24 Cite Spring 1990 Citeations

ed version of her introduction to the 1977 This touches directly on the ambiguous, reissue of the 1962 monograph Case equivocal nature of the Case Study Study Houses 1945-1962. It provides an Houses program. It failed to provide an overview of the origin of the program, its alternative model for mass housing but vicissitudes, and the architects, designs, succeeded as architectural production of and buildings that it involved. Banham a high order. The essays in this catalogue contrasts the orientations and altitudes of were to have provided the historical the most influential Case Study architects context in which this paradox developed, (Eames. Soriano, Ellwood, and Koenig) but too much evidence is either lacking or with those of the Team X generation in not entirely relevant. Basic data are not Great Britain and the long-term influence presented. One has no clear idea of the of the Californians, culminating in Renzo mechanics of the program and how they Piano's Meni! Collection museum. changed over lime. Similar efforts thai successfully brought innovative modern Thomas S. Hincs and Elizabeth A. T. design to the middle-class housing market Smith provide the most satisfactory his- are not examined, despite the fact thai torical essays. Mines outlines the modern such builders as Joseph Eichler did deliver antecedents to the Case Study Houses, entire communities of modern houses those houses built in the 1920s. 1930s, within the institutional system. And and 1940s in Los Angeles and surround- Eichler and his architects, Jones & ing communities by Schindler, Neulra. Emmons, were responsible for a Case Harris, Ain, and Soriano, emphasizing Study project. especially Neulra's role as pioneer, i nunc*) MJohn Entenza while he was publisher and instead lapses back into hype, leaving his Harlingen and Milton Ryan of San ARCHITECTURAL editor of the Los Angeles magazine Arts crucial subject virtually unaddressed. Antonio among them, to say nothing of CAST STONE & Architecture. In 1945 Entcnza an- the Phoenix architect Alfred N. Beadle, nounced that Arts & Architecture would Three other essays - by Helen Searing who was himself a Case Study architect). sponsor the construction of nine houses on demonstration dwellings of modern Such omissions make the Case Study SANTA FE FIREPLACES designed for medium-income families. design. Thomas Hine on post-World War houses seem more isolated and excep- His desire was to promote modern archi- II mass housing in the United Slates, and tional than they were, without clarifying SMOOTH or FLUTED tecture to prospective buyers and builders Dolores Hayden on what might be what it was that indeed made them PILASTERS of new houses in southern California. described as the ideology of the Case distinct. One has little sense that the Case Although only five of the original nine Study Houses program - strive to put into Study houses were continuous with the MOTIFS were built, Entenza's concept was so place essential pans of the program's work of their respective architects, which also was extensively covered in Arts & BASES and CAPITALS appealing thai the Case Study Houses historical context. Yet none succeeds program was perpetuated. Eventually 36 entirely. Searing and Hine both lend to Architecture. ARCHES projects were announced, of which 26 address the Case Study Houses obliquely. houses and one apartment complex were The program is not at the center of cither Despite the commendable ambition with KEYSTONES built. The last project was completed in discussion and thus seems peripheral to which the subject was approached, the 1966. four years after Entenza sold the the "contexts" in which each situates it. essays in Blueprints for Modem Living CONSULTING SERVICES magazine. Several of the houses attracted Hayden's, the most provocative of the serve more as points of departure for the international attention, especially the essays, challenges the program's assump- CHIMNEY C A P S formulation of critical questions than a re- house of Ray and Charles Eames (number lions and lluis those of must ol the earij pository of authoritative interpretations. 8, of 1949) and six steel-framed houses WINDOW SILLS houses: its middle-class bias, its retarded The catalogue is an important document, that were not part of the original program, conception of domestic life, its rigid however, beautifully laid out and pro- TABLETS C O L U M N S built between 1950 and I960 to the aesthetic prescriptiveness. and its misun- duced under the guidance of Cite's former designs of Raphael Soriano, Craig Ell- derstanding ol institutionalized housing designer, Lorraine Wild. Under Elizabeth REPRODUCTIONS wood, and Pierre Koenig. These houses production for the middle-class market. A. T. Smith's curatorial direction, it conferred upon the entire program a kind She does not, however, encompass recent, recovers an important episode in the de- PLASTER S T U C C O of mythical status that kept the memory more general critical considerations of this velopment of modern architecture in the of the Case Study Houses alive and com- period. Jackson Lears. in particular, CORNICES United States, although one that awaits pelled the retrieval and reassessment that describes the devil's pact under which grounding in its historical situation. • this publication documents. A survey of PATCHING modern culture nourished in the United the catalogue's eight essays indicates that States during the Cold War period, its ACCENT WALLS the efforts of many of the essayists to re- critical tendencies diverted from social construct a historical context within which issues to questions of technique, style, and I Jackson Lears, "A Mailer of Taste: Corporate UNIQUE H O O D S to interpret and evaluate the program are taste, thus rendering ii acceptable to elite Cultural Hegemony in a Mass-Consumplton problematic, because of confusion over patronage.1 The narrow conception of Society," In Lary Mays. ed.. Recasting America: Culture ami Politics in the Age of Cold War what constitutes the historical context. sue ial obligation embodied in the Case (Chicago: University ol'Chicago Press. 1989). DONALD Study Houses program distanced the pp. 38-57. program from the concerns of Neutra and Esther McCoy and Reyner Banham con- Ain among the earlier generation of Los CURTIS tributed essays that are as much personal Angeles modernists. Technique and. by memoir as historical analysis. Scholarly the laic 1950s, unabashed formalism (713) 477-6118 obligations are not ignored, but it is the subsumed the modest social aspirations "I was there" tone that animates both with which the program was begun. essays. Miss McCoy's piece is an expand- Cite Spring lolHI 25

Peter Brown, Double Vision Henry Beaird Stadium, View, High Plains/Plain Views Texas, 1 9 8 9 . Parish Gallery 12 January-18 February 1990

Reviewed by Lynn M. Herbert

In 1986. John Brinckerhoff Jackson came to Rice as the second Craig Francis Cullinan Visiting Professor. A cultural geographer. Jackson lectured on the history of the vernacular house: while at Rice he met Peter Brown, a photographer with similar interests. The two men decided to collaborate on a book project: Jackson would supply the words. Brown would supply the photographs. As often happens with collaborative efforts, the friendship grew along wih the project. to additional topics. The collaborative neighborhood that emerged at ihe middle book, titled A Sense of Place, a Sense of Another Little Piece of the 19th century as the preferred That summer Brown visited Jackson at his Tinw. is due to be published in the spring residential district of the city's newly rich home in New Mexico. Brown had been of 1 991, This exhibition was a preview of of the South mercantile elite and retains a large number photographing in Arizona. Nevada, and Browns contribution to the hook. of imposing houses from the lale 1840s California and showed Jackson his work, Southern Comfort: The Garden District of through ihe mid-1870s. the period on which illustrated the mobile homes and The installation took viewers on the New Orleans. 1X00- 19(H), by S. Frederick which Starr focuses. The trad, composed other elements of the vernacular landscape evolutionary journey from countryside to Stan; Cambridge. Massachusetts, and of former plantation lands, was subdi- that Jackson had discussed at Rice. The town by illustrating the current state of London. England: Massachusetts Institute vided and planed in the 1830s but not two men decided to shift their focus east- agriculture, the roads laid out on the land, of Technology Press, 19X9.112 pp.. 171 extensively improved until the early ward to the southern high plains of Texas, the towns, the architecture, and the iUus.. $35 1850s, when the suburban city of Lafay- New Mexico, Oklahoma, and Kansas. people. Henry Beaird Stadium, View, ette, where n lay. was annexed by the cily Texas is a wonderful example of Brown's Reviewed by Stephen Fox Of New Orleans. The largest houses In the fall. Jackson, in his eighties, and subtle photographic style mixing perfectly tended to be built by self-made men, Brown, in his thirties, hit the road together with Jackson's interests. In this photo- S. Frederick Starr has redressed a long- cotton factors and importers who quickly and drove through the high plains of Texas graph there are both Main and Grand standing want: he has written an architec- made (and lost) substantial fortunes. and New Mexico. As ihe\ approached a streets. Each street, as the signs indicate, tural history thai treats a portion of New Many of these men were originally from town, Jackson, like a Sherlock Holmes of is also a county road, an artery connecting Orleans's 19th-century architectural the Border and Mid-Atlantic stales. New the vernacular landscape, would paint for town to countryside. The bald brown field heritage wilh insight and intelligence. This England. Greal Britain, or Ireland, rather UrovMi a historical portrait of the town is slaked out with informally designated is a singular achievement. Renowned for than Louisiana or the South. The archi- before they even got out of the car, basing spots for the home and visiting teams its 18th-and 19th-century architectural tects, like their clients, also were recent it on clues such as the placement of rail- behind the chain-link backstop. The lone and urban patrimony. New Orleans has immigrants to the Soulh; many had been roads. Main Street, and interstate high- installed utility bench does not suggest lacked a satisfactory account of much of trained in New York. German immigrants ways; the condition of grain silos; and the large crowds. In the sparse background its heritage. Samuel Wilson. Jr., has were prominent among the huilding architectural styles still in evidence. are a formal building (perhaps a commu- written perceptively aboul the French contractors. Starr seeks to demonstrate the Jackson would chat with the townspeople nity hall), a home, and a mesa. The photo- colonial building traditions of Ihe IKih extra-Southern origins of those respon- about the evolution of the town, and graph has the quietness and sensitivity to century, and specialized studies have dealt sible for what is now popularly appre- Brown would lake pictures. Sometimes light that Brown is so good at capturing, with specific subjects - Arthur Scully on hended as a quintessential Southern place, Jackson would ask Brown to photograph and it is loaded wilh Jacksonian clues the Greek Revival architects James and a circumstance paralleled in other Gulf a certain building or aspect of the town. about the evolution of this landscape. Charles Dakin. for instance. Bui despite port cities, including Galveston and Then, back in the car. the two would set extensive research into primary docu- Houston. Starr emphasizes ihe number of opulent, wroughl-iron-bedecked houses in nil once more to make (he journey from The vision of two men - 50 years apart in ments, efforts to publish such research the district that are not even antebellum, countryside to town. age, one a writer and one a photographer - have been inadequate - the result, some but dale from what Mark Twain and driving through the barren countryside New Oceanians suggest, of insufficient Dudley Warner caustically designated the Since their travels together, each man sharing a passion sounds like the opening local support for serious scholarly Gilded Age, the period of heady economic has nurtured the other's work; rough texts scene of a future Steven Spielberg film. publication. Slarr, in his account of the expansion that began after the Civil War by Jackson have inspired Brown to look Failing such a film, we'll have to wail for Garden District, has overcome this and ended with ihe Panic of 1873. The for different aspects of the landscape, and the book as a permanent record of their deficiency. And breaking out of Ihe Civil War itself occasioned conflicted and photographs by Brown have led Jackson collaboration. • narrow constraints of much American architectural historical scholarship, he ambiguous conduct on the part of the deals with buildings in the contexts of Garden District plutocrats, some of whom politics and war. ethnic rivalries, eco- left town while others made their peace nomic cycles, and domestic manners. with the U.S. Army, which occupied New Moreover, he writes wilh such fluency and Orleans for most of the war. Only in the grace that his book will appeal to general 1880s was a "Southern" cultural style readers as well as academics. This is so formulated, charged in part with retroac- critical to building a constituency for tively infusing ihe past with a mythic serious architectural history in New consistency that it lacked the first time Orleans that it makes one indulge Starr's around. besetting sin: he exploits his own rhetori- cal facility to engage in myth-making when the available facts cannot sustain a Slarr on occasion engages in questionable good story. excursions, in a style that can glide smoothls in insupportable conclusions. One example suffices: he cites language in Paradoxically, it is the dead hand of sels of specifications by Henry Howard romantic myth that Slarr sets oul to and deduces from these that Howard dislodge in his historical accouni of the arrogated to himself a far greater degree neighborhood. The charming anecdotal of professional superiority than did earlier histories by Lyle Saxon of the 1920s and New Orleans architects. This ignores a Harnett T. Kane of the 1940s still engulf more down-to-earth interpretation, that New Orleans in a gardenia-sweet haze of Howard merely employed standard nostalgia to which residents have become contractual language to distinguish work habituated; Starr is at pains to clear the air. covered In the contract from thai w Inch To that end he pieces together a complex was not. Such instances generally lead historical mosaic describing the flores- Slarr to anachronistic rationalizations for KuhnlS. Ilunllr Frederick Rodewald House, 1749 Coliseum Street, New Orleans. cence of the Garden District, ihe uptown actions whose causes have been insuffi- Ih Cite Spring 1990

Frank Welch, Steps in Montmartre, 1953.

ciently researched. The effect is a subtle French Postcards Green Spans enhancement of the subject (e.g., the proud, "professional" architect) thai A Paris Album - Money Mailers: A Critical Look ultimately serves lo mythologize. Phoiographs by Frank D. Welch at Bank Architecture Rice Medici Center The Museum of Fine Arts, Houston What I missed most in Starr's otherwise February 15 - March 30 4 February- 15 April! 9W far-ranging discourse is attention to the urban character of the Garden District. Reviewed by Lynn M. Herbert Reviewed by Lynn M. Herbert One rarely gets a sense of lhe whole as opposed lo details: indeed, only Iwo Frank Welch is a successful Texas Money Matters was a multidisciplinary historic phoiographs of street scenes in the archiieci, which might lead one to ask. project that explored bank architecture district are included. Thus, although Stan- What is he doing exhibiting phoiographs? from the vantage points of architecture, mentions several limes that the Garden In 1952, Welch went to Paris on a photography, aesthetics, and history. The Districl contained moderate-income Fulbright fellowship to sludy at the Ecole exhibition portion presented the work of housing, one has little sense of its physical des Beaux-Arts. Disappointed with the 11 photographers from the United Stales consequences, of how block fronts were program there, he asked his adviser if he and ('anada. and lhe generousl\ illustrated composed (lhe large houses on which he could photograph Paris instead. Welch had catalogue accompanying the exhibition concentrates seem to have been built just seen Henri Curlier-Bresson's Images includes substantial critical essays by consistently on corner sites). Yet in an a la Sauvette and was inspired to try his architectural critic Brendan Gill, sociolo- early chapter on the Irish Channel. Starr own hand, ai photography. Borrowing gist Robert Nisbet. and the exhibition's sirongly evokes its mixed urban land- Carder-Bresson's concept of the "decisive curator. Anne Tucker, curator of photogra- scape. He later implies lhal the shotgun moment," he boughl himself a Leica and phy at the Museum of Fine Arts. Houston. house is a characteristic feature of the began his self-education in the medium. Anyone having even the slightest interest Garden Districl. though again one has As he remembers, "I was jusi exploring in banks (which most of us do, if only out little sense of lhe streetscapes that re- ihis glorious city and having a wonderful of necessity) was sure to find something sulied. Starr noies [hat the Garden Districl adventure." He worked intensively for the to be fascinated by in this project. conlaincd no axial streeis or focal squares remaining six months of his fellowship, or parks to which lhe biggest houses shooting about 50 rolls of film, and then gravitated. However, if one plots out the An invitation to spend an afternoon relumed to the United Stales. Twenty-five looking at 175 phoiographs of banks biggesl houses, mosi line up on four years later, architect Welch returned lo streeis in the eastern half of the districl. mighl not sound enticing, but expecting spend 30 days phoiographing lhe City of (he worsi, I was pleasantly surprised. Each Slarr does not address this fact and Light once again. recognizes no distinctions between of the 11 photographers was assigned sections within the district. He mentions several banks, given an outline of each bank's historical and architectural signifi- on several occasions the presence of Welch's vignettes depict the Paris the way cance, and instructed to document each churches in lhe Garden District without we love to see it. No Type A personalities bank's facade. Although many of the being specific about how ihey fit in. The here: people stroll down cubbies toned resulting photographs are predictably same is true of black properly owners and streets, smooch by the Seine, daydream factual and dry, some are decidedly not. tenants. Slarr concludes his narrative in the park, play cards on the sidewalk, Len Jenshel's banks all look so charming prematurely, following a discussion of lhe read Le Figaro, and pass time at outdoor that you want lo book a weekend getawa\ Garden District houses of New Orleans's bistros. His Paris is peopled by elderly in them. His phoiographs highlight in- forcmosi late-19th-century architect, men and women with fascinating faces, terior and exterior ornamentation, and he Thomas Sully. He gives no indications of chic ladies, amorous couples, and playful always seems lo find a point of view the vicissitudes that lhe neighborhood has children. Yet, while the characters in his framed by palm trees or cascading ivy. experienced in lhe 20th cenlury. In tact, he play are interesting, it's the sets lhat steal James Iska's formidable Greek Revival fails lo explain when the icrm "Garden the show. District" first gained currency. banks, in which you know your money will be safe, are presented in such sharp Welch's architect's eye has captured the detail that their monumental weight and Ye I even when reservations are registered, sensuous and varied textures that make enormity are chilling. Perhaps sensing Southern Comfort compels admiration, Paris unique. The creamy limestone with this. Iska includes civic banners, cars, and its subtly rough texture, always cool lo the Starr's enthusiasm for his topic, his com- gaping passersby in his photographs lo touch, of so many facades; the elaborate mitment to revealing historical complexi- remind us thai we are nol looking at wroughl-iron work gracing even the ties rather than confirming Irile myths, and something atop Mount Olympus. humblest alleys: the gravel paths in parks his skill in communicating his findings with their comforting crunch underfoot; make this volume very welcome. • the peculiarly French wicker and wroughl- George Tice manages to do just the iron chairs in bistros and parks: the opposite in his photographs: his intricate smooth curves of cobblestones: the col- banks and cilyscapes become miniatures, lages of ancient advertisements layered like complex constructions by a maker of on walls: the steps worn concave by architectural models, and the buildings centuries of feet; and lhe raucous moder- with patterned facades look like the work nity of the Centre Pompidou - this exhibi- of a Legomaniac. This unreal quality is tion offered an opportunity to steep for a artfully presented in his series of the while in the almost tactile qualities of a Toronto skyline at sunset, at twilight, at beautiful city. Cheers lo Frank Welch for night, and under an overcast sky. pursuing a passion. • Serge Hambourg. assigned a number of banks in the Beaux-Arts style, highlights Cite Spring 1990 11

KiuniLiliMn Cite The Architecture and Design Review of Houston

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One year, 2 issues: $8 k Two years: $15

Made to Measure Udm Architecture and Its Image:

Four Centuries of Architectural I :-\ M.ll. X,p Representation. Works from the Collection of the Canadian Centre for Architecture Check for S_ enclosed. Dallas Museum of Art 18 February -22 April 1990 Gift Subscription _ Bill me

Reviewed by Jay C Henry

This enormous exhibition of I5S cata- logue entries, comprising hundreds of David Miller, Escalator to Banking Hall, Philadelphia Saving Fund Society, 1987. separate hook illustrations, drawings, photographs, urban prospects, computer graphics, and occasional models, threat- The Rice Design Alliance The work of Eberson was by no means (heir quirkincss anil unusual details: in ened to exhaust the visitor who tried to limited to theater designs. His many office one photograph, a real lion (post taxider- look at everything carefully. Fortunately, I IK- Kin 11.- si-. ri \lliance established buildings, of which Houston's Niels l mist) keeps a watchful eye from a balcony just as one's energy began to flag, sur- in l>73. is an educational organization Espersorj Building (1925) is an important on (he banking floor of the Winona Na- prises turned up around the next bend. dedicated to increasing general aware- example, shared the exuberance, quality ness of arch heel urc. design, and the tional Bank. Robert Bourdeau's small, of color, materials, and detail that he environment. RDA sponsors lectures, toned black-and-white prints are reminis- The exhibition was organized somewhat exhibitions, tours, and symposiums and lavished on theaters. cent of Lugene Algel's "empty street"' nebulously into three sections: Architec- publishes Cite, a biannual review of documentation of Paris buildings. David ture in Place and Time, Architecture in architecture and design. Membership in RDA is open to the general public. Miller's black-and-white photographs are Ehcrson's strong lies to Texas and Process, and Architecture in Three D i - all unusually crisp. Either he has con- Houston were due in large measure to the mensions. In each section, images from cocted darkroom chemicals that rid the patronage of Karl lloblit/.elle, owner of different periods were juxtaposed without atmosphere of air pollution, or bank the Interstate Amusement Corporation, regard for chronology, a method that employees were polishing their interiors llohlit/.clle employed him as early as proved both frustrating and provocative. and exteriors for weeks before he came. 1915 to design the Majestic (later Para- In a memorable sequence in Architecture Membership Benefits And Catherine Wagner gives her banks mount) Theatre in Austin, followed in in Process, one passed from Robert 1921 by the Majestic in Dallas. It was Individual Membership $35 that recognizably stark yet luminous Venluri to Hans Poel/ig. Mies van der • Tkdtcl diacounu !•" REM programs quality that can also be seen in her series with Houston's now departed Majestic Rohe, Filippo Juvarra. Louis Kahn. and • l-rcc vuhscription in Cue: The Archileciun: .nut Design Theatre in 1923 that Eberson introduced Review ol Houston on classrooms. John Wellborn Root. Root's early propos- • Ins iijlurn. |o"RKmbcn oftly"cveno. ami l-aroh the atmospheric ceiling a smooth als for the Monadnock Building might (jailers opening surface, painted blue, with twinkling • Discounts im selected III \t\ from the bra/os Bo,*Mnre- Anyone with a keen interest in bank just as appropriately have been compared • I J artiupaliiin in the annual membership meeting electric stars and moving clouds projected 2nd evenl architecture undoubtedly had a field day with Jules Hardouin-Mansart's drawings across it to create the illusion of a night with this exhibition. For the rest of us for the chapel at the Invalides - also sky. It was an instant success and brought Family Membership $50 doubting Thomases, it was a delightful not the executed version. Instead, after • All nt MM above Sent-Ills tor sum Umits Eberson many more lavish commissions. surprise. • Mansart one quickly encountered John Hedjuk's design for the North-Easl-West- Student Membership $15 The handsome 18-page catalogue was South House, a pairing used also on the • All Of the jtxive benefit* well researched, designed, and printed. catalogue cover. Matinee Idylls Sponsor Membership $125 The exhibition itself, despite good organi- * All ol the benefits acconlcd ir> Individual Members zation, suffered from problems of pre- * Courtesy tickets in i*.< selected RDA programs, with As the exhibition was assembled from ressTs jtiuin in -ILI. .in. t- Palaces of Dreams: sentation. Only about two-ihirds of the the holdings of ;i single museum, n neces- The Movie Theatres of John drawings were malted and framed, and Patron Membership $250 sarily reflected the strengths anil weak- Eberson, Architect wall space in the McNay s Tobin Gallery • All ol Ihe benefits ixsiiriled Id Individual Member, nesses of the parent collection. Some of * < 'tmrlcvy nckcls lir three selected RDA programs » nh McNay Art Museum, San Antonio was insufficient for so many large pieces. reservations in advance the inclusions seemed inconsequential - 16 September 1989 - 15 February 1990 The remaining drawings were simply laid construction documents for the Palace of Sustaining Membership $500 into flat cases, sometimes rolled over or Justice in Montreal, for instance - * All ol Ihe benefits ucciuiicd In Individual Members Reviewed by Michael II. Wilson up the back of the case. Lighting was * Courtesy tickets lo all KDA programs whereas major omissions stood out: no uneven, a problem with drawings thai had works of Frank Lloyd Wright or Louis Cnrpurate Membership $1000 Palaces of Dreams was a treat for those darkened with age. Nonetheless, these Sullivan were included. A smaller and * All ol Ihe benefit* accorded 10 Susuimng Members interested in the architecture of entertain- were minor defects considering the mag- * Recognition in [In KDA journal Cite and ol more tightly organized exhibition drawing ment. The exhibition coincided with nitude of the project and the elegance of special • -.. Ml upon other collections might also have fit additional restoration and reopening of the materials on display. • into the amorphous gallery space of the one of Eberson's masterpieces, the Membership Application Majestic Theatre in San Antonio. The Dallas Museum of Art without encroach- McNay Museum and Robert L. B. Tobin ing on Claes Oldenburg's Stake Hitch in sponsored the showing; materials were the vast and noisy vaulted hall. If these loaned by Max Protetch Gallery and the reservations indicate that Architecture and Its Image was not a blockhusler. the University of Pennsylvania. The show was Address curated by Jane Preddy. a native Texan exhibition was nevertheless well worth a now living in New York, who is c o m p i l - visit. Il repaid both careful scrutiny and ing a book about Eberson. On display Interior, Majestic Theatre, Houston, John casual browsing. • City/State Zip Eberson, architect, 1923. were 22 large ink-on-linen working drawings. 50 panels consisting mainly of Telephone original prints of documentary photo- graphs (mounted one or two per panel), and a number of color drawings of details Occupation for decorative plaster on proscenium arches, side wall boxes, and door, ceiling, '>M** Membership Talc-gory and fountain surrounds.

Amount eiti- lovcd The European-born Eberson (1X75-1954) was educated in Dresden and Vienna. He immigrated to the United States in 1901, practicing architecture in St. Louis, Checks should be sent to: Hamilton. Ohio, and Chicago from 1910 Rice Design Alliance. P.O. Box 1892. to 1926, then in New York and Connecti- Houston, Texas 77251. cut until his death. His son. Drew, became his partner during the 1920s, continuing * Ol*V? HU!.„> the firm after 1954.

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