enough to meet economic pressure without forcing upon the community such ugliness and illogical designing." The PSFS Building was one of only two U.S. skyscrapers included in the 1932 International style exhibition at the Museum of Modern Art. Run by Henry-Russell Hitchcock and Philip Johnson, the exhibition was where the term International style was coined. The PSFS Building was praised for its cantilevering facade and the building's organization of shops on the first floor, the banking hall on the second floor, offices above and the service tower in the back. Unlike the PSFS Building, the design of the other skyscraper—New York City's McGraw-Hill Building—was more due to necessity of publishing operations and zoning restrictions than following an architectural movement. Hitchcock and Johnson were critical of both building's use of ornamental signage at the top. However, Lescaze and Howe's design was not featured at the 1932 Architectural League of New York Annual Exhibition after the skyscraper was deemed as having an ugly and illogical design. Howe responded by saying "Like all institutions which have become traditional, it tends to resent change." In 1939 the building was awarded the gold medal by the Philadelphia chapter of the American Institute of Architects. While the PSFS Building would later influence other buildings, the skyscraper did not start a trend in banking architecture. Spiro Kostof said that the building was "too coolly self-possessed, too intellectual perhaps to start a trend." After the International style became popular in the 1950s, the PSFS Building was called one of the most important skyscrapers built in the United States in the first half of the 20th century. Called the United States' first truly modern skyscraper by Architectural Review in 1957, the PSFS Building was awarded Building of the Century by the Philadelphia chapter of the American Institute of Architects in 1969. Robert A. M. Stern said of the building, "Nothing like it had been built, and only rarely...had anything near its size been imagined in the vocabularies of either the first or second phase of the International style. PSFS is much more than a superb marriage of function and technological innovation within the constraints of a new vocabulary of form. It is a superbly crafted object, refined in its every detail....PSFS is that rarest of phenomena of our time, a working monument." William Jordy said the building's uniqueness "appears in its extraordinary ambiguity, as reconciliation, synthesis, and prophecy." Jordy