ANTONINO SAGGIO

FIVE MASTERWORKS
BY LOUIS SAUER
An Unconventional
American Architect
LULU.COM
English translation by Sally Pitt, November 2009
To Bill Durkee architect of spirit who died too early
Published in July 2009 by Lulu.com in Raleigh NC, USA
Isbn: 978-1-4461-4559-3
On Louis Sauer by this Author
Louis Sauer Un Architetto Americano (Ocina, 1988)
Cinque Lavori Di Louis Sauer. Relazione Con Il Contesto E Ricerca Espressiva
Di Un Architetto Americano Fuori Dalle Mode, L'Architettura
cronache e storia, No. 407, September 1989
Lintervento Nella Citt Edicata. Residenze Di Louis Sauer, Edilizia
Popolare, May-June 1991
Louis Sauer, Rinnovo Urbano A Philadelphia, Costruire in Laterizio, No.
8, March-April 1989
Case Ad Alta Densit. Ammassati E Felici. Louis Sauer, Costruire, No. 77,
October 1989
Absorbing Venice. Low-Rise High Density Housing By Louis Sauer. in: G. De
Carlo, C. Occhialini Ilaud, Territory & Identity, Maggioli, Santo
Arcangelo Romagna, 1998
Architettura E Modernit Dal Bauhaus A La Rivoluzione Informatica,
(Carocci 2010)
2.
I n d e x
F o r w a r d 5
B i o g r a p h y 5
D e s i g n P h i l o s o p h y 9
T h e F r a n k e l H o u s e 1 1
C o n t e x t R a p p o r t 1 7
S o c i e t y H i l l 1 8
P e n n s L a n d i n g S q u a r e 2 3
T h e H o u s i n g P a c k a g e 2 8
U r b a n D e s i g n 3 3
N e w m a r k e t 3 5
C i n c i n n a t i C o n c o u r s e 4 1
A r c h i t e c t u r e a n d L a n d s c a p e 4 7
G o v e r n o r s G r o v e 4 8
A R e a l i s t A r c h i t e c t 5 1
S a u e r i n t h e A r c h i t e c t u r a l D e b a t e 5 5
B i b l i o g r a p h y 5 9
3.
4.
Louis Sauer, Pittsburgh
1983 and in a portrait by
Guido Ruzzier, Baum-
holder, Germany 1955.
F o r w a r d
Louis Sauer is known in the US as one of the greatest hous-
ing experts. He achieved national fame when many of his in-
novative designs were built in Society Hill, the historic colo-
nial neighborhood in Philadelphia. The quality, variety and
reasoning behind his creative solutions for the renewal of
large areas of old and derelict urban context were the exem-
plars for those who followed him in this eld.
The ve designs included in this book are selected from
the period (1961-79) when Sauer practiced in Philadelphia.
During these 17 years he designed and built a vast amount
on different scales and in diverse sectors primarily in the
East of the United States. During these 17 years, his work
consisted of 250 architectural and urban design commissions
that included 127 residential projects of which more than half
have been built. His work, for which he has received many
awards, has frequently been proled in American and Euro-
pean magazines. His work is exceptional for its variety and
wealth of solutions. Some examples are his modernistic
forms, intelligent understanding of the history of the locale
and the requirements of diverse urban scales.
The ve works I am presenting in this publication give a
picture of his outstanding design and the ingenuity of his so-
lutions when faced with diverse design challenges and scales.
These are specically targeted at dening the architects role
in the environmental transformation process.
B i o g r a p h y
Louis Sauer was born in June 1928 in Forest Park and
grew up in Oak Park, an elegant suburb of Chicago, where
many of Wrights prairie houses were built alongside the dig-
5.
nied dwellings of the late 19th century. After doing poorly
in pre-medical studies at DePauw University in Greencastle
Indiana, he changed to art history and painting at the Penn-
sylvania Academy of Fine Arts. Then he did his rst degree
at the Illinois Institute of Technologys Institute of Design
(Moholy-Nagys the New Bauhaus) in Chicago under the
tutorship of Gerhard Kallmann and Konrad Wachsman.
Conscripted for military service in Europe, he became a
committed professional photographer. He worked for a pe-
riod in Naples for the World Council of Churches to liaise
with the American Consulate in Naples for helping refugees
and escapees acquire USA visas. This may well explain his
exceptional insights into problems that proved useful to him
in his professional activities later on.
In the summer of 1956 he went to Venice for a summer
course organized by Congrs Internationale dArchitecture
Moderne and many of the architectural professors came
when CIAMs Dubrovnik conference was nished. It was a
moment in which the crisis, that would bring at the end of
CIAM in 1959, started to be manifest. He stayed in Venice for
over six months and became conversant and familiar with the
Venetian open space conguration that became for him a
6.
Carlo Scarpa in the Studio, portrait by Sauer, Venice 1956.
constant source of inspiration. At the CIAM course he formed
contacts with his Italian and non-Italian colleagues (later he
set up a partnership with Giancarlo Guarda, whom he met
on that occasion), presented a display of his photos and as-
similated the citys architecture. In this period he continued
to take photographs (see for example the Carlo Scarpa por-
traits). Returning to the United States, he attended the Uni-
versity of Pennsylvania under the tutorship of Louis Kahn
and got his Master of Architecture in 1959. Between 1961
and 1964, he made his name nationally by winning the rst
prize from the Progressive Architecture Annual Design Awards
Program in 1964, and then more than sixty Annual Deign
Awards Program from national and local associations.
An important recognition of his work came when he was
elected Fellow of the American Institute of Architects in
1973. His extensive professional activities started with his
partnership with William Winchell, his association with A.
De Vito from 1967 to 1969 and nally in Louis Sauer Associ-
ates where, among other architects, Cecil Baker also worked.
In 1971 he initiated Peoples Housing, Inc. in Topanga, Cali-
fornia and served as a Director (with D. Marshall and S.
Kerpen) in this architectural corporation that specialized in
the advancement of low-income and special-needs housing.
His most notable achievements from his Philadelphia prac-
tice are 256 townhouses (Golf Course Island) in the new
town of Reston, 108 apartments (Spring Pond) in Corning,
1,445 social homes in New Haven, Rochester, Yonkers,
Philadelphia, Baltimore, and Washington DC, 182 apart-
ments (One Lytle Park) and equipping a city water park in
Cincinnati, 422 homes (Harbor Walk) in downtown Balti-
more and many projects in the neighborhood of Society Hill
in Philadelphia, among which stand out 103 apartments and
townhouses (Penns Landing Square) and a shopping mall
(Newmarket).
7.
41, 8
8
23, 35
In parallel to his professional activities, Sauer was, for
many years, professor at the University of Pennsylvania, vis-
iting professor of Critical studies at Yale, MIT, the Universi-
ties of Texas, Wisconsin and Washington University. After
he closed his Philadelphia ofce in June 1979, he became
Head of the Department of architecture at Carnegie-Mellon
University in Pittsburgh, then professor at the University of
Colorado in Boulder where he conducted urban design re-
search. In 1989 he became the director of urban design in the
planning ofce of Daniel Arbour Associates in Montreal.
Among his distinguished work there, is the master plan for a
new community - Bois Franc - which is under construction
adjacent to Montreal (500 acres - 202 hectares - 8,000 dwell-
ings).
Sauer retired from practice in 1997, moved to Austra-
lia in 2000, and presently is a visiting professor at the Royal
Melbourne Institute of technology (RMIT).
8.
Golf Course Island, Reston, Virginia 1965-1967.
Harbor Walk, Baltimore, Maryland 1976-1980.
D e s i g n P h i l o s o p h y
At the root of his architectural works, especially residential,
Sauer observed a distinct difference between what is on the
inside of a building and what is on the outside. For him, a
residential building has a dual reason for existing and so re-
sponds to two worlds - to two environments. It needs to dig-
nify the internal domestic environment as well as t into
the external citys contextual environment to which it rep-
resents social value. The congurations of the two environ-
ments, always different, led him to rene the designs for his
works; for example, the contrast between the private and
public areas mainly determines how the space is laid out. In
following this idea, the architect develops specic plan types
- such as a courtyard typology, with which in many of his
projects, the courtyard becomes the center stage for the or-
ganization of the house and the symbolic hub of home life.
The difference between the interior and exterior is, also,
symbolically and psychologically the driving force behind his
skillful management of the front facades that are often unre-
lated to the organization of the internal space. His facades
are often treated as a membrane that shrouds the building.
They are designed, built and conceived to comply with the
rhythms, lifestyles and proportions of the street context, the
public world, rather than to the interiors idiosyncratic do-
mestic world of privacy.
The architect, on some occasions such as redeveloping
existing townhouses, does not alter the existing facade at all
even if large scale restructuring would so allow. In the Buten
House, for example, the total restructuring of the interiors
spaces, levels, circulation and the inclusion of an courtyard
garden around which the new environments gravitate, does
not correspond to any manipulation of the front facade.
While its interior is adapted to a domestic layout, its existing
9.
front facade is retained so that it will t into the modest resi-
dential street on which the building is located and remain
incognito of the dramatically different interior. The same way
of working can be found in the houses Sauer designed for
himself. For example, in Pittsburgh, a large detached family
residence built at the end of the 19
th
century was completely
restructured by removing its interior central staircase. This
gave rise to a spatial void of three oors that provided a ver-
tical space on which to place the functions of the various lev-
els, the matrix of the entire internal architecture.
However, given the opportunity the exterior architecture
bursts into forms and volumes that have an invigorating ef-
fect on the outside, especially in suburban atlands or in
natural environments. This is the case in much of Sauers ar-
chitecture amongst which the Frankel House is particularly
signicant.
10.
The courtyard, Buten House, Philadelphia 1964.
T h e F r a n k e l H o u s e
The house is in Margate, New Jersey, in an area of detached
houses on individual building plots parallel to the beach.
From the project site it was only possible to get a glimpse of
the sea despite being only two properties away. For Sauer,
this radically modied the data of the architectonic problem.
The idea stemmed from an open L shape opening in the
direction of the sea. In the development of the design this
shape was changed but not abandoned. The geometric L
form denes the open space inside the house that runs verti-
cally through three oors with a skylight at the roof, thus, it
becomes the functional and spatial magnet of the dwelling. A
water pool is adjacent to the entrance and adjacent to the liv-
ing room are two gardens, one internal, the other external,
and a study. The staircases and galleries of the upper levels
overlook the ground level and enliven it by cast shadows.
The result is a highly introspective house where memory of
the initial idea is present in the invention of an extraordinar-
ily effective natural and articial space.
11.
Lenard Frankel House (left) and the William Frankel House (right), Margate, New
Jersey 1968.
12.
The outside aims to explicitly dispute the banality of the
context and the rules imposed by the legal dimensions of the
property. A powerful game of volumes is launched into
space. The house, together with the adjacent one (a relative)
designed by Sauer, creates an urban sculpture bringing life to
the exterior through a set of asymmetrical volumes that rein-
force the surprising contrast with the interior. However, also
in this case, the intention is not to directly reveal the mecha-
nism on which the spaces are articulated but to introduce
forms of abstract play to the context.
In this project, Sauer demonstrates that his design phi-
losophy does not come from scant expressive language but
stems from a careful assessment of the symbolic, spatial,
functional, distributive and aesthetic design qualities.
13.
Entry water pool &
dining room (p. 12)
and Street view,
Lenard Frankel House,
Margate, 1968.
14.
View to living room from kitchen
15.
Te Lenard Frankel House,
Margate, New Jersey
The house is located on a plot
near the ocean, however, the sea is
only partially visible but enough
to get a glimpse. The request for
privacy by the clients and the site
location were key in the architects
decision to converge the daily
functions in an internal space that
became the symbolic and spatial
hub of the house. On the left of
the entrance, there is a small pond
to collect the water from a small
waterfall; to the right is a garden.
The dining area and kitchen are
separated from the living room by
a second internal garden. A den is
adjacent to the living room, which
extends vertically over two floors.
There are two staircases to the
upper floor that are connected by
a gallery running above the lower
space. The bedroom windows are
fixed on niches that push open to
the outside diagonally thus
eliminating the view of the other
residences. This provides a view of
the sea. On the third floor there
is studio where the roof is used as
a belvedere terrace. Picture at
page 11 shows on the left the
Lenard Frankel House and at the
right the William Frankel house
designed by Sauer at the same
time.
Detached residence of 4100 sq.. ft
(380 sq. m)
Messrs. Frankel
16.
Hamilton House, New Hope, Pennsylvania 1962-1996.
C o n t e x t R a p p o r t
Sauers modus operandi would appear to abandon one of the
modern architectural postulates and be nearer to the more
fashionable school of today. In reality his expressive research
is measurable by the choices that distance him from many of
the Modern Movements formulations (analytic decomposi-
tion of functions and consequent exposure to the outside by
the individual parts). However, he commits to a path that
leads to a greater awareness of the relational implications be-
tween the project and its surroundings. This path, which re-
jects the mimetic type of short cuts and purely formalistic
research, has shown his original ability to resolve the rela-
tionship between the new and the pre-existing which is espe-
cially stimulating because it is articulated in a contemporary
expressive language. The physical features of the context of-
fer Sauer some of the materials to be used in the design (see
for example the Hamilton House built on an ruined mill).
The materials provided by the context are not given but are
found by extrapolating only the salient aspects from the re-
ality. Between the physical context and how it is used in the
architectural projects design, there is a pause in understand-
ing its potential to transform itself and take shape in the con-
text reality through the new project.
Sauer focuses on certain aspects of reality discarding
others. Hence, he accomplishes a synthetic and non-analytic
work driven by his artistic intuition and not by cataloging.
His dominating creativity and his synthetic and selective
abilities come into play in this sieving exercise.
His working formula could be summed up as context
interpretation and reinvention meaning he interprets the
reality of the context and reinvents the forms, rhythms and
patterns to enhance the potential for it become a new natu-
ral architectural form.
17.
16
S o c i e t y H i l l
At Society Hill, a heritage neighborhood in Philadelphia,
Sauer demonstrated his ability to set up a dialogue between
his projects and the historical context. The federal style fa-
cades of the buildings in the neighborhood are clearly based
on a three level division - these being the base of the building
at street level, an elevation that unites the horizontal oor
levels and the windows of equal width and a cornice right
below the roof.
Sauer articulately responds to this organization in his
projects by exploiting continuity themes but also by adding
18.
Locust Street Town-
houses, Philadelphia
1968-1969.
McClennen House,
Philadelphia. 1965-
1966.
Penns Landing Square,
Philadelphia 1968-
1970.
dynamic motifs. On the one hand, he accepts that by intro-
ducing new architecture into an existing block he has to ad-
here to the rules and on the other he modies the federal ar-
chitectural division into three subdivisions accepting only
two of the three elements. Breaking down the federal tripar-
tition, allows its implicit static equilibrium to be substituted
with the dynamics of modern architecture.
Lombard Condos, built without base or cornices are
made up of two symmetrical parts that join the upper and
lower parts of the building to create a powerful dynamism in
19.
Second Street Town-
houses, Philadelphia
1969-1970.
Lombard Condos,
Philadelphia 1974-
1978.
19
a poor quality residential street. In Second Street, there are
again buildings without base or cornices where the openings
that are arranged asymmetrically reinforce the continuity of
the backdrop of the street and allow the urban scene to
emerge. In Locust Street, a strong base without cornices al-
lows the central body of the building to be articulated in
towers which shape the horizon, dilate the scale of the pro-
ject and t into a context characterized by three residential
towers. In Penns Landing Square Square's Spruce and
Front Street facades, there is no base, the central body of the
buildings guratively encroaches the street and has an upper
compact band matching the building on the other side of the
river. In all of these designs, the architects language con-
cerns the dynamics of the form while linking up with the
formal elements of the neighboring architecture. In this way,
he formally solves the difcult problem of introducing new
forms and a contemporary aesthetic into an already settled
context of a heritage neighborhood.
20.
19
18
18,24
21.
The Delancey Street Facade (right), the 2nd Street Facade (above), the Delancey
Street Facade (below and next page) Penns Landing Square, Philadelphia
22.
P e n n s L a n d i n g S q u a r e
The architecture of this project, which should be looked at in
more depth, is set in a continuity-discontinuity context. It
invites careful study, not only of the building but also of the
city, its diverse environments and situations that are screened
by the interpretative choices of the new architecture. Re-
search of the buildings dynamic and temporal features, dear
to the Modern Movement, has found a solution able to effec-
tively t into the city grid. The block on which the site is lo-
cated borders onto four streets with different characteristics.
The buildings on Delancey Streets south side are of dif-
fering heights and its facades give the impression of typical
early Federal row houses. Along Second Street, on the pro-
ject sites west side, the buildings become a continuous back-
drop. Spruce Street, on the sites north side, is characterized
by a park-like setting with three residential towers designed
by I. M. Pei that were built when the neighborhood was be-
gan its redevelopment. Finally to the East is Front Street,
that overlooks the Delaware River and a covered expressway
that runs parallel to it. On these two sides, the site overlooks
large open spaces and not the narrow Delancey and Second
Streets.
The existing facades on Delancey Street compliment the
facades designed by Sauer where his individual residential
buildings are highlighted and scanned through the terraces
along the street. The repeated effect of the incrementally de-
tached volumes, compliment the character of the surround-
ings while offering a very different solution.
Instead the faade on Second Street is a wall only bro-
ken by openings. It reinforces the backdrop of the street and
heralds the volumes of the main entrance on the corner.
Sauers rst choice in dealing with the two large-scale
remaining sides, of Spruce and Front Streets, was to dilate
23.
22
21
the facades height both materially and, above all, in its com-
position. Materially inclining the roof inwards and getting
planning permission to elevate the building to the same level
as the historical building on the adjacent block have reached
this goal. From a formal point of view, the architect designed
the facades in such way as to achieve a very strong and co-
herent composition. The windows are grouped together in
the same way as the entrances in large apertures that break
up the wall but strengthen its identity. The integrity of the
24.
Views of Spruce Street
Facade, Penns Landing
Square, Philadelphia
1968-1970.
surface is achieved by the compact band running along the
top of the building while the apertures that contain the en-
trances rhythmically mark the attachment at ground level.
Hence, the architecture of these two facades, at a large
scale, stems from the apertures large wall openings and, at a
small scale, from the spatial articulation of the entrances to
the individual apartments. At ground level there is a gate,
steps from the street to the rst oor of the townhouses and a
small external semi-private porch.
Regardless of the different exterior and interior architec-
ture, the continuity of the street front is maintained whereas
in the interior areas there is freedom in the layout of open
space. The buildings are arranged in such way as to achieve
alternate narrowing and broadening of the spaces including
25.
26.
narrow pedestrian paths of around 6'-0'' (1.83 m). Here the
contrasts of light and shade, buildings and voids and semi-
public and private areas follow on from each other.
The source of these architectural alternations is Sauers
love of Venice where a small calle leads to a campo that in turn
leads to another calle, fondamenta or smaller campo repre-
senting a great wealth and continuity of urban fabric. While
the projects external space is coherent with the urban struc-
ture of Philadelphia street network and the streets of Society
Hill, the inner world of Penns Landing Square creates a dif-
ferent city with different spaces and values.
27.
Plans of the Front and Spruce Street Townhouses and interior walkways.
T h e H o u s i n g P a c k a g e
The basic instrument used to create the project (above all the
challenge of achieving high density within the limit of three-
storeys), was the invention of ahousing package of super-
imposed units. There are ve fundamental ideas underlying
this solution (they are at once technical and distributive,
planimetric and formal):
- The package is based on two structural bays of 14'-0"
(4.27 m) to form modules of 28'-0" (8.53 m) arranged along
the grid, which decides the size of the project in construc-
tional and spatial terms. The linear aggregation permits both
the alignment of the home-units as a continuous row on one
of the outer fronts as well as enabling them to be staggered
independently from each other inside the perimeter.
28.
Plans of the Delancey Street (above) and interior walkways dwellings, North is at the
top, Penns Landing Square, Philadelphia 1968-1970.
- Within the homes, the different surface areas of the
units (860 sq ft to 1450 sq ft or from about 80 to 135 sq m) is
achieved by extending into the space of the adjoining struc-
tural bay, where necessary, and so forming either units on
one oor only, or on two oors in two bays, or in one bay on
one oor and two on the oor above. The exibility in the
size of the units also stems from the decision to locate the
staircase along one front orthogonally positioned in relation
to a bay. The result is that the units are organized through a
division into a service belt (stairs, entrance, bathroom) and a
served belt (living-room, dining-room and bedrooms).
- The service-served organization is also functional in
terms of density. The served front of one row faces onto the
service front of another. This enables the fronts of the paral-
lel rows of housing to be brought much closer together, en-
suring the high densities required, but avoids an 'introverted'
building. Moreover the served front is oriented south to op-
timize the exposure to sunlight.
- The actual functionality of the system is guaranteed
by its L-shaped layout which gives an extra front compared
with rectangular layouts. On the ground oor, where the
problem of light is greater, the served front opens onto the
inside of the 'L' towards the private garden. On the upper
oors the built masses are stepped back so that part of the
surface area becomes a terrace. In this way, instead of being
based on the typical functionalist approach which has a stan-
dard cell aggregated along a layout to form a model building
(itself multiplied x times to create the neighborhood), the
project is based on a triad consisting of cell-housing package-
building. The package contains within itself the home-units
and system of distribution, and the single packages are not
constructed by a system of distribution on a higher scale.
Hence it is the various aggregations and combinations of the
housing package that enable the complex to be organized to
29.
meet the requirements and characteristics of spaces, internal
planimetric links and external relations with the city.
The housing package makes it possible to achieve an ar-
ticulation of internal spaces based on the contraction and di-
lation of interiors in a sequence of contrasts of light and
shade, solids and voids, public and private ambits. It is the
key instrument that allowed the great complexities that were
reached in this project. Some details of Sauer's design may
not convince everybody, but I feel whoever believes that the
road of architectural research must pass through housing will
nd this project absolutely essential.
30.
Site plan, Penns Land-
ing Square,
Philadelphia 1968-
1970.
31.
Penns Landing Square
Sauers densest and most
demanding project is in
Philadelphia on 2.31 acres or 0.93
hectare (100,634 sq ft or 9,348 sq
m) block in the center of Society
Hill. There are 103 dwelling
units that exploit the low-rise
high-density approach and
achieves a residential density of
44.6 d.u. per acre (163 inhabitants
per acre or 402 inhabitants per
hectare). The importance of the
construction, not only concerned
meeting the demands of high
residential density but also of
setting it within the existing
urban fabric using the formal
choices and characteristics of the
open spaces.
For Penns Landing Square, the
numerous versions hypothesized
by Sauer in seeking an optimal
solution for the construction are
attested to in the blocks external
perimeter and its homogenous
building-street rapport with the
one in existence. In the project the
continuity of the constructed
perimeter is interrupted only
between Spruce Street and Second
Street establishing an open space
opposite the square in front of
Peis three towers. This, at the
same time allows for underground
passage of the utilities that run
diagonally at this point. On this
corner is the main entrance to the
complex while other entries are at
the two extremities of Delancey
and Spruce Streets. Access to the
underground garage is at the
lower part of Spruce Street. The
service areas are arranged on
three levels and accessible from
the street and also from inside.
The perimeters continuity was
also reinforced by the use of the
same brick for all buildings and by
the same black aluminum borders
for the windows.
The complex has different types
of dwellings. The largest ones are
18 townhouses and they are
located along Second, Spruce and
Front street. All have a garden, a
terrace, a garage.. Playing with
the volumes and doubling the
heights characterize the interiors
of these residences.
The smallest dwelling are located
on Delancey Street and inside the
complex 85 apartments have
different floor areas from 860 to
1450 sq ft (80 to 135 sq m) and
one, two or three bedrooms.. They
are organized in an housing
package that has two two equal
structural bays of 14'-0" (4.27 m).
Within the package, the different
areas of the apartments are
achieved by extending into the
adjoining structural bay to a
greater or lesser degree. The
system may be extended to the
32.
following floor by forming
apartments on one floor only or on
two floors in two bays or in one bay
on one floor and two on the floor
above. The systems high level of
flexibility stems from the module
used for the entrances: whatever the
size of the apartment and the floor
on which it is developed, the private
entrance is always on the ground
floor. The same entrance stairway
serves as a distribution element not
only from the ground to the first
floor but also beyond that if the
apartment has more levels. As a
consequence, and this is the
unavoidable compromise, the
entrance front is blinded and the
kitchen only gets light from the
dining-living area.
The fact that the served area of the
row house gives on to the served
front of the parallel row allows for a
planimetric layout which does not
have the sole advantage of its
exposure to the south of the served
areas of the apartment but allows
the fronts to be closer to achieve the
required densities.
103 dwellings,
376 inhabitants
2,31 acres (0,93 hectares)
d.u. 163 inhabitants per acre 402
inhabitants per hectare
91338 Corporation
Philadelphia, Pennsylvania,
1968-1970
U r b a n D e s i g n
While Sauer was assimilating a conception of the architect's
work rooted in the functionalist tradition (hence practical
adherence to a theme, an attempt to inuence society
through architectural design, a scientic conception of the
gradual accumulation of understanding as opposed to the
academic and formalist concept of the single splendid ges-
ture), he also had an idea of urban space that was opposed to
the functionalist concept.
He rejected the separation of building from ground (with
isolated volumes suspended on an even level surface, con-
tinuous and laid out as a garden, of the Charter of Athens),
replacing it with the idea of an interwoven fabric. The
ground is no longer a surface on which to rest volumes but a
whole to be designed carefully as a compact whole, in which
spaces, streets, buildings, gardens and paved areas all inter-
act. His designs are governed by a homogeneous grid, but
the grid empties, opens and closes to create a continuum of
relationships between the various parts and evoke the small
pathways, sudden surprises, the atmosphere and values of
the historic city, but applying new techniques and modern
standards.
The second idea is closely bound up with the rst. After
this phase, Sauer forcefully engages his design with the re-
sults of his research into the specic context, within which
each architectural design is to be created.
Context is a necessarily ambiguous term, because it
indicates the specic morphology of the site but also its his-
toric and cultural stratications.
The consequence of this is decisive: designing no longer
means laying down models that can be inserted in a variety
of different contexts (as the great masters long thought), but
the study of methods, i.e. techniques of design that are
33.
exible and adaptable. From model to method means using
the scientic approach of functionalism at a much higher and
more complex level: to aim at diversied solutions and their
exibility, to leave the architecture free in planimetric and
volumetric compositions, to adhere to the programs and in-
terpretations that everyone has of the context.
Now Venice may well have offered Sauer a source of
forms, styles, colors, atmosphere, materials and so forth, and
also a help to understanding, like few other cities in the
world, precisely two key facts: rstly, how urban space can
be based on a continuous fabric (though articulated in a vari-
ety of ways) and, secondly, how architecture, especially
housing, can concretely create this fabric, based on a con-
tinuous series of variations within a set of guidelines like, for
example, low rise/high density.
Sauer is an architect who takes great care of the spatial
and formal wealth of architecture, of the coherence between
the functional needs and the space solutions as well as valu-
ing locational contexts and expressive choice. This modus
operandi also appears when he is confronted with large-scale
urban design. Among his many designs, the Newmarket in
Philadelphia and the project Cincinnati are especially inter-
esting. In Society Hill, he designed in an important neigh-
borhood block, organized spaces in order to reconcile the
connection between the Head House square and the river.
This was achieved by distancing the glass cubes of the new
shopping center from the square to augment the surprising
and vitalizing effects of the new architecture without disturb-
ing the existing urban context (as requested by the city). In
Cincinnati he created an urban open space environment from
his memories of Wrights Midway Gardens (Chicago) and
the ruins of Greek cities (Delphi) where his forms and spaces
linked the city to the river and resulted in a symbolic leisure
area.
34.
N e w m a r k e t
The site is located in one of the neighborhoods strategic po-
sitions. Originally, it was an agricultural market for products
transported on the Delaware River and has been brought
back to life by Sauers diligent work. It fullled an important
role between the Head House Market and the river.
The external perimeter was designed according to the
sites different urban settings without, however, following a
continuous contour of the area as in the case of Penns Land-
ing Square. The entrance from Second Street was resolved
through a gradual fading in and out of the historical context
of the square and the new construction. For this purpose a
series of careful design choices were made.
The rst choice was to narrow the entrance space by
constructing a building on one side its sides. This building
35.
36.
did not appear to belong to the new work since it was de-
signed using similar forms and materials to those of the for-
mer industrial factories instead of forms from the new work.
(This construction illustrates the extent of Sauers expres-
siveness. In order to achieve his goal, he simulates the former
building adapting it to his own aggressively modern build-
ings).
Despite the apparent commercial disadvantage, the sec-
ond choice was to step back the Newmarket buildings by
around 20 meters from the street to create a linking space
and avoid violently intruding the building upon the old his-
toric facades lining 2
nd
Street.
On the one hand, these decisions, as a whole, have
solved the problem of bringing the new into contact with the
old. On the other hand, by narrowing the front and distanc-
ing the new buildings, visitors coming from the neighbor-
hood marvel at the vivacious modern architecture.
A series of paths lead off from the small entrance square.
The visitor can explore the complex, perceive the space in
various ways and end up at the last square that accesses the
river. This square, despite its large surface area, appears
smaller due to the number of ponds and the layout of the pe-
destrian paths. The different levels and continuous segments
of staggered spaces and paths bring to mind a theatre and in
fact a stage designer was consulted to propose solutions. The
idea of a living stage where the actors are the customers ts
with Sauers vision, i.e. to see and be seen on an urban stage.
On the riverside, the building is articulated in a com-
pletely different way from the way he designed the building
facing Head House Square on Second Street. Facing the
river, his architecture is compact and homogeneous and
could be seen as a great wall holding back the water. This
idea was presented in a previous project and in Penns Land-
ing Square design was presented yet again even if its effect
37.
was not fully achieved due to an outsized entrance space.
Sauer considers merchandise and its colors and forms as the
materials giving character to the building exteriors. The vari-
ous building forms are made of superimposed plain cubes to
create articulated volumes, fully transparent in order to make
the merchandise stand out and attract the visitors. The mod-
ule supporting the glass panels is smaller to allow it to be as-
sembled by two workers and to enlarge the perceived size of
the buildings.
In order to realize the purposes strictly linked to the
functional and urban plan of the building in this project,
Sauer expresses himself in an open and unbiased way that he
had never touched on before. What strikes one most about
the project is how effectively it has been set in the urban con-
text. The buildings are revealed and hidden by manifesting
and adapting themselves thanks to an intelligent understand-
ing of the location, its needs and trends and not through a
pastiche or passive solution.
38.
39.
40.
Newmarket, Philadelphia
After in-depth economic feasibility
analyses, the combination of
residences and business activities,
on which numerous previous
projects were based, was
considered impractical. The areas
land value was too high to allow
the building of residences which
would meet the real estate
markets demands. For this reason,
the entrepreneur decided to
construct the maximum
commercial cubic area allowed,
48,400 sq ft (4,500 sq m) as
opposed to the original 21,530 sq
ft (2,000 sq m)and to only place
the residences on one side of the
block on Lombard Street.
In this block, Sauer has designed,
for the same entrepreneur, two
very important projects like those
at Newmarket and Lombard
Condos and the three residential
buildings, the Twin Houses on
Pine Street, the Grant House and
the Morrison House on the corner
between Pine Street and Front
Street. The construction is
composed of a series of
completely transparent volumes
that are laid out in an articulated
space sequence that connect
neighborhood's Head House Square
and the river. A square at the main
entrance distances the new
construction from the historical
context. A series of smaller and
enclosed precincts of different
heights depart from this square
and meet in a second square with
ponds and water games a water
fall.
From the point of view of a
business program solution, the
guiding idea of the project
originated from the eastern
bazaar. Here visitors walking the
narrow paths, are constantly
exposed to the merchandise. The
density increase due to the
narrowing of the paths is adopted
to positively reinforce customer
response.
Despite the complex and difficult
design story the architecture
maintained the validity of the
original idea. The project
represents a careful and calibrated
urban construction. The
contemporary architecture is
revealed and hidden within a
block characterized by important
historical architecture.
Shopping Mall of 48,400 sq ft
(4,500 sq m)
Head House Venture Corporation
Philadelphia, Pennsylvania,
1974-1976. Demolished in 2002
C i n c i n n a t i C o n c o u r s e
This project is an example of urban renewal, that attests to
an understanding between a city administration, whose de-
sire is to improve its environment, and an architect able to
realize this objective resulting in a project of spatial inven-
tion. The urban structure of Cincinnati has evolved in a simi-
lar way to many other North American cities. The original
urbanization began close to the river and developed through
a commercial and residential structure that lived off river
trading. In the 50s, during the urban renewal planning and at
a time of general disinterest in past threads and businesses,
an expressway was built which completely isolated the city
41.
42.
from the water. The problems this created were increased by
the location of a sport stadium, its parking lots along with an
area of industrial deterioration.
At the beginning of the 70s, the city administration de-
cided to relink the urban fabric of the city to the river by
promoting new uses for river edge. Sauer was initially a con-
sultant, then the designer in charge of the new layout that
gradually took over the new areas development and was ev-
ermore ambitious. In a long process of combining architec-
tural inventions with technical abilities, the architect solved
the innumerable problems that arose by turning them into
opportunities of success. The adopted strategy can be subdi-
vided into ve of his strategic points to:
1. Create a bridgehead between the city and the project
area by identifying and adding value to a small park on the
city side of the expressway.
2. Build a new automobile and pedestrian bridge over
the expressway that connected the city to the new site.
43.
44.
Cincinnati Concourse
The new project is linked to the
town center by a two level bridge
that passes over an expressway. One
for pedestrians and one for traffic.
From the car you can see the river
and access a belvedere with trellises.
These make the space dynamic,
bringing to mind the city bridges
and screening out a small industrial
building. The area for drivers to stop
is just one aspect of how Sauer, by
including John Zeisels sociological
study on territorial use, devised
various ways of using the space.
From this parking area there is
access to a two level underground
car park. There is parking for 225
cars and elevator access.
The bridges pedestrian walkway
ends in an open terrace. From here
its possible to access the lower
levels. The descent is marked by
trees, geometric concrete sculptures
and enlivened by the water. The first
lower level is on the same level as
the belvedere and the tree lined
concourse. Continuing on down
among the different water pools, one
arrives at the lowest level where the
largest water pool, focus of the
project, is situated. On one side, the
pool is bordered by a triangular
amphitheater and a canon through
which the water spurts into the pool.
On the other side, there are four
triangular water chimneys and
steps over which the water cascades.
This area can be used all year by
different people. One can play with
the water spurting from the canon,
climb the cascade steps and enjoy a
landscape of green areas, water and
river. The architecture interweaves
these features in an extraordinary
way.
Urban design along the river
D. Brossart - Project Architect
Cincinnati, Ohio, 1973-1976
45.
3. Construct a multistory residential building at the end
of the bridge.
4. Provide parking in an underground and an elevated
area.
5. Provide incoming pedestrians with a variety of urban
settings and a tree lined avenue (concourse) that establishes
a future utilization axis along the river.
Within this setting the architect played with water, a ma-
jor theme, attracting people, energizing the environment and
symbolically linking the new spaces to the river. Forms with
an effective plasticity were chosen for the buildings and ob-
jects in the new area in order to underline the manmade as-
pects of the surroundings. While in Newmarket the sites pe-
destrian sequence and the composition of the building ele-
ments were to some degree inspired by traditional Japanese
architecture and landscape, this Cincinnati project was
strongly inuenced by Greek architecture. From the ruins of
ancient Greek cities and particularly from Delphi, Sauer dis-
covered plasticity and the revelation of the primitive strength
of volume. This inspiration together with his reading of The
Idea of Space in Greek Architecture by Martienssen opened up
to him the rules of Greek urban design.
The different heights and surfaces from which the build-
ings rise play a strongly dynamic role in the composition of
the whole. Their sacredness is not directly disclosed but the
strength of the volumes comes from an oblique interpretation
where shadows and light reveal the power of plasticity of the
forms. These ideas translate into an architecture that is not
only highly successful in terms of space but also in social
terms. A place where the different territories are carefully
studied and planned and where people go in all seasons of
the year to enjoy their leisure time and renew their rapport
with the river.
46.
A r c h i t e c t u r e a n d L a n d s c a p e
When working in contact with nature, Sauers gurative ar-
chitecture comes to light. For example, the orographic undu-
lations on which the Reston buildings are laid, the sloping
roofs and vertical chimneys at Governors Grove, the land-
scape easily seen through the bridge that joins the two sides
of the house in the Reed House and the creation of axes for
the future growth of the Cripps House structure. In these
cases, linguistic elements of his architecture appear as the
diagonal matrices in the planimetry layout, the tailoring of
the volumes, the aerial links with breezeways and cantilever
roofs between the separated blocks and the strongly con-
trasting roof inclinations, which are not present, when he
works in developed contexts. These elements nd their rai-
son dtre through the connection of the works in natural ar-
eas where a slight rise, a wood or a stream or sunlight are the
47.
Reed House, Great
Barrington,1967-
1969.
elements that Sauer can use to interpret and relate to the
context. At times this formal play seems to be less convincing
strong or original as compared to when he is dealing with
urban built-up contexts where he seems to be more inspired
to catch the deep implications of the site and transform them
into a new architecture. Yet at other times his work seems to
be free, inspired and of great beauty in the open natural con-
text.
G o v e r n o r s G r o v e
The project, in an outlying area of the City of Middletown,
has beautiful vegetation and retains part of its original rural
characteristics. The construction was carried out by a private
builder and was promoted by the town administration and
the local university with the intention of slowing down the
exodus of the middle aged population. Governors Grove was
meant to provide an alternative to suburban plot divisions by
creating contact with the surroundings and not restricted by
the articial borders of its own back yard. The construction
was achieved by the planimetric combination of four build-
48.
Cripps House, Lambertville,1962-1969.
ings. Two are linear and two are clustered. The different
buildings were planned according to the diverse orographic
situations and connected over the land to t in with the
height and the space sequence conceived by the architect.
Precise control of the design system and the related costs al-
lowed Sauer to have almost absolute control over the whole
operation while maintaining sufcient funding to ensure that
the buildings were nished to a high standard.
49.
50.
The project concerns 64 housing units laid out along a
winding lane. On its two sides the buildings are clustered to-
gether with semi courtyard like spaces facing the lane and
small parking places. Larger parking areas are located in
separate corrals in alignment with the linearity of the build-
ings. The lane complex is perceived as giving the rural set-
tlements an informal freedom by avoiding the alignment and
axiality of urban contexts.
The houses blend into the landscape with no transition
elements between the inside and outside. The building vol-
umes are thus enclosed by the green areas of the countryside,
which embrace the volumes and shape the forms via the dif-
ferent heights. Sauer skillfully plays with volume composi-
tion. The sloping roofs, the repetition of vertical prism chim-
neys, the parts lled by compact bands in the empty lower
spaces and the variety of openings interwoven in the materi-
als create splendid architecture. On the one hand taking into
account systematic lessons, particularly inuenced by Aaltos
work and on the other interpreting and transforming the
themes of Connecticuts less important indigenous architec-
ture.
A R e a l i s t A r c h i t e c t
In the above cases, be they concerning natural contexts, his-
torical city grids, a single house or large-scale urban renewal,
Sauers design solutions appear justied and natural. This is
because they stem from clearly identifying the desires and
hopes of the unexpressed characteristics of the surroundings
and the shreds of the city and natural environment. These
projects start with an accurate interpretation of context that
make the buildings appear to be the only possible solution for
that place. It is the naturalness of the connections that can be
51.
deceptive, making one forget that the instance of interpreta-
tion from which they originate was not an aseptic or me-
chanical operation but at the start of the design - a reinven-
tion of place - the rst and therefore, most determining stage.
The use of certain materials and potentialities, which are
present but not important to the starting point, gives us a pic-
ture of a substantially new architectonic subject. Sauer, like
the great realists, operates by conceiving, not by following,
the rules. He extols the value of the area where his projects
are set and via his accomplishments gives us a more signi-
cant and truer reality than before.
In Sauers work, it is impossible to detect a constant dic-
tionary or a precise evolutionary process attesting to his syn-
tax.
Within the dynamic and asymmetrical order, the indi-
vidual works occasionally bring to mind different inuences.
The interweaving of the materials and the forms of Aalto, the
overlaps and purely traditional systematic structures sus-
pended in space, the Miesian rigor of volumes, the axes and
ways inspired by the Brutalist School and the rhythms of lo-
cal vernacular be it in urban or rural settings.
The apparent eclecticism of his work does not derive
from the manner architectural ofces organize work by spe-
cialized division as used in the great American practices
(Sauer Associates never had more than thirty people) but
originates from the initial project set up. For Sauer, all ex-
pressive choices must be preceded by a conceptualization
phase. This can be summarized in internal-external dichot-
omy and must substantiate the whole project from the dis-
tributive to the plastic and from the spatial to the formal
choices.
This modus operandi on the one hand allowed him to be
attentive to the various program components and on the
other, open and exible to formal solutions for site particu-
52.
53.
Governors Grove Middletown
This project has 64 apartments (56
two-bedroomed and 8 three-
bedroomed) laid out on a
zigzagging street in a rural
location. Every home has parking
for two cars. One near the home
and the other in a communal
garage. The project is based on six
apartment designs combined in
various package-building depending
on the orography. The package
aggregations determine four
building types located in various
ways, contributing to a tight
rapport between the beautiful
surroundings and the homes. The
design system allowed the costs to
be contained hence, freeing up the
money for combining various
materials in the external finishing.
This, together with the layout of
the buildings, results in a
systematic rapport with the
context.
64 apartments of various areas
Hill Development Corporation,
Middletown, Connecticut, 1969
larities.
Sauer freely draws on the enormous assets of architec-
ture, periodically favoring one set of precedents over another
and in all his works articulating an abacus of variables,
changes and combinations This is the most mature basis for
understanding the sense of modern architecture. He is open
to the processing terms of the avant-garde period united to
the traditions of less important architecture and with the op-
erational comprehension of the most profound aspects of past
architecture. Sauer has always displayed endless creativity
and a pragmatism that is only possible within the freedom of
American culture. This comes at the cost of not having a sig-
nature style but, on the other hand, it allows him to create
individual works of extraordinary success.
54.
S a u e r i n t h e A r c h i t e c t u r a l D e b a t e
Louis Sauer was the rst architect to use the low-rise high-
density approach on a large scale. He was able to demon-
strate that a practical solution existed for the isolated high-
rise buildings by creating interwoven settlement systems that
can be built in urban gaps while maintaining a continuity be-
tween the existing context, the construction of public and
private areas, their paths and the accesses characteristic to
residential constructions. The concrete demonstration of this
option, an example of which is Penns Landing Square, is
much more credible because it is exercised in the US free
market full of commercial success stories. For Sauer the key
element of residential design is not the unit but the housing
package which contains more vertically and horizontally ag-
gregated apartments and their different combinations which
55.
allows him to organize the housing complex according to the
needs and features of the spaces, internal planimetric connec-
tions, external rapports with the city and intensive land us-
age even when heights are limited. The housing package en-
velops the vertical distribution system directly linking the
apartments on the upper oors to ground level. In this set-
ting, the apartment is in itself no longer a study object. His
denition is laid down from the start of the rapport project,
which must t in with the other apartments to establish a full
system for the residential construction.
It is evident that this methodology is completely different
from that adopted in the rst residential studies of the mod-
ernist era. In essence a triad is made up by that consists of a
unit- building-site housing package that substitutes the unit
and building understanding of the modernist tradition. At the
same time, Sauers work is set in terms of continuity in con-
trast to the architects of the Modern Movement architects.
His work testies to the trust of the social effectiveness of an
architect.
The topic of residential research by the rst modern ar-
chitects for Sauer constitutes a starting point from which to
deepen and increase the knowledge base of not only the po-
etic and stylistic but also the values of the social, technical
and scientic. In the international arena, there are architects
who operate with the same centrality on housing problems.
Neave Brown and Darbourne & Darke in England, Ralph
Erskine in Sweden, Aldo Van Eyck and Herman
Hertzberger in Holland, Giancarlo de Carlo in Italy and
Moshe Safdie, Christopher Alexander and John Habraken
in America to name but a few. Yet, when we painstakingly
study their works, we notice that these designers developed
housing mainly in specic aspects: formal or vernacular,
technological or participative, theoretical or contextual, dis-
tributive or methodological. Of course, every one of these
56.
researches has marked off a stage, maybe more exhaustive in
its own area than what we nd in Sauers activities. At the
same time, however, there are few architects in the world
that I know who have had the opportunity to achieve the
most diverse, numerous and qualied housing constructions
in natural and historical city contexts through effective rap-
port with institutions, entrepreneurs and users. Even within
a cultural and disciplinary arena of many personalities, I be-
lieve that this is the rst aspect that reveals Louis Sauers ex-
perience.
However, if we want to gain a deeper understanding of
the originality of his position, we have to refer to the most
intimate reasoning behind his architecture. We have already
noted his way of design starting from a preliminary concep-
tualization of the raison dtre of the work in the physical
context and the goals and characteristics of the program.
Sauer has taken this modus operandi partly from Louis
Kahn by combining the social, methodological and scientic
interests of the Modern Movement tradition and expressing
it in the language of modern tradition.
On the one hand, his pursuit to gain a deep understand-
ing of the nature of the work places him in the groove of
Kahns mindset whereas on the other hand it differentiates
him from the other architects. The latter inspired by Kahn to
a greater or lesser degree strongly inuenced the American
architectural debate. Sauer does not recognize himself as be-
longing to the committed professionalism of the highly pres-
tigious Giurgola or Moores reversal of modernism in his
celebration of late Roman architecture or Venturis glorica-
tion of daily life. He, especially, does not relate to styles
and trends because for him the issue is another: giving life
to an architecture reecting social needs, location and pro-
moting projects in merit of their economic and human as-
pects. Hence, the problem of formally recognizing design and
57.
style as the signature of a designer is utterly foreign to him.
However, this approach does not lead him to an anonymous
architecture lacking in meaningful background. Sauer is
convinced that contemporary buildings must display a mod-
ern sensitivity on an abstract, asymmetrical and mainly dy-
namic composition of forms. However, these forms must not
be conceived and motivated by the internal rules of personal
style. For example, originality as stylistic grammar does not
bestow value on the architecture. It is the overall result of the
design choices, how they enhance the context of the location
and interpret the basis for the program that creates value.
Within this complex and circumstantial, though disci-
plined effort lies the most salient feature of Sauers work.
This is what make him so original in a world of architectural
research where the sectional, albeit gratifying, aspects of the
architects work are too often celebrated.
58.
B i b l i o g r a p h y

Monograph
1 - PL, LS, SS, LC, CG, HH, MH, BH, FH, WC, PM, AC, AT, HE, WH, NC, GI,
SP, GG, OH, SE, OM, S1, CH, JH, RH, S2 -
Masahiro Yoshida, Works of Louis Sauer: Low-Rise Housing, Toshi-Jutaku, Janu-
ary 1980.
Books () and Magazines
2. Mitchell Ronda, Louis Sauer, in A.Morgan e C. Naylor, Contemporary Archi-
tects, St. Martin Press, Chicago e London 1987
2
, pp. 787-790.
59.
AC Addison Court (1, 57, 64)
AT Atrium Court (1)
BT Buten House (1, 57, 70)
CG Canterbury Gardens (1, 8, 32, 38, 47,
49)
CI Cincinnati Concourse (4, 17)
CH Cripps House (1, 64, 73)
FH Frankel House (1, 42, 43, 48, 54, 57)
GG Governors Grove (1)
GI Golf Course Island (1, 57, 59, 60, 61,
62, 63)
GT Grundy Tower (22)
HE Head House East (58, 1)
HH Harmony House (1, 11, 45)
HW Harbor Walk (6, 15)
JH J.Hamilton House (1, 50, 57, 71)
JP Johnston Prison (57)
LC Lombard Condos (1, 8)
LH Lambertville House (41, 55, 57)
LS Locust Street Townhouses (1, 36)
MH McClennen House (1, 56, 57)
NC North Crossing I (1, 57)
NM NewMarket (24, 29, 33)
OH Oak Hill Estate (1, 32)
OM Orchard Mews (1)
PM Pastorious Mews (1, 66, 67)
PL Penns Landing Square (1, 3, 7, 12,
13, 16, 23, 26, 31, 37)
QV Queen Village (44)
RH Reed House (1, 39, 42, 46)
S1 Sauer House I (1, 68)
S2 Sauer House II (1)
SE Seascape (1, 28)
SP Spring Pond Apartments (1, 21, 45,
51, 52, 57)
SS Second Street Townhouses (1, 8, 13,
18)
WC Waverly Court I (1, 57, 64, 69, 71
WH Warburton Houses (1, 32)
WS Western Savings Bank (29)
The work listed below is a selection from Sauers practice 1961-1979. The bibliography is
reproduced from Antonino Saggios monograph Louis Sauer Un Architetto Americano, Officina
Roma 1988. For updated listing of writings by and on Louis Sauer please refer to
http://www.arc1.uniroma1.it/saggio/LousiSauerCV.pdf
3. - PL - Enrico Cambi, Michele Di Sivo, Giovanna Steiner, Tipologie resi-
denziali in linea, BE-MA, Milano 1984, p. 58.
4. - CI - Charles Hoyt, More Places for People, McGraw-Hill, New York 1983,
pp. 104-107.
5. Peter Burgess, The Role of the Architect in Society, Carnegie-Mellon Univer-
sity, Pittsburgh 1983, pp. 63-78.
6. - HW - Alfred De Vido, Architects achieves design variety using standard-
ized townhouse construction, in AA.VV. Designing Your Clients House, Whitney
Library of Design, New York 1983, pp. 138-141.
7. - PL - Antonio Alfani, Giorgio Di Giorgio, La casa unifamiliare urbana,
Dipartimento di progettazione architettonica e urbana, Roma 1983, pp. 172-183.
8. - SS, CG, LC - John Macsai, Housing, John Wiley and Sons, New York
1982, pp. 504-505, 510-511, 548-551.
9. Stefani Ledewitz, Developing a studio on making values explicit, in M.
Comerio, Teaching Architecture, Association of Collegiate Schools of Architecture,
Washington 1981, pp. 147-151.
10. Andrea Dean, Evaluation: futuristic gesture in historic Society Hill, AIA
Journal , June 1981, pp. 42-49.
11. - HH - Enrico Cambi, Benedetto Di Cristina, Giovanna Steiner, Tipologie
residenziali a schiera, BE-MA, Milano 1980, p. 104.
12. - PL - Carlo Melograni, Marta Calzolaretti, Piero Ostilio Rossi, Ranieri
Valli, Case basse ad alta densit, Edilizia Popolare, November-December 1980, p.
54.
13. - PL, SS - Low-Rise in America, Process Architecture, April 1980, pp. 68-
69, 110-112.
14. James Morgan, An essay on the work of Louis Sauer, in Toshi-Jutaku,
January 1980 (op. cit.1) pp. 68-69, 110-112.
15. - HW - Mary Lorenz, Design process, problems and social science research, in
AA.VV., User Needs Research Practices of Designers, Skidmore, Owings and Merril,
Boston 1979, pp. 5-8, 24-25, 30-33, 35-44.
16. - PL - Peters Paulhans , Entwurf und Planung: Stadthauser, Georg Callwey,
Munich 1979, pp. 12, 46-47, 110.
17. - CI - Architectural Record, June 1979, pp. 107-112.
18. - SS - Milfred Smertz, Housing and community design for changing family
needs, Architectural Record, October 1978, pp. 97-104, 122-123.
19. Gerald Allen, Alternative for low-rise housing design, Architectural Re-
cord, October 1978, pp. 113-128.
20. Louis Sauer, in Whos Who in America, Marquis Whos Who Inc., Chicago
1977, p. 2750.
60.
21. - SP - David Mackay, Wohnungsbau im Wandel, Gerd Hatje, Stuggart 1977,
pp. 86-89
22. - GT -Architectural Record, May 1977, pp. 130-131
23. - PL - Toshi-Jutaku, May 1977, pp. 43-45.
24. - NM - Ann Ferebee, 37 Designs and Environment Projects, R.C. Publica-
tions, Washington 1976, pp. 62-65.
25. Charles Kahn, The Application of the Social and Behavioral Sciences to Envi-
ronmental Design, National Science Foundation and The School of Architecture,
University of Kansas, Lawrence 1976, pp. 34-35.
26. - PL -Wohnhauser in Philadelphia, Usa, Baumeister, December 1976, pp.
1072-1075.
27. Andrea Dean, Evaluation: working toward an approach that will yield
lessons for future designs, AIA Journal, August 1976, pp. 26-28.
28. - SE - Record Houses of 1975, Architectural Record, May 1975, pp. 102-
103.
29. - NM, WS - Progressive Architecture, April 1976, pp. 76-79.
30. Beth Dunlop, Post-Renaissance Philadelphia, AIA Journal, March 1976,
pp. 42-43, 48-49.
31. - PL - Housing: High-Rise vs. Low-Rise, Progressive Architecture, March
1976, pp. 48-51.
32. - OH, WH, CG - Elizabeth Kendall Thompson, Apartments, Townhouses
and Condominiums, McGraw Hill, New York 1975, pp. 84-85, 86-87, 100-101.
33. - NM -Architectural Record, December 1975, p. 107
34. James Morgan, How to work with developers and actually enjoy it, Ar-
chitectural Record, April 1975, pp. 111-118.
35. Charles Deasy, Design for Human Affairs, John Wiley and Sons, New York
1974, pp. 20-21.
36. - LS - House and Home, May 1974.
37. - PL - A dynamic new partner, House Beautiful, May 1974.
38. - CG - Connecticut Architect, November December 1974, p. 17.
39. - RH - Shed-roofed complex for work and play, House Beautiful, Special
issue Vacation Homes, 1974, pp. 95-97.
40. Donald Conway, Social Science and Design Research report, The American
Institute of Architects, Washington 1973, pp. 59-61,140-149.
41. - LH - The mood is natural, House and Garden, Fall-Winter 1972-1973,
pp. 66-67.
42. - RH, FH -
Architecture and Urbanism, November 1973, pp. 46-49, 146-148.
43. - FH - Spaces open to interior garden, House and Garden, estate 1973, pp.
132-135
61.
44. - QV - Annual Awards, Progressive Architecture, January 1973
45. - SP, HH - Plywood Design Awards, American Plywood Association, Ta-
coma 1972, p. 11.
46. - RH - Family room spectacular, House Beautiful, November 1972, pp.
112-113.
47. - HA, CG - Closer to home: Harmony House and Canterbury Gardens,
Progressive Architecture, May 1972, pp. 106-111.
48. - FH - Baumeister, n.3, 1972, p. 224.
49 - CG - AIA Journal, November 1972, p. 72.
50. - JH - Helmut Jacoby, New techniques of Architectural Renderings, Praeger,
New York 1971, pp. 54-55.
51. - SP - Usa 1971, lArchitecture dAujourdhui, August-September, 1971,
pp. XL-XLI.
52. - SP - House and Home, August 1971, p. 61-63.
53. Whos going to live here anyway, Progressive Architecture, May 1971, p.
106.
54. - FH - Record Houses of 1971, Architectural Record, McGraw Hill, May
1971, pp. 54-55.
55. - LH - Tune in with texture, House and Garden, Fall-Winter 1968-1969,
p. 60-63.
56. - MH - Society Hill gossip: the McClennen House, Progressive Architecture,
June 1969, pp. 100-103.
57. - JH, BH, MH, FH, AC, WC, PW, GI, SP, NC, JP, LH - Works and Methods
of Louis Sauer, Toshi-Jutaku, January 1969, pp. 73-78.
58. - HE - Design Awards Program, Progressive Architecture, January 1969,
pp. 116-117.
59. - GI - At Reston, a contemporary townhouse, House Beautiful, estate 1968,
pp. 224-225.
60. - GI - Stadthauser ohne Stadt, Baumeister, January 1968, pp. 18-21.
61. - GI - Instant city townhouse, Better Homes and Gardens, Fall-Winter
1967-1968, pp. 22-29.
62. - GI -Architectural Record, May 1967, pp. 58-61
63. - GI - Clustered houses at Reston, House and Garden, May 1967, pp. 130-
131.
64. - AC, WC, CH - Louis Sauer, LArchitecture dAujourdhui, January
1967, pp. 39, 41, 55-56.
65. - SH - Houses architects build for themselves, Greater Philadelphia Magazi-
ne, April 1966, p. 60.
66. - PM - Six Philadelphia architects, Arts and Architecture, April 1965, pp.
16-23.
62.
67. - PM -Twelfth Annual Design Awards, Progressive Architecture, January
1965, pp. 164-165.
68. - S1 - George OBrien, The New York Times Book of Interior Design
and Decoration, Farrar Straus and Giroux, 1964, pp. 154-157.
69. - WC - Bernard Rudofsky, Streets for People, American Heritage Publish-
ing, New York 1964, p. 243.
70. - BH -Two rows linked: the Buten House, Progressive Architecture, August
1964, pp. 128-134.
71. - JH, WC -Eleventh Annual Design Awards, Progressive Architecture,
January 1964, pp. 100-105, 110-113.
72. Alexander Crosby, Report on Philadelphia, in AA.VV., The Housing Year-
book , The National Housing Conference, Washington, 1963, pp. 9, 17.
73. - CH - Tenth Annual Design Awards, Progressive Architecture, January
1963, pp. 92-93
On Society Hill
Edmund Bacon, Design of Cities, Thames and Hudson, London 1974
2..
AA.VV., Philadelphia Story, Progressive Architecture, April 1976.
Suzanne Stephens, Twenty five years (almost) after the chines wall, Progressive
Architecture, April 1976.
Stephen Kliment, Fall an rise at Society Hill, Progressive Architecture, June
1973.
Bradley Maule, Newmarket Before & After, 29 February 2008 www.
http://www.phillyskyline.com/archive_0802b.htm
Richard Longstreth, The Difficult Legacy of Urban Renewal, Viewpoint,
CRM: The Journal of Heritage Stewardship, National Park Service, US Dept of
the Interior, Washington DC, Vol 3 No 1 Winter 2006, p 6
Robert Wagner, Review: Old and New Architecture: Design Relationship, Jour-
nal of the Society of Architectural Historians, Vol. 40, No. 2, May, 1981, p 149
Andrea 0. Dean, Evaluation: futuristic gesture in historic Society Hill, AIA
Journal, American Institute of Architects, Washington, D.C., June 1981, pp 42-
49
63.
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