30 October 2005

Armstrong Architectural Office -- proof for L.O.F. ad


Advertisement with photograph of the drafting studio in Harris Armstrong's Architectural Office (1948). These large double pane fixed glass windows face north providing even consistent daylight for drawing. Lighting recessed into the ceiling was designed to come on only when light levels were low due to clouds, storms, etc.

Armstrong collaborated with Libbey-Owens-Ford Glass Company on several projects including the Magic Chef Building his Missouri Solar Home (the subject of an upcoming blog entry).

Armstrong objected to some of the wording in this proof and the advertisement was subsequently revised based upon his comments. From this interaction between Libbey-Owens-Ford Glass Company and Armstrong, its clear that Armstrong is specific and cautious about how his work and his office are portrayed. Armstrong worked hard to have magazines and advertisers pay for hiring the best architectural photographers. In this case, Ken Hedrich of Hedrich Blessing took the photographs as he'd previously done for the Magic Chef Building. In other correspondence of 1950 (writing to Architectural Forum), Armstrong comments that Hedrich takes excellent photographs that its a shame he cost so much. He also mentions he's never paid for any of Hedrich Blessing's photography of his work; its always been paid for by others.



Advertisement courtesy of the Harris Armstrong Archives, Special Collections, Washington University in Saint Louis.

Armstrong Architectural Office -- protest letter re: L-O-F ad


Armstrong's handwritten letter to be sent as a telegram to the advertising manager of Libbey-Owens-Ford Glass Company. This protest was sparked by the proof sent to Armstrong prior to publication. This text for the telegram was written on the reverse side of the proof sent to him prior to publication.


Document courtesy of the Harris Armstrong Archives, Special Collections, Washington University in Saint Louis.

Armstrong Architectural Office -- L-O-F ad (as published)


Published version of the Libbey-Owens-Ford Glass Company advertisement featuring Harris Armstrong's Architectural Office. This ad was revised based upon Armstrong's protest letter regarding the wording of some of the text.


Advertisement courtesy of the Harris Armstrong Archives, Special Collections, Washington University in Saint Louis.

06 October 2005

Ethical Society -- concrete construction, 1962


An image of the primary concrete structural frame in place taken during the project's construction. Its clear that the use of the free-standing, cast-in-place concrete columns was done as a rhetorical gesture. It relates the building clearly to structures such as Greek temples (post and lintel construction) as well as Gothic cathedrals (gargoyles directing water outward).

This photograph brings to mind ruins of a Doric temple over a thousand years old. On closer inspection, the columns don't appear terribly classical. Their tapering form and paired organization makes it difficult to read them as directly classical in origin. In some ways, they appear to be the creation of the 20th century architect seeking to create his own order, along the lines of the Tuscan order or others which were developed later.

I suspect Armstrong was seeking a kind of synthetic harmony between modern & traditional monolithic construction as well as Eastern & Western aesthetics.

The combination of Eastern and Western aesthetics seems apparent from the primary forms which make up its silhouette: the curved, attenuated central steeple and the rectalinear, flat-roofed wings to each side of the central pavilion.

The didactic nature of the concrete columns is emphasized in this image which presents the full square set of these columns. Other structure within the building tends to be suppressed in favor of surface treatments.


Photograph courtesy of the Harris Armstrong Archives, Special Collections, Washington University in Saint Louis.

05 October 2005

Ethical Society -- rendering


Armstrong's rendering of the Ethical Society from the southeast. The viewpoint of the drawing is carefully chosen below the level of the roof. One of the primary difficulties of the site was its low elevation with respect to the road. While the design of the structure takes advantage of the slope, the rendering minimizes this issue.

One of the reasons for the great care taken in creating this rendering is that it formed the centerpiece for a massive fundraising effort to create the new building. Anything that might cause concern or criticism would have needed to be minimized to allow the project to move forward sucessfully.


Drawing courtesy of the Harris Armstrong Archives, Special Collections, Washington University in Saint Louis.

04 October 2005

Ethical Society -- building section


Section perspective drawing through main auditorium, entry hall, and gathering space at lower level. The level of the entry hall at left (South side) is higher than the ground level at the rear (North side). Armstrong's organization of the program takes advantage of the significant slope of the site, initially one of its major drawbacks.


Drawing courtesy of the Harris Armstrong Archive, Special Collections, Washington University of Saint Louis.

Ethical Society -- auditorium skylight


View looking up into the central skylight in the main auditorium of Armstrong's Ethical Society. Curved glulam beams are exposed at the interior surface of the ceiling. These form a pattern of lines leading directly up into the central skylight. The linear forms at the interior are reflected also in the exterior's copper roof.

Ethical Society -- auditorium interior


Interior view of auditorium at center of Armstrong's Ethical Society. One of the primary criteria in the design was excellence in acoustics which was analyzed in depth. The result is an excellent space for live musical performances.


Photograph courtesy of the Harris Armstrong Archives, Special Collections, Washington University in Saint Louis.

03 October 2005

Ethical Society -- exterior view, 1962


View of the Ethical Society looking from Clayton Road toward the northeast. Armstrong's checkerboard pattern of gravel ballast on the flat roofs at each side is visible from this vantage point. On the horizon beyond, office buildings in Clayton are visible.


Photograph courtesy of the Harris Armstrong Archives, Special Collections, Washington University in Saint Louis.

Ethical Society -- exterior view, 2005


The good condition of the building at present is due to intensive efforts by the members of the Ethical Society over the course of many years.


Photograph Andrew Raimist, September 2005.

Ethical Society -- exterior detail, 2005


Photograph Andrew Raimist, September 2005.