Architect and engineer . SHELL BUILDING, SAN FRANCISCO GEO. W. KELHAM, ARCHITECT July, 1930 AND ENGINEER. 39 This pedestal assumes mass by the absenceof vertical lines, and elevation by the higharch of the deeply revealed entrance—aneffect which is accentuated by its ruggeddetail. It was no mere happy accident that pro-duced this fine proportion and simplicityof mass, line and color. Each element of dashed with coarse semi-transparent brownsand which changes hue by double reflec-tion of the suns rays as do the drops ofwater which produce the rainbow. If the architect looked to the e
Architect and engineer . SHELL BUILDING, SAN FRANCISCO GEO. W. KELHAM, ARCHITECT July, 1930 AND ENGINEER. 39 This pedestal assumes mass by the absenceof vertical lines, and elevation by the higharch of the deeply revealed entrance—aneffect which is accentuated by its ruggeddetail. It was no mere happy accident that pro-duced this fine proportion and simplicityof mass, line and color. Each element of dashed with coarse semi-transparent brownsand which changes hue by double reflec-tion of the suns rays as do the drops ofwater which produce the rainbow. If the architect looked to the early mon-uments for fundamentals of exterior massand line, he has adhered to the very inspir-ation of his ancient profession—the need for. Photo by SIroupe & Schrehier AIRPLANE VIEW, SHELL BUILDING AND NEIGHBORING SKYSCRAPERS, SAN FRANCISCO the treatment was first modeled to quarterscale and studied for profile and balancefrom every angle. Each unit of ornamentwas specially hand-textured to heighten itsresponse to the changing light source. Thequantity of ornament has been held to aneffective minimum, but—where used—it issimple and massive, well calculated to re-tain its character while viewed from a dis-tance. A perilous experiment was broughtto fruitful conclusion by the introductionof cast concrete spandrels. These are paintedneutral blue-green to harmonize with thereflection tone of the windows, and are a dwelling — in his treatment of the interiorareas. Few monumental buildings with rela-tive purity of exterior form are so intenselylivable. The owners symbol of welcome —the golden pecten — is exquisitely modeledto grace the delicate tracery of the highbronze entrance screen and the four swing-ing doors
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Keywords: ., bookcentury1900, bookdecade1900, booksub, booksubjectarchitecture
