Welcome to the Archives of The Paul Rudolph Institute for Modern Architecture. The purpose of this online collection is to function as a tool for scholars, students, architects, preservationists, journalists and other interested parties. The archive consists of photographs, slides, articles and publications from Rudolph’s lifetime; physical drawings and models; personal photos and memorabilia; and contemporary photographs and articles.
Some of the materials are in the public domain, some are offered under Creative Commons, and some are owned by others, including the Paul Rudolph Estate. Please speak with a representative of The Paul Rudolph Institute for Modern Architecture before using any drawings or photos in the Archives. In all cases, the researcher shall determine how to appropriately publish or otherwise distribute the materials found in this collection, while maintaining appropriate protection of the applicable intellectual property rights.
In his will, Paul Rudolph gave his Architectural Archives (including drawings, plans, renderings, blueprints, models and other materials prepared in connection with his professional practice of architecture) to the Library of Congress Trust Fund following his death in 1997. A Stipulation of Settlement, signed on June 6, 2001 between the Paul Rudolph Estate and the Library of Congress Trust Fund, resulted in the transfer of those items to the Library of Congress among the Architectural Archives, that the Library of Congress determined suitable for its collections. The intellectual property rights of items transferred to the Library of Congress are in the public domain. The usage of the Paul M. Rudolph Archive at the Library of Congress and any intellectual property rights are governed by the Library of Congress Rights and Permissions.
However, the Library of Congress has not received the entirety of the Paul Rudolph architectural works, and therefore ownership and intellectual property rights of any materials that were not selected by the Library of Congress may not be in the public domain and may belong to the Paul Rudolph Estate.
LOCATION
Address: 927 Fifth Avenue
City: New York
State: New York
Zip Code: 10021
Nation: United States
STATUS
Type: Residence
Status: Built
TECHNICAL DATA
Date(s): 1970
Site Area:
Floor Area:
Height:
Floors (Above Ground): 1
Building Cost:
PROFESSIONAL TEAM
Client: Maurits Ernest Edersheim (1918-2008) and Claire Edersheim (1927-)
Architect: Paul Rudolph
Associate Architect:
Landscape:
Structural:
MEP:
QS/PM:
SUPPLIERS
Contractor:
Subcontractor(s):
Edersheim Residence
The project scope is to design an apartment for Maurits Ernest Edersheim (1918-2008) and Claire Edersheim (1927-).
The Edersheims buy the apartment in February, 1970.
The Edersheims move into the completed apartment in September, 1971.
New York’s Fifth Avenue is populated by a series of luxury apartment houses, and the building that housed this apartment was designed by one of the city’s most distinguished classical firms: Warren & Wetmore—the architects of Grand Central. Within this conservative masonry envelope, Paul Rudolph poured a consummately Modern—and adventurous—experience: a full floor of spaces with rousing color, animating curves, and stimulating materials.
Yet, even with a quantity of architectural drama, the cumulative effect is neither ostentatious nor theatrical—instead: the careful modulation of space and material choices create a series of enveloping, cozy, and functional rooms—well-suited to a large and active family.
Peggy Edersheim Kalb, who moved into the apartment with her family when she was eight, gave her assessment four decades later: “… I hold on to the knowledge that I was lucky to grow up in a work of art, to experience architecture in a visceral way, and to appreciate just how special ‘different’ can feel.”
One can see the genetic material for this project in the apartment that Rudolph had earlier created for himself, when he was renting at 23 Beekman Place. In both locations he deployed embracing curves, alluring textures, inventive light sources, and a fearless sense of color. Moreover, he was able to incorporate seemingly incongruous elements: displaying a row of casts of Louis Sullivan panels in his apartment; and the Edersheim’s collection of Delft pottery in theirs—and in ways that were harmonious and showed respect to those distinguished and beautiful objects.
“We looked at property on which to build a house, and, through Claire, I had the privilege of getting to know Paul Rudolph, one of the foremost architects in the U.S. at the time. Claire had attended his lectures at Yale, where he was then dean of architecture. We had lunch with Paul at our club, the Sunnydale Country Club. We talked about our plans and looked at some sites. When we thought we finally found the site, I commented to Claire, “This is marvelous. And perhaps at some point we should also buy a larger apartment in Manhattan, because I think that, as I get older, I might like to spend a little more time there.” She responded, “Well, that’s ridiculous, Maurits. I am not going to spend all this money and effort on building a beautiful house unless we live there. If it’s an apartment you want, then let’s look for a beautiful apartment in the city.”
So we switched plans and were fortunate yet again. At that time, apartments sold at relatively low prices, and we found an ideal place at 927 Fifth Avenue at the corner of 74th Street. We asked Paul Rudolph if he would do an apartment, and he agreed to, as long as we promised not to employ an interior decorator and would give him sufficient time to do the job. We bought the apartment in February 1970 and moved in September 1971. The partment was in a deplorable state since the previous owner, a well-known lady, had a French interior that had been put up for sale by Sotheby’s. The apartment was completely bare and required many repairs.
Claire, together with Paul Rudolph, did a fabulous job on the apartment. Even today it looks as if it were freshly done. We did it in a very modern style. I always liked modern (as did my mother) and Claire favors modern as well. Even though we did not agree on every little detail, there was relative harmony. Paul often commented that many marriages flounder when a couple embarks on some decorating project and disagree on matters of taste. Fortunately, we had no such problems and were both pleased with Paul’s work.”
DRAWINGS - Design Drawings / Renderings
DRAWINGS - Construction Drawings
DRAWINGS - Shop Drawings
PHOTOS - Project Model
PHOTOS - During Construction
PHOTOS - Completed Project
PHOTOS - Current Conditions
LINKS FOR MORE INFORMATION
RELATED DOWNLOADS
PROJECT BIBLIOGRAPHY
“Chronological List of Works by Paul Rudolph, 1946-1974.” Architecture and Urbanism, no. 49, Jan. 1975.
“Edersheim Apartment.” Architecture and Urbanism, no. 80, July 1977, p. 12,80.
Fred Bernstein. “Shining Moment.” The New York Times Style Magazine, 7 Oct. 2007.
Futagawa, Yukio. “Rudolph Apartment.” Global Interior, no. 5, 1973, pp. 132–39.
Maurits E. Edersheim. A Life Without Borders: A Memoir. Maurits E. Edersheim, 2000.