PSFS
TABLE OF CONTENTS
OVERVIEW
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DRAWINGS 6-21 PSFS 1: 100 0
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HISTORY 22-39
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ANALYSIS 40-47 CRITIQUE 48-51 PROPOSAL 52-53
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BIBLIOGRAPHY 54-55 PSFS 1: 100 0
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ociety
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avings
hiladelphia
PSFS
Stats... Architect: Project time line: Location: Program: Owner: Size: Structure: Systems:
George Howe & William Lescaze 1928-1932 Philadelphia, PA Banking Hall / Office Philadelphia Savings Fund Society 375,000 SF, 36 Floors, 491’ Tall Steel Moment Frame Forced Air AC
“Sound architecture must be able to bear the closest analytical examination, externally, internally, structurally, and mechanically, and the solution of each problem which presents itself in the development of the design must be not only possible, but possible in a concise and orderly form as a consequence of the organic foundation of the original concept” - George Howe
Corner View (Jordy)
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Promotional brochure (Fuller company)
Map of Philadelphia (Fuller company)
Promotional brochure (Fuller company)
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Historic photos provided by (Fuller) , (Jordy)
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TYPICAL UPPER FLOOR
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EAST ELEVATION
NORTH ELEVATION
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AXONOMETRIC
E-W SECTION
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Major Planes defining the buildings massing.
Circulation core system.
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OBSERVATION DECK
OFFICE SPACE
BANK SUPPORT
BANKING HALL RETAIL
Program sequence system
Building program.
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WILLIAM LESCAZE ( Rizzoli )
by todays standards it served as a road map and precedent for many thought to be innovative and architecturally excellent projects. Upon further examination it reveals its self as a pioneer for many (now normative) archetypes and motifs.
HISTORY: A FOREIGN OBJECT The planning and realization the of PSFS building (Philadelphia Savings Funds Society) was one of new standards in banking and office design, innovation in technology, and a high expectation for practicality. While PSFS may not be looked at as ground breaking or especially interesting
To truly understand PSFS one has to consider the time period, and the architect’s (two) stance on architecture during that period. The PSFS building was created by a fusing together of two very dzifferent architects. George Howe an American architect whom had been practicing in Philadelphia, and William Lescaze, a Swiss Architect who came to the U.S. looking for a new start to create “monumental” Architecture. The partnership of these architects is quite important as they both brought different schools of thought into the design.
HIGH HOLLOW HOUSE - GEORGE HOWE (Philadelphia Magazine)
Howe, classically trained from Harvard, and a graduate of Ecole des Beaux-Arts in Paris, brought a level of expertise in beaux arts theory. This would eventually make it into the design of the PSFS and can be seen all throughout the interior. (Philadelphia buildings) Lescaze, a Swiss architect, who was at the time heavily interested in cubism and on the verge of committing to the international style, brought a heavy influence and arguably took the PSFS into the international style it become known for. Howe had been working with the Philadelphia Savings Fund Society for almost half a decade working on a number of small banking branches at a firm called Mellor, Meigs & Howe. If you note the progression of these two small buildings you can see a stripping of ornament, and a shift
in architectural expression. One lined at its base with stone work, decorative cornices, and medallions inserted into the facade. The other stripped of all of these features, expresses a planar facade, and a simple large glazed opening. This in many ways was a foreshadow of what would become Howe’s largest work the PSFS building, while showcasing his conversion to modernism. Since he did not grow up in the movement of modernism or trained in such, he adapted it slowly though readings and others work. Through these buildings Howe secured a very good relationship with the Head of the PSFS company, an would eventually bring in the commission for the PSFS building to his partnership with Lescaze.
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1924 PSFS BRANCH - GEORGE HOWE (Jordy)
1926 PSFS BRANCH - GEORGE HOWE (Jordy)
A SHIFT IN THEORY Lescaze met Howe in New York during a pause in design for the PSFS building, where they would form a partner ship and hold their main office. Lecscaze was much more forward thinking when it came to the ideas of modernism, something the Howe was lacking and wanted to embrace. When the partnership was initially formed Howe had already begun the design work for the PSFS building, and proposed his initial scheme. It is immediately clear when comparing the built version or even proposed versions when Lescaze joined. The style had changed, something that Howe could not do himself. This change most notably happened from a sketch that Lescaze made showing the large curved base. A move that would later come to define Lescaze’s career. Rizzoli wrote in his biography “He became attached to
agglomerations of cubic volumes held in place through the use of a rounded corner piece, and employed this compositional strategy on every scale, from furnishings to interiors to whole buildings” (Rizzoli) Once the project had officially been re-ignited the two began working on a handful of schemes that embraced this new sense of style. Lescaze took over the majority of the design work and Howe was to handle the majority of the business duties of the firm. During this transition from a more classical proposal, to a modern international style building, the owner was skeptical and thought of this movement as a fad or style for the sake of style. However he did see its
promise to produce a very practical building, something that he held Howe and Lescaze too through out the design process. In his skepticism he constantly asked for justification of the style in terms of building metrics, as well as a more theoretical justification. Mr. Wilcox, [the owner] was an intellectual and very interested in the rhetoric and theory. Howe wrote Wilcox many times to prove that this new way of thinking about architecture was indeed not a fad or a style but in fact a more practical way for architecture and society as a whole to move toward.
In a letter to Wilcox addressing the Asymmetry of the T Howe writes
“an organic asymmetry has been produced far more interesting that the usual scholastic and unthinking axial symmetry. The sounded precedent for such asymmetries, are to be found in the grouping of numerous buildings in Greek architecture, as on the acropolis, for a modern building is really a group of many smaller buildings” -George Howe.
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First psfs scheme by George howe before Lescaze partnership(1928) (Jordy)
Fourth PSFS scheme howe & lescaze (1930) (Jordy)
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During the design of these new schemes, both Howe and Lescaze saw the opportunity of stacked floors plates to express two things. One a continuous horizontal to emphasize the building’s free plan and nod toward an architecture which is unrestricted by structural walls and classical motifs. Secondly they saw this as a way to create a new workplace: a modern workplace. Howe and Lescaze spoke about this goal and its accordance to the PSFS building “to remake the workaday world so that people will not wish to escape from it.” They did this by providing each office space with visible day light and in many cases an unobstructed view of Philadelphia. With these goals in mind they designed schemes which emphasized the buildings horizontals produced by this stacking.
Sketch - Lescaze (Jordy)
Scheme 4 (Fuller)
A JUSTIFICATION
Perspective (Fuller)
Perspective Study (Fuller)
While Wilcox and the rest of the building committee surely appreciated the effort, they cared more about the building’s presence and statement it made about the the Philadelphia Savings Fund Society. The committee wanted a new building that was approachable on such a busy corner, while making a statement about the company’s power, and trustworthiness. They wanted the building to express its height and to literally tower over its surroundings. On many occasions the committee explicitly rejected Howe & Lescaze’s thoughts on modernism and the building’s aesthetics.
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Close up showing vertcal stacking
In one particular meeting, a member of the committee stood up, interrupted their presentation and blurted out “Gentlemen, this building will never be built”. (Jordy) The committee was eventually convinced of its legitimacy in part by the architects but largely in part by James M. Wilcox, the head of the committee who was also to be the owner. Wilcox had his doubts as mentioned previously but was intrigued by the possibilities of creating an “ul-
tra practical” building while also making a statement about the Society, and having the PSFS company be at the edge of modern life in the eyes of the city and its visitors. In the process of Wilcox being convinced of the design and methodology he made many requested in regards to the design. Most notably was the building’s vertical
Close up showing vertcal elements
columns seen on the facade of the office tower. This was done in part to emphasize the buildings shear height in the city. At the time this was the tallest building is Philadelphia, and the committee was very proud of that. They had asked Howe & Lescaze to include some vertical element to emphasize this. These verticals are very important to the realization of the project in part due to the Wilcox’s will to have some sort of vertical element. Howe
and Lescaze were reluctant to introduce any sort of vertical elements as they felt this was not in line with their ideas to express the free plan as well as the building’s overall modern style. They provided 3 different schemes leaving out any vertical elements after they were asked to include them by Wilcox. They eventually came to terms with his request and included them in the design.
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Perspective Study (Fuller)
Through the 2 years of design and back in forth with the client, the final working drawings were submitted and began constructed in February of 1931. (Jordy) This was to be the first International Style Skyscraper in the US. One that would shock, enlighten, disrupt, and influence everyone in the city and eventually bring a new strand of Modernism to America: The International Style. Exterior View (Fuller)
The PSFS building’s primary function is to serve as a banking hall for the city of Philadelphia, while providing rentable office and retail as its secondary programs. That being said it raises its primary function above street level and places its banking banking hall on the second level. This was done to open up the ground floor for retail space, creating a more urban friendly street corner while attempting to attract more users into the building (through its retail spaces) and inadvertently into the bank. This was new at the time for a program which relied heavily on word of mouth and street traffic. The users must entire a punched opening into a vestibule that carries them up to the large uninterrupted banking hall. This provided more retail frontage and street engagement further connecting the building to the city and its users. Placing retail at the base followed by banking levels opened up the opportunity to metaphorically showcase the banking activities as the building’s gem while creating a new sense of passage nested within.
A STEP ABOVE
Construction (Fuller)
Street View (Jordy)
Banking Hall (Jordy)
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The banking hall is freed from central columns by a floor to floor truss system in the level above. This allows for two significant ideas, one the space remains double height and largely open as to create a ball room effect for the new modern banking hall further elevating the banks status. Two, it creates “Densely divided spaces toward the top of the building: open space at its base” an example of what Howe thought of as inverting seemingly natural gravity
within the building. In one of many letters to Wilcox about the play on gravity, Howe wrote
Largely the elevation of the building seems fairly regular. Within the stacking lies some subtle and sometimes large shifts in massing. These shifts were done to change with the changing program. The owner and architects wanted to showcase the building multiple programs and its ability to house such. As well as changing the massing, each of these shifts comes with a change in material. Each change no matter how big changes the material. The list is small (Glazed brick in two colors, glass, terra-cotta panels, and aluminum panels) but was kept that way to no to compete with the massing.
“the true sculptural quality of an organics design arises from the moulding of internal space and the shaping of the skeleton to contain it. The functional architect delights in huge torso swaying on the tendoned ankles. He would no more attach false stone pedestals on them than he would put lead shoes on Pegasus” -George Howe
At the base of the building lies a large curved mass. This mass houses the main program of the banking hall and is praised and criticized by others. It was very important in main ways to the design as Howe thought this piece to be questioning traditional banking methods but also brought the building to be recognized as an international style building. The curve was added to continue the street life around the building as it exists on a busy street corner. The mass is opened by large Street Corner Banking Hall / Support Structure
Banking Hall
Most notebily the building reads as an International Style Building with plenty of subtle and not so subtle features including the famous cantilevers over Market Street, the not so regular shifts in massing, and the curved base the holds the tower atop. Howe & Lescaze wanted to make a statement with the building as showcase the building ability to house several programs as a whole while each acting as their own. They did this by emphasizing parts of the building over the street. Most notably is the 6’ cantilever over Market street. This was done to break the plane of the street facade and eventually to try and differentiate each piece of program with a shift in massing. This cantilever at first was an idea by Lescaze and started as a overhang to provide shade. After some discussion it eventually became the massing and begins to make one wonder about the vertical sequence that exists within the building.
curved glass to display the banking hall and retail space at ground level. Large glazed brick panels surround the glass and almost give a metallic sense, which was done to even further the building’s stance on modern life and style.
Lescaze Sketch (Fuller)
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Luis Kahn Salk Institute (ARCH DAILY)
PSFS 3 Floor Service Level
Robert A. M. Stern. Wrote the PSFS building turned out to be
and views. The PSFS building changed that as mentioned above. Also it introduced America formerly to the international style at a large scale. It paved the way for innovation in technology and function in tall buildings and office towers a like.
equipment for the office floors below and above an idea that has largely been adopted in high rise development, for ease of replacement and to relieve the roof from being fully occupied by mech equipment. It built upon some other modernist ideas in a much larger scale. The office tower cantilevers over market street as to appear as a separate floating object as well as expressing the mass’s independence from the structure. These shifts in alignment express the building dynamic program and massing.
The building houses a large open space at its base due to a floor to floor truss system a floor above. This floor holds mechanical equipment, as well as the banking vaults, all of which was private to the rest of the building. This idea of occupying the structural space was later further explored by architects such as Louis Kahn in the Salk Institute in 1965, 32 years later. It also had an empty floor on the 22nd level which houses mostly mechanical
After some intial shock the public came to embrace the PSFS and look at it as a essential part of the city. In fact, in 1994 the building was bought by Loews Hotel corporation. After the sale the new owners tried to remove the sign. The city however felt so strongly that it was a crucial part of Philadelphia they convinced the owners to still keep another company’s sign atop their newly purchased building.
Urban planner Frederick Gutheim later said,
A IMPRESSION
When the Building was initial constructed, it had a mixed reception by the public. Like most things change comes with criticism and eventually acceptance. The PSFS stuck out like a foreign object in a city full of historic buildings, due to its modern ways but also by its shear height. This made it a target for criticism but also gave it the attention it deserved. Some say that the curved base at the bottom is awkward and doesn’t feel apart of the larger system the rest of the building employs. While to others it holds the other masses in place to give it a greater connection. At the time most office buildings were dull spaces and lacked natural light
“much more than a superb marriage of function and technological innovation” and “It is a superbly crafted object, refined in its every detail…that rarest of phenomena of our time, a working monument.” -Stern
“When functionalism in the United States was raw, red and steamy new it found few more devoted followers than Howe and Lescaze.”
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PSFS Detail
PSFS Detail
An Alignment The PSFS was chosen for its overall play with alignment. Alignment of the core, alignment of the massing, and alignment of the building faces that create a boundary physical or implied. Alignment has the ability to push a project into the public eye with huge moves, but it also has the ability to embed a second layer of meaning within the project. This second layer can often be found in the details, and within the big moves being the driving force behind the project.
The PSFS building, deals with alignment on all types of levels, and scales. First and for most the building’s massing has many moments that play with the alignment of the major masses to differentiate them as they host different programs, and sometimes hide their hosted functions. The most obvious and interesting case of this, is the break of frontal alignment along Market St. The emergence of a separate program type within the building shows itself by breaking past the front of the building to cantilever 6’ over the side-
walk. This cantilever then goes up the rest of the building height, unlike most tall buildings, where the massing steps back the higher is goes. While on other faces of the building the PSFS chooses to follow this tradition of stepping back, the cantilever over market signals a significant change within the building. Why then, did Gorge Howe and William Lescaze choose to Cantilever 29 floors of the building over a Major Street? It was a way to show its modern construction
methods, modern design, and a shiny new space within the city of Philadelphia. This once instance of alignment, can be broken down into political influences, social influences, and theoretical influences. Howe and Lescaze played with alignment all through out the building. The core for example is placed at the end of the building, creating a spine like condition. The rest of the tower is aligned in an asymmetrical fashion breaking traditional symmetrical de-
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PSFS North Elevation
Real Estate Trust building, PA 1904
A Deeper Reading PSFS Detail
signs. This is much different than the cores of modern skyscrapers and towers of tray and even dating back to the time period the PSFS was built (later 20’s early 30’s). Most towers hou vse a core at the center of the building, as to provide equal access to all parts of the building. The design of the core then becomes a extremely calculated element which then effects the overall height and shape of the building. Placed at the center it has the ability to change in size with
the buildings needs (for vertical circulation). Why then, did Howe and Lescaze choose to place the core at the back of the building? The T shape was chosen and placed the core at the end of the building to provide: maximum efficiency for office tenants, to take advantage of a required party wall condition, and to show the effect of the modern horizontal slabs stacking one after the other.
The PSFS building reads as a multifunctional tall building with simple but relatively complex massing. This is in stark contrast to buildings being built in that era. Most tall buildings at the time housed few large changes in the facade through out the height of the building. Any changes in facade were done with decorational elements ( cornices, etc‌.) They also followed a strict stepping massing as the building reached new heights. This was in conjunction with structural reasons, technological reasons, and theoretical reasons. The PSFS seemed to break all three of these (seemingly) rules at the time. While many other buildings had the ability to host multiple programs within, it was very hard to tell other than storefront glazing placed at the bottom of the building. This was due to traditional
design styles that seemed to favor a uniform facade type that even when stepped back remained largely the same giving no hint at any difference that might lay behind the facade. The PSFS shifts back and forth in its massing to delineate changes in program behind the facade. This creates a dynamic facade that is stripped of ornament and relies on larger simpler moves to make its statement. The PSFS building can be linked to many ideas that are common practice to todays standard. The modern design was one that led the way for technological innovations for office tower design. The most notably was the use service floors, to free up space on the roof and to better maintain the systems through out the life of the building. On the
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third floor lies a structural and service based floor. Floor to floor trusses take up the majority of the floor, allowing room for mechanical equipment, and were used to hold the banks vaults. On the 21st floor lies another service floor for mechanical equipment and storage. The rest of the mechanical equipment is placed on the roof. This three part system allows for uses of other functions within the service floors but also allows for easier flow of AC to run all through out the building. For which the PSFS building was the second tall building to have AC on all levels, which inevitably was used as a selling point for the modern office space. The building also was one of the first to use a drop ceiling grid, which was used to efficiency purposes but was thought of as a second way to divide the space within. All of these sometimes boring innovations lead it to be the model for modern office design in the 30s and 40’s. One of the more interesting features the building has is the main program (the banking hall) is lifted off the ground level and placed on the second level. This makes the user enter via a large triple height space and walk up a grand stair or take the escalator. This space was thought of as the threshold between the public and bank, therefore a lot of attention to detail was placed on this transition space. Naturally, the space is cladded with lavish materials and stripped of almost all ornament to showcase the building stance on modernism. At the time it was not common to enter a building and immediately be forced to go up a level to the buildings main function. This strategy was used in part to open up space at the ground level for retail which was thought to be the most effective placement, but also to create a dramatic effect upon entry for the bank. As to say, the PSFS bank is something new, something better, and something above the rest, which requires a send layer of entry from the building.
Entry in mass relation to banking hall
Entry study -Lescaze (Fuller)
some time. This brought the building a lot of attention and praise in the city. Over the years the PSFS building became a sort of city Icon. Mostly because of the 3 story tall sign on the roof that reads PSFS. The neon sign is said to be been from 20 miles away and has became an integral part of the cities skyline. In fact so much so as I mentioned earlier that when a new tenant tried to take it down, the city lobbied together from stopping the action and got the new tenant to keep the famous sign in place.
The PSFS building was the first international style building in America, it also was the tallest building in Philadelphia for quite
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PSFS Detail
A Critique PSFS Detail
The PSFS building as said many times through out this analysis was the first international style building, a style it cannot escape. While ultra modern, ultra practical, it remains ultra international and seems outdated to todays standards. Whether is be the excessive use of ribbon windows or the large curved mass, both of which were distinctively modern and international style moves. While the style of many buildings can be seen, the PSFS’s style seems to date it permanently. Even though the building as a whole has stood the test of time and still boasts many of the original features and materials as much as 80 years later.
One of the most distinctive features of the PSFS building is the large curved mass the rest of the building rests on. This feature has been criticized as being awkward in the past, for it seems out of place when compared to the rest of the strictly rectangular massing. This however is not the aim of critique for the curved base. The move to turn the corner in a curved fashion was to address the city life at the time. When designed the intersection between 12th and market, was busy. It was in fact a subway stop, a popular place for the public. Howe and Lescaze chose to round the base for two main reasons:
To engage the flow of the city by having the actual building itself round the corner as to direct traffic around the building. As well as to emphasis the seemingly continuous horizontal windows. A move that will be exhaustively repeated through out the building. The curve is not large enough by itself to direct flow or imply a intrinsic engagement at the ground level. The main entrance of the banking space seems largely disconnected from the “flow” of the curved base.
connection the rest of the building almost always strictly abides by. This begs the question about the justification of the curved base as a way to engage the flow of the city. Was it attempting to engage the city by letting people flow around it, or was it just more of a compositional strategy mentioned earlier “rectangular cubes held in place by a round corner piece” . (Riozzoli) One that Lescaze because noted for in his later works.
While this was done to separate the two, It breaks the continuity of massing to program
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Typical PSFS Office Plan (Fuller)
Perkins + wIll Office Plan (Arch Daily)
Floor Stacking Effect
The core or spine of the building gave the design a way to be ultra practical ( as aimed by Mr.Wilcox) and let the rest of the buildings masses acts as ribs in comparison. While this at the time was thought of to be an example of high efficiency design, it often leads to awkward subdivision of spaces off the central spine. This problem only becomes apparent in the office floors above, and ultimately lead the downfall in vacancy among the office tower. Two/thirds of the core carries vertical circulation and other sensible vertically aligned programs (restrooms, mechanical
shafts, etc..) the end of T wings houses small meeting spaces and other rentable spaces which are disconnected from the rest of the main rentable space. Over the years the T shape originally designed for maximum practicality proved to become out of date for future tenants. This was in part because of the placement of the core. Placed at the end it presents awkward divisions for tenants who are not willing to rent out the entire floor. Perfect for offices willing to embrace open office typology if the rent an entire floor, but too narrow for offices only wishing
to rent a portion of the floor, and by todays standard sometimes too narrow even if the whole floor was to be rented. The PSFS building is largely made of up of a series of horizontal planes stacked relentlessly atop each other with minimal relief. This effect this was to emphasize the buildings take on modernism, allow equal light into all of the spaces, and to provide maxim efficiency for office layouts. While the regularity of stacking floors promotes efficiency through out the building. The
stacking effect creates a emphasis on the visual differences on the outside of the building (where the stacking changes) it is hardly felt on the interior. That is to say the ability for relief in stacking to showcase a special part of the project is only used on the outside and is neglected as a strategy on the interior. A change in the vertical staking read on the interior would break the mundane nature the repeated floors plates create and being to talk more with the kind of massing complexity the exterior has.
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A Departure
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After a analysis of the PSFS building, it becomes clear what could be done to create an additional layer of meaning in the project, and overcome of the buildings short comings, that initially or gradually revealed over time. The first being to explore a new placement of the core or cores to increase the buildings regular usable space and allow the building to to act more dynamically on in the inside.
PSFS Detail
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Expand on Howe and Lescaze’s initial idea about allowing the public to flow around the building at the ground level. Instead of simply rounding the base it could be thought of to lift or cut away a portion of the building at the corner to allow for a uninterrupted flow around the building. This would still allow for ground floor retail space, and could use the cut away space as a sort of extension or plaza like area. It would also still allow for the main program to be placed above and give the user a more direct feeling that they are above the ground floor instead of just implying being lifted through the use of a dramatic entrance.
PSFS Detail
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Expose, and break the relentless stacking on the interior of the building to attempt to create a more dynamic building on the inside instead of just the exterior of the building. This would also allow for more variation of spaces within the building giving more flexibility for different types of tenants.
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The fourth would be to replace the ribbon windows with a more suitable curtain wall and allow the facade treatment to create the stacking and expose the variation of stacking on the new interior of the building.
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BIBLIOGRAPHY
CREDITS
01
AD Classics: Salk Institute / Louis Kahn.” ArchDaily. N.p., 27 May 2010. Web. 08 Nov. 2016.
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“Clio’s Calendar: Daily Musings on Architectural History.” Clios Calendar Daily Musings on Architectural History.
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“Exemplar of Sustainable Architecture: 1315 Peachtree / Perkins+Will.” ArchDaily. N.p., 08 Mar. 2012. Web. 15 Nov. 2016.
04
Howe et al. “The PSFS Building: Philadelphia, Pennsylvania, 1929-1932.” Perspecta, vol. 25, 1989, pp. 79–141. www.jstor.org/stable/1567140.
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Hubert, Christian, and Lindsay Stamm. Shapiro. William Lescaze. New York, NY: Institute for Architecture and Urban Studies, 1982. Print.
06
“Philadelphia Architects and Buildings.” Philadelphia Architects and Buildings. N.p., n.d. Web. 01 Dec. 2016.
07
Prudential Fox & Roach. “George Howe Designed Home in Chestnut Hill for Sale.” Philadelphia Magazine. N.p., 26 Nov. 2013. Web. 08 Nov. 2016.
08
“PSFS: Modernism Remaking the Workaday World.” PhillyHistory Blog. N.p., 13 May 2014. Web. 01 Dec. 2016
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Author: Chase Ashley
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Thesis Advisor: Yaohua Wang USC School or Architecture 2017 A special thanks to Colin Kiener who provided personal photos and extensive research that he conducted at an earlier date. All drawings not referenced are orginal drawings
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Romero, Melissa. “PSFS, the Barnes, and Vanna Venturi House among 125 Most Important Works of Architecture.” Curbed Philly. N.p., 29 Sept. 2016. Web. 09 Nov. 2016. Stern, Robert A. M. George Howe: Toward a Modern American Architecture. New Haven: Yale UP, 1975. Print. Webber, Maura. “Court orders PSFS building value be lowered to $9 million in 1995.” Philadelphia Business Journal 26 May 1995: 6. Business Insights: Essentials. Web. 9 Dec. 2016. William h. Jordy. “PSFS: Its Development and Its Significance in Modern Architecture.” Journal of Society of Architectural Historians, vol 21. No. 2 May 1962
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CHASE ASHLEY USC School Of Architecture