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PARTISAN REVIEW
the structure on its course through the whole city and its suburbs.
Normally used for speed-traffic, it serves as an endless stage for public
events of local and national magnitude. Thus the whole town
is
trans–
formed into one action-area and an integration of "building and in–
habitants" becomes as organic as it is automatic. The lower floors are
dedicated to shops, fairs and exhibitions: the higher ones to space-stages
(in the middle of the open well) to be watched by the spectators from
the higher ramps. As the higher floors widen considerably, they have a
capacity for larger audiences, such as those of assemblies and sports.
The very top of the the open spiral is closed, resulting in a vast circular
floor for open-air games. The four arches rise higher than this last level
to support seats and provide access for the audiences. Structurally, as
can be deduced, the building is indeed "continuous" with contact for
further extensions through its parabolic arches. A dynamo of continous
activities, the "endless structure" winds its way in spiral ramps, and in
its power of suction and ejection becomes the very expression of a living
organism rather than a solid mass of Architecture.
In 1925 I adapted this correlation idea to the problem of a depart–
ment store. I quote its description from "Contemporary Art and the
Store" (Brentano's 1930):
"Project for a department store anchored to the ground only at the
central axis, which includes elevator shafts, heating and cooling system.
Glass encases the whole structure. The floors are circular and built on
the spiral principles of a cork screw, so that passage is continuous from
one floor to the other .. . free, equal distribution of traffic.... Cen–
tralized elevators much more accessible from all parts of the floor... .
Shoppers will often walk down several floors without realizing it be–
cause of the slightness of the incline. The store becomes practically one
continuous main floor. . .. Carrying out the tenets of "tensionism" in
city planning, it will be joined by spans every third floor with surround–
ing buildings."
The twin-architects Le Corbusier and his associate Pierre Jeanneret
designed the "Musee Mondial" in 1929 for Geneva, the seat of the
League of Nations. The building is in a square-shaped spiral, rising
from a wide base to a tip, in the proportion of a pyramid.* The entrance
is at the top, to which elevators run up. In addition, the different levels
are connected by staircases. The floor space is enlarged by throwing
three widths of the spiral together, forming a large nave in continuity.
The idea: to show the historical development of civilization.
In the first width archeological documents are shown, in the center
the historical and in the third the lands in which the growth of the
*
"America Builds," by Neutra, pub!. 1930, shows project of an observation
tower for autoists in spiral pyramid, designed by: Office of F. L . Wright.
