27 December 2005

Grant Medical Clinic -- article pt. 1


Armstrong's Grant Medical Clinic of 1938 located at the intersection of North Taylor and West Pine in the Central West End.

This article "Architecture for Use -- Streamlining a Physician's Office" is as much a description of good design applied to a doctor's office as it is excellent P.R. for both the architect and the physician.

While an entry with so many steps would never be allowed in front of a medical office, the article does explain the reason for raising the Waiting Room (and the entire clinic, for that matter) above street level. Doing so provides privacy, respite from traffic noise, and better views.

From today's perspective, the interior of the office, exam rooms, etc. would be appropriately described as functional, it seems unlikely that the Grant Medical Clinic's exterior would today be consider an example of functional design. Of course the connotation of that terms has reversed itself completely in less than one hundred years.

At that time, creating architecture that was "functional" by focusing on "use" and by employing techniques of "streamlining" was considered advanced, progressive, and optimistic about the future. Today, the term "functional" has been so seriously degraded that calling a building is functional is generally perceived as pejorative.


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

Grant Medical Clinic -- article pt. 2



Armstrong's Grant Medical Clinic of 1938 located at the intersection of North Taylor and West Pine in the Central West End. The building address is 114 North Taylor Avenue, as noted in the text of the article.

There are many features incorporated into the Grant Clinic that we today in the early twenty-first century take for granted. In the 1930s, many of these elements were in the process of being worked out. A good example is the photograph and caption here noting the window that allows the secretary to see into the Waiting Room. Its hard to imagine anyone even commenting on such a configuration for the receptionist in the past fifty years. Providing built-in cabinetry in the examination rooms is similarly an unremarkable, standard feature.

The comment in the first line about "pure functionalism" also seems anachronistic. Compared to today's 'Doc-in-a-Box' standard for physicians offices, the Grant Medical Clinic is a work of art with more than enough material and formal richness to satisfy anyone insured by an HMO. In truth, Armstrong's design is luxurious compared to many of today's doctor's offices.

Even excluding the use of materials, just the provision of natural light and view in the Waiting Room is a definite rarity. Certainly providing more space than is absolutely necessary is anathema to today's streamlined, efficient treatment centers. But the idea of spacing the chairs apart in the Waiting Room to provide for an added level of patient comfort and privacy, beyond being inefficient, would be eliminated on the basis of being unsustainable and therefore immoral.

Of course, we know better than to provide something as filthy as a fireplace in a place devoted to health.

Unfortunately, the same can be said of the examination rooms. Armstrong carefully and intentionally ensures that each Exam Room is located on an outside wall allowing for natural light and ventilation(!). He is similarly concerned with the interior relationships and functions of the office to position the Examination Rooms in a semi-circle around the main desk. Today's exam rooms are more likely to be down a narrow corridor, in a space with no natural light nor natural ventilation; an exam room's size is typically determined by the diagonal placement of the examination table with space for the patient, cabinets, and physician seeming to be a secondary consideration.


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

Grant Medical Clinic -- article pt. 3


Armstrong's Grant Medical Clinic of 1938 located at the intersection of North Taylor and West Pine in the Central West End.

While the canopies that protect the windows in the rear section of the building (where the examination rooms are located) relate to the canopies used on the front, the feeling, expression, and form of them is rather different. A major reason for this is the fact that the canopies run straight across then stop before turning the corner.

While the defined brick masonry volumes of the building are "intact and whole" in the primary portion of the building (i.e., their faces are not broken up into separate planes), the suspended examination rooms at the rear are clearly divided into separate planes with the East facade revealing the moderately sloped roof behind it rather than maintaining a consistent parapet wall height.

The top of the parapet at the North and South sides of this projecting portion of the building is lower than the adjacent brick masonry portion. The supports for this section are cast-in-place concrete rather than brick masonry, so its appearance and character are quite different.


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

Grant Medical Clinic -- examination room


This example of an Examination Room at the Grant Medical Clinic illustrates many of Armstrong's concerns in thinking about medical care.

The glass blocks provide a great deal of natural light as well as privacy. The operable window (with curtain) provides for fresh air ventilation and maintains privacy.

There are external operable canvas awnings that can be adjusted from inside to control direct sunlight that might cause glare.

To a reasonable extent, Armstrong has attempted to fit all of the cabinetry and built-in furniture on a consistent basis. The exam table is positioned as high as possible below the sill for the glass blocks.

There is a continuity of material, dimensions, and proportions in the built-in cabinetry that suggests the idea of a system (now commonplace). There appears to be slots, drawers, niches, and other places for the doctor, nurse, and patient's convenience.

The sink almost fits into his dimensional scheme. The angled position of the mirror in the corner is somewhat awkward, but Armstrong's design required a series of uniquely designed rooms, due to the combination of radial and rectilinear geometry.


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

20 December 2005

McCall Office & Residence -- entry


Armstrong's design of 1941 for the home and office of Dr. McCall on Manchester Road. This entry faces the residential side street.

This building has been remodelled for use as an office by the accounting firm Poppen & Associates.


Photograph by Hedrich-Blessing.

McCall Office & Residence -- corner view


Armstrong's design of 1941 for the home and office of Dr. McCall on Manchester Road. The thick brick wall and landscaping at the corner provide a sense of privacy and separation from the traffic and noise of the busy street. The office entrance is on the far left (hidden in this view). Mrs. McCall is standing at the gate opening onto the residence entrance court.


Photograph by Hedrich-Blessing.

McCall Office & Residence -- Popular Home, p.1


Armstrong's design of 1941 for the home and office of Dr. McCall on Manchester Road. This is the first page of an article about this project in Popular Home magazine.


Photographs by Hedrich-Blessing.

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

McCall Office & Residence -- Popular Home, p.2


Armstrong's design of 1941 for the home and office of Dr. McCall on Manchester Road. This is the second page of an article from Popular Home magazine.


Photographs by Hedrich-Blessing.

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

16 December 2005

Wichman Shop -- proposal


Armstrong's rendering of a proposed free-standing shop for the Wichman Nursery to be constructed in Webster Groves. The drawing appears to have been drawn in the years 1931-32. This version of the shop remained unbuilt.

The contrast of the fully glazed entry with the massive brick masonry block behind it is rather stark. The location of built in planters near the glazing in each case starts to lend this dichotomous design some coherence. The landscaping indicated, vines growing up the wall, and planters overflowing with greenery at the roof level suggest the passage of time and the notion that perhaps the solid block was a ruin that's been rescued from nature. The two relatively small corner windows make clear that this volume is of modern design since no allowance has been made for structural support of the brick masonry above.

The carved wood moldings creating the fascia for the glass entry provides some visual relief from the almost industrial austerity of the glass walls below. Again, no structure at the corners appears to be indicated, suggesting that this roof could be cantelevered from within.

The use of an overscaled molding like this isn't unique in Armstrong's oevre. The Goldman Bookstore of 1933 exhibits a similar molding used repetitively to achieve a quite modern horizontal banding, unlike the more traditional architectural applications of moldings of this sort.

The carved wood fascia above the glazed entry has a suggestion of lightness and floating not at all evident in the masonry block behind. Similarly, the built design employs massive surfaces of brick that appear to float over the horizontal glazing for the shop.


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

Wichman Shop and Residence -- rendering


Armstrong's revised design for the Wichman family (of 1932) includes their shop on the ground level and their residence on the floor above. The lower level is a relatively simple block with plain brick surfaces interrupted by modern style glazing. The upper level is a kind of Tudor style home constructed of heavy timbers with stucco infill. The variety of hipped, gabled and shed roof designs constrasts starkly with the horizontal coping topping the shop. The demarcation of the home from the business is clear and essentially absolute. Only the small shed roof at the ground level indicates the entrance to the residence above.

Here there is literally a collision in terms of the style, composition, and details of the upper and lower levels. The ground floor is a relatively plain, rectangular brick masonry structure with a strong horizontal emphasis. Large plate glass windows emphasize the horizontal orientation.

The areas exhibiting more detailed carving are located in the thick ornamental lintel over the main entry and the similarly designed blocks located at the corners. These elements are detailed in such a way as to suggest that they are not load bearing and are in fact applied ornament. In the case of the lintel, the two sides of the carved beam do not extend over the brick walls at each side, instead they match the width of the opening below. The ornamented blocks at the front two corners appear to be thick chunks of wood which look as if they would be crushed by the mass of brick masonry above.

In reality, there clearly must have been concealed steel lintels to support the brickwork over the glazing and steel posts at the front two corners to support the weight.


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

Wichman Shop and Residence -- photograph


Armstrong's 1932 design for the Wichman's ground floor shop and upper level residence as depicted in the printed literature of the Wichman's Landscape Nursery business.

When compared to the design drawing, there are a few relatively minor, but nevertheless noticeable differences. The lintel over the main door has the family name, "Wichman", inscribed in gothic lettering. The lintel here does bear on the brick masonry at each side (perhaps by only four to six inches. The carved wood blocks at the front corners depict a stylized vine and floral pattern.


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

15 December 2005

Mays Residence and Office


A proposal for a residence and office for Dr. F. G. Mays to be constructed in Washington, Missouri. The project remained unbuilt. From the design, composition, rendering style, and Boyer & Armstrong attribution, I believe it would have been done around 1931. At that time, Boyer & Armstrong were partners.

The residence is shown prominently at the corner, while the office structure appears to be located in the background behind the tree. There is a noticeable difference in style, detail, and composition between the house and office. The house is clearly conceived as the more prominent structure and has received a great deal more attention with respect to detailing, elaboration and expense.

Dr. May's office seems quite unassuming in comparison. Although the horizontal banding running through the office structure aligns with the eaves of the residence, and the windows seem to be of the same type, there doesn't appear to be a strong relationship between the two structures.

This combination of residence and business together is something that Armstrong created for several clients during the course of his career. An instructive comparison, of a comparable date, would be the Wickman Residence and Shop.


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

14 December 2005

Wieneke & Rutledge Medical Building


Armstrong designed this medical office building at 227 North Kirkwood Road in 1941 for Dr. J. Wieneke and Dr. P. Rutledge. This building is no longer extant.

Oddly, another medical office building, brick with metal spandrel panels, was later constructed nearby (probably in the 1950s). This later building was four stories tall, but had a facade at the ground level with many features mimicking Armstrong's design.

For example, the cantilevered porte-cochere was repeated with aluminum coping in place of wood. The built-in planter with glazing above was also used along with the 'L'-shaped wall surface along the bottom and left side of the facade. It appears to be highly unlikely that this building was remodelled as described.

I'm guessing that perhaps this building was demolished as part of the development of this part of the street and Dr. Wieneke and Dr. Rutledge agreed to move into the new building if they could retain certain features. If anyone knows whether this is in fact what took place (or something else altogether), I would greatly appreciate input and feedback.


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

Wieneke & Rutledge Medical Building -- sketch


Perspective sketch of the Wieneke & Rutledge Medical Building in Kirkwood, Missouri designed by architect Harris Armstrong in 1941. This perspective was hand drawn by Armstrong on the title page of the specifications for the construction. Lines indicating where shadows would fall have been shown, but no toning of the drawing has been done.

The arrangement of planters, cantilevered roof, and climbing vines gives a very clear indication of Armstrong's intention. While the building is abstract and geometrical, the planters and vines indicate and frame the entry (for both vehicles and pedestrians). The photograph of the built structure is not as explicit in this regard.


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

13 December 2005

Hampton Medical Office -- FOR SALE (Dec 2005)


Post-Dispatch notice announcing the construction of the new medical office building for Dr. Henry E. Hampton, dated 26 November 1961. Armstrong had designed Dr. Hampton's previous medical building in 1941 which was located at 2328 Market Street (no longer extant). Armstrong also designed Dr. Hampton's residence in Richmond Heights, also from 1941.

The building, located at the corner of Jefferson and Pine is now listed for sale with Coldwell-Banker. You can view more information regarding the sale here.

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

Harris Armstrong commercial building -- for sale


This building, designed by Harris Armstrong in 1961, is listed for sale by Coldwell-Banker. It is located at the corner of Jefferson and Pine across the street (toward the East) from A. G. Edwards.

The street address is 2345 Pine Street, Saint Louis, Missouri 63103.

You can visit the real estate listing here.

Photograph courtesy of Coldwell-Banker.

Hampton Residence -- 1941


This home was designed for Dr. Henry E. Hampton by Harris Armstrong in 1941. Armstrong designed Dr. Hampton's medical office building at 2328 Market Street (no longer extant) in the same year.

This home is located in Richmond Heights and has a new owner working on improvements to correct some unfortunate modifications made over the years.


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

06 December 2005

Weekend Mountain Cabin -- rendering


Harris Armstrong's unbuilt design for a "Weekend Mountain Cabin". Drawn about 1945 for an exhibition at the Saint Louis Art Museum. I suspect that the design is a fantasy based in part on an idea he returned to repeatedly: the carved totem pole. Here, a structural column becomes a symbolic marker topped by a carving of an owl.

I can't be sure which came first, but the cabin in the woods that Armstrong built in 1945 south of Saint Louis (in DeSoto, Missouri) called "The Rockpile" clearly shares part of its genetic heritage with this design.

The composition of this small cabin clearly relates to the earlier unbuilt scheme for the Wasson Residence. However, the forms here have been simplified and the elements organized with a much greater degree of skill and control. Its likely that the lack of a program or client allowed Armstrong to fullfill the poetic expression of the earlier, larger home design without the nearly overwhelming sense of monumentality and dominance over nature. Here, nature, architecture, and building all seems to work harmoniously together for their mutual benefit.

Its possible that the subtly Armstrong expresses in the sketched rendering is an aspect of his natural ability to draw and envision structures and to suggest their relationship to the natural surroundings. Similarly, the perceived weaknesses of the Wasson Residence model may in part be explained by the method and means of presentation, in addition to the other factors already suggested.


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

Weekend Mountain Cabin -- plan


Harris Armstrong's unbuilt design for a "Weekend Mountain Cabin". Drawn about 1945 for an exhibition at the Saint Louis Art Museum. I suspect that the design is a fantasy based on an idea he returned to repeatedly: the carved totem pole. The pole here is a structural column located on the diagonal axis opposite the fireplace. A corner of the table is clipped off to allow for the column / pole / post.

The concept of this cabin in the woods was realized by Armstrong in "The Rockpile" which has certain features in common with this design. In the case of the Rockpile, the post is transformed into a tree (existing on the site).


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

Wasson Residence -- model


A decidedly modern development of the ideas suggested by the sketched "Summer Residence". Here the symmetry of the house design is dramatically emphasized by the diagonal axis which here divides the massive masonry chimney and runs out at a 45 degree diagonal through the corner picture windows out across the terrace and into the distance. The corner of the terrace with low built-in planters wrapping it juts out like the prow of a ship cutting through the stone cliff.

This model for the proposed residence was exhibited publically and described as a magestic site over-looking the Mississippi River. The newspaper account of the exhibit waxed poetic about the integration of the house and the landscape. Perhaps viewing the model first-hand rather than as depicted in this photograph, taken directly on the axis of symmetry, gave the house design a more natural, picturesque aspect. I see primarily the combined influence of Frank Lloyd Wright (geometry, axiality, and glazing) and the Beaux Arts (rigid symmetry, monumentality, and formality.


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

Wasson Summer Residence -- sketch


This quick sketch reveals something of Armstrong's method for drawing and architectural composition. Here the setting and landscape are only barely indicated, but many details of the proposed design are evident.

This somewhat strange log cabin is a blend of kitsch, modernism, and naturism. While the visual presentation is traditionally picturesque, the roof slopes are about as shallow as they can possibly be with this kind of construction. It appears that stones are laid over the roof shingles to hold them in place. The structure seems to be designed with an overall formal, symmetrical configuration, which is somewhat at odds with the intended naturalistic references.

Rugged stone masonry appears where the structure meets the ground, a typical detail found on many such rural structures. However, the massiveness and formality of the stone masonry suggested by the two planters surrounding the main entrance, the two short, stolid chimneys, and the buttress-like elements at the East screened porch, suggest that something more hieratic is at work. The darkest parts of the drawing are the plantings spilling out of the stone planters, highlighting their significance.

The interlocking logs expressed at the corner combined with the horizontally configured windows makes for a juxtaposition which spans time, materials, methods, and space. When seen together with the shallow gable and the almost art deco wood carving suggested, the house seems an improbably mixture of irreconcilable opposites. The progression from stone masonry on the ground, to stacked logs, to open expanses of glass and screen, and capped by the lightest wood framing possible is to span from archaic building technology to 20th century suburban modernism in the span of about ten feet.


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

24 November 2005

Armstrong Residence III -- southeast


The home Harris Armstrong designed for his family in 1951. It is essentially a rectangular volume clad with wood and perforated by glass. The large clear glazing toward the right corresponds to the double-height Living Room.

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

Armstrong Residence III -- pool & rear yard


This home is the last of the three residences Armstrong built for his family. Armstrong designed this one in 1951, just a few years after his studio down the lane was completed.

The lap pool is located on the west side of the rear yard. The extensive glazing on the south side of the house is protected by several methods: roof overhangs, trellis elements, and deciduous vines growing up the trellis and wires.

The pool is located at the southwest corner of the house. Beyond the pool is a brick masonry screen wall separating the carport from the rear yard. Firewood can be seen stacked on the flat roof over the carport.


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

22 November 2005

Magic Chef Building -- HA logo


A detail of Harris Armstrong's t-square and triangle logo carved into a stone column base at the Magic Chef Building (1947). Armstrong designed the building for the American Stove Company as their national headquarters.

Today, the building is used as a U-Haul storage facility. Most of the facades have been encased in corrugated metal siding).


Photograph by Andrew Raimist.

13 November 2005

Invitation to Harris Armstrong talk


An overview of Harris Armstrong's architectural career, roughly in chronological order, from bottom left (1930) to upper right (1962).

The structures pictured are:
- 40-Story Tower (1930)
- Shell Gas Station (1934)
- Cori Residence (1935)
- Shanley Building (1935)
- House to be Built in Moberly, Missouri (1937)
- Graham Residence (1941)
- Scruggs-Vandervoort-Barney Interior (1946)
- Magic Chef Building (1947)
- Stockstrom Residence (1949)
- Andrews Residence (1950)
- Epiphany Episcopal Church (1960)
- Ethical Society (1962)

The overlapping triangle and t-square was Armstrong's logo. It was derived from his first initials turned into architectural drafting tools.

12 November 2005

Monday Club, 1932


Monday Club
37 South Maple Avenue
Webster Groves, Missouri
Designed and built in 1932


Armstrong added to and remodeled the smaller existing Monday Club structure that was already present on the site. Armstrong's addition includes the two-story portion toward the West including the new entry facing East Cedar Avenue. The original entrance for the older one-story portion of the building remained in place facing East at 37 South Maple Avenue.


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

10 November 2005

Armstrong Architectural Office -- drafting room


This view looking along the length of the drafting room depicts the view Armstrong had sitting at his desk.

At his left were the large thermal pane glazing facing northward. On the end wall, Armstrong mounted Isamu Noguchi's plaster model for the ceiling of the Magic Chef Building. In this image, Armstrong is seated in the dark sweater below the model.

To the right, the exposed cedar columns are highlighted with counter, cabinets, and lighting.

The rendering against the right wall is for Armstrong's Cancer Research Center for the Washington University Medical Center. This project was his largest one to date (c. 1949).


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

Armstrong Architectural Office -- northwest corner


934 Singlepath Lane
Oakland, Missouri 693122

Harris Armstrong's Architectural Office (1948) was designed and built shortly after his success with the Magic Chef Building. By locating his studio at the bottom of the hill, it allowed him to move the office outside of his home, yet still be able to take a short walk to work.

In creating the pond, Armstrong addressed a critical problem with the site: it was prone to flooding and served as a drainage way along the South side of the Westwood Country Club's golf course. He took the site's major drawback and made it a wonderful opportunity to place the structure lightly above the ground.


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

Armstrong Architectural Office -- southeast corner


The overhang on the south elevation serves to protect the library and work room from the hot Saint Louis summer sun. Armstrong carved a channel into the base of the hillside to create the appearance of a stream flowing from behind his office.

Outside the back door, a punching bag hangs providing a means for letting off steam when necessary. Armstrong periodically had a bit of a temper.


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

09 November 2005

Armstrong inside studio


Harris Armstrong standing in the drafting room of his Architectural Office (1948). The large north-facing glass panes admit filtered light to the drafting room. The photograph appears to have been taken in the mid to late 1960s.


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

Armstrong inside studio


Harris Armstrong standing in the drafting room looking outward. The photograph appears to have been taken in the mid to late 1960s.


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

07 November 2005

Armstrong Architectural Office -- night view


A night view of Harris Armstrong's Architectural Office of 1948 in Oakland, Missouri.


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

06 November 2005

Armstrong Architectural Office -- floor plan


The architectural floor plan of Harris Armstrong's Architectural Office of 1948 in Oakland, Missouri (a suburb of Saint Louis).


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

Armstrong Architectural Office -- mechanical plan


Mechanical plan drawing of Harris Armstrong's Architectural Office of 1948. The darkened rectangles represent radiant heat panels installed in the ceiling providing the primary heat source for the office.


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

Armstrong Architectural Office -- west elevation


Elevation drawing of Harris Armstrong's Architectural Office of 1948. The central glazed section indicates the main entry. To the right, the tongue and groove wood siding is set vertically. To the left, the siding is set diagonally, providing stability for racking. This use of diagonal boards in modern architecture is often considered to be decorative. In truth its based upon a tradition method of sheathing wood walls, floors, and roofs with individual boards prior to the advent of plywood. These boards provided bracing for its wall.


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

04 November 2005

Armstrong standing on bridge


Armstrong standing on the bridge to his architectural office. This photograph was most likely taken in the 1950s. Toward the left, the bridge crosses over the pond and toward the right where it meets the ground, it connects to a path leading up to the Armstrong Residence at #3 Sappington Spur.

Note the mailbox custom fabricated with Armstrong's new logo designed by Peter Geist.

The cantilevered entry canopy leading to the entry is an Armstrong signature. He would often extend such canopies to visually indicate to visitors where the entry was located, to provide protection from the elements, and to protect the glazing around the entry from intense sunlight.


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

01 November 2005

"Seasons Greetings from the Harris Armstrong's"


A blueprint of a perspective sketch of Harris Armstrong's Architectural Office (1948)was sent by the Armstrong's as a holiday greeting. The sketched image (by Armstrong) is printed "reversed" in the sense that the very whitest areas indicate the darkest shadows. This method is the traditional "blueprint" which today is rarely if ever used (initally replaced by "blueline" and "blackline").



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

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.

27 September 2005

Harris Armstrong -- sign with logo


Office sign with architectural logo.
Graphic design by Peter Geist.

Armstrong's logo, the t-square and triangle, create an architectural symbol, while simultaneously forming his initials H and A. Peter Geist, an associate of Armstrong's, designed the sign for his office using a de Stijl palatte around 1947. The composition borrows a bit from Mondrian, but uses it to much different effect.

Armstrong seems to have created the t-square and triangle symbol for himself in the earlier years of his practice. One of his trademarks was a desire to incorporate his initials into his projects where possible. This tendency shows up in early sketches from the 1930s through projects completed in the 1960s.


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

24 September 2005

40-Story Tower -- rendering


Harris Armstrong's 1931 rendering for a forty story tower to be inserted between two existing buildings in downtown Saint Louis. The rendering is signed "Boyer & Armstrong Architects", but was clearly drawn by Armstrong. For comparison, see Armstrong's contemporary renderings for other Saint Louis projects: a proposed high-rise on Lindell Boulevard, a design for a country club, and an unbuilt modernist residence.

Alexander Boyer was an engineer and business partner of Armstrong at this time. At this point, Armstrong had several years experience as an apprentice, but needed to collaborate with someone with professional, commercial building credentials to attempt larger commissions.

Although this high-rise was not constructed, they did produce other tall structures in the Midwest (for example, see their Wesley Temple Building in Minneapolis).


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