The sign reads “Russian State Department of Buildings.”
Just as an example, consider the way Carrère and Hastings used what was then the relatively modern gizmo of the light bulb in their 1902 rotunda at Yale. C&H’s calculated eclecticism certainly represents the practice that the Modern Movement considered its antagonist, but here, their flexibility paid off. Without going into theatrical crassness, they play light and molding off of each other in a way that adds intensity to the conventional architectural manipulation of space and articulation. Light, for the designers of this space, was becoming a material and not just an condition taken for granted.
Where is this expansive, flexible attitude now?
Designed by Hartman+Cox before they went traditional, it’s pretty unremarkable – except that it shows an uncommon sensitivity to site particulars. In the picture, you can see that about 3/4 of each wall is window space and mullions. Elsewhere on the building, however, less than half of the floor height is glass. Why? The above side faces North-Northwest, with the angled shape exposing most of the wall area to due north. The primary energy problems with glass walls cresults from solar heat gain and glare, but daylighting can also save a lot of energy. On the north side of the building, where there is rarely any direct light, the offices can get some daylight but not catch too much heat.