and flows uninterrupted to the interior lobby floor and up the walls of the elevator banks. The ceiling of the main level consists of coffered square panels that have a recessed light fixture. Beneath each light bulb, a four-armed anodized aluminum frame holds a blue plexiglass sphere that diffuses the light and casts color onto the white floor. These specialized light fixtures, which Yamasaki developed with the assistance of sculptor Lee DuSell, were meant to portray the jet of blue flame often seen with gas appliances. Yamasaki had meant the light fixtures to be a tribute to the clients, and original tenants of the building; The Michigan Consolidated Gas Company. The two elevator lobbies have a dropped ceiling that rises to a gable point and again reflects the windows of the upper stories. The lobby holds only planters and a security desk, against the original wishes of gas company executives. In their request for designs, they wished the lobby to include a showroom for gas appliances with a large sign proclaiming Gas is best, the company's slogan at the time. During his presentation, Yamasaki was able to convince company leaders that the clean lines of an unadorned lobby would enhance the company's image more than a showroom. For this reason, the newsstand traditionally seen in large office buildings is located on the lower level. Yamasaki commissioned Giacomo Manzù, an Italian sculptor with important liturgical commissions in St. Peter's Basilica in Vatican City, to craft the graceful Passo di Danza (Step of the Dance) for the Jefferson Avenue entrance. The sculpture originally stood in the center of a reflecting pool that had gas torches on its surface. Because of leakage into the loading dock below, much of the pool was filled with plantings in the 1980s. On at least one occasion, the sculpture was the target of pranksters who painted large green footprints leading to it from The Spirit of Detroit statue across Woodward Avenue to suggest a late-night visit. The façade of the structure consists of piers clad in white marble that tie into the base and divide each side into four bays. The windows of the upper floors are only 12 inches wide and set into pre-cast panels made of concrete and marble chips that cover two floors. Although the windows extend nearly floor-to-ceiling, their narrowness avoids the feeling of acrophobia, a condition to which Yamasaki is said to