Rudolph's "Vocabulary” of Form—at BURROUGHS WELLCOME and Beyond

The Burroughs Welcome building, using a vocabulary of forms which combine a mountain-like profile (reflecting the context of the North Carolina terrain where it is located); along with growing cells (possibly communicating the nature of the biological research conducted within). Image courtesy of the Joseph W. Molitor architectural photographs collection, located in Columbia University, Avery Architectural & Fine Arts Library, Department of Drawings & Archives

AN ARCHITECT’S “VOCABULARY” OF FORM

Architectural historians and critics sometimes speak of an architect’s “vocabulary”—by which the don’t mean the words a designer chooses when talking or writing about their work. Rather: they primarily mean the set of forms—-volumes, shapes, geometries—with which the architect usually works, and to which they most often turn when dealing with architectural challenges. Like an individual’s most frequently used vocabulary of words, these forms are the terms which an individual architect characteristically utilizes for design solutions.

Biomorphic forms are part of the design “vocabulary” of the architect of this design: the Saldarini House by Vittorio Giorgini. Photo by MPThompsonCO1, via Wikimedia Commons.

For example, if one reviews an architect’s work, and curvaceously shaped and organically linked spaces seem to be the designer’s most often used set of shapes, then one can say their design “vocabulary” is composed primarily of organic (or biomorphic) forms of great plasticity. The work of architect Vittorio Giorgini, like the house he designed in Italy shown at right, would be an instance. Giorgini, though he could design in a variety of modes, most often seems to have used a vocabulary of organic forms.

A similar claim about “vocabulary” could be made if an architect’s work had a preponderance of rectilinear/grid-like forms, like Mies -or- alternatively, if the architect used lines that seemed to continually fracture and angle with the surprise and grace of the later work of Rudolph Steiner.

N.B.: It’s important to note that an architect’s formal “vocabulary” is a little different from an architect’s “style” (though they do overlap.) Architectural theorist Michael Brill defined style as the observable problem-solving “tendencies” of an architect. When a particular architect is confronted with a design problem, and they almost always react a particular way (that they show a tendency to approach design challenges with a frequently used solution or technique)—that would be a significant aspect of their style. Thus, if an architect always used symmetry for solving design problems, (or conversely, like Paul Rudolph, almost never used it!) that’s a facet of their style. Of if an architect, when dealing with a planning problem, often disperses the spaces over the site (or, conversely, compacts them densely,) such a tendency would be part of that architect’s “style.”

WHEN AND ARCHITECT’S VOCABULARY IS HARD TO DEFINE

We have to acknowledge that—with some architects more than others—it’s hard to define their architectural “vocabulary.” Indeed, it would be dishonest (and dishonoring) to rigidly circumscribe those designers who are amazing creative spirits, whose vocabulary has ranged over the whole universe of form—and that would certainly be true for Rudolph.

Paul Rudolph’s perspective rendering and plan for a Manager’s Office for the Parking Authority. © The Estate of Paul Rudolph, The Paul Rudolph Heritage Foundation

In a recent post—BURROUGHS WELLCOME: GEOMETRY AND RUDOLPH’S DESIGN—we focused upon geometry (and especially crystalline forms) as a possible design source or inspiration in Paul Rudolph’s work.

But that hardly defines Paul Rudolph, whose extensive work (produced over a half-century career) engaged with the greatest range of forms. A small (but telling) counter-example, to the use of crystal forms, would be this regrettably unbuilt design from 1961: a Manager’s Office for the Parking Authority for New Haven. Certainly, if one knows Rudolph’s work, one can sense that it fits well into his oeuvre. Yet it has almost nothing to do with any kind of crystalline geometry—indeed, it seems to be on the opposite end of the range of forms.

BUT AN ARCHTIECT’S VOCABULARY IS A LEGITIMATE AREA OF INQUIRY—EVEN FOR THE MOST CREATIVE DESIGNERS

Even with the caveat above—reminding of us to avoid pigeonholing architects by a too-limited view of their architectural “vocabulary”—it still can be illuminating to look for patterns that repeat in their work, as well as similar forms in the works of their contemporaries (so that the possibility of creative '“cross-pollination” can be discerned.)

There are forms which come up, repeatedly in Rudolph’s work, which have a “family resemblance"—and the form we’ll focus upon here is the most powerful to be found in nature: the Mountain.

“BUILDINGS LIKE MOUNTAINS”

Hugh Ferris (1889-1962) was the the architectural profession’s favorite renderer from the 1920’s to mid-century. He was the “go to” visualizer, whose charcoal perspective drawings were utilized by numerous (and famous) architects of the era—especially during the building boom of the teens and 1920’s, a time when hundreds of skyscrapers and ambitious projects were being proposed (and many erected) across the US.

In the early 192o’s he was called upon to create a set of renderings that would show the volumes which could arise under the proposed NYC regulations for building zoning/height/volume/floor area. The images he produced make clear that even a by-the-book adherence to the rules was no barrier to creating architectural work of profoundest power.

Although these drawings were done by Ferriss for practical, illustrative purposes, what interests us here is the mountain-like quality radiated by these images.

In another inspired drawing, captioned by Ferriss “Buildings Like Mountains,” he conveyed a sense of solidity and elemental, dramatic power—a spirit which architects could bring to their designs. His vision is of a building which seems in the process of birth, emerging from the rock of a towering mountain range.

Hugh Ferriss’ drawing, “Buildings Like Mountains.” Courtesy of Columbia University, Avery Architectural & Fine Arts Library, Department of Drawings & Archives

This is design power—and most architects embrace the dramatic possibilities of such architectonic power.

MOUNTAINS THAT ARE BULDINGS

Our earlier post, on crystalline/hexagonal form, included looking at Frank Lloyd Wright—one of the architects Rudolph supremely admired (perhaps the most of all), and Wright’s use of those geometries.

One example serves to show Frank Lloyd Wright’s work in this vein (and also that his mastery—both geometric and architectural—extended to the end of his seven active decades as a designer.) The below-left photo is of the Beth Sholom Synagogue in Elkins Park, PA, a Wright project from the 1950’s. Below-right is a model of the building, lit from within like a glowing crystal. [That’s not an illusory effect, as most of the roof of the building is made of a translucent material—so not only did this allow abundant light in during the day, but at night it sends out a glow.]

But look at the scale of the thing (which one can estimate from the size of the doors)! The building comes across as a human-constructed mountain, rising and receding with serene majesty and power, almost aloof from pedestrian concerns—or as Jane Austen put it:

“What Are Men To Rocks And Mountains?”

RUDOLPH AT BURROUGHS WELLCOME

For the Burroughs Wellcome Building, Paul Rudolph explicitly referenced the North Carolina context, and how it led him to a mountain-like (or hill-like) form. He wrote:

“This complex climbs up and down a beautiful ridge in the green hills of North Carolina and is architecturally an extension of its site.”

And one can see that shape in his drawings:

Paul Rudolph’s section drawing through the central body of the Burroughs Wellcome headquarters and research center, in North Carolina’s Research Triangle Park. This image—a “presentation drawing” meant to dramatically and convincingly convey the architect’s idea—cuts through the famous entry lobby. © The Estate of Paul Rudolph, The Paul Rudolph Heritage Foundation

Rudolph’s construction-section drawing through the central body of the Burroughs Wellcome building, cut at almost the same spot as the drawing to the left (and it also includes part of the building’s entry lobby.) It is reproduced here at nearly the same scale as the left’s presentation drawing, so they can be easily compared. © The Estate of Paul Rudolph, The Paul Rudolph Heritage Foundation

THE MOUNTAIN (AND HILLS) IN RUDOLPH’S dESIGN VOCABULARY

Paul Rudolph explored and used and abundance of forms—his design “vocabulary” was expansive and embracing of all possibilities (including some he invented).

But there are patterns. We don’t know if we’re the first to look at his extensive oeuvre for mountain-like (or hill-like) forms, but if one looks, they’re there—and in abundance. For example, his proposal for St. Boniface in Florida has the various church structures emerging from the ground, as through pushed-up by geological forces. Below is a selection of projects with such forms, from across Rudolph’s entire career.

St. Boniface Episcopal Church

Beth-El Synagogue

Rudolph’s sketch for the LOMEX project—creating a mountain range?

Apartment Hotel in Jerusalem

Morgan Annex

Knott Residence

East Northport Synagogue Addition

Central Suffolk Office Park

Maris Stella University Chapel

Niagara Falls Central Library

Television Station, Amarillo, Texas The form here is particularly mountain-like, and we have written a whole article about this fascinating building, here.

YOU CAN HELP SAVE BURROUGHS WELLCOME !

The Burroughs Wellcome building is threated with imminent demolition.

It’s loss would be a disaster—a titanic waste of our nation’s cultural heritage. Remember:

When a great building is destroyed, there are no second chances.

NOW— THERE ARE TWO THINGS YOU CAN DO:

• Sign the petition to save Burroughs Wellcome— Please sign it here.

• We can keep you up-to-date with bulletins about the latest developments. To get them, please join our foundation’s mailing list: you’ll get all the updates, (as well as other Rudolphian news.)—you can sign-up at the bottom of this page

Even the currently empty lobby of Burroughs Wellcome still has the awe-inducing grandeur of a geological formation of mountain-range scale. Such a special work of architecture—a part of our national heritage—should not be lost. Photograph courtesy of © PJ McDonnell, The Paul Rudolph Heritage Foundation Archives

PHOTO CREDITS for the two images of the Wright temple, and the eleven examples of mountain-like forms in the work of Paul Rudolph, shown in the above post: Beth Sholom Synagogue, exterior view: photo by Smallbones, via Wikimedia Commons; Beth Sholom Synagogue, model: photo by Ricardo Tulio Gandelman, via Wikimedia Commons; Saint Boniface Episcopal Church: © The Estate of Paul Rudolph, The Paul Rudolph Heritage Foundation; Beth-El Synagogue: © The Estate of Paul Rudolph, The Paul Rudolph Heritage Foundation; LOMEX: © The Estate of Paul Rudolph, The Paul Rudolph Heritage Foundation; Apartment Hotel in Jersalem: © The Estate of Paul Rudolph, The Paul Rudolph Heritage Foundation; Morgan Annex: © The Estate of Paul Rudolph, The Paul Rudolph Heritage Foundation; Knott Residence: © The Estate of Paul Rudolph, The Paul Rudolph Heritage Foundation; East Northport Synagogue Addition: © The Estate of Paul Rudolph, The Paul Rudolph Heritage Foundation; Central Suffolk Office Park: © The Estate of Paul Rudolph, The Paul Rudolph Heritage Foundation; Maris Stella University Chapel: © The Estate of Paul Rudolph, The Paul Rudolph Heritage Foundation; Niagara Falls Central Library: Photograph by Kelvin Dickinson, archives of The Paul Rudolph Heritage Foundation; Television station, Amarillo, Texas: Photo © Ben Koush

The Burroughs Wellcome Building: Incubator of Nobel Prize-Winning Research— and Cures

The Nobel Prize—the world’s most distinguished form of recognition. Show here is the Nobel medal, awarded to each recipient. Image courtesy of Wikimedia Commons

ULTIMATE ACHIEVEMENT

Can buildings make a difference for the people who live and work in them? The power of design is an article of faith for architects, but the ultimate verification comes from the evidence presented by the users—individuals who actually inhabit their designs. Here’s testimony from one who worked at at Paul Rudolph’s Burroughs Wellcome building:

I spent 32 years with [Burroughs Wellcome]. . . .and helped work on the layout of the labs to fit the 22.5 degree sloping walls of bright orange and blue. At that time, if any space was conceived to bring out the creative, inspirational, thoughts—this was it, in my opinion. I loved working there. We invented and developed more pharmaceutical products in those years. . . .We were “family” but more to the point we were colleagues who were allowed to trust the expertise of each other.

Even more convincing evidence of the positive environment of the building is the work which emerged from Burroughs Wellcome: the scientific research, and the products which were the practical application of that research. When that research saves, ultimately, many millions of lives, there could be no finer acknowledgement of great human and scientific accomplishment—but when the creators of that work is then recognized by the world’s most distinguished judges, one has risen to a level few ever achieve.

That is what happened with the work of Gertrude Elion and George Hitchings. It was for their work over decades (and particularly the work done while they were at the Burroughs Wellcome building in North Carolina’s Research Triangle Park) that they became Nobel Prize laureates in Medicine in 1988.

“Wellcome News” was the journal of the Burroughs Wellcome company. This is the cover of their “Special Nobel Prize Issue” from 1988, showing the prize-winning scientists, Elion and Hitchings (who had done much of their research within the Rudolph-designed building in Research Triangle Park.) A close viewing of the photo will reveal Burroughs Wellcome’s famous unicorn logo on Dr. Elion’s lab coat. Image courtesy of: Wellcome Collection (CC BY 4.0)

THE NOBEL PRIZE

Here are excerpts from the official announcement of Elion’s and Hitchings’ prize:

The Nobel Assembly at the Karolinska Institute has today decided to award the Nobel Prize in Physiology or Medicine for 1988 jointly to Sir James W. Black, Gertrude B. Elion and George H. Hitchings.

The discoveries awarded with this year’s Nobel Prize in Physiology or Medicine concern important principles in drug treatment, principles that have resulted in the development of a series of new drugs.. . .

The discoveries awarded with this year’s Nobel Prize in Physiology or Medicine concern the development of new drugs which have become essential in the treatment of a number of different disorders, mainly myocardial ischemia (angina pectoris), hypertension, gastroduodenal ulcer, leukemia, gout and infectious diseases. However, the research work carried out by Black, Elion and Hitchings has had a more fundamental significance. While drug development had earlier mainly been built on chemical modification of natural products they introduced a more rational approach based on the understanding of basic biochemical and physiological processes.

. . . .An even more recent application of these ideas is the development of azidothymidine (AZT) which was described in 1985 by other scientists from the same institute, and which is the hitherto best documented drug in the treatment of AIDS. It can be added that trimethoprim-sulfa is used in the treatment of Pneumocystis carinii, a relatively common complication to AIDS.

The official Nobel Prize website features an article on Gertrude Elion, citing her as an example of Women Who Changed Science. It includes numerous images from her life, including her time working at Burroughs Wellcome. This scan from the web page shows Elion and Hitchings, together in front of a 1976 addition to the building,, also designed by Paul Rudolph

Nobel Prize winners, Dr. Gertrude Elion (left) and Dr. George Hitchings (right) worked together for several decades, before being awarded the Nobel Prize in 1988 for their research. Here, they are photographed working in their laboratory, circa 1948. Photograph courtesy of GlaxoSmithKline plc., GSK Heritage Archives, via Wikimedia

The Burroughs Wellcome building was renamed the Elion-Hitchings Building in 1988, honoring Gertrude Elion and George Hitchings. It’s worth speaking of their careers and research—including the era when they were working at the Burroughs Wellcome building in Research Triangle Park.

Nobel Prize winner Dr. Gertrude Elion, photographed in 1983. Image courtesy of GlaxoSmithKline plc., GSK Heritage Archives, via Wikimedia

GERTRUDE ELION

(1918-1999) From 1967 to 1983, Elion was the Head of the Department of Experimental Therapy for Burroughs Wellcome. She officially retired in 1983—but even after her retirement from Burroughs Wellcome, she continued almost full-time work at the lab. She played a significant role in the development of AZT, one of the first drugs used to treat HIV and AIDS.

Rather than relying on trial-and-error, Elion and Hitchings discovered new drugs using rational drug design, which used the differences in biochemistry and metabolism between normal human cells and  pathogens (disease-causing agents such as cancer cells, protozoa, bacteria, and viruses) to design drugs that could kill or inhibit the reproduction of particular pathogens without harming human cells. The drugs they developed are used to treat a variety of maladies, such as leukemia, malaria, lupus, hepatitis, arthritis, gout, and organ transplant rejection.

Elion was Adjunct Professor of Pharmacology and of Experimental Medicine from 1971 to 1983, and Research Professor at Duke University from 1983 to 1999. She was elected a member of the National Academy of Sciences in 1990, a member of the Institute of Medicine in 1991, and a Fellow of the American Academy of Arts and Sciences also in 1991.

Nobel Prize winner Dr. George Hitchings. Image courtesy of Wellcome Images, a website operated by Wellcome Trust, a global charitable foundation based in the United Kingdom., via Wikimedia

gEORGE HITCHINGS

(1905-1998) In 1942, Hitchings went to work for Wellcome Research Laboratories at in their Tuckahoe laboratory (their US research center, before it was moved to North Carolina). There, he began working with Gertrude Elion in 1944. Drugs Hitchings' team worked on included 2,6-diaminopurine (a compound to treat leukemia) and p-chlorophenoxy-2,4-diaminopyrimidine (a folic acid antagonist). According to his Nobel Prize autobiography,

The line of inquiry we had begun in the 1940s [also] yielded new drug therapies for malaria (pyrimethamine), leukemia (6-mercaptopurine and thioguanine), gout (allopurinol), organ transplantation (azathioprine) and bacterial infections (co-trimoxazole (trimethoprim A)). The new knowledge contributed by our studies pointed the way for investigations that led to major antiviral drugs. . [including for] AIDS (zidovudine).

In 1967 Hitchings became Vice President in Charge of Research of Burroughs-Wellcome. He became Scientist Emeritus in 1976. He also served as Adjunct Professor of Pharmacology and of Experimental Medicine from 1970 to 1985 at Duke University.

The ground breaking ceremony for the Burroughs Wellcome building. Both the architect—Paul Rudolph, at far right)—and one of the firm’s most distinguished scientists—Dr. Hitchings, standing next to him—are participants at the occasion. Credit: Wellcome News, Summer/Fall 1969 Issue. Credit: Wellcome Collection. Attribution 4.0 International (CC BY 4.0)

Dr. Hitchings (left) and Dr. Elion (right), 1988, the year they received the Nobel Prize. Photo courtesy of Wikimedia.

YOU CAN HELP SAVE BURROUGHS WELLCOME !

The Burroughs Wellcome building is threated with imminent demolition.

It’s loss would be a disaster—a titanic waste of our nation’s cultural heritage.

When a great building is destroyed, there are no second chances.

NOW— THERE ARE TWO THINGS YOU CAN DO:

• Sign the petition to save Burroughs Wellcome. You can sign it here.

• We’ll send you bulletins about the latest developments. To get them, please join our foundation’s mailing list: you’ll get all the updates, (as well as other Rudolphian news.)—you can sign up at the bottom of this page.

The Burroughs Wellcome building, designed by Paul Rudolph—the site of Nobel Prize-winning, and life-saving research. Image courtesy of Joseph W. Molitor architectural photographs. Located in Columbia University, Avery Architectural & Fine Arts Library, Department of Drawings & Archives