Showing posts with label Weiss Dreyfous Seiferth. Show all posts
Showing posts with label Weiss Dreyfous Seiferth. Show all posts

Friday, January 9, 2015

Men at Work 1927

Over four years ago, we posted a 1903 illustration of the Radford Architectural Company's design department.  For those interested in Architectural Practices in the Age of Manual-Mechanical Reproduction, the following 1927 account may be of interest:

"It is very gratifying to me to observe how the carefully laid plans of procedure in connection with the Jung Hotel project are working out. In order to avoid the customary method of endless erasure and re-drafting on the large scale working drawings, with the consequent liability of making grievous errors by not following the changes through all the affected sheets on various tables and in so many different hands, with the attendant smudging and soiling of the finished sheets and possible necessity of marking new sheets (sometimes nearly completed) which had become torn and frayed and crinkled under such harsh usage, and to prevent the demoralization of the draftsmen under the circumstances of their continual uncertainty, we decided to make complete studies on small scale, and to make all erasures and changes on these preliminary sheets. This method was adhered to with stubborn determination against the temptation to begin the actual working drawings, even though it sometimes seemed that we were hazarding time and delaying constructive progress.

"The result was that a few days ago we had completed accurate, dependable small scale models, with all necessary alterations, erasures and adjustments made and carefully checked; whereupon we started four men to work up the final drawings. They are going full speed ahead upon these, with full confidence that they are headed straight and will not be obliged to rub out and redraft. Their progress is almost unbelievably fast; and as soon as we have settled some further problems, which are being worked out under my guidance, and are now nearly all solved, we will put at least two more men to drafting working drawings; which will, of course, result in a fifty per cent increase in speed.

"Insofar as the drafting portion of the designing operation is concerned, we are very much in the position of one who has already carefully cut and fitted various little oddly shaped pieces of a pattern quilt and who has now only to lay them into their respective places in the pattern and to stitch and bind them all together in the finished article.

"Parallel with this work, the structural steel and concrete designs have been progressing, and the heating, wiring, ventilation, plumbing, refrigerating, and other mechanical equipment systems have been designed and developed, so that these are now advanced to a stage of completion concurrent with the architectural plans. Under the circumstances, I am encouraged to hope that sufficient progress may have been made to justify my beginning the composition of the specifications within two weeks from tonight.

"Three things must be accomplished before I can work upon the specifications:  First, the plans must have been completed to a point where I am able to retire in quiet to work, without being interrupted every few moments with questions to answer, decisions to make, problems to solve, emanating from the drafting room and from the structural, mechanical, and electrical engineering system designers; second, the plans must have been developed to a point where a set of blue prints from the semi-completed sheets may be furnished so as to afford an adequate idea of the nature and scope of the various contract operations that will be involved; and finally, the plans must have been brought to such a stage of detail and notation and dimension as to make it possible for me to check them for errors as I write the description and requirements of workmanship, materials, and methods, because this checking that I do, as as I study the plans, sheet by sheet and operation by operation, is the only minute and intimate check they receive in this vital respect."

Leon Weiss.  Letter to Caroline Dreyfous. 11 August 1927.  The Writings of Leon Weiss, Vol. I. Weiss, Dreyfous and Seiferth Office Records, Southeastern Architectural Archive, Special Collections Division, Tulane University Libraries.

Thursday, January 8, 2015

Roof Gardens

Roulhac Toledano has been researching French and Spanish influences on Louisiana gardens for her forthcoming book with Mary Lou Christovich. She recently mentioned the fact that the flat-roofed dwellings that once proliferated in the Vieux Carré accommodated roof top gardens. Grace Dunn's 1895 New Orleans: The Place and the People featured Frances E. Jones' illustration of two such adjacent houses on Dumaine Street (shown above). Only one of the two flat-roofed structures is extant.
In the early twentieth century, roof gardens were largely associated with hotels. In 1918, the Grunewald Caterers of the Roosevelt Hotel established its roof garden on West End Boulevard. When it opened, the venue was geared towards autoists, with the caterers advertising that they would deliver sodas, ice cream and sandwiches to customers' automobiles. Early motorists could then board the West End-Mandeville ferry for touring wooded areas on the north shore. By 1919, the West End Branch Roof Garden (as it was called) was a popular dining and dancing venue during the hot summer months. The elevated space accommodated refreshing lake breezes. Various New Orleans jazz musicians recollected performing at the "West End Roof," and some of these accounts are now available online through Music Rising.

Architect and early auto enthusiast Leon Weiss was a patron at the West End Roof, where he took his future bride, Caroline Dreyfous. When the Jung Hotel was considering a roof garden in 1927, Weiss accompanied clients Peter Jung, Jr. and Leon Jacobs to the newly constructed Markham Hotel in Gulfport, Mississippi. The Markham -- designed by the Chicago firm of Marshall and Fox -- featured a roof garden, and Jung and Jacobs sought first-hand assurances that the band noise would not prove objectionable to hotel guests desiring sleep. Writing to Caroline in July 1927, Weiss conveyed that he and his clients had dined on the roof, listened to music and watched couples dance, while cooled by Gulf breezes. Jung and Jacobs slept soundly, their fears assuaged.(1)

When Weiss drafted his specifications for the Jung Annex's 16th-story roof garden, he required a terrazzo floor on concrete insulated with two thicknesses of Celotex. The space had a movable skylight, so that whatever the weather conditions, dancers would be able to enjoy themselves. The large arched windows -- modeled after those at Versailles -- were designed to "disappear" during mild weather, providing a plein-aire view of the city. For its grand opening in late November 1928, musicians John Hyman (aka Johnny Wiggs) and Joe Loyocano (amongst others) performed from the mezzanine. Weiss's roof garden scheme was somewhat reminiscent of the one erected on the Pythian Temple. Other nearby venues with roof gardens included the St. Charles Hotel (New Orleans), the Eola Hotel (Natchez), the Bienville Hotel (Mobile), the Grunewald Hotel (New Orleans, below), the Young Men's Gymnastic Club (New Orleans), and the Murdock Restaurant (Galveston).

In 1928, Kansas City architect Alonzo H. Gentry renovated and expanded Joplin, Missouri's Connor Hotel. The Bal Moderne, its remodeled roof garden, could seat 500 and provided a "high-ceilinged" dance floor illuminated through amber-tinted glass.(2)

During World War II, Gretna was home to Nelson's Roof Terrace and Rhumba Room, at the corners of Kepler and Monroe Streets.(3)



In 1901, The Daily Picayune reported on the growing popularity of roof gardens in New York City.(4)  Hoteliers in the Gulf South touted roof gardens as a means to entice tourists during the steamy season.(5)


(1) Leon Weiss. Letter to Caroline Dreyfous.   19 July 1927. Writings of Leon Weiss, Vol. IV. Weiss, Dreyfous and Seiferth Office Records, Southeastern Architectural Archive, Special Collections Division, Tulane University Libraries.

(2)"Lighting System a Big Part of Annex Decoration Plan." Joplin Globe 3 February 1929.

(3)Nelson's Roof Terrace. Advertisement. Jefferson Parish Yearly Review. 1942, p. 144. URL: http://www.jeffersonhistoricalsociety.com/VirtualArchives/jpyr/1942b.pdf

(4)"Growing Popularity of Roof Gardens." The Daily Picayune 21 July 1901.

(5)"Hotel Business a Good Barometer." The Times Picayune 1 September 1901.

Images above:  Frances E. Jones. "Spanish Houses on Rue Du Maine." In Samuel Wilson, Jr.'s copy of Grace King's New Orleans: The Place and the People. New York: Macmillan, 1895. Southeastern Architectural Archive, Special Collections Division, Tulane University Libraries.

"The West End Branch Roof Garden." The Times Picayune 23 September 1919.

"The Jung Roof Garden." The Times Picayune 24 November 1928.

"The Grunewald Hotel Roof Garden." The Lumber Trade Journal 58 (15 October 1910).




Saturday, May 18, 2013

Progressive New Orleans 1940

Metro Goldwyn Mayer's "A Brief New Orleans History Lesson" (1940) includes mention of modern construction methods and also Tulane University.

Tuesday, January 8, 2013

Metal Caskets

In 1931, the Fuller Company, charged with site clearance for the new Louisiana State Capitol building in Baton Rouge, began to uncover human remains. When construction operations were initiated, the project architects Weiss, Dreyfous & Seiferth had been informed that there was a possibility this would happen, as certain portions of the site had once been used as a cemetery. They had the site surveyed and any bodies that were easily located were disinterred and reburied. When one of the Fuller Company steam shovel operators struck a metal casket, construction was immediately halted, and a Baton Rouge treasure hunter named George Maher, Sr. was hired to locate any other such cases using a radio device.(1)

Maher ultimately uncovered some twenty-three metallic coffins.(2)  On 11 April 1931, some of the caskets  -- now removed to a collective burial site -- were photographed as part of the construction documentation (shown above).


Such metal caskets were popular during the second half of the nineteenth century, and a host of entrepreneurs patented their own versions. Almond D. Fisk of New York famously patented the model above in November 1848. It featured a round glass window for the face that was securely mounted to the casket. Fisk suggested removing all air from the coffin in order to prevent putrefaction.
Martin Crane -- representing Crane, Breed & Company of Cincinnati -- patented this  "Metallic Coffin" in March 1855. His model featured an octagonal-shaped glass window for the face, and a name plate, both with ornamental molded surrounds. 
In 1861, Knoxville inventor James H. Renshaw patented this "Metallic Coffin," asserting his improvements over earlier types. He employed unique bevels along the upper edges of his caskets.
Among the patent developers, one of the most unusual descriptions accompanied Philip K. Clover's "Coffin-Torpedoes," in which he claimed his invention would prohibit the "unauthorized resurrection of dead bodies" because any attempt to remove the body after burial would cause the death of the grave robber. His patent involved the use of spring-loaded explosives.

After the Civil War, Crane, Breed & Company established a New Orleans office on Magazine Street. They advertised their services in Gardner’s New Orleans Directory for 1867.
One of Crane's competitors was T.W. Bothick, who  sold "metalic burial cases" of the type patented by Lucian Fay in 1864. These were a much simpler form, with Fay recommending the use of sheet rather than cast metal.

It's a good thing the 1931 State Capitol crew didn't encounter any of the booby-trapped torpedoes!



(1) Weiss, Dreyfous & Seiferth, Inc. Letter to Mr. Harris N. English dated 19 December 1931. Weiss, Dreyfous and Seiferth Office Records, Southeastern Architectural Archive.

(2) Gene Bylinsky. "Search for the Pot of Gold." The Times-Picayune (30 September 1956): pp. 134-135.

Images above:

Progress Photograph of Caskets Removed to Collective Burial Pit. 11 April 1931. Weiss, Dreyfous & Seiferth Office Records, Southeastern Architectural Archive.

All patent images from google patents.

"Crane, Breed & Co." Gardner’s New Orleans Directory for 1867. New Orleans, 1867. Southeastern Architectural Archive.

"T.W. Bothick, Undertaker." Gardner’s New Orleans Directory for 1867. New Orleans, 1867. Southeastern Architectural Archive.

Thursday, December 6, 2012

Lost New Orleans

Aerial View of Charity Hospital and Surrounding Neighborhood.  Alex Greenberg, delineator for Weiss, Dreyfous & Seiferth, architects. Copy print of undated presentation drawing. Weiss Dreyfous & Seiferth Office Records, Southeastern Architectural Archive (SEAA), Special Collections Division, Tulane University Libraries.

Front Elevation, Isis Theatre, 1513 Dryades Street, New Orleans, LA. 1927. Weiss, Dreyfous & Seiferth, architects. Detail of alterations. Weiss, Dreyfous & Seiferth Office Records, Southeastern Architectural Archive (SEAA), Special Collections Division, Tulane University Libraries.
Preliminary Front Elevation, Ritz Theater, Corner LaSalle & Felicity Streets, New Orleans, LA. circa 1938. Weiss, Dreyfous & Seiferth, architects.  Detail of proposed facade.  Weiss, Dreyfous & Seiferth Office Records, Southeastern Architectural Archive (SEAA), Special Collections Division, Tulane University Libraries.

For more information on the SEAA's Weiss, Dreyfous and Seiferth collection, check out the online Finding Aid. Other SEAA Finding Aids may be found at: http://seaa.tulane.edu/findingaids/bycollectionname.

Wednesday, June 29, 2011

Cities, Airplanes & Civil Defense

In 1941, New Orleans architect Nathaniel C. Curtis, Sr. (1881-1953) addressed the topic of urban planning & civil defense:

"The city planner is now confronted with a situation unforeseen through the centuries. The fighting airplane has come upon the scene. By night or day, in clear air or fog, it can search out or be directed over focal concentrations of population, over places where man works and where he stores his goods, and on these dump its cargoes of death and destruction. The more concentrated the objectives become the better the chances of making a hit and the more wholesale the destruction. Moreover, in a time of war most of the factories of a warring nation are turned over to the production of war equipment and munitions, and it becomes a part of the military defense system to safeguard these against disruption or demolition, while bomb-proof shelters must be provided for all the workers in the plant.

Modern warfare requires the regimentation of large numbers of the population. All the people are ultimately concerned, civilian as well as military, and no one's safety is guaranteed.

Of all the means for carrying on offensive warfare that human ingenuity has devised, the airplane is by far the most potent, and it is no exaggeration to say that without airplanes there could hardly be a reason for any radical changes in city planning such as will be put into effect. There is no effective way so far developed to defend cities or other objectives of a widespread nature against airplanes and their destructive charges except by the employment of more airplanes. The only other way to neutralize or minimize the power of the airplane is to scatter and make less the value of its objectives."

Curtis was particularly concerned with New Orleans' vulnerability, should its pumping stations be destroyed and its air-raid shelters inundated with water:

"Would the Charity Hospital continue to function? It would as long as doctors and nurses could hold out and the essential services could be maintained. A building like the Charity Hospital cannot be destroyed except under repeated bombings. A few upper floors would be demolished--all glass windows would be shattered, but otherwise the interior would remain intact."

Read more of his address in The Tulanian (April 1941): pp. 11-12, 14. Available from Tulane University Archives.

Monday, February 14, 2011

WDS Project No. 703

After The Times-Picayune published photographs of the Green Mansion being relocated to clear the footprint for the new Veteran's Administration medical complex, my colleague Kevin Williams noted that the house was designed by the New Orleans firm of Weiss, Dreyfous & Seiferth (1928) and pulled the drawings.

Smith Wendell Green (d. 1946) commissioned the structure in 1928, with Weiss Dreyfous Seiferth drafting plans in September. The draftsman for the project was "A.R."

Above: A.R. for Weiss, Dreyfous & Seiferth. Sheet No. 3 (Detail); Plan No. 703. 4 September 1928. Weiss, Dreyfous & Seiferth Collection, Southeastern Architectural Archive, Special Collections Division, Tulane University Libraries.

Friday, June 12, 2009

Film Distribution Row: S. Liberty Street

In the mid-1930s, the 100 and 200 blocks of South Liberty proliferated with motion picture company film distribution centers. United Artists, Warner Brothers and Paramount all owned structures in this corridor. The building below is the lone survivor. Built for United Artists Corporation in 1929, the structure housed fireproof film storage vaults, had concrete floors, and brick outer walls.

In 1953, the New Orleans architectural firm Benson & Riehl (1951-1961) was hired to draft specifications for restoring the former Warner Brothers building after there had been an explosion on the 150 S. Liberty Street site. Also completed in 1929 -- designed by Weiss, Dreyfous and Seiferth -- the Warner Brothers structure had brick walls 12" thick, concrete floors and fireproof vaults for storing films. As Warner Brothers expanded its business, successor firm Dreyfous & Seiferth was hired to build a new film exchange at 201 S. Liberty Street (1948).

Where were the structures located?

United Artists Corporation (built 1929)
Universal Film Exchange (by 1955)
143 & 147 S. Liberty Street

Warner Brothers
150 S. Liberty Street (1929)
201 S. Liberty Street (1948)

Paramount Pictures
215 S. Libery Street

Screen Guild Productions
218 S. Liberty Street

Pathe Film Exchange
221 S. Liberty Street

Saenger Theaters
234 S. Liberty Street

R.K.O. Film Exchange
1418 Cleveland Avenue

Fireproof film vaults were also located at 222 & 223 S. Liberty Streets and 1307 & 1309 Tulane Avenue. In 1931, Southern Sound and Service Inc., a film laboratory, was located at 1315 Tulane Avenue. Most of the area is now developed as Tulane Medical Center.

If you want to read more about the history and development of film exchange/distribution rows, read Max Joseph Alvarez's article, "The Origins of the Film Exchange," Film History: An International Journal 17:4 (2005): 431-465 available from Project Muse.

Historic photographs of many of the film exchange buildings, including the structure below, may be found in the LOUISiana Digital Library. Most of these images were digitized from the Charles L. Franck/Franck-Bertacci Photograph Collection, The Historic New Orleans Collection.

Building contracts/specifications for the original Warner Brothers Film Exchange may be found in the Southeastern Architectural Archive's Weiss, Dreyfous and Seiferth Collection.

Above: 143 & 147 S. Liberty Street, built 1929. Upper right: Detail of Art Deco ornamentation from 143 & 147 S. Liberty Street. As photographed 11.06.2009 by K. Rylance.

Wednesday, November 19, 2008

Charity Hospital Redux II

George Riehl, Rendering of Weiss Dreyfous Seiferth Design for Charity Hospital, as photographed by F.A. McDaniels of New Orleans, n.d. Weiss, Dreyfous Seiferth Collection (Gift of George Riehl), Southeastern Architectural Archive, Special Collections Division, Tulane University Libraries.

The Foundation for Historical Louisiana, the National Trust for Historic Preservation, and the Louisiana Landmarks Society have identified Charity Hospital as an endangered building.

As reported in two August posts, the Foundation for Historical Louisiana as charged by House Concurrent Resolution 89 of the 2006 Legislative Session, commissioned an extensive analysis of the viability of Charity Hospital to provide 21st-century medical care to the region. International architectural firm RMJM Hillier conducted the feasibility study and reported its fervent belief that Weiss Dreyfous and Seiferth's Charity Hospital could be renovated more quickly and more economically than a new LSU/VA Medical campus could be constructed on the Regional Planning Commission (RPC) site.

Where is the RPC site? It is an extensive 71-acre area of Mid-City New Orleans -- bounded by South Claiborne and Rocheblave, and Canal Street and Tulane Avenue -- and includes 250 homes and small businesses. The National Trust for Historic Preservation and the Preservation Resource Center have put together a flickr set of affected properties. To see them, click here. The site includes important modernist buildings SOM's Pan-American Life Insurance (1951) and Charles Colbert's Olivetti Showroom (1966). Where buildings are concerned, people are concerned: The story of the Mid-City homeowners reminds me of the historic Wimawalas reported earlier this year.

The New Orleans Southern Christian Leadership Conference, the New Orleans Committee to Reopen Charity Hospital, Louisiana ACORN, United Teachers of New Orleans, and C/3 Hands Off Iberville are sponsoring A Call to Action on Friday, November 21st at 12:30 pm in front of City Hall, at Perdido Street and Loyola Avenue.

Thursday, August 21, 2008

Charity Hospital Redux

RMJM Hillier and their project team gave their assessment of the feasibility of Charity Hospital to provide 21st-century healthcare to the New Orleans metropolitan area. Commissioned by the Foundation for Historical Louisiana (FHL), in response to Louisiana House Concurrent Resolution No. 89 (HCR 89), the Hillier-led design team concluded their study in three months.

Their response to the critical questions: "yes, yes, yes." Click here to read the Preservation Alert and see the movie.

The team's assessment in part relied on archival documentation of the Weiss, Dreyfous, and Seiferth structure, as well as on non-destructive technologies whose prototypes were developed during the Cold War by the U.S. military. Robert Silman, the structural engineer noted for his work on Frank Lloyd Wright's Fallingwater, was hired to test the 68-year-old building's integrity. In the process, he examined original drawings provided by the Louisiana State University Health Sciences Center (LSUHSC-MNCLO) Facilities Management Department Archives. Historic photographs revealed that the vast majority of the exterior cracks had appeared during the earliest years of the building's life, as the structure settled into New Orleans' notorious "gumbo."1 Then the settlement leveled off, became asymptotic. Using infrared thermographs to document differential heat (and therefore moisture retention) as well as radar imaging to reveal the disposition of the steel members, Silman was able to unequivocally state his belief that Charity Hospital as built far exceeded standards of its day, and with minor adaptation could meet current code load standards. To download the full report follow the link here.

To read Times-Picayune coverage, click here.

1 Anecdotal reports indicated that Charity Hospital had settled approximately 18" very early on. The WPA reported in 1937 that in the first ten years of the U.S. Custom House, it had settled 19.33" in some places; when additional stories were added, settlement maximums had increased to some 28". See: Some Data in regard to Foundations in New Orleans and Vicinity Collected and Compiled by the Soil and Foundation Survey as Requested by Louisiana Engineering Society. Board of State Engineers of Louisiana, 1937, vol. I. The Custom House, on Canal between North Peters and Decatur, is one of the South's oldest federal buildings.

[Detail: Unidentified photographer, Charity Hospital's Facilities, c. 1940. Box 27, Weiss, Dreyfous and Seiferth Collection, Southeastern Architectural Archive, Special Collections Division, Tulane University Libraries].

Tuesday, August 19, 2008

Charity Hospital

The Foundation for Historical Louisiana has announced a public presentation of the Existing Conditions and Facilities Assessment of Big Charity Hospital on August 20, 2008 at 2:30pm in the auditorium in the Port of New Orleans Headquarters Building at 1350 Port of N.O. Place. The facility is located on the riverfront at the end of Henderson Street behind the New Orleans Convention Center.

As charged by the Louisiana Legislature, the Foundation retained the services of the architectural firm, RMJM Hillier, to “…assess the condition of the facility and evaluate its potential uses as a location from which medical services may be offered to the population of the Greater New Orleans area…” and to “…examine and evaluate the entire Big Charity structure to determine the advisability of repairing or restructuring the entire facility…” This assessment will be the first post-Katrina report on the structural integrity and potential reuse of the building.

The Foundation for Historical Louisiana asks interested parties to RSVP to the Foundation for Historical Louisiana at 225-387-2464 or fhla@bellsouth.net because seating is limited. The presentation content will also be available on the foundation's website at www.FHL.org beginning August 21st.

When the Public Works Administration (PWA) authorized a grant to assist the state of Louisiana in financing Charity Hospital, the New Orleans firm of Weiss, Dreyfous and Seiferth was selected to design the structure. When completed in 1940, Charity was the second largest hospital in the country, the tallest building in the city. Sculptor Enrique Alvarez designed the ornamental screen above the main entrance lintel. The Southeastern Architectural Archive houses the collection of Weiss, Dreyfous and Seiferth.

Tuesday, July 22, 2008

Prefabrication and New Orleans

The Museum of Modern Art just opened its new exhibition, Home Delivery: Fabricating the Modern Dwelling (July 20-October 20 2008). The curators have developed a very informative website that includes a timeline of prefabricated housing and archival footage of American mass production beginning with Henry Ford's Model-T (1908). One of the contemporary projects featured in the Museum's Fifty-fourth Street lot is the Larry Sass/MIT Digitally Fabricated Housing for New Orleans, a 196-square-foot shotgun house that implements laser-cut joinery. The prefabrication, comprised of some 600 plywood and plastic sheets, is documented in stages on YouTube.

Noted New Orleans architectural historian Samuel Wilson, Jr. (1911-1993) wrote that as early as 1849, documents in the city's notarial archives made mention of prefabrication, in portable ready-made structures of canvas and cement. The Paris Universal Exposition of 1867 featured a "demountable" cypress Louisiana Cottage fabricated by the local Roberts and Company, which once occupied 299-307 Gravier Street. To read Wilson's article in The Journal of the Society of Architectural Historians [22:1 March 1963 pp. 38-39], consult JSTOR.

In 1935 New Orleans, concrete was being explored as a new material for affordable residential housing. The Lone Star Cement Corp., a subsidiary of International Cement Corp., approached the local firm of Weiss, Dreyfous and Seiferth with a commission to design a $10,000 concrete house. The so-called Lone Star Home, located at 5500 S. Claiborne Avenue, was erected in nine successive concrete pours with patented metal forms and was featured in both American Architect (January 1936) and Pencil Points (March 1936). For current photographs of the house, see TSA Visual Resources Curator Francine Stock's flickr Regional Modernism set.

In the late 1940s, the New Orleans-based Higgins Incorporated began to develop its own method, what came to be patented as the Thermo-Con Cellular Concrete System. Its concrete was an ambiguous admixture of Portland Cement, water, and "three chemicals." The company's advertising department took pains to communicate the product's heat-shielding properties (left) and to distinguish its approach from any correlation to prefabrication:

The Thermo-Con cellular concrete system is in no way a pre-fabricated construction method. The forms are designed on a one-foot modular principle and can be arranged to fit any desired plan for a home or commercial building. Any architectural style may be chosen and interior space arranged to suit individual needs.

The Southeastern Architectural Archive maintains project drawings for the Lone Star Home in its Weiss, Dreyfous and Seiferth Collection. Higgins company advertising brochures for "Thermo-Con" cellular concrete are located in the SEAA's Trade Catalogs Collection, Box 7.

Image: "Concrete Evidence" of heat-resistance of Thermo-Con Cellular Concrete. Photograph of a model's face being shielded from an active oxyacetelene torch by a Higgins Inc. concrete slab. From Higgins Inc. Booklet 72, SEAA.