Architect and engineer . ms. Wehave seen that in the main there are noshadows on the surface of the building. Thisin itself is remarkable since most of the ef-fects of historical design are based largelyon shadows. It was by casting shadows thatthe design was revealed. We recall also thatFra Angelico painted charming figures oninnumerable altar pieces and triptychs andnever drew a shadow in any of them. Inour California, where sunshine is so glori-fied, there may be a semi-mystical merit inhuge wall surfaces without shadows. Infact on close study one finds that the massof this building reduced
Architect and engineer . ms. Wehave seen that in the main there are noshadows on the surface of the building. Thisin itself is remarkable since most of the ef-fects of historical design are based largelyon shadows. It was by casting shadows thatthe design was revealed. We recall also thatFra Angelico painted charming figures oninnumerable altar pieces and triptychs andnever drew a shadow in any of them. Inour California, where sunshine is so glori-fied, there may be a semi-mystical merit inhuge wall surfaces without shadows. Infact on close study one finds that the massof this building reduced to its simplest ex-pression is a vast precipitous wall withrounded corners and a serrated top. Thinpiers with curved faces and rounded corn-ers divide this vertically and between thesecome the windows, two casements in each,forming a very flat V, which are con-tinued at sill and head in bands around theentire building. The panels between thewindow are patterned with incised shallow 52 AUCHITLCT AND ENGINEER, April. 1930. MAIN ENTRANCE LOBBt, FOUR FIFTY SUTTER, SAN FRANCISCOJ. R. MILLER AND T. L. PFLUEOER, ARCHITECTS April, 1930 ARCHITECTAnd engineer. 53
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