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THE
ARCHITECTURAL ANNUAL
PUBLISHED UNDER THE AUSPICES OF
THE ARCHITECTURAL LEAGUE OF AMERICA
AND EDITED BY
ALBERT KELSEY
LATE HOLDER OF THE TRAVELLING SCHOLARSHIP IN ARCHITECTURE OF THE UNIVERSITY OF PENNSYLVANIA; FORMER PRESIDENT OF THE T-SQUARE CLUB; DELEGATE TO THE INTERNATIONAL CONGRESS OF ARCHITECTS, BRUSSELS, 1897; MEMBER OF THE COMMITTEE ON WORKS OF ART OF THE FAIR- MOUNT PARK ART ASSOCIATION, AND PRESIDENT OF THE ARCHITECTURAL LEAGUE OF AMERICA
ISSUE FOR
1900
PHILADELPHIA
£be architectural annual
931 CHESTNUT STREET
COPYRIGHT, 1900
ALBERT KBLSEY
Press of
Rdw. Stem & Co., Inc.
Philadelphia
7
TO THE YOUNG MAN OF AMBITION:
BE HE ARCHITECT OR DRAUGHTSMAN, EITHER RICH OR POOR, WHO, NOTWITHSTAND- ING THE TEMPTATIONS OF UNPROFESSIONAL EMINENCE, RELIES UPON HONEST PERSEVER- ANCE, HIS OWN STRONG EFFORTS AND A DEEP, GROUNDED DEVOTION TO HIS ART.
MAY HE AVAIL HIMSELF OF THE FREELY OFFERED OPPORTUNITIES FOR EDUCATION, AND MAY HE ACQUIRE, THROUGH A KNOWL- EDGE OF HIS FELLOW-WORKERS CENTURIES REMOVED, AN ENTHUSIASTIC SPIRIT THAT WILL URGE HIM TOWARD THE CREATION OF VITAL ARCHITECTURE.
MAY HIS MIND BE BROADENED BY THE FOSTERING OF HIS IMAGINATIVE AND INVEN- TIVE FACULTIES, AND BY THE INTERPRETATION OF THE SIGNIFICANT FORCES THAT SURGE ABOUT HIM; AND LAST OF ALL, MAY HIS CON- TRIBUTIONS TO AMERICAN ARCHITECTURE SIN- CERELY AND LOYALLY DEMONSTRATE A REALI- ZATION OF AMERICAN PROGRESS.
Publishers' Note
/'JV looking forward to the Architectural Annual for ipoi, the publishers find pleasure in feeling that in
taking its place among the motithly and weekly periodi- cals as a resume of Architectural history for the year it holds a place entirely its own, and does not enter a field already ably filled by contemporary periodicals ; and neither pains nor expenses will be spared to make it absolute in its own place as a carefully arranged reference book of Architectural a?id related subjects for the year.
To keep the standard of accuracy in all details at the highest point shall be the aim of the publishers , and as an assistance towards this end, the Architectural An- nual solicits exchanges with contemporary journals of the profession, and will at all times be glad to receive books for review, announcements and reports of architec- tural schools, reports of meetings, data of all sorts, MS. contributions ranging front 500 to 1 ,000 zvords, as ivell as notes and suggestions of architectural interests. It is the aim of the Annual to record above all the growth and influence of those changes of architectural sentiment that cannot be felt or measured week by week, but the course of which may be traced in a review of the longer period covered by the Annual, and in the light of which the significance of contemporary variation may be more accurately judged. All communications should be addressed to the Editor of the Architectural Annual, at pji Chestnut Street, Philadelphia.
ARCHITECTURAL ANNUAL
1 1
CONTENTS
Portrait. Charles Follen McKim 14
Editorials 15-26
" The Modern Phase of Architecture." Louis H.
Sullivan 27
President Van Brunt's Address 28- 31
A Letter by Ernest Flagg 31
Extract from the Cleveland Architectural Club
Catalogue 32
Charles Follen McKim, Architect 33
A Competition Free from Spurious French Orna- ment 34- 35
Art in America 36- 37
Extract from the Detroit Architectural Club
Catalogue
" From Generation to Generation." Chas. Graf- ley, Sculptor
" The Architectural School, from the Architect's
Standpoint." George R. Dean
Richard Morris Hunt
" The Municipal Building Problem in Cleveland."
Herbert B. Briggs . . ■ 43- 46
" The Baltimore Conference on Municipal Art."
George Kriehn
' ' Obligation of Architects to City Beauty. ' '
Charles Mulford Robinson
Baron Haussmann. Wm. P. Cresson 49-
The National Committee on Municipal Improve- ments and Civic Embellishment
The Phcebe A. Hearst Plan for the University of
California 53- 90
A Letter from J. L. Pascal, Membre de Pln-
stitut 55-56
A Paper by John Belcher, A.R. A 56-58
"Commercial Architecture." Wm. Copeland
Furber, M. Am. Soc. C. E 91- 95
The Travelling Fellowship, Cornell University . 96- 98 " A Code Governing Competition." Julius F.
Harder 99-'03
" Lessons from the Paris Exhibition" 104-111
Extracts from Papers. H. K. Bush-Brown . . 112-115 Statuary. J. Massey Rhind, Sculptor 1 16- 117
37
33
39" 4o 41- 42
47
The Cleveland Convention of the Architectural
League of America 1 18-120
"Wilson Eyre, Jr. His Work." Alfred M.
Githens 121-184
Statue of Benjamin Franklin. John J. Boyle,
Sculptor . 185
Historical Figures. J. M issey Rhind 186-187
Designs for the New United States Naval
Academy. Ernest Flagg, Architect 188-193
Two Spandrels. J. Massey Rhind, Sculptor . . 194-195 "Indian and Buffalo." H. K. Bush-Brown,
Sculptor 196
" The Science of Cities." Parti 197-212
United States Immigrant Station, New York . . 213
Lofty Buildings, Two Notable Examples . . . 214-215 Arthur Spayd Brooke. An Appreciation .... 216-217
A Proposed Bridge 217
Public Toilet Facilities 218-219
City Bridges 220-226
Extract from the Book of the Chicago Exhibi- tion 226
A Chain of Beacon Monuments 227
Extract from the T-Square Club Catalogue . . . 228 Proposed College Drinking Fountain. Alexan- der Stirling Calder, Sculptor 229
Enigmas 230-231
A Country House. Horace Trumbauer, Archi- tect 232
Street Pageantry 233-240
Au American Basement House. Boring &
Tilton, Architects 241
The Pillory 242-244
The New York Custom House Competition.
Two Designs 245
The Dewey Arch 246-250
The Marquise 251-255
The Fifth International Congress of Architects . 256-257
A Paper by Edwin Henri Oliver 258-259
Some Lessons from the United States 260-261
The Directory 262-292
Advertisements i-xxiv
12
ARCHITECTURAL ANNUAL
CLASSIFIED LIST OF ADVERTISERS
The publishers of the Architectural Annual desire to thank the advertisers for their confidence in the pages of a new publication, and hope for a continuance of their favor.
In the Architectural Annual for 1901 it is intended to reduce the amount of space devoted to advertise- ments, and all announcements will be accepted only subject to the approval of the editor, who reserves the right to reject any arrangement of matter which he mav consider detrimental to the appearance of the work.
It is the intention to advance the rates of advertising, and by reducing the number of pages to make these columns a convenient reference list of the announcement of standard products.
ART METAL WORK
Bayer, Gardner & Hinies
De Kosenko Mfg. Co., The
Shannon Mfg. Co
Tuttle & Bailey Mfg. Co
Williams, Jno
BLUE PRINTS Blumhard, C. A
BOILERS Smith Co., H. B
BRICKLAYERS AND CONTRACTORS
Atkinson, John
Stewart & Co., Chas
BRICK MANUFACTURERS
White Brick and Terra-Cotta Co
CARPETS
Goldthwait & Co., Joel
CEMENT
American Cement Co
Knickerbocker Lime Co
Lawrence Cement Co
Sears, Humbert & Co
WTarnerCo., Chas
CONTRACTORS AND BUILDERS
Fuller Co., Geo. A
Pinkerton Construction Co
Seeds, Thomas M., Jr.
Smedley Construction Co
DECORATIVE GLASS
Heineke & Bowen
MacLean Co
Smith, H. J
Tyrolese Art Glass Co
ELECTRICAL CONTRACTORS AND ENCINE
Buchanan & Co., J. F
D'Olier Engineering Co
ENGRAVING
Electro-Tint Engraving Co
FIRE BRICKS AND RETORTS
Borgner Co., Cyrus
FIREPLACE FURNISHINGS
Vulcanite Tile and Mosaic Co
FIREPROOF BUILDING MATERIALS
New York and New Jersey Fireproofing Co
Rapp, John W
ROOFING PAINT, GRAPHITE
Dixon Crucible Co., Joseph , . .
ROOFING MATERIALS
Fay Manilla Roofing Co
Garrett-Buchanan Co
RUBBER TILE, INTERLOCKING
New York Belting and Packing Co
SASH CORDS
Silver Lake Co
SHINGLE STAINS Cabot, Samuel
xxi
vii
xviii
XX
ix
xv
xxiii
XIV
xxii
xv
xxix
xiv
xxii
xxiii
XX
xiv
xii xxi
XV
xiii ERS
viii iii
XI
xvii
xm viii
STEAM SPECIALTIES
Watson & McDaniel Co xv
FURNACES AND RANGES
Makin-Kelsey Co v
Thomas, Roberts, Stevenson Co xxi
GAS AND ELECTRIC FIXTURES
De Kosenko Mfg. Co., The vii
HARDWARE
Bayer, Gardner & Himes xxi
IRON-STRUCTURAL AND ORNAMENTAL
Shannon Mfg. Co xix
LAUNDRY MACHINERY
Troy Laundry Machinery Co vii
MANTELS
Vulcanite Tile and Mosaic Co xxiii
MARBLE, IMITATION
Mycenian Marble Co xvi
MODELLERS AND CARVERS
Emmel, Charles xii
PAINTING AND DECORATING
Black & Son, F. A xiii
PAINTS, OILS AND VARNISHES
Dixon Crucible Co., Joseph vi
Felton, Sibley & Co ' xvi
New Jersey Zinc Co viii
PAPERS
Garrett-Buchanan Co viii
PARQUET FLOORS, GRILLES Heaton & Wood xiii
PHOTOGRAPHS
Dillon, James L xxiii
PIPE COVERING
Keasby & Mattison Co i
PLASTER MANUFACTURERS
Knickerbocker Lime Co xxii
PLUMBING COODS
McCambridge & Co iv
PUBLISHERS
Leach & Co., T. S ii
RADIATORS
Smith Co., The H. B xiv
REFRIGERATORS
Ridgway Refrigerator Co xxiii
REGISTERS
Tuttle & Bailey Mfg. Co xx
STRUCTURAL STEEL PAINT
Dixon Crucible Co., Joseph vi
TERRA-COTTA
White Brick and Terra-Cotta Co xi
TILES AND MOSAICS
Vulcanite Tile and Mosaic Co xxiii
VENTILATORS
Berger Bros. Co -. xii
National Paucoast Ventilator Co xx
The Architectural Annual
AN ILLUSTRATED REVIEW OF VOL. I. CONTEMPORANEOUS ARCHITECTURE
THE PROGRESS OF THE PROFESSION
1900
Responsive, To a desire to know our introductory, brother architects whose work we already knew so favorably ;
To a desire to co-ordinate the work of various architectural clubs and to secure the benefits of co-operation ;
To a desire to profit by the experience of others, and to share the result of our own ;
And to a call issued by a number of archi- tectural clubs,
We met at Cleveland, June 2 and 3, 1899.
Resulting, In our returning to our homes in possession of
The memory of a beautiful city and hospitable friends,
The acquaintance of new friends, and the dis- covery that independent thought is general,
The inspiration growing from conference with fellow-workers,
The organization of the Architectural League of America,
And two dominant convictions :
First, That the architectural club has an im- portant and unique civic relation, that it may lead its city's development in beauty, and that it may and must interest the public and co-operate with it ; and
Second, That much as we revere precedent, that it is not honest to follow it blindly, that progress demands of us that we make our work express our civilization as correctly as the works of antiquity interpreted their times, and that our duty is to study conditions and guide develop- ment along organic lines, placing
Progress before Precedent, and showing our meaning by building our ideals and by solving problems of utility in terms of beauty.
The Spirit of the Cleveland Convention.
The Architectural League of Amer- ica has received much commendation for its principles set forth in the Cleveland Convention. Scattered clubs of artists and sculptors have followed a similar impulse and the consolidation of art societies has become a
new phase of art development. The League was formed as a federation of clubs rather than a complete association, so its policy of "the open door " in membership will insure a large attend- ance at the Chicago Convention next June. All architectural organizations and municipal art societies are given cordial invitation. Since the League was established, not in a spirit of rivalry, but in a spirit of modest emulation of the Insti- tute, the Chicago Convention will offer the oppor- tunity for a pleasant exchange of ideas and courtesies between the older and younger national organizations and may lead to the establishment of a formal " entente cordiale."
Iu its relation to the community the conven- tion at Cleveland sought to discover the social purpose of the nation, and it very significantly asked if exotic architecture, however suitable to foreign needs, tells our history aright. It mani- fested a keen interest in municipal adornment and sought to aid public taste in its development, placing at the service of any community the knowledge and acquirements within the League's possession.
In determining its attitude toward the profes- sion, the convention emphatically declared itself opposed to political preferment in competitions and it decided to be energetic, active and fearless in revealing the existence of such. It set the cri- terion of quality and character above the magni- tude of a man's professional practice and looked with no favorable countenance on hypocrisy in architecture.
Toward the profession at large the League stimulated thought along broader lines, and called attention to the necessity for worthy ideals and higher standards. Its life shall be spent in singling out real talent wherever it exists, and in its duties of mentor of the young art societies now in its train.
American vim and vigor are behind the move- ment, and men whose countenances are once turned from greed of money toward the higher ideal of fame are not to be halted until an impress
16
ARCHITECTURAL ANNUAL
has been made upon ignorance and prevailing wrongs.
There was a time when the pro- Professionai fession was disorganized and pos-
Self-respect. CT . . t_
sessed of mercenary ambitions, but, even then, a few loyal workers were striving incessantly to give the architect a standing be- yond that of the mere romantic designer and the hustler.
They were rewarded by unexpected encour- agement from without. Recognizing such efforts as commendable, an art patron, a writer, or a college professor would claim for architecture its deserved reception as a dignified and worthy profession. In it they saw opportunities for the loftiest careers.
College architectural courses have been formed, newspaper and periodical writers have been produced whose contributions are on archi- tectural subjects, until at present the profession is receiving more sincere encouragement from the world at large.
Thus far evolution has gone, but degeneracy is threatening us. If, with our present hard- earned prestige, we are too weak to maintain our ideals, if we countenance scandals, such as that of the Pennsylvania State Capitol, or work for unremunerative commissions, we have ourselves to blame for the degradation.
Something must be done to place a
Honesty. premium upon professional conduct.
The unscrupulous rapacity of the
"plan-factory-boodlers" who enjoy their eminence
unrebuked sets a bad example, which must be
corrected.
The time has come for drawing a sharp line of demarcation between the architect and the "sheister," and this task should not be left to the younger element of the profession to perform. It is not their province ; yet already they are preparing for the task, and unless something is done, and "you cannot make an omelet without breaking eggs," these vampires will have to encounter a moral force from a quarter on which they have not reckoned, and one which also escaped the discernment of the Pittsburg Conven- tion.
Young Men Forging to the Front.
Much, doubtless, of the mass of work done by the architectural clubs of the country, more especially the younger societies, seems elementary and of small value, and therefore the increasing recogni- tion the young men are commanding, for them- selves and the reforms they advocate, is as much out of proportion to their experience as to their
years. In consequence, some claim their promi- nence is due to youthful aggressiveness alone, and fail to see that it is simply the result of a lack of whole-hearted leadership on the part of those yet best able to direct the advancement of the pro- fession.
The development of the club and its activity in the architectural life of the country is moving more rapidly than ever before ; thus, under the circumstances, and in view of its new work and responsibilities, it is bound to push its own mem- bers more and more to the front.
Quality
in
Architecture.
Architecture as a business, architec- ture as a profession and architecture as an art are not synonymous terms. As a business, it involves building ; as a profes- sion, it has to do with design and building, and, as an art, it includes the former elements and be- comes a vehicle of thought.
With but few exceptions, until five or ten years ago, architecture in the United States was but a business. Now it is a recognized profession, notwithstanding that several of its most' 'eminent" members are nothing more than unscrupulous business men, and signs are not wanting of the development of that higher type in which art and intellectuality vitalize and add soul to the design. As a business, architecture is ground out like any other commercial product, and is paid for on a competitive basis, the lowest bidder frequently being retained. As a profession, a certain stand- ard of excellence is aimed at, and uniform charges prevail. As an art, it becomes a matter of indi- vidual Lalent, far removed from competitive busi- ness, and, in consequence, like a portrait painter, the great architect must receive a special price for his services to enable him to give the neces- sary time and study to his work.
Year by year these classifications become more and more distinct, and, in that the professional man and the specialist receive more and more and better and better patronage, the advancement of architecture is assured. Their absolute leadership may for some time yet go unrecognized, as archi- tecture also has its jealousies and its bigotries, but the men who think rationally, study deeply and design unaffectedly will yet have their day.
Commission
vs.
Quality.
It is gratifying to note the ad- vance in architectural design, but such an advance seems even more amazing when the present state of architectural commissions is considered. An architect now is paid not in proportion to the excellence of his design, the watchfulness of his superintendence or the conscientious efforts on his part to mini- mize the expense, but in proportion to the entire
ARCHITECTURAL ANNUAL
17
cost of the work — even more remunerative when the operation is ground out rapidly and freed of all time-consuming details.
That this has encouraged the structural steel companies to include in their bids the services of an engineer who works out the construction and enabled the terra-cotta companies to make detail drawings from very small scale suggestions with- out apparently charging either architect or owner for them is perfectly apparent to any student of this system. In extreme cases, it has led to bribery and corruption. A sincere love for the ideals of architecture has enabled the best men to avoid these temptations and achieve the best possible results in the face of a constantly dimin- ishing profit.
Architects give their time and money to their work as do the members of no other profession, while the appreciation of such efforts is entirely disproportionate. Some few boldly assert them- selves and are well paid. It is to such men that we must look for the maintenance of the pro- fession's standards. Unless conscienceless archi- tects can be brought to see that by cutting rates and preparing free preliminary sketches they are both standing in their own light and casting a shadow over the entire profession, little further can be expected in original design. The natural outcome must be either strengthened opposition by honest architects or superficial work by dis- honest ones.
Few stop to consider, as the}7 pass ViTeechUa"regres stately old city residences, that for\vorkStic wnen those monotonous lines of
dwellings were built, row upon row, often from the same plans, with the same simple detail drawings, the architect's "5 per cent, commission on the total cost of each" was about commensurate with his labor. If they do consider it, they seldom realize that the homes for the same class of people to-day need entirely separate designs, each intricate in plan and orna- mentation, with varied material, complicated mechanical plants and peculiarly individual re- quirements. The architect's office expenses — more than doubled in this class of work — are overlooked by those old-fashioned owners, who expect to procure good architects on the com- mission of the past generation. Some grudg- ingly pay six or seven, but the more enlightened clients are willing to pay the proper charge of from 7 to 12 per cent., according to the difficul- ties encountered and the method adopted in letting contracts. Eight per cent, upon the total cost of a thoroughly well-designed and superin- tended private residence is only a fair compensa- tion for the architect, and, should the cost of the
dwelling exceed $50,000, a clerk of the works should exclusively superintend the house at the client's expense.
Open
A promising sign of advance in the ,. profession is the unanimous decision
by its better element that open, un- limited competitions are demoralizing and are usually productive of most unsatisfactory results. That most of these men support their belief by refraining from participating in unpaid and un- limited contests is greatly to be commended. Already competitions by invitation or by limited invitation are becoming general among intelli- gent people ; they realize that great expense is involved to the architect, and that doing his best is out of the question when all may be hazarded for nothing. While there are some architects who clamor for these open competitions, the world sees that these are not the representative architects of proven experience, but are usually either the young, unrestrained enthusiasts, or the unscrupulous, who count upon something more than architectural merit to see them through.
^ . . *. From Boston and Pittsburg rumors
An Ecclesiastic ° .
Architectural have reached us that efforts are being put forth to form an ecclesiastic architectural society. Evidently architects are beginning to specialize, as men of other profes- sions. In consequence of this, church architec- ture, so sadly neglected of late, may once more become the boast and pride of the people. We trust that the proposed society may speedily be formed, for one can plainly foresee possibilities for worthy achievements by such an organization.
In the train of the Municipal Art moBnr"^e"*al Movement that so widely distributed
itself over the country tangible re- sults are appearing. The monumental treatment of American bridges is at last being considered within the realm of reason. We have seen de- signs for two such structures, and they are vast and imposing enough to stagger those accustomed to only the utilitarian. It is a hopeful sign of the times that Washington, under the patronage of the Federal Government, contemplates erect- ing a bridge across the Potomac, which will more than rival that designed to span the Charles between Boston and Charleston. The former is double-decked, with trolley tracks below; an archi- tectural viaduct of beauty leads to it, and the central feature, like the Charles River bridge, is to be extremely high and monumental. Instead of the twin bascule-bridges of the latter, both decks are to be raised by hydraulic force, like an eleva- tor, between four towers, supporting above them
II
ARCHITECTURAL ANNUAL
an open metal dome. Should both of these de- signs be executed, the United States will possess two bridges of imposing character, architecturally considered ; and if in their development local history is symbolized, they will form landmarks of national significance.
Again, it has been proposed, and wisely, too, to transform the Dewey Arch or Naval Arch, in New York, into a monumental approach to one of the great bridges of the upper city. The harmony and embellishment of cities is thus being worked out hand-in-hand with utilitarian problems.
The life of contemporary journalism
Relation of the . . ,, , , r J J
Daily Press to is vitally dependent upon progres-
Architecture. . , . . ., ,TM
sive and original news. That news- paper which can gather to itself the largest " scoop " in any field of activity is decidedly sure of its sales among the workers in that field when the " scoop " appears in its columns. However much the press may seek to mount the pedestal which places it in the position of a dictator, it is continually in need of even scraps of news on almost every line of work. By referring to every great building enterpiise with enthusiasm a daily journal realizes that it is touching a sym- pathetic chord among the people. A building operation must be heralded and described to the smallest detail as soon as the first move is made toward the demolishing of its predecessor or the first pick is driven into the ground that will later support it.
Not only must the general public be informed, but the press feels that a duty rests upon it to praise the public spirit of the promoters — whether such a spirit exists or not — and to dwell upon the superlative grandeur and purity of style, even though the structure may be the most hideous of buildings. No real estate editor exists who will not garnish and amplify his brief announcement of a building event with a meaningless jargon of adjectives and phrases rarely found outside a schoolgirl's composition. It is all very logical, for it is of interest to both the newspaper and the promoter of the scheme.
Recognizing the attitude of the papers toward such matters some years ago, the T-Square Club sent the following request to all the leading dailies of Philadelphia:
;' Whereas, The daily journals of this city devote periodically certain space to 'Art News ' and ' Real Estate Notes,' making all critical reports of architecture under one or the other of these headings ;
"Be it resolved, That the T- Square Club com- municate officially with the managing editors of the principal Philadelphia daily papers, and re-
quest their co-operation in bringing architecture as a fine art to the attention of the public ; and,
"Be it resolved, That this be accomplished by allotting periodically a column to "Architectural Notes ;" and that under this head all news relat- ing to architectural development and criticism be inserted."
Although the editors did not comply with all the intentions of the T-Square Club, beneficial effects of this appeal have been noticed in many instances.
Frequently editorial comments have been made upon architectural projects, problems and achievements ; prominent architects have been interviewed, and, altogether, the newspaper world has come to the realization of the importance of architecture in our daily life.
One evening paper recently published a list of questions bearing upon the greatest events of the year. Among them was one : " What is the most notable building erected in Philadelphia during the past twelve months ?" Such a ques- tion stimulated public interest in a subject that lacks proper study by the masses. It manifested a healthy tendency toward the intelligent regard- ing of architectural successes.
In the "End of the Century Supplement," published by the New York Journal, on December 31st, four pages were devoted to a review of the progress of the past 100 years in eighteen differ- ent lines of activity. In the discussion of these subjects appeared such prominent names as Charles Dudley Warner, Seth Low, Henry M. Stanley, Joseph Jefferson, Rudolph Virchow, Rabbi Gottheil, Max Nordau, Dr. Ernest Haeckel and Susan B. Anthony. Architecture was given an honored place in the "Supplement," and the discussion of its progress was entrusted to J. S. Barney. We quote from his well-written article the following :
" Conditions create a style. Genius furnishes examples. Our advance to a pure, true and dis- tinctive style in architecture is as certain and irresistible as is the march to our natural posi- tion in the front rank of the nations of the earth. Architecture is much affected by fashion and fad, but we must not forget that the conditions of life, ambitions and religion of a people deter- mine the style of their architecture, and not the whims of misguided imitators. We are great, powerful and rich, full of youth and vigor, and it is but natural to expect that we will develop an architecture upon which we will impress these characteristics."
These and many other evidences should con- vince the architectural world that the press is stretching forth a fraternal hand toward the pro- fession, and that it desires to give publicity to
ARCHITECTURAL ANNUAL
19
architectural aims, theories and achievements just as much as it desires to please ever y one by its universality. A much greater opportunity in this matter of publicity is before the clubs and architectural organizations, for the events that occur in the routine of club work are valuable " write-ups" from the newspaperman's point of view. Again, clubs are given attention where an individual would be neglected. From the side of the club it is a decided advantage and a help in its work. It advertises the workers sufficiently to encourage and sustain their efforts. When with such ease widespread publicity is to be obtained, the club that neglects these oppor- tunities is injuring itself and hindering the prog- ress of architecture. The public are gradually coming to realize that the architect is an im- portant factor in their dail}T life, and architecture is becoming one of the chief objects of pride to the American people.
With great reluctance the Judiciary a scandal. Committee of the American Institute of Architects at last has investigated the case of the Philadelphia Chapter vs. Henry Ives Cobb for his participation in the second competition for the Pennsylvania State Capitol Building.
It will be remembered that the T-Square Club requested the resignation of one of its members over two years ago for participating in this out- rageous scramble, that the members of a firm in New York and the members of another firm in Philadelphia were compelled to resign from the- local chapters for the same offence, and yet the Judiciary Committee of the Institute, in censuring Mr. Henry Ives Cobb for entering the competition and securing the work, find nothing against him, as he is one of the most " eminent " members of the pro'tssion.
The verdict recalls a sentence once imposed by the celebrated Judge Walker, of Macon, Mis- sissippi: "The learned Court finds you guilty, sah, very guilty, and sentences you to banish- ment, sah, for the period of one whole year, sah, from Noxubee County, Mississippi, sah — so help you Gawd, sah !"
The student fresh from the Eeole
Expression in
Architectural des Beaux-Arts thinks himself a
Forms.
cosmopolitan and believes contempo- raneous architecture should be a universal language.
He scorns uncertain archaeologists. He ridi- cules their charming adaptations and refers to "that Midway Plaisance architecture of the Streets of Cairo" and "Old Oxford Type" with profound contempt.
In short, he will not admit that it is serious or anything but a decadent fad. And yet often his own productions are but servile copies, usually meaningless and always lacking in sentiment ; but, if confronted, he will tell you that they are modern and therefore of this day and generation.
Bewildered by the self-consciousness of both factions, the seeker after truth reasons that it is not because native themes are lacking at the present time in the United States that our archi- tects and sculptors fail to symbolize in original terms, but because they do not feel as deeply as they should. Mere ornament, composition or frank structural expression is usually the limit. But there are a few exceptions and it is pleasant to bear testimony to the fact that in one or two recent instances buildings of note have been accented with new symbols whose significance is as apparent as the art is true. It shows that there are some architects striving to put architecture, as a living fine art, upon a higher level ; and it also shows that there are still others who believe that our civilization does not necessarily grind the romance out of life.
Listen to the words of Phillips Brooks : " What is there anywhere more poetic, anything that more appeals to the imagination than the bril- liant advance of natural science? What is there in chivalry more exalted and thrilling than the lives of men who have lived and died in privation and delight for science and its progress? When have men ever proved themselves morecapableof lofty and large ideas than in these days, when thej' are dreaming of a ' federation of mankind, ' war replaced by peaceful arbitration, and crimi- nals reformed by industry and kindness, and povert}' obliterated by universal organized char- ity ? No crusade of the Middle Ages has anything like the real romantic inspiration that belongs to the modern crusade against ignorance — the dream of universal education. No old vision of a splen- did feudalism so taxed and exalted the imagina- tion as the modern picture of self-government. No. It is not that our age is sordid. Itisnotthat it has proved itself incapable of large ideas and glowing visions. It has a romance brighter than any other age ever possessed. And so long as it has that, it has not lost the capacity of faith. "
The problem given in the competi- stlndarao" tioii for the John Stewardson scholarship work.Memorial Travelling Scholarship at the University of Pennsylvania demonstrates the liberal and progressive way in which that insti- tution does its work An institution that does not hesitate to place its own graduates in a competi- tion freely opened to all young architects of the State may well be expected to foster aggressive
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ARCHITECTURAL ANNUAL
American ideas. The problem called for "a design for the improvement of the entrance to Fairmount Park, Philadelphia, by a proper treat- ment of a plot of ground bounded by several city streets, and of the bank of the reservoir opposite the plot. " Although the problem from its practi- cal side resembles the T-Square Club's series of connected programs, it could not, of course, possess the same unity. Of the latter, The Archi- tectural Review recently said, editorially .•
"Apart from the interesting and valuable nature of this scheme so far as the profession at large is concerned, it possesses another element of value that should not be overlooked by similar architectural societies throughout the country. It gives a unity to the work of the club and affords an element of vital interest to the men who may be working in it that has been difficult to obtain, and has therefore been lacking in work of a similar nature. ' '
The presence of local color and immediate re- quirements in the Stewardson Competition must be highly commended. The city contemplated the purchase of the site and it was within easy access of the students. Such a tangible, practical problem compelled them to work in an unaffected light and made their reasoning and design a most natural growth.
The standard of prize work has considerably increased during the last few years ; in two or three instances advanced students and those studying abroad have entered and won scholar- ships at home. Mr. Pulsifer won the Rotch Travelling Scholarship last spring, after several years abroad and after he had made a commenda- ble record in the Ecole des Beaux-Arts. His own strong design made the entire competition of a higher standard. So frequently Paris upsets a young American's ideas that no small time is re- quired to reacclimate oneself; so that some advanced minds have come to think that no longer is it advisable to journey abroad to obtain the best education.
Another beneficial effect on the standard of work has been the close association between col- leges and architectural clubs in the cities. When prize memberships in the club have been offered to students and the college lectures thrown open to members of architectural societies there has always resulted a higher respect for the older members of the profession, the young men have been given a broader future, and in return have brought to the clubs that new life so necessary to any club's existence.
A technical education of high calibre is now demanded of every architect, just as it is demand- ed in other professions. The outcome has been either the success of those technically trained or
the necessity for some of the older architects to hire such men, because their own training is insufficient to cope with present-day problems.
Elsewhere are printed the entire conditions of the recently organized Travelling Scholarship at Cornell, and to our thinking it is a most enlight- ened program. Unlike the regulations of other institutions, this scholarship compels the holder to return to his college after a number of months abroad and upon the completing of a period of home study to return for a prescribed line of work.
Competition Code.
The general code governing compe- titions in design, recommended by the first Convention of the Archi- tectural League of America for adoption by archi- tectural bodies,- has been formally ratified by five. The President of the American Insti- tute of Architects has appointed a committee to confer with a committee from the Archi- tectural League of America to consider the subject, together with other matters of mutual interest. While several hundred copies of the code have been distributed and a number of competitions held under its regulations, in its present form, as printed on page 102, it is a docu- ment somewhat too lengthy. The proposition to reduce it to a single sheet, a business blank form, which may be filled out to suit every-da3>- problems, is a good one. Under such an arrange- ment all architects could keep a supply at hand to distribute upon their first knowledge of a con- templated competition.
The enforcement of the code, trials or penal- ties that may result from it, or the question of rate and basis of remuneration, the code does not now cover, but such matters may be decided when the committee from the American Institute of Architects has given its opinion at its meet- ing with the committee from the Architectural League of America.
The societies having adopted the code an- nounce their willingness to assist in formulating competition programs, and they urge the adop- tion of the code by other societies, for they believe it furnishes a standard for the client, a basis for mutual understanding in the profession, and will undoubtedly be influential in producing a morale that does not now exist.
In many different States and for
The Licensing . , . . . _,.
of some time past the subject 01 licens-
Architects •
ing architects has been discussed quite seriously. Since the fall of 1897, an Illinois law has required architects to apply for a license to practice in that State and has defined an architect as " a person who shall be engaged
ARCHITECTURAL ANNUAL
21
in the planning or supervision of the erection, enlargement or alteration of buildings for others, and to be constructed by other persons than him- self." It is w.ll known that builders, with their plan-factories and their offers of high wages to good draughtsmen, have worked toward the demoralization of the profession. Clearly was this demonstrated at one of the leading bnilders' exchanges, when the bnilders who make drawings refused to post theirs for other builders arrd sub- contractors to take off quantities and bid upon. Architects had been requested to do so and the formal request of the latter for like action on the designiug builders' part compelled the culprits to seek shelter in silence.
The Cleveland Convention brought the matter before the country and since then the profession in many States have been actively advocating its adoption. The New York League has discussed it frequently and maintained a strong stand in favor of the passage of a law to govern the practice. The Architectural Society in Louis- iana has recently been organized for the accom- plishment of just such legislation.
In the professions of law and medicine the " quack " is to be deplored and he is rightly sup- pressed by legislation. The unprofessional prac- titioner in architecture is similarly open to attack. The Institute's decision to require candidates for membership to pass examinations is a step along the broad road of progress, but, as Architecture has said in its issue of April 15, 1900 :
"We do not wish to belittle in any way the splendid work done by the Institute in upbuilding the profession of architecture, or to detract an iota from the universal respect in which that body is held by the public, but it is a fact that, numerically, the Institute represents but a small portion of the active practitioners. In every centre of population the local architectural asso- ciation outnumbers the chapter in the same town or city ten to one, and for that reason alone it seems to us that the necessary reforms can not be expected from this source, however com- mendable the desire may be to enforce them."
If this degrading of the architectural profes- sion is to be prevented it must be done systemati- cally, strongly and immediately. Reforms from within will not suffice, for the greatest danger is from without. When the licensing of architects is made compulsory through the passage of a law, we may hope for the brightest accomplish- ments in an unhampered profession.
If any evidence were needed to content?™? establish the fact that the American Institute of Architects has an es- cutcheon sadly in need of scouring, that evidence
might be taken from the reports, excursions and general proceedings of the Pittsburg Convention. We shall not dwell on such irritating details as the insignificant number of delegates, the un- comfortable accommodation of invited guests, the external noise and the internal calm of the meet- ing-hall, or the apparent lack of business to be transacted. All of these particulars have been referred to in other publications. An important consideration, however, is the determining of the policy and beliefs of the Institute, as judged by its discussions.
Possibly, taken as a whole, the readings were quite above the average performance at previous conventions, but it would be wasting time to enter into a discussion of many of them. The dreary, tedious reading of an essay thus took the place of what might have been a bright, ex- temporaneous discussion of matters in hand. With all this waste time and effort, the conven- tion succeeded in establishing a code of examina- tion requirements — a feat which no other Insti- tute convention ever had sufficient courage to accomplish.
Having heard so much of "Spanish pride" during our late unpleasantness with that nation, it is both surprising and amusing to read in the Institute President's address the boast that out of 5,000 architects in the United States, only 4,500 are outside the ranks of the faithful, or " that the influence of the Institute is in proportion rather to the wisdom than the number of its members," or that the Institute stands for " the enactment of a law sufficient to secure for us a truly national architecture fit to represent our highest standards in art. ' ' We regret that the Institute has reached such a stage of inaction as would appear from the following portion of President Van Brunt's speech :
' ' If, after those many years of experiment, we have at length reached an era of tranquil and prosperous development, let us realize that the best we can make of this peace is to comprehend and to assume all the grave responsibilities which belong to the undisputed position of the Institute as the national representative and protector of a great profession, and a greater art."
All will acknowledge that the greatest event in the convention was the passage of a law provid- ing that after January 1, 1905, graduation from some recognized architectural school, or the pas- sage of examinations to be held by the Institute, shall be required of all candidates for admission to membership. And hand-in-hand with this meri- torious action are the President's address and the report of the Committee on Education, which dwell at length upon the Institute's need for young men and new life. All possible ways and
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ARCHITECTURAL ANNUAL
means were recommended for luring the young into the chapters. The suggestion was made that "the Institute should be especially hos- .pitable to the graduates of the schools . . so that the professors prove the most effective recruiting agents and that their pupils be made to consider that junior membership in the Insti- tute is essential to their proper and regular ad- vancement in the profession."
Such a suggestion would have been received by the architectural world as a mark of sincerity upon the part of the Institute, but when con- sidered with the weak-hearted position which the Institute maintained toward Professor Laird when the latter made his manly and courageous stand against debased political schemes, the words seem to possess more a spirit of sham than sincerity. Most assuredly Professor Laird, and all other architectural professors, will refuse utterly to act in the capacity of recruiting agents to a society whose present members are too weak to point the finger of scorn at the culprits in their midst. Young men are Liberals, not Conserva- tives, and their object in joining the Institute, as it exists at present, would be far from any desire to sanction its abuses.
The Institute cannot conceal its urgent need for young men. They are seeking all reasonable means to accomplish it. When they sent to the young architects who have gained travelling fellowships, asking them each to place one of their drawings on permanent exhibition in their Wash- ington headquarters, the Institute rightly judged that a very urgent plea had been made to the ambitions of youth. The results of the request, however, should sufficiently convince the Insti- tute that the young architects of to-day are avoid- ing that organization while it countenances men of "eminence" who are not men of principle. If the Institute will give only one demonstration — one practical example — of its firm desire to make the path of rectitude attractive, if it will show that an obscure man in the right is more to be honored than an "eminent" man under suspicion, the younger architects will not merely furnish the bare walls of the Octagon, but will gladly ally themselves with the organization and give it the new life that is vitally necessary now.
Too much has been written and read John Ruskin. about the late John Ruskin for us
to add anything new as a tribute to his memory. Be it sufficient to say that uncon- sciously his spirit will ever be present in the world, leavening the lethargic minds of the un- appreciative and unlearned. His influence in art was for a time almost a dictatorship. Even those art critics of to-day who sympathize but little with
Ruskin's views are compelled to respect the beliefs and criticisms of a man who rose head and shoulders above his fellows. The impetus he gave to art appreciation, in an age when all crea- tion seemed benumbed, is felt even now and will continue permanent.
Many years ago he refused the much-coveted royal gold medal, annually bestowed by Her Majesty, through the Royal Institute of British Architects, upon some architect or writer upon architecture. He said medals give no uplift to art. Just so he lived and worked, an indepen- dent, honest and unselfish man.
The University of California eom- whoisWho? petition was the means of bringing to light the name of the real author of the Fine Arts Building at the World's Fair. It is but a matter of time ere ability receives its due reward. Some would argue that no great reproach falls upon Mr. Atwood for appropriat- ing M. Benard's design, since the erection of the White City required much hurry, and the same critics would commend the former for hidden possibilities in the original that would not have been brought out had M. Benard detailed the design. However that may be, the scheme was plagiarized without acknowledgment.
In the same connection we know of a talented but impecunious young man who designed two sets of drawings for an exclusive invitation com- petition held during the past year. Both of these were submitted under firm names of different architects in different cities who employed him.
We know of a large marble building now being erected which was designed by an obscure draughtsman who for months past did night- work on ^4-inch scale detail drawings at his home more than a hundred miles from the so-called architect's office, and again, it has been a source of amusement, not unmixed with proud satisfaction, to the Beaux-Arts men to note the radical departure and improvement in tech- nique of designs recently issued by several large New York offices. One can attribute these changes to nothing but latent talent in the archi- tects themselves, if one would not desire to appear skeptical.
From Chicago, a city where spades are labelled spades, and where great tasks are carried out on broad plans, we know of an office where the manager boasts of his ability and faculty for getting work, and he frankly acknowledges that it is easy enough " to hire " talent to execute it. America has many disciples of the school of Pecksniff.
A dignified, and ordinarily serious, member of the profession from Boston, whose heartfelt
ARCHITECTURAL ANNUAL
23
interest in the profession must be unquestioned, recently reproved a young man for taking too great an interest in the general conduct of com- petitions. His expressed belitf was that young men had much before them and should confine themselves to study and training instead of con- cerning themselves with professional affairs. To quote his consoling words: " By virtue of their age and experience, only the older members of the profession can consider these things with their peers (?). "
How can even these few observations be re- conciled ? If the young men are performing the work of successful prominent architects even at a considerable distance from the office itself, how much study and training is still beyond them ere the pinnacle of eminence is to be attained — or rather, accorded them ?
T. r . . While there is no abatement of busi-
The Commercial
Value of a ness rivalry in the practice of archi-
Reputation. *
tecture, certain firms are being singled out, year by year, for excellence in a special class of work. This is but a natural process of evo- lution. It also gives evidence of a just appreciation on the part of the public. From it we may draw the conclusion that architecture, like every other profession, is beginning to develop its specialists. Church architects, theatre architects, residence architects and commercial building architects are reaping large rewards in their several specialties. On the other hand, the jack-of-all-trades in archi- tecture is becoming a decided drug on the market.
The men who have reached higher ground in the profession by such specializing are looked upon as the most competent to serve on juries whose compensations are large. They are in- vited to enter exclusive, paid competitions, and by the world generally are given larger and more remunerative practices. When a munici- pality or a corporation is contemplating some vast improvement, such men are selected merely upon reputations along their individual lines. Men of this calibre may be found among both the young and old. It is the quality of their work that marks them and justly brings them honor.
In noting the signs of the times, it is Mr' TayforKnox gratifying to bear testimony to the
improvement in the office of the supervising architect of the Treasury Depart- ment. Throughout the department are men who have higher standards and clearer consciences, but Mr. James Knox Taylor, the present supervis- ing architect, deserves the grateful acknowledg- ment of the entire profession for his attitude
toward the Tarsney Act. We should recognize him as a true friend. It requires no very extensive stretch of the imagination to bring to mind super- vising architects who have been entirely out of harmony with the profession. Mr. Taylor tcok part in the Baltimore conference, and, with higher ideals, is a firm ally of those interested in better architecture.
Another important consideration, Symbolism hitherto largely overlooked, is the necessity for using indigenous sources of imagination. Let no one label this as a ques- tion in the abstract philosophy of art, for such it is not. It relates itself too closely with our every- day life. Regardless of the age of a community, in spite of the sterility of the region as regards legends, there must be some individual trait that may be fruitful of inspiration to the architect.
We plagiarize because we are weak. How seldom is found any trace of local symbolism in the designing of to-day. Climatic conditions and inherent suggestions are refused admittance to the office of the modern American architect. The enthusiasm that inspires the historical painter is lost to him. Yet, how much more necessary is this quality in a monument standing amid the very deeds of the modern community and erected as a commemoration of some great native cause.
True, to-day an architect is expected to be a scientific economist as well as an artist and con- structor, but, with all the drawbacks so prevalent in the sham culture of to-day, it must not be for- gotten that before people could read or write sym- bolism was appreciated in spite of all ignorance.
That it will be generally appreciated again cannot be denied, for the people in their con- ception of architecture find proportion and mass secondary to ornament and color. Even the busiest and most unappreciative are at once im- pressed by sculpture and detail ; these crude dis- tinctions may be the limit of their appreciation. At any rate, it is usually these they first look for in sizing up a building, and, finding them, are pleased. Where a well-proportioned plain build- ing appeals to one, an ornate structure, no matter how meaningless its decoration may be, attracts the attention of a dozen. Therefore we predict that, now that the art of composition is beginning to be mastered, the next step will be symbolistic expression. What permits us to hope for such an outcome is on the one hand the rapid develop- ment of artistic taste, and moreover the clear proof of the commercial value of art in attracting people, beside the innate love of our own past, which seldom fails to awaken a sympathetic chord. What our best architecture now most lacks is that elusive spirit, soul.
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ARCHITECTURAL ANNUAL
Recently a Senate Committee au- AF^neArtesr.°f thorized a favorable report on the bill to establish a Department of Commerce and Industry, with a new cabinet offi- cer at its head. Many of the great nations of the world have governmental departments of similar scope, and the committee appears to hold the view that certain bureaus now scattered through various other departments legitimately belong together, constituting a new one.
While changes in the structure of the Cabinet are being considered, another department even more urgently needed, from our point of view, and for which we also find precedent among the older nations, is a Department of the Fine Arts. We are already burdened with too many societies giving gratuitous advice as to the improvement of the artistic possibilities of our cities, and, although they rarely have anjr power to back up their opinions, they have succeeded in doing considerable good in the preservation of natural beauties and in giving direction to public taste in matters of the arrangement and decoration of public places.
What is really needed, however, is a depart- ment with sufficient authority to enforce its decisions and the right to pass upon the artistic value of public works, and of all structures that seriously affect the appearance of our cities and harbors.
In the control which the War Department holds over the water-fronts of navigable streams we have a parallel case, and, as it controls the wharf and navigation lines in reference to safety and navigability, it would be within the scope of a Fine Arts Department to see that the shores were not heedlessly disfigured by ignorant and arrogant corporations, and that natural opportu- nities were preserved and developed with the growth of the city upon its banks. And even if so important a change in the attitude of the Government is not at once practicable, the War Department itself, through a special bureau with a competent architect at its head, could perform similar functions, at least in reference to our rivers and harbors and other works under its control.
Municipal Art.
The formation of numerous muni- cipal art societies throughout the country is a gratifying sign of progress, and the frequent conferences which are held from time to time in different cities, and to which speakers of eminence are invited, bear witness to the increased interest of the public in these matters.
In the formation of a National Committee for Municipal Improvement and Civic Embellish-
ment by the Architectural League of America, with Mr. Cass Gilbert as its chairman, and in the one session of the Congress of the same association soon to be held in Chicago, consist- ing of a public joint meeting with the American Park and Outdoor Art Association, are seen two future steps in the same direction, and constitute hopeful signs for the future appear- ance of our cities.
As we go to press the first Circuit Architectural of the Architectural League of
Exhibitions. A ,v' < ir
America is more than half com- pleted, the travelling exhibition having been displayed in Philadelphia, New York, Chicago, St. Louis and Detroit thus far. While it is too early to offer an opinion as to the success of this enterprise, we may call attention to some of the experiences encountered thus far. Theoretically the circuit offers mutual advantages which can scarcely be obtained without such united effort, and in practice it is found that the responsibility falling upon the first club holding an exhibition is counterbalanced by the ad- vantages gained by being first to exhibit and in having first choice for the catalogue.
That the circuit is a good thing we are sure, and the difficulties that have occurred this year have been more due to inexperience, a lack of careful preparation, and to mistakes of judgment than to any obstacle which could not be readily overcome, and we know that the circuit can be continued to advantage in future years if the clubs unite heartily to secure the desired result, and if each club will remember its obligations to the succeeding exhibition committee.
The circuit and the natural growth ciub of the profession keep the number
of exhibitions of architectural draw- ings steadily on the increase, and as advertise- ments in the catalogues usually cover the exhibition expenses, the catalogue becomes an important factor in all such enterprises, especially as they are seldom merely illustrated lists of the titles of drawings and the names and addresses of exhibitors, many of them being useful for reference and often taking the form of local illustrated reviews of value. The best are regularly edited by some member of the club selected for his fitness to voice the architec- tural sentiment of the locality.
The catalogue of the exhibition by the Chicago Architectural Club leads in interest among the rest this year, and Mr. Dwight Heald Perkins, the editor, deserves great credit for the make-up of the whole book. It contains not only the lists and illustrations, but also a
ARCHITECTURAL ANNUAL
25
number of well-written short articles on local and general topics. The expense of getting up this catalogue was not, however, covered by the sale of advertising space, but was borne by a number of business men interested in architecture, their names being given on a page devoted to that purpose, as Patrons of the exhibition of 1900.
No criticism is therefore possible as to the soliciting of advertisements by the profession, and as many architects figure among the names, it should be a sufficient proof to the most exacting critic of the interest of the architects in these catalogues.
In the catalogue of the St. Louis Exhibition there is, in addition to the usual matter, a brief review of local architecture in the past, and an interesting series of notes on present con- ditions. It was edited by Mr. S. L- Sherer. Among others we may mention that of the T-Square Club, of Philadelphia, edited by Mr. David Knickerbacker Boyd, and that of the Detroit Architectural Club, edited by Mr. Francis S. Swales, as being well-arranged ex- amples of such publications, the latter being the best printed catalogue we have ever seen.
international The great international fairs that EaXsP°EpochS take place every ten years or so
Markers. jn parjs aiKj elsewhere are ex- hibitions of the architectural progress of the decade quite as much as of progress in other directions ; even perhaps more so because of the importance given on all hands to the ques- tion of the architectural character of the build- ings, and because of the public interest aroused by the sudden erection at a centre of interest of so many and such extensive buildings.
The educational influence of these expositions was well exemplified in the case of our own World's Fair at Chicago, which was deliberately planned as an object lesson in the forms and possibilities of permanent architecture and was productive of much good in spite of the archaeological character of most of the designs carried out. Since that time there have been fairs held at Atlanta, Nashville and Omaha, in which similar ideas guided the designers of the exposition buildings, with similar results.
In contrast, however, with this exploitation of the ancient and alien architectural types, is the freedom with which modern impulses have been followed in recent French fairs, the manner in which the festive and transitory character of the occasion has been expressed and how local and contemporary thought has influenced the form and construction of these temporary palaces.
As far as indications show, this modern spirit will be an important factor at the Buffalo Exposition of 1901, and it will be in a sense the first summing up of modern endeavors in architecture in this country.
It is to be hoped that the progressive and public-spirited citizens of St. Louis, having projected a world's fair for 1903, will see that, as the buildings of the fair are to contain the latest and highest evidences of industrial and artistic progress, the designs for these buildings should be chosen in the same spirit ; that as the fair is a festival in commemoration of local progress, and is temporary in the very nature of the case, these facts should be ex- pressed in its architecture, and, where possible, emphasized as references to local history and growth.
In the Chicago Exposition the good
How the Best , L r. . A . ° ,
Results are example was set of intrusting the work of designing the buildings and their arrangement to a board of architects, selected on their reputation, from among the ablest men in the country. These worked together in perfect harmony for the common end, buildings being allotted to the different members of the board, and these receiving a stated salary for their services.
The Board of Architects for the buildings of the Pan-American Exposition to be held at Buffalo in 1901 selected Mr. John M. Carrere as their chairman, and the following allotments have been made : Liberal Arts and Agricul- ture, Shepley, Rutan & Coolidge, of Boston ; Machinery and Transportation and Electricity, Green & Wicks, of Buffalo ; Electric Tower, Howard, Cauldwell & Morgan, of New York; Stadium and Administration, Restaurant, Station and Cloister, Babb, Cook & Willard, of New York; Horticulture, Forestry and Graphic Arts, Peabody & Stearns, of Boston ; Temple of Music, Esenwein & Johnson, of Buffalo ; Mines, Ethnology and three entrances, George Cary, of Buffalo ; landscape plan, bridge, south approach, and all formal landscape work, except the entrance court, Carrere & Hastings, of New York.
The board has also retained the services of Mr. Karl Bitter, the sculptor, and M. C. Y. Turner, the mural painter, to take charge of the decorations, and the chief of construction is Mr. H. S. Kissam, of New York.
Not only every city has its public ArubraCriesal libraries as a matter of course, but almost every little town has a col- lection of books open to all, where standard
26
ARCHITECTURAL ANNUAL
works of fiction, of science and of reference can be found. But even in large cities a well-se- lected group of books on architectural matters is very rare, and is usually inadequate to the needs of the student worker or general reader. Especially in important works of reference, man}' of them too costly to be within the means of the bulk of the profession, and which may not be consulted by any one man twice a year, are the existing collections notably deficient. Every great library, and above all every college library, should have these special works where they could be consulted and studied, and there is here an opportunity for public-minded men to assist the existing libraries at a point where they are now lamentably weak. Beside such works as these there are at least two architectural journals published in this country that should be in the periodical room of every library. There are a few noble exceptions to the usual con- ditions mentioned above, and in this connection it may be recalled that in the library of the Carnegie Institute at Pittsburg rooms have been devoted to the purposes of the architectural societies of that city, and that the Institute has solicited advice as to the selection of books on architectural and allied subjects. A similar request was made by the Philadelphia Free Library at a reception given to the T-Square Club, the members of the latter organization being invited to attend a special reception to offer suggestions that would assist in the forma- tion of a public collection of works on architec- tural and related subjects.
The
The initial number of the Archi- ArAnne Caiural ^ctural Annual, appearing as it
does at the dawn of a new century, both in time and ideas, seeks to represent the age's spirit of progression, and stands as an out-
post in the realm of new and vigorous thought. Its aims are far beyond those of a merely tech- nical publication ; rather is it intended as a popular book of reference, suited by its uni- versality to the library shelf of the professional and layman alike.
There long has been lacking a ground of common interest for the expression of the client's needs and the architect's ideals. It remains for the Architectural Annual, in its unique posi- tion, to strike the chord that shall bring into har- mony these apparently diverse elements.
In the past incompetent architects have too frequently brought down upon themselves a well- merited storm of public condemnation through the use of false and insincere standards. To thrust upon an uninformed public alien, obsolete styles and passing fads, simply to gratify the "lust of the eye," without regard to logical, common-sense architecture, has deserved the se vere criticism that has assailed it. Unfortunately, such criticism has not always confined itself to the offenders alone. The results of these capricious efforts have, in most cases, been sufficiently im- practical to show the inability of the architect, but too often a whole community has been en- trapped, and ignominious reproach has been cast upon the well-directed and earnest endeavors of the profession. Such errors of the past have become the correcting influences of the present.
Most necessary to-day are clearly- conceived ideals, self assurance, based upon rigorous train- ing, a healthier point of view, realization of the needs of the age, and a judicious application of standards that are in accordance with American individuality and genius. When such ideals are realized, the layman may assume that his trust in the architect is not misplaced, scandals will cease, and the fair dignity of the profession will be preserved.
ARCHITECTURAL ANNUAL
27
THE MODERN PHASE OF ARCHITECTURE
BY LOUIS H. SULLIVAN Paper rend at the first convention of the Architectural League of America.
THE Cleveland meeting of the architectural clubs of the country will mark, I believe, the auspicious opening of a new era in the growth of architectural thought.
It should, in the nature of things, be of serious import to us of the present and active generation to know what the generation to follow thinks and feels.
Its thoughts may be immature, its feelings vague and formless ; yet, nevertheless, in them the future life of our art is surely working out its destiny, and the sincerity of them is not to be denied.
Youth is the most ambitious, the most beau- tiful, but the most helpless stage of life. It has that immediate and charming idealism which leads in the end toward greatness ; but it can know little of the sorrow and bitterness of the struggle for greatness. Youth is ineffable. I have said good-bye to mine ; with solicitude I welcome yours.
Perceiving, as I do, the momentous sway and drift of modern life ; knowing, as I do, that the curtain has risen on a drama, the most intense and passionate in all history, I urge that you cast away as worthless the shopworn and em- pirical notion that an architect is an artist — whatever that funny word may mean — and ac- cept my assurance that he is and imperatively shall be a poet and an interpreter of the national life of his time.
Do you fully realize how despicable is a man who betrays a trust ?
Do you know, or can you foresee, or instinct- ively judge how acutely delicate will become, in your time, the element of confidence and depend- ence between man and man and between society and the individual ?
If you realize this, you will realize at once and forever that you, by birth, and through the beneficence of the form of government under which you live — that you are called upon, not to betray, but to express the life of your own day and generation. That society will have just
cause to hold you to account for your use of the liberty that it has given to you, and the confi- dence it has reposed in you.
You will realize in due time, as your lives develop and expand, and you become richer in experience, that a fraudulent and surreptitious use of historical documents, however suavely presented, however cleverly plagiarized, however neatly repacked, however shrewdly intrigued, will constitute and will be held to be a betrayal of trust.
You know well what I mean. You know in your own hearts that you are to be fakers or that you are to be honest men.
It is futile to quibble or to protest, or to plead ignorance or innocence, or to asseverate and urge the force of circumstances. * * * *
If you take the pains truly to understand your country, your people, your day, your gene- ration, the time, the place in which you live ; if you seek to understand, absorb, and sympa- thize with the life around you, you will be under- stood and sympathetically received in return. Have no fear as to this.
Society soon will have no use for people who have no use for it. The clairv037ance of the age is steadily unfolding ; and it will result there- from that the greatest poet will be he who shall grasp and deify the commonplaces of our life — those simple, normal feelings which the people of his day will be helpless, otherwise, to express — and here you have the key with which, indi- vidually, you may unlock, in time, the portal of 3'our art.
I truly believe that your coming together will result in serious things. You have my sympathy. I am with you in spirit ; for in you resides the only hope, the only sign of dawn that I can see, making for a day that shall regenerate an art that should be, may be and must be, the noblest, the most intimate, the most expressive, the most eloquent of all.
Your youth is your most precious heritage from the past. I am with you.
28
ARCHITECTURAL ANNUAL
PRESIDENT VAN BRUNT'S ADDRESS, 1899
REPRINTED FROM THE OFFICIAL REPORT OF THE THIRTY-THIRD ANNUAL CONVENTION OF
THE AMERICAN INSTITUTE OF ARCHITECTS
IT is my province and my privilege to welcome you to this Thirty-third Annual Convention of the American Institute of Architects ; to congratulate you on the national prosperity and progress which it is your high function to sym- bolize in works of architecture ; to refer briefly to the main incidents in the history of American architecture during the past year ; and more especially to point out how the work which we are organized to perform may be more effectually carried out, and how the beneficent influence of the Institute may be more widely extended.
If architecture during the past year has made a sufficiently definite advance in structural inge- nuity or artistic beauty and fitness to be noted in the official review, which it is my duty to lay before you, if in this interval it has earned and is receiving from the public and the nation a more intelligent and appreciative recognition as a fine art, we may justly attribute these results to two causes : first, to the American Institute of Archi- tects, through the cordial affiliations of its mem- bers and its organized and persistent efforts during the more than forty years of its existence ; and, second, to the schools of architecture, which are now considered so essential to the generous culture of the youth of our country that they form a part of the systems of technical instruction in many of the principal institutions of learning in the United States. The splendid hospitality of the Ecole des Beaux-Arts is no longer essential to the complete equipment of the American architect. During the past year the results of the special training obtained in our own schools have become very evident. The graduates are beginning- to make good their place in the ranks of the profession , and the older members find that they are stimulated by a fine emulation of new blood and fresh inspiration. Almost daily neiv names become prominent, and new reputations arc beginning to struggle with old for pre-eminence . The impulse of this new and healthy dispensation is already felt in the remotest parts of the country, and the vulgar architectural vernacular which lias there prevailed is giving place to coherent and disci- f lined style.
The Institute should take immediate measures to refresh itself from this influx of new and abounding life. It is most evident that these two powerful influences, the Institute and the schools, which arc
thus working for the advancement of architecture , should work, not apart in rivalry, but together in closer and more effective co-operation than hereto- fore.
To this end, I venture to suggest that, by a sim- ple amendment of the By-Laws, the. Committee on Education should include, cx-ofificio, all those pro- fessors and instructors of the architectural schools ivho are members of the Institute, and, if there are any who are not members, that they should be brought within our folds, so that this committee may act, not only as a bond of union between the Institute and the schools, but between the schools themselves ; that the annual report of this commit- tee should embrace a general statement of the work and methods of the schools, the number of pupils enrolled, and the names of those especially dis- tinguished; and that the practical interest of the Institute in the "welfare of the students should be made evident to them by the establishment of a sys- tem of Institute prizes, and, if possible, of one or more travelling scholarships , open to students of all the schools.
There are nearly 5,000 persons practising as architects in this country, and it cannot be denied that the professional practice and standing of this large body of men is made more secure, more honorable, more respected, and more remunera- tive by the fact that one tenth of their number is organized and united in a national Institute, which, for many years, has labored successfully to promote the artistic, scientific, and practical efficiency of the profession. It is true that the influence of the Institute is in proportion rather to the wisdom than the number of its members. It is no less true that the Institute is organized for a far larger and a far more widely distributed membership than it at present enjoys, and that , until it has such a national membership, it cannot have its full and proper effect as an instrument for the advancement of our profession, and cannot ade- quately represent its dignity before the world.
The question how our strength and resources can be best e?ilarged is, therefore, of the first import- ance. The men whom the Institute most needs are the men who most need the Institute. A late ear- nest appeal to the Chapters has, in several localities, been fruitful in securing many valuable members, as will be explained in the report of the Board of
ARCHITECTURAL ANNUAL
29
Directors. The Kansas City Chapter has been rehabilitated and is restored to full affiliation with the Institute under the nee By-Laws. But the strengthening of the Institute requires measures much more far-reaching. We need new Chapters in every fart of o//r wide domain, and, within then/, more members, and a much more active and efficient adjustment of their machinery to the needs of young men. No effor should be spared by the Chapters to make their meetings so attractive and so essentia/ to the younger men that the necessity for . the existence of junior societies and leagues in their neighborhood would be less apparent, and there should be no occasion for rivalry. The Institute should be especially hospitable to the graduates of the schools, and I am persuaded that if the con- nection between the schools a?id the Institute should be established on some such basis of mutual interest as has been outlined the professors would prove the most effective recruiting agents, and that their pupils on graduation would be made to consider that junior membership in a Chapter of the Institute is essential to their proper and regular advancement in the profession and a necessary preliminary step in their ca>'eer as architects. The Institute should not only be the guardian of professional purity and dignity in practice, should not only advance the interests of our art and act as the fountain of pro- fessional honor, but should aim to secure a more effective unity of effort between old and young , so as to inspire our work with the strenuous spirit of our national life, and in this service to make our art distinctively stronger, truer, and more beautiful. Therefore the Institute needs in its membership not only the wisdom of age and experience, but the enthusiasm and zeal of youth, if it would keep in closer toiich with the most healthy aspirations of the profession and avoid becoming the slave of its own traditions. To this end the junior members of the Chapters, recruited from draughtsmen atid gradu- ates of the schools, should be made to feel that they are wards of the Institute and essential parts of its organization, and to anticipate their advancement in due time to the successive grades of Associate membership and fill Fellowship as assurances of honorable professional positions before the world. It seems to me that the Institute, under its present improved organization, would, by some such process as I have suggested, be brought into closer and more effective sytnpathy with . the young men just entering the prof essioti, and through such sympathy would receive at least as many benefits and advan- tages as it would confer.
I commend these propositions to your careful con- sideration ; and zvould further propose that the Board of Directors be requested to examine into the
work and methods of the most successful of the juuioi architectural societies or leagues, with the object of formulating from their experience a scheme of exercises and duties to be recommended in a cir- cular to the Chapters, so that they may learn how to give greater interest and a more abundant life to thai' proceedings and become more active and effi- cient agents in the practical work 'which this Insti- tute is organized to perform. 'Thus may be estab- lished a propaganda in the interests of a warmer comradeship, a purer practice , and a nobler a rt.
In considering what has been actually accom- plished by our efforts during the past year, it is with especial pleasure that I refer to the fact that, under the operations of the Tarsney Act, public buildings at Norfolk, Va., Camden, N. J., and Ellis Island, New York City, are now erecting from the designs and under the care of private architects ; that the New Custom House in New York and the Judiciary Building in Washington have, after fair competition, been assigned to architects capable of expressing the genius of the nation in monumental architecture ; and that the Baltimore Custom House and the national build- ings at Cleveland, Ohio, will probably soon be the subjects of competitive design. The work on the buildings for the Naval Academy at Annapo- lis and on the Government building at Chicago is in the hands of private architects. It is prob- able that other public monuments, especially in the West, will be open to the profession as soon as the sites shall have been vested in the United States. The office of the Supervising Architect at Washington is thus gratefully relieved from a labor which no individual genius, however strong, and no official organization, however skilful, can be sufficient adequately to perform. But while the efforts of the Institute have thus far succeeded in opening to fair and honorable competition the designing and building of the national monuments , and have made an encouraging beginning in render- ing them more worthy to represent our higher civili- zation in terms of art, it must not be forgotten that these opportunities have been opened to us only through the intelligefit sympathy of the present Honorable Secretary of the Treasury, operating under the provisions of the Tarsney Act ; and that, without the accident of this intelligent and excep- tional sympathy on the part of that official, the public buildings of our country would still be manu- factured by the architectural machine in the Treas- ury Department, with its subdivided professional responsibilities , its baleful political affiliations, and its deliberate and extravagant methods of adnmiis- tration. Our attempts to formulate and obtai?i the enactment of a lazv sufficient to secure for us a truly national architecture fit to represent our highest
30
ARCHITECTURAL ANNUAL
standards in art should not for a moment be relaxed, and our Legislative Committee on Government Architecture should be continued, maintained ', and encouraged to use every honorable means to bring about this result at the earliest possible day.
I am glad to bear witness to the fact that, in the conduct of competition in general, the dignity and the highest interests of our profession have during the past year received more adequate and respectful consideration than heretofore. But it must be admitted that in many parts of our country, especially in those more remote from the great centres of activity and intelligence, the loose professional habits of many practitioners of our art still encourage the publication of ' ' Invitations to Architects," which, though proposing compe- titions, in which the contestants are arbitrarily deprived of every proper safeguard, and are asked to submit themselves to conditions insulting to their self-respect and devised to secure their services at the smallest possible cost, meet with ready and humiliating acceptance. Near every such locality the Institute should maintain a Missionary Chapter to teach the primary princi- ples of honorable practice for the benefit, not of the architects alone, but of the public.
Among the competitions of the year which have been managed in a manner creditable to the projectors, the contestants, and the judges, by far the most conspicuous and memorable is that for the laying out of the buildings and grounds of the University of California, under the " Phcebe Hearst Architectural Plan." Though the highest award in this international competition fell to a Fre7ich architect, the brilliant part borne, especially by some of the younger American contestants, is a cause for congratulation. I should like to see this Institute, by formal resolution, recognize our indebtedness, not only to the munificent and public-spirited woman through whom this import- ant architectural event was made possible, but to the Managing Committee for furnishing an exam- ple so conspicuous of a fairly conducted competi- tion on a great scale, and for the courage and intelligence with which they have conceived a scheme of architecture which, in extent and importance, has not been exceeded, if it has been equalled, in modern times.
Another cause for congratulation resides in the cordial and effective alliance between paint- ing, sculpture and architecture, as exhibited in several works of monumental importance which have reached completion during the past year. It is only by such harmonious and fruitful co-operation that the highest civilization of our times may, at length, begin to receive competent expression in art. The public is beginning to understand that the highest and noblest expres-
sions of art, not only in permanent monuments, but in public pageants of merely temporary significance, are possible only through such a concert of effort, and architecture is glad to restore to her sisters of the brush and chisel the field of high endeavor in which the old masters found their greatest opportunities. We especially recognize and admire the splendid service rendered by the sculptors in the decoration of the Triumphal Arch erected in New York in honor of the Navy and the victor of Manila.
I have looked forward, gentlemen of the Insti- tute, with especial solicitude and interest to this, your thirty-third convention, as it is the first in which, under our finally amended laws, the experiment of authorized delegations from the Chapters is to be tried ; the first in which the remodelling of the Constitution and By-Laws has not presented itself as the paramount and absorb- ing topic of report and discussion ; and practi- cally the first in which the Institute has given to it the privilege and opportunity of considering at peace and without fear of interruption subjects related to the highest interests of the profession.
If, after these many years of experiment, we have at length reached an era of tranquil and prosperous development, let us realize that the best use we can make of this peace is to compre- hend and to assume all the grave responsibilities which belong to the undisputed position of the Institute as the national representative and pro- tector of a great profession and a greater art.
You may be sure that the civilized world will receive with peculiar interest all that we may have to give forth in the elucidation of the strange and unprecedented conditions under which a rich and prosperous nation, unembarrassed by patriotic tra- ditions of art, is developing „ style ; that it will eagerly hear all that zee may have to say on the practical applications of science to architecture, on the progress of invention in respect to building, on the discovery of new materials and new methods and their effect upon our art, and on the incidents of our unimaginable progress in the future. We alone are in position to influence the expression of the immense energies of our nation in architecture. Let us endeavor adequately to fulfil these duties.
I hope I may be permitted to close this address with a brief personal statement. When at the last convention you saw fit to make me President of the Institute, I received the unexpected honor as an expression of consideration and respect for one whose connection with the Institute began at its first conception forty-seven years ago. Recall- ing the brilliant services of my old friends and predecessors in this office, I undertook its respon- sibilities with doubts and sincere misgivings. But as the culmination of a professional career,
ARCHITECTURAL ANNUAL
31
now in the course of nature drawing towards its close, and as a most precious testimonial of the good will and kindly feeling of my professional fellows, the honor was very grateful to me, and I now resign it with a deep appreciation of your generous confidence. If, possibly, it may be the purpose of my friends to propose my name for an election to a second term, as permitted by the By-Taws and as customary in your practice, I
must with gratitude decline the compliment, as I have in contemplation a long visit of study and observation in Europe. / sincerely trust that in choosing my successor you may be wisely guided, and that he will receive the of/ice with the conscious- ness that its responsibilities have increased and are increasing with time, and that a merely perfunctory consideration of it will delay the development of the great future of the Institute.
A LETTER BY ERNEST FLAGG
FROM THE SYMPOSIUM PUBLISHED IN THE T-SQUARE CLUB CATALOGUE, J 89?
U
S1
IR : — You ask me, ' Do you yet see any signs to indicate the development of an unaffected style of architecture in America?' An architectural style is invariably the result of an evolution and is therefore necessarily affected by what went before. I do see, however, what appear tome unmistakable signs to indicate that such an evolution along logical lines is about to take place here, an evolution which I am con- vinced will result in the formation of a distinctly national, ever-changing, that is to say, live, style of architecture.
" Our architecture is soon to pass through, I may say it has already entered upon, the first stage of a most important crisis. Heretofore we have had, and at the present time we have, no such thing as American architecture, though we have architecture in America. All the fashions and phases through which it has passed have been importations, and all, with the exception of the Colonial period, have been illogical, and therefore not lasting. The true principles of good taste in design, which seem to have guided our Colonial architects, unfortunately d;d not take root deep enough to long survive the shock of our separation from the mother country. Since then we have imported fashions, losing sight of the principles the use of which resulted in those fashions — principles which, if we could have retained them, would have given us fashions of our own, in other words, a national style.
" A person who takes a broad look at the field today will discern, amid all the confusion, two forces warring with each other ; the one making for, and the other against, the formation of an architecture of our own. The adherents of the former are yet comparatively few and feeble, but certain of their ground, determined and endowed with the fire of youth.
"The adherents of the latter, representing, as they do, the conditions which have prevailed here since the Revolution, are more numerous, but are
wavering, happily soon to fall. For one of these forces must triumph over the other, and no one who appreciates the American character at its true worth can doubt for a moment which it will be.
" One of these forces may be called archaeo- logical ; it is founded upon the dry bones of the past, and in general stands for the unthinking, unreasoning imitation of foreign buildings and ancient styles which were out of date and aban- doned by the people who produced them cen- turies ago, which have nothing to do with modern ideas, and the imitation of which for our use is inconsistent with the dictates of common sense. The Chicago Exhibition was a characteristic pro- duct of these methods. The love for this sort of thing, not the thing itself, be it understood, but the modern imitation of it, is fostered by a sickly sentimentalism and a love for the picturesque divorced from reason, which to satisfy its 'un- healthy longings would stamp out all virility and substitute imitation for invention in design. In this same class must be included that great body of self-styled architects who, innocent of a knowledge of the first principles of the art, hav- ing never been taught, think they are called upon to do something wonderful and succeed in doing it.
" It is not by this road that we shall arrive at a national style.
' ' The other force to which I have referred may be called architectural, for it has for its aim the introduction into our architecture the true living spirit of the art and the age, without which it can never be a live national art. I mean the introduction of modern ideas, modern forms, modern methods adapted to the life, habits, modes of thought, resources and appliances of the day. It would draw the good, that is to say, the spirit, from the art of all times and all nations and apply it to modern uses in modern ways. It would make use of modern inventions and all the resources which modern science has placed at the
32
ARCHITECTURAL ANNUAL
disposal of the architect, which, if used logically that is, with the aid of reason, will call for new, fresh forms, for the thought and invention which this implies, and thus call into play the highest gifts with which we are endowed.
" Its adherents are being taught the true prin- ciples of design by the greatest masters of the most artistic nation of Europe. And these prin- ciples are bound to take root here because they are logical, reasonable, right and true. In time they will produce their legitimate result, and we shall have an architecture of our own.
"The movement is young, its adherents are young, and they have the faults of youth. They are perhaps a little arrogant and self-con- fident, they assume too much, think they are the elect, and that the mantles of the masters have fallen upon them. Many of them make poor work of what they have learned. All are inclined to imitate the architecture of their mas-
ters, which is natural and harmless, for it cannot be lasting, and we must have some point of departure. Many of them lose sight of what is good in the work of those with whom they do not agree, and are disliked in consequence.
" It is not, therefore, to be wondered at that the true significance of the movement is cot always understood. It is not surprising that, looking at the surface, some take it to be an attempt to Galli- cize American art and regard it as a passing fashion, like those which have preceded it. Nor is it surprising that some regard with distrust a movement which they do not altogether compre- hend. There are those who, unacquainted with the principles which lie beneath the surface, make light of a movement which, in spite of its apparent contradictions and inconsistencies, is destined to be productive of the most far- reaching and momentous consequences to Amer- ican art."
EXTRACT FROM THE CLEVELAND ARCHITECTURAL CLUB CATA- LOGUE, 1900
HERBERT B. BRIGGS, EDITOR
U
T
*0 the Architectural Club the 'Technical Club ' rooms mean more than a home, for they made possible the entertainment by it of the representatives from the architectural clubs and kindred organizations of the United States and Canada, who, on June 3, 1899, organ- ized the Architectural League of America.
" Here in the assembly room gathered the men who represent the younger brawn and sinew of the New World's architectural profession. Here were presented the papers, addresses and discus- sions which preceded the act of organization. Here plans for the future were carefully con- sidered and promulgated. Here was read that memorable letter of greeting and encouragement
from Mr. Louis H. Sullivan, of Chicago, one of the pioneers in the true development of a national architecture.
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' ' The first year of the League has been largely an experimental one, some mistakes have been made, the exhibition circuit has not run as smoothly as it will when the system is thoroughly perfected ; in tangible results very little can be shown ; but, in the idea started, the acquaint- ances formed, the experiences, the mistakes, the lessons of the year's exhibition circuit, and in the concentrated thought of many minds upon ways and means for its improvement and development, a most decided and important forward step has been taken. The coming Chicago Convention will show results that the Cleveland Convention could not possibly have developed.
"The Cleveland Club hereby reaffirms its allegiance to the Architectural League of America."
ARCHITECTURAL ANNUAL
33
CHARLES FOLLEN McKIM
ARCHITECT
THERE should be no hesitation in discuss- ing the work of a living architect, for, no matter how it may be in other professions, an architect's achievements are of such a durable nature that, when once completed, they stand before the modern critic just as they will stand —
" When Earth's last picture is painted, and the tubes are twisted and dried, When the oldest colors have faded, and the youngest critic has died."
The subject of this biographical sketch is now but fifty-two, being born in Chester County, Pa., August 24, 1847. At the age of twenty he had completed his academic training in America by graduating from the Harvard Scien- tific School. Then he spent three years in the Ecole des Beaux-Arts, and returned to study under a New York architect. Upon entering professional life in 1880, he became partner of Messrs. William R. Mead and Stanford White. Mr. McKim is singled out for this sketch more on account of deeds that extend beyond the office and draughting room, than because he merits an unequal share of the praise due the firm. Beside being an architect, he is a clubman, a connoisseur and a patron of art.
The results of this firm's labor and thought, now scattered over the entire country, comprise university buildings, public libraries, churches, club houses, music halls, hotels and office build- ings. The Century, Metropolitan, University and Harvard club houses in New York, and the Algonquin, in Boston, were designed under the watchful eye of Mr. McKim. His libraries are the most monumental of his work, and speak loudest of the firm's ability.
By the use of most exquisite Italian and classic ornament, by the importation of rich marbles and old art iron woik, and by adap- tation of ancient forms, McKim 's work has had a very decided direction. We have grown more critical, more sensitive as the century has pro- gressed, and optical refinements, such as existed in the horizontal curves of the Parthenon, have been reproduced in the Columbia Library, thus acknowledgng the return of the refined Greek sense of beauty, for these characteristics of design have been noted by some unconsciously, by others wisely. McKim's method of suiting foreign successes to American needs has given an impetus to archaeological research, and demon- strated to us the riches of other architectures,
never to be wholly acquired after years of aca- demic training.
That such efforts toward the realization of the beautiful have been appreciated has been lately shown by a competition held in a con- temporary architectural magazine. Three of the ten buildings, voted for by the subscribers as the most beautiful in America, were designed by McKim, Mead & White. This is even a higher estimate when we realize that two of the remain- ing seven were not of the present generation — the Capitol at Washington and Trinity Church, New York City.
Whatever criticism has been made at length on the use of precedent in their buildings, sepa- rately considered, it must be acknowledged that the firm of McKim, Mead & White have always possessed an exact estimate of the value of ancient forms as stimulants to the imagination. Theirs is a method of selection — a choosing of the beautiful and useful — a rejecting of the in- artistic and commonplace of former architectures. It is not, as some would suggest, a blind groping after a harmonious effect, but it is marked by the scientific element that distinguishes the artist from the artisan. They seem able "out of a senseless Nothing to provoke a conscious Some- thing." Granting that several of the best exam- ples of other periods have been bodily trans- planted in America, such adaptations have taught them, in their maturer work, to add soul and grace to purely modern products.
With all such efforts to relate the past to the present, Mr. McKim's interest in the progress of the world about him has been paramount. By introducing mural decoration into America he offered opportunities for developing the genius of Sargent and Abbey. Equally great sculptors, such as St. Gaudens and Martiny, have profited by him. He, among the few, was sincere enough to acknowledge the art in MacMonnies' ' ' Bac- chante," above the clamor of falsely Puritanic opinions. Such is his attitude toward the aes- thetic tendencies of the present. As friend and patron of Columbia University, and as founder of the American School at Rome, he must be accorded the highest praise as a benefactor of art in a most material way, His name is the watchword of those who are carrying the torch of architectural art a few paces forward into the future. He stands forth a worthy example, little followed in these hurried days.
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ARCHITECTURAL ANNUAL
ART IN AMERICA
REPRINTED FROM THE "AMERICAN ARCHITECT," JUNE 3, 1899
FOLLOWING are some portions of an in- teresting and striking address made by Brooks Adams at the joint annual dinner of the National Sculpture Society and of the National Society of Mural Painters in New- York :
>lMr. President, Ladies and Gentlemen :
" My pleasure at meeting you here to-night is damped by my diffidence in attempting to address so distinguished an audience on any subject akin to art, and yet I find a consolation in the thought that perhaps even my words may be of some avail, since I hope I represent the body of our people, and it has ever been the function of the artist and the poet to give expression to the popular aspiration of their age.
' ' Fortune has led me toward a wandering life, and, like other wanderers, I am prone to compare the countries which I see. I am sure I do not err in saying that as year by year I return to Western Europe I mark a subtile change ; the energy with which those nations palpitated when I was a boy is ebbing, and with the national vitality ebbs the national art. The form may survive, but the fire which quickened the form is flickering low. Each year on return- ing home I note the exact converse. Our society is gathering monicntuni, and as it surges onward our art gains dignity and scope. Well do I remem- ber when our fathers thought this land a barren soil which could never nurture the architect and the sculptor, and yet, as I glance about me now, I see toe lead the van. Since the medieval Frenchmen tinted the rose of Rheims no such color has glowed hi glass as in the windows of fohn La Farge ; no nobler statues are carved than those conceived by St. Gaudcns ; while in power and technique no paint- ing or etching excels that of Whistler and of Sar- gent. Lastly, in architecture we stand, in some respects, alojie. In 'ingenuity and daring we have few rivals, but architecture is a great subject, and it is of that I chiefly wish to speak.
" Passing over such effects as those made at Chicago, which were ephemeral, and confining myself to durable monuments, I will take the new Library of Congress to illustrate my mean- ing. Now, I am a literary man ; books are my trade, and in talking of a library I speak of what I understand. I affirm that as a workshop this building approaches perfection. It is ample, it is light, it is convenient, while in rapidity of ser-
vice it can hardly be excelled. In the National Library of Paris it costs an hour to get a book, in the British Museum half an hour, in Wash- ington five minutes. In Paris and London one works in dark and gloomy rooms, often crowded to excess. In Washington the reading rooms are numerous, cheerful and comfortable. All this and more may be said of the practical side of this building ; but is utility all that a nation may demand from artists ? This year forms a grave epoch in our national life, and to-night I would speak gravely. I apprehend that zve stand tcpon the brink of a new era, when a rising tide of national feeling will demand a more serious form of artistic expression, especially in our public monuments. I return to the Library to ex- plain myself. The plan of the structure is good, but the plan of our building is apt to be bid a skele- ton— to find the lip we often have to seek the decora- tion. The habit of our artists is to speak through ornament, and, to me at least, ornament has been the reproach of American art. It has been the re- proach because it has been redolent of money.
" How fashionable has it been to copy foreign masterpieces, without regard to their meaning, simply as a toy. Sometimes we have found a model in a Hindoo temple, sometimes in a Gothic shrine, and what has taken our fancy we have adapted to strange uses, as a savage adapts a white man's clothes. Our chief preoccupation seems to have been to produce the effect of wealth, to exult in gold and marble, and elabo- rate carving, only for display. Doubtless in the Library of Congress there are individual works of merit, but the whole lacks gravity and unity, and smacks of ostentation. If zve have nothing more than this to say, no tale to tell save that we once were rich, then shall we leave nothing behind us which will endure. Those who follow us zvill for- get us.
1 " Artistically our civilization zvill have failed. For my part, however, I believe that we have much else to say, and that the hour when you shall say it is at hand.
' ' We have only to look back into the mirror. Turn for an instant to Rome. The Romans, too, were rich and ostentatious ; but what man of feel- ing has ever cared for the vulgar veneering of the baths of Caracalla or the tiers of bastard Greek pilasters, one above another, against art, the brick core of an amphitheatre? Posterity has
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37
recognized the coarse and sordid side of the Roman plutocrat, but happily in Rome there was something beside plutocracy. What ex- torted the admiration of our ancestors, and what extorts our own, is the sweep of the aqueduct striding across the Campagna, or the highway on which the legions marched, pointing straight to its goal, as inexorably as destiny. Whose heart has not kindled with enthusiasm before the arch which tells us of the nation's triumph or the column to commemorate the glory of the victor? These great works are as eloquent to us to-day as to the men who reared than , for they tell of passions which cannot be vulgarized, and they speak a language which shall never die.
"I ask you, American aiiists, have we no na- tional life which fires your imagination and stirs your blood f I tell you this continent is quivering with an energy beside which the energy of Rome is as the shock of the galley to that of the battleship. I feel it about me on every hand ; our people arc possessed with a premonition of their destiny.
" I was in Puerto Rico last February, and one sultry morning, strolling upon the ramparts of San Juan, I fell upon a regiment of regular in- fantry at drill. I suppose three quarters of that regiment were volunteers of a few months' ser- vice ; they did not look like any troops I ever saw ; they were rough fellows in blue shirts and slouch hats, and they did not line up as regularly as I have seen men do in Germany and England. But I watched them finish their parade, and as
they marched off the ground I knew that in all my life I had never felt such power.
"Only the other day I travelled from Pitts- burgh to New York, and from New York to Albany, and in this whole round globe there is no sight which can compare. That great artery through -which throbs the life-blood of this nation is to -what has existed elsewhere as the Hudson is to the Thames. We must accept the world as we find it. Probably mankind has lost the passionate devo- tion which created Chartres and Bourges ; that magic instinct for form -which was the heritage of the Greek has died, but one great emotion still remains to us ; ive have a country , and we have the sense of power which made the dignity and majesty of Rome. That is the emotion which is destined, if we survive and flourish, to be the dominant instinct of our land. That emotion shall, I trust, become incarnate through you.
" Gentlemen, it lies with you to give this passion , which I believe to be one of the noblest -which can in- flame the human mind, befitting expression ; it lies with you to clothe the aspirations of your generation in color, in marble and in bronze ; it is for you to conceive and execute memorials which shall com- memorate our empire. And I, for one, believe in you, as I believe in our race, our soldiers and our destiny, and I believe that when the hour of our decay shall come you -will have raised to the honor and glory of your country monuments as eloquent and as strong as those which still make live before us the triumphs on the Tiber. ' '
EXTRACT FROM THE DETROIT AR- CHITECTURAL CLUB CATALOGUE, 1900
FRANCIS S. SWALES, EDITOR
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1 HE principal object for which the Detroit Architectural Club exists is the advance- ment of architecture and the allied arts. " For the improvement of its members, meet- ings are held regularly, at which lectures are delivered, matters of interest are discussed and classes are conducted. We realize, however, that no great advancement can be made, and that the
motto, " progress before precedent," adopted by the Architectural League of America — of which the Detroit Architectural Club is a chapter — can- not be upheld without the intelligent apprecia- tion of the public. In presenting to the people of Detroit this and future exhibitions, we are making an effort to bring before them the best work being produced, both in the United States and Europe, to the end that interested laymen may note the progress of architecture and archi- tects, and by giving to capable men their dis- criminating encouragement afford them one of the artists' greatest rewards."
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39
THE ARCHITECTURAL SCHOOL FROM THE ARCHITECT'S STANDPOINT
BY GEORGE R. DEAN
Delivered at the banquet tendered by the Cleveland Architectural Club to the visiting delegates to the first convention of the Architec- tural League of America.
THE practice of architecture resolves itself into the proper handling of any problem in building.
The ideal architect is a poet, a dreamer of dreams, a builder of air castles, with the technical ability to reproduce those visions in lasting material.
He is able to see his building completed; he sees the plan, the arrangement of part to part, the suitability to purpose, the simplicity of cause and effect. He sees the component parts of materials, he paints the walls in colors, he carves the caps oj columns, he models cornices, he stains the glass in the windows, forms, colors ; shadows and highlights come and go. He rejects, adopts, invents, a?id brings forth a unit, a whole, a harmony.
It is his right, given, in the same degree, to no other artist, to show what he has discovered of beauty in the forms of nature. The entire earth is before him ; its animal, vegetable and mineral kingdoms abound informs of surpassing loveliness.
The trained mind is able to see deeper into the character of these forms, to search out the dominant quality, to separate the dross from the metal and put before the toiler in other fields the product of his toil.
No other art has such possibilities ; it is abso- lutely limitless. There is space on a single building for the study of a lifetime. It would be to the evet- lasting glory of an architect to reduce one form to the perfection attained by the Egyptian who con- ceived the lion, or the Greek who modelled the palm.
Do we pay the painter to slavishly copy for us the works of Michael Angelo ? No, we dema?id that he go forth and search and toil and show us something which he alone has seen ; to trace for us one thread in the inti icate mesh of nature. This, then, is the goal of the student.
It is generally conceded that the architectural school does not and cannot produce the practising architect ; that the business, and to a great extent the technical side, must be learned through a certain experience. This experience the student acquires during that period wherein he is a draughtsman. Since the draughtsman is the only step between the school and the architect, the student should be a draughtsman at the time he leaves the school.
It is by the draughtsman, the product of the school, that the architect judges of the school.
It is the province of the draughtsman to assist the architect in the assembling of his construc- tion, to work out its minor details, to play the part of the actor, to put himself in the place of tbe architect and carry out generalities. He must be so constructed that he is able to see something of the whole, to grasp something of the situation, to catch the keynote and never cause a discord. It is the province of the school to so construct him.
It is the privilege of the architect to nourish and train him, to broaden his experience, to show him the refinements and the technicalities, to teach him to grasp the simple whole.
The first truth that the school should instil in the mind of the student is the necessity to see in the solid; he must ever deal in the third dimen- sion, not only in its beginning and end out throughout its entire length, to feel the mass ; he must see further into the building than the color on the surface of the Whatman paper ; the 450 wash is not to show him the depth of the angle or the projection of the cornice ; it is his method of expressing his thoughts to others. This brings us to another great object of the school — draughtsmanship. Since the architect does not himself reduce his vision to earthly materials, he must have a language. It must be a language clear and concise, yet capable of most varied ex- pression. This language is for a purpose ; it is the medium between the idea and the reality. Any tricks practised, any play on words will lead astray the intelligent artist, as well as the architect himself.
Since he must begin to think from the solid, so he must begin to draw from the solid ; since his visions are to be ideal, be must draw from ideal subjects.
His architecture is to have continuity to ex- press growth, refinement and nobility. Subjects expressing these characteristics should ever be put before him.
Nowhere can he find examples so good as those in nature. The architect who has learned how well nature knits together the various por- tions of her creations, how a certain character, a feeling, takes possession of a plant from root to blossom, how it carries itself throughout an animal, how each mineral has its characteristic
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ARCHITECTURAL ANNUAL
crystal, will never be able to produce the con- glomerate so universally perpetrated.
The architect who truly knows the pine and oak tree, who has studied and drawn them, who has had the character and growth brought home, is incapable of dreaming a dream of ugliness.
The architect who knows and loves the lily and anemone, has been taught to draw iheir essential qualities, is incapable of conceiving an ornament of vulgar character.
During his school period, to still further sharpen his sensibilities, to make him more quick to detect discord, to know harmony, let him study color, but let him get it from the true source.
The architect who knows the woods and fields will be incapable of sky pink and baby blue sentimentalities, as well as the quivering horrors daily thrust upon us.
The question of materials should obtain its share of attention. The student should have a consciousness of the different textures, as well as the bodily construction of material, that the treat- ment should vary with the material, that ivood should not appear to be moulded, that iron should
not appear to be carved; that the methods of con- struction vary zvith materials, and the principles governing this construction should be put before him. We, the architects of to-day, were not so trained.
Whatever of this we possess we have fought for, scrambling back over text-books of dogmas and ruins of Gothic, Roman and Gi'eek architecture.
We went into offices with magnificent ideas of these in. our minds. Some of us have had the oppor- tunity to construct them to the utter damnation of the art and the agony of the public. For the sake of that thing which lives forever let us give the student of the next generation a school which will start him in accord with nature, for zvith her he will have to deal.
I believe that the study of the various styles of architecture with the intention of using them in practice is pivductive of conglomeration and lack of continuity. I believe that the study of one style of architecture with the intention of using it in prac- tice is productive of absolute death. I believe that the study of the vital styles of architecture with the idea of finding wherein they met the reqtiircments of their periods and the processes of their perfection, productive of mental development and general in- telligence. (Applause.)
RICHARD MORRIS HUNT
(1828-1895)
THREE men who bear the name of Hunt must be placed on the list of those who reached the highest ideals of Art in the Nineteenth Century. William Holman Hunt led that school of idealizing painters called Pre- Raphaelites ; William Morris Hunt was a noted American artist, a pupil of Contune and Millet ; and Richard Morris Hunt, brother of the Ameri- can artist, was one of the greatest architects that the United States has ever produced. It would be an idle and fruitless discussion that would seek to determine the relative value of these three lives, but we must not overlook the fact that, al- though the painter's canvas may rest on the walls of mansions and art galleries, perpetuating his name for many years, the work of Richard Morris Hunt must outlive them all and speak to an ever- increasing audience in each generation that is to come.
The mere recital of his life events will de- monstrate what volumes of well-deserved praise
would but feebly give. He was born in Brattle- borough, Vt., October 31, 1828, of Jonathan Hunt, M.C., and upon his father's death was sent to school in Boston. Graduating from the Boston High School in 1843, ^e went to Switzer- land in 1844, and entered the atelier of Samuel Darier, at Geneva, in the following year. In the same year he became a pupil of Hector Lefuel, at Paris, and in 1846 was admitted to the Ecole des Beaux- Arts. Here his studies lasted ten years, during which time he travelled in Europe, Asia Minor and Egypt. In 1854 Lefuel was given charge of the new work on the Louvre. Under his direction, Hunt, as Inspecteur des Travaux, de- signed the Pavilion de la Bibliotheque, opposite the Palais Royal. He returned to America in 1855 and opened an atelier on the plan of the French architectural ones. After that he was engaged in the extension of the Capitol at Wash- ington and settled down to an independent pro- fessional career in New York.
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He was President of the American Institute of Architects and of the New York Chapter. He was made Honorary and Corresponding Member of the Academie des Beaux-Arts, Institut de France, in 1882; Chevalier de la Legion d'Honneur in 1884 and Member of the Societe Centrale des Architectes Francais in 1886. He was elected Honorary and Corresponding Member of the Royal Institute of British Architects in 1886, and of the Ingenieur and Architecten Verein, of Vienna, in 1887. Harvard conferred the honorary degree of LL.D. upon him in 1892, being the first archi- tect so honored. He became Academician of St. Luke's, Rome, in the same year — the first Ameri- can in that position ; was awarded the Gold Medal of the Royal Institute of British Architects in 1893 ; and later in the same year was nominated Associate Member of the Institute of France, of which Franklin had been the only other Ameri- can member. He served on juries of the Exposi- tion Universelle, Paris, 1867 ; of the Centennial Exposition, Philadelphia, 1876; and of the Columbian Exposition, Chicago, 1893. After an illness of two weeks he died at Newport, July 31,
1895-
As a man, Richard Morris Hunt was a pic- turesque figure, stalwart for his height, with something in his carriage and manner of speech that made you suspect the military officer, rather than the architect. His handsome head conveyed an expression of stateliness at times, but in the main Hunt was extraordinarily vivacious, almost
a Frenchman in some of his quick passages ot talk, and the talk itself was explosive. Most characteristic was his aggressive and forceful enthusiasm. The bust that heads this article is by Daniel C. French, and is taken from the Central Park Monument erected in his memory through private subscriptions of the arts societies of New York City. He is the first architect in the United States to be honored in such a manner. To Richard Morris Hunt is also due the great movement toward broader architectural training, represented by nearly one hundred advanced American students all the time in Paris, either competing for admission to the Ecole des Beaux- Arts or already in the school. Moreover, he was the chief mover in the project of establishing the Prix de Reconnaisance, or Prix Americaine, as the Frenchmen term it, which is open to French students alone and stands as a perpetual recogni- tion of French liberality in admitting the entire world to her school of art. And we must not overlook the powerful influence that Hunt ex- erted upon American architecture. Richardson's power was that of a stylist, and therefore personal and limited. Hunt's power is continual, for it represented a principle. It was successful in giving to American architecture that purpose, design and attention to academic principles which were entirely lacking before this New Englander brought back to his native country the lessons France had learned. His life and reputation will live and even increase with time.
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THE MUNICIPAL BUILDING PROBLEM IN THE
CITY OF CLEVELAND
BY HERBERT B. BRIGGS Chairman of the Current Work Committee of the Cleveland Architectural Club
THE municipal art idea, the germ that is to regenerate the American city, has taken root. Upon every hand the layman citizen is beginning to traverse the route that the Ameri- can architect, the artist, the sculptor and the land- scape architect have long since trod, with the feeling that it ouly led to the ideal, the Utopian, and not to realization. As the citizen broadens his view, the air-castles of the architect and his confreres take tangible form. In these days of intense commercialism and bitter competition, it is a hopeful sign. It foreshadows a broadening public mind, it appeals to the finer and truer sen- sibilities of man, and it makes possible an object- lesson education to the masses.
Cleveland, with her sister cities, east, west, south and north, is awakening to her possibilities. She is conservative. Her capitalists make invest- ments carefully. Her progress, along many lines, has been painfully slow. Her population shows a healthy, steady increase. She went through 1893-4-5 and 6 without a bank failure, and com- paratively few business failures. She was slowly evolved from the town to the city . Her commer- cial buildings have developed from the two-, three- and four-story office building to the mod- ern, fire-proof, sixteen story idea, whose vital force is electricity. She has ever been a city of homes, those of the detached house and spacious lawn. Cleveland and Euclid Avenue, names in- separable ! Her magnificent park and boulevard system, started some six or seven years ago, and yet incomplete, stand among the best of the coun- try. Her natural location upon Lake Erie, added to the fact that she is the largest city in the State, makes her the commercial city of Ohio, and she has already taken the initiatory steps toward making herself the city of municipal art, of not only Ohio, but the Middle West.
Such is Cleveland. Born from the hardy, education-loving pioneer stock of the Connecticut Western Reserve, she has grown a healthy growth, and as she enters upon the second hun- dred years of her life she feels the need of better, larger, more convenient and more artistic buildings in which to house and transact the varied municipal, governmental, educational, art and civic functions.
The conveniences of the century gone for this work are inadequate to the demands of the city
and count}' governments, and in meeting these demands it has been determined that the purely utilitarian shall not predominate, but that the artistic and aesthetic side will be given due con- sideration, not alone for the buildings themselves, but for their location and relation one to another.
The buildings now needed and for which pro- vision has already been made, in one form or an- other, are : a government building, city hall, public library and a county court house and jail. Other buildings which will eventually enter into the problem are : the Case Library, an auditorium and the Union Railway Station.
Two million five hundred thousand dollars have been voted by Congress for the government building, which will be located upon the site of the present building, and that of the Case build- ing, occupying the block bounded by the public square, Superior, Wood and Rockwell Streets upon the east side of the square.
A bond issue has been authorized by the State Legislature and a Building Commission ap- pointed to build a much-needed city hall. The present building is a rented one. Politics pre- vents immediate commencement of this structure.
The Public Library Board stands ready, with the authority to issue bonds, to take the prelimi- nary steps toward the new library building, but is wisely waiting to group this building with the others.
In 1898 a County Court House Commission and a bond issue to meet the cost of the erection of the court house were authorized by the Legis- lature. Upon the appointment of the Commis- sion it was declared to be unconstitutional. No action has since been taken, but the great need for better facilities in this department will com- pel early action.
Case Library, a quasi-public institution, will be driven from its present home when the Gov- ernment begins its building. Its trustees are broad-minded men, and want to make this library a part of the grouping system.
Cleveland is without a large and convenient public auditorium, and when this building is erected it will, without doubt, be made one of the features of this great municipal art idea.
The railroads centering in Cleveland have for many years been considering the erection of a modern Union Railway Station, and have inti-
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mated that they would be pleased to make this building, if possible, a feature of the group.
An art museum will soon be built in Cleve- land, but present plans, unfortunately, make provision to locate this building by itself in Wade Park, some four miles from the centre of the city.
From the foregoing, it is seen that Cleveland has an opportunity. The necessity for the build- ings is germinating the group idea and crystalliz- ing public opinion for it.
In March, 1895, the Cleveland Architectural Club held a competition upon the " Grouping of Cleveland's Public Buildings," which was given favorable newspaper comment, but accomplished little in a public way. Little as was actually accomplished at the time, the Club builded wiser than it knew, for it had fortunately chosen as one of the judges of the competition one of Cleve- land's foremost citizens, the man who afterward became a member of the Public Library Board, in which position he has done much to bring the Board to its present status upon the group ques- tion, and who, in 1898, introduced a resolution in the Cleveland Chamber of Commerce which created the " Committee on Grouping Plan for Public Buildings." He was intensely interested in the competition at the time, and his interest in the idea has never grown less.
In January, 1899, the Club held another competition upon the same subject. When the drawings were hung, a public meeting was held, to which were invited the members of the various boards and commissions. The drawings were carefully explained, commending and criticising, keeping to the idea in its abstract form and stimu- lating the then small sentiment in its favor. Addresses, in a favorable vein, were made by several of the city's leading citizens. Following this meeting the drawings were placed upon pub- lic exhibition at Case Library, where hundreds inspected them.
Throughout that winter the Club continued the work of enlightening and educating the pub- lic by talks given by its members, before men's leagues and similar organizations, using the competition drawings for illustration.
An address, by Mr. H. K. Bush-Brown, of New York, at the time of the Convention of the Architectural League of America in June, 1899, was made a public one through the courtesy of the Chamber of Commerce, and was listened to by a representative and appreciative audience of Cleveland's best citizens.
Later, in 1899, *Mr. John M. Carrere, of New York, upon the invitation of the Chamber of Commerce, delivered an illustrated lecture upon the same subject, which served to increase the sentiment favorable to the new movement.
January 2, 1899, the Cleveland Chamber of Commerce created its Committee on "Grouping Plans for Public Buildings," naming as members of the committee five of the city's most public- spirited men. The committee at once organized and conferred with the commissions and boards having in charge the erection of the public struc- tures, finding that all were favorable to the group idea. Encouraged by this, it formed a con- sultive body, consisting of the committee and representatives from the following boards : Board of Education, Case Library Trustees, City Hall Commission, Court House Commission, Library Board and the Park Board.
Quoting from the report of the committee, which was unanimously adopted by the Chamber, December 19, 1899 :
"Many locations and plans have been sug- gested, but it had been deemed wise to favor no one of them, your committee's thought ever being to first convince people of the desirability of the idea, avoiding, if possible, the antagonism of those who might be particularly favorable to any specific site or plan."
The Public and Case Library Boards practi- cally decided that they must begin the construc- tion of their buildings, which decided the com- mittee upon declaring for a particular site as follows :
"The site suggested takes in the land bounded on the west by Seneca Street, on the east by Erie Street, on the south by Lake Street and on the north by Summit Street or Lake View Park. This block is now far from attractive, or useful, or valuable, though situated in the heart of the city and on the lake front. It adjoins one of our public parks, which can thus be utilized, without any additional expense for land, to form the necessary environment or frame absolutely needed to set off a noble building. It is flanked on the east by the Government Hospital Grounds and the Lakeside Hospital. On the west it could be connected by a high-level driveway or boule- vard with Water Street, thence to the viaduct and the new boulevard to Edgewater Park ; thus making it a link in our magnificent scheme of parks and boulevards. It is on the lake front, that distinguishing and attractive feature of our city, the advantages of which have been sadly and incomprehensibly neglected in the past.
" It will put our library, our city and county buildings and possibly our public auditorium in the very heart of the city, and on its most beau- tiful and commanding site. Broad streets, 100 feet wide, running north and south, connect it with the rest of the city. It will be convenient to the new Union Railway Station, which will doubtless be built in the near future in the fine
manner characteristic of modern passenger sta- tions and which will also practically form a part of this noble group.
' ' This site destroys no existing structures of importance ; it does not take at great expense any section of the city already well utilized ; but instead, it makes an unsightly section beautiful and transforms it into a notable monument of usefulness and of art, and, most important of all,
it maintains practically the present business centre.
"You will notice by the sketch that the lake north of this site is filled in and converted into a park or recreation ground, and is provided with safe and commodious wharves for passen- ger and excursion boats ; and that the water basin is most suitable for bath-houses, skating rinks and other purposes of public recreation.
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Consider the beautiful effect of this collection of buildings crowning the brow of the lake front, as they will appear from the lake, as boats leave and enter the harbor, and from the public rec- reation grounds of more than fifty acres, north of the railroad tracks.
" An advantage of converting this land, at present useless and of but small value, into a quarter both useful, beautiful and valuable, is that it will give an opportunity and a practical reason to our street railway systems to run a series of loops up and down the streets between Brie and Seneca. Such arrangements will relieve the present almost unbearable congestion on the square and lower Superior Street, and will serve to connect all parts of the city with these build- ings and the recreation grounds adjoining ; also with the steamer wharves and railway station near by. The sketch shows that one of the streets leading from the lake front to Superior Street could be improved and used as a connect- ing boulevard. This street may be any one of the streets between Seneca and Erie, whichever one the development of this plan may show to be best adapted for the purpose.
" It may be argued that the smoke in this quarter is objectionable ; your committee would reply that, inasmuch as these public buildings must necessarily be located as near the centre of the city as possible, smoke and dirt to some ex- tent are unavoidable, but that there is less of it on the lake front than further to the south. There will be practically no dirt and dust from the streets, as the immediate surroundings will be grass, flowers, shrubs and trees. The smoke from the southern part of the city is unavoidable anywhere, but from the north comes only from locomotives, and before long they will burn smokeless fuel within the city limits, as in other large cities.
" This brings us to the question of the break in our beautiful grounds north of the group, caused by the railroad tracks. Your committee is confident that the railroads will co-operate with the city either in spanning the tracks by numer- ous bridges of attractive design, or in covering them altogether, as in Park Avenue, New York, so that there would apparently be no break what- ever in the grounds from the buildings to the lake.
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" If all this lake front land could be secured, then the Library Board could well afford to de-
cide now to locate there, in the confidence that public sentiment would insist upon the location there of the other buildings in the same place, and thus the group plan would be assured in that locality. It is not necessary to wait until all the commissions have their plans ready. This land can be secured now, and that the buildings will locate there is almost as certain as the law of gravitation ; but even if they should not, nothing will have been wasted, be- cause the city will have secured a new pleasure ground for the people where it is most needed.
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"Your committee recommends that steps be taken to secure all this land by appropriation or purchase, as socn as possible, for park and public building purposes, and that this work be placed in charge of either an existing commission or one for which provision shall be made during the present session of the Legislature. This having been done, the commission in charge of it can then arrange with the several building commis- sions and boards, as fast as they are ready to negotiate, to sell to them such parts of this new purchase as may be needed for each building, the city thus receiving back a part, if not all, of the money it has expended in its acquirement."
A bill is now pending in the State Legisla- ture reorganizing the Park Board and giving it authority to proceed along lines similar to the ones above suggested.
None of the boards or commissions have taken definite steps toward erecting the build- ings, but are awaiting the outcome of the action of the Legislature.
Cleveland's citizens are reasoning that there is wisdom in making haste slowly in this great undertaking which the present generation is handing down to posterity.
They reason that there is a commercial value in the artistic phase of the problem, that there is economy in heating, lighting and operating the buildings from a central plant; above all, they are beginning to see that there is an educational, an uplifting and ennobling side that demands recognition, and they begin to realize that Cleve- land must group her buildings to keep abreast of the onward march of improvement and civiliza- tion.
Cleveland has within her grasp the oppor- tunity to make herself one of the foremost cities of the United States in a municipal art way. She may be counted upon not to pass it by.
Cleveland, April 6, 1900.
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THE BALTIMORE CONFERENCE ON MUNICIPAL ART
BY GEORGE KRIEHN
Mr. Kriehn was graduated from William Jewell College in 1887 with the degree of A.H., spent five years in thcj stud}' of histoi \ and history of art in Europe, received the degree of Ph.D. from the University of Straslmrg, and from 1S92 to 1S94 was instructor of history in Johns Hopkins University, and after that for four years assistant professor of history and the history of art in Stanford University. At present is engaged in original research and in lecturing upon municipal art.
THE Baltimore conference marks an epoch in the history of municipal art in America. On December 13-14, prominent authorities on this subject were invited by the Municipal Art Society of Baltimore to enjoy the hospitality of their city and take part in a conference there. The meeting resulted not only in a valuable interchange of opinion on the part of the delegates and the Baltimore Society, but in arousing great enthusiasm for the City Beautiful among the citi- zens of Baltimore.
The first session of the conference was a pub- lic meeting held on the 13th of December in McCoy Hall, of the Johns Hopkins University. President Gilman, of the University, and also of the society, opened the. session with an appropriate address. He gave a concise his- tory of the society, announcing its plans and work for the future, and called attention to Balti- more's needs of artistic adornment. The remain- ing program of the evening consisted of two illus- trated lectures by Messrs. E. H. Blashfield, of New York, and George Kriehn, of Chicago. The former is a prominent mural painter, and in his lecture particularly emphasized this phase of municipal art, warning against the popular clamor for exclusive use of American historical sub- jects in the decoration of public buildings. He spoke of the achievements of Greece, Rome, Italy and France, emphasizing the need of national monuments in America, and pointed out the com- mercial value of municipal art through the num- ber of tourists and travellers attracted.
In his lecture on "The City Beautiful," Mr. Kriehn, with the aid of the stereopticon, showed the inartistic state of the American municipality, and what improvements the introduction of municipal art would entail. He exhibited streets disfigured by hideous signs and bill-boards, claim- ing that these might as well be artistic. He advo- cated the enforcement of smoke ordinances, and the judicious use of color to relieve the dull monotony of business streets. Referring to pub- lic places, he urged their decoration with trees, fountains and statues, and that the public build- ings should be massed together around such cen- tres of traffic. Public buildings, he claimed,
should be the grandest and most beautiful in the community, worthily decorated with painting and sculpture. " Nothing is too good for the people when it builds."
The second part of the lecture demonstrated that the City Beautiful was a good financial in- vestment. It is a perpetual exposition, drawing visitors to the city, and attracts a desirable class of residents. Beautiful streets increase the value of real estate. The educational value of public monuments, not only in the beautiful, but also as a school of patriotism, is incalculable.
In the afternoon of the following day, Decem- ber 14th, a conference, attended by all the invited guests and by an appreciative audience, was held in McCoy Hall. The subjects discussed were the treatment of parks, boulevards, open spaces and suburban improvements, and the interior decora- tion of public buildings. Among the speakers were Sylvester Baxter, of Boston; Charles DeKay, F. S. Lamb and C. Y. Turner, of New York ; J. K. Taylor, of Washington ; Elihu Vedder, of Rome ; Albert Kelsey and Joseph M. Wilson, of Philadelphia. The addresses, though brief, were very instructive and aroused much enthusiasm, notably those of Messrs. L,amb and Kelsey. After the conference there was a charming reception to the delegates at the home of President Gilman, and in the evening, a banquet at the Maryland Club. At this function it was the privilege of the guests to meet a number of the most influential citizens of Baltimore, men whose advocacy of the cause of municipal art will not fail to achieve im- portant results.
A description of the conference would be in- complete without a few words in regard to the Baltimore Society.
Though not yet a year old, it numbers over
600 members and has raised above $7,000.
Besides instituting this conference and other
active work, it has offered $5,000 to the city
for the mural decoration of a room in the new
$3,000,000 court-house, provided the city vote
$10,000 additional. It is to be hoped that other
cities will emulate the example of Baltimore,
and that such conferences on municipal art will t
be a matter of frequent occurrence.
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OBLIGATION OF ARCHITECTS TO CITY BEAUTY
BY CHARLES MULFORD ROBINSON
Mr. Robinson was graduated from Rochester University in 1891 with the degree of B.A. Editorial writer on the Rochester Post Express, and regular contributor to various publications. Travelled in Europe in 1891, 1894 and 1899. Contributed a series of articles on "Improvement in City Life " to Atlantic Monthly, 1899. Sent abroad by Harper's Magazine in 1899 to make study of Municipal Art in Europe. Member of the National Committee on Municipal Improvements and Civic Embellishment of the Architectural Eeague of America.
THE custom of the Architectural League of New York City to discuss at its monthly dinners, in recent years, some phase of the city's development — now the water front, now the street plan, and now the ideal approaches for new bridges — is one to be commended. Though it should happen that no one of the suggestions made in the course of these talks ever have ful- filment, yet the questions that they raise set men to thinking. An effort is made to limit the propo- sitions to the practical ; but were they artists' dreams, they would still — if not beyond hope — have value. For they would set up a new stand- ard. They would offer to the man engaged in other professions, or in business, a new, tangible and pertinent civic ideal. He would begin to compare the city of to-day not with that of ten years ago, to wonder at its progress and be satis- fied, but with the city that might be, with the city that may be ten, or twenty, or thirty years hence. And so aspiration, desire, endeavor, would take the place of satisfaction ; and little by little the city would march surely toward that aesthetic ideal.
Yet the main triumph is not there. It is in the reaction upon the architects themselves, in the publicly-avowed recognition of their obligation to the city at large, in the perception that the architect best serves himself who serves best the community ; for in the narrowest field his first duty is not to his employer, but to the street upon which the building is to stand. In his own con- science there should be a moral code defining professional conduct quite as stringently as any of the rules that abroad demand regard for the " raccordement et Vharmonie des lignes de con- struction."
The perfect opportunity of the architect will not come until men dream of, and work earnestly and rationally for, cities beautiful. It is for him to suggest that dream. He can do it in formal discussions that will have popular interest, be- cause they deal with conditions visible, concrete and familiar ; and he can do it by substituting in his own heart the principles of cooperation, the realization of the duty of harmony over the too common notion of individual rivalry. With thought of his high office, let him scorn to be subject to the whims of tasteless and egotistic wealth. Let him lead, direct ; let him mould personal ambitions into the shape that will do most to raise the architectural standards of the town, not fearing to say to Croesus, " You shall build better than you know, for your ideal, which is personal, shall give way to one that is com- munal, typical of a harmony which shall last when individualism falls. You shall build not for a generation, but for an epoch ; and not the untried notions of one man, but the Zeitgeist, shall go into your walls."
So in one more case the individual ideal will be supplanted by a civic ideal, the true secret of city beauty imparted. But the architect must have first in his own heart appreciation that he has a higher function than to " get ahead " of a rival ; that conscientiousness, not docility, is the secret of success. If the members of architectural societies everywhere would meet for the discus- sion of the aesthetic possibilities of their own communities, they would do much to substitute in themselves this broad for the narrow view, and popularly to educate to appreciation of, and wish for, cities beautiful. To do that is the archi- tect's duty, and upon success in it rests his hope.
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BARON HAUSSMANN
BY VM. P. CRESSON
Editor's Note. — A short biographical notice of Baron Haussmanu is particularly timely. It is the first of a series on the transfoi illation of Paris dining the reign of Napoleon III. As many American municipalities are to-day grappling with the same problems— new streets and boulevards, parks and water supply— the example of the French capital is of great interest. Mr. Cresson, during a long stay in Paris, has made a careful study of the subject.
PARIS is once more to become a centre of pilgrimage for the whole world. For twenty years at least she has been able to claim the proud title of "The Greatest Modern City," and from everywhere travellers have come to learn from her broad streets and parks the les- sons and possibilities of municipal art. That this is so is due principally to the genius of two men — an Emperor who, whatever his other faults may have been, did not lack the courage for an Augustinian plan, and a man whose rare mind combined the qualities of administrator and artist necessary for its realization.
Louis Napoleon and Georges Haussmann first met at Bordeaux, during the famous voyage of the Prince- President that ended in the proclamation of the Second Empire. As prefect he had already executed some important public works in differ- ent parts of France, and his plans and theories favorably impressed the future emperor. One year later, from the Tuileries, he summoned Haussmann to Paris, where, as Prefect of the Seine, he became governor and administrator of the capital Napoleon III proposed to transform and embellish as the first and most lasting act of his reign.
In the tenth century Philip II, by opening new ways and by paving and lighting the prin- cipal streets, had tried to direct the growth of the medieval city. Later, Henry IV, by gener- ous concessions, attempted to build up a new quarter, whose architecture should harmonize in one general effect, and the Place des Vosges and its neighboring streets exist almost unchanged to-day, a monument to his enlightened policy. To Louis XV Paris owes the broad promenade of the Champs Elysee and the stately Place Vendome near by.
But the Paris of 1853 was a different city from that of the year 1900. Many of its noblest monuments rose from among encroaching houses, masses of sordid masonry that tolerance and cus- tom had left in poverty and decay. Many build- ings were still of medieval wood and plaster. A labyrinth of crooked streets, through which the growing traffic slowly forced its way, were often the only means of communication from one popu- lous quarter to another. Though fairly correct plans of some parts of the city existed, many of
the poorer regions were unrecorded on the official maps.
The first step towards their improvement was, therefore, an accurate set of plans and levels of the whole city, which, by the Emperor's orders, was carefully made for the first time.
Already, under the regime of the Republic, some strictly necessary improvements had been made. One short boulevard to accommodate the traffic caused by the new railway stations was laid out and opened by a private company, with government aid. Some of the streets in the neighborhood of the Louvre had also been broad- ened and extended and others proposed. But the plan submitted by Baron Haussmann to the Emperor was so thorough and gigantic in con- ception that the first system became insignifi- cant beside it.
In principle it comprised two great avenues, cutting each other at right angles in the direc- tions of the most important traffic, that is to say, parallel and at right angles to the Seine. These imperial ways (Rue de Rivoli and Brd. Sebasto- pol) passed in parts through the darkest slums of Paris, letting in light and air, and razing from the map whole quarters of crime and anarchy. A third avenue (Brd. St. Germain), following in general the line of existing streets, joined the first two with the old aristocratic quarter of St. Germain. A second system, radi- ating from a square, easily connected with the first, opened up the great quarters to the east, inhabited by the middle and laboring classes. In this way two great results were accomplished:
(1) The congested districts were freed and opened to traffic.
(2) The poor and laboring classes were driven from the unhealthy, demolished parts of the city to seek homes in the suburban quar- ters, where light and air were not unattainable luxuries.
Such a scheme could not but excite a storm of opposition as well as of approval. The excited population and those whose property and rents were affected by the great changes in value caused by the new streets resisted violently what they considered an arbitrary measure. The Emperor was accused of having but one end in view, to secure for his troops a way through the very cen-
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tresof revolution and barricades. Haussmannwas treated as an unscrupulous speculator, trying to enrich himself and his associates at the expense of established interests. A still more difficult obstacle was the question of finances. The City of Paris, with a yearly budget of fifty million francs, was to be called upon to increase it to many milliards ! Haussmann was then the first to point out a fact which has to-day been entirely proved, that such improvements in a compara- tively short time should pay for themselves by the increase in taxes and the added value of prop- erty.
Five years later the whole plan, as outlined above, had been carried out in every detail. In many cases, to encourage the proprietors on either side of the new ways to build handsomely, and in harmony with a general design, twenty years of taxes were remitted. Everywhere, regulations concerning the height and projection of the new edifices were strictly enforced. While these new streets may lack something of the picturesqueness of the old, it is worthy of remark how few monu- ments of any real artistic or historic value were destroyed.
The Emperor desired also to furnish his capi- tal with a system of parks and squares so com- plete that no quarter, however humble, should be without its breathing space. Until this time the citizens of Paris had been dependent on the gar- dens surrounding the various palaces, the prom- enades of the Champs Elysee and the old boule- vards, whose double row of trees had been the wonder of generations.
To accommodate the rapidly increasing popu- lation of the workingman's quarter to the east, the Bois de Vincennes, a large park, well wooded and with several artificial lakes, was laid out. On the other side of the city the famous Bois de Bou- logne, a royal chase, surrounded by a stone wall, was transformed by broad walks and promenades. To-day, even after the loss of its finest trees dur- ing the siege, with its public clubs, race-courses, lakes and drives, it is perhaps the finest public playground in the world. Beside these two principal suburban parks, three others of some
size were created within the city proper, while all the old open squares and market-places were planted with shade trees.
Near the gates of the new Bois de Boulogne, on a low hill overlooking the older portions of the town, stands the huge triumphal arch erected by Napoleon I. From the central space surrounding this Haussmann laid out new avenues radiating to the four quarters of the compass. Here, on lots once given over to suburban cabbage fields, has grown up the new quartier of the Champs Elysee, now the finest and most aristocratic of Paris. It is here, unhampered by previous constructions, that he foresaw the rows of tall apartment houses and private residences that now line its broad, airy streets. Situated on high ground, drained with all the skill that modern sanitary science com- mands, few residential quarters can compare with it. Here, as elsewhere, one must remember that it was Haussmann who planned the greater part of that second invisible city, Paris below ground, the great system of sewers that carries its drainage to the Seine, some miles away.
In so short an article it is impossible to more than catalogue Haussmann's works. Every de- partment of the municipal economy of Paris is indebted to him. The water supply, the greater part of which had been drawn from the polluted Seine, was during his administration entirely re- organized and taken from pure and lasting sources. The gas, and lighting of the streets, the pavements, the burial of the dead, and the public slaughter houses, were each in turn the subject of his profound study and intelligent reform.
His Memoirs, containing the results of his researches, must remain the subject of a future volume. While others reaped the fruits of his wisdom, the man through whose hands the mil- liards of francs expended had passed ended his days the hard-working director of a financial company. What more eloquent reply could he have found to those who for so long had slan- dered his acts and the liberal policy that governed them ?
Paris, November 30, 1899.
."-*.
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THE NATIONAL COMMITTEE ON MUNICIPAL
IMPROVEMENTS AND CIVIC
EMBELLISHMENT
OF THE
ARCHITECTURAL LEAGUE OF AMERICA
IT is a satisfaction to announce the appointment and acceptance of Mr. Cass Gilbert, of New York and St. Paul, to the chairmanship of the Committee on Civic Improvements.
As every one knows, Mr. Gilbert is a very able and successful architect, and, by special studies, is well qualified to develop to great effi- ciency this department of work which this new organization has undertaken.
The Architectural League of New York has already accomplished something in this field for the city of New York, and their success has been the inspiration which has brought about this committee.
The field is so new and so comparatively untouched that it seems desirable to outline in a few words what the purpose is, and how inti- mately their work may be associated with the municipal life of all our cities.
It is not open to argument that the sur- roundings of our daily lives should be clean, tidy and attractive. This is universally accepted as a truism so far as the individual lot owners are con- cerned, and they take a pride in well-kept door- yards, trim houses, and, when attainable, fine architecture. This same principle has been ap- plied by city authorities to the larger opportu- nities offered for its application to city lots in the aggregate or the general appearance of the municipality.
Without wishing to depreciate the good things that have been accomplished for many of our American cities, it yet remains a fact that, not infrequently, the best of opportunities have been neglected or only partly developed.
Unfortunately it has been considered as only an engineering or surveyors' problem, instead of an artistic one, which it really is, and we are glad to note this is the artists' entrance into this field, which is essentially their own.
We have reason to expect great things of them, for the general treatment and setting of the World's Fair at Chicago was a demonstration of
what they could do. This demonstration has appealed to the understanding and imagination of the people of the United States, and from many cities and towns come evidences that their citizens are aware of the intrinsic value of the artistic appearance of our civic homes ; that these things, which involve the planning of cities and laying out of streets and parks, the placing of public buildings and monuments, are just as important as good sewers, pavements, police and light.
The results aimed at by this committee are to be obtained by their giving advice to munici- palities or corporations without charge or fee, travelling expenses, of course, excepted.
The committee is made up of architects, sculptors, mural painters, writers on these sub- jects, etc. ; and they are residents of various cities from New York to New Orleans.
The method of procedure is this : A muni- cipality or corporation in need of advice may appeal to the President of the League, 931 Chest- nut Street, Philadelphia, Pa. ; the member of the General Committee who is nearest to the locality applying he appoints as chairman of the special committee to visit that city, and with him he associates some artists near by who have made a study of these problems.
After one or more visits to the place they write a report to the authorities who invited them, a copy of which is sent to the President of the League for future reference
As this kind of artistic advice has been sought for and obtained before this committee was appointed, it is reasonable to suppose that this new machinery which the Architectural League of America now offers to the public will be put in active operation at once, for every city and town is interested in making the most of its natural artistic resources.
H. K. Bush-Brown. 107 East Twenty-seventh Street, New York.
Mrs. Phoebe A. Hearst
THE INTERNATIONAL COMPETITION FOR THE PHCEBE A. HEARST PLAN FOR THE UNIVERSITY OF CALIFORNIA
THE trustees of the Phoebe A. Hearst Ar- chitectural Competition for the University of California have issued a volume that contains, beside excellent reproductions of all the second competition drawings, the eleven sets of preliminary plans that were awarded prizes at Antwerp, thus entitling their authors to enter the final competition. The letter-press, printed in four languages, gives a historical account of this great concours, together with numerous re- ports of much interest.
The League, through the kindness of these gentlemen, is enabled to use much of the infor- mation and illustration contained in this article, and is equally indebted to them for a series of enlarged photographs used by the League in its travelling exhibits. The same spirit of liberality has characterized the attitude of the competition judges, Mr. Belcher and M. Pascal, both having kindly sent the letters printed herewith.
The University, started in 1853 as a con- gregational school and soon abandoned, was
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revived under an Act of Congress in 1862, and in 1868 was chartered and received an endow- ment from the State as an unsectarian institu- tion. "It began building, as most American colleges have begun and nearly all have con- tinued, without device or knowledge or wisdom. That is to say, every architect employed has built what seemed to him good, without refer- ence to the works of his predecessors or his contemporaries or his successors." At the same time, the growth of the University has been phenomenal. At present it has enrolled over 2,500 students, and the architectural plans are in anticipation of a student body of 5,000.
A young professor at the University first conceived the idea of making the buildings of one character, and Mrs. Phoebe A. Hearst, widow of the late Senator George R. Hearst, became the benefactress of the plan by offering to pay the cost of a competition and to erect two buildings of the accepted design, one being a memorial to her husband.
Accordingly the following program was dis- tributed throughout architectural offices of Eu- rope, America, and even Japan :
" I. — (1) The administration building or build- ings. This group is to comprise the entrance to the university, janitor's lodge, etc., and will con- tain the necessary ball and reception rooms and offices for the regents, faculties and executive offices.
"(2) The library. This building should have a capacity of 750,000 volumes, and should be built with all the accommodations of a modern building.
"(3) A museum. Provision should be made in this division for departments of art, antiquities, ethnology, etc.
"(4) and (5) Two auditoriums, one of a capacity of 5,000 people, and the other of a capacity of 1,500. Each should be adapted to lecture, concert, or theatre purposes. A garden for open-air celebrations is also included within this group.
"(6) Lecture rooms, armory and covered courts for drill in rainy weather are required by the military department.
"(7) The gymnasia also constitute an import- ant division and are to provide separate depart- ments, both for gymnastics and swimming, for male and female students. Besides these depart- ments there will be printing and publishing establishments, an infirmary, dormitories, and club houses for professors and students.
"II. Buildings for all things pertaining to the general service of the several departments, such as central power, heat and light stations and postal, telephone and telegraph systems.
"III. The departments of instruction so far contemplated number fifteen, and the buildings for their accommodation differ much as to their relative size and importance. These departments are as follows :
"(a) Higher historical and literary instruction, with departments of philosophy, pedagogy, juris- prudence, historical and political science, and ancient and modern languages.
"(£) Higher scientific instruction, with depart- ments of mathematics, physics, astronomy, chem- istry and natural history (zoology, botany, geology, mineralogy).
"(c) Technical and applied instruction, with departments of fine arts, agriculture, mechanical engineering, civil engineering, mining, draught- ing and graphical analysis.
"All are to be so connected as to ensure easy communication, both open and covered, between the groups of buildings and to contribute to the stately aspect of the whole."
A first and open competition was to be judged by an international jury of the highest class, dis- tributing not less than $15,000 in prizes ; and at least ten plans were to be retained, the authors of which were invited to enter the second compe- tition, in which $20,000 should be distributed in prizes to not fewer than five plans, giving not less than $8,000 to the best plan.
The judges named were Mr. Norman Shaw, of England, for whom Mr. Belcher was afterwards substituted ; M. Jean Louis Pascal, of France, member of the Upper Council of the School of Fine Arts ; Herr Wallot, of Germany, the archi- tect of the new legislative palace at Berlin ; Mr. Walter Cook, of New York, of the firm of Babb, Cook & Willard, and Mr. J. B. Reinstein, of San Francisco, a graduate of the University and mem- ber of its board of regents.
The first or open competition was decided at Antwerp in July, 1898, and attracted ninety-eight competitors. The number was reduced to eleven prize-winners — six Americans, three Frenchmen, one Dutchman and one Swiss. These competitors had six months in which to prepare their designs for the second competition. This was decided at San Francisco, and the design of M. Benard was unanimously chosen as the best. The author re- ceived a prize of $10,000. The other four prize- winners, in their order, are : Howells, Stokes & Hornbostel, of New York, $4,000 ; Despradelles & Codman, of Boston, $3,000 ; Howard & Cauld- well, of New York, $2,000 ; Lord, Hewlett & Hull, of New York, $1,000.
In arriving at their decision of the respective
position and merit of the several designs, the jury
considered the following as of special importance :
(1) That the buildings should generally rep-
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resent a university rather than a mere architec- tural composition.
(2) That there should be a convenient group- ing of the educational sections without undue crowding or prevention of possible future exten- sion.
(3) That the purpose of the several depart- ments should be clearly defined in the design.
(4) That the architectural forms should be adapted to the configuration of the grounds and preservation of their natural beauties.
Monsieur Edward Benard, who won the first prize, is a native of Goderville, France, being born there in the year 1844. He 1S a member of the jury of the Ecole dcs Beaux- Arts. He won
From P Illustration.
M. Edward Benard.
the Grand Prix de Rome on August 10, 1867, de- signed the Tribune of Commerce at Fecamp and restored the Chateau de Sasselot and the churches of Bleville and Mare-aux-Clercs. He also deco- rated the Casino de Nice and the Franco-Ameri- can Club, of Paris. Just before his departure for America M. Benard was tendered a reception, at which time he was presented with the cross of the Legion of Honor, in the name of the Presi- dent and the Republic. His brother architects gathered and wished him godspeed on his journey.
If Monsieur Benard is chosen to execute any of his buildings according to his general scheme
it will not be the first acquaintance Americans will have with his work.
M. Benard, in his capacity of winner of the Prix de Rome of 1887, produced the projet which was executed at the World's Fair in Chicago, in 1893, f°r the Art Building, the most admired of the many buildings on the grounds.
Of a right, the universities, of all other places, should be the home of correct, impressive and meaning architecture. Those who throng there are in a formative stage of their lives. If the buildings around them are the expression of present conditions and higher ideals, the lives of the students will be stronger, and the graduate's love for his Alma Mate} will be based upon some- thing more substantial than the ivy of the college walls. Tuscany brickwork, no matter how quaint ; the collegiate architecture of old England, no matter how homelike and hospitable ; Gothic spires, no matter how impressive, are not within the demands or requirements of an American university. A competition such as the present one should awaken the college world to such errors.
The closing months of the year 1899 saw the success of this philanthropic movement, whose influence will extend far into the centuries yet to come. By such a munificent gift, Mrs. Hearst has placed herself beside the greatest philanthro- pists of all ages. The patronage of art and letters by the Medici family was from generation to generation ; by her individual beneficences Mrs. Hearst performs their work in one generation. What Mrs. Hearst has done, a Carnegie or a Rockefeller might do, and thus add to their many wise benefactions a living symbol of " triumphal democracy" in lasting stone.
A LETTER FROM J. L. PASCAL, MEM- BRE DE L'INSTITUT
HAVING been connected with the American architecture movement in its relation to France from the beginning of my studies to the time the lamented Hunt completed his education in practice and theory in Paris ; having followed with attention the interesting progress of your joint and parallel efforts — on the one hand, to continue the traditions of the Old World, and, on the other, to find solutions for the new problems of your social condition ; having helped numerous students among those who crossed the Atlantic to receive instructions from our Ecoles des Beaux-Arts, by chance I found myself selected to represent France on the jury of that in- comparable competition, opened by Mrs. Hearst, for the University at Berkeley.
The exceptionally rapid journey which
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brought us to San Francisco allowed us but a hasty glimpse of some of your already historic cities; of others, whose happy beginnings presage a rapid growth, and of others which exist, so to speak, as yet only in an embryonic state Every- where I perceived a double movement, and was forcibly impressed that there is no doubt that you soon will be able to proceed without bor- rowing from the systems of instruction organized so laboriously and traditionally among us, that your American architecture will keep up with that of our old con- tinent, which sends you cease- lessly the overflow of its own and of its acquired art. In the first place, the time has passed when contemporary civilizations ignore even their nearest neigh- bors. There are no materials, no inventions, no new processes of one country that are not im- mediately known over all the world and employed every- where. These two factors of the renaissance in art prevent us all, you as well as us, from creating significant forms, or a so-called new style, which will not be a growth, a development; one epoch simply in the upward and continuous evolution of architecture. More and more will architecture become uni- versal— there will be little beside the conditions of climate and material which will make di- versity— unless there comes a religious evolution, and that is hardly to be looked for in this century of toler- ance.
It is necessary to glance at your side. Hav- ing at the first step reached the culminating point of all civilizations, having had no childhood apart from ours, your composite country can offer no solutions which are not the consequence of our past conquests, which are yours now, as well as ours.
Certain problems, whose different terms open the possibility of new discoveries, might furnish starting-points for interesting combinations ; but just as your discoveries in science, in literature, in military art and in all the branches of human attainment tend more and more to make uniform the march of progress, just as the easy communi- cation suppresses more and more the local char- acteristics which constitute the physiognomy of all people, and by bringing all together gives to them the atmosphere of the provinces, and to the provinces the individuality of cities and vil-
lages, so architecture from day to day will tend more towards uniformity in future solutions. This consequence, this extension of civilization, will prove a great blow to artists. It has taken us centuries to lose our native originality, which makes the differences and peculiarities of diverse styles synonymous with differences in beauty ; but it has taken us as much time to attain that proficiency which means to a certain extent the negation of originality, while it is the index of the greatest security to the art of composition.
Like us, you are now con- demned for not giving proof of innocence, for not cultivating your art, for not refining your tastes and not cherishing your architecture as much, and more, in the conception of plans, as in the arrangement of facades.
Having attained your ma- jority at the start, we now can only wish reciprocally that each of us may reach old age as late as possible, to uphold each other in the strength of our maturity, for decrepitude and death alone can produce from decay and ruin that renaissance of which all generations have dreamt, and which is the flower of the grave.
There is no sadness in this thought ! The highway is long, and, above all, it is broad, and we may all walk in it — prob- ably in uniform step — at any rate, free and powerful in that vast clearing which replaces the charming foot- paths in which our fathers lingered.
J. L. Pascal. January 31, 1900.
8 Boulevard St. Denis, Paris, France.
A PAPER BY JOHN BELCHER, A. R. A.
THE remarkable interest taken in the Inter- national Competition for the University of California cannot fail to have a permanent influence on the architecture of that State.
The public not only recognized that the art had an educational value, but that it had a prac- tical and commercial one.
The employment of a jury free from all sus- picion of jobbery or favoritism was a guarantee of the excellence and fitness of the designs, and the wisdom of the course adopted was speedily
ARCHITECTURAL ANNUAL
57
demonstrated by offers made by wealthy men who were eager to provide for the erection of one or more buildings.
The indiscriminate erection of incongruous and faulty buildings by independent donors failed to induce others to be represented in their com- pany. Thus the interests of the University suffered, until the practical foresight of Mrs. Phoebe Hearst and her advisers originated the well-organized scheme for a complete and harmonious combination of university build- ings.
If the work is well carried out the architec- ture not only of the neighborhood, but of the United States generally, will be benefited and the art receive a considerable impulse in the right direction. The proximity of San Francisco to the mag- nificent site opposite the ' ' golden gates' ' may cause that city to review its condition, and to be infected with the laudable ambition to take ad- vantage of the natural beauties of its site and surroundings. Its position on the "Pacific" coast, its splendid and unique harbor indicate that San Fran- cisco is destined to become one of the most important of mod- ern cities. With but few ex- ceptions the buildings of this city are poor in character and wanting in essential architec- tural qualities ; a large num- ber are of timber construction, of a vulgar type. Its citizens are aware of and deplore its present deficiencies. The con- sciousness of defects is the pri- mary condition of amendment. The past is the result of an ignorance for which the future will hold no excuse.
As a member of the jury on the International Competition, who received the "freedom of the city" in recognition of this service, one could not fail, with such exceptionable opportunities, to judge of the effect of the competition upon the city. The ambition of its energetic leaders ma)T render it possible that similar methods may be adopted to improve it. There can be no doubt that the architectural treatment of a city is as important as that of a university. The enhanced value of the " sites " in an orderly and well-laid- out street, treated architecturally (an important distinction), is obvious. The London County
ment of the new street from Holborn to the Strand.
American architecture generally shows signs of breaking away from the prevalent low types of French work. Its exponents, after servilely copy- ing, have now out-Frenched the French. The meanest and poorest models have been taken for every purpose, and text-books of meretricious ornament have been ransacked for its decorative forms. So far- has the imitative faculty been cultivated that wood is used to imitate stone, marble, brick and tiles — instead of being made use of as a constructive material — after the manner of the "half timber" work which is the pride of the timber counties in this country. In cities — which grow so rapidly in Amer- ica— the use of timber will be discarded in the future. Apart from the risk by fire, however, the use of steel-frame construc- tion must supersede it, as, where ground becomes suddenly valuable, economy of space is essential, and increased facility for rapid extension important, both perpendicularly and hori- zontally. The importance of concentration is one cause of the increased height which these steel-constructed build- ings make possible. The re- sultant " sk}r-scraper " is not likely to be a lasting problem in American architecture. Un- less these lofty buildings are restricted in height and locality, obvious difficulties and objec- tions must supervene. These buildings may be regarded as distinctly American. Archi- tects had no precedent to fol- low in France or elsewhere, and it is to their credit that they have dealt boldly with this difficult problem. Its bearing on the future of American architecture is important, for it will convince them of their own strength and ability to deal with new conditions. This is the most that can be advanced in favor of the ' ' sky- scraper" architecturally. Separately they are too often hideous. Collectively, as in New York, they are not without artistic value as seen from the river and on approaching the city. Here they pile up majestically and group well in the vast area. Perhaps the most suc- cessful of these lofty erections are those which have been treated as huge "towers." Crocker's
Council should bear this in mind in its treat- building in San Francisco, with its domed termi-
58
ARCHITECTURAL ANNUAL
nation, while it dominates the city, forms a fine feature in distant views. On the other hand, Trinity Church, in New York, with its fine spire and good proportions, is made ridiculous by enormous buildings on either side, which are higher than its spire.
These lofty buildings have received every variety of treatment in the attempt to im- press upon them some architectural character. Many have excellent qualities, but the best are those which are not designed with an architectural " order," but are simple and direct in their dispo- sition.
This element of quiet and unostentatious simplicity is slowly gaining in popularity. The beauty of the later " Renaissance work" in Great Britain, to which the ' ' Old Colonial ' ' of America is allied, possesses that charm, and the attention which it has lately received will no doubt be mani- fest in a more dignified restraint. There are many able and distinguished architects who de- plore existing shortcomings, and who are doing much to remove the reproach of a lack of indi- viduality in their art.
At present the architectural student spends his five years in Paris, and returns more or less saturated with French art, affecting French manners and the accent of "l'Ecole des Beaux- Arts."
What is necessary is that he should regard his studies in France as a foundation on which he can safely expand.
Sir Christopher Wren was indebted to France, the only foreign land in which he studied, for much that he learned. There he met Bernini and saw the Louvre, but he did not imitate French or Italian methods.
It has been determined to erect an American National Institute in Paris. This Institution will doubtless exercise a wise control over the students' work, and the fact that a Frenchman is to carry out the new University Buildings is no disadvantage. M. Benard is an able man, whose work is of a pure and refined type, and his influ- ence will be beneficial to the art of the country, and in a centre where it will prove fruitful.
John Belcher, A.R.A. 20 Hanover Square, London, W.
ACTION OF THE THIRTY-THIRD CONVENTION OF THE AMERICAN
INSTITUTE OF ARCHITECTS
IN his annual address the President referred to this competition as follows: "Among the competitions of the year which have been managed in a manner creditable to the projectors, the contestants and the judges, by far the most conspicuous and memorable is that for the laying out of the buildings and grounds of the Univer- sity of California, under the ' Phoebe Hearst Architectural Plan.' Though the highest award in this international competition fell to a French architect, the brilliant part borne especially by some of the younger American contestants is a cause of congratulation. I should like to see the Institute, by formal resolution, recognize our indebtedness, not only to the munificent and public-spirited woman through whom this im- portant architectural event was made possible, but to the Managing Committee for furnishing an example so conspicuous of a fairly-conducted competition on a great scale, and for the courage and intelligence with which they have conceived a scheme of architecture which, in extent and importance, has not been exceeded, if it has been equalled, in modern times."
yfi ^ ^c y^. tfc >?c
"In regard to the fourth subject of the ad- dress— the University of California competition — your committee is of the opinion that nothing but praise is due to the University authorities for the far-sighted way in which the future build-
ing operations at Berkeley have been conceived. We admire Mrs. Hearst for the liberality of mind she has displayed in making possible in a pecu- niary way the first steps of this great undertak- ing ; we congratulate those in charge of the com- petition that no shadow of unfairness rests upon their conduct, and we most cordially welcome M. Benard to the ranks of American practitioners, and rejoice that a substantial recognition of his genius, which was by circumstances denied to him as the author of the design of the beautiful portico of the Fine Arts Building at Chicago, should have come to him from this country.
"At the same time, the Institute wishes to state, in the clearest terms, its conviction that the form of competition employed in this case was an improper form of competition, and one to be generally reprobated. Unlimited compe- titions are disadvantageous, both to the profes- sion and to those who institute them. They are disadvantageous to the profession, because they seek to get more than is paid for, and thus en- courage the lowest form of commercialism — i. e., gambling — among the 5'ounger men of the pro- fession. They are disadvantageous to the pro- moters, because unlimited competitions in effect exclude the majority of the leaders of the profes- sion from participation in the service of the pro- moters."— From the Proceedings of Thirty-third Annual Convention.
ARCHITECTURAL ANNUAL
59
THE REQUIREMENTS OF THE UNIVERSITY AND A LIST OF THE PRIZE- WINNERS IN THE FIRST COMPETITION
The requirements of the University were set forth in the program as follows :
' ' The general scheme will comprise :
" (i) Provision for the general and collective purposes common to all the departments, as follows :
" Administration, University library, Uni- versity museum, auditoriums, military establish- ment, gymnasia, printing establishment, habi- tation, club houses, infirmary, approach and communication.
"(2) Buildings for all things pertaining to the general service of the several departments, such as central power, heat and light station, postal, telephone and telegraph systems, etc.
"(3) The departments of instruction, so far contemplated, number fifteen, and the buildings for their accommodation differ much as to their relative size and importance.
' ' These departments are as follows :
"A. HIGHER HISTORICAL AND LITERARY INSTRUCTION.
"(1) Department of Philosophy and Peda- gogy.
" (2) Department of Jurisprudence.
"(3) Department of History and Political Science.
"(4) Department of Ancient and Modern Languages.
"B. HIGHER SCIENTIFIC INSTRUCTION.
"(5) Department of Mathematics. "(6) " " Physics.
"(7) " " Astronomy.
"(8) " " Chemistry.
"(9) " " Natural History (Zo-
ology, Botany, Geology and Mineralogy).
"TECHNICAL AND APPLIED INSTRUCTION.
" (10) Department of Fine Arts. "(11) " Agriculture.
"(12) " Mechanical Engineer-
ing.
"(13) "(14)
"(15) ical Analysis.
' ' All are to be so connected as to insure easy communication, both open and covered, between
" Civil Engineering.
" Mining.
" Draughting and Graph-
the groups or buildings, and to contribute to the stately aspect of the whole."
A detailed account was given of the composi- tion of each group, with estimates of the number of students to be provided for, and other indica- tions as to size and capacity.
In accordance with the provisions of the pro- gram, 105 plans were received by the United States Consul-General at Antwerp before July 1, 1898. On September 30th the jury met at Ant- werp in the Royal Museum of Fine Arts, where the competitive plans had been framed and prepared for the jury's inspection. M. Pascal was elected President, and Mr. Wallot Vice-Presi- dent, of the jury. The jury continued in session until the evening of October 4th. By a process of successive eliminations the jury finally awarded prizes to eleven plans. Upon this final vote, it was found that four additional plans had received one vote each. These, by the desire of Mrs. Hearst, were also rewarded.
The following are the names of the authors of the eleven premiated plans, who were entitled to admission to the final competition :
Messieurs Barbaud et Bauhain.
Monsieur E. Benard.
Herr Professor F. Bluntschli.
Messrs. D. Despradelles & Stephen Codman.
Herr Rudolph Dick.
Mr. J. H. Freedlander.
Messieurs G. Heraud et W. C. Eichmuller.
Messrs. Howard & Cauldwell.
Messrs. Howells, Stokes & Hornbostel.
Messrs. Lord, Hewlett & Hull.
Mr. Whitney Warren.
The following are the names of the four au- thors mentioned above :
Messieurs Joanny Bernard et Robert.
Monsieur Charles des Anges.
Mr. Ernest Flagg.
Herr Fred Skjold Neckelmann.
By the terms of the Program, it was pro- vided that only the authors of the plans accepted at the Antwerp Competition should be entitled to compete for the final prizes. It was also provided that the authors of the plans premiated in the first competition should be invited, free of ex- pense to themselves, to visit the site of the Uni- versity and study the problem on the ground. Authors of nine of the premiated plans accepted this invitation.
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