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From the Publisher"A paean to nickel burgers and the men who sold them. The two authors,both at one time associated with Robert Venturi, have taken a single element out of the urban strip treated in Learning from Las Vegasthe hamburger jointand analyzed its permutations.... White Towers combines provocative thinking about corporate use of architectural symbolism with a series of startlingly beautiful photographs." The Nation
"Hirshhorn and Izenour's slender, modest sized format book, first published in 1979... is a glorious celebration of architecture, design iconography and proxemics all beautifully depicted in black and white photographs." New York-Pennsylvania Collector
" White Towers provides a stylish and nostalgic view of the beginnings of the fast-food industry.... From its beginnings in the 1920s to the present day, White Towers treats this pop emblem of American iconography in a justifiably serious yet amusing manner." New York Times Book Review
"In 1970 Paul Hirschorn and Steven Izenour, young architects in the office of Venturi and Rauch, sensed 'roadside awareness... in the air.' As they traveled... they noticed the 'gleaming little white buildings' of the White Tower eateries and began to photograph them. Their interest grew serious when a chance conversation at a Camden, New Jersey, White Tower counter led them to Charles J.
Johnson, the chain's principal architect. Given access to the firm's records and photographic archives, the two decided to collaborate on a serious study of the design of the White Tower. What emerged is a fascinating case study of a commercial building type." Helen Lefkowitz Horowitz Landscape
"The authors like these buildings, and they like them without illusions.
They understand how inventive the architects of White Towers were in molding the imagery of a tiny white castle into a variety of different shapes and forms, and we end up realizing what a pleasing body of work this collection of buildings isbest of all in the late thirties, when every White Tower was an earnest little gem of Art Moderne." Paul Goldberger The New York Times