National Parents & Teachers Association Building, Chicago, Illinois, 1953 Chicago Rising from the Lake, City Parking Facility, 'the Bird Cage", Chicago, Illinois, 1954, relocated to the Chicago riverwalk at Columbus Drive. Engineering and Research, Fishing and Farming, Continental Apartments, Chicago, Illinois, 1955 Reliefs, West Virginia University Medical Sciences Building Pylons, Morgantown, West Virginia, 1956 "The Spirit of Jewish Philanthropy, the Jewish Federation of Metropolitan Chicago Building, Chicago, Illinois, 1958 "'Continental Can Company Reliefs, Chicago. Illinois, 1961 Hymn to Water, Central District Filtration Plant of Chicago, Chicago, Illinois, 1966 Man Wrests from the Earth Its Natural Resources to Build a Pathway to the Stars, National Bank of Commerce Building, Charleston, West Virginia, 1967 In his own words On the Nature of Sculpture by Milton Horn The function of sculpture is not to decorate but to integrate, not to entertain but to orient man within the context of his universe. Sculpture inhabits actual space in all its dimensions, and by its own inherent structural logic is able to impress upon our imagination a sense of reality. Whether it be an integral part of an architectural structure or free standing in architectural space or among nature's forms its sets up an inter-relationship between itself and its surroundings. Like life its myriad views assume new aspects under varying conditions; like life it is capable of drawing upon itself new interpretations and transcending them. Since it lives in actual space it interacts with it, measures it and is measured by it. The structure, the density or the translucency of the material, the specific life the work is to live, the rhythms of the time, which engulf the sculptor, join in the interaction and set up relationships that exist between the component. parts of the work and the whole, between the whole and its surroundings. Sculpture is not an ersatz for man, beast, bird or any of these put together arbitrarily. Though it draws from nature structural principles, its functions are as totally different as its materials are. Transcending their physical properties, within the realm of our imagination, sculptured forms assume an aspect of the inter- dependence of all in the making of the ONE. Sculpture is composed of concrete material interacting with thought, thought which draws its nourishment from experience with form. When concrete material and thought interact with space the resultant forms, in one way or another, recall either nature's forms or formalized aspects