Nexus Netw J (2015) 17:759–783

DOI 10.1007/s00004-015-0270-8

RESEARCH

Architectural Doughnuts: Circular-Plan Buildings,

with and without Courtyards

Philip Steadman1

Published online: 3 September 2015

 Kim Williams Books, Turin 2015

Abstract An ‘architectural doughnut’ is a building with a plan consisting of two

concentric circles. Two types are distinguished: the ‘ring doughnut’ where the
central circle is a courtyard, and the ‘jam doughnut’ where some important central
space (the ‘jam’) is surrounded by a ring of smaller spaces (the ‘dough’). The main
emphasis is on the second type. A series of historical examples is discussed
including locomotive roundhouses, Panopticon prisons, hospital wards, parking
garages and offices. The ratio of the diameters of the circles is shown to be
important for the functioning and even the feasibility of ‘jam doughnut’ plans,
depending on the activity housed. In several of the case studies the doughnut shape
results in serious inefficiencies in the use of space. Such plan types were soon
abandoned. Geometrical data on all the examples are presented in a ‘morphospace’
or world of possible doughnut plans.

Keywords Circular-plan buildings
Panopticon
Prisons
Parking

garages
Hospitals
Offices
Radial plans

Introduction

By an ‘architectural doughnut’ I mean a building with a circular plan shape. There

are two types of architectural doughnut. The first type is the ‘ring doughnut’
(geometrically a torus) with a courtyard at the centre. Figure 1 shows two examples:
the Narrenturm, an eighteenth-century hospital for the confinement of the mentally
ill in Vienna, and offices for the Apple computer company, under construction in

& Philip Steadman

j.p.steadman@ucl.ac.uk
1
Energy Institute, University College London, Central House, 14 Upper Woburn Place, London
WC1H 0NN, UK
760 P. Steadman

Fig. 1 Two ‘ring doughnut’ buildings. The Narrenturm, Vienna 1784, a hospital for the confinement of
the mentally ill, from Dieter Jetter, ‘Die psychiatrischen krankhaüser als Anstalten besonderer Art’,
Confinia Psychiatrica 9 (1966), p. 208 (courtesy S Karger AG, Basel); and the Apple Inc office campus at
Cupertino CA, architects Foster and Partners, under construction in 2015 (courtesy Foster and Partners)

2015 at Cupertino, California. The second type is the ‘jam doughnut’ (geometrically
a cylinder) in which there is no central court. Instead the plan consists of some
central space or function—the ‘jam’—surrounded by subsidiary spaces—the
‘dough’. An intermediate type has a central circular atrium rising the entire height
of the building. The Italian architect Vittorio Bonadè Bottino built four hotels and
hostels on this plan in the 1930s, with internal helical ramps giving access to the
rooms (Bevilacqua 2015).
One functional difference between the ‘ring doughnut’ and ‘jam doughnut’ types
has to do with the available patterns of visibility in each case. If a circular building
without a courtyard has a completely open plan, then all points in the interior are
visible from all other points. This is a general property of convex shapes. Circular
plans have appealed to some architects who have wanted many peripheral spaces or
positions to be observable from a central vantage point, as we shall see. Annular
buildings with open plans by contrast have the property that there is no position
from which the whole of the interior is visible at once—assuming that one cannot
see across the courtyard and through windows on the far side, which in practice one
usually cannot. Ring-shaped corridors—as in the Narrenturm—can be disorienting
since they present much the same view at every point in the circuit.
I propose to concentrate on the ‘jam doughnut’ type.1 We can represent the
generic plan schematically as two concentric circles, the central circle representing
the ‘jam’, and the outer ring representing the ‘dough’ (Fig. 2). On any given floor,
the ratio of the areas of the ‘jam’ and the ‘dough’ depend, obviously, on the
diameters of the two circles. This ratio, and the absolute diameter values, can be
important for the functioning of different building types having this type of plan,
and can indeed decide whether a ‘doughnut’ plan is suitable or feasible in the first

1
The analogy with patisserie is not perfect. Sometimes the central ‘jam’ is the more important part of the
plan, at other times the peripheral ‘dough’.
Architectural Doughnuts: Circular-Plan Buildings… 761

Fig. 2 Diagrammatic plan of a

‘jam doughnut’ building, as two
concentric circles

place. I discuss a series of examples below, for which diagrammatic plans are given
to a standard scale in Table 3.
The present paper pays distant homage to some work done by Lionel March with
Leslie Martin at Cambridge in the 1970s, in which they investigated the geometrical
effects and relative merits of placing buildings around the peripheries of sites,
compared with concentrating development at the centres of sites (Martin and March
1972). They made reference in this work to the configuration of the Fresnel lens in
optics, which is made up of many concentric ring-shaped elements. Martin and
March drew a Fresnel pattern as a set of concentric squares, not circles, each ring
having the same area as the central square (Fig. 3). The pattern was used in the logo
of the Centre for Land Use and Built Form Studies, set up in 1967 at the Cambridge
University Department of Architecture, of which March was the first director. Here
the area of the black ring on the left is equal to the area of the central black square
on the right (Fig. 4). The research using the Fresnel principle was focused on the
urban design scale. This present paper transfers similar considerations to the scale of
the single building. Martin and March’s theoretical patterns were rectangular. My
doughnuts are (mostly) circular—although I will make brief mention of a few
rectangular doughnut buildings.
Buildings with circular plans are relatively rare in the building stock. I have
argued elsewhere that the majority of buildings show a predominantly rectangular
geometry in plan, because of the great flexibility that this allows for packing
together many spaces of different dimensions and proportions (Steadman 2006).
Certain buildings escape these constraints of two-dimensional packing however,
because they consist of just one large open space, or one large central space with
some smaller spaces attached around the periphery. The examples of ‘jam
doughnuts’ described here fall into those categories.
Circular-plan buildings without courts are found in a wide range of sizes. At the
lower end of the scale are vernacular huts like the bories of the Vaucluse region of
France, or the Italian trulli of Apulia, both of them typically two or three metres in
diameter. Towards the upper end of the size range are the roundhouses that were
built as railway engine sheds and maintenance depots in the nineteenth and
twentieth centuries. The Camden Town roundhouse in London—now converted to
an entertainment venue—has a diameter of 50 m.
762 P. Steadman

Fig. 3 Fresnel pattern of

concentric squares. The area of
each ring is the same as the area
of the central square. Image:
from Leslie Martin ‘The grid as
generator’ (Martin and March
1972: 19), reproduced by
permission of Lionel March

Fig. 4 The logo of the Centre for Land Use and Built Form Studies, set up in 1967 at the Cambridge
University School of Architecture, designed by Philip Steadman. The areas of the black ring and the black
square are the same

The interiors of the small houses tend to be open and undivided. The plans of
larger circular buildings can also be completely open—like the railway round-
houses. Where there are smaller spaces wrapped around in a ring, these are typically
wedge-shaped, approximating to rectangles if their number is large. Even where
peripheral spaces are not walled off, there may still be positions around the outer
wall occupied by furniture, machines or equipment. In circular prisons there are
positions for cells, in hospital wards for beds, in multi-storey garages for cars. In the
railway roundhouses there are positions for locomotives.

Railway Roundhouses

The roundhouse provided parking spaces for railway engines under cover, where
they could be maintained and prepared. There was a central turntable, which was
used for moving the engines onto short lengths of track radiating out from the
centre. The Camden Town roundhouse had a turntable with a diameter of 11 m, and
Architectural Doughnuts: Circular-Plan Buildings… 763

Fig. 5 Interior view of the Camden Roundhouse, built as a locomotive shed and now an entertainment
venue. Image: Illustrated London News, 4 December 1847

19.5 m lengths of track for parking the locomotives (Fig. 5). One engine was moved
at a time, and the radial sections of track could be packed tightly around the edge of
the turntable. Each had the standard British railway gauge of 1.435 m (4 ft 8‘ in),
allowing for twenty-four positions in the full circle, one of them the access track. (In
other roundhouses there were separate tracks for entrance and exit.)
The length of a standard locomotive fixed the diameter of the turntable. This
same dimension—with some extra allowance for track immediately adjoining the
turntable—fixed the width of the outer ring. The space for each parked locomotive
was wedge-shaped; but because locomotives are long and thin, not too much space
was wasted. The diameter of the turntable determined the number of tracks—hence
number of engines—that could be fitted in the ring. The length and width of the
typical railway engine thus determined the dimensions of the entire plan.
In the twentieth century, roundhouses were largely abandoned in favour of
rectangular engine sheds. I have not seen the reasons discussed in the somewhat
sparse and specialised history of the type (for example Halberstadt and Halberstadt
1995). The Camden roundhouse fell out of use because locomotives were made
longer. One might speculate about other causes. The number of engines
accommodated around the ring could not be increased. Perhaps the single-track
entry and exit slowed down operations, and rectangular sheds with many parallel
tracks allowed for speedier and more flexible deployment of the engines.
The railway roundhouse thus provides a historical example of a ‘jam doughnut’
where the dimensions of both ‘jam’ and ‘dough’ were more or less fixed by the
function. In other building types, these dimensions could be varied.
764 P. Steadman

Panopticon Prisons

At the end of the eighteenth century the political philosopher and penal law
reformer Jeremy Bentham and his brother Samuel conceived of a new kind of prison
with a circular plan, the Panopticon (‘everything seen’) (Bentham 1791; Steadman
2007, 2014: Ch. 9). The Benthams wanted the governor and staff of the Panopticon
to be able to watch the prisoners continuously, day and night. This implied a ring of
cells whose fronts were barred (the ‘dough’), observed from the ‘inspector’s lodge’
at the centre (the ‘jam’).
Bentham’s initial plan of 1787 was for a four-storey cylindrical building with
fifty cells on each floor (Fig. 6). The cells were narrow, intended for single
prisoners, and had large windows so that the convicts’ movements would be clearly
silhouetted against the light. In Michel Foucault’s words, the cells ‘‘…are like so
many small theatres, in which each actor is alone, perfectly individualised and
constantly visible’’ (Foucault 1977: 200). It is just possible that the Benthams drew

Fig. 6 1787 design for a Panopticon penitentiary by Jeremy Bentham. The drawing combines a half-
plan, a half-section and a half-elevation. Image: (Bentham 1796: Plate I)
Architectural Doughnuts: Circular-Plan Buildings… 765

some inspiration for the Panopticon from another contemporary type of cylindrical
building whose purpose was to display large 360 panoramic paintings of
landscapes, cityscapes or battle scenes (Comment 2000). Panoramas of this kind
were patented by Robert Barker in the same year, 1787, in which Jeremy Bentham
published his first prison design. In both cases the cylindrical geometry was
determined by the basic desire to have observers completely surrounded by what
was observed—prisoners in the one case, paintings in the other. Panoramas became
a popular form of entertainment in the nineteenth century. It has to be said however
that, although mocking commentators in the press referred to the Panopticon as a
‘penal panorama’, there is no mention of Barker’s invention anywhere in Jeremy
Bentham’s writings on prisons.
Measurements of Bentham’s 1787 drawings give a diameter for the whole plan of
25 m, and a depth for each cell of 4 m. This means that the ring of cells takes up
roughly half of total floor area. The remaining space between cells and the
inspector’s lodge has to be left completely empty, since any structures here would
block the guards’ views. Clearly the design pays a high price in space used for
nothing but looking.
The Bentham brothers’ second, further-developed scheme of 1791 was for a six-
storey building with a ring of twenty-four cell positions, each measuring 4 m wide
by 4.7 m deep (Fig. 7). These larger cells were intended for two, three or four
prisoners rather than solitary confinement as in the 1787 design. Five of the cell
positions are occupied by administrative functions, in what Jeremy calls—
strangely—the ‘dead part’ of the building. The cell layout is comparable to that
in the 1787 scheme, and the central hall still accounts for nearly half of total floor
area. Jeremy and his architect Willey Reveley, perhaps realising this waste of space,
decided to position several structures in the centre, including raked seating for those
attending divine worship, and three ‘annular galleries’ around which the guards
were to circulate, and from which they were to survey the cells. All this meant that
the 1791 design was arguably not a true Panopticon: there was no longer a single
central position from which all the cells could be observed. Jeremy never got his
scheme built, despite 20 years of lobbying and much personal expense (Semple
1993). A few other Panoptical prisons were however constructed later, following the
general lines of the Benthams’ designs, where the central halls were indeed left
almost completely empty.
The largest and best known of these is Stateville Penitentiary (today Stateville
Correctional Center) near Joliet, Illinois, designed by the architectural firm of
William Carbys Zimmermann and built between 1916 and 1924 (Fig. 8). Eight four-
storey rotundas were planned, of which four were completed. The single-person
cells were just 2 m wide, and there were sixty-four cells in the complete circle. At
the centre was a small glazed guard tower, and nothing else. Alfred Hopkins in his
book on Prisons and Prison Building described the Stateville hall as ‘‘…the most
awful receptacle of gloom ever devised’’ (Hopkins 1930: 43). There was a further
operational failing that was quite as serious as the waste of space. The guards at the
centre could see all the convicts. But at the same time the convicts could see all the
guards. There was no possibility of the guards approaching the cells by stealth and
766 P. Steadman

Fig. 7 1791 design for a Panopticon penitentiary by Jeremy Bentham and Willey Reveley with Samuel
Bentham. The drawing combines a half-plan, a half-section and a half-elevation. Image: (Bentham 1843:
Plate II following p. 172)

surprising the occupants in any wrongdoing. For these and other reasons, all but one
of the Stateville rotundas have since been demolished.
The Panopticon was thus a failure as a model for prison design. By contrast the
type that succeeded it in the nineteenth century and came to be reproduced in large
numbers around the world was the ‘radial prison’, of which the Eastern State
Architectural Doughnuts: Circular-Plan Buildings… 767

Fig. 8 Stateville Penitentiary near Joliet, Illinois, USA, William Carbys Zimmermann architect,
1916–24; interior of a circular cell block. Photo: courtesy Illinois Department of Corrections

Penitentiary in Philadelphia and Pentonville in London (Fig. 9) were the first

examples. These buildings consisted of long straight cell blocks radiating out from
central observatories to create starfish-shaped plans. Oversight was again absolutely
key to the layout. However the radial prisons sacrificed Bentham’s goal of
continuous supervision of the interiors of the cells, and put solid walls and closed
doors with peepholes on the fronts of the cells. Now the guards could approach the
cells in stealth and look in suddenly on the prisoners without warning. Meanwhile
the huge circular hall of the Panopticon could be collapsed into a series of elongated
rectangular halls. The whole of each hall could be watched from the observation
point at the focus. Should the patrolling guards run into trouble, this could be seen
from the centre, and reinforcements could be sent.
The Panopticon, in its various built and un-built versions, was thus an example of
a ‘jam doughnut’ in which the width of the ring of cells (the ‘dough’) was variable
only within narrow limits. Depending on the number of cells in the ring and their
dimensions, this resulted in different areas for the ‘jam’ of the inspector’s lodge and
the open space around it. I have made a series of theoretical designs of increasing
size and number of cells, where the cell sizes are standardised throughout at 4 m
wide by 4.7 m deep, as in the Benthams’ 1791 scheme. Table 1 gives dimensional
statistics: the external radius of each building, the floor area of the central hall and
observatory, the total floor area of the cells, and these areas as percentages of total
floor area. The scheme with twenty-four cells approximates to the 1791 Panopticon.
See how the cells make up 52 % of total area. With more cells this proportion
reduces further.
768 P. Steadman

Fig. 9 Pentonville Model Prison, north London, Joshua Jebb engineer, 1840–2; axonometric view.
Image: (Jebb 1844: 133)

Table 1 Plan areas devoted to cells and the central hall in one-storey Panopticons of increasing size
Number External Area of Hall as % of Area of Cells as %
of cells radius (m) hall (m2) total area cells (m2) of total area

24 15.3 353 48 400 52

32 20.4 774 59 533 41
40 25.5 1359 67 684 33
48 30.6 2107 72 835 28

The plan with 24 cells is Bentham’s 1791 design

Stateville had sixty-four cells in the ring, but these were only 2 m wide, so its
plan is roughly comparable with the thirty-two-cell example in Table 1. However
the cells were also shallow, with the result that collectively they represented just
26 % of total floor area. By comparison, at Pentonville the equivalent figure is
62 %. This was presumably a major consideration for the authorities at Stateville,
when they replaced the demolished Panoptical rotundas with a rectangular cell
block on the Pentonville model.

Circular Hospital Wards

Jeremy Bentham never mentions this issue of wasted space anywhere in his copious
writings on the Panopticon. A similar question was however debated at length at
conferences and in print in connection with hospital wards, and with the idea put
Architectural Doughnuts: Circular-Plan Buildings… 769

forward by the surgeon John Marshall in the 1870s that circular plans might have
several advantages over the elongated rectangular design of ward that was then
standard. The ‘pavilion’ hospital of the second half of the nineteenth century was
made up of rectangular ‘Nightingale wards’, whose measurements in plan were
typically 9 by 40 m (Fig. 10). This allowed room for thirty-two beds. (The length
was not absolutely fixed, and varied considerably in practice.) These wards were
then spaced widely apart in order to provide the best possible natural ventilation,
since the causes of many diseases were thought to lie in ‘miasma’ or polluted
‘hospital air’, which needed to be blown away (Steadman 2014: Ch. 3).
Marshall gave a paper to the Social Science Association ‘On a circular system of
hospital wards’ (Marshall 1878). The fact that the pavilion ward block was set so far
away from its neighbours meant that it did not strictly have to be rectangular to fit
with other parts of the hospital, and for that reason was free to take different shapes.
Marshall argued that a circular plan would free up the ward’s ‘frontage’. It would
have no ‘blank ends’, and ‘‘… would receive light, air and wind from every
direction.’’ It would also avoid angles and corners where dirt and stale air might be
trapped.
Marshall provided a worked example, comparing a circular ward against a
rectangular ward with the same number of beds and the same bed spacing. His
calculation showed—as we might expect—that the circular design required much

Fig. 10 A typical thirty-bed Nightingale ward in a nineteenth-century pavilion hospital; axonometric

view. Drawing: Author
770 P. Steadman

more floor area than the rectangular. Marshall however ignored the cost implication
and saw the extra space as a benefit, offering amongst other things a greater volume
of air per patient. He thought that nurses would find supervision easy; indeed one
might have expected him to station them at the centre of the ward. Marshall
however envisaged that the central point would be the place for the open fires and
the (thermal) ventilation extract. Jeremy Taylor, who has written a history of these
buildings, points out that strangely there is no mention of Panoptical surveillance in
the entire published literature on circular wards (Taylor 1988).
The circular plan was taken up enthusiastically in the early 1880s by a number of
English hospital architects, who saw other merits besides those that attracted
Marshall. Figure 11 shows a scheme for a thirty-two-bed ward for an infirmary by
Henry Saxon Snell. The advantages included a supposed simplicity of construction,
and the possibility that a flat roof could serve as a terrace for convalescents. Several
designers were drawn by the aesthetic potential of the form, and published schemes
with conical roofs suggestive of French chateaux, or with circular classical arcades.
A number of built examples exploited the fact that a small round tower could be
fitted into the corner of a tight site where an existing hospital was being extended.
However Saxon Snell, who was previously a supporter, changed his views and
launched a counter-attack on Marshall in a paper to the Congress of the Sanitary
Institute of Great Britain (Snell 1885). His main arguments were to do with the
capital and running costs of the unused space at the centres of large circular wards. I
have made some schematic designs to illustrate Snell’s general argument. I have
laid out four circular wards with eight, twelve, sixteen, twenty-four and thirty-two
beds (Fig. 12). The length of wall against which one bed is set is 2.4 m throughout,
as in the standard Nightingale ward. The beds are 2 m long. Two extra ‘bed spaces’
are allowed for doors. Dimensional statistics for these alternatives are given in
Table 2.

Fig. 11 Scheme for a thirty-two-bed circular ward by Henry Saxon Snell 1881. Nurses’ rooms are at the
left, and a bathroom at the right. Image: (Snell 1881)
Architectural Doughnuts: Circular-Plan Buildings… 771

Fig. 12 Theoretical circular ward plans with eight, twelve, sixteen, twenty-four and thirty-two beds. The
length of wall against each bed is set is 2.4 m. The beds are 2 m long. Two extra ‘bed spaces’ are allowed
for doors

The expense of space in the twenty-four- and thirty-two-bed designs is very

obvious. If we take the standard rectangular thirty-two -bed Nightingale ward and
compute the floor area per bed, we obtain a value of 11 m2. The figure for my thirty-
two-bed circular ward is 16.6 m2. The eight- and twelve-bed designs are more
economical, but their plans illustrate different issues, to which Snell and other
critics pointed. The feet of the beds are now very close together—nearly touching in
the eight-bed case—and there is little room for manoeuvre between and around
772 P. Steadman

Table 2 Plan areas devoted to beds and the central circulation space in circular wards of increasing size
(compare Fig. 12)
Number External Area of Circulation as % Area for Beds as % of
of beds radius (m) circulation (m2) of total area beds (m2) total area

8 3.8 10.2 23 35.2 77

12 5.4 36.3 40 55.3 60
16 6.9 75.4 50 74.2 50
24 9.9 196.1 64 111.8 36
32 13.0 380.1 72 150.8 28

them. In most of the smaller circular wards that were actually constructed the beds
were set further apart than this.
There were further potential problems with bigger circular ward plans, arising
from their great depth in plan. Compared with the shallow 9 m depth of the standard
rectangular ward, my twenty-four- and thirty-two-bed circular designs have
diameters of 20 and 26 m. It would have been very difficult to achieve through-
ventilation in a building of this depth, and the centre would have received little
daylight. Conditions on the south side of the plan could have become uncomfortably
hot in summer, something that the rectangular Nightingale ward generally avoided
by orienting the window walls east and west. In any event the fashion for circular
wards lasted barely two decades, and just nine small schemes were built. Here is
another example, like the Panopticon, where the intrinsic waste of space in the
centre of the plan—together with other defects—led to the type’s abandonment.

High-rise Car Parks

From the early 1920s a quite unprecedented new type of building began to appear in
the major cities of the United States: the multi-storey parking garage. Here too
architects and engineers imagined, at least initially, that circular or regular
polygonal plans might be appropriate—the repeated spatial units now being the
parking bays. Georg Müller, the German author of the first book on high-rise
parking structures, reproduces drawings of two un-built schemes of the mid-1920s
(Müller 1925). These are illustrated in Fig. 13. In both cases cars are to be driven up
helical ramps and parked in bays alongside the ramps. Separate up and down ramps
are needed. There is a minimum allowable curvature for the ramps, because of the
turning circles of automobiles, which means that in these designs the ramps have to
be wrapped around some central element. In the first design the two ramps are
wound round a light well, with the parking spaces between the ramps. This is a ‘ring
doughnut’ garage. In the second ‘jam doughnut’ plan there are again two ramps,
around the outer perimeter. A platz (atrium) occupies the centre of the plan.
It is clear that, like the railway roundhouse, the dimensions of these buildings are
determined by the size of the vehicles (or, more precisely, by the dimensions of the
largest cars to be parked) and the sharpest allowable turning circle on the ramps.
Architectural Doughnuts: Circular-Plan Buildings… 773

Fig. 13 Two German schemes for circular-plan multi-storey garages of the mid-1920s. Images: (Müller
1925: Figs. 89 and 90, p. 51; Figs. 96 and 97, p. 53)

This latter constraint means that ramps cannot occupy the very centre of the plan—
hence the central light well in the first plan, and the atrium in the second.
Parking garages are utilitarian structures in which two overriding goals in design
are to minimise the cost of construction and to maximise the number of parking
spaces on the given site area. The more cars that can be parked for a given area of
access ramp and/or access aisle, the lower the capital costs, and (in commercially-
run garages) the greater the profits—so long as a smooth flow of cars in and out can
be maintained. Experience with several different types of ramp garage in the 1920s
and 1930s proved to their designers, relatively quickly it appears, that one particular
design was most efficient on these criteria: a layout with split-level floors and half-
length straight ramps, creating helical entry and exit routes (Fig. 14). Dietrich Klose
(1965), in his encyclopaedic study of Multi-Storey Car Parks and Garages, quotes
figures of between 25 and 31 m2 gross area per car for such rectangular garages of
the 1950s and early 1960s.
By comparison the first of the circular German garage schemes has a gross floor
area per car of 108 m2—in part because the parking bays are excessively large. For
the second scheme, if we consider just the outer zone with the ramps and their car
spaces, the figure is 115 m2. The main reason that these figures are so big is because
in both cases ramps are positioned on the outside of the parking bays. The width of a
774 P. Steadman

Fig. 14 a Theoretical design for a multi-storey garage with split-level floors and half-length ‘D’Humy’
ramps, axonometric view. Drawing: Author. b An interior view of a garage of this type built by the Ramp
Buildings Corporation in the early 1920s. Image: (Müller 1925: Fig. 48, p. 35)

ramp is fixed, and the greater the diameter, the greater the ramp’s area. It would
have been more sensible to put the ramps inside the ring of car spaces.
Indeed this was what was done in one of the very few cylindrical car parks ever
built: Marina City in Chicago, completed in 1962, and designed by Bertrand
Goldberg Associates (Fig. 15). Marina City has two sixty-five-storey circular-plan
towers, of which fifteen storeys provide parking on a continuously sloped helical
floor. The whole of this part of the structure is a ramp, and the cars are parked on the
outer edge of the sloping floor. There are thirty-two car spaces around the periphery
in each turn; up and down ramps in a middle ring; and at the centre a service core
with elevators and stairs. Above these are forty storeys of apartments.
The overall diameter of the plan (32.5 m) is thus a compromise between the
constraints on the dimensions of both the parking floors and the apartment floors,
meaning that the apartment plans are rather deep (11.4 m not counting the
balconies) and have internal kitchens and bathrooms (Fig. 16).2 On the parking
floors the gross area per car is 30.4 m2. (This counts the service core, which would
be necessary even if there were no apartments.) Marina City thus comes close to the
figures for gross area per car achieved by rectangular garages around this same
period. Construction costs for the helical floor were on the other hand probably
higher than for the flat floors and short straight ramps of standard split-level
commercial garages.

‘Park at Your Desk’ Offices

This is a paper about circular buildings. But it is worth noting that similar issues
about wrapping strips of accommodation around central cores can arise with square
or near-square buildings. Staying with the car parking theme: in 1950 the architect
2
The parking floors in Marina City are cantilevered, and have an overall diameter of 32.5 m. The
apartment floors have a diameter (not counting the balconies) of 30.4 m.
Architectural Doughnuts: Circular-Plan Buildings… 775

Fig. 15 Marina City, Chicago, architects Bertrand Goldberg Associates, 1962, general view, and plan of
one parking floor. Images: photo, Hedrich Blessing, Chicago History Museum; plan, courtesy of the
Bertrand Goldberg Archive, Art Institute of Chicago

Fig. 16 Marina City, Chicago,

plan of an apartment floor.
Image: plan, courtesy of the
Bertrand Goldberg Archive, Art
Institute of Chicago

Leroy L. Warner took high-rise garage design into new territory in the Cafritz office
block in Washington DC, with the slogan ‘Park at Your Desk’ (Baker and Funaro
1958: 90–91). At the centre of this building is a multi-storey car park with helical
776 P. Steadman

Fig. 17 The Cafritz office building, Washington DC, architect Leroy L. Warner, 1950; plan and cut-
away perspective. The building was marketed with the slogan ‘Park at Your Desk’. Image: (Baker and
Funaro 1958: 90–91)

ramps and parking places off the ramps, like a squared-up version of the German
circular-plan garages (Fig. 17). Set around the car parking is a ring of relatively
shallow day-lit offices. Workers can drive into the building, drive up to their floor,
park, and walk the last few metres to their desks. (One wonders about air quality in
the offices.)
Warner built another block of similar design, also in Washington, the Universal
South Building of 1959. Both this and the Cafritz Building survive. Their example
has not however been generally followed. I suspect two causes, both intrinsic to the
basic geometrical strategy of wrapping the car parking around the ramps, and
wrapping the offices round the parking. First, the small square plan of the garage
produces a relatively high figure for the gross area per car (including ramps) of
34 m2. Second it is unlikely that there were enough parking spaces, even at the
outset, to meet the building’s needs. The total gross area of office space on each
floor is 2200 m2. Just for the sake of illustration let us assume a rough allocation of
15 m2 per occupant, a figure typical for middle management in the 1950s. This
would imply some 150 people per floor, for just 29 car places. Office area and
parking area were seriously mismatched. The Cafritz and Universal South Buildings
are constrained by their downtown positions, but other contemporary American
office buildings on larger sites which also combined parking with offices in the one
structure tended to put the cars in a series of deep-plan podium floors (or perhaps
below ground) with the offices in a shallow-plan block above.

Offices, Naturally Lit and Ventilated, or Air-conditioned

The tower housing the headquarters of Capitol Records in Los Angeles, completed
in 1956, is claimed as the world’s first office building with a circular plan. The
architects were Welton Becket and Associates, who based the design on sketches by
a graduate student, Lou Naidorf, who had just joined the practice. The word ‘iconic’
Architectural Doughnuts: Circular-Plan Buildings… 777

is used lazily and indiscriminately today in connection with high-rise offices, but the
Capitol Records building is truly iconic, its form resembling a stack of vinyl discs
on the spindle of a 1950s record player. The tower comprises thirteen storeys and
has an external diameter of 29.5 m.3
We can contrast Capitol Records with Australia’s first true skyscraper at Australia
Square in Sydney, completed in 1967, which also has a circular plan (and which its
owners inevitably describe as ‘iconic’) (Fig. 18). This building comprises fifty storeys
and has an overall diameter of 44.5 m. The architects were Harry Seidler and
Associates. Both these office towers, and others like them, are ‘doughnuts’ in which
the ‘dough’ is a ring (or two rings) of offices, either cellular or open plan, and the
‘jam’ is the service core containing lifts, staircases and restrooms.
The size of the core is related to the height of the building, since this determines
the number of lifts needed. Capitol Records has three lifts; the Australia Square
tower has seventeen. The depth of the ring of offices is determined by methods of
lighting and ventilation. In the late nineteenth and early twentieth centuries it was
generally agreed that the effective limit of depth away from the window walls for
offices to be lit and ventilated naturally was around 7.5 m (25 ft) (Corbett 1924).
This figure is in part dependent on the ceiling height, which in day-lit offices of that
period was typically 3–4 m. Modern methods for calculating the energy and
environmental performance of offices have taken twice the ceiling height (i.e.,
typically 6 or 7 m) as the depth of this ‘passive zone’ around a building’s perimeter
(Fig. 19). Space further away from the windows is assumed to require permanent
artificial lighting and air conditioning (see Baker et al. n.d.)
The band devoted to office rooms in the Capitol Records building is 7.75 m deep,
and so could in principle have been naturally lit throughout, and perhaps (just)
ventilated naturally. But this would have required open planning, or one ring of
elongated cellular offices: as actually laid out there are two concentric rings of
offices. The inner ring is for clerical workers, and borrows light from the outer ring
of professional offices. The Los Angeles sun is strong, the building is exposed, and
air conditioning was thought necessary from the start. In other circumstances and a
different location a building of this form but with a slightly shallower plan and one
row of offices might have dispensed with air conditioning.
The Australia Square tower is also air-conditioned, and exploits this fact to lay
out a band of offices, again two rooms deep, with a total depth of 12.1 m, well
beyond the limit for natural lighting and ventilation. On a larger site, this dimension
might have been increased yet further, allowing even more open-plan office area
behind the peripheral ring of cellular offices.
The ratio of these dimensions of ‘dough’ and ‘jam’ results in different
percentages of total floor area that is ‘lettable’ (i.e., excluding the area of core and
circulation). This figure is of major economic concern to developers. In office
buildings with circular plans, the ratio is controlled by two constraints, as we have
seen. The first constraint is the diameter of the core, which increases with the height
of the building. The second is the depth of the office ring, which cannot exceed 7 or

3
It is interesting to note that the overall diameter of Capitol Records (29.5 m) is very close to the
diameter of the apartment floors at Marina City (30.4 m).
778 P. Steadman

Fig. 18 The office tower of Australia Square, Sydney, architects Harry Seidler and Associates, 1967;
a general view; b plan of an office floor. Photo and drawing courtesy of Australia Square
Architectural Doughnuts: Circular-Plan Buildings… 779

Fig. 19 The ‘passive zone’

around the perimeter of a
commercial building defined for
the purposes of the LT
environmental and energy
calculation method. The width
of the zone is typically twice the
storey height. Image: (Baker
et al., n.d.)

8 m if the building is to be naturally lit and ventilated, but can be increased where
air conditioning is used.
For Capital Records, whose offices are of a depth that could be naturally lit and
ventilated, lettable area is around 87 % of total area. In Australia Square the ring of
air-conditioned offices is deeper; but the core is also deeper since the building is
taller. As a result, lettable area is close to 78 % of total area. For comparison:
measurements on a small sample of rectangular-plan office buildings of the 1950s
and 1960s, of varying heights and sizes, give figures between 62 and 90 % for net
useable or lettable area. The figure tends to fall as buildings get larger. There is no
evidence therefore, at least on this basis, that circular office plans are more or less
‘efficient’ in these terms than rectangular plans.

Circular Plans in General

There are some generic issues arising in the planning of all circular buildings that do
not occur with rectangular plans. The curved walls and non-orthogonal corners of
any smaller spaces around the periphery present difficulties for the placing of
rectangular furniture. The skyscraper at 30 St Mary Axe in London, designed by
Foster and Partners, whose tapering vegetable profile has earned it the nickname of
the Gherkin, might be expected from the exterior to have circular floors. In fact the
floors have the shape of six-armed crosses, with triangular voids between the
rectangular arms. The positioning of walls and placement of furniture can all be
orthogonal, and the layout problems that beset truly circular plans are avoided.
A second general issue is that circular plans are difficult or impossible to extend
at later dates. This criticism was made of the Benthams’ Panopticons. Jeremy’s
solution was to propose larger prisons consisting of several rotundas (as was done at
Stateville). But these would have had to be guarded and supervised separately,
780 P. Steadman

where the several long straight cell blocks of the radial prison could all be
supervised from a single central observatory. Capacity could be increased in the
radial plan—up to some limit—by adding more cell blocks around the same central
point, and each block could be extended at its far end—as indeed has happened in
many actual prisons.
Finally it seems likely that construction costs would tend to be higher in
buildings with circular geometry, because of the need for many specialised
components, and/or more complex formwork for poured concrete. Perhaps these
characteristics of inflexibility, difficulty of internal planning, and additional cost
have contributed to the relative rarity of circular buildings in architectural history.

A ‘Morphospace’ of Buildings with Circular Plans

We can bring together the separate buildings discussed above and present them in a
‘morphospace’ of possible and actual ‘jam doughnut’ plans. The word morphospace
has gained currency in theoretical biology in recent decades, to describe
mathematical/graphical methods for the definition of natural forms, either the
forms of complete animals and plants, or else the forms of separate organs (Raup
1962; McGhee 2007). Some of these forms are actually found in nature; others are
less probable; still others may be completely unviable. We can transpose the idea
and method to the study of building plans (Steadman 2014: Ch. 6 and 12).
The morphospace is presented in Table 3. Possible values for the overall
diameter of plans of the ‘jam doughnut’ type are shown on the y-axis. Possible
values for the diameter of the internal core (the ‘jam’) are shown on the x-axis. The
values are rounded to increments of 5 m. The values in the table itself give the
percentage of total floor area represented by the outer ring (the ‘dough’). Readers
can imagine that the same information might be presented as a single animated
diagram. The values in the table in bold correspond to real buildings discussed
earlier, indicated by abbreviated names. Note that because of the rounding of the
dimensions to 5 m intervals, some of the percentages depart slightly from the more
accurate figures given in the text.
Where the nature of the building’s function would tend to require the area of the
ring to be maximised relative to the core, then ‘more efficient’ plans in these terms
will be found at lower left, and ‘less efficient’ plans upwards and to the right. Thus
the three ‘inefficient’ Panoptical prisons are close to the main diagonal, as is Saxon
Snell’s circular ward design. By contrast the two office buildings have higher
proportions of lettable floor area, and are found nearer the y-axis, as is the parking
floor plan of Marina City. If more examples of ‘jam doughnut’ buildings of these
types were collected, including residential towers, we might expect their plans for
this reason to be clustered towards the left-hand side of the morphospace, leaving
the right-hand side relatively empty.
These kinds of criteria do not apply to the Camden roundhouse, since the
dimensions of turntable and engine bays are fixed. The plans of the two circular
German car parks are not shown, since in both cases the core is an empty or unused
Architectural Doughnuts: Circular-Plan Buildings… 781

Table 3 A ‘morphospace’ of possible diagrammatic plans for ‘jam doughnut’ buildings, presented as a
table

The diameter of the internal core (the ‘jam’) is given on the x-axis, in 5 m increments. The external
diameter of the plan is given on the y-axis, in 5 m increments. The numbers in the table give percentages
of floor area represented by the external ring (the ‘dough’). Numbers in bold correspond to real buildings
discussed in the text. The figures above the numbers in bold represent the plans of the real buildings
discussed in the text schematically as pairs of concentric circles, to scale

space, and the critical parameter, as discussed, is the ratio of the ramp area to the
total area of parking spaces. Also their plans are divided in effect into more than two
concentric rings.
782 P. Steadman

Conclusion

The device of the morphospace allows the architect and the building scientist to take
a strategic view of the field of possibilities for plans under some generic geometrical
definition—in this case two concentric circles. Variations in the performance of the
plans on different criteria across the theoretical space can be measured with suitable
numerical indicators. These values can guide designers’ choices, giving warnings of
penalties in certain areas of the space, and benefits in others. I believe this kind of
approach offers a rich field for future architectural research, to be conducted in the
spirit that animated the work by Lionel March and collaborators on built form of the
1960s and 1970s.

References

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Semple, J. 1993. Bentham’s Prison: A Study of the Panopticon Penitentiary. Oxford: Clarendon Press.
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Philip Steadman is Emeritus Professor of Urban and Built Form Studies at the Bartlett School,
University College London, and a Senior Research Associate at the UCL Energy Institute. His research
Architectural Doughnuts: Circular-Plan Buildings… 783

interests are in the geometry of buildings and cities, and their use of energy. With colleagues he is
currently building a 3D model of the UK building stock, for use in energy analysis. He has published two
books on geometry and architecture: The Geometry of Environment (with Lionel March, 1971), and
Architectural Morphology (1983). His study of The Evolution of Designs: Biological Analogy in
Architecture and the Applied Arts was published in 1979 and republished in an updated edition in 2008.
Vermeer’s Camera, his investigation of the Dutch painter’s use of optical aids, came out in 2001. Most
recently he has published a book about building types, considered from both historical and geometrical
points of view, with the title Building Types and Built Forms (2014).