IN: Fazlur Rahman Khan (Bengali: phjlur rhmaan khaan, Fozlur Rohman Khan) (3 April 1929 - 27 March 1982) was a Bangladeshi-American structural engineer and architect, who initiated important structural systems for skyscrapers. Considered the "father of tubular designs" for high-rises, Khan was also a pioneer in computer-aided design (CAD). He was the designer of the Sears Tower, since renamed Willis Tower, the tallest building in the world from 1973 until 1998, and the 100-story John Hancock Center. Khan, more than any other individual, ushered in a renaissance in skyscraper construction during the second half of the 20th century.

Khan's central innovation in skyscraper design and construction was the idea of the "tube" structural system for tall buildings, including the framed tube, trussed tube, and bundled tube variants. His "tube concept", using all the exterior wall perimeter structure of a building to simulate a thin-walled tube, revolutionized tall building design. Most buildings over 40 stories constructed since the 1960s now use a tube design derived from Khan's structural engineering principles. Lateral loads (horizontal forces) such as wind forces, seismic forces, etc., begin to dominate the structural system and take on increasing importance in the overall building system as the building height increases. Wind forces become very substantial, and forces caused by earthquakes, etc. are important as well. The tubular designs resist such forces for tall buildings. Tube structures are stiff and have significant advantages over other framing systems. They not only make the buildings structurally stronger and more efficient, but also significantly reduce the structural material requirements. The reduction of material makes the buildings economically more efficient and reduces environmental impact. The tubular designs enable buildings to reach even greater heights. Tubular systems allow greater interior space and further enable buildings to take on various shapes, offering added freedom to architects. These new designs opened an economic door for contractors, engineers, architects, and investors, providing vast amounts of real estate space on minimal plots of land. Khan was among a group of engineers who encouraged a rebirth in skyscraper construction after a hiatus of over thirty years. The tubular systems have yet to reach their limit when it comes to height. Another important feature of the tubular systems is that buildings can be constructed using steel or reinforced concrete, or a composite of the two, to reach greater heights. Khan pioneered the use of lightweight concrete for high-rise buildings, at a time when reinforced concrete was used for mostly low-rise construction of only a few stories in height. Most of Khan's designs were conceived considering pre-fabrication and repetition of components so projects could be quickly built with minimal errors. The population explosion, starting with the baby boom of the 1950s, created widespread concern about the amount of available living space, which Khan solved by building upward. More than any other 20th-century engineer, Fazlur Rahman Khan made it possible for people to live and work in "cities in the sky." Mark Sarkisian (Director of Structural and Seismic Engineering at Skidmore, Owings & Merrill) said, "Khan was a visionary who transformed skyscrapers into sky cities while staying firmly grounded in the fundamentals of engineering."
QUESTION: When did he figure out this Tube structural systems?
IN: Born Florence Annie Bridgwood in Hamilton, Ontario, she was youngest of three children of George Bridgwood, an English-born carriage builder and Charlotte "Lotta" Bridgwood (nee Dunn), a vaudeville actress. Charlotte Bridgwood had emigrated to Canada from Ireland after the Great Famine with her family as a child. She was known professionally as Lotta Lawrence and was the leading lady and director of the Lawrence Dramatic Company. At the age of three, Lawrence made her debut onstage with her mother in a song and dance routine.

Finding themselves "at liberty," Lawrence and Solter in 1909 were able to join the Independent Moving Pictures Company of America (IMP). The company, founded by Carl Laemmle, the owner of a film exchange (who later absorbed IMP into Universal Pictures, which he also founded and also the president), was looking for experienced filmmakers and actors. Needing a star, he lured Lawrence away from Biograph by promising to give her a marquee. First, Laemmle organized a publicity stunt by starting a rumor that Lawrence had been killed by a street car in New York City. Then, after gaining much media attention, he placed ads in the newspapers that announced, "We nail a lie", and included a photo of Lawrence. The ad declared she is alive and well and making The Broken Oath, a new movie for his IMP Film Company to be directed by Solter. Laemmle had Lawrence make a personal appearance in St. Louis, Missouri in March 1910 with her leading man to show her fans that she was very much alive, making her one of the first performers not already famous in another medium to be identified by name by her studio. Laemmle generated attention by falsely claiming that Lawrence's St. Louis fans were so excited to learn that she had not died that they rushed her in a frenzy and tore her clothes off. Partially due to Laemmle's ingenuity, the "star system" was born and before long, Florence Lawrence became a household name. However, her fame also proved that the studio executives who had concerns over wage demands soon had their fears proved correct. Laemmle managed to lure William Ranous, one of Vitagraph's best directors, over to IMP. Ranous introduced Laemmle to Lawrence and Solter, and they began to work together. Lawrence and Solter worked for IMP for eleven months, making fifty films. After this, they went on vacation in Europe. When they returned to the United States, they joined a film company headed by Siegmund Lubin, described as the "wisest and most democratic film producer in history". She once again teamed with Arthur Johnson, and the pair made 48 films together under Lubin's direction. At the time, the film industry was controlled by the Motion Picture Patents Company (MPPC), a trust formed by the major film companies. IMP was not a member of the MPPC, and hence operated outside its distribution system. Theaters found showing IMP films lost the right to screen MPPC films. IMP, therefore, had powerful enemies in the film industry. It managed to survive largely due to Lawrence's popularity.
QUESTION:
did this publicity stunt lead to any positive consequenxe?