firm that was the successor firm to the one begun by Cyrus L. W. Eidlitz. Walker was to remain there for the remainder of his career. Skyscraper design was to be the focus of Walker's career, and he was to be influential in determining what they would should look like. He said of it: The skyscraper is the only means of living in this age of machine. It is an expression and reflection of the age. And of the designer of these buildings: The architect of the future will have to be a psychologist, because it is as important for the architect to design a building for man to be mentally comfortable in as it is for him to design one in which he will be physically comfortable. In his first few years with the firm, Walker used his Beaux-Arts training to provide support for the firm's ongoing commissions for projects like the Brooklyn Municipal Building, completed in 1924, and the Brooklyn Edison Company Building, completed in 1923. With his design for the Barclay-Vesey Building (1922–1926), commissioned by New York Telephone in 1921, Walker became a lead designer and took McKenzie, Voorhees and Gmelin in a new direction. The Barclay-Vesey Building is credited as being the first skyscraper to use the New York 1916 Zoning Resolution as a design asset. Inspired in part by Hugh Ferriss's theoretical drawings exhibited in 1922, Walker created a massive asymmetrical tower set back from its base. The design led the way for a generation of skyscrapers built using the set-back principle. It has also been described as the first Art Deco skyscraper because of its inventive ornament surrounding doorways and windows and elevator foyers. As a result of the success of the design, Walker made partner in the firm and its name was changed to Voorhees, Gmelin, and Walker in 1926. Befitting his success, Walker moved to the suburbs of New York, to Westchester County. After the completion of the Barclay-Vesey Building, Walker designed several other buildings using its combination of asymmetrical setbacks and towers with Art Deco ornament, including the Salvation Army Headquarters (1929–30) on West 14th Street, the Irving Trust Bank at 1 Wall Street (1928–31), and several other telephone buildings throughout New York City and the state, including those in Syracuse and Rochester as well as the New Jersey Bell Headquarters Building. During the 1930s as Art Deco waned, Walker was