Architectural Photography

Author(s): Cervin Robinson

Source: JAE, Vol. 29, No. 2, Describing Places (Nov., 1975), pp. 10-15
Published by: Taylor & Francis, Ltd. on behalf of the Association of Collegiate Schools of Architecture,
Inc.
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 ARCHITECTURALPHOTOGRAPHY
7p
Complaintsabout the be hinted at. The picturewas probablytaken
with a lens which would have distorted the
Standard Product forms and spaces shown. (The precise form
of this distortion is open to more than one r- --.4V ?

-q I'

interpretation;the question of how to inter-

pret it is one properly dealt with, not here,
A feeling of dissatisfaction with the way but in my forthcoming article, "JimmyDu- SANDY WILLIAMS%
SISTERS
new architecture is seen in professional rante's Nose and the Scala Regia of the r-,•LENHOH
photographs has existed and probably Vatican".) wusni
.
grown for what must by now be some o...

decades. This feeling, persistent but mild Typically the architectural photograph is
and largely unfocused,is directedspecifically taken in brilliant sunshine on a rare, deep-
at the way new buildings appear in the blue-skiedday. Interiors have been tidied as
magazines and books that are the principal they may rarely be in reality; furniture has
vehicle for architecturalphotography.There been carefully aligned. The picture is un-
is a discrepancybetween the image and the likely though perhaps more likely now than
reality. It's not a question of lack of skill on twenty years ago to show much of the
the part of photographers;on the contrary, neighborhoodof a building.There is a good IWO
it's more a questionof skill seemingly misap- possibility it may include no people.
I- ?
plied-though no one thinks there's any- ;
thing intentionally sinister afoot. If askedto explain why he photographs as he
does, the architecturalphotographer could
Three particular points of objection that justify most of it in the name of clarity.The
might be raised to the photographs are wide-angle lens he uses helps distinguish i
these: planes in his picture; it tends to play down :,"
distractingsurroundings;and,when his back
1) A point of view cannot be distinguished is-up against a wall, it allows him to show
as the photographer'sas distinct from the more. Furniture that is out of line will be
architect's. The photographer is always more distractinglyapparentin a picturethan
the architect'shandmaiden,to the point in reality;people who are asked to hold still
where magazinesdo not hesitate to share for a photograph are likely to appear dis- iF '\tb
~
""
-

the photographer'sbill with the architect tressingly unnatural.The building which is

(though they would hardly share their
critic's with him). Professional architec-
his main subjectmay standout clearlyonly if
neighboring structures do not appear with
\~~ .,
. ..=
turalphotographersdo not even have the equal prominence and clarity.
saving grace, if it be that, of the fashion
photographer'sirony. The light he uses reveals and distinguishes
forms and surfaces as light from another T'he Professional Standard
2) Even when he is not a spokesman for the direction or as diffuse light from an over-
architect, the photographer tends to cast sky could not. Where several picturesof
show, the disgruntledfeel, only what will one building are taken, each under a differ-
make his photographs attractive-that is
ent sky, the varying lighting conditions can
to say, only a fractionof what constitutes
a total building;thereafter,the magazine distract;and a building photographedunder
overcast skies may not be fairlydealt with if
writer, in using the pictures,is limited in
making points to those that the photo-
it and another taken in brilliant sunshine
are juxtaposed.What is supposed to appear m aloEo
"iWl nnl]]lllli
?
graphs support. with clarity are buildings, not the particular -
3. Finally (and for this photographer is not
held responsible, since he is assumed to
circumstances under which they happened
to be taken.
!
;:;lllil,!
have no choice of subjects, but to be
i •
essentially a hired gun), what is illus- There is an alternative mode of architectu-
trated in architecturalmagazines is seen ral photographyused by editors taking their
as not representative of all the kinds of own photographs which is intended to be
architecturewhich are being done well, merely (or especially) objective. These pic-
but as limited to a very narrowspectrum tures are made under whatever skies prevail
of the buildings whose appearance (in and often show buildings in light which is
photographs) the editors of a magazine most unflattering.
have a taste for.
Such light, ratherthan distinguishing surfa-
It is true that the professional architectural ces one from another, emphasizes streaki-
photograph is a remarkablystylized thing. ness and blemishes. Differences in tone of
Not only does it really speak only for a material that are of secondary importance
particularinstant of time andof one particu- are emphasized. Overcast light is the light Cervin Robinson is Americanrepresentativefor
of hostile criticism (consciously or uncons- The ArchitecturalReview. He was a Guggen-
lar, sharply framedview, but it is unlikely to heim Fellow in photography in 1971-72 and has
have been taken under "typical,"averageor ciously). In the hands of editors who simply just co-authoredSkyscraperStyle: Art Deco
even the prevailing light at a time of day assume that what they see at the time they New York (New York:Oxford University Press,
when, say, the side of the building shown is take a picture will be shown articulatelyby 1975) with Rosemarie Haag Bletter. He is now
most likely to be seen in dailypractice.What the finished photograph-a common as- completing a book on architecturalphotog-
was behind the cameraor even just outside sumption in practice-such pictures are raphy and its techniques to be published by
10 the frame of the picturewill only sometimes merely slovenly. In the hands of the British Dowden, Hutchinson & Ross.

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 of "Outrage" in the 1950s,' such
editor,
hostile light became an effective weapon.
But, even used well, the "objective"editor's
is as stylized aitsthe professional
reode quite
photographer'smore o()ptimisticview.
=!1..
Several Suggested Cures
But the point, o)f course, is as much that of
shoiwing buildings as of facilitating articu-
late photography. Photographs are used I--
because, and only so long as, they seem to . )-
do a better job than do alternative ways ()of
presenting architecture.It is therefore more
than reasonable occasionally to consider
how w-ell photography is really doing the
.. .
job. .-...
.
,• •

The critic James Marston Fitch has made

some especially interesting remarks about
architectural photography, principally in :
two book reviews, moneof Paul Heyer,
Architects on Architecture,' the other of "•" ?" '
"
- "
Robert Venturi, Denise Scott Brown and ?'
;_: ;
.•
.:

Stephen Izen(ur. Learning from La.r Ve- L,. ..??

gas..i In the first he describedthe unsatisfac-
tory characterof architecturalphotographs
("It is always June for these buildings.
Moreover it is alwvaysdaytime,"etc). In the
second he suggested several alternative
routes that architectural photography
7I ircIc1, of arc(hitectural A erica(/acin
might taken in irder to improve its perfor- and inidd/c>. of 1968 ,
page. top one bh
mance. These were substantiallythree: Peter Schmidt enturi & Rauch.the
Vl
1) Instead ()f o)nly)the one set cof visual other of 1935 by Walker Evans. The
f.ir
perceptions fro)ma single vantage point Mlodernu'orld.:Ezra Stoller 1958 (facing
i. Re Co
that a present-dayphotograph provides, page. bottom SO,\VY .vletals
buiidinL at tRichmond, ynold'.
the recording should include all of the I'ir:inia.
sensations that enter into one's response Architect and riter G E Kidder Smith
to a building-motion, temperature,hu- (hbove. (iovanni GreppiI at
midity, so)undand so forth. Redipag/iL. froem IVtalyBuidis of 195.5 non
,f Sacr,1,riam
out print. Normlan McGrath
2) Alternatively, if the record must indeed hb.nsurdl
1967-./7lt) o. and
confine itself to the visual, it could be ,Ric/.ard lattncr'Y Dai-i.r
Brotd". l.rtce Lauder plant. Cervin
made a sort of databank, ie, the pictorial Robinson 1966 (bottom), I .11
recordwMuldhave the usefulcharacterof 1 "nive,'sity IPlaz,. Pe.r,
completeness and o)bjectivityof a set ()f
vertical aerial photographs.

3) Failing both these possibilities, Fitch

suggests a last desperate alternative:the example frequently offered. While the tell-
architectural pho)tographer could go ing objections to the use of motion pictures
about his work honestly and responsibly, foir illustrating architecture in classrooms
for a change, and show the bad news as are that they are too expensive to make and
that what each film can show would be too
well as the goo)d.
particular to suit any number of teachers or
Fitch's criticisms grow from his long-held the same teacher much nmorethan once, one
view that architectureis more than simply a suspects also that the Antonioni effect
visual, aesthetic matter: that emphasis on co(nes as much from nan idiosyncratic use of
the visual has distorted its perforrmanceand sound as it does from sensory completeness.
made buildings w~orsethan need have Perhaps the sound of wind or of a buzzing
the)"
been. So his remarks on photography are fly could galvanize any relativity static shot
made only by-the-way. Theyvare, neverthe- and induce a sense of place.
less, of g,'eater interest than one might
suppose, since each represents a long- The search for sensory completeness is
standing puzzlement over photography on clearly what has long encouraged the devel-
the part of its audience. opment of three-dimensional photography,
of color processes, of the motion picture
His first prescription would call, say, for and of the sound that goes with it. But in
color, sound and motion. Manyarchitectural general, new sensory dimensions that have
historians have felt that commercialmotion been added to photography have tended
pictures have communicated a only to spawn new art forms and technolo-
sense o)n occasioin
place the usual slides in a
o•f as gies-each form as fully abstract as the
classroorm coiuldnever have done. A scene simple black-and-white print. Motion pic-
from the Antonioni film Blow-up is an tures are used primarily for fiction. Color in 11

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 books and magazines is used to achieve only 92 photographs to cover the hemi-
richness and desirability in the publication sphere, or a mere twenty-four to show what
rather than accuracy in the rendering. the pedestrian could recognize as from his
Three-dimensional photography has found viewpoint. Fitch's calculation is rather like
its fullest use in aerial photogrammetry,ie, our determining the total number of state-
in mapping. ments that could be made about Learning
from Las Vegas or its subject matter and
Even where color motion pictures have then taking him to task for making the few
been used specifically to describe architec- he did, which after all filled only one
ture, the perspective tends not to confine magazine page.
itself to that of any actual viewer of the
building but to be that of a distractingly Rhetoric aside, Fitch is simply concerned to
restless camera or, as in the work of Lamo- find in photographs what he knows he
risse, the exotic perspective of a very special experiences in actual buildings. His final
helicopter flight. It has been the teasing prescription, that photographers simply tell
passage between what might just have been it as it is, assumes that they have the choice,
the pedestrian'sperspective and what could on the one hand, of just showing buildings
only have been the flier's that have been the as they look or, on the other, of prettifying
most successful in Lamorisse'swork. in order to falsify them (or in order to make
pretty pictures). This is a familiar belief:
Fitch's second alternative,that architectural the flattering portrait may be the one the
photographs be repositories of data, would sitter wants, but the inept one is understood
require their being drained of pictorial to be telling the unpleasant truth. What is
impact.The sort of thought that lies behind remarkable in this idea is not the thought The Editor's Mode
this use of photographs is suggested by the that subjects can be falsified in photo-
following statement, quoted in Melville graphs, which of course they can, but the
Branch'sCity Planning and Aerial Informa- faith that the camera, if we but leave it
tion: "[Amrom] Katz has calculatedthat a alone, can easily tell the whole truth. No
[9 x 9 inch] photograph provides ... a- skill is needed to record things as they really
bout 81 million bits of information.., if are, only to falsify them.
the photograph has resolution as low as 10
line pairs/mm based on 15 definable gray- There are, of course, some qualities in a
scale values."15 photograph for which the taker cannot
claim credit. When a print shows every
This sort of calculationdelights those who brick in a facade, it is no thanks to the skill
want photography and its users to put on as of the photographer that it does so, but
technological a guise as possible. Fitch instead to the quality of his equipment.
indulges in something of the sort in his However, if the photograph shows the
review of Learningfrom Las Vegas: "Con- facade with clarity or even eloquence, then
sider the following proposition: any build- that is a result of his skill. Nor are clarity
ing stands on a plane of 360* in circumfer- and eloquence merely frosting on what
ence and under a hemisphere of 180*. would otherwise still tell us all the facts.
Assume that it can be photographed only Without clarity and eloquence the facts are
from points one degree apart (an absurdity, simply not available to us. The vertical
of course: there are an infinity of points aerial photograph crammed with data is for
within each degree). This would mean that our purposes quite inarticulate, almost like
the photographer must choose a single a scrambled message. When by chance an
vantage point from among 64,800 positions aerial print makes our kind of pictorial
in space ..." and so forth. sense, that photograph may well be defec-
tive by the standards to which it was made;
The rhetorical content of such an exercise if it was not taken under unsuitable lighting
in calculation will be apparent if we note conditions to begin with, it may at least
that Fitch arrives at his figure by multiply- have been printed to too high a contrast. In
ing the arcs from horizon to horizon 360 architectural photography there is always a
times, thus counting each crossing of longi- distinction to be made between recording
tude with latitude twice with the exception facts and doing so in such a way that the
of that at the zenith, which is given special viewer can see them.
emphasis (it is, after all, the viewpoint of
the vertical aerial photograph) by being But, if the skill in photography lies in using
counted 360 times. Assuming that one- the camera eloquently, the essential act of
degree separations between views are satis- photography lies in the choice of what is
factory at the horizon, a figure of 20,600 photographed. Architects have paid archi-
might be more realistic. An actual applica- tectural photographers the (at least in-
tion of photography which Fitch's argu- tended) compliment of assuming that pho-
ment calls to mind is stereogrammetry as tography works as architecture does; ie, that
applied to the preparation of architectural it is not a question of what brief you fill but
measureddrawings.PerryE Borchersof the how you fill it. While Fitch's call to honesty
State University of Ohio, who practices the may simply mean that the honest photo-
technique, suggests that the smallest useful grapher is the one who proves Fitch's
angular separation between viewpoints is points, at face value it seems the equivalent
closer to three degrees.6 So the 20,600 of saying: have an honest photographer
might well be divided by 32. Or, arguing photograph a Playboy bunny, and then we
that the eyes can unite stereo pairs taken would find out what a day in her life was
12 almost 150 apart, perhaps one need take really like. And in fact he (and we) may well

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find that the architecturalmagazines do to CervinRobinson1969(facing
their subject in general what the skin maga- page,top), Kallmann,
McKinnell & Knowles' Boston
zines do to theirs. Each shows outstanding
City Hall. One hostile
examples of its subject matter photo-
photograph by Peter Blake
graphed so as to show off their best points. (facing page, bottom) from
In real life those examples must presumably his God's Own Junk Yard of
satisfy other and' broader appetites than 1964,Holt, Rinehart&
those of magazine readers. How well they Winston, and a set of them
really perform we never learn, even from by Ian Nairn from "Outrage"
the accompanyingtexts, on however full an of 1955.
experience of the examples shown the
editors mean those texts to seem based.

Just as the alternative to the Playboycenter- A hostile choice of

fold may not be so much a more accurate anonymous photographs laid
rendering of a bunny's day, or even a more out with hostility (above)
talented rendering of it, so much as it may from the November 1971
be an Arbus photograph, perhaps, or an ArchitecturalForum.
Avedon (a different immediatesubject,that Editor'sMode, subcategory,
The Sublime (middle), New
is, as well as a different point of view). So Yorkpublic housing (anon)
perhaps what is wrong with architectural and the fall of Pruitt-Igoe
photography is that we still assume what (Lee Balterman,Time/Life
the Luceempire long ago thought: that you Inc) as seen in the August
can hire the talented and apply them to 1975 ArchitecturalReview.
your briefs. Walker Evans 1936 (bottom),
South Carolina,MOMA
Though it does not have the same shocking collection.
character as the anti-fashion photography
that concentrates on the deformed and the
decaying, it happens that there is an alter-
native tradition to that of the standard
architecturalphotograph. This is the one
which includes the work of Walker Evans
and also of the "Townscape" (and proto-
"Townscape") editors of ArchitecturalRe-
view, starting in the late 1930s.7 Photo-
graphers David Plowden and Stephen
Shore may be thought of as working in the
tradition now, as indeed may the firm of
Venturi & Rauch in the photographs that
currently issue from it. This tradition has
two aspects. One of them tends to interpret
the present in terms of a heroic past or to An Alternative Tradition
show it as the decaying remains of a classi-
cal age. Its images may be taken with lenses
that compress and foreshorten objects and
spaces. If it is associatedwith a text, the two
are equal but quite separate-as in Let Us
Now Praise Famous Men. Its subject is a
national one.

In the alternative aspect of this tradition a

photographer/writer has happened upon
something about which he thought a point
might be made, and he has taken some
pictures for his readers' edification. The
perspective of the lens is a "normal"one.
The text may indeed make a perceptive
point about what is shown; alternatively its
tone can be knowing and elitist, sometimes
officiously so. The subjectmatter consists of
the remains of an older tradition of arti-
facts. They are still to be found,one is given
to understand, if you know where to look
for them, and one of the photographer/wri-
ter's points is that he does.

While historicallyconscious,both aspects of

this tradition put a special emphasis on the
place and year in which the photographs
were made. Where subjects and their dates
are identified, it is always made clear that
the buildings shown were all photogra-
phed recently, and the text makes one 13

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 awareof present-dayattitudestoward them.
The effect of all this is to emphasizeboth
the photographerand his point of view.
With or without a text, the viewpoint is
disinterested,wryor ironic(thoughit may
well be misinterpretedas compassionate).
Photographs in this tradition tend ulti-
mately to give us what we take to be the
authentic,magisterialsummaryof theirage.
However,in the sameway that we tend in
Americato call an architectureBrutalistor
dumb-and-ordinary which is in realitypic-
turesque,so this traditionof architectural
photography has tended to be called "docu-
mentary," though it too is clearly pictur-
esque.8And it maywell not representa way
out for architecturalphotography.Likethe
anti-fashion photography mentioned
above, it tells a differenttruth;9and its
usefulnessas applieddirectlyto new archi-
tectureis somewhatlimited,becausethen
its disinterestandironybecomeparticularly
apparent.

Changesand a Prescription
If the architectural photograph in the pic-
turesque tradition seems to accrue value
with passing years, at least as compared to
the standard professional photograph, the
latter undergoes a curious transformation of
its own with time. When a building is new,
a set of photographs is taken. A number of
these pictures will be used in the official
publication of the building in architectural
magazines. Thereafter, these journals may,
when a writer has occasion to refer to the
building, use one of the pictures to tell the
reader which building he is talking about. A
single picture may appear in books to pin
down a reference to the building.Often the
single picture will repeatedly be the same
photograph. It will have become the iconic
view of that building. Originally, the whole
set of pictures could hardly have done
justice to the building.Eventuallyeveryone
knows the building, or feels he does, and the
mere appearance of the iconic view in the
smallest of sizes will serve its purpose of
reawakening the viewer's set of ideas about
the known building.

Later, photographs of buildings that are no

%1975 by Cervin Robinson.
longer new will be used in historic studies. scape,"ibid.
Though it may seem unfair to make the 2"Outrage,"ArchitectureReview, 117, 364-460 9Otherwise,the differences between the two
generalization, I do not think that architec- (June 1955). alternate approaches is what is striking. We
tural historians are good at using photo-
James Marston Fitch, review in New York more than half believe in Evans'sAmerica;and,
graphs. They are too trusting. Either they Times, December 25, 1966, p 6. reportedly,Sabbionetawas inundatedwith
assume that what they see in a photograph 4]amesMarston Fitch, "SinglePoint Perspec- architects after ArchitecturalReview's "Italian
tive," ArchitecturalForum, 140, 89 (March Townscape"issue (131 []une 1962]). We ad-
is the significant truth; or, knowing that 1974). mire the style of the anti-fashion photographers,
something forms part of a building they are 5Melville C Branch,City Planning and Aerial but, having admired it, we do not thereafter see
describing, they may not notice that it does Information (Cambridge:Harvard University the world with their eyes; we are more than
not appear in their own photograph used in Press, 1971), p 31. willing to leave their cautionarygrotesques to
illustration. I suspect that the reason for 6In "ArchitecturalPhotogrammetryin Restora- the pages of books. The picturesqueevokes nos-
this carelessness is that, though historians tion," Building Research, 1, 18-19 (September- talgia; the other quite apparentlydoes not.
all know something of photographing, the October1964), Borchers recommends a maxi- 1oVincent] Scully,]r, The Shingle Style (New
provenance of photographs used as slides in mum depth of 20 times base distance between Haven: Yale University Press, 1955), p 10n.
two camerastations. The tendency on the part of historians to disre-
teaching can be stated only awkwardly (as
'The official pronouncement of "Townscape" gard photographs as objects in themselves is
compared, say, to the way credit can be seems to have occurredonly in 1949-Archi- so general as to make it remarkablethat Nikolaus
given in a book or magazine) so that the tecturalReview, 106, 354-374 (December)-- Pevsner should have had many of the buildings
quality of a photograph as an artifact in nevertheless, the groundworkfor it was clearly illustrated in An Outline of European Architec-
itself is drastically played down. Even histo- being laid in the late thirties. ture re-photographedfor the jubilee edition of
rians' own slides are not used in situations 8"Townscape," on the other hand, always that book. The explanation may lie in his long
14 in which criticism of them is as likely as it is called itself picturesque;see I de Wolfe, "Town- association with an architecturalmagazine.

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 in the preparation of a magazine issue. plined union. What was said was docu- things we can do. We can look with suspi-
When historians write, the photographs mented with photographs; what was cion on uses of photography that suggest
they have on hand are accepted by their illustrated was, as it were, given its verbal that pictures tell the whole story. We can
publishers largely without question (be- defense. But what were virtues then have aim to see photographs more as objects
cause publishers do not want to pay for become faults now; then, the editor of an than we have and can be less trusting that
better ones, as a magazine would, and architectural magazine who presented ex- they show us the essential truthor that they
indeed leave the cost of pictures to the cellence in the Beaux-Arts camp as well as even necessarily confirm what we believe
authors) and are slapped so many to a page the Modern was damned, while catholicity the truth to be. Learning from the pictur-
at the back of their books. is a virtue now. In the 1930s the photo- esque tradition, we can encourage those
grapher was applauded for skillfully and who assemble magazines and books to
Vincent Scully, in The Shingle Style, makes enticingly showing the little in the new adopt an attitude not of disinterest and
some perceptive observations on the effect style that was being realized; and the union irony, for that would be to give up trying,
of techniques of rendering reproductionof of text and pictures was more persuasive but of skepticism.
Nineteenth-Century architecture and then then than now. Even in 1958, if a magazine
remarksthat, after the use of reproductions retouched neighboring buildings away, it And we can learn to readphotographs.Like
of photographs became common in the was only to show the way the future would aerial photo-interpretation, interpretation
middle 1880s, "now the object to be copied look anyway; now, to retouch signs of of architecturalphotographs depends both
[ie, a building] appears before the architect defective glazing in a major building is on our knowing what photography does to
untouched, as it were, by 19th-century irresponsiblejournalism. a subject and on our having learned on our
hands ..."o0 In other words, when we look own, on the ground, as it were, the concom-
at a photograph of a building,we are seeing What Fitch has done in effect is to point out itants of the sorts of things we may see in
the real thing. to his readers that the photograph is no pictures. We must learn what the user of a
more what it was assumed to be twenty-five particular new building (on a particular
Where Fitch wants photographs to seem years ago than is architecture.In the same spot on earth) learns from it. In order to do
the real thing, the architectural historian way that architectureis turning to a modest justice to photographs we need experience
assumes that that's what they already are. inquiry into its own nature, no longer of both photography and of the world. Fitch
One may well wonder whether it is not the assuming that it can solve all problems set can, after all, observe that Learning from
users of photographs, instead of the profes- to it, much less reform society, it may be Las Vegas has neglected what he feels it
sional takers, whose performance leaves time for architects to recognize that the has, not because he was himself misled by
something to be desired. Those who de- photograph is only what a picture has the book, but because it does not mention
mand more of photographs than they can always been. Perhaps we must even ac- the facts of life he has learned from expe-
possibly provide assume that they have knowledge that what a photograph can rience to associate with a desert climate.
already provided all without noticing that show us is not really how something looks
they haven't. but only how, under certain particularcir- When we do learn to read photographs, we
cumstances,it photographs. may well be surprisedto discover (consider-
Prior to the 1920s photographs and texts in ing that we have had to meet them halfway)
architecturalmagazines stood on their own. Given that photography is as recalcitrantas what a wealth of informationwe can obtain
There were separate sections for one and it seems (considering what has been ex- from them, how accuratelythey can be read,
the other. A successfulunion of pictures and pected of it), we may well wonder what is to and with what concentrated intensity a
text was one of the achievements of the be done with the medium.There are several photograph at its strongest can be filled.
1930s. Both photographer and writer, se-
parate specialists, were brought into a disci-

:'A

P• ,r
'!. .t;c.

Ir~?~ il ?I
de4T
??r_
- -
;,,; ' l
i'f. .

779 7
-
(facing page) From John Piper, 'The Nautical " I
Style" (top, left), photographs byJohn Piper
andJ M Richards, ArchitecturalReview 1938.
From Walker Evans, "The London Look"(top,
right), ArchitecturalForum,April 1958. 7.
Stephen Shore, "HunleyDrive, Los Angeles,
California,6/16/75" (which includes Pelli's
Design Center).

Cervin Robinson 1966 (right), Criminal

Courts,Municipal, Tribune,American Tract
Society and Times buildings,New York City. 15

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