Times and winner of the Pulitzer Prize for Criticism, described this building in 1982 as one of the "greatest religious structures of this century". Olivetti-Underwood Factory For the Olivetti-Underwood Factory (1966–1970) in Harrisburg, PA, the Olivetti company, a firm noted for its commitment to good design, hired Louis Kahn to design its factory building. Komendant engineered the building's structure, which consists of 72 prestressed concrete units locked together in an 8x9 grid to form the building's roof and roof support system. Each of these units is a prismatic concrete shell that looks something like a square dish with clipped corners perched on top of a relatively thin concrete column. Each shell is above the factory floor and across, covering of roof. Kimbell Art Museum At the Kimbell Art Museum (1966–1972) in Fort Worth, TX, Komendant played a key role in designing curved concrete gallery roof shells that do not require interior support, thereby minimizing obstruction on the gallery floors. Before Komendant's arrival on the project, Kahn had been designing the curved gallery roofs as vaults supported by a series of columns along their edges. Komendant recognized that the gallery roofs should be engineered not as true vaults but as vault-shaped beams that would require support only at their four corners. These beams are supported by cables something like those that support a suspension bridge, except these cables run through tubes embedded in the curved concrete shells. After the concrete had set, hydraulic force was used to place the hidden cables in a state of permanent tension. The result, according to professor Steven Fleming, was "post-tensioned curved concrete beams, spanning an incredible 100 feet" (30.5 m), which "happened to have been the maximum distance that concrete walls or vaults could be produced without requiring expansion control joints." As he had done at the Salk Institute, Komendant personally trained the construction workers in techniques of concrete finishing. According to professor Leslie, Komendant "almost single-handedly assured the resulting concrete finishes, by far the best on a Kahn building and some of the finest in the world." Komendant played a significant role in handling a conflict between Kahn and the local engineering firm that had been given major responsibility for the museum's design and construction. Among other things, the engineering firm thought the proposed curved gallery roofs were structurally unsound and proposed a flat roof instead. The disagreement developed into a crisis that threatened