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Mies' and Johnson's Seagram Building excludes functions other than offices (except on the ground floor in back), and by using a similar wall pattern camouflages the fact that at the top there is a different kind of space for mechanical equipment.
Robert Venturi, Complexity and Contradiction in Architecture (1966), p. 38-9.

Yamasaki's project for The World Trade Center in New York even more exaggeratedly simplifies the form of an enormous complex. The typical office skyscrapers of the '20's differentiate, rather than camouflage, their mechanical equipment space at the top through architecturally ornamental forms.
Robert Venturi, Complexity and Contradiction in Architecture (1966), p. 39.

While Lever House includes differently-functioning spaces at the bottom, it exaggeratedly separates them by a spatial shadow joint.
Robert Venturi, Complexity and Contradiction in Architecture (1966), p. 39.

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