aa-679 key memorial hall

AA-679

Key Memorial Hall

Architectural Survey File

This is the architectural survey file for this MIHP record. The survey file is organized reverse-

chronological (that is, with the latest material on top). It contains all MIHP inventory forms, National

Register nomination forms, determinations of eligibility (DOE) forms, and accompanying documentation

such as photographs and maps.

Users should be aware that additional undigitized material about this property may be found in on-site

architectural reports, copies of HABS/HAER or other documentation, drawings, and the “vertical files” at

the MHT Library in Crownsville. The vertical files may include newspaper clippings, field notes, draft

versions of forms and architectural reports, photographs, maps, and drawings. Researchers who need a

thorough understanding of this property should plan to visit the MHT Library as part of their research

project; look at the MHT web site (mht.maryland.gov) for details about how to make an appointment.

All material is property of the Maryland Historical Trust.

Last Updated: 06-11-2004

CAPSULE SUMMARY Francis Scott Key Memorial Hall and Mellon Hall (AA-679)

St. John's College, Annapolis

Francis Scott Key Memorial Hall and Mellon Hall at St. John's College was begun in 1956 and

completed in 1958. Pioneer Los Angeles architect Richard Neutra and his partner of ten years,

Robert E. Alexander, designed the building in the flat-roofed modem style for which Neutra was

internationally known. The large complex as originally constructed included an auditorium and

lobby denoted as the Francis Scott Key Memorial Hall (now referred to as Francis Scott Key

Lobby and Auditorium), lecture halls and laboratories for the science and music departments

(entitled Mellon Hall), and the McKeldin Planetarium. The dedication ceremony was held on

May 22, 1959, with President Dwight D. Eisenhower as the primary speaker. The building was

enlarged in 1989 by the construction of a one-story wing to the east elevation, an addition

designed by the Annapolis firm of Weller, Fishback, and Bohl. Key Auditorium/Mellon Hall is

one of the few buildings designed by Neutra on the east coast, and is considered by many

scholars to be the best of his collegiate designs.

In plan, the building features two wings of classrooms and laboratories organized along central

corridors, and terminates at either end with key architectural spaces, namely the planetarium and

the auditorium. The southwest comer of the building is dematerialized in plan by a prominent

aluminum and glass stair tower, while the unfenestrated limestone walls of the rear of the

auditorium bolster the southeast corner. The principal entry to the auditorium, located at the

northeast corner of the building, is a flat-roofed steel canopy that penetrates the glass-walled

surface and fulfills the architect's modernistic two-fold goal of "breaking the box" and blending

the man-made structure into its natural surrounding.

/

Maryland Historical Trust Maryland Inventory of

Inventory No. AA-679

--- Historic Properties Form

1. Name of Property (indicate preferred name)

historic Francis Scott Key Memorial Hall and Mellon Hall, St. John's College (preferred)

other Elizabeth Myers Mitchell Art Gallery; Theodore McKeldin Planetarium

2. Location street and number St. John's Street not for publication

city, town Annapolis vicinity

county Anne Arundel

3. Owner of Property (give names and mailing addresses of all owners)

name St. John's College

street and number 60 College Avenue, Box 2800 telephone 410/263-2371

city, town Annapolis state MD zip code 21404

4. Location of Legal Description courthouse, registry of deeds, etc. Anne Arundel County Courthouse tax map and parcel

city, town Annapolis

5. Primary Location of Additional Data X Contributing Resource in National Register District X Contributing Resource in Local Historic District

___ Determined Eligible for the National Register/Maryland Register ___ Determined Ineligible for the National Register/Maryland Register

X Recorded by HABS/HAER ___ Historic Structure Report or Research Report at MHT ___ Other: ___ _

6. Classification

Current Function __ agriculture __ landscape

liber

Category __ district __Lbuilding(s) __ structure __ site

Ownership __ public __Lprivate __ both

__ commerce/trade __ recreation/culture __ defense __ religion __ domestic __ social

__ object __Leducation __ transportation __ funerary __ work in progress __ government __ unknown __ health care vacant/not in use __ industry __ other:

folio

Resource Count Contributing

1

2

Noncontributing ____ buildings ____ sites ____ structures ____ objects ____ Total

Number of Contributing Resources previously listed in the Inventory

1

7. Description

Condition

excellent x_good

fair

deteriorated ruins

x_ altered


Prepare both a one-paragraph summary and a comprehensive description of the resource and its various elements as it exists today.

Designed by the California firm of Neutra and Alexander and constructed 1956-1958, the Francis Scott Key Auditorium and Mellon Hall is a long and low-lying complex, containing a 600-seat auditorium, a conversation room, music studios, a music library, science laboratories and classrooms, and the McKeldin Planetarium. The building followed modern design principles of the period; that is, it offered a flexible arrangement of space, a lightweight structural technique, synthetic modern materials, and standard modular parts. At the same time, the building directly responded to its site amongst the historic 18th and 19th _century buildings of St. John's campus, as well as to the demands of the schools' unusual curricular philosophy.

As originally designed and constructed, the building is a low-silhouetted, two-story concrete and metal frame structure, which, in keeping with the historic campus buildings, was faced in brick and limestone. Located northwest of the campus center at a lower grade from the historic buildings, and facing open fields to the northeast and northwest, the building presently has a large asymmetrical U-shaped footprint. Its two asymmetrical wings formed an open courtyard that faced the school's upper field and gymnasium. In 1989, an administrative wing designed in a historicist manner, but negating the building's planning principles, was added

~ to the building, closing off this open courtyard. Also as part of this addition, a modern glass and limestone cube-like structure housing the school's art gallery (the Elizabeth Myers Mitchell Art Gallery) was built to abut the original inside wing of the building.

In plan, the building features two wings of classrooms and laboratories organized along central corridors, and terminates at either end with key architectural spaces, namely the planetarium and the auditorium. The southwest comer of the building is dematerialized in plan by a prominent aluminum and glass stair tower, while the unfenestrated limestone walls of the rear of the auditorium bolster the southeast corner. The principal entry to the auditorium, located at the northeast corner of the building, is a flat-roofed steel canopy that penetrates the glass-walled surface and fulfills the architect's modernistic two-fold goal of "breaking the box" and blending the man-made structure into its natural surrounding.

Exterior Description:

Francis Scott Key (FSK) Auditorium and Mellon Hall consists of five distinct parts: 1) the FSK Auditorium; 2) Mellon Hall; 3) McKeldin Planetarium; and 4) the filled-in courtyard area, now occupied by an administration wing; and 5) the Elizabeth Myers Mitchell Art Gallery.

1) The FSK Auditorium is the most prominent exterior aspect of the building. Its facade, facing northeast, consists of a long, fully glazed wall surface, through which round concrete columns on the interior--the building's structural system--are clearly visible. These columns not only reveal the building's modern structural materials, but also provide the visual strength necessary to support the brick parapet wall above the lightweight and transparent glass surface. The corner entry porch stands out as a dominant feature of the facade, whose brick side wall and flat roof above it together break the building's glass wall to penetrate the interior space, fusing interior/exterior relationships. Although it appears to float in space, the canopy roof, flat and gravel-

·Maryland Historical Trust Maryland Inventory of

~ Historic Properties Form Inventory No. AA- 679

Francis Scott Key Memorial Hall and Mellon Hall, St. John's College, Annapolis Continuation Sheet

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covered, is supported by square-in-plan metal columns and clearly identifies the entry (double glass doors in the glass wall surface). The importance of this entry corner is further emphasized by the several plate glass panes of glass that turn the corner of the building, along its southeast elevation, while double glass doors in this elevation offer an alternative entry point. After four modular panels, an unfenestrated brick wall abruptly interrupts the glass. Similarly, towards the northern end of the northeast facade, the glazed wall surface originally ended, while a plain brick surface carried the wall the remaining twelve or so feet to its north corner. The effect on both the northeast and southeast elevation was that of a painterly surface. Today, however, the flat, plain brick wall on the facade has been broken by the addition of a second entry, built to directly access the Elizabeth Myers Mitchell Gallery. This entry of glass projects from the brick wall and has a flat-roofed canopy entrance that is an unsuccessful attempt to imitate the original.

The southwest elevation of the building and the southern corner of the northeast elevation form the exterior walls of the auditorium. These walls, unfenestrated, are clad with a limestone veneer and rise to a tall doublestory height, giving this corner of the building a cube-like effect.

The northwest side elevation, originally facing the enclosed courtyard, included a projecting wing housing the Conversation Room, and beyond the unfenestrated room, glazed panel walls of a narrow corridor leading to Mellon Hall. These glazed walls opened onto an exterior pergola and the open court. Today, this space, having been closed off by the administration wing (1989) is an enclosed and somewhat alienating space.

The interior of the building behind the facade corresponds with the entry vestibule and lobby area of the auditorium. The lobby is entered directly from the entry, and is raised several steps above the main lounge. This lounge space is a light-filled, open room with the glass windows ranging along the front wall of the room and providing a view of the old part of the campus. A wood partition wall at the back of the lounge separates the lounge from the auditorium behind it. Between the front wall and the lounge stands a single row of cylindrical concrete columns, evoking tree trunks, in a planting bed of natural shrubs and flowers.

At the opposite end of the lounge from the entry vestibule is the "Conversation Room." This space was originally reached by the same entry; today one is more apt to approach the Conversation Room via the new entry and vestibule of the Elizabeth Myers Mitchell Gallery, built in front of the projecting Conversation Room. The conversation room is an assembly room, able to hold 250 people, in which students and professors, lecturers, etc. convene to discuss various topics. The conversation room was completely renovated when the administration wing and art gallery were added in 1989.

The auditorium has "continental seating" with replacement seats, but retains its distinctive and original projection wall where openings for the projector lenses are arranged in an abstract fashion reminiscent of a

~ Mondrian painting.




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2) The part of the building referred to as Mellon Hall corresponds with the long, northwestern and the shorter southwestern wings of the building. The northwestern wing forms one outside wing of the U-shaped footprint, while the southwestern wing is the connector wing, connecting the northwestern wing to the FSK Auditorium/Conversation Room wing. These two wings are divided into the Science wing and the Music and Fine Arts wing. Actually, the Music and Fine Arts Wing, which occupies a portion of the southwestern wing, are considered part of FSK, but are here discussed as part of Mellon Hall since they are architecturally part of the Mellon Hall wing.

Like FSK, Mellon Hall is long and low-lying as described above. However, the walls do not have solid panes of glass as in the facade of FSK. Instead, the surfaces have a more traditional arrangement of space, though still in a modem idiom. Divided into three parts, (base, shaft and cap), the walls of Mellon Hall generally consist of a brick base, a glazed shaft (with banks of aluminum awning windows), and a concrete parapet wall serving as capital. A concrete canopy floats over the windows forming a sort of cornice to the parapet above. This description was particularly apt for the inside northwestern elevation of the northwestern wing. Although a

~ portion of this wall is still visible from the outside, the new administration wing, and its intended repetitious and modular effect, have cut it off.

The entry to Mellon Hall is located in the northeast end wall. Here, a single entry door is located on center of a brick wall surface. This brick wall extends slightly beyond the building's walls to either side, and given its lack of fenestration, was clearly meant to be a screen, or entry gate to the real building beyond. A covered concrete walkway connects this end of Mellon Hall to the planetarium.

The northwest elevation of Mellon Hall faces the playing field and is a long, uninterrupted wall extending almost the full length of the wing. Here, the wall lacks the concrete capital, and is thus divided into two distinct parts. The base is brick and the shaft consists of banks of aluminum shaft. Operable vertical louvers of aluminum create a sort of columnar effect the full length of the wing. Towards the western end of the wing, the wall abuts a large, cube-like segment of the building that rises three full stories. This tower, clad in brick on the northwest elevation, features a projecting glazed bay on the southwestern elevation, revealing an interior stair well. This corner block acts as a transition from the single-story wing on the northwest to the three-story wing on the southwest.

The southwestern elevation is similar to the northwestern one, though here, the banks of windows are doublestory in height, with aluminum louvers spanning both stories. This wall continues, eventually abutting the limestone wall of the rear of the FSK.

The interior of Mellon Hall is divided into a series of rooms (labs, classrooms, prep rooms, etc.) arranged to either side of a central corridor in both wings. The corridors are lined with linoleum floors, metal wall panels, dropped acoustical tile ceilings and solid wood doors leading into the various rooms. The doors each feature classic 1950s-style lettering identifying the classroom name or number.

lvlafyland Historical Trust Maryland Inventory of



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The typical lab room features a full bank of windows on the exterior wall with radiators lining the window wall below the windows, a chalkboard on one interior wall, and built-in lab stations organized symmetrically in two rows. The ceilings are typically dropped with acoustical tile panels and hanging fluorescent lights.

In the Music and Fine Arts Wing, the studio art rooms lack the dropped ceilings and reveal the concrete frame of the building with skylights in the ceiling.

Beyond the typical classroom are the stair tower and Foucault pendulum. The hollow-newel stair features an open stringer with cantilevered concrete stairs and aluminum railings. The risers and treads have terrazzo cladding over the concrete structure. The Foucault Pendulum in the comer stair tower drops 40 feet and is a replica of one devised by a French physicist in 1851, to demonstrate the earth's rotation. The pendulum is no longer operational and has been partially dismantled, to prevent further abuse by students.

3) The McKeldin Planetarium is located at the northwestern end of Mellon Hall, projecting off of its end wall by a concrete canopy and walkway. The planetarium is an eight-sided metal structure with concrete buttresses and a dome roof of standing seam metal. Set into a well surrounded by concrete retaining walls, the planetarium was originally surrounded by a pool of water. A narrow well of water also originally enclosed the end wall of Mellon Hall, while the raised concrete walkway, and a transverse walkway crossing it, provided pedestrian access to the buildings and grounds to either side. This water element is no longer intact. Although no longer in use, the McKeldin Planetarium is an integral and functioning component of the larger building, complementing and completing this end of the science wing.

4) The administration wing, added to the building in 1989, effectively closed off the original courtyard of the building, profoundly changing the building's relationship to its site, and greatly compromising certain aspects of its original design. The new wing is designed in a historicist manner, whereby the low-lying wall employs brick surfaces and plate glass metal sash windows, but is clearly a modem intrusion. The interior features a nondescript central corridor with offices to either side.

5) The Elizabeth Myers Mitchell Art Gallery, built in 1989, is a modem cube-like space abutting the original exterior wall of the Conversation Room. Square in plan, the concrete frame structure rises a tall, one story in height and is covered with a flat roof with a parapet. Expansive planes of limestone blocks alternate with narrower planes of plate glass windows, forming the building's exterior walls. An entry, located next to the actual art gallery, was built to provide access not only to the gallery, but also to the interior of the original FSK and Mellon Hall. This entry, with its cantilevered canopy and glazed side walls leads into a vestibule that leads to either the auditorium lounge, the Conversation Room, the gallery entrance, or the administration wing of the

/""" building. This entrance is effectively the principal entrance to the building, while the original entry door is now strictly used for access to the auditorium.

8. Si.gnificance

Period

~ 1600-1699 1700-1799

_1800-1899 .XJ 900-1999

2000-

Areas of Significance

_ agriculture _ archeology ..X architecture

art commerce communications

_ community planning conservation

Significance dates 1956-1989

Specific dates 1956-1959, 1989

Evaluation for:

___ National Register


Check and justify below

economics X education

_ engineering entertainment/ recreation

_ ethnic heritage _ exploration/

settlement

health/medicine _ performing arts _ industry _ philosophy

invention _ politics/government _ landscape architecture _ religion

law X science literature _ social history

_ maritime history _ transportation _ military other:

Architect Richard L. Neutra and Robert E. Alexander; Cochran, Stephenson, and Wing of Baltimore Weller, Fishback and Bohl (1989 Addition)

Builder Baltimore Contractors, Inc.

____ Maryland Register X not evaluated

Prepare a one-paragraph summary statement of significance addressing applicable criteria, followed by a narrative discussion of the history of the resource and its context. (For compliance reports, complete evaluation on a DOE Form - see manual.)

Francis Scott Key Memorial Hall and Mellon Hall at St. John's College was begun in 1956 and completed in 1958. Pioneer Los Angeles architect Richard Neutra and his partner of ten years, Robert E. Alexander, designed the building in the flat-roofed modern style for which Neutra was internationally known. The large complex as originally constructed included an auditorium and lobby denoted as the Francis Scott Key Memorial Hall (now referred to as Francis Scott Key Lobby and Auditorium), lecture halls and laboratories for the science and music departments (entitled Mellon Hall), and the McKeldin Planetarium. The dedication ceremony was held on May 22, 1959, with President Dwight D. Eisenhower as the primary speaker. The building was enlarged in 1989 by the construction of a one-story wing to the east elevation, an addition designed by the Annapolis firm of Weller, Fishback, and Bohl. Key Auditorium/Mellon Hall is one of the few buildings designed by Neutra on the east coast, and is considered by many scholars to be the best of his collegiate designs.

*For a detailed history of St. John's College, refer to Maryland Historical Inventory Form, McDowell Hall (AA-675).

History of the Francis Scott Key Memorial Hall and Mellon Hall

The building of a new science hall and auditorium in 1958 was the largest of several construction efforts undertaken during the thirty-year tenure of college President Richard Weigle (1949-1980). With the construction of Iglehart Gymnasium in 1910 and the heating plant in 1951, the open quadrangle created between McDowell Hall to the north and College Creek was asymmetrical. Thus, the unimproved site to the north of Campbell Hall and the Reverdy Johnson House, south the heating plant, was chosen as the location of the new science hall. The State of Maryland and Paul Mellon's Old Dominion Foundation, through matching grants, paid for the construction of the building, interior furnishings, scientific and musical equipment, and the architectural services of Neutra and Alexander. The construction firm, Baltimore Contractors, Inc, donated the building costs for constructing the McKeldin Planetarium. The auditorium and primary lobby were named in honor of Francis Scott Key (class of 1796), who was a distinguished attorney and author of "The Star-Spangled Banner." The remaining portions of the building, housing the science and music departments, were named for philanthropist Paul Mellon. Mellon, who had enrolled as a student in 1940 to study the "great books," had placed $4.5 million in trust with his Old Dominion Foundation to provide an endowment for the college. The

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planetarium was named after former Governor of Maryland and Mayor of Baltimore, Theodore McKeldin, a longtime friend of St. John's.

The college's Board of Visitors and Governors solicited Richard J. Neutra and Robert E. Alexander of Los Angeles, California to design the science hall and auditorium. 1 The nature of the building's use as a modern science laboratory provided Neutra and Alexander with the challenge of creating a design that "unobtrusively harmonize[d] with the Georgian Colonial buildings already there."2 Having previous lectured at St. John's College, Neutra was familiar with the school's red brick buildings set within the backdrop of historic Annapolis. In a 1957 article entitled, "The Shapes on a Campus are not Extracurricular," in Architectural Record, the architect asked if "the classical and the contemporary necessarily clash, or are they capable of gentle combination?"3 He elaborated further, "after going over the venerable [St. John's] campus, we explained first to ourselves and then to our friends there: You have had and used these dear old buildings, some of them since the 17th century, opposite the State House of Maryland, itself one of the monuments of early America. What are we going to do now with these new buildings? One cannot put imitation glass pearls into a bracelet of genuine

.~ ones without making even those suspect. Imitation would be merely a superficial flattery of the past, not a true and deserved honor to its lasting values.'.4

Respecting the setting, the new science hall and auditorium was to be faced in red brick and limestone, with a low-silhouette to underline the existing campus.5 The modernistic design connected a "cluster of structures housing the music department, a related auditorium, and the science department with laboratories and planetarium," forming "two-and-a-half sides of an open court that comfortably completed the older neighboring structures. Variations in scale of the cluster's various elements, framed and accented by familiar steel spiderlegs, gave to the structures a constructivist complexity missing from the relatively blander composition of the firm's other college buildings."6 Upon completion of the building in 1959, Architectural Record published their final ruling on the challenge undertaken by Neutra and Alexander. In an article entitled, "Science and the Arts in a Venerable Setting," the architects were applauded for designing a building that "seems to achieve a scale and character sympathetic to the older buildings, and does so without making any concessions to the ideology of modern architecture."7 Architect Alexander Cochran, whose Baltimore firm performed supervisory services, found the building to be "one of the finest pieces of architecture that this, our region, has been fortunate enough to possess.''8 Paul Mellon told Neutra that the buildings exemplified "the contributions which

1 There is no evidence to suggest Neutra and Alexander received the commission through competition. 2 "College Buildings: St. John's Science and the Arts in a Venerable Setting." Architectural Record, September 1959, p. 176. 3 Richard J. Neutra, "The Shapes on a Campus are not Extracurricular." Architectural Record, August 1957, p. 176. 4 Neutra, pp. 176-177. 5 "Science Buildings Key the New Campus," Architectural Record, August 1957, p. 169.

/"'"'· 6 Thomas S. Hines. Richard N eutra and the Search for Modern Architecture. (New York, NY: Oxford University Press, 1982), p. 239. 7 "College Buildings: St. John's Science and the Arts in a Venerable Setting." Architectural Record, September 1959, p. 176. 8 Hines, p. 239.




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your great skills and taste have made to the American scene. From the outset, I [Mellon] was particularly happy with your choice as the architect. .. and the beautiful end result of your labors is a satisfaction to us all."9

Neutra professed he was "not really competent to describe the philosophy of St. John's, but it helped [his] design to understand that there are no professed specialized teachers or professors."10 Knowing the school's system of tutorials and seminars, Neutra designed the primary lecture hall with an adjacent discussion room that encouraged an informal and direct dialogue between questioning students and the off-campus lecturer. Furthermore, through collaborations with faculty, Neutra coupled seminar rooms and laboratories. He believed this presentation of spaces on the interior of the building was "in a way really the heart of the campus."11

The music and fine arts wing of the building contained the auditorium, discussion room, main lobby, music library, and practice rooms. The Francis Scott Key Auditorium was designed to seat six hundred, with a system of movable wooden baffles for additional seating. The adjacent discussion or "conversation" room, where interested listeners met with speakers in a more informal setting, had a seating capacity of 250. An open lobby

~ connected the two spaces. The first floor of projecting wing on the northwest corner of the building housed two music seminar rooms, the music library and workroom, and six practice rooms. The wing extended northward with a perpendicular projection to the east, housing the science department. The first floor of the science wing contained four physics labs, two preparatory rooms, four faculty offices, eight physics project rooms, two chemistry labs, three storage rooms, two dark rooms, three chemistry project rooms, one balance room, and the freestanding planetarium. In addition, the hollow newel plan of the two-story stair tower in the northwest comer of the building accommodated the Foucalt pendulum. Dropping forty feet from the ceiling, the pendulum was a replica of the one devised by French physicist, Jean Bernard Foucault, to demonstrate the earth's rotation for the first time at the 1851 world's fair in Paris. The free-swinging devise, one of just over sixty such pendulums installed around the world today, contained an internal electromagnetic drive system that kept it in motion without affecting the direction of the swing.

The new building, nearly doubling the size of the built-campus, opened with a series of lectures, concerts, seminars, movies, and performances. The celebration ended in a formal dedication ceremony on May 22, 1959, with United States President Dwight D. Eisenhower as the main speaker. Additionally, Paul Mellon and Mark Van Doren were made honorary fellows of the college. 12

During the administration of college President William M. Dyal, Jr., Mellon Hall was enlarged by the construction of one-story addition to the east elevation. The Annapolis architectural firm of Weller, Fishback, and Bohl designed the new administration wing, completed in 1989. "This addition connected the lobby of the

9 Hines, pp. 239-241. ~ 10 Neutra, p. 176.

11 Neutra, p. 176. 12 Emily A Murphy. A Complete and Generous Education: 300 Years of Liberal Arts, St. John's College, Annapolis." (Annapolis, MD, St. John's College Press, 1996), pp. 149-152.


~. Historic Properties Form Inventory No. AA- 679


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Francis Scott Key Auditorium with the laboratory side of Mellon Hall, and housed the administration offices, along with additional tutors' offices and a conference room. The relocation of the administration offices prompted the restoration of the original floor plan of McDowell Hall, which had been divided to create private offices and reception spaces.

At the same time the administration wing was built, the conversation room was also renovated, and a state-ofthe-art gallery was constructed."13 The art gallery was established in 1989 to provide the college community as the citizens of Annapolis and Anne Arundel County with the only secure, climate-controlled fine arts facility in the county. The gallery's primary purpose was to establish possible connections between the visual arts and the liberal arts, while promoting exhibits of unique historical and regional interest. It was named in honor of philanthropist and art collector, Elizabeth Myers Mitchell, who served as a member of St. John's College Board of Visitors and Governors.

Richard J. Neutra

Richard Neutra (1892-1970) was considered a significant contributor to the development of the modem movement in architecture. He was born in 1892 in Vienna, Austria. During World War I, Neutra served as an artillery officer in the Balkans, returning to Vienna in 1917 to graduate from Technische Hochschule. Leaving his homeland in 1919, Neutra worked briefly in Switzerland for Gustav Ammann, the noted landscape architect, before moving to northern Germany in 1920. In 1921, Berlin architect Erich Mendelsohn employed him as a draftsman. Neutra immigrated to the United States in 1923, working briefly in New York before moving to Chicago. While working for the firm of Holabird and Roche, Neutra met Louis Sullivan, and through him, Frank Lloyd Wright. In 1924, Wright invited Neutra to work and study at Taliesin. Through his work with Wright, Neutra was exposed to the climate and topography of Los Angeles, where he established a practice with Rudolph Schindler. Neutra served in the 1930s and 1940s as a member and then as chairman of the California State Planning Board, and as a consultant to the U.S. Housing Authority. His Channel Heights housing project for California shipyard workers in 1941 influenced community planning nation wide. In the 1950s, Neutra and partner, Robert Alexander, provided planning and design work for many American cities and the new island government of Guam. 14 The partnership with Alexander lasted from 1949 to 1958. For the last five years of his life, beginning in 1965, Neutra was in partnership with his son, Dion Neutra.

A member of the American Institute of Architects, Neutra was acclaimed for introducing "contemporary layout and design to the truly low cost house."15 In addition, he was recognized for his innovations in the design of furniture, light bolted steel construction and prefabricated and plywood construction. Examples ofNeutra's Los Angeles work includes the Jardinette Apartments (1927), the Lovell Health House (1927-1929), Van Der Leeuw House (1932/rebuilt 1964), Corona Avenue School (1934), Plywood Model House (1936), Nesbitt

13 Murphy, p. 170. 14 Hines, p. introduction. 15 "Biographical Statistics: Richard J. Neutra." The American Institute of Architects Library and Archives, Washington, D.C.




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House (1942), and the Hall of Records in 1961. Projects outside Los Angeles, even California, were limited to such works as the 1937 Brown House on Fisher's Island in New York, the Price House in Bayport, New York (1951), the Lincoln Memorial Museum at Gettysburg, Pennsylvania (1959), and the Glen House, Stamford, Connecticut (1961). Prominent academic designs produced by Neutra and Alexander are the fine arts buildings at California State College, Northridge (1959) and the University of Nevada, Reno (1961), and the library complexes for Simpson College in Indianola, Iowa (1956-1961) and Adelphi University in Garden City, New York (1955-1963). 16

As Thomas S. Hines explains in Richard Neutra and the Search for Modern Architecture, "Neutra's basic architectural structure was the simple, timeless post and beam, with cantilevered roof slabs extending into space. His favorite materials were steel, concrete, stucco, wood, and glass, which he valued for both its transparent and reflecting qualities. Above all, his architecture emphasized the interpenetration of inner and outer space .... Neutra studied the needs of each individual client and adapted his own ideas to those needs."17

Neutra's designs are often coined California Modern.

Robert E. Alexander

Following his graduation from the Cornell School of Architecture in the 1930s, Richard Alexander had moved to California. By 1936, he served as partner in the Pasadena office of Wilson, Merrill, and Alexander. The most notable achievements of Alexander during this tenure was Baldwin Hills Village, also known as Thousand Gardens. Designed in 193 7 and built in 1942, Thousand Gardens was done in collaboration with Los Angeles architect Reginald Johnson, and East Coast planner Clarence Stein. In recognition of his contribution to the design of this planned community, as well as other planning achievements in California, Alexander was appointed in 1945 to the Los Angeles City Planning Commission, and in 1948, became its president. Unable to gain large-scale commissions, Alexander was forced to collaborate with well-known, established architects. This prompted him to solicit Neutra to assist in the designing of Chavez Ravine. Renamed Elysian Park Heights, the project was one of the largest planned community designs to be initiated following the establishment of the Housing Act of 1949. The project was ultimately never built, but established the two as partners. The relationship lasted until 1958.18

Quadrant and Ring

On the northeast side of Mellon Hall, between the art gallery and the science wing, stands a quadrant and

16 Hines, p. 239. 17 Hines, pp. introduction. 18 Hines, p. 16.




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bronze ring. Mounted on a granite plinth, these instruments are described by Ptolemy in his Almagest. The graduated quadrant measures the noonday altitude of the sun, and the ring in the plane of the equator identifies the moment of equinox. The quadrant and ring was originally located to the northwest of McDowell Hall, but has subsequently been moved to its present location.




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HISTORIC CONTEXT:

MARYLAND COMPREHENSIVE PRESERVATION PLAN DATA

Geographic Organization: Western Shore

Chronological/Developmental Period(s): Modern Period (1930-present)

Historic Period Theme(s):

Resource Type:

Category:

Historic Environment:

Architecture, Landscape Architecture, and Community Planning Social/Education/Cultural

Building

Town

Historic Function(s) and Use(s): EDUCATION/College

Known Design Source: Richard L. Neutra and Richard E. Alexander Cochran, Stephenson, and Wing of Baltimore Weller, Fishback and Bohl of Annapolis (1989 Addition)

9. Major Bibliographical References AA-(p19 "Biographical Statistics: Richard J. Neutra." The American Institute of Architects Library and Archives, Washington, D.C.

Boesiger, W., editor. Richard Neutra, 1950-1960: Buildings and Projects, London, England: Thames and Hudson, 1964.

"A Brief History: St. John's College, Annapolis, Maryland," Pamphlet prepared by St. John's College.

"College Buildings: St. John's Science and the Arts in a Venerable Setting." Architectural Record, September 1959, pp. 176-179.

Thomas S. Hines. Richard N eutra and the Search for Modern Architecture. New York, NY: Oxford University Press, 1982.

Historic American Building Survey, "Francis Scott Key Memorial Hall - Mellon Hall- McKeldin Planetarium," Blue Worksheet, Prepared by Florence T. Dunbar, October 1964.

Murphy, Emily A. A Complete and Generous Education: 300 Years of Liberal Arts, St. John's College, Annapolis. "Annapolis, MD, St. John's College Press, 1996.

Neutra, Richard J. "The Shapes on a Campus are not Extracurricular." Architectural Record, August 1957, pp. 174-177.

Riley, Elihu S. The Ancient City, A History of Annapolis in Maryland, 1649-1887. Baltimore, MD: Clearfield Company, Inc., 1995.

"Science Buildings Key the New Campus," Architectural Record, August 1957, pp. 166-169.

Tilghman, Tench Francis. The Early History of St. John's College. Annapolis, MD: St. John's College Press, 1984.

10. Geographical Data

Acreage of project area Acreage surveyed Quadrangle name

2 acres 33 acres Annapolis. MD

Verbal boundary description and justification

Quadrangle scale 1 :24.000

The Francis Scott Key Memorial Hall and Mellon Hall are located on the campus of St. John's College, established at this site in 1784. The college is recorded on Tax Map 4-6, Parcel 458. It is bounded by College Avenue to the southeast, King George Street to the northeast, St. John Street to the southwest, and College Creek to the northwest.

11. Form Prepared by

name/title Laura Trieschmann and Kim Williams, Architectural Historians April 10, 2000

organization E.H.T. Traceries, Inc.

street & number 5420 Western Avenue

city or town Chevy Chase, Maryland 20815

The Maryland Inventory of Historic Properties was officially created by an Act of the Maryland Legislature to be found in the Annotated Code of Maryland, Article 41, Section 181 KA, 1974 supplement.

The survey and inventory are being prepared for information and record purposes only and do not constitute any infringement of individual property rights.

return to: Maryland Historical Trust DHCD/DHCP 100 Community Place Crownsville, MD 21032 410-514-7600

r

SCIENCE BUILDINGS KEY THE NEW CAMPUS

AC11oss TllE COU!\'Tl\Y in courses ranging from aeronauticul engineering to zoology our colleges nnd universities ore incrcn<;ing sludy focilities in the sciences 011d their applicotio11s nt o rule which ror outruns on) otlwr or tl1e elllablished fields. F'ew nc.>ed betatro11s: oll neril bur\Sl'n burners and the \\Ork spaces in whirb to t·mploy them. Highly !q>eCiali1.ed equipment ond highly specialized 8pllce!J ore re<1uired i11-creu!<ingly, but the proportion or lheY to standard spaces is small just about the proportion or graduate ond profo~ior1al programs to undergraduate ones.

Tiii' real demand is for laboratory space ond for immediately odjacent classrooms. Inerea ingly these are being coupled in odminbtration, (acuity, and nrchitcct thinl.ing for two principal reosons. The first grows out or the desire to link up closely laboratory observational exptrience with immediate discussion - or pre-observation instruction. Al St. John's College (oppo1ilt) tl1e laboratories are organized to occommodnte semi no rs in the middle or the work space. Elsewhere cl8llSCOOm and small lecture bpnces ore being located oppogite laboratories on double-loaded corridors or alternately along si11glc-londrd ones. The loller urrangeme11l is particularly effective in oclrieving the set'f>nd planning goal : flexibility.

l•ing modular plon11ing - and ofte11 demouutable pMlitio11s - a lnboratory may be doubled in size over o weekend. or a classroom may become two. or either moy be subdivided i11to several small project loborntories or offices or storage and preparation spaces. or course to accomplish this desirable inlcrchongeobilily it i~ mandatory that mechanical nnd electrical !Wrvices be established in continuous pnlt.erns. and this is the order oC the doy. In the t.hree examples thot follow. ::.uch conliuuity is provided.

Equnlly important with the conti11uity of these services is lhaL of feneatrnlion, ocou.~lical. and structural orgnnization It is only in our time thol such flexibility in use or for e.'pnnsion hos become technically feesible. 011d it is only in our lime that tht> 11t>ed for it hos developed lo such a critical exte11l.

Thr satisfodory scie1tce building today must start with o stn1cturol pntteru whirh can p<>rmit subsequent multiple rhoire1 and multiple oddition.'I. IL cannot fret-zt• ~paces or rombinetiOllll of them. And bc.'<'8U.'le or this it cannot possibly ope older campus ~tylcs with any measuroble SUC<'CSS. although l!Ome otherwise impeccable institution:> ore ~till trying. A thou~htrut oppronl·h to the new science building mo) )t'l brini:t us lhou1thtlul - ond beouti(ul - corn pus orchitecture.

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166 \Rl'lllH'.l:TlJ R\I KH:ORD H.:cr~T n;~

AA-fu 19

UNIQUE ST. 10HN' S

"red and " phillN>ph~

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r

UNIQUE C URRI C ULUM GENERATES EX CITING BUILDING

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AF\-lo19

College Buildings: St. J ohn's

SCIENCE AND THE ARTS IN A VENERABLE SETl1N

1'he architects were presented here with the challenge of designing an auditorium, music department, and science laboratories for St. John's College (a new bulk almost double that of existing campus construction) in such a manner that the new, large structure would not ''take over" the campus and would unobtrusively harmonize with the Georgian Colonial buildings already there. St. John's, with a present enrollment of 300, was founded in 1696, and is a neighbor of the U.S. Naval Academy. Appropriately enough, the new red brick and tlagst.one building seems to achieve a scale and character sympathetic to the older buildings, and does so without making any concessions to the ideology of modern architecture.

Architect Neutra says, "There i.s great stimulation in meeting the most advanced thinkers of the day in old colleges, and in witnessing them teaching modern science

r which is far removed from the horizons of former centuries in buildings constructed in those bygone days. We have discussed and tried to grasp and express this faith in values that transcend mere historic or modish relativities."

The Francis Scott Key Auditorium, the Mellon Laboratory, the McKeldin Planetariiim, St. John's College, Annapolis, Md. Richard J. Neutra & Robert E. Alexander, Architects; Cochran, Stephenson & Wing, Resident Architects. Parker, Zehnder & Associates, Structural Engineers: Boris M. Lemos, Mechanical Engineer: Earl L. Holmberg, Electl'ical Engineer. Baltimore Contractors, Inc., General Contractors.

176 AJICHlTECTl.'RAL RECORD S«pttmber 1059

1. Francia Scott Key Memorial Hall 2. Mualc and Fine Arta 3. Science 4. Planetarium 6. Hall of Records 6. Carroll Hou1-Dorm1tory 7. Humphreya Hall- Present Science 8. CampbeU Ball 9. McDowell Hall-lf&Jn Buildlnir

10. R.ndall Hall-Dining 11. Pinkney Hall-Dormilory l2. Future Dormitory 13. Woodward Hall-Library I,. Chue Stone Hous-Oormltor.Y 15. Davis Houae JG. lrlehart Hall-Preaent Gym 17. N•w Gymna11um 18. Boat Houae 111. Playlnr Flelda 20. Stum Plal'lt

1rlal Ball

y t Science

tlldlnc

mlti>rY

. ym

Abo111: the science wing, which terminates in the planetarium at the far left, shown also in the picture immediately below. Below: two views o! interesting exterior texture pattern.a, showing the play of light and lhade on louven, brick, glass, etc.

' )~

5

•

• ,

' )~ ,

, •

SCIENCE WING 1. Planetarium 2. Phy1lca Lab 3. Prep Room 4. Olllce 5. Phy1ie1

Project Room 6. Chtml1try Lab 7. Storare 8. Dark Room 9. Cbemlatry

Project Room 10. Balance Room

MUSIC AND FINE ARTS WING 11. Mwiic Library 12. Mualc Seminar 13. Practice .Room• 14. Work Room

AUDITORIUM 16. Stare 16. Auditorium 17. Lobby 18. Connnation

Hall

12

I

College Buildings: St. John,s

The plan below 1hows the disposition of the principal men ts: the science wing and planetarium at Jett, music department In the center link, the auditorium conversation room to the rirht.

The Francis Scott Key Auditorium will 1eat 600,~ can be subdivided by a system of movable wooden tor the traditional Friday nl&'ht lectures, at which a ance is required. After the lecture and a co1fee b the speaker and moderator repair to the conve room (seatin&' a maximum of 260), where Inter listeners may question or en&'age in informal discu with the speaker. This room Is also llffd for music ret'itals

._ ____ _ I · ---~-' ' ,---------' -------··-· I

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~-···---·"'·

t------ MUSIQ AHO PINC AllTS WINO---------t

178 AllCHITECTUl!.AL RECOllD Scptcmb•r 1959

JOI lll• , ..

J

Above: Elevation from the northeast, showing the auditorium entrance at left, planetarium at riirht. B~low, top left: the auditorium lobby, with a view of the old campus through the glass. Top right: the conversation room. Bottom left: The Foucalt Pendulum, dropping 40 ft., ia a replica of one dev1sed by that French physicist in 1851 to demonstrate the earth's rotation. Bottom right: the auditorium has continental seating

I

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.. St Jehn'a C.l le ..

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1 .. 1091 ef .. dern archl• teot ......

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Datr of Yrrct1on begun 1956, comapleted 1958, detlla.ted May Z2, 1959

Architrc'lchard L• Neutra, Robert . £~ AfeJll,nder_. Lea Angela• ·

BAaa.oelate R•elden.t Archltectat Cechr.en, .St•phenoan, .. ft Wlftg ef Belt* u11.cir.r. 8U'Dl'lr1cra, cic. . .1...:. . --- -·"'·-·· .. - ·--- ..... -- -~- ' . .....

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• • t" • • • • I • • •

--··-,""*,.~xtik·-.a.. S.pt•mber 1959 1.N••• ef Archltectural ---~ ew cont•ln art le I•• on the buf ldJng, i1Jcl~h11 co ... nt• en plan•

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HISTORICAL EV':ENTS CONNliUTED WITH STRUCTCRE ~~-,~.·-

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Importa-"'-t old views . . - - - . ~.;....,... .. _ .. _· - . . .... ·:· - . ~·c'. '. .. ---~:· .... i:-:~•- :t,....-".'"- ~- ,---{with 'location). Plctur~ Fl lea;-·llulilnl and -'R~si•trar'a Offi~a, St Joh:

College,· Annaf)91 i• ... ,! ~'.!: '/· ;;." · .;; -;;.;: " J:.

. f" ~..- ..

Sources of information · · · ·: .. : : '• . 1 (with location) . Bui I ding• fl lea, Alamnl Aad leglatrar a Offlcea,

_St. John'• C.Jlese,-Annepolie ___ . __ ...... --~-Architectur•I Record, New Y•rk City, Auguat 1957 fl ieJ,t .. ber ·1959

Likely sources not yet investigated

S.ltimere •nd WeahinQton newspapers, 1957 - 1959

Reae•rch Staff, Historic

Da.te October 1964 ... ... Aanepalia, lac.

.... - " ~· ·:.

"IiSTRUCTIONS :EUR DOCUt'iJiifiATION - . . . ' - .. Published references: Give author~s full .name, exact-title from title page (und,erlined), publisher, place of publication, dtJ.te, page references. Manuscript references: Give location of manusctint g,nd note if long-hand or t;roed. Cite 1f'rom," "to, tt date, etc. . r ..

InterTiews: If information came from a nersona.1 inter,'1.ew, give complete na.me and address of inf orma.nt. ·

CONTINUATIONS: Any of the ,,.bo·•e entries may be continued on additional aheE>ts. Ex:act transcrints in cuotes from l>ertinent documents are es,.,ecially welcomed as an'Tlendices or otherwise. ..

l:

,...,-, I 1 <l' )' I , i . : !

THE ARE

SHAPES ON A CAMPUS, NOT EXTRACURRICULAR

By RICHARD J. 1"EUTRA*

w HAT EDUCATION WILL LOOK LJKE in the future, and therefore what the college of Lhc future mighl look like, is a fascinating mystery to all of us.

Ample predictions have been made by authentic specialists concerning 1980. :\Jany of our forecasts seem to relate in one wav or another lo whaL I would call "progress pride." We. arc Ii Ying in an age undoubtedly very proud of progress. :.\'" ot in all Lite ages in which education occupied minds were people as proud of progress as in ours. Never has so much of grand statistical material been gathered and collected and put to so many immediate uses. It seems always that it is large quantities to which \Ye like to refer when we

speak of our glorious time and Lhc still more glorious future. But our information and our knowledge have characteristics that arc somewhat di1Tcrc11l from the wisdom of the ages. Our sort of knowledgeable consciousness is extremely numerical. It is based on the quantitative approach. It is statistical and "specialistical" and analytical. It is very hard lo imagine that from all these figure-rich specialistic approaches there will emerge universalistic wisdom - and yet it seems that the root of the conception of 1111il'ersily co1111ects with some universal cosmopolitan altitude. Are we cosmopolitans?

Young people, in the ages before the jeL and the flyiug constellations were invented, could transfer from Salemo to the Sorbonne or to Salamanca without losing an hour's credit. But I have three sons whom I found it very difficult to have transferred from any place to any other place, even from L'SC to l"C in the one slate of California, not to speak of neighboring l\Iexico. It wasn · t difficult to do such things in those dark ages. To be sure. the scholars traveled on foot, but they got there to sit at a master's feet. On the way, trawling as lowly pedestrians, they were fed and put up in haystacks. Everybody respected learning and contributed good will for the studious.

We are perhaps too proud of our age; too proud that \YC have shrunk the globe.

*All wlzo know Jlr. Seutra's 11·ork and tn·it.ings are

airare of his long-continuing concern u:ith the pl1ysi

ological and psychological deter111i11a11 ts off orm. In this paper - 1chose substa1rce n·as originally presented to the c·o111•e11tio11 of the A.~sociation .for Iligher Educa

tion in Chicago this year- he relates this approacl1 to prol>l<'lllS <!f campu;; d£'.<ia11.

We architects have been trying to explain pro• . h' l l · e'Te\l m arc 1tecture to tie ay person m about this w .. ··v d d. 3\, • .i ou see, we are surroun e m our days by these

11 •

materials, the startling technical novelties, these 11::

installations and new gadgets and new construction. and so, you u~1derstand, we must have also an archit('('. ture of the new day."

Unfortunately, there is a new day every twenty-four hours. The problem then is not to get dizzy while Ifie earth is spinning on. Campus architecture needs 11'S5

the "quick-turnover type of fabulous future" than does the seasonal fashion business of the ladies' appan~ trade.

Yes, we have emerged from the horse-and-buggy stag(' into the age of electric transmission, and from electric transmission to the atomic age - and there is one ai:e

after another. They follow each other fast, and the devil takes the hindmost. l\Ian surely is run over bv this fa:;t and faster traffic he has conjured. But wh;- is mau getting under the wheels in this wonderful progressirr world? What has it to do with the colleges and with the breeding of thinking men, and with the architects' housing of college activities?

.. >

At the outset we must recognize that not all thf.' needs of organic man have really been studied objre· tively. All the mechanical forces we have harnessed are not necessarily or automatically favorable to the subtle human relations of teacher to student and rirt -' __ rersa. These precious relations have had some other and less mechanical origin.

What is technically feasible and commerciallv desira· ble from an invcnt~r·s standpoint is not ne~essarily desirable for you. And if his technological denlopme11I is in the field of lighting, for example, it can come so ra~t that a biological adaptation. such as the eyes underwe11l for thousands of years to fit the natural scene, is out c•r the question. Whether the whole thing is humanly tolerable in the long run is not primarily in the mind• of the inventor and his backer.

Technological and commercial fireworks illuminat•· our scene vd1ile we teach and train our young. Progr':"" is all well and good. But unless we develop some biological checks and balances, vou can see under what determining Pircumstances w~ would have to desi~11

a campus such as that for the Gniversitv of Califoriua at Los Angeles, where officials predict -1] ,000 studenb in about fif'tcrn years. The~- must plan in the near futuri· for 17.000 cars. They will ban• to run oYcr an inHnl'll!'i'

og~rc~Ull' of concrelc pavi11g lo scatterec.l parking nrcns. bt.>CUUSl' you CUllllOl put U rnclnllic herd or 17,000 Oil

011e slu111pi11g ground. You dcce11trulizc and fi:;ur<' I he iutriculc geometry of pluccruc11l, so thul every student l'<lll reach his dussL's co11ve11ic11tly from this or thal parf,in:.r place. His scholarship muy wt•ll be impeded b' tlic truffic c11~i11ecr's mistakes. · , n1uy sa) these .t.1,000 day students we arc going to

han~ in l\H•he or fiftcc11)Cars011 this particular cumpus ;ue bu~e<l 011 only 12 P"l'Cent of the high school gradu:ill's. Thul b a conscrval ivc percenlagt•. us pcrcc11tngcs llH\~ rn11. If we figure that some 111orc )oung people tx.•co111e nmbilious and capable. lio\\ many stuc.lc11ts 1dll \\e li:ne then? If' u11c le11tnlivl'I) multiplies thal rurn•11l pcrl'cntn!!c by about ei!!hl lo gel a full '!UOta. \IC 111i!!ht have :tW,000 stuclc11ts: for pt•rhups 110 one \\ill \\Olll Lo taken batk seal in u world that produces lifly times us rnuch ns the dewr time of \"ollnin• aucl Bc11ja111i11 Fraul-li11. And we go 011 multipl) in:,t. \\ c merril~ multiply with l 1e factor of projected car O\\ nership. and )OU sec we have more and more general commotion around dt•pmlruc11lal. "f>t'cinlistic parl-in~ ph\ces, "hilc lrss and less u11frersul wisdom cnwq;cs.

But "Iii le we arc pro<luci11g so mightily whut we nrc progrr-. .. i11g into SCl.'llls reall) nol nn) thi11g but l'haos - till' terrible thi11g that frustrates 11:> nnd has frustmtcd the humn11 rnincl. even i11 Ill) thology. IL is the horrid thing mnn hus hoped he had bchi11d him; hoped t lml deity hnd abolished in nn orderly, lovdy crcnl io11.

The Greeks <.·nllcd tin• unh·ersc cosmos. It is the same word for je1rel i11 Greek. u11iversal jewel. order. harmony That wns God's gift, the jewel, the u11h·cnml jl•wel. They thought chaos hnd been i11 the begi1111i11g but thal it "lb huppily o\'cr ancl ended al'kr the gods liad tnkc11 up plannin!!.

In principle. Dnb) 1011ia11 astrologers were quite right. belie\ ing that there was nn cnvironmc11Lnl. a unh•crsnl influence ncLh'e in our livl'S. It surely is not as stupid ns it may liaYc looked 011 the first •· uonsuperstilious"' glance. The unh·erse with its cosmic rays, its declricily, its solar light and heal. has some-

"II he11 lhe Cniursily of ... 1 ·ienna, or any _ 01 lhe medieral unii:ersilies were founded, il 'ti_ !Das quite dear . . . that form was of the f~· u1ence . . "

:.I,.

'

AA.-<D 19 thing to do with us, nnd our very chemistry and physiolog). The impact exists 011 nu adult, and eveu more on a gro" ing person. A student 011 the campus a nd a child i11 lhc home nrc surely marked by biological individuality. but the desiguer of environment must not think thos<~ ancients ignonu1l. who intuitively felt how deeply mun "ith his innate and cvoh·ing sensitivities is integrated into the universal landscape. What n lcrrible respo11sibilit) the most iguoranl arcliitcct has for our lives and for our ability to flower and bear fruit in the future - al lcost over the omorlization period. ll takes so much c.lecision and time to tear down buildings firmly built the wrong way.

\\hen the University of Paris or Yiennn, or any of the mcdie,·al universities were founded, it was quite dcnr in those days of expressh·c architecture that form wns of the essence, that it "as n vital hurmm concern. Architecture was not just 011 assortment of cubic feet and dollars and cents and tons per squore foot of grouncl pressure and kilowaLL.s, and whnL-have-you. It had a shape. a Gestalt. The attitude in creating it had a family rcst•mbla.nce to the original attitude t.hnt created the cosmos. the beautiful supreme shape. People at Lhat ti111e were not overcome. as \H' nre, by the euormous d1•ci111ul numcrolog) of the slntistical. qunulilativc approach that stnrtcd to become popular in the 18th century. Si11ce the .. great revolution" democracy has depended on counting noses, Yoles. and everything else, a:s a method leading to decisions. J would like lo suggest that we have gained much. but we have also lost son~cthi11g while we ,,·ere .. figuring." and nrchitccture, shaped e111·irrmme11l, has been discrcclitccl, since all fnilh has bcc11 put in figures.

Co111prchc11sivc shape disappeared while qua11Litics bt•ga11 to loom in significnncc. Strangely. the word "figure" mea11s in English both number aud sliape. Plato used and cherished the word •·idea." He deemed it lo be at lhe bottom of everything. In the 1Ielle11ic language and culture it happens that the word eidos means both idea and shape. For architects this has greal import.

. '

. ---------------.-.n.ouT'"ftT'....,..,.,n 1 T nr.rt'\JU'\ .1.tU:U.~

l ·f ...

As ard1ilccts for llC\\ work al ~l. Joh11·s College in \1111npolis. " here ~orrnlC'S is snid lo have crossed lite Delaware. "c tried hard lo u11dcrsta11d its approach Lo learning - to gt·t lite shnpe fro111 I he idea. I nrn not really co111petc11L to <kst·ribc the philo~phy of SL. Jo1111·s, bul il lrdpc<l our dcsigrt LO urrdcrsl<lrrd lhnL there are 110 prof'c:.Sccl spcd:ili1.t'<I lenchers or ··professors." Tlrl•y ltnn• 110 tourscs or dasst>s in the general sense. Tlrt'y han• lulorials and serrtirrars. There i~ 011e ll·clurc gh'crr 011 Frida) ew11i11g "hith t•vcryorre allcrrds. \rtcr coif cl•, I here follows n clialo~ue bt•l wce11 quest io11i11g studc11ls urrd Lire off-<·a111p11s leclUrer. \\ c have dc•si:,!rrt'CI. arrcl t lll'rC are u1tdcr co11slruc:lio11. both the lt•clurc hull urrd l ht adjan•rrt dist'ussiorr room - in u \\llY n·ully Lire lll'nrl of llw c·u111pus.

\\l1ile \\t' \\t•r(' \\c11king: 011 tlris, l c-:1111c lo think te11lalin·I~ that tllt'rt• arc two wa~s of aclrn11d11g wisclo111. Ont• is La!-.t•d 011 diall'dkal l'uriosily. Probabl~ S0<·ratt's "ould Iran agret'<l. Tire f ucc-lo-f'uce group is fert ile and productive. if dialogue is guided in a masterly fashior1. ~()(rotes ''ould firrd "hal is truth. "hat is digrrity, \\ l111L is 'irLUt'. h~ just t:ill-i11g "ilh pt'oplc iu Lite market plut·c. A "oudcrful mcLltCJd. nud by <·crlni11 111ea11s of <h•:-ig11 0111' ta11 nn·o111i11odall' it ardritt•<·lurnll~. 13uL we lauYc also to dt•al "ith olhl·r ki11ds of mi11d· nd,am·t·111<•11t Lhn11 Lhe diule<·tic om•s. Tlterc is tt11ollrt•r 11pproad1 lo "isdwn. Tht•re is ob11erl'ulimwl curiosity. 1·omparablt· aml puralld lo Jialediral <·11rio.qfy. Both" ill have to lJI' nt•t·o111111odnt<:<l i11 o full curriculum.

.\l SL. .John's \\e tril·<l lo pla11 tlll'se l\\o curio:;ities logclltcr. Tliis ''as workl·<l 0111 i11 lo11g and t'tlrcful sessions\\ itla lltt: collnooration of Lite fa<·ulty. \\'e altndwd scrni11ar rooms to l'H'Q lnbornlor~. Cuidt·d dis<·ussio11 by lite stuclt•lll g:roup ll'sts llll' nrliclity and lo:.ric or t•\pcrirneutnl ohscrrnl ion. \\ c '.\Ol'kt'<l ,.l'l'Y hard a11d "ill1 gn·al inlcr<•sl lo fi11d out how all llris fu11t'lio11s. lt \HIS exlrcrucl~ irastructh·e a11d fasci11ati11gl~ <h·lc.'rllli-11aliH• Of (a~ollt :tllU slHlpc.

l l1t1,·e h1.·cn lulki11!! about ul<l u11i\l~rsiti1•:> "hiclt lra<l shape. like tl11· rosmus. I \\1111ld sa~ sltapc• is 1101 11111~ a $1'/f11il11r 111' fu1wtiu11. ;r .. lhl' 111a-.l1·rful Ir L.

In .lfuico "I saw lht ~teond olcle.~l u11iursi(v of /he hemisphere yo m0<lun i11 its buildino"

~ullirnn would ha,·e said. I hn\•e tl1ougLL over this maller of "form follows funcliou" again nnd again. First of all, shape is nol lifeless and static; iL is itself fm1rlio11i11g - a11d furlher it is Lhe cause of function. You ltuYc only to look al the colorful and beautifully shaped hirds who ure shaped. nt least in pnrt. so lhaL the species "ill be propagated by means of this attraction.

'la11111ndc shapes arc surely nol ull rnechan.icnl in origin and 111oliYation. To explain the human world in ll'rms of use, technique. a11d material. as the grent 19thcC'nl ur~ nrchilc«t Gottfried Semper did. is now bcluled 111nlt•rialisn1 which had its philosopliical lteydny a hu11cln·d years ago "hen educated people glibl) 11~-d t ltt• "urcl ·· rnallt•r,'' and believ<.'d the) knew whul it "as aml llll'ttnl. Those "C're also the days "hen iu<lus· trial t1·d111olo;!Y wns a promising tecn-agl'r. I do 11ot propust'. like Jean Jacques Hou~~au. to return to nature. 1>11t I <lo propose as true progress one that is physiologically tolerable. We have completely lost sight uf "haL can }w org:111icully sustuirll'cl urrdcr the t<>11llil'Li11g impact. 11ot of progress. but of the millions uf prngrcss1·~ "hich the pal~nl office iu \\"asU.i11:.:ton has i11 its rnou11ti11g records and methodically files in a nc" "in,. to be built c,·cn· vear.

I prn17iJst• that i11,,.tea<l ·of lool,ing "ilh l'Xngger:itcd t·111phnsis 011 l•itlter today or yesterday. we should gi,-c up llurnring tlrc111 '' itlr either lccl111ocrtttic or urdll'Ologic:al ""c or aCCl'1tls. \Ye should i11 no cai;c dress up ro1111111I it'all~ .. \re t ltc dassical anrl the co11tempororY nt•ccs!'knily dnslti11g. or nre they cnpable of ;:rc11tle co111bi11atio11~ Al St. .Toh11"s. after going on-r the 'c11-1•n\hll· C't1mp11s. "c c\plai11C'<l first lo oursch·cs n11<l 1lrc1t to c111r fril'nds there: You !tan Imel a11cl us1.'tl Lhesc dear old Luildings. some of tltcm si11cc the 17th cc11tury. opposite Lo lite State ITou~ of' \foryla11d. it~u· 011c of lhl' 111011u111c11ls of l'ttrly \11wric.1. \\hat are \\C going t~ du 110" "ilh lh<'se Ill'" b11ih.li11;.rs? Orrc rn11110L put iuw l;rticm ;,:lass Jll'>tris 11110 a uracdel uf !-!Cr1Ui11c OllCS \\ ithoul 111aki11g l'\"Cll tltost• s11spcd. lmilutio11 \\Ould bt• 1111·n·h a'" 1<·diti.1l ll.1ll1•n v.[ tlw pa>! 11111 J li:il\___:_11_'d~-----·

dt•::.t•rH·d honor Io its Jnsli11!! ml ut•s. ~i11re I Jm ve yisilcd all lite lcadin~ 1111iwrsilit•s uf this a11d other rou11l rk•s l)ll Lhis side of Lhc I ro11 Curtain. I cu11 lcslify

( · hnl a campus lasls nt least 011e hu11dn:d ~1·nn; longer tli 111 n11y I £nllowe·c11 parly.

~ -= ..

\\ he11 Preside11L .\le11w11 u11d the lat1• Curios Lu.m of )ll·,ico i111porled me as a sort of ho11or<lry co11sulla11L. I saw tl11• scco11tl oldest UIU\ ersily or lite hemisphere go 111o<lcr11 in its builtli11g, allhough some or its orig'inal tendii11;? n11tl co11slrncli1m hnd slurtt•d before the middlu of the 16th ce11Lury. l 1 the oldest u11in_.rsity of the .\nwrkas, in Santo Do111ingo. '' hid1 Imel its bcgi1111i11g ,, hc11 Christophl'r Columhus hardly l111d t'llclcd the middle a;,rt•s. t hcrl' is an l'llt ircly co11Ll'1tlporary 1·nmp1i-. 1111dt•r the gorgeous Ii \('·oak trees. B1·i11g short ol 111a11ift:sl lraditio11. \It' i11 our l'Ot111lry have been prone to adopt ro11spir11ous n·,·irnlism. I have been a gUt"'l i11 011c Gothic ~raduate ce11t1•r "ht•re we put 011 black go\\ 11s C\ cry Lime wt' \\t.'llL lo tli1111cr. un<l the sludcnlS, especially the nrchitecturnl studc11Ls. did it with tongue i11 check. I ha'c ucYct· u11derslood ho\\ the) coulcl cal. cite". and nssirnilatc "ith LOll.!:UC in chl'ck.

I )ur pron:-durc and dt..-;i;:11 d1.•1:isio11s should be guided b~ realism. yes. uul 1101 b'y the realism of dollars nncl cents; not b) tlial renlis111 which rc1:o:;nizcs thaL the donor lia:; gin•u the 1110111•y and tlll'rcfore has the cli\'inc righL to dcd<fo what to do, l'' rn if it is ngai11sl hurnn11 biolo~y .. \clunlly, n donor has 110 wish to he remembered us ridiculous. l li:s chief concern must always be the lhi11~ studcnl and the lh·i11g faculty. These arc the inhauitanls, the usl'rs, of "li:1lcw1· we build 011

lhl' campus. Like children lcm ing n family tlic graduati11g sLudcnL

\\ill carry Lhe impressions of l1is home nil his life. oue \\a) 01· n110Ll1cr. as n gric,•ous burden or ns n cherished image. The em ironment in "hich he dc,·dops may be n perennial nndiorngc for his soul. The harbor we hope for an<l lioltl in our memory as alumni is mostly a shape or an integration of shapes and not n11 accumulation or fi;;u res.

.... -~

--·_ "· · · after /he fashion in which Raphael placed , ,t;; ~ iflformal groups of philosophtr1 in ... ~ •. ! The School of Athens' "

"1

AA-~19 f wont to accept my ::.hare of re::.pou::.ibility for all

the sins tlmt have bc.•l•n l'Ommilled b) 111odem 11rd1itcclure. "hether I wns clefi11itcly l'Onneclcd "ith it us urcl1itl•t:l. or as u consultanl. or perhaps 0111) ga,·e it support by I he nod of n privileged guest. [ ca1111ot and <lo 1101 claim lob<· a swecl '' in11oce11t bystaudcr. Colleclively our frntcrnit ~ of nrcl1ilecls is mspo11~iblc not 011ly for lt•nki11g roof llasl1i11~ au<l for "roug ·· !:lll•sstimalt's" or blowi11~ up budgets. but above all. for much of Lhcse ::.urrou11cli11g shnpcs lhnt Arc life delt•rr11i11nnts.

\\ (' arc housinf! t•dw.:ulional ucti\ ilics and ut·co111modati11g cduculio11al aspirations. \\"c must help educators \\ ith sympalhel ic u11dL•rslu11di11g und particulurly I he lop nclmi11islrutors who labor harcl lo coordinate all tht•sc spedaltics so dumwlcrislic of our lil'c l0<lny, on the t'nmpus nm! off it. \\"c 11111sl house thl' education of lhe future so that i11 a 111u1111cr of spcuki11g it de\·elops tow a rel the pnrt ii ion-It's...;. not the o\·cr-tlcpnrl111t·11 tnli1.1•d. ll 111<1y be profitable lo rellr<'l 011 the icli•nl of one big room, so people can hear and sec each other. as in the opc11 colonnade "here Aristotle taught. or some"hat afll'r the fashion i11 "hkh Hnphm•l placed the inforrnal groups of philo'>Ophcn; in his colo::.sal ca11rns, ..Till' Sd1ool of \thens:· There were 110 parlitio11s. no cquip111t•11L. 110 plu1111Ji11g Lo '' <1rr,· about, 110 lll'rnwtit:nl luboratorit•s 01' fllllll' hoods. hul a ;.wod clcnl or di11ical conturl "ith tlw uni,crsc a11d plcnl) of fresh air.

In n11y e\·c11t. n ln1111an bei11g is one whole at all 1i1ncs. n11cl the nn:hilccl 111usL recogni~c this a11cl shope tl1t• 1·a111p11s L'll\ iro11111t:11l accordi11!! lo tl1b truth. 'Ian, like fish 1111d birds n11d beasts ul' all J,i11cls, is shnpc-11wlirnt<:cl. ronll-('OllsciOUSlll':....., is US little l'\.(l"llcllrrieular as our 11t•t•d for phy~io~110111ic co11Lact wlaic.:h rclnlcs to il. A ca111p11s CUii more satisfy b~ om•ring opportu11ity lo be face lo fnCL'. than fcnd1•r lo fc11del'. '\o l-i11g-si1.r. l\\O-to11c progrt'S!i should lx· allowed lo O\'crco111c the thou:::lalful11c~s that 110\\ "itl1<•rs in our 111nssh·c rush. The campus of the futmc must lio11or and snlvage the nndcnt tradition of human biology nud, I hope. become a vnlid model of other human comm,uuitics to come.'.

• .A. I. ,I. Form S38 Pag12.

BIOGRAPHICAL STATISTICS

1. Nominee's full name Richard J .Neutra

z. S1ri1'1 au in· •'P"6,,-illU -ti °"" rariu ;,. """" of Coutd'7·

2. Nominee is a .#Jl9'/,i{aturalized citizen of U .s ·A•

3. Nominee's legal residence 2300 Silverlake ~lvd. Los Angeles 26

4. Nominee's firm name Richard J.Meutra

5. Nominee's principal place of business, address 2300 Silverlake Blvd. Loa Angeles 26

~-TT';s?'·; 6. Nominee is registered or licensed to practice architecture by "°"" of S11111 Boord, as t4JI

moybi. Board of Architectural examiners State or California.

7. Stri1'1 DUI ;,..

O'P"6P'iall ff/Ortis.

7. Nominee is engaged in practice of architecture as a practicing architect teacftoeP.otR>ofleience-&f-eGRM~....puhl~~.&:et.ir.cd.

s. r,'PI ;,. t1a11 8. Born Apr i 1 8 1892 of birth anti city • Place of birth V iexma Austri& ""' ea .. ..,,,.

9. Nominee's schools, colleges and universities:

High School

PrifJatt School

Collegt or U nifJtrsity

Collegt or UnirJtrsity

Post Graduate al

Lotation Arch- Duche sa Sophia

university ot VieJlII& ~lytl!lchnioal Qollege

No. of Ytar of Ytars Graduation

8 1910

5 1918

Polytechnioa.l College University ot Zuerioh Switzerland

Scholarships htld

10. Ty-p1 ;,. ;,,.. 10. Other data concerning nominee's record. portant '"p1ri-mc11 durinr tm--ploy•r'lnl or ad-ditional statiitics of importanu in P10min11' I f'ICO.,J.

Associated with " " " "

tt

n

Adolph Loos Erich Mendelsohn Holabird & ~oahh Gordon B. Kaufmann

1919 1921-23 1923-25 1925-26

Dtgru

tia~ureat

with dis~~cticn

Diplomated a.r chi te ct- engine er ~i1;h dis~:no.tJ.on

one year of postgradua.t" work.

A. I. J.' Form S38 Page3.

("~

Nominators should read "Principles Underlying the Bestowal of Fellowships", Institute Document No. 9, before completing this nomination. Additional shuts may be inserted to supplement any page, 3 to 7, inclusive. Use typewriting only.

NOMINEE'S ACHIEVEMENT IN ARCHITECTURAL DESIGN

1. Works

Type Identification Location Completed Photographs (a) CommlTrial of Work of Work Construction Drawings, (b) Monum1111al Work or Sketches (<) Domt.rtir

(City) (SlaU) (Ytor) Submitted (J) Sptrial

Utuin- co/"Mr.

Commercial: Universal Picture Corp. h1ad1d "Tyt>-

Store-restaurant Bldg. L.A. Ca lit. 1931 photo ly'/J# ;,. (a), (i (<), or (d),

• Phil.Wrigly t/11 cau moy i

Catalina Ticket office L.A. Calif. 1934 photo Tyµ; .. /OJI °" It Scholtz Advertizing B~dg.L.A. Calif'. 1935 photo umts to ri~Ju t

1n1mbtr submittt in tac/r. ca11.

.Maxwell Residence Brentwood Calif' • 1937 photo Domestic Van Cleef residence Westwood Calif'. 1940 2 photos

Bonnet. residence Hollywood Calif. 1939 1 photo Brown· residence Fishers J.a land. N .y. 1938 l photo c;;;p,1(!>

Nesbit i"esidence Brentwood Calif. 1942 2 photo Schoo la Corona Avenue school Bell Calif'. 1935 l photo

n Emerson Junior highschool Westwood Calif'. 1936 1 :!'hOto

&using pro,ject Channel Heights San Pedro Calif. 1941 4 photo•

2 Describe nominee's notable work in design, to bring out the particufar achievements the nominators believe have notably contributed to the advancement of the profession.

Introduction of contemporary layout and design to the truly low oost house of $ 3000.00 and up, individually executed with all built-in furniture.

Innovations in design of' housing projects, including community center facilities and a type of site planning of advanced type in the period up to and during world war II. ·

Early and successful experimentation with light bolted steel construction, welded. prefabricated and plywood construction. See page 4

Design of furniture of' marked functional and structural innovation.(Patented spring support chairs, Pe.tented dual purpo&e table etc.)

3.

A. '1. JI. Form S38 P11114.

NOMINEE'S ACHIEVEMENT IN SCIENCE OF CONSTRUCTION

1. CONSTRUCTION WORK

T'2P' of Work ldnaifi,ct1tion Construct1d of WMk

Systemttiis & succeasful uae of shop fabricated,screwed & bolted Tnt '" 1.,,. standard steel dhassis Residence eo/,.fllfl IO nr/tt !:iltl•:r't::::. First successful use of

Loct1tion of WMk

Completed Construction

WMk (Ytor)

Photograplu, Drawings,"'

Sknclus Submitttd

Dr •Philip Iovell Los Angeles 1927-29 2 photos

t.si. Gunite for residence construction. " " • 1 photo

Prefabricated steel residence .I.Ir. Grant Beckstrand Palos Verdea 1938

2. BooKs, TREATISES, oR. ARTICLES WRIITEN

S'Ubj1ct Titlr- - WJur, Publislud Dau Publislud

2 books see page 5

3 photos

Hundred of articles written from 1924 -1946 in national and international

maga.zins.

:.;.

3. Describe nominee's notable work in the science of construction and any recognition thereof by other societies, to bring out the particular achievements the nominators believe have notably contributed to the advancement of the profession.

Systematic and successful appli°"tion of sheet steel bearing wall construction to various uses. Gold Medal Better Homes in America. Competition 1935

Systematic & successful use

Wm.Beard House Military Academy Von Sternberg residence

of wood construction and its application to the contemporary house and other types V.D.L.Research

Systematic & successful use or Plywood ~ at least one of its first uaes as exterior skin

house

Model house Lebanon office building

Fir~t use or radiating floor and wa 11 heating• Wm .Beard house

4.

Altadena. Los Ange le s

Los Ange lc,s

1935 1936

1932

Los Angeles 1936

Lebanon Oregon 1939

awarded Gold medal 1935

~ photQlil l photo l photo

a. photo

2 photos

1 photo

~.·!; 4,.-lorm S38 • Page;S.

NOMINEE'S ACHIEVEMENT IN EDUCATION AND LITERATURE

1. EDUCATION WORK

(List the degrees and the educational positions held by the nominee, and bring out clearly the nominee's signal work and its particular force and influence which the nominators believe to be a notable contribution to the advancement of the profession, and state evidences of recognition of such work by pupils, the profession, other societies, or the public.)

1932 Pla:ufi~; courses at the Academy of Modern Art. A practical course in modern building art. First in11tructinn in I.o11 Angeles in contemporary design.

1936 USC aumaer course 1944-45

Planning seminar Bennington College Vermont

l.Meturer a.t &rvard, Princeton, Columbia, Ann Aebour, Carnegie Tech. I.llinois Teel-_ Texas A.& H. Stephens College Mo. Universities of California, New Mexioo, Milla College, School of Social Research N.Y. Universi~of' Mexieo City, Vancouver B.c. Ravanna. Cuba, Santo Domingo Domenican Republic~ · Museums:San Diego, Portland, San Francsioo, Chicago Art Institute. Ass. of Federal Sub-Committee for Housing Washington n.c. . U,otures in Tokio, Osaka., Jape.:n 1930

n " Zuerich,Basel Switzerland, Koeln, Berlin Germany, Vienna Austria 1930 " " Rotterdam, Utrecht, Amsterdam Holland, 1930 Brussels Belgium 1930

Series of lectures in Frai!.lt:flni:t Germany 1930 · 11

" 11 Bauhaus Dessau 1930

Sent by u .s .Department of Sta.te Vifashington D.C. 1945 on a consultation and lecture trip to Peru, Bolivia, Argentina, Uruguay and Brazil; lectured at the universities or th•se countries.

Competitions: see attached sheet

2. LITERARY WoRK

(List the original written works of the nominee and state clearly the particular force and influence of that work which the nominators believe to be a notable contribution to the advancement of the profession, and state evidences of recognition of such work by other societies, the profession, educational institutions or the public.)

Book, Tf'eatiu Name of Book Of' Periodical or Article Svb1ut Containing Work

Year Work Pvblislud

"HOR AMERICA Bu:u.os'! Textbook on amerioan planning methods, particularly dealing with traffic problems.

1926 Stuttgart Germany·

"A.MERICA Nm BUILDlNG lN THE WORLDn, siJB,i lar subject including housing. Co-Author: CmCLE . Routes of"

Book Book

1929 Vienna. Austria 1937 Faber·& 1''aber London J:?;ngland

II

" "

n "

Housing Advance NATlONl .. L PJANNING METHODS OF MASS HOOS !NG Book

lJRQB:iEMS CF BUILDING IN HOUSE & HCME

1930 edited by the lnternational Congresses of New Building

College text book on household economios.1936 PREFACE TO A MA.STER PIAN 1942 L.A. Haynes Foundation

Co-editor ~MERlCAN DICTIONARY OF ARTS & .ARCHITECTURE Contributor: NEW ARCiiI'rECTURE & CITY ~.mG BOOK 1944 Philosophical libra.ry

A. I ,,/. For."' SJ8 ·Po116.

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NOMINEE'S ACHIEVEMENTS IN SERVICE TO THE INSTITIITE

1. State fully the nominee's signal service to The Institute, his chapter, or his state association, or to the profession, which the nominators believe has notably contributed to the advancement of the profession, and list the offices in architectural organizations occupied by the nominee and the period of each.

In paat year1:

Member nommination Committee

Chairman Public Relationa Uommi ttee " . Chairman Regional and Gity Plannixig Gommittee ' ' . A.oted to receive i'oreign gueata for the chapter • • Member ltn Amer ioan Uommittee • •

6.

~-j '.

c.;om.pt•ition: 1 prize Business center Hail's. Collaborator with Erich Mendelsohn

1922

f\A-G19

1935 1st special irize House Beautiful Comp. Only gold medal Better Homea in America competition 1935 . 2 first prizes ft • n n 2nd prize General Electric Competition 1st prize House Beautit'ul ft

.. 1935 . 1935 1936

2nd It • • It

4 honor award.a Pittsburgh Glass Competition Honor Award House and Garden Competition Honor Award Wheaton College Competition 2nd prize Iatldea Home Journal Com.petition lat prize House Beautiful Competition Honor medal French Gov.t•a World exhibition 2 honor awarda Pittsburgh Glaas Competition Honor award National theater competition Honor award So.California chapter A.I.A. Honor award Smithonien Institute Competition Honor award House and Garden Competition Honor member in ball of Fame New York World

Honor award republic of Uruguay Honor award H0use and Garden

exposition

1937 1937 1938 1939 1939 1938 1938 1939 1939 1939 1939 1939

1940 1940 1940

Under the auspices of the Museum ot Modern Art .New York a national jury selected two ot Neutra•s worka among the fifty outstanding examples ot amerioa.n architecture ot the last decade. 1944

Honor award 5th TriermS.l~ Milano ltaly 1933

Ma.jor publications ot hia work have appeard in italian, rrench, dutch, swiss, germ.an, spmish,, argentine, chechoalovald.an, belgian, auatrian, russian, south arrican periodical.a,.

Prinoipll oomprehensive publication in Tokyo, Huenos Aires, Paris L'Architeoture d'Aujourd'hui 1946

Recognition or other Societies:

Honorary member " n

Society or Architects Mexico " " " Bolivia

n n " " " CU.ba " tt Faculty University of Ravanna Cuba

A •. 1: .(. F'""' SJ8 .. 1'0117.

NOMINEE'S ACHIEVEMENT IN PUBLIC SERVICE

Af\-(o19

1. List the public offices held by the nominee and the positions of trust held by him in recognition of civic leadership, and state clearly his notable \vork in public service and the particular influence of that worlt which the nominators believe to be a notable contribution to the advancement of the profession.

y '/ ~J / Appointed

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on \;Ol:Unittee for the national oompetition on u.s.Poat crfioea .. Treasury Department Washi ngton D.C. l

National oonaultant for u.s. llouaing Authority Waahington D.c. 11

• 11

" Schoolhouse planning Washington D.c. • " National Youth Administration •

Member California State Planning Board. later Chairman 1 Member Boa.rd of Arohiteotural Ex.a.miners l

Since 1923 american delegate ot the Intenationa.l Congresses for new bui lding l Congre a !nterna ti ox. wt d 'Ar chi te oture lloderne) Since 1944 preaident of thia organization'• New Y erk ohapter for re liet and re oonatruotion.

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SURVEY NUMBER: IJll- h19 I MARYLAND HISTORICAL TRUST 21 STATE CIRCLE NEGATIVE FILE NUMBER: SHAW HOUSE ! ANNAPOLIS, ~1ARYLAND 21401 UTM REFERENCES:

HISTORIC .SITES SURVEY FIELD SHEET Zone/Easting/Northing

t

Individual Structure Survey Form 1

u.s.G.S. QUAD. MAP: i

t PRESENT FORMAL NAME: l

~--- ;,... '"'---'-t- v~ .. "··-"/M-11~n Hall COUNTY: Anne Arundel ORIGINAL FORMAL NA..llfE: t

• TOWN: Annapolis

~

LOCATION: PRESENT USE: Auditorium/Labs l St. John's ORIGINAL USE:

ARCHITECT/ENGINEER: COMMON NAME: Neutra & Alexander

Francis Scott Key Aud & Mellon Hall BUILDER/CONTRACTOR: I

FUNCTIONAL TYPE: Map 31 Par 20 i OWNER: St. John's college PHYSICAL CONDITION OF STRUCTURE: i

ADDRESS: College Ave. Excellent ( ) Good~) I ', ; C! Mn ') 1 A f"\1 Fair ( ) Poor: ( ) l

ACCESSIBILITY TO PUBLIC: THEME: I I

Yes ( x) No ( ) Restricted ( ) STYLE: -

LEVEL OF SIGNIFICANCE: () DATE BUILT: 1958 Local ( ) State ( ) National ( ) GENERAL DESCRIPTION:

Structural System 1. Foundation: Stone( )Brick( )Concrete( )Concrete Block{x) 2. Wall Structure

A. Wood Frame: Post and Beam( )Balloon( )

B. Wood Bearing Masonry: Brick( )Stone( )Concrete( )Concrete Block(x) c. Iron( ) D. Steel ( ) E. Other:

3. Wall Covering: Clapbo~rd( )Board and Batten( )Wood Shingle( )Shiplap( ) Novelty( )Stucco( )Sheet Metal( )Aluminum( )Asphalt Shingle( ) Brick Veneer(X) Stone Veneer( ) Asbestos Shingle( ) Bonding Pattern: Common Other:

4. Roof Structure A. Truss: Wood ( ) Iron( ) Steel (X) Concrete ( ) B. Other:

5. Roof Covering: Slate( )Wood Shingle( )Asphalt Shingle( )Sheet Metal( ) Built Up(X)Rolled( )Tile( )Other:

6. Engineering Structure: 7. Other:

Appendages: Porches( )Towers( )Cupolas( )Dormers( )Chimneys( )Sheds( )Ells( ) Wings ( )Other:

Roof Style: Gable( )Hip( )Shed( )Flat(X )Mansard( )Gambrel( )Jerkinhead( ) Saw Tooth( )With Monitor( )Nith Bellcast( )With Parapet( )With False Front( ) Other:

Number of Stories: 3 Number of Bays: NA Entrance Location: NA Approximate Dimensions:340 x lBQ

THREAT TO STRUCTURE: LOCAL ATTITUDES: No Threat ( X) Zoning ( ) Roads ( ) Positive( )Negative( ) Development( )Deterioration( ) Mixed( ) Other: Alteration ( )Other:

ADDITIONAL ARCHITECTURAL OR STRUCTURAL DESCRIPTION:

Massive brick structure with two story louvers in library section, limestone curb at parapet wall.

RELATED STRUCTURES: (Describe)

STATEMENT OF SIGNIFICANCE:

Probably the only true example of the International Style in Annapolis, designed by Richard Neutra and one 0£ the few structures by this important architect on the east coast. Important as a representative of its style and architect, compatible with campus, especially as it closes one side of lawn.

REFERENCES:

MAP: (Indicate North In Circle) SURROUNDING ENVIRONMENT: Open Lane( )Woodland(1)Scattered Buildings( ) Moderately Built Up(VJDensely...:Built Up( ) Residential( )Connnercial( ) Agricultural( )Industrial( ) Roadside Strip Development( ) Other:

RECORDED BY: Russell Wright

ORGANIZATION: Historic Annapolis Inc

DATE RECORDED:

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VICINITY

HISTORIC AMERICAN eu1LDI l-IGS SURVEY INVEWTORY

Key Memor i al Hal I ST REH NO. 2.NAME

St . John's Curnpu~ ORIGINAL OWNER 3t . John's ~tc;te# DATE OR PERIOD

ORIGINAL usE c I ass/ I ci.:turc/ µI utH.:tar i m STYLE t.!odern 1958

PRESEtHOWNER St . John's ~ol lcge ARCHITeCT Richard C. PRESENT use c I ass/ I ccture/ fol I anetar i u...._au_i_L_o_e_R ____________ _

WALL CONSTRUCTION brick NO OF STORIES one

3. FOR LIBRARY OF CONGRESS use:

A. NOTABLE FEATURES. HISTORICAL SIGNIFICANCE ANO DESCRIPTION ~PEN TO PUBLIC Yes

s.

Francis Sct,)tt Key Me111orial Hui I (and H~l lon H<ll I and McKcl 1..1i 1' I unetar i um) named in honor of St . Jolin' s f ub1ous a I u111nus in c.. dcJ iC<.lted by 1>resiJent Eisenho1-1~r, ...;i: . John's ncwc:;t Gui !ding, o compl~x inclu.iing I ibrary, lecture hul Is , ..inJ a pl,1nctarium, wcls- de:signcd by Richard teutr.:i thu JistinuuisheJ CaliForniu architt~ct who was i r1port.1nt in t:he cur I y phases of the introduction of 't h1..~

I ntcrna"t i ona I Sty I e in the lJ . ~ . One of his few bu i Id i ng s on t he casi: coasi: , Key Hal I fits in \~ell ini:o the St . John's Carnpus.

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~ 6. LOCATION MAP (Plott Optlol'IOI)

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7.PHOTOGRAPH

8. PUOLISHEO SOURCES (,Autltor, Title, Po<J<O'")

INTERVIEWS, RECORDS, PHOTOS, ETC. • NAME, ADDRESS AND TITLE OF RECORDER

H i 11 iar11 D. Morqan Columbia University New York Ci ty

DA TE OF RE CORO 'Au:-JUSt 22, 19o7

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F. Scott Key Mem Bldg. Q St Johns AAC..71 Annapolis, Anne Arundel Count~ Russell Wright July, 198: Maryland Historical Trus t, i ~apolis, Maryland ~-~Elevation/camera facing>Ji.J

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aa-679 key memorial hall

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