designed in Amarillo, Texas in 1980. Marsh (1938-2014) was quite a character, and—in his capacity as art patron—is most famous for commissioning the legendary art installation “Cadillac Ranch” by the art-design group, Ant Farm. Marsh also commissioned Rudolph to design a television station (also in Amarillo) that was constructed in the same year as the above office. Marsh was a great collector, as one can see in the works accumulated in this photo. But what was Paul Rudolph’s involvement in this office’s design? Modulightor—the lighting fixture company that Rudolph co-founded, and whose system of fixtures he designed—was started about the time of this project. So might the lighting system (seen on the office’s ceiling) be one that Rudolph planned and then specified from Modulightor? Are there other aspects of the office, not viewable in this shot, that Rudolph designed? More mysteries to be investigated!

Moreover, Rudolph was not the best record-keeper. Yes, his office [or rather, offices—as he started/re-started several, as his career took him around the country] had the sort of record-keeping systems which were standard for architectural offices in the post-World War II era of professional practice in the US. They maintained “time sheets” (or cards) to keep track of the hours that each staff member devoted to a project, as well as notes and files of various kinds were made (about meetings with clients, sketches, bids, construction field-reports, engineering, correspondence, etc..). But there was nothing like a company historian to keep a meticulous record of what was going on—and, going through the files, one gets the feeling that Rudolph was so busy that they just recorded (and kept the papers) of what was absolutely necessary to keep their various projects moving along.

A blank time card from from Paul Rudolph’s office—a fairly standard example of the type of record-keeping that would be used in architects offices in the US. Staff would fill these out to show how much time they’d devoted to each project, and submit them weekly. The resulting info would be used for billing. Image © The Estate of Paul Rudolph, The Paul Rudolph Heritage Foundation.

On the other hand:

Doing this research brings a continuous (and delightful) sense of adventure! As we come across new projects, images, and documents, we discover more layers of Paul Rudolph’s creativity—and also have an ever-enlarging sense the great range of design challenges with which he was willing to engage.

OUR FOUR LATEST DISCOVERIES: PREVIOUSLY UNKNOWN (OR “UNDER-DOCUMENTED”) RUDOLPH PROJECTS

In the last few weeks, we’ve come across 4 previously-unlisted projects—or ones with so little info (“under-documented) that they remain mysteries to be solved.

ONE: “KINCAID” HOUSE DESIGN

Newspaper articles from 1954 and 1955 show a house designed by Rudolph, the “Kincaid”. They were part of a series, the “House-of-the-Month”. These were a collections of house designs—often by skilled architects and well-thought-out, with good layouts, and planned for efficient construction. They were offered to the public via advertisements and books. Such books, which usually showed a dozen-or-more different designs (of various styles, sizes, and budgets) were available at lumber yards, building-supply stores, and newsstands. The info on each house design usually included a perspective rendering, floor plans, basic data, and a brief written description—and every house received a name. If one liked a house, complete plans & specifications could be ordered for a modest fee.

An example of a House-of-the-Month book: a collection, in booklet form, of available architectural designs for houses.”by leading architects.” A quarterly publication of the Monthly Small House Club, Inc,, this one is from 1951 (a few years before Rudolph’s “Kincaid” house came out.)

While, via this system, an architect did not get to make a custom solution for a client, he was able to exercise his creative ability to design a workable, affordably house that had a sense of style—and enough generic good qualities that it might appeal to multiple clients. So the advantage for the architect was that he might be rewarded with many small fees for the same design [Or perhaps he received a flat-fee from the publisher? Arrangements may have varied.] Such “plans service” companies continued to exist for decades—and even have a recent incarnation in the Katrina Cottages—and their impact on the American housing market would make an interesting study. Evidently, as shown by the “Kincaid,” Rudolph participated in this system—though on what terms (or what he ultimately thought of it) remains a mystery.

TWO: DANCE STUDIO AND OFFICES IN FORT WORTH

The May/June 1998 issue of Texas Architect ran an article surveying the work that Rudolph had done in Texas. Max Gunderson’s text reviews the origin and history of each project.

Texas Architect has been published since 1950, and you can access its full archive of back issues at their website. It was the above issue that included Max Gunderson’s excellent article surveying Rudolph’s work in that state.

In the course of speaking about one of Rudolph’s most splendid house designs—the Bass Residence in Fort Worth—he also mentions:

Rudolph would also design the Fort Worth School of Ballet for Anne Bass, a simple teaching/workspace and offices in a retail strip.

Since a great architect can bring “an extra something” to even the simplest projects, we’d love to see what Rudolph came up with here.

THREE: BAHRAIN NATIONAL CULTURAL CENTER

We’ve heard that Rudolph was involved in a project to design a cultural center for Bahrain. This may have been as part of a design competition. There’s a transcript of an oral history interview with Lawrence B. Anderson (1906-1994): he was an architect who was already well familiar with Rudolph—his firm was the associate architect, with Paul Rudolph, for the Jewett Arts Center at Wellesley (and that transcript has interesting things to say about that project.) Anderson participated in a 1976 jury to review the proposed designs for the Bahrain National Cultural Center, and in the transcript he speaks of the process and cultural context—but he doesn’t name the competitors or winners. So we don’t have a confirmation—at least from that one source—as to whether Rudolph was a competitor (of if he “placed”). We’d like to know more about this project—and, of course, we will welcome any “leads” that our readers submit.

By-the-way: it’s worth noting that, across his half-century career, Rudolph was involved in several projects for the mid-east. Among them: a US embassy for Jordan, a sports stadium for Saudi Arabia, and an apartment-hotel in Israel—none of which, unfortunately, reached construction stage.

FOUR: HUNTS POINT MARKET, NEW YORK CITY

Hunts Point Market (or, more formally, the Hunts Point Cooperative Market), in New York’s borough of the Bronx, is one of the the largest wholesale food markets int the world—and a large portion of the food (produce, meat, and fish) consumed in the New York City metropolitan area is provided through it. Occupying 60 acres in the Hunts Point neighborhood, and it's annual revenues exceed $2 billion.

During the administration of NYC Mayor Robert F. Wagner, market facilities were constructed in 1962: a 40-acre facility with six buildings—and now the Market consists of seven large refrigerated/freezer buildings on 60 acres.

New York City Mayor Robert F. Wagner and U.S. Secretary of Agriculture Orville Freeman look at architect's drawing of new Hunts Point Market during the 1962 ground breaking ceremonies in the Bronx, NYC. The year of this image, and the fact that Wagner was New York City’s mayor just prior to Mayor John V. Lindsay, suggests that the design shown is the market that was built prior to the announcement that Rudolph would become involved. Image courtesy of the Library of Congress Prints and Photographs Division

But it seems that during the administration of the next mayor (John V. Lindsay), it was planned that Paul Rudolph was to have some involvement in further development of the Hunts Point market facilities. At least that’s what a document, from the archives of the Paul Rudolph Heritage Foundation, seems to indicate. We’ve found a press release from the Office of the Mayor, dated May 2, 1967, in which Lindsay appoints Rudolph

“… as supervising architect for the Hunts Point food processing and distribution center. Mr. Rudolph will be responsible for the project design, for designing many of the market buildings in the project and setting all design and structural specifications for the development.”

Most of the rest of the press release praises Rudolph, and says nice things about the importance of the Hunts Point market and its location. But there’s not much more about the nature of the project, except the text again refers to food “processing”—so the new buildings, which Rudolph was to work on, might likely have accommodated facilities for the transformation of food (as distinct from marketing/distribution).

Lindsay was mayor during one of the city’s (and nation’s) most exciting and also most difficult periods, with his administration lasting from 1966-1973.. He is often evaluated as a a "good guy” with positive ideals, but one who was up against the tumultuous churnings of in NYC’s/country’s politics, economy, and culture in those tough and “crazy” years of the late 60’s-to-early-’70’s. This was richly shown in a 2010 exhibit at the Museum of the City of New York, as well as the accompanying book.

It was NYC mayor John V. Lindsay who announced that Rudolph would be involved in the Hunts Point Market. Many aspects of the exciting and difficult years of his administration were on display in a 2010 exhibit at the Museum of the City of New York, for which this was accompanying book.

Lindsay’s administration did have a number of innovative construction initiatives (preponderantly in housing)—and this Hunts Point project might have been one of them.

The further evidence of Rudolph’s involvement is an item in the archives of the Library of Congress: a photos of a rendering of the old (1962) market design, with some markings on it—and the Library’s notes say that it was donated by “Rudolph Assoc., Architects”. Below is a small image of it. We’d guess that means it came into their possession as part of the large body of Paul Rudolph material that he donated to them—but that’s only a reasonable surmise.

So this is another example of a project that deserves further research. Did Rudolph produce a planning study and designs for it? Why did it not go forward? We’ve heard that there’s an archive of papers related to the Lindsay years: perhaps they’ll have some further information? We’ll let you know if we find anything.

A tiny image, from the Library of Congress, found when researching the Hunts Point project. It appears to be the same architect’s rendering (not by Rudolph) as shown in the photo above, but with some additional marks on it. What makes it intriguing is that the library’s info on this print says that it was contributed by “Rudolph Assoc.” Image courtesy of the Library of Congress Prints and Photographs Division

WANTED: HISTORY DETECTIVES & TREASURE HUNTERS

If you love mysteries, and would like to help us learn more about these projects, we’d welcome your help!

The Paul Rudolph Heritage Foundation is always looking for volunteers—including those who’d enjoy tracking-down information on Rudolph’s “under-documented” projects (like these—but there numerous others). Or perhaps you know something about the above-mentioned projects, and would be willing to share that info with us.

We’re seeking to build an archive & database that students, scholars, building owners, designers, and journalists will really find useful—and your help on these research projects would be welcome! You can always reach us through:

https://www.paulrudolphheritagefoundation.org/contact-us