THE INTERNATIONAL POWER STYLE OF THE MODERN

MOVEMENT: PART ONE-AESTHETIC CHALLENGES IN

PRESERVING DIMENSIONAL STONE CLADDING

K. NORMANDIN1, M. PETERMANN2
1
Architect III, , 2Senior Architect
Wiss, Janney, Elstner Associates, New York, New York, USA

SUMMARY

This paper is part of a series dedicated to the challenges of preserving buildings of the modern
movement. Part 1 of this topic (this paper) focuses on the aesthetic challenges (material and
incorporeal) of preserving dimensional stone cladding. Part 2 of this topic focuses on the
technical challenges of preserving dimensional stone cladding and will be part of the III
International Seminar on Historical Constructions in Guimaraes, Portugal.

1. INTRODUCTION AND BACKGROUND

The United Nations Headquarters (UNHQ) and the Governor Nelson A. Rockefeller Empire
State Plaza (ESP) are large building complexes occupying over 100 acres (400,000 square
meters) of property in New York State (see Figure 1). Planning for the first UNHQ building
complex was led by Wallace K. Harrison (USA) and designed by a politically selected
consortium of internationally recognized architects, most notably, Le Corbusier (France),
Oscar Niemeyer (Brazil), Ssu-ch'eng Liang (China) and Nikolai Bassov (USSR) [1].
Construction of the UNHQ started in 1947 and was officially completed by 1952. UNHQ is
considered a highly significant living monument because it was created to symbolize an accord
to unified world peace after World War II.

During this same time, Brazilian architect Oscar Niemeyer, design collaborator of the UNHQ,
led the design of the capital city of Brasilia in Brazil from 1956 – 1960 (see Figure 1). The
UNHQ and the National Congress Complex of Brasilia were meant architecturally to
symbolize new political ideals and their aesthetic embraced a formal unadorned style of
modernism to create large complexes representing political power. The aesthetic synthesis of

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 Figure 1: From left to right, United Nations Headquarters, National Complex Congress of
Brasilia and Nelson A. Rockefeller Empire State Plaza.

these monumental buildings was realized through the development of a broad range of curtain
wall technologies that include the use of thin stone cladding intertwined with glass and
extruded aluminium.

The International Power Style, as coined by Robert Hughes, was actually a term used to
express a dislike of the political "power" that ESP (and other similar structures) represents. In
1964, New York State Governor Rockefeller, inspired by the structural lightness, proportions
and grandeur of the new capital city of Brasilia in Brazil, was determined to build a similar
monument in Albany, New York. Wallace Harrison, under close direction from Governor
Rockefeller, partially designed and oversaw the construction of nine buildings clad in white
marble. The vertical heights of the marble clad towers and horizontal plaza expanse of each
complex became indicative of the represented "power" in complexes like ESP. Some have
referred to ESP in Albany, New York as Little Brasilia. [2] [3]

Over the last fifty years, these building complexes have reached a turning point in their life
expectancy. Both internal and external infrastructure face new challenges if they are to survive
into the future. Some building complexes have been noted for their historical value and have
obtained protection on an international level. The capital Brasilia is the only twentieth century
city to be named on the UNESCO World Cultural Heritage list. The UNHQ and ESP have not
obtained this historical distinction; however political constituents and historians also argue that
these building complexes are monuments and must be preserved. The development of Capital
Master Plans is underway to evaluate the rehabilitation and the future sustainability of each
complex. Once completed, assessment programs will allow implementation of proper
stabilization measures at each building facade. Given the present significance of these
structures, it is essential to develop an approach to sustain the future of these complexes.

2. INCORPOREAL AESTHETIC OF MODERNISM

One of the more difficult challenges in addressing buildings of the modern movement is that a
great many works of architecture were designed based upon the effects of light, transparency,

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reflection, and plasticity of space (incorporeal aesthetic). The architecture of the modern
movement was often looked upon as “pure” because of its expressive and streamlined use of
manufactured materials such as glass, masonry and steel. The assembly details of mass
produced products and the definition of space between the assembled materials was a major
focus of the modern movement. In fact, the characteristic forms of modernism were also in
reaction and contrast to previous forms of architecture which contained greater applications of
decorative arts. What was liberating to modern architects was the focus of architectural
production on spatial plasticity, reflection, transparency and light. As quoted by Oscar
Niemeyer on Le Corbusier, modern architecture is about “the skillful, accurate and magnificent
play of masses seen in light”. [4] For modernism, our challenge is not only to address physical
material failures but to also preserve this incorporeal aesthetic.

In addition to the incorporeal aesthetic, the development of industrial materials and the
evolution of curtain wall construction permitted many different types of walls to be
constructed. Thin stone cladding is one of the evolved curtain walls. Various types of stone
have been cut into thin slabs for attachment to the building structure. In the case of the subject
complexes, marble is the primary material used. In other examples of modern architecture, one
can find travertine, granite, limestone, sandstone, and many other materials. Each stone is
geologically different and will reflect light differently. Marble and limestone will reflect light
and appear to shift colors because of differing compositions and surface finishes. Various
marbles will also reflect light differently because of their different crystalline structures.

The buildings of ESP are primarily clad in Vermont Pearl Marble and Georgia Cherokee
Melange Marble. The reflective light of Georgia Cherokee sparkles from the mica inclusions
while the Vermont Pearl appears softened. The beauty of the stone is further enhanced when
one observes the stone’s reflective appearance at various times during the day. The stone
panels are exposed to different types of light (i.e., sunlight, daylight, and summer evening
light). During the day, blue light (short waves) is typically reflected across air molecules in the
sky because of its short wave length. During summer evenings, light typically renders a
reddish color because tangential red light (long waves) penetrates dust or haze near the horizon
better than blue light. [5] A look at the Vermont Pearl Marble during sunlight, daylight, and
summer evening light shows us the varying appearances of a marble clad facade (see Figure 2).

Figure 2 : From left to right, sunlight, daylight, and summer evening light.

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The varying appearance of modern curtain wall facades is accentuated by the use of other
materials, especially glass. This shifting appearance of the facades under varying light
conditions has sometimes been intentionally designed while at other times it is serendipitous.
[6] In either case, we must understand the incorporeal aesthetic while intervening in the repair
of the material. Assistance in reading the incorporeal aesthetic will require a keen eye and
patience as well as a review of the architect’s written materials. Many architects of the modern
movement produced extensive writing on this subject because of skepticism that the
incorporeal aesthetic may not be observed.

3. EXECUTION OF ORIGINAL DESIGN

The design execution of the International Power Style was made possible through the technical
developments of the curtain wall structure. The development of various anchor types and
systems separated the building structure from directly supporting the stone panels. This
development facilitated the liberation experienced by the architects of the modern movement.
No longer was the facade's expression restricted by the building's structure. In addition, the
ability to manufacture stone into thin panels reduced material costs, facilitating the explosion
of stone towers in the second half of this century.

The anchor types ranged from steel angles acting as supporting shelves to wire ties acting as
tension cables (see Figure 3). In most cases, the anchors remained hidden from view. In order
to achieve this, some stone panels were routed out along their back side to conceal a location
where an anchor resides. The back side or edge side routing of the stone came in different
forms but often included a kerf at the toe of shelf angles, kerf grooves in the panel edges at
extruded shapes, split-end or disc anchors, and drilled holes for pin anchors.

Understanding the anchor types and systems can be critical in maintaining the facade's
expression. For example, a kerf at the toe of a shelf angle maintains the joint width appearance
between panels. Omitting the kerf when replacing a panel not only exposes the toe of the angle
to increased weathering, but also changes the aesthetic appearance of the wall.

Figure 3 : A look at some of the many anchor types, from an in-house manual
developed in the 1960s by the Vermont Marble Company for use by its sales staff.

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4. AESTHETIC ASSESSMENT OF PREVIOUS INTERVENTION

Based on the assessment of previous repair campaigns to these building complexes, there are a
few concerns that should be reviewed and considered for future interventions if an appropriate
assessment of the building is to be completed. First, proper identification of the anchor types
and the overall curtain wall system should be a priority followed by identification of the
incorporeal aesthetic and then the material itself. These concerns typically raise issues that
may result in limitations to maintaining the original aesthetic. When limitations are set, it is
our responsibility as curators and professionals to advise the building owners on the
importance of maintaining both the material and incorporeal aesthetic.

Limitations on maintaining the aesthetic may result in less than desireable intervention.
Depending upon the type of stone material, an intervention of dutchman repairs may
sometimes be inappropriate. For example, dutchman and pin anchor repairs in a monolith
marble facade have scarred some of the buildings, undermining their "power" (see Figure 4).
The veining properties of some marbles makes the installation of a matching dutchman
extremely difficult. By contrast, the composition and texture of travertine (beige in color with
numerous small voids and typically polished smooth) lends itself to dutchman repairs. In situ
refinishing may be necessary at times to blend a travertine dutchman with its surrounds.

Figure 4 : Repair Assessment - from left to right; aesthetically questionable

dutchman repairs and staggered pin anchors at marble clad fascia.

5. FINDING STONE MATERIAL

The first challenge of intervening is finding aesthetically suitable replacement materials. This
is a challenge for any type of building, but mass produced materials represent a slightly
different challenge. In many cases, modern materials are mass produced on an assembly line
primarily by machine work but may sometimes include hand work, or a combination thereof.
Whereas the challenge in intervening with pre-modern architecture may be finding trained
craftsman, the challenge with architecture of the modern movement is finding an assembly line
still in production or being able to replicate the assembly line. Even if the raw materials are
available, assembly lines may not be able to replicate the finished product. The cost for re-
erecting an assembly line to produce matching material is typically prohibitive. Unfortunately,
stabilization measures may be the only short-term option until the aforementioned challenges
can be met.

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Moreover, material placement for both the UNHQ and ESP represents unique challenges
because the West Rutland mine, the original Vermont Pearl marble quarry, was closed after
completion of ESP. The search for suitable replacement material will be a great challenge.
Considerations will include finding matching raw material, finding a matching means of
production, and assurances that the produced items will provide the incorporeal aesthetic. For
some projects, an owner may need to be convinced to invest not only in the raw materials, but
also the means of production to insure matching material. The owner will also most likely
need to purchase ample material for future replacement.

6. CONSIDERATIONS FOR INTERVENTION

As demonstrated herein, the preservation of dimensional stone cladding at these large

complexes includes some familiar challenges coupled with new challenges. When intervention
is required, a stabilization plan for the curtain wall system may be required if a repair program
cannot sustain the building's aesthetic. The aesthetic of previous interventions may also need
to be reconsidered as part of the assessment. The aesthetic challenges these complexes
represent include the material and the incorporeal. To meet these new challenges,
consideration should be given to the following:

§ Understand the design: numerous dutchman or pin anchor repairs may undermine the
incorporeal aesthetic. A review of the architect's body of work and writings may be
required to gain this understanding.
§ Understand the curtain wall anchor types and systems that facilitate the aesthetic.
Changing anchors may undermine the wall's aesthetic expression.
§ Observe the architecture in all types of light and weather. Record shifting appearances.
§ When selecting new stone, observe the material in all types of light and weather.

7. ACKNOWLEDGEMENTS

The writers wish to acknowledge Jim Jaimeson for accounts of Nelson A. Rockefeller and
ESP, and Deborah J. Slaton of Wiss, Janney, Elstner Associates for editorial comments. Also,
special thanks to contributors Julie Nora and Armando Martinez for photos of the Congress
Complex of Brasilia, Brazil, and the United Nations Headquarters, respectively.

8. REFERENCES

[1] Stern et al, – New York 1960. The Monacelli Press, 1995, 608 p.
[2] Newhouse, V. – Wallace K. Harrison, Architect. Rizzoli International Publications Inc.,
1989, p.244-273.
[3] Hughes, R. – The Shock of the New. Alfred A. Knopf Inc., 1980, 108 p.
[4] Underwood, D. – Oscar Niemeyer and the Architecture of Brazil, Rizzoli, 1994, 123 p.
[5] Gribbin, J. - Almost Everyone's Guide to Science. Yale University Press, 1999, 24 p.
[6] Mertins, D. – "Introduction: New Mies" in The Presence of Mies. Ed. by D. Mertins,
Princeton Architectural Press, 1994, 23 p.