It comprises South and North towers, which are joined by a three-story glass atrium.

Cultural critic Fredric Jameson used Skidmore, Owings and Merrill's Crocker Bank Center (as it was then named) as an example of what he sees as Postmodern architecture's "depthlessness": Nor is this depthlessness merely metaphorical: it can be experienced physically and literally by anyone who, mounting what used to be Raymond Chandler's Beacon Hill from the great Chicano markets on Broadway and 4th St. in downtown Los Angeles, suddenly confronts the great free-standing wall of the Crocker Bank Center (Skidmore, Owings and Merrill) -- a surface which seems to be unsupported by any volume, or whose putative volume (rectangular, trapezoidal?)

This great sheet of windows, with its gravity-defying two-dimensionality, momentarily transforms the solid ground on which we climb into the contents of a stereopticon, pasteboard shapes profiling themselves here and there around us.

From all sides, the visual effect is the same: as fateful as the great monolith in Kubrick's 2001 which confronts its viewers like an enigmatic destiny, a call to evolutionary mutation.

If this new multinational downtown ... effectively abolished the older ruined city fabric which it violently replaced, cannot something similar be said about the way in which this strange new surface in its own peremptory way renders our older systems of perception of the city somehow archaic and aimless, without offering another in their place?