Edward Durell Stone

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(b Fayetteville, AR, 9 March 1902; d New York, 6 Aug 1978). American architect. He studied art at the University of Arkansas, Fayetteville (1920-23), and from 1924 until 1926 he studied architecture at the Boston Architectural Club, while working in the office of Henry R. Shepley. Having entered the architectural course at Harvard University, Cambridge, MA, in 1926, he transferred to the Massachusetts Institute of Technology the following year and won the Rotch Traveling Fellowship in 1928-9, which took him to Europe. Resettling in New York, he worked with a consortium of architects on the Rockefeller Center, also making significant contributions to the design of Radio City Music Hall. In 1933 he designed one of the east coast's first Modernist houses, the Mandel house at Bedford Falls, NY. In 1936 he established his own firm in New York, and in 1938-9 he built the first section of MOMA with Philip L. Goodwin (1885-1958). From the beginning his work had shown a strong tendency to formalism and ornament, and this could be seen in MOMA, the International style fa?ade of which was enlivened by a series of circular cut-outs in the overhanging roof. His association with MOMA may account for his serving as a juror of the pro-Modernist Wheaton College, Wheaton, IL, competition of 1938, which MOMA supported under the direction of its President, A. Conger Goodyear. He designed Goodyear's house (1938-9) at Old Westbury, Long Island and took third prize in the Smithsonian Gallery of Art competition of 1939. During World War II he served (1941-5) in the US Air Force.

See the Abbreviations for further details.

The American architect, educator, and designer Edward Durrell Stone (1902-1978) was an early practitioner of the International Style, but took his architecture in a new direction after 1940. He was particularly known for his design for the U.S. embassy in New Delhi, India, and for the Kennedy Center in Washington, D.C.

Edward Durrell Stone was born in Fayetteville, Arkansas, on March 9, 1902. He attended the University of Arkansas (1920-1923) located in his home town, but received no degree. His first job - for the firm of Coolidge, Shepley, Bulfinch and Abbott in Boston - was to work on the restoration of Massachusetts Hall at Harvard as an apprentice to Henry R. Shepley (1923-1925). In 1926 Stone won the competition for a special scholarship to Harvard and attended for one year. Eclecticism was on the way out in architecture, and Stone switched to MIT (Massachusetts Institute of Technology) where Jacques Carlu was beginning to experiment with modern design. The following year Stone won the Rotch travelling scholarship for two years of study and travel in Europe.

His return to America in November 1929 coincided with the stock market crash. He managed to join the firm of Schultze and Weaver in New York and worked on the design for the interior of the Waldorf-Astoria Hotel. In 1930 he married Orlean Vandiver, whom he had met in Europe. Stone also worked with the consortium of architects designing Rockefeller Center, New York (1929-1935). He was appointed chief designer of the two theaters: Radio City Music Hall and The Center Theater. During this period Stone met Howard Myers, the editor of The Architectural Forum and a leading exponent of modern architecture. Their friendship was life-long.

Striking Out on His Own

In 1933 Stone became an architect in his own right with the commission for the Mandel House in Mount Kisco, New York (1933-1935). He made use of an open plan, concrete, steel, glass block, and strip windows in this modern house and saw it as the first house in the East in the International Style. He built several other private residences, but the Depression made commissions scarce and he went to work for Wallace K. Harrison.

During this time the informal headquarters for architects and journalists in New York City was Rose's Restaurant on West 51st Street. Rose was considered a patroness of the arts as she provided meals to sustain artists and others between odd jobs.

From 1935 to the beginning of World War II Stone supplemented his income by teaching advanced design at New York University's night school of architecture. His students were men working in architectural offices who could not afford full-time studies. He again turned to teaching in the late 1940s for three years at Yale, in 1953 for one year at Princeton, and in 1955 and 1957-1959 at the University of Arkansas, Fayetteville.

In 1937 the trustees of the Museum of Modern Art (MOMA) formed a building committee to select architects to design a new building on West 53rd Street in New York City. Stone and Philip L. Goodwin, one of the trustees, were named associate architects for the design (1937-1939). Open flexible gallery space capable of change for exhibitions was required, and as a result Stone and Goodwin placed the auditorium in the basement, the stairs and service facilities at one end of the building, and office spaces and the library on the upper floors. A walled garden for sculpture was set to the rear of the building as an oasis from the hectic pace of the city. The design for this important building was done in the International Style.

Disenchantment with International Style

Toward the end of the 1930s Stone began to question the use of the International Style in residential design. Generally, it had not won acceptance because it was sparse and cold. The style had begun shortly after World War I in a period of deprivation. Economics was the prime consideration, and the use of reinforced concrete - a less expensive material - and the exclusion of ornament from the design reduced the expense of a building. Even more influential on Stone's change of mind was the cross-country trip to California he took in 1940. During this trip he saw the "good" and "bad" architecture of the United States and visited Frank Lloyd Wright at Taliesin in Wisconsin. On the return trip he visited Taliesin West near Phoenix, Arizona, where he became more aware of how Wright attuned each complex to the natural beauty of its site: the pastoral green of Wisconsin and the harsh desert environment of Arizona. Stone viewed his repudiation of the International Style as trading a European style architecture for an indigenous style which would be strongly influenced by Wright's work.

Collier's magazine provided an opportunity for Stone to design in this new direction. Stone and John Fistere, a journalist who wrote on architecture, were asked to design Collier's "House of Ideas" (1940), which would make new ideas in home furnishings and building materials available to the public. Located on the terrace adjacent to Rockefeller Center's International Building, Stone introduced the use of natural redwood for the exterior walls and plywood as an interior surface material.

During World War II Stone served as a major in the U.S. Air Force (1942-1945) and worked as an architect designing buildings and ground facilities (hangars and runways). After World War II he established an office in Great Neck, Long Island, and designed houses. One of these residences was for Bernard Tomson, a lawyer who took an interest in the legal aspects of the architectural profession and eventually wrote a column and a book for architects to help them with their business affairs. Stone moved his offices to New York City and was joined by his nephew, Karl J. Holzinger, Jr., who worked with him for seven years. Commissions were primarily for residential designs which were done in an indigenous style based on modular wooden construction.

Building at Home and Abroad

After World War II Stone was asked to design a modern resort hotel in Panama which called for special consideration of the extremes of the equatorial climate. The design problems worked out for El Panama Hotel, Panama City (1946), were further refined when Stone designed resort hotels in San Salvador (1952) and Montego Bay, Jamaica (1952).

In 1948 Stone was asked to design a fine arts group for the University of Arkansas, Fayetteville, to include facilities for architecture, painting, sculpture, music, and theater. Stone physically integrated the arts in three separate elements (a three-story classroom building, a concert hall, and a theater and library) linked by an exhibition gallery.

The Peruvian government selected Stone and Alfred Aydelott to design a general and maternity hospital for 900 patients in Lima (1950). Stone believed there was no more difficult or complicated architectural project than a hospital. This one took several years to complete, and it was necessary for the designers to live there for about six months in the early stages. While there, Stone travelled to Cuzco and Machu Picchu and started a collection of Pre-Incan pottery.

Stone credited his second marriage with bringing order to his life. On a night flight from New York City to Paris in 1953 he met Maria Elena Torchio, the American-born daughter of a Florentine architect and a Barcelona mother, and they were married in June 1954 in Beirut, Lebanon, by the archbishop of the Greek Orthodox Church.

In order to take architecture out of politics, the U.S. State Department appointed a board comprised of Henry R. Shepley, Ralph Walker, and Pietro Beluschi to advise them in selecting an architect to design the U.S. embassy at New Delhi, India. Stone was awarded the commission in 1954 and found he had to deal with a subtropical climate. Some of the devices he used to compensate for the extreme heat were a water garden for its cooling effect, terrazzo grilles for the external walls for their light filtering qualities, and a large rectangular canopy extending beyond the walls of the building for its shading ability. Stone placed his classical building on a platform so that automobiles could be parked in the space below, thus preventing their visual intrusion on the building. An Indian religious leader, Mohan Singh, and his son, Daljit, were chosen as builders. They brought the workers and their families to live at the site where they fabricated the building materials. The U.S. embassy was literally built by hand with a combination of Eastern and Western skills.

Toward a More Romantic Style

In 1955 Stone was asked to design a hospital and medical center for the city of Palo Alto, California, and Stanford University. He found it necessary to open an office in Palo Alto. The design he arrived at was to be compatible with the original quadrangle of three-story buildings designed by Shepley, Rutan, and Coolidge. Because this was earthquake country, reinforced concrete was the preferred building material. To imitate the rough stone of the earlier buildings, Stone created a geometric pattern in the concrete by nailing wooden blocks onto the casting forms. In the same year Stone designed a pharmaceutical plant for the Stuart Company in Pasadena. The company's founder, Arthur Hanisch, gave Stone a large site and a free hand to design the plant and amenities (recreation areas, courtyards, and a swimming pool) for the employees. The morale of the workers and the prestige of the company were influenced by the architecture, a trend recognized by corporations in the 1950s.

An American Institute of Architects (AIA) committee of five architects selected Stone to design the U.S. Pavilion (1957-1959) for the Brussels Exposition. The irregular site seemed best served by a circular building, and Stone adapted the principle of the bicycle wheel (inner and outer rings connected by radiating spokes) combined with translucent plastic panels to cover the 350 foot diameter interior open space of his design. This space allowed the United States to honor the Belgians' request to preserve the 11 willow trees planted 50 years earlier by King Albert. The white, crystal, and gold pavilion with its plaza and reflecting pool drew a cover story by TIME and an invitation from the Russians for Stone to visit their country.

Stone had long held the conviction that row housing made better use of land than the free-standing house on an individual lot. The open countryside around towns and cities should be preserved. LIFE was doing a series of essays on more livable homes and in 1958 asked Stone for a design. He suggested a row house development, noting that there was much historical precedent for it and that the "urban sprawl" of the American subdivision might be abandoned for it.

This same year Huntington Hartford chose Stone to design his gallery of modern art to be located at Columbus Circle in New York City. Due to the small site, Stone arranged the galleries vertically and selected poured concrete for its plastic possibilities. The entire building was surrounded by an arcade which provided protective covering for prospective museum goers. The romantic design Stone used here was in sharp contrast to the severe International Style he had used 20 years earlier for the MOMA.

The Kennedy Center and Work in New York

In the fall of 1958 Stone began work on a plan for the National Cultural Center (Kennedy Center) in Washington, D.C. (1958-1971). He developed two schemes for the 11-acre site on the Potomac River which included an opera house, a concert hall, and a theater under one roof with parking facilities at a lower level. The first scheme placed the three auditoria around a grand central circular hall, while the second scheme arranged them in a row and separated them by entrance lobbies. Cost was the deciding factor in the selection of the second scheme. Hopes for a truly national cultural center of stature would have been better served by the first scheme. The critics used terms such as bland and uninspiring to describe the Kennedy Center.

As Stone designed more complex and larger scale projects, such as the State University of New York at Albany campus (1962), he turned to an academic style of architecture that sought formal simplicity. Though work such as this received less than complimentary acclaim, Stone retained his popular appeal.

One of his last works, the PepsiCo World Headquarters, Purchase, New York (1971-1973), was representative of the low suburban office building. In a move from Park Avenue to an old polo field, PepsiCo acquired a 112-acre site where building height was restricted to 40 feet by a local zoning code. Stone designed a series of seven three-storied buildings to be set on a mounded site of ten acres. He created an interplay between the buildings and open spaces, with each building connected to its neighbor only at the corner. Patterned precast concrete panels were used to enrich the exterior surfaces of these low horizontal structures, while sculpture was placed in the surrounding landscape.

Further Reading

Numerous articles on Stone may be found in The Architectural Forum and The Architectural Record. Additional material may be found in Progressive Architecture and other American architectural journals. Stone is listed in Contemporary Architects edited by Muriel Emanuel (1980). Stone wrote two books: The Evolution of an Architect (1962) and Recent and Future Architecture (1967). Information on the International Style is provided in Henry-Russell Hitchcock and Philip Johnson, The International Style: Architecture Since 1922 (1932).

American architect. He absorbed the lessons of the Modern Movement in the 1920s, working on the Rockefeller Center, NYC (1929), where he designed the interior of the Radio City Music Hall. His best International Modernist buildings were the Mandel House, Mount Kisco, NY (1932–3), and (with Philip Lippincott Goodwin (1885–1958) ) the building for the Museum of Modern Art, NYC (1936–9). After the 1939–45 war his work became rather more personal and formal as he moved away from International Modernism, and turned to regional influences. His US Embassy, New Delhi, India (1954), and Kennedy Center for the Performing Arts, Washington, DC (1961–71), were axial, symmetrical, and paraphrases of Classicism.

Bibliography

• Christopher (1984)
• Kalman (1994)
• Placzek (ed.) (1982)
• Stone (1962, 1967)
• van Vynckt (ed.) (1993)

The full bibliography for this book is available to download as a pdf file.
Download the bibliography for A Dictionary of Architecture and Landscape Architecture (PDF: 1.2MB)

Edward Durell Stone
Personal information
Name	Edward Durell Stone
Nationality	American
Birth date	March 9, 1902(1902-03-09)
Birth place	Fayetteville, Arkansas, United States
Date of death	August 6, 1978 (aged 76)
Place of death	New York City, New York, United States
Alma mater	University of Arkansas
Work
Buildings	Kennedy Center, 2 Columbus Circle, Radio City Music Hall
Design	Modern designs with Romanesque and Moorish influences
Awards	American Institute of Architects' Medal of Honor, New York chapter

2 Columbus Circle, New York City (since modified)

Edward Durell Stone (March 9, 1902 - August 6, 1978) was a twentieth century American architect.

Contents 1 Early life 2 Pre-War Period 3 Post-War Period 4 Later Years 5 Legacy 6 Selected Works 7 Gallery 8 Honors and Awards 9 See also 10 Bibliography 11 Notes and References 12 External links

Early life

Stone was born in Fayetteville, Arkansas, a small college town in the northwest corner of the state. His family, early settlers of the area, owned a prosperous dry goods store. One of his childhood friends was J. William Fulbright, the future United States Senator from Arkansas and Chairman of the Senate Foreign Relations Committee. Stone and Fulbright remained friends throughout their lives. Stone attended the University of Arkansas, where his interest in architecture was encouraged by the chairman of the art department. His older brother, James Hicks Stone (1886-1928), was already a practicing architect in Boston, Massachusetts, and James encouraged his younger brother to join him there. While in Boston, Stone attended the Boston Architectural Club (now The Boston Architectural Center), Harvard University, and MIT, but he never received a degree. While studying, Stone also apprenticed in the offices of Coolidge, Shepley, Bulfinch and Abbott, H. H. Richardson’s successor firm. Henry R. Shepley, one of the firm’s senior partners, mentored Stone while he was in Boston and assisted him throughout his career.

While studying in Massachusetts, he won the prestigious Rotch Travelling Fellowship (now called the Rotch Travelling Scholarship), which afforded him the opportunity to travel throughout Europe and North Africa on a two year stipend. Other winners of the Fellowship include the architects Ralph Walker (of Vorhees, Gmelin and Walker), Louis Skidmore (of Skidmore, Owings and Merrill), Wallace K. Harrison (of Harrison and Abramovitz) and Gordon Bunshaft (also of Skidmore, Owings and Merrill). During his travels, Stone maintained sketchbooks and produced exquisite watercolor drawings in the Beaux-Arts style. He also visited buildings by some of the leading modernist architects of the day, works which would influence his early practice. While in Venice, Stone met and courted Orlean Vandiver. They would marry in New York City in 1930.

Pre-War Period

Stone returned to New York City in October 1929, just at the onset of the Great Depression. He had been offered a job while in Stockholm, by Leonard Schultze of Schultze and Weaver, and on joining the firm, Stone designed the main lobby and grand ballroom of the Waldorf-Astoria Hotel in New York City. He then moved on to work in the offices of Reinhardt, Hoffmeister, Hood & Fouilhoux, who were among the architects associated on the Rockefeller Center project. Stone was the principal designer on the Radio City Music Hall, and he worked in conjunction with the interior designer, Donald Deskey. His relationship with Deskey ultimately led to his first independent commission in 1933 for Richard Mandel, whose family owned the Mandel Brothers department store. Stone produced a startling, volumetric modernist home in Mount Kisco, New York, for Mandel, with elements suggestive of the European modernists Erich Mendelsohn and Le Corbusier.

The acclaim generated from this commission led to other prominent residential commissions. Similarly, his work on the Rockefeller Center project also brought him to the attention of the Center's lead architect, Wallace Harrison, and Nelson Rockefeller. When the time came for an architect to be selected for the new Museum of Modern Art, Stone's name was put forth by Harrison, and in turn by Rockefeller, over the objections of Alfred Barr, the Museum's director. Stone was selected as the design architect for the Museum in association with Philip Goodwin, the only architect on the Museum's Board. It was at this point that Stone formally started his architectural practice, opening an office in Rockefeller Center.

Stone continued to employ the modernist vocabulary for the remainder of the 1930s, but during an automobile trip across the United States in 1940, he began to formulate an approach to design that fused the experience of his Beaux-Arts training, bucolic origins and dissatisfaction with the austerity of modernist aesthetic. A visit to Frank Lloyd Wright at Taliesin in Wisconsin encouraged Stone to seek new forms that expressed a warmer architecture that was more rooted in American vernacular design.

The onset of World War II interrupted Stone's exploration of this new approach to architecture, and he enlisted in the United States Army Air Force in August 1942. Stone entered the Army as a Captain but was promoted to the rank of Major in November 1943. During his war service, Stone was stationed in Washington D.C. where he was the Chief of the Planning and Design Section. His principal responsibility was the planning of Army Air Force bases. Stone was discharged from the Army in November 1945.

Post-War Period

Stone reopened his architectural practice in 1945 in a townhouse at 50 East 64th Street in New York City. During this period, he continued to explore vernacular architectural forms, incorporating Wrightian motifs and rustic materiality and fusing it with explorations of modular construction techniques. His commissions during the 1940s were principally single-family homes, but there were notable exceptions.

In 1946 Stone was commissioned to design the 300-room El Panama Hotel in Panama City, Panama. The hotel was completed in 1951 after a lengthy and difficult construction period. The playful modernity of the building and its environmentally sensitive design generated critical interest and the hotel was featured in a January 1952 story in Life.

In the late 1940s and early 1950s, Stone's role as Chief Design Critic and Associate Professor of Architecture at the Yale University School of Architecture, gave him the opportunity to recruit many skilled young staff members for his office. Stone’s avuncular and supportive manner and his ability as an educator and designer, created a synergistic office environment that fostered design inquiry and experimentation.

His success as a practitioner of modern architecture and his prominence as an academic, enabled Stone to form bonds with other academics of the era like Walter Gropius (Chairman of the Department of Architecture at Harvard University's Graduate School of Design), Pietro Belluschi (Dean of MIT's School of Architecture and Planning), George Howe (Chairman of Yale University’s School of Architecture) and William Wurster (co-founder of the University of California at Berkeley College of Environmental Design).

Stone would continue to be involved as a visiting critic at other universities, including Cornell, Princeton and Stanford, until the demands of his architectural practice no longer permitted him to do so. He also actively supported the establishment of an architectural program at the University of Arkansas, which was headed by his close friend, John G. Williams. Stone served as a frequent visiting critic and was an early advocate for the architectural school’s accreditation. Stone’s role as an educator was honored in 1955, when the New York Chapter of the American Institute of Architects awarded him the Medal of Honor, praising Stone as a “distinguished designer of buildings and inspiring teacher.”^[1]

In 1950, Stone formed a partnership with architect Alfred Aydelott of Memphis, Tennessee to design the Hospital of Social Security for Employees in Lima, Peru. This project established Stone as a specialist in hospital design, and it would lead to a series of commissions that focused on providing a humane environment for patients. Many of Stone’s prominent medical commissions were in the State of California and include the Stanford University Medical Center in Palo Alto, the Community Hospital of the Monterey Peninsula in Monterey, the Scripps Institute in La Jolla and the Eisenhower Medical Center in Rancho Mirage.

Later Years

In the mid-1950s Stone moved away from strict modernist tenets and began to fuse the formalism of his early Beaux-Arts training with a romantic historicism. This historicizing aspect of Stone’s work was in part influenced by his second wife, Maria (née Torch) whom Stone had married in 1954. The Stones’ frequent travels to Italy during this period and Maria Stone’s Italian origins reawakened his interest in classical and Italianate precedent which he had so dutifully recorded in his Rotch Fellowship sketchbooks. As Stone later wrote, “I believe the inspiration for a building should be in the accumulation of history,”^[2]. Decrying the “passing enthusiasms”^[3] of modernism, Stone asserted that “Architecture…should be timeless and convey by its very fiber the assurance of permanence…”^[4]

Stone's career enjoyed a dramatic turn when he was awarded the commissions for the United States Embassy in New Delhi, India and the United States Pavilion for the 1958 International Exposition in Brussels, Belgium. A cover story on Stone in the March 31, 1958 issue of Time^[5] magazine led to a series of important national and international commissions, and Stone's firm grew in size from 20 architects to over 200. No longer an intimate design atelier, Stone’s office became a stratified corporate entity and his work became uneven and formulaic.

Stone was generally shunned by the critical architectural community for his repudiation of pure modernist aesthetic, but his office was prominent and successful. Business Week called Stone the "Man with a Billion on the Drawing Board"^[6] and United Press International described him as "the most quoted architect since the death of Frank Lloyd Wright".^[7]

Stone continued to garner major architectural commissions into the early 1970s. The State University of New York at Albany, the John F. Kennedy Center for the Performing Arts in Washington, DC, the Standard Oil building in Chicago, Illinois and the Pakistan Institute of Nuclear Science and Technology, were notable examples of late phase work.

Stone married his personal assistant, Violet Moffatt in 1971 and retired from active practice in 1974.He died in New York City on August 6, 1978.^[8] His firm, Edward Durell Stone & Associates, continued to exist in various forms until 1993.

Legacy

Stone's life and career have received renewed attention due to the destruction and alteration of some of his buildings. Among these are the demolition of Busch Stadium in St. Louis, Missouri and a major alteration to the vacant Gallery of Modern Art building at 2 Columbus Circle in New York City. Interest in landmarking Stone's 2 Columbus Circle began in 1996, soon after the building turned thirty years old and became eligible for landmark designation. Robert A. M. Stern included it in his article " A Preservationist's List of 35 Modern Landmarks-in-Waiting" written for the New York Times. [1] [2] In 2004, the National Trust for Historic Preservation called it one of America's "11 Most Endangered Historic Places," and in 2006 it was listed as one of the World Monuments Fund's "100 Most Endangered Sites." Despite a serious preservation effort, The Museum of Arts & Design radically altered the building, which reopened in 2008.

Stone is survived by four of his five children. Stone’s youngest son, Hicks Stone is a practicing architect whose firm, Stone Architecture, LLC, is based in New York City. He is also currently writing his father's biography and a monograph of his work for Rizzoli International Publications. Stone’s eldest son, the late Edward Durell Stone, Jr., was the founder and chairman of EDSA, a planning, landscape architecture and urban design firm based in Fort Lauderdale, Florida.

Selected Works

• Radio City Music Hall, in Rockefeller Center, New York City, NY (with Wallace Harrison and Donald Deskey, 1932)
• Richard Mandel Residence, Mt. Kisco, NY (1933)
• Mepkin Plantation for Mr. and Mrs. Henry R. Luce, Moncks Corner, SC (1936, now Mepkin Abbey)
• Museum of Modern Art, New York City, NY (with Philip S. Goodwin, 1937)
• A. Conger Goodyear Residence, Old Westbury, NY (1938)
• Ingersoll Steel, Utility Unit House, Kalamazoo, MI (1946)
• El Panama Hotel, Panama City, Panama (1946)
• Fine Arts Center, University of Arkansas, Fayetteville, AR (1948)
• United States Embassy, New Delhi, India (1954)
• Phoenicia Hotel, Beirut, Lebanon (1954, altered 1997)
• Stanford Medical Center, Palo Alto, CA (1955)
• Bruno Graf Residence, Dallas, TX (1956)
• Main Library and Mitchell Park Branch Library, Palo Alto, CA (1956)
• Edward Durell Stone Townhouse, 130 East 64th Street, New York City, NY (1956)
• Stuart Pharmaceutical Co., Pasadena, CA (1956, partially demolished)
• U.S. Pavilion at the Expo 58, Brussels, Belgium (1957, partially demolished)
• First Unitarian Society Church, Schenectady, NY (1958)
• Gallery of Modern Art, including the Huntington Hartford Collection (now known as Museum of Arts & Design), New York City, NY (1958, altered 2006)
• International Trade Mart (now known as World Trade Center of New Orleans), New Orleans, LA (1959)
• Robert M. Hughes Memorial Library, Old Dominion University, Norfolk, VA (1959)
• Harvey Mudd College, Claremont, CA (1959)
• North Carolina State Legislative Building, Raleigh, NC (1960)
• Beckman Auditorium, California Institute of Technology, Pasadena, CA (1960)
• National Geographic Society Building, Washington, DC (1961)
• Ponce Museum of Art, Ponce, Puerto Rico (1961)
• State University of New York at Albany, Albany, NY (1962)
• John F. Kennedy Center for the Performing Arts, Washington, DC (1962)
• Prince George's Center (now known as University Town Center), Hyattsville, MD (1962)
• Busch Memorial Stadium, St. Louis, MO (1962, demolished 2005)
• Stuhr Museum of the Prairie Pioneer, Grand Island, NE (1963)
• Claremont School of Theology, Claremont, CA (1963)
• Davenport Public Library, Davenport, IA (1964)
• General Motors Building, New York City, NY (1964)
• Garden State Arts Center (now known as PNC Bank Arts Center), Holmdel, NJ (1965)
• Pakistan Institute of Nuclear Science and Technology, Pakistan's first nuclear reactor and University, 1965
• Georgetown University Law Center Bernard P. McDonough Hall, Washington, DC (1966)
• W.E.B. DuBois Library, University of Massachusetts, Amherst, MA (1966)
• Fort Worth City Hall, Fort Worth, TX (1967)
• PepsiCo World Headquarters Complex, Purchase, NY (1967)
• EcoTarium, Worcester, MA (1971)
• Standard Oil Building (now known as Aon Center), Chicago, IL (1972)
• First Bank Building (now known as First Canadian Place), Toronto, Ontario, Canada (1975)
• Florida State Capitol, Tallahassee, FL (1977)
• University of Alabama School of Law, Tuscaloosa, AL (1977)
• Government Center (Metrorail station), Miami, FL (1984)
• Museum of Anthropology, Xalapa, Veracruz, Mexico (1986)

Gallery

Stanford Medical Center, Palo Alto, CA	Stanford Medical Center, Palo Alto, CA	Main Library, Palo Alto, CA	Stuart Pharmaceutical Co., Pasadena, CA
Atrium, Stuart Pharmaceutical Co., Pasadena, CA	Edward Durell Stone Townhouse, New York City, NY	Harvey Mudd College, Claremont, CA	Beckman Auditorium, Cal Tech, Pasadena, CA
Ponce Museum of Art, Puerto Rico	John F. Kennedy Center for the Performing Arts, Washington, DC	General Motors Building, New York City, NY	Aon Center, Chicago, IL

Honors and Awards

Honorary Degrees:

• Doctor of Fine Arts, University of Arkansas, 1951
• Doctor of Fine Arts, Colby College, 1959
• Master of Fine Arts, Otis Art Institute of Los Angeles County, 1961
• Doctor of Fine Arts, Hamilton College, 1962
• Doctor of Humane Letters, University of South Carolina, 1964

Memberships and Honors:

• Medal of Honor, New York Chapter of the American Institute of Architects, 1955
• American Institute of Architects, Fellow, 1958
• National Institute of Arts & Letters, Member, 1958
• National Urban League, Trustee, 1958
• American Academy of Arts & Sciences, Fellow, 1960
• American Federation of Arts, Trustee, 1960
• Royal Society of Arts, Fellow, 1960
• National Institute of Social Sciences, Gold Medal, 1961
• Building Stone Institute, Architect of the Year, 1964
• Horatio Alger Award, 1971
• Commendatore Ordine al Merito della Repubblica Italiana [Commander, Order of Merit of the Italian Republic], 1971

Architectural Awards:

• Silver Medal, Architectural League of New York, 1937 - Guest House for Henry R. Luce, Mepkin Plantation, Moncks Corner, SC
• Silver Medal, Architectural League of New York, 1950 - A. Conger Goodyear Residence, Old Westbury, NY
• Gold Medal, Architectural League of New York, 1950 - Museum of Modern Art, New York City, NY (Phillip Goodwin, Associate)
• Gold Medal, Architectural League of New York, 1950 - El Panama Hotel, Panama City, Panama
• Honorable Mention, Architectural League of New York, 1952 - University of Arkansas Fine Arts Center, Fayetteville, AR
• Honor Award, American Institute of Architects, 1952 - University of Arkansas Medical Center, Little Rock, AR
• First Honor Award, American Institute of Architects, 1958 - Stuart Pharmaceutical Co., Pasadena, CA
• Award of Merit, American Institute of Architects, 1958 - U.S. Pavilion, Brussels, Belgium
• First Honor Award, American Institute of Architects, 1961 - U.S. Embassy, New Delhi, India
• Award of Merit, American Institute of Architects, 1963 - Community Hospital of the Monterey Peninsula, Carmel, CA
• First Honor Award, American Institute of Architects and American Library Association, 1963 - University of South Carolina Undergraduate Library, Columbia, SC
• Honor Award, American Institute of Architects, 1967 - Ponce Museum of Art, Ponce, Puerto Rico

See also

• Rockefeller Center
• Rockefeller family
• Museum of Modern Art

Bibliography

• Head, Jeffrey. "Unearthing Stone." Metropolis magazine, Urban Journal, January 2008
• Hunting, Mary Anne. "From Craft to Industry: Furniture Designed by Edward Durell Stone for Senator Fulbright." The Magazine Antiques, Vol. 165, No. 5 (May 2004): pp. 110–121.
• Hunting, Mary Anne. "Living with Antiques: The Richard H. Mandel House in Bedford Hills, New York." The Magazine Antiques, Vol. 160, No. 1 (July 2001): pp. 72–83.
• Ricciotti, Dominic. "Edward Durell Stone and the International Style in America: Houses of the 1930s." American Art Journal, Vol. 20, No. 3 (Summer 1988): pp. 48–73.
• Ricciotti, Dominic. “The 1939 Building of the Museum of Modern Art: The Goodwin-Stone Collaboration.” American Art Journal, Vol. 17, No. 3 (Summer 1985): pp. 51–76.
• Stone, Edward Durell. Edward Durell Stone: Recent and Future Architecture. New York: Horizon Press, 1967.
• Stone, Edward Durell. The Evolution of An Architect. New York: Horizon Press, 1962.
• Williams, John G. The Curious and the Beautiful. Fayetteville: University of Arkansas Press, 1984.

Notes and References

1. ^ The Record Reports: Meetings and Miscellany. Honors. Architectural Record: July 1955. Pg. 16.
2. ^ The Evolution of an Architect. p. 143.
3. ^ Ibid. p. 144.
4. ^ Edward Durell Stone: Recent and Future Architecture. p. 8.
5. ^ "More Than Modern." Time, 31 Mar. 1958, pp. 56-64.
6. ^ "Man with a Billion on the Drawing Board." Business Week, 8 Oct. 1966, pp. 124-131.
7. ^ "Glass Buildings Throw Stone." News Call Bulletin [San Francisco, Calif.], 25 Jul. 1962, p. 19.
8. ^ "Edward Durell Stone Dead at 76; Designed Major Works Worldwide; Started With Coveted Prize". New York Times. August 7, 1978. http://select.nytimes.com/gst/abstract.html?res=FA0D11F6345A11728DDDAE0894D0405B888BF1D3. Retrieved 2009-02-22. "Edward Durell Stone, one of the nation's premier architects, whose designs include such public buildings as the United States Embassy in New Delhi and the Kennedy Center in Washington, died yesterday in New York City. He was 76 years old." 

External links

• Finding Aid for the Edward Durell Stone Papers at The University of Arkansas, David W. Mullins Library, Department of Special Collections
• Finding Aid for the James Hicks Stone Papers at The University of Arkansas, David W. Mullins Library, Department of Special Collections
• The Edward Durell Stone entry in The Encyclopedia of Arkansas History & Culture by Robert L. Skolmen
• An Edward Durell Stone biography established and maintained by the State University of New York at Albany
• A detailed chronology of the efforts to preserve Two Columbus Circle prepared by the New York Preservation Archive Project
• Photographs of the Bruno and Josephine Graf house in Dallas, Texas

Two views on 2 Columbus Circle

• "Goodbye, 2 Columbus Circle" by Witold Rybczynski
• "She Doesn't Want to Be Helped" by Walt Lockley

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