THEWESTERN Architect INDEX TO VOLUMES XXI AND XXII JANUARY-DECEMBER 1915 ILLUSTRATIONS RESIDENCES Subject Architect Month Mr. Fred K. Babson, Chicago, 111........................Purcell & Elmslie........................Jan. Mr. G. Babson, Chicago, 111..................................Purcell & Elmslie........................Jan. Dr. Harold C. Bradley, Madison, Wis................Purcell & Elmslie........................Jan. Mr. C. I. Buxton, Owatonna, Minn.....................Purcell & Elmslie..................______Jan. Mr. O. G. Dale, Madison, Minn..........................Purcell & Elmslie...............-—.....Jan. Mrs. Edna S. Purcell, Minneapolis,' Minn.........Purcell & Elmslie.......................Jan. Mr. J. D. R. Steven, Eau Claire, Wis.................Purcell & Elmslie........................Jan. Charles J. Barr, River Forest, 111.........................Guenzel & Drummond..............Feb. William Drummond, River Forest, 111...............-.Guenzel & Drummond..............Feb. Ralph S. Baker, Wilmette, 111...............................Guenzel & Drummond..............Feb. "Thorncroft" Riverside, 111________..........................Guenzel & Drummond..............Feb. A. W. Muther, River Forest, I1L......—..................Guenzel & Drummond..............Feb. Oak Lodge, Oakland, Calif...................................Charles W. McCall............________Mar. E. S. Chase, Minneapolis, Minn...........................Dorr & Dorr..............................Mar. Suburban Cottage, Dayton, Ohio..........................Elmer L. Gerber........................Mar. James Shultz, Los Angeles, Calif.........................Walker & Vawter...............-------Mar. W. H. Davis, Berkeley, Square, Los Angeles, Calif.................................................................Hunt & Burns............................Mar. Henry Marx, Cincinnati..Ohio..............................G. C. Burroughs-----..........--------Mar. William Mead, Hollywood, Calif..........................Hudson & Munsel......................Mar. C. P. SkilMn___.........................................................John Van Bergen.....................April J. J. Shallcross........................................................Samuel S. Maclure............------April Double house, Baltimore, Md...............................E. L. Palmer..............................April Cottage, C. A. Richardson, Lakeside, Mich.......John S. Van Bergen..................April Bungalow, Frank A. Wood....................................John S. Van Bergen..................April Farm Home, W. A. Rogers......................_............John S. Van Bergen.................April William M. Webster, Chicago, 111............. ........John S. Van Bergen.................April T. L. Miller, San Francisco________..........................Edward G. Bolles......................May Fred C. Boekmann, San Francisco......................Edward G. Bolles-------..............May H. S. Renwick, San Francisco..............................Edward G. Bolles....................May Clarence Fleming, Pasadena, Calif.....................G. Lawrence Stimson................June W. E. Grigsby, Berkeley, Calif.............................John Hudson Thomas..........------June C. E. Fleager, Berkeley, Calif..............................John Hudson Thomas...... ......June William Zuetell, Oak Park, 111............................John S. Van Bergen..................June Alfred Bersbach, Wilmette, 111.............................John S. Van Bergen June Richard Cluever, May wood, 111.............................John S. Van Bergen.................June C. W. C. Deering, Honolulu, H. I.......................Holabird & Roche......................June Dwelling, Mr. Harry S. Parker, Mpls., Minn.Purcell & Elmslie.......................July Door-way, Parker dwelling, President Angel ,,„„,,. T i Loving Cup......................................................Purcell & Elmslie........................July Dwelling for Mrs. T. Lewis Waller, Berkeley, California............................................. ..Purcell & Elmslie... -July Plan of Ralph T. Thomas' Dwelling, Minne- ri apohs, Minnesota............................................Purcell & Elmslie........................July Sitting Room, Balcony and Doors, Residence of ,,„_,,. T i Mr Henry B. Babson, Riverside, 111...........Purcell & Elmslie........................July Mahogany Clock for Mr. Henry B. Babson, Riverside, 111...................................................Purcell & Elmslie........................July Dwelling for Dr. Ward Beebe, St. Paul, Minn.. Purcell & Elmslie.......................July Edward W. Decker, Dwelling, Lake Minne tonka, Minnesota............................................Purcell & Elmslie.......................July Lyman E. Wakefield, Minneapolis, Minn..........Purcell & Elmslie.......................July CathMi„neCsotaray DWelUaB' ........Purcell & Elmslie........................J.'.y SMtorodBsHM ........................ Residence in Allen Lane, Pennsylvania..............Duhring, Okie & Zicgler ...Aug. Residence at Drexel Hill, Pennsylvania...............E. E. Hendrickson.....................Aug. Brick Home, Panama-Pacific International Exposition, San Francisco, Calif...................Spencer & Powers......................Sept. Residence at Moorestown, New Jersey..............J. Fletcher Street.....................Sept. Bungalow for Mr. John M. Rowe, Jr., Mer- SrantoI1 Sept chantville, New Jersey....................................Folsom & Stanton.......................ocpt. *M^0^^.!^:.^^..^^"^'«W DINING TfCRACE r, pwRy 0. kitchen H. SITTING P.iSB?M—~ J. P<;rRCH /' K. TEA tOOIil AND R«E .ARD-\l L. W.MENS LiTOB AND SWWER M. Ml: 115 / \ N. C\ FICJf 0. CaWVL'j P«M AN» PtfRCB P. STEWAlRU AHDCWB aTlCE B. MEN5 CUM fW.M / 3. VWMEN5—^__ T. GARDEN plate twelve the western architect january 1915 :: :: :: THEN THERE ARE A VAST NUMBER OF PEOPLE WHO DO NOT DISTINGUISH BETWEEN "GREEK" AND "CLASSICAL." BY "CLASSICS" THEY UNDERSTAND CERTAIN TYRANNOUS CONVENTIONS AND STILTED AFFECTATIONS AGAINST WHICH EVERY FREE-MINDED SOUL LONGS TO REBEL. THEY DISTINGUISH THE CLASSICAL ELEMENT IN MILTON AND KEATS AS RESPONSIBLE FOR ALL THAT IS DULL AND FAR-FETCHED AND UNNATURAL. CLASSICISM REPELS MANY PEOPLE OF EXCELLENT TASTE, AND GREEK ART IS APT TO FALL UNDER THE SAME CONDEMNATION. IT IS ONLY IN THE LAST GENERATION THAT SCHOLARS HAVE BEEN ABLE TO DISTINGUISH BETWEEN THE TRUE GREEK AND THE FALSE MIST OF CLASSICISM WHICH SURROUNDS IT. TILL THEN EVERYBODY HAD TO LOOK AT THE GREEKS THROUGH ROMAN AND RENAISSANCE SPECTACLES, CONFOUNDING PALLAS WITH MINERVA AND THINKING OF GREEK ART AS REPRESENTED BY THE APOLLO BELVEDERE AND THE LAOCOON. WE ARE NOW ABLE, THANKS TO THE LABORS OF SCHOLARS AND ARCHAEOLOGISTS. TO SEE THE GREEKS AS THEY WERE, PERFECTLY DIRECT, SIMPLE, NATURAL AND REASONABLE, QUITE AS ANTAGONISTIC TO CLASSICISM AS MANET AND DEBUSSY THEMSELVES. "THE GLORY THAT WAS GREECE". j. C. STOBART :: :: :: :: :: the illustrations on this page are further details of the merchants bank illustrated on plates ii, iii, iv and v. :: l :: THE WESTERN ARCHITECT thtdt^Jm JANUARY » 9 1 S THIRTEEN PLATE FOURTEEN THE WESTERN ARCHITECT TANUARY I « 1 » the western architect january 101 s PLATE FIFTEEN 31 i. ip nc^sas i: :: "MEN OFTEN ASK ABOUT THE NEW ARCHITECTURE, WHAT AND OF WHAT SORT IT IS GOING TO BE. BUT TO SUCH A QUESTION THERE CAN BE NO ANSWER TILL A NEW UNDERSTANDING OF LIFE HAS ENTERED INTO PEO PLE'S MINDS, AND THEN THE ANSWER WILL BE CLEAR ENOUGH. FOR AS THE GREEK TEMPLES AND THE GOTHIC CATHEDRALS WERE BUILT BY PEOPLE WHO THEMSELVES LIVED BUT FRUGALLY AS WE SHOULD THINK, AND WERE READY TO DEDICATE THEIR BEST WORK AND CHIEF TREASURE TO THE GODS AND COMMON LIFE; AND AS TODAY WHEN WE MUST NEEDS HAVE FOR OURSELVES SPACIOUS AND LUXURIOUS VILLAS, WE SEEM UNABLE TO DESIGN A DECENT CHURCH OR PUBLIC BUILDING; SO IT WILL NOT BE TILL WE ONCE MORE FIND OUR MAlN INTEREST AND PLATE SIXTEEN the western;architect january 19 15 LIFE IN THE LIFE OF THE COMMUNITY AND THE GODS THAT A NEW SPIRIT WILL INSPIRE OUR ARCHITECTURE. THEN WHEN OUR TEMPLES AND COMMON HALLS ARE NOT DESIGNED TO GLORIFY AN INDIVIDUAL ARCHITECT OR PATRON, BUT ARE BUILT FOR THE USE OF FREE MEN AND WOMEN, TO FRONT THE SKY AND THE SEA AND THE SUN, TO SPRING OUT OF THE EARTH, COMPANIONABLE WITH THE TREES AND THE ROCKS, NOT ALIEN IN SPIRIT FROM THE SUNLIT GLOB ITSELF OR DEPTH OF THE STARRY NIGHT—THEN I SAY THEIR FORM AND STRUCTURE WILL QUICKLY DETERMINE THEMSELVES, AND MAN WILL HAVE NO DIFFICULTY IN MAKING THEM BEAUTIFUL * * * * AND GIVING THEM FORM BY A LAW UNFOLDING FROM WITHIN."—EDWARD CARPENTER "CIVILIZATION, ITS CAUSE AND ITS CURE," WRITTEN IN 1889. :: :: THE WESTERN ARCHITECT JANUARY 1915 PLATE SEVENTEEN it » ii ii. £*& t-S, f Ba Cfa K K Kj£i« V&m l&m?i :: :: :: THE ENGINEER WHO DOES NOT EXPRESS HIS WORK IN A LIVING ART-FORM, BUT REGARDS ONLY COST AND MATERIAL. SPEAKS TO ALL MANKIND WITHOUT SYMPATHY FOR THEM; ON THE OTHER HAND THE ARCHITECT'S POINT OF VIEW REMAINS INCOMPREHENSIBLE TO EVERY ONE WHEN IN CREATING HIS ART-FORM HE DOES NOT LET IT ARISE FROM CONSTRUCTION. BOTH ARE IN GREAT ERROR. THE ART-FORM MUST BE ALWAYS DEVELOPED FROM THE CONSTRUCTION WHERE IT LIES PERFECT BUT CONCEALED. THE FUNDUMENTAL CONCEPTION OF THE ARCHITECTURAL WORKS OF OUR TIME MUST CHANGE; AND WE CAN COMFORT OURSELVES WITH THE ASSURANCE THAT THE ONLY FOUNDATION FOR OUR FUTURE ARCHITECTURAL CREATIONS IS TO BE SECURED SOLELY THROUGH AN PLATE EIGHTEEN THE WESTERN ARCHITECT JANUARY 1915 4? IV ,'/< i^, '/< i« fit INTUITIVE UNDERSTANDING OF MODERN LIFE AS IT IS. * * * IT IS IMPOSSIBLE FOR ART TO GO ON IN THE BROADLY TRAMPLED OUT AND WORN DOWN ROADWAY OF THE "COPY". NOI WITH RIGHTEOUS PURPOSE ART MUST WORK OUT FOR ITSELF ACONCEPTIONOF BEAUTY FIT TO SURVIVE IN THIS SCIENTIFICALLY CRITICAL AGE WHERE THE FORCE AND WEIGHT OF REASON AND LOGIC ARE GIVEN FULL VALUE. THROUGH THE IMPULSE OF MODERN ARCHITECTUREr "TRADITION" HAS REGAINED ITS TRUE VALUE, CASTING OFF ITS FICTITIOUS VALUE; ARCHAEOLOGY HAS SETTLED DOWN TO BE A SCIENTIFIC LANDMARK OF ART ONLY, WHICH WE HOPE IT WILL PERMANENTLY REMAIN. OTTO WAGNER, 1902, WAGNER-SCHULE, VIENNA. ¦¦ ¦•• :: :: :: ;: :: :: :: THE WESTERN ARCHITECT JANUARY 19 1 S PLATE NINETEEN :: :: :: " THE TROUBLE WITH YOU, MY DEAR BRIM, IS, I SAY, (ON PAPER, AFTERWARDS, AS THE TRAIN SPEEDS AWAY), THAT YOU HAVE A FALSE-CLASSIC OR STUCCO-GREEK MIND. THE GREEKS, THE REAL GREEKS, WOULD HAVE LIKED ALL THESE THINGS—TROLLEY CARS, CABLES, LOCOMOTIVES,—SEEN THE BEAUTIFUL IN THEM, IF THEY HAD TO DO THEIR LIVING WITH THEM EVERY DAY, THE WAY WE DO. YOU WOULD SAY YOU WERE MORE GREEK THAN I AM, BUT WHEN ONE THINKS OF IT, YOU ARE JUST GOING AROUND LIKING THE THINGS THE GREEKS LIKED 3000 YEARS AGO, AND I AM AROUND LIKING THE THINGS A GREEK WOULD LIKE NOW, THAT IS, AS WELL AS I CAN. I DON'T FLATTER MYSELF I BEGIN TO ENJOY THE WAY PLATO WOULD IF HE HAD THE CHANCE. AND ALCIBIADES IN AN AUTOMOBILE WOULD GET A GREAT •DEAL MORE OUT OF IT, I SUSPECT, THAN ANYONE I HAVE SEEN IN ONE, SO FAR; AND I SUSPECT THAT IF SOCRATES COULD TAKE BLISS CARMAN AND, SAY, WILLIAM WATSON AROUND WITH HIM ON A TOUR OF THE GENERAL ELECTRIC WORKS IN SCHENECTADY THEY WOULDN'T EITHER OF THEM WRITE SONNETS ABOUT ANYTHING ELSE FOR THE REST OF THEIR NATURAL LIVES."—GERALD STANLEY LEE "THE VOICE OF THE MACHINES" (WRITTEN ABOUT 1905) :: :: :: :: :: :: :: :: :: :: :: :: :! :: .. :: PLATE TWENTY THE WESTERN ARCHITECT JANUARY 1015 the untold ages may not mar its intrinsic glory or increase its beauty. A genuine art work is eternal even after it has disappeared, its power is within the human heart and it will appear, disappear and appear again in the process of centuries. (J * * * * * Once the art of architecture was so alive that all the people had a cordial and daily interest in the work of the builders. They were making fresh, simple, joyous things every day and the people rejoiced because they were given what they could feel and given it in such a way that they felt, as they practically were, part of it. (J * * * * * Are you going up to * * soon? The decorations are being put in place now; soon it will be finished and ready to be occupied. In two or three weeks it should be well on toward the final touches. ****** Very cordially. Minneapolis, Minnesota, June 17th, 1913 C. C. C, Esq., Chicago, Illinois My dear Mr. C.:— (j * * * * * What I desire is to amplify the basis on which our small field of operations is builded so that you may see the impulse behind it. We believe that on the healthy development and stability of the Arts and Crafts rests much that the people need for the normal and natural expression of their lives. The modern sociologist teaches that the welfare of a people and its Arts are knitted together with infinite closeness, that no line of demarkation may be drawn that would lead to other than grave disaster. The history of the rise and fall of the Arts among the various races indicates with overwhelming evidence that a normal people develop a normal Art and that when the seeds of decadence enter into the spirit of a people, Art becomes a trival matter fit only for scorn and contumely. So in our small way we endeaver to seek our guidance through study of the people. We believe in them. We are not afraid of the choice. As between the heart of a man and a civilization that is, and the thumbed-over book concerning a man and a civilization that was we choose the living man and the eternal new time and leave the book for the archaeologist. We do believe in the fairness and candor and whole-someness of the people—and desired to give them not so much what they want, as all peoples have ever been more or less inarticulate when it comes to voicing their desires —but some of the things, simply done, of which they undoubtedly dream and hope will come to pass. In some such way we may say that a child would never consciously ask for a rose, but where is the child that doesn't dream about a rose and rejoice when given one? That may sound more pictorial than real but it isn't a bit. There is so much subjective romanticism in the average human that it should be the purpose of all of us to make it more objective, more tangible, more useful to him. What we are striving to accomplish is only a phase of a progressive movement that is in evidence in practically all the Arts excepting Architecture which is usual- ly considered a sealed book, inviolable and not to be tampered with, by most of us who practice it. Your own building is quite alive with craftsmen engaged in this movement in the Arts, consciously or unconsciously, it doesn't matter, the impelling desire is the same. The people are awakening to the fact that some of their ideals are coming true. They are going to have arts that are representative of them, not of antiquity. It will be a fine and fair day for the country when all the Arts and all the Crafts come really home to us and to remain with us. taS.....fc'* «... A* WHITE CITY COLLEGE INN. CHICAGO. ILLINOIS THE WESTERN ARCHITECT FEBRUARY :: 1915 PLATE TWELVE LAKE FOREST COLLEGE—FACULTY HOUSES, LAKE FOREST, ILLINOIS OFFICE BUILDING FOR CHICAGO MILL AND LUMBER COMPANY. CHICAGO. ILLINOIS THE WESTERN ARCHITECT PLATE FEBRUARY :: 19)5 FOURTEEN RESIDENCE OF MR. CHAS. J. BARR, RIVER FOREST, ILLINOIS DINING ROOM—RESIDENCE OF MR. CHAS. J. BARR, RIVER FOREST, ILLINOIS PLATE FIFTEEN THE WESTERN ARCHITECT FEBRUARY :: 1915 ENTRANCE AND TERRACE—RESIDENCE of MR. WM. DRUMMOND, RIVER FOREST, ILLINOIS view from garden—residence of mr. wm. drummond. river forest. illinois the western architect february :: :: wis plate sixteen LIVING AND DINING ROOM—RESIDENCE OF MR. WM. DRUMMOND. RIVER FOREST, ILLINOIS PLATE SEVENTEEN THE WESTERN ARCHITECT FEBRUARY :: :: 1915 THE WESTERN ARCHITECT FEBRUARY " 1915 plate -nineteen THE WESTERN architect FEBRUARY :: 1915 RESIDENCE of a. W. MUTHER, RIVER FOREST, illinois LIVING ROOM AND FIRE PLACE—RESIDENCE OF MR. A. W. MUTHER. RIVER FOREST. ILLINOIS plate TWENTY-ONE THE WESTERN ARCHITECT FEBRUARY :: 1915 ings, trees or other features become units. The group can then be composed with an eye to a subordinate arrangement of units. Color of building material and of natural surfaces and richness of verdure may be effective in producing thrilling contrasts. Now, the flat or level prairie creates an entirely different problem as far as opportunity of modification is concerned, for we are extremely limited as to viewpoints compared to conditions, as outlined above, where the whole composition is seen from many viewpoints. To see the flat city you must be in the midst; for, if outside, you see only a silhouette which can but hint at an order of arrangement, and the nearby view is lost. It would seem, that by using three or four different houses for the building of a whole city, placed in constantly changing arrangement of grouping and planting, there would be local character and more variation of aspect than is possible today where endless rows of houses of all sorts and kinds toe right to a line in a most monotonous and deplorable similarity. Such is the inevitable result where freedom of arrangement, our only opportunity for play of artistic impulses, is impossible because of our social condition where everyone seems more anxious to conform to a hard and fast equality in appearance, however ridiculous it may actually be, than to seek individuality in a free atmosphere where changing circumstance would at least develop a variation of aspect. If environment places on the architect only such restraint in the design of the particular as is consistent in a broad arrangement of all the natural and artificial features of a composition; then, of course, with respect both to the eye of the beholder and to practical requirements, he is limited as to one best possible solution of every problem; so, in the nature of things architecture really starts and ends with arrangement. He then must have some method of conveying this information by which order is established in the prosecution of any building operation; so, how shall the architect word his exact meaning? We use a line to signify a separation or a joining. Where an edge or termination occurs it is spoken of as a line. We speak of emphasizing lines—vertical lines— oblique lines and horizontals. To answer a significant question as to whether the dominant horizontal line is peculiarly appropriate to the level or the rolling prairie land, we should say: that the repetition of the lovely line where the land and the sky meet is the most appropriate, that it assures the most of a quiet reposeful ensemble, because it remains always subordinate in relation to the whole view, that the great arching dome overhead appears still more vast and wonderful because of the harmony and subjective quality of the repeated horizontal lines. But freedom, within such certain broad limitation or "straight line restraint," is not sufficient for some of the nearer sighted designers who will say: "yes, but man always craves the thing which nature did not provide; he wants the high tower or the pyramid to 'relieve' the landscape of monotony. Let him prove his theory and we shall find that in his work he has used the horizontal because he had to. That people cannot live in towers and pyramids, is self-evident; so, he tried to use a combination of the oblique with all manner of curved make-shifts in order to escape the insistence of the horizontal. "Besides," he will say, ' 'you designed the horizontals for the prairie and then you use them on the hill top and mountain side where they look ever so much better than they did on the level prairie." "Why, of course!" we answer, ' 'for you can see them from many more viewpoints which do but exhibit their real character in greater measure.'' He blundered in thinking that he had proof that we were wrong in the first place; and so, by a sort of left-hand self-deception, he is equally sure that the use of the "styles" must be right. But, is it not true with all the heat of our clash of opinion, that while the horizontal is peculiarly at home on the prairie, it is actually a rectifier of vision on the oblique or broken site? We are built to stand on plumb lines or lines polar to the earth and our eyes pair absolutely on the level. So for this and for other obvious reasons, it is an instinctive need that man expresses when he lays out his building on the level, swings its axis at a right angle to the sun's path and builds his walls perpendicular. Since the light is from above, his horizontals, or horizontals in combination with obliques, always give a shadow or emphasis to the level line. So, his generous roof line, in creating shelter from an inclement sky, exhibits that sweet and intimate quality of shelter inseparable from the idea of "home." The buildings of the native Bhutanese and Swiss have visualized this quality perhaps more markedly than those of any other people. Of course, conditions of site fix. the orientation of these buildings as is seldom the case where people build on level lands. Even while the horizontal is the most reposeful as compared with the vertical and the oblique, conditions must always compel the exercise of reason in its use for the kind of building required. A tall building with accentuated horizontal lines is an incongruity evidencing confusion of thought, because a tall feature or tall building m. . .. -i •¦------ - CHICAGO ' UNIT TERMINAL STATION -GUENZEL 6 DRUMMOND ¦ PSBPOiC* THE WESTERN' ARCHITECT FEBRUARY :: 1915 Page 13 stands contrary to the broad base of repose and contrary things always tend to destroy one another. In nature there exists an ever changing condition; the expanding cloud majestically rising against the blue, the slow motion of the glacier, the quick rush of storm, the drift of sand or snow before the wind, or the action of vibrant sunlight as it splits up in changing into the growing plant; these do but exhibit, in most impressive form, the endless transition of which we are ourselves but a part. In building, then, the decorative line, form and color, must symbolize the desire of the inner being to see and feel as opposed to the obvious inertia of a structural necessity; an element which is free moving and accentuative of direction, something which has the feeling of a continuation. It is necessarily subsidiary to the structural motive. The decorative line which emphasizes the structural form, is always the most exquisitely beautiful where its subtle influence works for unity of the whole. In architecture we seek to re-fleet the condition or aspect of things of nature which al-ways must be external to our j building. But in skillful or- I ganization the parts seem sometimes to so eloquently answer their law that you have a subconscious impression that they must have flown together by a sort of magnetic attraction for one another. The study of nature's ways and moods is necessary that man's work may complement and set forth her wondrous charms. Thus may he 'Bk 1%. mm -i hM tl harness her subtle strength to \k?H^M3sm!^m^a his humor. The architecture of the past, so much of it a meaningless expression, a ceremonial jumble, was a secret, exclusive art. It has been essentially a timidly nursed, privately owned, autocratically developed, effusion, as witness: the temple, the court, the palace; it was not a consciously aspirant social expression. Ancient and medieval architecture could not help but discover and develop, through use, certain forms and orders of arrangement which must always be of influence in the design of buildings; but the spirit that guided and worked results was not as a rule that which felt for nature's support. Each kind was a wave of specialized usage; a limited, arbitrary impulse based on some particular practical limitation or intellectual attitude of the day. We won't quarrel any longer about diameters or other nonessentials. On this, the eve of a widespread change in the feeling for and care of the things of the common good, we are awakening to a conscious desire for expression. It is evident in literature, music, the plastic and the graphic arts. Why not in architecture? Our people are turning to the purposeful work of building up the standard of citizenship. Blood of a strain common to all the sadly confused fatherlands of Europe, is here and now mingling in the commonwealth and seeking through her institutions a certain prophetic fulfillment of ideality. It has bequeathed to us an impelling desire to be free and strong in our creative endeavor. We can, if we will, open our eyes to the need and our hearts to the love of the beautiful as witnessed in the appearance of all builded things; the use thereof being glorified because of the more ideal forms in which our imagination clothes them. There is no authority but our own and our demand for a recreated world can and should be of an all-inclusive, permanently operative, kind. The lesson of all past ages of expressive effort shows that each age had its own conscious ''moment" and with this its own peculiar mode of artistic expression. The style we see resultant of that momentary effect was inspired by a certain ' standard of life. Emphasis is placed on shapes, which show more often a weakness of conviction and feeling, than they show a feeling of strength and purpose. Our perception of this fact puts the creative architectural efforts of the past into proper perspective. In such critical retrospect of history we read the cause and then turn and see the result in each style of a period, so we come to realize more pertinently the need of an artistic response to our own modern social "moment." In America, and especially in the Middle West, life exhibits without a doubt a fullness of vision, a purposeful attitude and consciousness of inter-dependent power,such as has never before in history been true of any people of any other time or place. This power is taking hold and endeavoring to so limit the shaping effect of social conditions as to bring about a freer opportunity in life environment for all than has ever been hinted at before. It seems certain that a sober and reasonable creative expression must be forthcoming in architecture through which all would speak and feel. It must be a true reflection of our real condition, a simple statement of the broad, yet intimate relation which we see in things today, whether they be things of state, or things of science, or things of nature. At present our undeveloped and wrongly developed educational method seems to stand in the way of progressive change. We are trained to curb spontaneous impulses which would lead to profound desires. The main thing is to come into our own and let it do for us, so that we, as free men, Page 14 the western architect february :: 1915 may leave our own record as we pass along the great highway of life. The art of architecture in the new West hopes to generate a feeling of reverence for the hill and valley, the cliff and shore line, the great smiling sunlit prairie. It especially recognizes the need of conforming to certain limitations. Materials selected for and cast in forms suitable to functions—constructions, which while being shelters fit for special use are also unmistakably pertinent, inside fulfilling outside promise, outside reappearing or penetrating inside with positive meaning, both outside and inside lending themselves to refinement of workmanship, of color, of decorative sculptured form and of furnishings exquisitely harmonized in-door and out. Thus will human expression through architecture be clear, true, relevant and consequently immensely more eloquent than it has been in the past. Simple truth will take the place of ' 'philosophies,'' of thrice removed ''inspiration," of computed and classified "laws" of composition, of explanation in meaningless ' 'technical,'' scholarly words, of that which is not obvious to the eye, therefore non-existent. The sophistical reactionary tendency leads not to the ideal, but to the final result of a stupifying monotony of existence. If architecture mirrors the soul, then why should any building be anything but beautiful or reasonable? Ugliness is evidence of sin, stupidity, wastefulness, chaos and confusion of thought. Out of the realm of art come the things that are of more moment than the things of the mere material world; mere possession is coin to the multitude—it is empty and without value here. The realm of art is antipodal to that of the operatives machine—like labor or the sweaty toil of the harvest hand; yet, one is as necessary to man's existence as the other; each is an overlapped part of the other. The world which knows culture has always striven toward the attainment of that condition which would develop a certain balance between the two extremes. For each man to be as much artist as he is farmer, and vice versa, would be the ideal existence, but this, of course, is still a proven impossibility, though it may come some day. DESCRIPTIVE NOTES :: :; :: " :: tj r\r tot at (~y Cf^T-TT? a/TT? • on this page is illustrat- HOUSING SCHEME. ^ & scheme wmcH ffl de_ signed to bring about a reconstruction of our social and political urban life. :: :: :: ' the scheme aims at a pronounced "individualization" of neighborhood districts in cities. a whole city like chicago would be composed of "units," each having a neighborhood center or "little capitol." :: in the development of new areas into neighborhoods. certain streets would be built up with co-related groups of apartment buildings, semi-detached and single dwellings. this arrangement being a "nucleus" or first stage. the remaining areas (shown vacant in illustration above) would be devoted to permanent sites for the more expensive individual dwellings. :: :: :: :: :: " as a complete "plant", the "little capitol" would have a large public meeting house, school rooms, a library and halls for exhibition and recreation, as well as gymnasia and contiguous park and play space. see illustration of neighborhood center at bottom of page 11. :: :: :: :: :: :: the above scheme is being published by the city club of chicago in a volume containing other housing schemes. it will appear fully explained and illustrated. :: :: :: :: RAILWAY TERMINAL: THE CITY CLUB 18 ALS0 publishing a booklet entitled "the railway terminal problem of chicago'' from which the illustrations appearing on the centers of the two foregoing pages were taken. they illustrate some of the outstanding features of a great railway terminal scheme, which helped to bring about such a change in public opinion in chicago, that in coming to an agreement with some of the railroads for a new terminal, many millions of dollars were saved to the city. :: :: :: :: the tall structures shown are intended to "mark" or individualize a series of great stations along a rail "highway" where all the roads entering this greatest railroad city, would have ample office and station accommodation. :: :: ;: :: in train operation, there would be no grade crossings and so little waste motion, that a right of way here at the center of the city of less than 200 feet width, would provide train service for a city five times as great as chicago. :: :: :: :: :: ARCHITECTS' STUDIO: SINCE IT is extremely difficult to secure satisfactory office space in down-town chicago where any expression of individuality is possible, the firm has decided to erect for its own exclusive use the office building illustrated in the first cut of this presentation. it is to be located in a prominent street, somewhat removed from the center of activities. :: .. the western architect february :: 1915 Page 15 THEW ESTER.N A d ruiTr T AKAJHL1 1 1 A NATIONAL JOURNAL OF ARCHITECTURE AND ALLIED ARTS, PUBLISHED MONTHLY VOLUME 21 MARCH 1915 NUMBER 3 That a normal condition exists in the All indications building field in the United States as Active Building stated in these columns last month, is Season substantiated by the reports of permits, gathered from all available sources. Where the total building expenditures of January fell twenty-three per cent below those of the same month of last year, February has made a gain of about sixty per cent on this deficit, the loss being but fourteen per cent. It may be possible that an extraordinary amount of planned, and some figured, buildings, are held up in architects' offices, but even with this deterrent effect on the spring activity, the conclusion must be that a compensating rush will come later in the season. It is business wisdom for architects and material concerns to anticipate this condition and hold an optimistic attitude toward the building situation in 1915. In commenting upon the work of an World-wide architect who designs along those lines Progressive that have been termed "progressive", a Expression contemporary confesses itself "beset with doubts" and concludes with the "let it go at that" observation; "yet even with this endors-ment (i. e. quotations from Jean Francois Millet, Richard Wagner and others) of motives, we are not sure that his work is the harbinger of a new type of American architecture". It is this erroneous impression that should be corrected; that these architects of "difference" are seeking to originate a new American type or "style". The movement toward a sane and logical use of materials formed into designs that harmonize with physical surroundings and conform to modern changes in our civilization, is in no sense American. The desire to work toward function rather than through form is occupying the thought and is found in the architectural expressions of practitioners throughout the civilized world. Austria, Germany and England are each as advanced in this endeavor to reach a logical architectural condition uninfluenced by traditional form as are those of the United States. The Western Architect is in sympathy with these men as it is with all progressive movements toward a higher use of the greatest of constructive arts. It does not in any way mean to be-little the value of the works of those who seek to evolve new types from ancient styles, or who look into a grand and fruitful architectural past for inspiration to meet new problems and economic requirements. It only finds in these new thoughts and fresh expressions of the art that refreshment and interest which always attends the development of any idea along indigenous and practical lines. That much of the work produced by these pioneers may be deemed imperfect or seem to transgress fundamental canons does not in the least detract from the interesting quality of the design or cast a doubt upon the logic of the principles upon which their work is founded. The necessity for a state enactment Architectual regulating the practice of architecture Registration a ; h g f N y fc elsewhere, Professional Necessity can hardly be better demonstrated than by reference to an article in the New York Press, which in its heading states that "most of the craft are indifferent whether it becomes a law. This newspaper's authority on the attitude of architects in that city ' 'is the opinion of Julius Franke, himself an architect.'' Though we thus have his word for his assumption of professional membership, he is not only not a member of any architectural society, but is not even of sufficient professional prominence to be listed as an architect in Comstock's directory. He is probably an architect only "because he says so himself." If it were only to keep charlatans from posing before the public as members of that profession most important to our national advancement, a registration law should be passed in every state in the Union. The effect of such spurious claims on the credit of the profession is serious, but that is insignificant when compared with the imposition foisted upon the public by their false assumption and its acceptance of their claims to architectural proficiency. Of course, men of this character always have and always will oppose any attempt toward professional regulation. It is the weeding out of the uneducated and the unskilled that is one of the fundamental principles of a registration measure that, while advocated and urged by architects is more vitally necessary for the well being of the public. Even though it might seem to the profession in New York and other large cities that there is little need for professional regulation, it is obvious that this ideal condition has been established through the education of the public by the correct practice of capable architects. But these must not forget that the ultimate advancement of the profession lies largely through the practice of architects in the smaller towns and in sections more remote from THE WESTERN ARCHITECT MARCH :: :: 1915 Page 16 centers of high professional example. It is therefore the duty of every member of the profession not only in New York but in every state to not only approve, but in their acts support all efforts to secure registration legislation. Probably the most vital architectural False Economy subject of public interest before the o ,. people today is the construction of School Building . . Construction school buildings. As far as the architect is concerned professionally his interest is largely ethical, though as a citizen that knows the facts, he views the situation from a public standpoint. The rapid growth of school population in most communities and the necessity for increasing educational buildings with an always inadequate fund for their erection, compels the school boards to seek a reduction of expense in every direction. To them, of late, it seems to lie in the direction of economizing on architectural services. For some reason, from "Maine to California," this attempt to reduce expenses takes the form of hiring an architect at a stated salary instead of the percentage that governs in most other architectural work. This even extends to the legislatures that provide appropriations for state schools. Of course the main reason for this is not hard to find. The average legislator is concerned in the accumulation of votes, as he knows little and probably cares less, for the ultimate cost, or the results that come from his imposition upon a gullible public. He makes the grandstand play that an enormous sum has been paid on a percentage basis to the architects who have designed and constructed the schools erected in a given time. His soul revolts at this wastefulness and his remedy is to hire an architect at about the salary that is paid to the janitor of one of the buildings. The public at once puts him down as a man that is looking closely after public expenditures. It does not know that in addition to this salary is that of draftsmen and superintendents, the rent of office quarters, materials and the hundred other expenses common to the running of the office, and in manufacture called "overhead expense." This public does not know that almost every Eastern city has made trials of both systems and found that an almost uniform sum of over six, and in some cases approximating seven per cent, is the cost of architectural services where an architect has been hired on a salary, while the best service of the most skilled architects in the country can be procured for six per cent. Thus the employment of a low-cost salaried architect is not only a greater expense to the taxpayer that is attracted by the specious representations of the legislator, but his children are taught in a building designed by a draftsman, rather than in one containing all the school construction knowledge of the time. The manipulations of some of these public advisors would be laughable were their effects not so serious. The legislature spends hours debating, and decides to pay a per diem instead of a salary, then hours more on what that daily pay shall be. After sums ranging from five to ten dollars are wrangled over, eight dollars are estimated to be what such service is worth. We think that that is probably too large a fee for the service such an arrangement would supply. A committee of supposedly intelligent citizens decide that "it is important that school employes, such as janitors, be of the highest possible type, in order that a high standard of personal service be set before the pupils." And this committee recommends that an architect be hired at $3,500 a year in a city of three hundred thousand people, to design those examples of proportion and arrangement that are to stamp an instinct for art perception on the youthful mind. The schoolhouses of the present both in design and arrangement are much superior to those of two decades ago, but they have been designed by the best talent the country affords. This wave of retrogression in the guise of economy will soon destroy the high character the past twenty years has given to school design. Perhaps because of the ephemeral The Designers of character of the buildings constructed Panama-Pacific tQ house t^e International expositions Exposition Honored of the past, or the lack of public appreciation for the high services of their designers the architect has been uniformly ignored, or accepted as a matter of fact, by exposition authorities. It remains for the Panama-Pacific Exposition of 1915 to formally acknowledge these services with fitting ceremony. Following the precedent established in the designing of the Columbian Exposition at Chicago, and likewise adopted at Buffalo, Saint Louis, Omaha, Seattle and San Diego, the authorities at San Francisco called to their aid the best artistic talent of the time. Not entirely because it was local, but because singularly, that city possessed architects that were the peers of any on the continent, six of the nine architects of the Exposition belonging to San Francisco. With these nine architects was associated two sculptors, one landscape architect and one artist in architectural design and color. These, with four architects, were from New York. The fourteen designated as the designers of the Exposition were called together on February 25 and with ceremony each presented with a bronze plaque commemorating their achievements. Seven of the nine architects are members or Fellows of the American Institute of Architects. Collaborating with G. W. Kelham, chief of the department and supervising architect, were W. B. Faville, L. C. Mulgardt, Arthur Brown, Jr., C. R. Ward and B. R. Maybeck of San Francisco, while William R. Mead, Thomas Hastings, R. D. Farquar and Henry Bacon were from New York. Karl Bitter of New York was Chief of Sculpture, with A. Sterling Calder Acting Chief. The landscape architect was John McLaren, and Jules Guerin was in charge of the color scheme in which his wonderful talent was effectively impressed on the buildings in mass and detail as was that of Frank Millet at the Columbian Exposition. THE WESTERN ARCHITECT MARCH 1915 Page 17 Quantity rev'ew'ng tne itinerary of the Insti- architects, his enthusiasm for a representation of the Surveying tute convention it seems strange that highest excellence in design that America had reached, * institute'01 attenti°n nas not been given to the sub- the spirit of unity and emulation which he infused into Investigation Ject °* Quantity Surveying through a the project, though he was not spared to meet those competent committee. As its claim co-laborers at their first conference, was the part that for attention is based on a clear bill of quantities as Root had in the designing of the Columbian Exposition. against the usual competitive system it must have ad- He was its guiding spirit in his death as he would have vantages that are worth weighing. Its adoption might been in life. Its inspiration, its initial projector as to mean a reorganization of office practice and procedure, design, but he (nor his partner, Burnham, afterward but this alone should not prevent its adoption if it is appointed Director of Works), designed none of the found to have those ameliorating properties that its buildings. His was not an unfinished work for in his advocates claim for it. Quantity Surveying makes advisory capacity he would not have designed any of definite that which is more or less speculative. This the structures had he lived. Perhaps, and we believe phase would tend to connect it with the measurement it to be true, this preliminary direction was potentially and document standardization program of the Insti- greater than the designing of the buildings could have tute. We believe that the system of Quantity Surveying been had he designed them all. If this be true, then willbe found to be the logical and economic method of John Wellborn Root did "design the World's Fair." letting building contracts. It is not improbable that „, , , _ .. „ , , • n i • a- . Tiii- i 1 he name or the Daily Consular and it will have its effect on credits, abridge hens and ~ . „ . . . ,, . , l r l i.l i mi r r m 1 rade Reports issued by the United abolish the bill of extras that is the bone of contention Name of „ _ , r. , „ . t i m i- Consular Reports States bureau or roreign and Domestic on a large percentage of buildings. Changed n l- u u l . ij i ¦ i 6 Commerce, which has long held the high A too common reference to "John W. position of being conceded the most Did John Root, of Burnham and Root architects, beneficial daily publication in the United States, was Ts°rnTRh00t of Chicago, who designed the World's chanSed °n January 1 to Commerce Reports. Among tt, e,1^n t. .e, c • " J t i.i/-. . .• other important changes for the betterment of the ser-Worid's Fair? hair, and so referred to by Construction . ^ 5 m .i ii t i • r vice is the speeding up of the publishing from four days News recently, seems to call tor a brief ..... ... „ . . . r r> ,.> i .¦ •ii. ¦.i. ¦ i to ten hours in its compilation and printing. Corn-statement or Koot s real connection with that signal , . . f. u r * • ». • .1 r i u- mercial experts and other agents, including some triumph or American architecture in the Columbian i i i « • i i i c i. luoj \v,i_ i • j r i ¦ . three hundred American consuls throughout the Lxposition ot IoVj. when the idea ot such an inter- . s , i j l . j • world contribute to its pages. Commerce Re-national exposition had become concrete and its . ... , . i_ £ .i t i j c /- d . ports is the open door to trade opportunity. It is a location was berore the United States Congress, Koot r. , j i i ^i ¦ . . trade developer and reporter. It is practical, timely was employed by the Chicago committee to prepare i- • , , iii r>\ • • i.i *i¦. r •.. and an authoritative index to trade conditions over the plans that would show Chicago s adaptibihty tor its , . iii - ii t irii-t entire Clobe. It is never perfunctory, always direct; location. He designed layouts tor the Lake rront, ,,. r. . , ^ , „, , . T-, i i r i n i r t, . the live wire or American trade. Courteous and con-Washington rark and Jackson Park tor that purpose . . ... : . , , , . ii i i ^ stant departmental cooperation with an active and and also that the city might have data in regard to . . , . ,v,, . r n ¦ ti capable Secretary has made this source ot commercial these several sites, when Chicago hnally won in the . . . , .. .. . . „ . , r-> i i i i n . i i information an invaluable adjunct to United States contest Jackson Park was selected and Koot s sketches „ r ,, . , r-% ¦ i ¦ t- trade expansion, generally followed as to plan. During the agitation in Congress and before the selection of Chicago was City officials that act on the principal made, the writer asked Root, "Who will design the school Board tnat tne Pr*ce at which an architect can Fair buildings?" His answer was, "No one architect at be engaged for the designing of schools should design these buildings, but a number of the best Detroit jg tjig measure Qf requirement are in architects in the United States, all working together as strong and unfavorable contrast with one commission." Estimating that from ten to those in charge of the schools at Detroit. That city fifteen main structures would be required, the next has a school board that believes in obtaining the highest question was, "Who are the best architects in the professional talent for its school building work and in United States?" Root took up a card, and as the talent paying what it costs. Recently this board, with an of each architect was weighed, the names of those almost unanimous vote, rejected the gratuitous offer deemed most proficient, about fifteen in number, were of service at a largely reduced percentage, proffered by set down. At the close of this informal conference the two architects and appointed a firm reputed to be the card was shoved into a pigeonhole in his desk. Root most experienced in school designing in the city as was subsequently appointed architectural advisor to architects of the school board. The suspicion that this the organization in charge, and this procedure, planned course was adopted as a comment upon the unpro-so informally so long before was carried out, the several fessionalism of the gratuitous applicants and a shrewd architects were appointed and it is interesting to note estimate of the negligible value of the services proffered that all the names were on that card. That is as far as does not detract from the commendation which the John W. Root "designed the World's Fair." His public should bestow upon the president of the Detroit layout of Jackson Park, his advice in the selection of school board and his colleagues. 1 THE WESTERN ARCHITECT MARCH :: :: 1915 PROFESSIONAL CO-OPERATION.* By Elmer C. Jensen, F. A. I. A. In dealing with the question of professional co-operation, I ask your attention to the Century Dictionary definition: "To act or operate jointly with another or others, to the same end; work or endeavor with another or together to promote the same object." Do we architects in Chicago and in Illinois co-operate in accordance with this definition? In my judgment we do only to a very limited extent. I have the feeling that the architects, both in Chicago and throughout the state are working individually and not collectively, at least to a large degree. There does not seem to exist that hearty and friendly co-operation that is so very vital for a healthy growth of the art of architecture. There probably are very good reasons for this condition, which I will not attempt to cover in detail. It may be that competition for business is too keen; that the practice is becoming too complex; that some are too busy to enjoy lofty inspiration and that others have the inspiration but cannot secure the commissions on which to practice; that some have lofty ideals and scorn those not equally favored. Whatever the reason, we have the condition. In my opinion there is, underlying the entire question, a strong feeling of selfishness. There are architects who seem to feel the necessity of a standing which they secure by identity with recognized societies, and under their standards, and through their own desire for the almighty dollar, commit deeds that are in violation of codes of practice, and utterly disregard their fellows. Judged by the amount of business they handle, they are succeeding, but judged by the expressions we hear from their fellows, they are failures. This naturally has a tendency to prevent co-operation. We are living in a portion of our country that has a rich heritage. Here it was that skeleton construction was born, by means of which a new style will surely be evolved. Here it was that courage was shown to disregard palladium colonnades and to make the beginning of what some hope to be a western or prairie style. This was also the birthplace of the wonderful, though temporary, City of White. It has been the source of much inspiration for orderly city building and has created a popular appreciation of architecture. Here also lived one of the great city builders, whose energy and leadership has done much to encourage the necessity of beauty in the building of our cities. Is not this heritage sufficient to draw the architects of this city and state together in a fellowship that will develop effective co-operation; co-operation that will help the individual practitioner as well as the city and the state? Are the architects of Chicago and Illinois sufficiently in evidence in the beautifying of our cities? Are the architects represented in Springfield for legisla- *Paper prepared by Elmer C. Jensen, read at the first annual convention of the Illinois Society of Architects, Chicago, October 7 and 8, 1914. tion that will make our state architecture commensurate with its size and importance? My answer is in the negative, and I believe simply because of lack of co-operation. Recently, in our courts, an architect was endeavoring to recover remuneration for services rendered in the preparation of preliminary sketches for a large building. Several fellow architects appeared against him and I am told testified that it was very common practice for architects to furnish such services without compensation for the purpose of proving their ability to do the work contemplated. This certainly does not fit the dictionary definition of co-operation, nor does it speak well of the reputations that require such exhibits to carry conviction. This practice may be pardonable for one who is in absolute need of bread and butter, although there are more honorable and easier ways of earning it. Such disregard for both written and unwritten laws of the profession leads to the conviction that there are architectural anarchists, and anarchists have never been very popular. To hold the title of the profession and then to be undignified enough to stoop to this practice is, if nothing more, inconsistent. There are many other evidences of lack of cooperation among us and time does not permit their rehearsal, save one of great importance, namely, competitions. The spectacle of professional men being hoodwinked by scheming clients to give their valuable ideas, time and money in exchange for a chance to be laughed at, does not help the standing of the profession. The American Institute of Architects has adopted a code of competitions that is a protection alike to owners and architects, and evidence is rapidly accumulating that it is now recognized throughout the country as the proper method of procedure when competitions cannot be avoided. The success of this code in Illinois needs your co-operation. Illinois possesses several schools of architecture, and the students may some day be entrusted with the increasingly important work of our state. They need your inspiration and your help and the architects could, by their co-operation, uphold and improve the ideals of these schools. The many towns and cities of our state need intelligent direction in city and town planning and architects should be leaders in this movement. The housing conditions of the state are greatly in need of improvement, and here also the architect is qualified to take leadership. In closing, I beg leave to suggest that the architects of Illinois co-operate through a state organization so that their leadership for the welfare of the state, as well as that of the profession, may be affected. The Cleveland Chapter, A. I. A., will recommend to the State legislature at its next session, the passage of a law regulating architectural practice. THE WESTERN ARCHITECT MARCH - 1915 Page 19 Balcony fiooe Plan /eccnd fLooe Plan SWITCH f2ack ground plat and floor plans, thompson's malted food company's building, waukesha, wisconsin henry c. hengels, architect, milwaukee, wisconsin the western architect march :: 1915 OAK LODGE, OAKLAND, CALIFORNIA CHARLES W. McCALL, ARCHITECT THE WESTERN ARCHITECT MARCH :: :: ,0,5 THE WESTERN ARCHITECT MARCH :: 1915 ONE STORY STORE BUILDING FOR E. A. TYLER, MINNEAPOLIS. MINNESOTA HAUGEN & NEWSTROM, ARCHITECTS :: :: :: :: FLOOR PLAN the western architect march :: 1015 THE WESTERN ARCHITECT MARCH :: :: 1915 RESIDENCE FOR E. S. CHASE, MINNEAPOLIS, MINNESOTA DORR & DORR, ARCHITECTS :: " " THE WESTERN ARCHITECT MARCH :: 1915 SECOND FLOOR PLAN FIRST FLOOR PLAN RESIDENCE FOR E. S. CHASE, MINNEAPOLIS, MINNESOTA DORR & DORR, ARCHITECTS THE WESTERN ARCHITECT MARCH :: 1915 AX IDEAL SUBURBAN HOME AT DAYTON, OHIO ELMER LE GERBER. ARCHITECT :: :: :: THE WESTERN ARCHITECT MARCH 1°1S RESIDENCE FOR JAMES SHULTZ. LOS ANGELES. CALIFORNIA WALKER & VAWTER, ARCHITECTS :: :: :: VIEW OF GARDEN AND PERGOLA FROM HOUSE :: RESIDENCE OF JAMES SHULTZ, LOS ANGELES, CALIFORNIA WALKER & VAWTER, ARCHITECTS :: THE WESTERN ARCHITECT MARCH :: :: H)|J SECOND FLOOR PLAN FIRST FLOOR PLAN RESIDENCE FOR JAMES SHULTZ, LOS ANGELES, CALIFORNIA WALKER & VAWTER ARCHITECTS :: :: :: :: THE WESTERN ARCHITECT MARCH :: :: 1915 RESIDENCE FOR MR. HENRY MARX, CINCINNATI, OHIO G. C. BURROUGHS, ARCHITECT :: :: :: -rn^TTiooiL •Plan- -JlCOND FlOOL PlAN- THE WESTERN ARCHITECT MARCH :: :: 1915 RESIDENCE OF MR. WILLIAM MEAD. HOLLYWOOD, CALIFORNIA HUDSON & MUNSELL, ARCHITECTS, LOS ANGELES, CALIFORNIA THE WESTERN ARCHITECT MARCH :: :: 1915 second floor plan ground and first floor plan ground and floor plans of mr. william mead's residence, hollywood, california hudson & munsell, architects, los angeles, california :: :: :: :: .. THE WESTERN ..ARCHITECT MARCH 10 IS CROOKSTON HIGH SCHOOL, CROOKSTON, MINNESOTA BERT D. KECK. ARCHITECT :: :: :: the western architect march :: :: 191S FIRST FLOOR PLAN, CROOKSTON HIGH SCHOOL, CROOKSTON, MINNESOTA BERT D. KECK, ARCHITECT THE WESTERN ARCHITECT MARCH :: 1915 CHARLES HERCULES RUTAN 111 health to which Charles H. Rutan, Architect, of Boston, Massachusetts, has been subject for several years terminated in his death on December 17 last. The firm of Shepley, Rutan and Coolidge, of which the deceased was the senior and last named the surviving member, occupies a unique position in the profession in that it came into existence as the legatee of the work of H. H. Richardson. Mr. Rutan commenced work as a draftsman with the then New York firm of Gambrill and Richardson in 1870 and on the removal of Mr. Richardson to Boston in 1878 Mr. Rutan was retained and was a member of that group of draftsmen who aided the great interpreter of the Romanesque in that office at Brookline which for a decade made American architecture notable throughout the world. Upon the death of Mr. Richardson in 1886, Mr. Rutan with two of his fellow draftsmen, probably as the wish of their Chief, formed the firm that took up his unfinished work and upon which practice was founded the firm and the development of one of the most distinguished architectural partnerships in the country. Instead of continuing the Romanesque traditions of the Richardson regime the new firm immediately showed a desire to break away from confinement to a particular style and the first important work, that of the Chicago Public Library, was classic in motif; a freedom that has given buildings of differing and distinctive types to many cities. This is particularly notable in the Ames building at Boston, The Art Institute at Chicago, the Plymouth Congregational church at Minneapolis, the Leland Stanford University in California and the Dormitories of Harvard University at Cambridge. Mr. Rutan's work, covering twenty-eight years of activity and continuous partnership with his colleagues, has been exemplary of the best in architectural practice. Mr. Rutan became a Fellow of the American Institute of Architects in 1889 and was as active and valued member of the Boston Society of Architects. His activities were many and among his close relations with many associations was his trusteeship of the American School for Girls in Constantinople and also of the Fiske University. The University of Oregon School of Architecture organized last year was opened in its new building at Eugene on November 19, with appropriate ceremony. An architectural society of the University has been formed and the present officers are: President, K. K. Robinson, of Portland; Vice President, Marie Louise Allen, of Eugene; Secretary, N. O. Gould, of Portland; Treasurer, J. E. McGuire, of Eugene. The Executive Committee of the new Society is composed of Eyler Brown, W. C. Church, and R. E. Collins. One of the qualifications for membership is the acceptance of a tracing. In this manner a permanent library of the society will be gathered. The members of the society include one woman and a Japanese student, Jokicha Tominaga. HOSPITAL ARCHITECT RECOGNIZED The Ohio State Journal deserves commendation for a special, even most uncommon, enlightenment displayed by a daily newspaper. In its review of the State Hospital recently erected from the designs and under the superintendence of Frank L. Packard, architect of Columbus, the architect and his associates have not only been given credit for the work (which is as often omitted as not), but makes the definite statement: "The Lima hospital represents the ideas of the building commission acting under the advice of Mr. Packard, Columbus architect, his associates, Mr. Ralph Snyder and his mechanical engineer, Mr. E. F. Babbitt." When the Auditorium at Chicago was finished, and Fred Peck in a long speech told of his work in financing the proposition, as an after-thought, apparently, he said, "and we must also give credit to the architect, the contractors and the workmen that have aided in completing the enterprise." But the architects had no place in the program and probably were not invited to the function. That this $2,000,000 hospital for the criminal insane, one of the largest and probably most complete of its kind in the world, is credited to the architect who designed it is but just. It is a justice, however, that is too seldom accorded by the press or public most concerned, even in a case like this, where only original development with no available experience to guide placed the entire success upon the skill of the architect. DEMAND FOR AMERICAN SHIPS The argument most frequently used in favor of the purchase of foreign ships is that the cost of ship building in the United States is fifty per cent greater than in Europe. This argument, specious as it is, might have some weight were it not for the fact that the reports from almost every export port on the seven seas is that "the scarcity of tonnage, with the resulting high freight rates hampers the export of products from these countries." If it were not for the hope of government subsidies or the purchase of the "second hand" cargo boats of foreign nations continually held before the home capitalist there would soon be a fleet of American merchantmen carrying this country's flag into ports where it has been unknown for two generations. It seems likely that the importers themselves will find it obligatory to build their own ships, a condition that evolved the "Baltimore Clipper" the best, and most profitable, sailing vessel known to any merchant marine history. There is a bri,ght side to the Canadian business situation, gathered from Commerce Reports. In grain alone the advanced prices, even with a shorter crop than in the previous year, indicate a gain of $40,000,000 on the growers income. In industry, the government has stepped in with a guarantee of $61,000,000 bonds for the completion of transcontinental railway lines. Page 20 THE WESTERN ARCHITECT MARCH :: 191J AMERICAN HYGIENE ASSOCIATION The attention of architects is called to the coming meeting of the American School Hygiene Association, which is to be held in San Francisco, June 25th and 26th, under the patronage of the Panama-Pacific International Exposition. The educational exhibit of the Exposition is itself very comprehensive and interesting, and it is planned to supplement this with an exhibit of the most progressive and hygienic types among the schools of California. This will be the eighth congress of the National Association, last year's meeting having been postponed on account of the war. The Congress of 1913, it will be recalled, was merged into the Fourth International Congress on School Hygiene, very successfully held at Buffalo. Further announcement will be made as soon as the program of this coming congress has taken more definite shape, but it is to be expected that the papers and discussions will have the same great practical value as those that appear in the proceedings of former congresses. It is hoped to place the importance of the hygiene movement as represented in this Congress of the American School Hygiene Association strongly before all those who are responsible for health conditions in our public schools. Among these responsible people the architects of the country certainly have a great deal to answer for. Every architect with the remotest interest in schools should become a member of this congress and study its proceedings, whether expecting to attend or not. The membership fee is three dollars, which should be sent to Dr. Wm. Palmer Lucas, Secretary-Treasurer, University Hospital, San Francisco. This gives full membership privileges in the association for one year, including a copy of the printed proceedings of the congress. The Bureau of Standards (Washington, D. C.) is distributing upon request its publication entitled 'The Testing of Materials." The bureau's publication is distributed free upon request. It is an 89-page pamphlet dealing with such subjects as metals and alloys, cements, clay products, lime, stone, paint materials, bituminous materials, inks, paper, textiles, rubber, leather, lubricating oils and greases, chemicals and materials intended for technical use, such as electrical materials, optical materials, thermal materials, etc. The introduction gives briefly the theory upon which the testing of materials is based and outlines the purpose and ultimate aim of the bureau's work in this direction. Bulletin 250 is issued by the National Metal Molding Company showing that manufacturing concern's complete line of outlet boxes and covers. The bulletin, which is now ready for distribution, possesses novel and interesting features that add to its value in the catalog libraries of architects and others interested in a standard quality of conduits and their accessories. HENRY R. TOWNE RETIRES The retirement of Henry R. Towne from the active management of the Yale and Towne Manufacturing Company in no way affects the general operation of the company, in that as chairman of its board of directors, his availability for council will still be retained by the executive officers. For forty-six years, as president of the Yale and Towne Manufacturing Company, Mr. Towne has held the esteem and confidence of the manufacturing world. His has been one of those lives, too rare in the American commercial world, that has developed constantly in strength of influence and public recognition for creditable performance. His business success has been not only due to a large extent because of the assistance of a superb staff of executive officers, but because of his careful selection of that staff. And this careful and accurate analysis of character and proficiency, with a personal interest in their well being, has always extended to the lowest workman in his employ. The credit for the development of hardware manufacture in this country must always rest with Henry R. Towne to a greater extent than with any other individual. The execution of special designs which was the foundation of the Yale and Towne general builders hardware manufacture, was antedated by the Yale lock, but that triumph of safety locks was not the agency through which the making of the other specialty was undertaken. This in its inception, came through Mr.Towne's endeavor to assist an architect to procure casts in bronze of some special designs for door plates. This same principle of generosity, with that of supplying the best service that invention, manufacturing honesty and accuracy can produce, has made Yale and Towne hardware the synonym for the best throughout the world. And to Henry R. Towne is due the credit for its accomplishment. Walter C. Allen, who as vice-president and general manager for the past several years has been largely responsible for the management and direction has been made president and general manager of the company. A WORTHY INSTITUTION The Saint Paul Institute is an institution that should attract general attention from municipalities that are concerned with educational progress upon broad practical lines. Organized by men and women of advanced thought and influence it covers the practical and fine arts, literature and languages, and seeks to act as a central body through which all local educational activities along these lines may be affiliated. Its departments are in effect, clubs or societies for the study of the several subjects. The Institute is managed by a body of fifty trustees, representing the standard business and professional interests of the city. As a popular institution it is bound to exercise a strong influence upon popular education in the city that adequately supports it. A bulletin is published monthly in the interests of the organization. THE WESTERN ARCHITECT MARCH :: :: 1915 Page 21 THEW ESTER.N architect A NATIONAL JOURNAL OF ARCHITECTURE AND ALLIED ARTS, PUBLISHED MONTHLY VOLUME 21 APRIL 1915 NUMBER 4 In seeking for pertinent argument in A Mistaken r f. ,_i r identity in- tavor ot the passage of a registration voived in for architects law for the State of New Registration \t i • t » » i Reference orK, in our issue tor March, we men- tioned the name of "Julius Franke," who was quoted as having made certain statements regarding such a measure by the New York Press. The article stated that this Julius Franke was neither a member of the Institute nor was his name listed in Comstock's directory. Julius Franke, of Maynicke and Franke, architects, is not only found under the firm name in that directory but has been a member of the Institute since 1908. The article referred to in no way contemplated criticising or otherwise mentioning this gentleman, who stands high in his profession, and no matter what his opinions might be on any subject they would receive considerate treatment in our columns. There are so many who assume professional connection and call themselves architects, continually seeking the limelight of publicity through the daily press, which is not critical, as a rule, that through this practice an injustice was seemingly done to a worthy and capable architect. We hasten to assure our readers that the reference in our March issue to "Julius Franke" was in no way intended to refer to Julius Franke, architect, located at 25 Madison Square, New York. Based on building permit statistics Normal gathered from cities located in all Conditions parts of the country, the aggregate is In Field'ng but four per cent below that of the corresponding three months of last year. This has worked up from a 25 per cent deficit of three months ago. Add to this the conditions in the steel industry that is working at full force, the increase in bank clearances over the same period a year ago, what is known as "cheap money" and the prospects of abundant crops, there is little room for the veriest pessimist to predict anything but a steadily rising increase in all lines of business. Beyond these definite and indisputable conditions is the logical reasoning that occurs to anyone who carefully studies the general situation. The year should not only be one of full employment of capital, labor and energy in supplying the multiplicity of demands, but active preparation should commence to meet the extra demands that are certain to be made next year upon almost every line of production and manufacture in this country. This is as inevitable as the loss that will be the distinctive feature in every European country and which in a large measure must be met by the products of the United States. The advertising department of a standard architect ural journal is a finger upon the pulse of building supplies. Those standard concerns that with enormous plants and large invested capital must know, and know accurately every trend of prospective trade, and have been holding their advertising campaigns off for months, are now not only making contracts but developing new schemes involving enlarged space and expense in the architectural journals. Before this is done definite information, and not from the representations of the advertising salesman, must be obtained from the most authoritative sources. This has evidently been done and everywhere the result seems to be that increased demand for building materials is no longer a prospect but a fact. Under a government of the people by A state the people, where the brains and energy By'LegSaUve °^ tnose most capable is centered on incompetency the accumulation of private fortunes and the pursuit of private interests, it is perhaps natural that control should be largely in the hands of the flotsam and jetsam of society. The present legislature of the state of Minnesota more nearly approaches this condition than that of any other we know of. The men who have built the Northwest through its railroads and manufactures are too busy to lay aside their private interests for public office. In consequence they directly, and the public incidentally, suffer from an inimical state government. Through measures that effect the social development of towns filled with foreigners, brought to them by these same private interests; others that stop the advancement of education at its source, the State University, by a curtailment of necessary expenditures; and by others more vital, that oppose all measures providing for the physical development of the state, these legislators have threatened the foundations of all state advancement. As a sample, the action of a committee on appropriations for the preservation of the state forests, is typical. Giving as a plea, which was absolutely false, that those engaged in the work indulged in a pernicious political activity, these legislators recommended the cutting down of Page 22 THE WESTERN ARCHITECT APRIL :: :: 1915 American Influence on World's Architecture the forest fire-protection fund to a point of practical abolition of that important service. That not only-state lands and forests but those privately owned, and even the towns within their borders, are yearly jeopardized by any laxity in this fire-protection does not effect these economists, though many of them come from these same back-woods districts. They cannot see that their argument is equivalent to proposing the abolition of the entire fire department of, say, Chicago, because the chief and his men are charged with like high crimes and misdemeanors. That the fire losses in these forests are actually and potentially greater than in all the towns of the state has never come within the limited conception of these legislators that control the destinies of a great commonwealth. We "hate to talk about ourselves," but the other morning two subscriptions were received from Japan and one from China. About the same time several were received from South America and requests for exchange with the official publications of the architectural societies of Valparaiso and Montevideo. The illustrations in American architectural publications are more profuse than in any other similar journals in the world. There is more variety and "character" in the domestic architecture of the United States than in that of any other country. We have brought the use of a larger variety of materials into a higher state of adaptability for architectural purposes than is known to other peoples. Our architectural designs set a pace that the equally intelligent but less imaginative architects of other countries are quick to follow. Our architecture, in design, arrangement and construction is making its impression on the designers in these foreign countries. While it will not be generally copied, it will be fruitful of suggestion and many features adopted to meet local requirements. Illinois is in the throes of a controversy over the proposal to require a registration and license for structural engineers. We think that "enough is as good as a feast." It is well to require the examination of architects as to proficiency before they are allowed to erect structures that house the people and contribute to their health and happiness. The structural engineer is a minor factor in the entire work of the architect. If engineers, why not draftsmen? If engineers, why not the real estate man who recommends the location and sells the lot? If engineers, why not the investor himself who may use bad judgment in his enterprise and his building prove a detriment to surrounding property? There is a danger in a too bureaucratic government just as there is in a go-as-you-please phase in its development. The structural engineer should be licensed if he wishes to separate the competent sheep from the incompetent goats, but that license to practice should not run all over the lot and seek to occupy other territory than his own. The bill now before the Illinois legislature, as far as we can see, attempts to take structural work out of the hands Should Structural Engineers Be Licensed Progress Indicated in Reconstructing Supervising Architect's Office broader and of the architects and make the profession a small architectural body wagged by a large structural engineering tail. The architect is qualified by education and experience, and more or less talent, to design buildings. The structural engineer has only one of the many requisites for that profession, the ability to estimate shear, stress or compression and the joining of these into a unit of safety. The resignation of Oscar Wenderoth, Supervising Architect of the Treasury, recently announced, gives to the government an opportunity for the urged reconstruction of that office upon more efficient lines. Pending definite legislation (as suggested by the Logue bill, or through any other approved plan), it is necessary that a move toward efficient supervision of the office be made. This should incorporate those advanced features that many advisory suggestions have contained toward the promotion of a higher character in design and the lessening of expensive routine in execution. The Treasury Department is on the right track in its wish to secure efficiency and economy in its architectural department. Its apparent fault has been in a false idea that this can be reached by saving the expense of high architectural services. The administration of James Knox Taylor gave the department efficient management even though that epoch was not distinguished by design that reached far beyond the commonplace, except in those executed through competition between architects in private practice. This administrative ability should be equalled or advanced in the choice of a future head to the government's department of buildings for government use. That department may not need a designer of ability to control its destinies, but it does need an architect who is a master of design and at the same time an engineer and constructor of the first class. He should have a practical knowledge of government needs in the planning of buildings and the selection of, with adaptability to, site. An architect of high attainments may not be needed in an executive capacity, but the supervising of the design and construction of those buildings that are so intimately connected with the business and social life of the people does need a man of calibre to perform the work of his office with intelligence and discrimination. Such an architect it is difficult to obtain. Those whose names stand highest for professional achievement are too busy with their own affairs and eager for its emoluments to leave a private practice that satisfies for one in. which there is small monetary reward and little distinction. But such an architect should, and doubtless can, be found among those who have devoted their professional lives to its varied problems rather than to the accumulation of large practices. Such a head to the architectural department of the government would satisfy the demands of the people of the United States; and it is that public that is most concerned in both the cost and quality of government buildingVof which the Supervising Architect's office is the source. THE WESTERN ARCHITECT APRIL :: 1915 Page 23 A aimv f CTTAQES h°e:Tn llmw"*d AVENUE, Oak PaBK - illinois. GROUP OF COTTAGES FOR MR. F. BLONDEEL, OAK PARK, ILLINOIS :: :: :: :: :: JOHN S' VAN BERGEN, ARCHITECT :: :: A PLEA FOR AMERICANISM IN OUR ARCHITECTURE BY JOHN S. VAN BERGEN, ARCHITECT Certain communities throughout our country, while striving to advance beyond the accepted architectural forms of our predecessors, to the natural, suitable, better adapted to the needs and materials of the present day, are gradually creating an architecture distinctively American. Early in our land, after the pressure of Old England had been thrown off and true freedom was established, the people began to express themselves in their buildings. Living at that time was mid-way between the the luxuries of Europe and the frontier of the mountains and the plains, and the new found liberty inspired in the people the desire to do something of their own. Their desires, as the desires of the mother countries from which they came were thoughtfully worked out to a logical- conclusion which resulted in a living art of their needs. Both the New England and the Southern Colonies produced an architecture particularly adapted to their mode of living. Why can not we of the present day produce a type or types distinctive of our times? Our life is one very different from that of the eighteenth century and our works cannot stand on their old foundations. Our needs are of an entirely different type and should likewise be met by us ourselves as they demand a service that was undreamed of when our "National" architecture was developed. It is therefore our ditty as well as our privilege to look at our conditions as they are and to plan accordingly. The "Colonial" was the type that met the needs of a hundred years ago, but don't we need something more vital, something that more nearly portrays the life we live? The haughtiness of the past must surely give way to the better understanding of the future. The olden styles suited the time for which they were designed. Do they satisfy the present? The steadily growing democracy of our land demands that our surroundings conform to its ideals. Formality must give way to simplicity and sham to the genuine. The times are changing fast and those who adhere too rigidly to the old will sooner or later be swept under. It is therefore the duty of the planners of things to make clear the way for a future more glorious than the past. The days of ancient Greece and Rome can never compare with the days that are to come, when love of democracy and fair play has been born in the hearts of men. These days are not long distant and at present the entire world is revolving as never before to a realization of its possibilities. When men once see for themselves, nothing can hold back the tide that will follow and arts and works of every good kind will flourish as never before. Greece and Rome GROUP OF COTTAGES FOR MR. F. BLONDEEL, OAK PARK, ILLINOIS JOHN S. VAN BERGEN, ARCHITECT :: :: - - " Page 24 THE WESTERN ARCHITECT APRIL :: 1915 flourished, but in an unnatural way. The master and the slave can never exist beyond their day and as, "The many for the few," was the slogan of the past, "Each for each other," will be the cry of the future. As our times progress and a more general learning develops, "Made in America" will have the standing of the other makes and Americans will be proud to know that they are of the new world where things are done with a plan and a purpose. The old world will, if hostilities continue at their present rate, be swept back into the Dark Ages, where each man considered his neighbor his enemy. A period is coming when not only our Architecture but our every need will be furnished by Americans from America. It will then be our task to lead the worn-out nations to the realizations of their own. What hope is there for an efficient leadership if we are merely reflectors and are nothing in ourselves? How can we teach the vital things of life, if honesty and thoroughness are not found among our works? America has the opportunity. Will she accept? Architecture is not the only attainable end as many of my profession sometimes seem to think. It is only one means by which this new Americanism can COTTAGE FOR MR. PHILLIP GRIESS, OAK PARK, ILLINOIS JOHN S. VAN BERGEN, ARCHITECT :: :: :: be made possible. It has, as we of the guild are proud to feel, a very vital relation to all civilization of the past, present and future, with a field that reaches out in some way to nearly every phase of human life. The architect must be a democrat at heart if he is to create a work in sympathy with present and future conditions. As the politician must study the signs of the times so the architect must be alive to new and changing requirements. America, and especially Chicago and vicinity, has produced a school of men of peculiar trend of mind, who were able to look ahead and see a golden future for the architect and his work. They saw a time when the best in everything would be appreciated and when honest intent and talent could create to their full. With these bright horizons in their mind's eye they have been able to launch an architecture for and of the future America. Under these environments one of its younger architects, Walter Burley Griffin, has been chosen to plan and build the world's most modern city, Canberra, Federal Capital of Australia. This city could not have been planned as it has except that its creator was a modern, living in a modern America. His knowledge of present and future political issues, the hopes of the masses, the feeling that goes with a people on a new continent, and the growing needs of a regenerated humanity, gave him the fundamentals upon which to lay out his great work. This idea of city planning is progressive and developing rather than fixed and completed. His city will be the first to fully DiaIiaIg Ioom VtttAJjDA -flOT utoiy Plan- Ml-Phillip 6p.ies5 Oak. Pack Illinois JOHN S. VAN BERGEN, ARCHITECT meet the requirements of a growing community with expanding ideals in government and private life. This work could never have come from the old world, though at places, previous to the outbreak of war, democracy seemed to be further advanced than in the United iSucplAlG-/ VE2AAI0A, fJCDlOOM &EDB.0OW •¦iSEcOAID uTOHY PLAAJ- Me.-Phillip 6aiES5 Oak Pack. IlliaJoij JOHN S. VAN BERGEN, ARCHITECT States. There is little doubt but that nearly all the cities of the future, and I speak of the industrial as well, will follow Canberra's lead and demand comprehensive city planning, thereby saving themselves many sorrows of their parents. The planners of these future cities will undoubtedly be chosen not from the old school of reaction but rather from the new of progression. There will of course be halts and reverses for the time being in this era of betterment, but on the whole the world is open for the advanced. THE WESTERN 'ARCHITECT APRIL :: 1915 Page 25 The young architect must acquaint himself not only with a knowledge of construction, strength of materials, value of colors and proportion, but must also be a student of the times, political and industrial. The forces that make for a better country in which to live make for a better place in which to work. An architecture that can be understood and appreciated by all will enrich all in many ways. Beauty in architecture is of the highest importance and should be acquired above all when allied with usefulness and honesty. A thing of beauty is a useful thing and the work of the architect is not only to build but to build beauty in utility. Everything in nature is beautiful and no one class of men has defaced this beauty more than that of the architect. He must turn and take up the work entrusted to him in a true constructive spirit that will in a measure recompense for the damage done. As destruction takes place in the old world, may the architects of America more fully realize their position of help and strive to produce in our land an American architecture representing an extended study of American requirements. May a zealous generation grow up to do the thing better than ever before, for the world having advanced in great leaps and bounds COTTAGE FOR. MR. HUDSON B. WERDER, BERWYN, ILLINOIS now demands a service of which our fathers knew nothing. Two distinct groups of architecture, domestic and public, will at once present themselves each in turn to be divided and sub-divided into smaller groups worthy of separate treatment. The purpose of this article is to set forth some of the fundamentals regarding these. Domestic would embody everything in the architectural field used by individuals or families of individuals for their private welfare, distinct from uses more collective in their nature. It includes habitations and their appurtenances, from dwellings of the rich to hovels of the poor, large apartments and closely packed tenements, shelters for domestic animals, garages and landscape treatments. There is a certain homely feeling to be made that must predominate if the project is to be a success. Costly or shabby furnishings, large or small dimensions, do not suffice. There must exist a uniting of the entire scheme toward a definite end. Exterior and interior must conform, room to room arrangement must be considered, and the whole worked out with the knowledge of sanitation, light, heat and general comfort. A costly residence may, from the standpoint of a real home if carelessly handled, be ruined beyond repair. This has happened so often that it is rather the rule, while the small inexpensive building --F1E.5T 5TOE.Y PLAAl Mb.- HipD50Ai D-Wemee. &eb.wym 1lLIa10I5 very often becomes ideal. Too many times our wealthy men are discontented with things American and think it necessary to call on the old world for the adornment of their buildings, thus giving the truly Americanized £>e£w UD50AI £>-WeBD£2. YAl 1LLIM0I5 architect very little support. Today a brighter future presents itself and as a general awakening of conscience has beckoned some of our monied men, there is a hope that ere long many more will follow. Much encouragement is seen at present in the west and Page 26 THE WESTERN ARCHITECT APRIL :: 1915 central portion of the country and at times evidences on the eastern borders. The once very popular black walnut furniture with its intricate carvings, sawed designs, and general embellishment, has almost entirely disappeared and in its wake has come a type better suited to American life of today. At times as the designing has been overdone in this quest for simplicity, on the whole an advance in our furniture has been made. The present attitude toward the "Colonial" and the "Periods" taken by the leading decorators, while in most cases not American, will undoubtedly leave the people on higher levels. So will the ideas of uniformity very rapidly gain ground. Here, with the decorators there is apt to be trouble as many are blinded by the sale of certain materials rather than their need. This attitude is gradually disappearing as they consult and are being directed by the architect, who is usually better acquainted with the requirements. It has been too customary for the architect to design the structure and then turn it over to another to decorate. The architect if correctly following out his scope of work should direct the project from start to finish and should, where it is possible, attend to all color schemes, furniture, coverings and hangings. the general appearance. In Europe, dwellings of this kind are very popular as laborers of the same nation find it quite possible to respect the rights of their countrymen and enjoy each other's comradeship. Here it is different for when numbers of nationalities come under a single roof a new problem presents itself, which to this date has not been thoroughly solved. A community suggestion, as proposed by a number of our social thinkers, would have the families living in one or more nearby buildings share the expense of heating and service and do such work as cooking, washing and the like in a central plant. This idea has been carried out with a marked success under certain conditions but there is doubt about it ever becoming universal. If done in a right way, a great deal of money as well as labor can be saved, but the main difficulty is getting different families to unite in a central benefit. Thus the problem of properly housing our various kinds and classes of people, while largely in the past was left to itself, is now being studied as of great importance, requiring the best of the most thorough and highly trained architects. RESIDENCE FOR MRS. CHAS. YERKES, OAK PARK, ILLINOIS JOHN S. VAN BERGEN. ARCHITECT :: :: :: :: A type of collective domestic architecture is fast gaining popularity as many people unable to live on separate patches of ground still want the comfort of the home. High class apartment buildings have sprung into being as a result and often, and it is possible in nearly every case, have been built with the home idea so prominent that the inhabitants enjoy nearly every benefit. Even our poorer city tenements have been greatly bettered in the past few years. Sanitary laws, fire protection, and general decency combined have brought to our less fortunate people housing conditions that would never before have been possible. The architect here has rendered a real human service by advising and directing city authorities in the right paths. The workingman's cottage is also being revolved into a collective body and a number of families can enjoy their former privileges with far less expense. Party walls, single foundations and roofs, larger orders of materials and labor, make buildings of this type quite economical and in many cases add greatly to '~1 Si "ROOfA I !) vhsah 0i\ '1 ---- /|^oV,^- / | FIRST 5TOi?y pLWi 3CA.LE -j? =- i-g- j INTERIOR, RESIDENCE FOR MRS. CHAS. YERKES The second great group of architecture, the public, lends itself to an ever widening field. While in the past, things public were usually paid for by the public but enjoyed by a very few, today all are beginning to receive the benefits. As our democracy grows, and especially here in America where no government holding families exist, the people as a body are demanding and receiving most wonderful profits on invested public properties. Our institutions being founded on a new freedom, America has an opportunity to advance given to no other country. If she is satisfied to stand still and will not push forth, her birth-right will surely be withdrawn and other struggling and harder oppressed peoples will seize the occasion and reap the rewards. Therefore our public, to preserve itself as the American public, must ever keep itself informed and be abreast of the times. Since the American architect has a great opportunity as a leader of the people toward honesty, simplicity and directness, he can educate their tastes and control, to a great extent, their morals and happi- THE WESTERN ARCHITECT APRIL :: 1915 Page 27 residence for mr. c. p. skillin, wilmette, illinois john s. van bergen, architect, oak park. illinois the western architect-april :: :: 1915 RESIDENCE FOR MR. C. P. SKILLIN, WILMETTE, ILLINOIS JOHN S. VAN BERGEN, ARCHITECT, OAK PARK, ILLINOIS THE WESTERN ARCHITECT APRIL :: 19 IS RESIDENCE FOR MR. C. P. SKILLIN, WILMETTE, ILLINOIS JOHN S. VAN BERGEN, ARCHITECT, OAK PARK, ILLINOIS THE WESTERN ARCHITECT APRIL :: :: 1915 • Recoup Stmi Fum- secoxd story plan tcSIDCUCE Mt.Cfr.LCY &KMLLIAI wilmcttc illinois. JcmN i. ym titaotfj oak. fail illinois! 'TlBiT i'.toiv fUll- first story plan floor plans of residence for mr. c. p. skillin. wilmette. illinois john s. van bergen. architect, oak park. illinois :: :: !: the western architect april :: w>5 SLEEPING ROOM IN RESIDENCE OF MR. C. P. SKILLIN, WILMETTE, ILLINOIS JOHN S. VAN BERGEN, ARCHITECT, OAK PARK, ILLINOIS :: LIBRARY IN MR. C. P. SKILLIN'S RESIDENCE, WILMETTE, ILLINOIS JOHN S. VAN BERGEN, ARCHITECT, OAK PARK, ILLINOIS :: :: THE WESTERN ARCHITECT APRIL s: 19)5 SUN ROOM IN MR. C. P. SKILLIN'S RESIDENCE, WILMETTE, ILLINOIS JOHN S. VAN BERGEN, ARCHITECT, OAK PARK, ILLINOIS :: :: LIVING ROOM IN MR. C. P. SKILLIN'S RESIDENCE, WILMETTE, ILLINOIS JOHN S. VAN BERGEN, ARCHITECT, OAK PARK, ILLINOIS :: :: :: the western architect april " wis THE WESTERN ARCHITECT APRIL :: 1915 I: RESIDENCE FOR J. J. SHALLCROSS, ESQ., VICTORIA, B. C. S. MACLURE, ARCHITECT :: :: :: :: THE WESTERN ARCHITECT APRIL :: " 15>'5 THE WESTERN ARCHITECT APRIL :: <915 SECOND FLOOR PLAN FOR TWIN HOUSE, ROLAND PARK, BALTIMORE, MARYLAND E. L. PALMER, ARCHITECT :: :: :: :: :: :: FIRST FLOOR PLAN FOR TWIN HOUSE, ROLAND PARK, BALTIMORE, MARYLAND E. L. PALMER, ARCHITECT :: :: :: :: :: :: :: :: :: THE WESTERN ARCHITECT APRIL ••: ,()15 SUMMER COTTAGE POR MR. C. A. RICHARDSON, LAKESIDE, MICHIGAN JOHN S. VAN BERGEN, ARCHITECT, OAK PARK, ILLINOIS :: :: :: SUMMER COTTAGE FOR MR. C. A. RICHARDSON, LAKESIDE, MICHIGAN JOHN S. VAN BERGEN, ARCHITECT, OAK PARK. ILLINOIS :: :: :: THE WESTERN ARCHITECT APRIL :: 1915 BUNGALOW FOR MR. FRANK C. WOOD, MAYWOOD, ILLINOIS JOHN S. VAN BERGEN, ARCHITECT, OAK PARK, ILLINOIS THE WESTERN ARCHITECT APRIL :: 1915 ness. Thus does his work extend to regions seldom accredited to the profession. Foremost and vitally connected with the life of the individual, though rarely realized, are our governmental groups consisting of buildings for exercising control, making of laws and judging of laws and law breakers. Here each class of work is divided into its various parts such as the post-office, fire-protection, military and hospital departments. The governmental while being the division most vital to the needs of the people, is seldom treated as though American. A visitor dropped in the midst of a group of these fine buildings would believe himself to be in a reconstructed Rome, hardly realizing a democratic twentieth century city. These buildings next to our homes should exemplify the life we live and should be an inspiration to future generations. The thought of a living architecture, an American architecture for our government's needs should be instilled into the minds of the people until nothing short of it would be accepted. How almost impossible it is to find monuments or works of sculpture thoroughly developed from our own life. How ridiculous our great Lincoln appears in his Roman toga or Andrew Jackson, sitting on a peaceful contented horse. The entire conception representing spirit of American blood should be alive with the same heroes that prompted them. In our religious, educational and social buildings we have made a great step forward. Here the transition from the past, with few exceptions, is so marked that our architects have exhibited themselves and their time with greater freedom. Many beautiful and inspiring churches both large and small are seen throughout our entire country. Buildings of this type have somehow wrought in the minds of architects a union of nature and materials with the highest and best in man, thus revealing what can be done. Our schools from the kindergarten to the university are improving very rapidly as new phases of their work come into demand. The proper seating, lighting, heating and ventilating of these schools has brought forth new conditions which necessarily must be disposed of in a modern way. The result has been very satisfactory in many respects and will in itself be an education to the pupils. Clubs, from the city to the country, are increasing in number very fast as our social life takes a prominent place. The automobile and electric railway coming as they have, have brought the club and especially the country club to the people as never before. Recreation features such as tennis and golf are so fast becoming popular that many are attracted to the fields and the woods, where previously very few enjoyed their benefits. Y. M. C. A.'s and secret societies are pushing outward and erecting well constructed buildings in all parts of the country. As our social habits grow our architecture is becoming more democratic and the true American spirit is fast gaining control, giving the architect in this field of work singular opportunities for design, which if he but lets his own nature speak, will produce something worthy of the art. The recreation and amusement features of our times represent a great work in themselves growing with a rapidity unsurpassed in former years. The kindly thought given to our cities' poor by social workers has resulted in immense public and private appropriations for parks, playgrounds, field houses, concert halls and the like. As soon as our then existing parks were made "public" and in full operation, everyone recognized the importance, and their number has increased until now no city worthy of the name is without them. Even small towns and villages in urban districts are establishing their recreation centers, which are used by all classes. This one feature, the playground for children and adults is doing more to Americanize our greatly mixed population than is generally supposed. No longer do the trees, shrubs, lawns, flowers and birds exist alone for the wealthy, the whole community now shares the good. Public bathing places have been built to accommodate persons during winter and summer seasons and have in practically every case been used to their full capacity, bestowing a great amount of health and happiness. Much might be said about our theaters, large and small, scattered so thickly throughout every town and city in the country. They serve all sorts of audiences from the wealthy to the poor, who too often spend their very bread money for a little diversion at the "Movies." The large and older established playhouses have almost without an exception adhered closely to Classic, French or Italian treatments. Rarely do we find even among our later built houses a departure from the old accepted forms. Rarely is one of these buildings treated as though American. The Auditorium in Chicago, designed by the father of Americanism in Architecture, is undoubtedly a great exception to the general rule for such structures. This building to the minuteness of its decorative details is the outgrowth of a great mind rightly applied. While this work has been the inspiration of many later theatre-architects who used the central idea, namely the arched stage, the satisfying results have not been accomplished owing to the difference between the authors. Mr. Sullivan has put himself into his work and until other architects follow that requirement they will not create a living art. The field of the "Movie" has progressed far beyond that of the general theater and promises to produce interesting examples. This supplying a distinctly new type of entertainment there is a real hope for something good when the more thoughtful architects tackle the problem. This sketch on Americanism in our architecture would not accomplish its purpose if the most complete, most satisfying building yet brought to the notice of the writer, was not here mentioned. The Midway Gardens at Chicago, a project entirely devoted to entertainment, is to our mind the most vital, living example of American architecture of this class yet produced. Frank Lloyd Wright, while devoting most of his time to the planning of homes has built a monument which will stand unparalleled for many years. Paijv 30 THE WESTERN ARCHITECT APRIL :: 1015 It will be a long time before another building so representative of its purpose will be conceived. The architects of the United States should regard Mr. Wright as one who has originated and builded a great work. The business and commercial buildings of our period are offering new and ever increasing difficulties which our designers are meeting in many interesting ways. The steel sky-scraper originally merely a high building is now beginning to be clothed in a style peculiarly its own. A very wide range of materials is to be considered and while the proportionate cost is not as pressing as in the building of homes, still multitudes of problems outside of the construction and cost must be met and solved. The architects have in many cases built their individual buildings without regard to streets, other structures, or even the future of their project except as the city's code requires. Many different wants must be served in a building of this type and unless the architect will study the fundamental problems with all their diverging issues, he will not produce a work fitted to the needs of posterity. Constructed as they are, they will stand for long periods of years, and if understudied at their conception, will do much to harm our future public architecture. The sky-scraper in itself is essentially American and when embellished from unsuitable and foreign sources one is reminded of the lines from Burns. "0 wad some Power the giftie gie us To see oursels as ithers see us! It wad frae monie a blunder free us, An, foolish notion: What airs in dress an' gait wad lea'e us, An' ev'n devotion!" Steam and electric railway stations, wharf and dock buildings, storage and industrial plants, complete the list of buildings so called "Public." These institutions are in nearly every case typically American and should be treated to combine beauty with the great essential, usefulness. Great terminals for steam and electric railways, wharfs and docks are being constructed throughout the country with a trend for ever increasing size and expenditures. Thousands of industrial and storage plants are being built every year with the tendency toward larger projects as it has been found that to economize in manufacture all component parts must be so located as to form one unit. The result is that great institutions, almost cities in themselves, have been constructed, producing their own problems in plan and design. One usually has to go to the rears of such buildings to discover there real and best architecture. Here it is found with unsurpassed ugliness which, if treated with thought, could have been different. Average business men imagine that things beautiful are either impractical in construction or prohibitive in price, which impression has largely been put forth by a class of architects who do not care to bother. The commission for work is very precious and, while important to all of us, should not so stand in the light that the after-life of our buildings and the growth of future generations will be hampered. The commercial interests of this country owe more than they are giving to their employees, for how can a worker in these stations, wharfs and industrial plants COTTAGE FOR MR. ROBERT N. ERSKINE, OAK PARK, ILLINOIS :: :: :: :: :: :: :: :: JOHN S. VAN BERGEN, ARCHITECT :: :: :: :: :: better himself or learn to know or want the best when most of his life is spent among such environments? Why can't something be done to make the designers of these immense institutions see the "America First" idea? There are in our country, where thought has been expended, very conspicuous examples of what can be done toward Americanizing the entire field of our architecture, from the small country cottage of the domestic, to the steel sky-scraper and factory building of the public group. The present trend is being directed in a progressive channel and the hope of future betterment is at hand. Our resources are unlimited and when more generally, animated men are given direction, American architecture will receive an impulse hitherto unknown. "Somebody said that it couldn't be done, But he, with a chuckle, replied That 'maybe it couldn't,' but he would be one Who wouldn't say so till he tried. So he buckled right in, with the trace of a grin On his face. If he worried, he hid it. He started to sing as he tackled the thing That couldn't be done—and he did it. "There are thousands to tell you it cannot be done There are thousands to prophesy failure; There are thousands to point out to you, one by one, The dangers that wait to assail you. Then take off your coat and go to it; Just start in to sing as you tackle the thing, That 'cannot be done'—and you'll do it." —An American. THE WESTERN ARCHITECT APRIL :: :: 1915 Page 31 RESIDENCE FOR C. P. SKILLIN In many ways a building of wood covered with cement plaster is of a very interesting type. The architect has a wider range in which to work, as the construction lends itself to greater elasticity. This home was built for Mr. C. P. Skillin at Wil-mette, Illinois, one of Chicago's most picturesque suburbs. It was planned to embody utility, comfort and restfulness. The building faces south and care was taken to make all rooms bright and cheerful, both in summer and winter. The results have proven very satisfactory as the photographs will indicate, all being taken without the use of the flash light. The general plan is that of a cross, placing the living room in the center between library and dining room. This arrangement exposes the interior to the most possible sun-light while forming very attractive vistas. It is so arranged that the dining room gets the sunlight in the morning, the living room through the day, and the library towards the afternoon and early evening. Consequently brightness is the prevailing feature. By the arrangement of rooms it is possible to use each separately or en-suite as may be required. The features of the living room are the fireplace toward the center of the house, the sun-veranda toward the south, and the window and French window treatments. The library, off the entry, is well lighted and provided with large book cases, which together with the living room fireplace give a welcome immediately upon entering. The sun-veranda at the south end of the living room is provided with glass and heat for winter and screens for the summer. Flower boxes fill the entire south rail, exhibiting the plants from both inside and outside. The supporting piers are at the living room side and not at the outer end, thus giving an unobstructed view in three directions. Much study has been given to get a workable plan of room arrangement. The kitchen and service portion is in easy reach of the main entrance thus saving many steps. The maid's room and bath are placed on the first floor, removing the necessity of the double stairs and giving the help a more convenient and pleasant portion of the house. This kitchen is a source of pleasure as things were placed with care for convenience. The sinks are directly under windows, giving ample light and pleasure while working. These sinks are of special interest. There are two, each equipped with hot and cold water and a plug strainer attachment. With this strainer attachment, water can be held for washing and rinsing of dishes without the need of the usual ungainly dish pan. At one side of the kitchen is an ample pantry, where cooking supplies are kept in quantity. The main pantry is between kitchen and living room, provided with spaces for both common and better dishes, table leaves, brooms and refrigerator. Throughout, except on the sleeping veranda, the out swinging casement window is used, adding greatly to the airiness of the rooms. The sleeping veranda windows were made to swing in, to more easily dispose of the draperies, which are a source of trouble in rooms of this character. The windows swing in pairs, thus enclosing all the draperies when all are opened. Above the casements will be seen small transoms to be used in inclement weather. It will be noticed that nearly all second-story windows open out in pairs, making the washing problem very simple. An ordinary step ladder is all that is necessary to reach the first-story sash. The color schemes in and out were chosen with care that the light, cheerful appearance might prevail. A rich cream colored cement plastering covers the entire exterior of the building. The trim is of rough sawed cypress, stained yellow-brown with sash tinging on the bronze. The roofing is of plastic shingles covered with ground yellow red tile. Inside, the entry, library, living and dining rooms are treated in the same colors. The walls to the height of the continuous head casing are a light buff, with cream color ceilings. Throughout these rooms a rough sand finish plaster has been used, giving a certain texture that can be obtained only in this way. All the woodwork, including the doors, is enameled ivory white treated to remove the high gloss. The window draperies and shades are of ecru color with tan over-hangings stenciled with dull pinks and greens. Large rugs of sombre browns cover the floors. The furniture is of antique oak upholstered in soft colored materials, with wicker work interwoven in panels, giving a light, pleasing effect. The fireplace, of light grey, Roman brick and white mortar, with its cement hobbs and lintel, gives a substantial contrast to the light airy appearance of the remainder of the rooms. Old gold has been used very effectually for picture frames and lamp standards, which combines very well with the ivory flower boxes and lighting fixtures. Lighting for these three rooms has been accomplished with the indirect method. The light thrown to the ceiling in turn is reflected throughout the room, giving a soft, pleasing effect and removing the usual glare that is so tiring to the eyes. Base plug outlets have been installed for piano, table and desk lamps. The colors employed in furnishing the sun-veranda are almost entirely of ivory. Wicker and pottery of this light color, combined with the rich greens of the plants give the desired results. The entire floor is of red quarry tile laid with black mortar joints. Rough, stained cypress, together with the rough exterior plaster are used here to preserve the out-of-door appearance. The kitchen, pantries and maid's quarters are trimmed in white enamel, with light yellow buff walls and cream ceilings. The entire second story trim is treated in dull white enamel. Light, simple paper is used for bedroom walls, while the walls of the bathrooms are tiled. Here again, creams and buffs are used in the decorations and furnishings accented with greys, pinks and yellows. The combined efforts of both owner and architect have, I think, produced a building to meet every requirement and an addition to the community. Page ',V2 THE WESTERN ARCHITECT APRIL :: :: In 15 THE WESTERN ARCHITECT IDEAL FLAT BUILDING AWARDED MEDAL BY INSTITUTE In our largest and oldest cities a natural congestion on one hand, onanother a wish for freedom from property care and a centralized location without curtailment in luxurious surroundings, has given the "flat" to the very poor and the "apartment" to the very rich. But the investor has begun to recognize that the vast "middle class," that is the strength, the body and the soul of our modern civilization, calls for like habitations embodying all "modern improvements," at a moderate rental. Too often these structures are, like the mule, "born with no ancestry and no hope of posterity." A "plan" drawn by the owner or the contractor covering the full capacity of the lot, not even observing the city regulations if he thinks he "can get away with it," and the "box" is built to hold as many "suits" as can be crowded in with or without regard for light and air provisions. Once in a while an owner, through superior financial discernment or a humane streak in his make-up, engages an architect to study the problem. The Astor estate in New York has done this, and while it was probably through the former rather than the latter reason, so well does the design meet all the requirements of modern life as well as average pocketbook that the American Institute of Architects has seen fit to award a medal to its promoters. While this endorse- ment does not touch the subject of the advisability of living in the circumscribed flat as against the air-surrounded small house, the Astor example with the approving endorsement with the profession will call attention to the investment advantages of the properly designed small flat. The small flat, be it understood, that has been planned with intelligence and study with as much regard for the admission of light and air as for a fair, and not exorbitant, return upon the investment. At best such an apartment is a poor substitute for a place to live in, but if this is true what can be said for the kind of flat that houses its occupants as as in a box with the minimum of light and maximum of cost. However necessary in crowded communities, the flat should have no place in modern cities in the United States where "all out doors" is readily reached by adequate transportation, for no matter how well planned its multum in parvo object is the antithesis of good and healthful living. It should, and in fact ultimately must, give way to smaller and more airy dwellings separated by sufficient space to admit sunlight the day round. The building of flats, especially the rectangular boxes with plaster outside and inside, a thin board and tar paper between, is a menace to everything we call civilization. The honoring of those owners who seek to make flats as habitable as possible is an encouraging sign and an educational movement as well. Bronze Metal Ornamental Design Grilles used in radiator enclosure in Architects' Consulting Room at Architects Samples Co. Show Rooms, 101 Park Ave., New York, manufactured by Tuttle* Bailey Mfg. Co. 76 Madison Avenue N. Y. THE WESTERN ARCHITECT APRIL :: 1915 Page 33 Of rHf <£'SITy ot ,U((., THEW E S T E R.N ] architect A NATIONAL JOURNAL OF ARCHITECTURE AND ALLIED ARTS, PUBLISHED MONTHLY VOLUME 21 MAY, 1915 NUMBER 5 Daily papers, and at least one technical Someone has discovered that "After all, Criticism of journal that should know better, are a Discovery tne work of the builder is building, not Ardhit'ictea PublishinS a statement of the amount Valuable planning." This axiom has been learned Boomerang of fees charged by a New York archi- [~ variously, through actual experience and tect for work done in Saint Paul, in a not abstract reasoning. That owner is manner intended to give the impression that those mQSt lucky who ig tojd ^ fact by ^ contractor to charges are exorbitant. Of course, the purpose of such , , t . , _ , _,¦ ... . , , , , . , , whom he presents incomplete plans. Others discover criticism is to show the desirability of employing local . , , , , , , . , . i . Wr i ¦, • i • r ii i • its truth when the contractor has done the best he talent. We do not object to this, for all things con- .,, . .... sidered, the local architect should be employed when- C°yld fr°m the ,drawIn§s available. In fact, this ever possible, but we do object to the insinuation that discovery" waS ancient and venerable in the days when the foreign architect not only costs more but that his the Hebrews made bricks in Egypt. Through the sub-charges are unreasonable. As a matter of fact, the only sequent centuries the owner has usually become aware excess charge in this case is in the matter of railway oi its loSic after tne building is completed through the fares, and if in the judgment of the "owner," the sup- innumerable inconveniences for which there is no rem-posed exceptional talent of the foreigner prompts his edy except a fire. Even the man of education and busi-employment, he should certainly be worth this slight ness experience, or the professional who would never excess. The point we wish to emphasize is, that all admit that a similar course was admissable in his pro-first-class architectural service being charged for upon fession, will say: "I want to find a draftsman who the same per cent basis, there is no difference in cost wiu jraw a plan for me. I am going to build and do no matter where the architect may have his office. not intend to go t0 the useless expense of an architect. The criticism of that cost that speciously leads the j knQW a builder who wiH do the work on a per cent hearer to infer there is such difference, does a rank in- i • 11 u t- r 4.„„<-__u„ „„J J«„;__t* ;„ basis. 1 know what I want as to plan and design. It is justice. It also leads a too ill-informed and too gullable i r- i • i j a ¦ i a u -u j . . . . to be Colonial and that is simple. Any builder can do public into a general distrust of the profession as a whole. . . , , , . ,, _ f_„ . i i- i i i ii ¦ • i it. 1 only want my sketch drawn out to scale. 1 he When such statements are published locally, it is the . , ,, . , ,. , , . . , . , ill- rr draftsman draws it out to scale, pockets the dollar local practitioners who are in the end the direct sufferers. . an hour fee, and smiles when he thinks of the aid the builder will obtain from that drawing. A few are saved We have steadily, insistently even, i i -i i i_ • ¦ i_ ^ j l •. u. J , by the builder being honest or prudent, who states that state Capitols claimed that the government and other . , . ,, . , , , , , , . Should Be , ,, . ., ,. . , he is a builder and not an architect, and the work is Trinrpcivt. of public buildings ot a town, city, state , ,™ r • i ii i • r .i . finally placed in the hands of a competent practitioner. Highest Design or nation should be expressive of that , , n . section's highest architectural art de- But this does not occur often. Business men who ought velopment and thought, That it was not enough that to kn°w better a standpoint and the pro. the building, be it school, courthouse or capital, be fessional who would not admit that a layman could do suited to its purpose and conserve to the highest degree his work, will seek to ignore the necessity for architect-the efficiency of that purpose, but that it should in ural service when he comes to build. The result is in-design and construction represent the best thought of variably one of those "intangible assets" that must the decade in which it was erected. This is especially accrue through an unwise effort to economize by ignoring true of our state capitol buildings. To quote John the importance of a properly studied plan. Every house, Nolen: "Call the roll of our state Capitols in New every hospital, every office building or factory that is England, along the Atlantic seaboard, in the South, in constructed with this false idea of economy is full of the Middle West, on the Pacific Coast. Is there yet those unalterable defects that cost many times more in a single one where the legitimate pride of the state has jQst time and mc0nvenience, as well as in cash, than found adequate expression or where the state has used adequate architectural service would have involved at the opportunity afforded by its capital city to hand on ^ ^ ^ ^ & discQvery and should be and advance civilization? The exceptions that prove the , ,. .... rule are the capitals of Minnesota and Wisconsin. That P>nned ln the hat of every Prospective client. After of New York "might have been" had it been left alone. all, the work of the builder is building, not planning." the western architect may : ,915 The twenty-eighth annual exhibition of Architectural the Chicago Architectural Club, just Exhibitions closed, followed a uniformity of excel- Established . . . . .. - i 1 1 to Draftsmen lence that has always distinguished the exhibitions organized by that society. It was in 1884 that a small body of draftsmen met in an office (that of the editor of this publication), and projected the "Chicago Architectural Sketch Club." This draftsmen's club idea as well as name, was rapidly taken up in other cities and was the basis of the architectural club of today. In looking for quarters that an enthusiastic few believed would be demanded for the assembling of the many, the kind (and should never be forgotten) assistance of the Builders Exchange was tendered the new organization which was invited to make use of its spacious quarters for club meetings. This invitation having been accepted gratefully, to attract the attention of prospective members rather than for the edification of the laiety, an exhibition of drawings was organized, and carried out with success. The word "drawings" is used advisedly, as this exhibition was made up largely of detail drawings of current work in local offices. This, the first exhibition of the first architectural club, is also the first architectural exhibition we have record of in this country. Thus it is to the architectural draftsman and not the practicing architect that the credit is due for inaugurating this great educational force in familiarizing the client with professional work. The club organization, commenced as a movement toward self-education and which has remained the prime object, through these exhibitions has become an agency for public education that has largely remained in the hands of the architectural draftsman. Through this exhibition idea sprung that federation of clubs The Architectural League of America, The Architectural League of the Pacific Coast, a purely exhibition organization, and the annual exhibitions at New York, Philadelphia, Saint Louis and other cities. To these exhibitions the profession has contributed its work; in many cases preparing special exhibits and always remaining in full sympathy with the movement; but the work of collection, organization, display and financing has been carried out by the draftsmen and the alumni of their clubs. The Chicago Architectural Club with a normal membership continuing from year to year, has found the increasing demand for extension in its exhibition program a serious problem. This year it even contemplated the abandonment of the exhibition feature unless outside assistance could be secured. This was contributed by the Illinois Society of Architects, the Illinois Chapter of the Institute and the Chicago Art Institute, these associations not only contributing every facility at their disposal but financial aid as well and making the exhibition possible. Through timely assistance with the experienced work and enthusiasm that has always been the main asset of this and every other draftsmen's club, the exhibition was made a signal success. There are cities where the architects are shortsighted enough to give little thought or even countenance to the architectural club composed of their employes. In such cities it will be found that the carpenter-architect designs the residences and flats, the construction engineer the factories and the "foreign" architect the office and public buildings. There are few architectural exhibitions in these cities, for even the enthusiasm of the draftsman cannot make him work effectively without at least the moral support of the profession. Chicago is an architecturally progressive city mainly because the architects and the contractors are progressive, one of the strongest indications being a uniform willingness to lend countenance to its architectural club enterprises, of which this annual exhibition is the most visible expression. Where the profession, and its able coadjutors, the contractors, do not recognize the practical value of a live, active and progressive club among the local draftsmen there languishes architecture both as an art and a business. The plan-book and the catalog design flourishes through public ignorance of the value of architectural services. The 1915 exhibition of the Chicago Architectural Club was one of the most successful and comprehensive ever given in that city. It was an educational force for the thousands of citizens who visited The Art Institute. The uninterrupted series of exhibitions by its draftsmen from year to year has made Chicago' one of the most advanced cities in the country in the art and practice of architecture. Commensurate with, perhaps of even Neglected more importance than the restoration Mississippi _ River Traffic of American ships to the high seas, Development ig the development Qf the river traffic Qf the central valley between the Allegheny and Rocky mountains through the Mississippi River outlet. The completion of the Panama Canal has made this vast channel of marine transportation the most important in the whole world. No other section is so productive of those necessities required by all peoples or so connected by rivers with one channel to the Seven Seas. That the towns and cities of this "Mississippi Valley" have been blind to the necessity of preparing for the distribution of the valley's produce and manufacture through the Panama canal is past belief. But such is the case. As the farmer of the United States is just awaking to the fact that Nature can be assisted in the production of crops, having in the past considered that once planted the ultimate crop was 'on the knees of the gods," so these great rivers have been allowed to run their own course and railroads have taken up the transportation that should belong to the water routes as main trunk lines and the railroads as accessories and feeders. The basis of economics in our industrial development is not in the regulation of railway freight rates but in the preparation of adequate facilities for the country's output to reach the seaboard by the natural and logical water route. A special committe consisting of Edwin H. Blash-field, Isidore Konti, Calvin Kiessling and Cass Gilbert, president of the league, is working out details of the manner of awarding a medal of honor to be awarded annually by the Architecture League of New York. THE WESTERN ARCHITECT MAY : 1915 Page 35 BISPEBJERG HOSPITAL Eight years ago the Town Council of Copenhagen, Denmark, projected a new Municipal hospital to be located in the suburbs of that city and placed the commission in the hands of Architect Martin Nyrop. The engineering work was conducted by the Town Engineer under the superintendence of Chief Engineer A. C. Karsten. The landscape features were planned by Landscape Gardener E. Glaesel. The ground plans of the building total 28.612 square meters, about fourteen per cent of the entire area. The hospital is planned for 1 278 beds and its cost approximates two million and one-half dollars. The hospital is conducted on a uniform rate of payment only and the patients are distributed in two surgical and four medical divisions. It is planned on the pavilion system with twelve, two-storied pavilions each containing about 104 beds, the buildings being connected by subterranian tunnels. They will contain quarters for one senior nurse only, all others and officials being accommodated with residences on the grounds. The grounds rise about twelve meters and on the southeast and east side of the grounds a public park is to be laid out. The leading principle in the disposition of the buildings has been the endeavor to take advantage of this circumstance and at the same time secure the sunniest aspect for the sick-wards. As shown on plan of site, there is in front of the Administration Building of the Hospital a large square which will be augmented by an extension on the other side of the road, where an entrance to the public park is proposed. From an oval space on the north side of the Administration Building, the grounds of the Hospital rise between the sick-ward pavilions, in two terraces with broad steps up to an extensive green slope, terminating at an Assembly Hall, which has a water tower in the rear. PLAN OF SICK WARDS From the same oval space roads lead in both directions to the ENE and WSW, and still rising, further on turn at right angles to the NNW into two main roads connected by six cross-roads, which form the approach and entrance on the north side of the sick-ward pavilions. The oblong space enclosed by these main roads, the road behind the Administration Building, and the north fence, contains the Hospital proper, and is separated from the remaining area by a fence. On this oblong space the 12 sick-ward pavilions and the two Operation Buildings are erected in two rows. The first and second pavilions on each side are connected with an Operation Building by a covered passage from the ground floor of one pavilion, and the first floor of the other. The ground floor of the west Operation Building is used as a Roentgen Department for the Hospital in general. 1 r_f 5 ± h r ± l m ?m N .........— ? p PLAN OF OPERATING BUILDING As is shown on plan it is, furthermore, intended to erect beyond the Hospital proper, two small Isolation Buildings for casual patients admitted suffering from infectious diseases. The Administration Building which forms the main frontage of the Hospital and faces south, contains all the necessary offices, receiving wards for patients, free outpatient departments, and sets of rooms for the medical staff, married and unmarried officials, housekeepers, porters, maids, etc. A Bathing Establishment with all medicinal baths, and a department for mechanical curative gymnastics, is placed near the west gate. Each of the two Nurses' Homes is built with 140 rooms for nurses, probationers, and maids, a common dining-hall, sitting-rooms, etc. In the west building a lecture-room for a Nurses' Training School will be arranged in the top story. DETAIL IN LOBBY. BISPEBJERG HOSPITAL In the Assembly Building will be made a large hall, to be used partly for church service, partly for festivities, lecturers, etc. The Chapel is so situated that there is access to funerals through the north gate. A Pathological Institute with a refrigerated mortuary adjoins the Chapel. The central mechanical plants are gathered in the Boiler and Machinery House, and in the Kitchen and Laundry, which are situated in the lowest part of the grounds. Page 36 THE WESTERN ARCHITECT MAY : : : 1915 Patients arriving at the Hospital are first taken to the receiving wards of the Administration Building, transported from there on a wheeled stretcher by a lift to the tunnels, wheeled through to the respective pavilion, conveyed up by an elevator, and reach the ward without being removed from the stretcher. All transport of food to the wards, linen to and from the laundry, etc., takes place through the same tunnels and elevators, while corpses are transported in the open air. The tunnels are used furthermore, for installation of the main pipes for water and steam, and for electric lighting and motor force. A special feature, which is repeated in several of the Hospital buildings, are areas sunk to various depths, partly as deep as the basement of the building in question, for the purpose of making the basements lighter, more accessible and useful. The buildings are being constructed of red handmade brick on a plinth of concrete, with a roof of red tiles. The exterior flights of steps at entrance-doors, etc., will be of granite. Red-brick walls are better adapted than yellow or white walls to withstand smoke, do not need repairs for a considerable time if the bricks and pointing are good, and are therefore suitable for the planting of espaliers. The buildings have no special ornamentation. The window-sills and air-cowls are white, the purpose being with a minimum of exterior decoration, to give the buildings the stamp of neatness and cleanliness. The height of the roofs averages two-fifths of the whole depth of the buildings, the slope thus forming an angle of 38° with the horizontal plan. Such roofs are much better than flat ones under northern climatic conditions. The empty loft thus gained is by no means a wasted space; the various pipes may conveniently here be distributed and inspected, conduits gathered, and common mechanical exhausting fans for special air conduits constructed,—but above all, a pointed roof affords an accessible space between the stories of the building and the open air, which partly protects the top floor from the effects of severe extremes in climate. The lighter parts of the buildings, such as the upper verandas of the pavilions, the corridors leading to the operating buildings, the gables of the Boiler and Machinery House, etc., are constructed of framework and brick, Wood flooring is used in all living-rooms, private kitchens, and similar rooms; linoleum on concrete flooring is used in sick-wards, day-wards, corridors, verandas, the offices of the Administration Building, and in the out-patient departments, etc. Granite or Ter-razzo is used in laboratories, sterilizing and bath-rooms, dissecting and operating theatres, kitchens, wash-out rooms, water-closets, etc. Tiles and hard burnt brick of different kinds are used in the Chapel, machine and boiler-rooms, the main kitchen, the laundry, etc. Concrete flooring is used in secondary rooms and corridors of the basement, and in lofts where the girders are constructed of reinforced concrete. Interior staircases are principally of wood. The floor-joists in the pavilions, and in places where it is desirable on account of the span, is constructed of reinforced concrete, while in the residential buildings the joists are of wood. All ceilings and generally also the upper part of the walls will be plastered and white-washed. The lower part of walls in laboratories, in sterilizing, dissecting, and operating rooms, baths, kitchens, wash-out rooms, and water-closets, etc., are generally tiled with glazed bricks. All walls in sick-wards are spatulated and oil-painted (lacquered); all other walls are oil-painted in the ordinary way. The windows have generally double frames. The quantity of ventilation air for the sick-wards is 100 m3 per hour per bed. The volume of the wards for 16 beds is about 35 m3 per bed, the floor space about 9 m2, and the window space about one-fourth of the floor space. By aid of an electrical fan the fresh air is drawn through a chamber in which it is tempered by free steam, and cleansed by a showerbath, being thus deprived of impurities, and at the same time saturated with moisture. The temperature of the tempered air is regulated so that the air after being heated to the proper room-temperature, has the desired moisture. After having passed a system of zig-zag formed plates on which the drops of water settle, the air is further heated to about thirteen degrees centimeter, passes the fan, and is forced through heating chambers, of which there is one to each conduit, up into the respective rooms. The foul air is drawn out without the aid of a fan, through exhausting conduits which, however, only allow about two-thirds of the conveyed air to escape. The remainder forces itself out through crevices in doors and windows, and through the masonry, whereby draughts are prevented in the wards. From the kitchens, water-closets, bathrooms, etc., the foul air is drawn away by means of other fans, maintaining a low pressure in these places. The same exhausting fans ventilate the different parts of the tunnels. All the vertical air conduits in the sick-wards are made of concrete, and may be cleansed by sluicing with water. The tempering of the ventilation air, and heating of bath-rooms and linen-drying cupboards is so arranged that it may be effected all the year round, while the THE WESTERN ARCHITECT MAY I 1915 Page 37 41 BISPEBJERG HOSPITAL. COPENHAGEN. DENMARK MARTIN NYROP. ARCHITECT THE WESTERN ARCHITECT MAY : : 1915 plat plan of bispebjerg hospital. copenhagen. denmark martin nyrop, architect EXPLANATION OF PLAT-.—At the entrance is the administration and polytechnic buildings (finished). Facing the plaza are the Operation and Roentgen buildings, forming wings on either side of the four sick wards that are finished. The other eight buildings on either side of the concourse are sick wards (unfinished. At the upper end of the concourse, is located the assembly house and water tower (finished). The buildings at the lower right hand of the plat are the kitchen, boiler and machine house and laundry. Of those above, the inside building is for nurses, the other the stables and workshops. The corresponding building on the left of the plat is also for nurses. The baths flank the operating building on the left. At the upper right hand of the plat is the isolation building, the chapel and pathological institute. the western architect MAY : 1915 CALHOUN THEATRE (MOVING PICTURES) MINNEAPOLIS, MINNESOTA CLIFFORD T. MCELROY. ARCHITECT :: :: THE WESTERN ARCHITECT MAY : '9'5 FIRST FLOOR PLAN FLOOR PLANS CALHOUN THEATRE (MOVING PICTURES) MINNEAPOLIS. MINNESOTA CLIFFORD T. MCELROY, ARCHITECT THE WESTERN ARCHITECT MAY 1915 AUDITORIUM CALHOUN THEATRE (MOVING PICTURES) MINNEAPOLIS. MINNESOTA CLIFFORD T. MCELROY. ARCHITECT THE WESTERN ARCHITECT MAY 191S THE WESTERN ARCHITECT MAY '915 THE WESTERN ARCHITECT MAY :: :; 19,5 BOX DETAIL, CALHOUN THEATRE, (MOVING PICTURES) MINNEAPOLIS, MINNESOTA CLIFFORD T. McELROY, ARCHITECT ;; ;: ;; ;; ;; ;; THE WESTERN ARCHITECT MAY ; ; 1915 THE WESTERN ARCHITECT MAY ! i 19'5 THIRD STORY BALCONY PALOMAR APARTMENTS, SAN DIEGO, CALIFORNIA MEAD a REQUA. ARCHITECTS THE WESTERN ARCHITECT MAY 1915 PATIO THROUGH MOORISH ARCH PALOMAR APARTMENTS. SAN DIEGO, CALIFORNIA MEAD Sc REQUA, ARCHITECTS CORNER OF PATIO PALOMAR APARTMENTS, SAN DIEGO. CALIFORNIA MEAD & REQUA, ARCHITECTS DETAIL OF PATIO PALOMAR APARTMENTS, SAN DIEGO, CALIFORNIA MEAD & REQU A, ARCHITECTS THE WESTERN ARCHITECT MAY : 1915 RESIDENCE OF T. L. MILLER. SAN FRANCISCO. CALIFORNIA EDWARD G. BOLLES, ARCHITECT FIB.5T FLOOR. PLAN SECOND FLOOG PLAN scalt of plans THE WESTERN ARCHITECT MAY : 1915 THE WESTERN ARCHITECT MAY : : 1915 after-heating of the ventilation air, and the heating of the radiators in the various rooms which is effected by hot water, is so arranged that the working of the main heating plant may be confined to the winter months. The Pathological Institute and the kitchen are supplied with salt water, cooled to about five degrees centimeter, through circulation pipes from the Machinery House, so that the mortuaries, and the store chambers may be kept cool. The necessary heat is generated in the Boiler and Machinery House, altogether maximum 12,000,000 calories. The water for heating purposes is circulated through the pipes by the aid of a centrifugal pump. By this pump the .volume of the circulating water can be regulated; in the boilers and in some extra steam-afterheat-ing apparatus the temperature of the water may be regulated, so that it is possible centrally to regulate from the Machinery House the principal consumption of heat in the Hospital. DEATH OF TWO NOTABLE ARCHITECTS Hardly a year has passed since two women, Anna Pendelton Schenck and Marcia Mead of New York joined in partnership and commenced the practice of architecture in that city. On April 29, Miss Schenck died in her forty-first year. Miss Schenck was a graduate of Columbia University and studied architecture in New York and in Paris as ^ pupil of Aubretin. Except in the commission for the Ellen Wilson Memorial Home at Washington, D. C, Miss Schenck was not permitted to demonstrate that ability, that her work as a draftsman gave promise of, though the quality of her talent is indicated in the drawings submitted by the firm in the City Club competition at Chicago for a Community Settlement, which was awarded first prize. These deaths are in many ways a professional misfortune. Edward Delano Lindsey, architect of New York, died at Flushing, Long Island, on March first, at the age of seventy-four. On graduating from Harvard in 1862, Mr. Lindsey spent three years at the Beaux Arts and two years later commenced the practice of architecture. The French Theatre and the Girard building in New York, were his first considerable commissions. They were among the first of the fire-proofed buildings erected in that city. He was appointed Professor of Applied Art at Princeton University, which position he held for ten years when he resigned and resumed practice. Mr. Lindsey was one of those too few practitioners who are scholarly and ethical, rather than aggressive in practice and sought to advance his profession rather than seek the lime-light of publicity. His later work is found in the Consolidated Exchange and the American Bank Note Buildings. His wish was to complete the writing of a history of Art, but this his death leaves unfinished. THE BACK YARD AND THE SMALL HOUSE Should the ultra intelligence of a resident of Mars judge our people to be but half civilized it would be just when our supposed advancement is viewed in back yard perspective. We use a beautiful marble, brick or stone for the facade and common brick or concrete for the sides and back. Office buildings that tower above their surroundings present incongruous materials to every view except in front elevation. But it is in the residence embellishment that the greater need for reform is presented, particularly the small house on a narrow lot. Here it is not the house itself but its surroundings that is neglected, for except from the street to the front porch these are seldom planned to meet either the requirements of utility or beauty. Older civilizations have learned that the back yard is of equal importance with the space viewed by the passing public, and the architect abroad takes as much pains with the rear elevation and the arrangement of the allotted ground space as with the front and its accessories. The disregard for appearances in the treatment of side and rear elevations and the mistake of not making the back yard a place of use and ornament is perhaps the most distinctive feature of present day planning. While the owner is in the greater degree responsible, the architect can be contributory through a laxness in effort to influence him in the direction of a better and more advanced view in regard to the theoretically unseen portions of his property. THE DUTY OF BUILDERS TOWARD FOREST PRESERVATION While the future supply of such building materials as are manufactured from minerals is assured, this is not the case with lumber. Even the lumber companies whose vast limits are deemed by them permanent investments next in security to government bonds, do not realize that this investment is as ephemeral as the flowers of May unless carefully and incessantly guarded from forest fires. It is the Government alone, State and National, to which the builder must look for the perpetuation of the timber industry, and this in spite of legislative indifference if not direct opposition to measures for fire protection. While the building interest is but one of the many that demands increased care of our remaining forests, to the architect and the home-builder it is the more important one, Even to the Government it pays, as the more than a billion board feet of timber which was sold from our National forests last year will attest. The Southern Intercollegiate Competition, held among the Southern colleges having courses in Architecture, has just been completed. The following colleges competed: Alabama Polytechnic Institute, Clem-son A. & M. College, Georgia School of Technology, and Tulane University. The competition was in the shape of a' six weeks problem in design, "A Museum with a Court Yard." The first prize was awarded to L. Le Grand of Clemson, equal second prize to O. M. Liles of A. P. I., and S. Seifeith, Tulane University. Mentions, G. M. Hill of Georgia Tech., and P N. Sowell of A. P I. Page 38 THE WESTERN ARCHITECT MAY 1915 CLUB COMPETITIONS The atalier with its Beaux Arts problems and the scholarship competitions have in many architectural clubs largely taken the place of the "club competition," the original line upon which inventiveness in design and skill in rendering was demonstrated. Yet upon this problem practice between the club members was built up that development in design that made individuals notable, first among their fellow members and then to the profession, for designing and expressive skill. When the self-education among draftsmen lay entirely with themselves, the attractiveness of the pen-and-ink sketch brought out talents that were as perfectly unknown to the individual possessing them as to their fellows. The competition for a boat clubhouse or a recreation pavilion, entered into with enthusiasm and given serious imaginative consideration was often in its conclusion a revelation of unsuspected talent in some hitherto unnoticed member of the club. The appreciation of his fellows gave confidence and with an aiding ambition that member advanced in design to become an honor to the club and a factor in the professional advancement of the country. Instances of this are too numerous to allow of individual mention, as in Chicago alone, the the names of Pond, Mundie, Jensen, Enders or Birch Long are signal examples and all other clubs of twenty years ago have the same list of notable graduates. FIRST PRIZE DESIGN BY CLYDE W. SMITH The club competition is still and should remain one of the serious activities of the draftsmen who appreciate the value of association for mutual advancement in the direction of attaining a high rank in their chosen profession. The draftsman who looks upon his work as a "job" and only values it because it is "so much per," does not count. If he joins the club he is usually back in his dues, does not go into the competitions and will never be heard of as an architect of skill. Now that the public is beginning to appreciate things architectural, and the practitioner of the future must have that talent that his position before the public demands, such draftsmen had better go into some other line of endeavor than continue. Even as a draftsman a more advanced era will find him without employment. The architect in the BESIGN FOE COJJCREIfE GATEWAY competition by MINNEAPOLIS ARCHlTtCTURAU CLUB s| SECOND PRIZE DESIGN BY F. A. STRANEL future who succeeds either in acquiring fame or dollars will have to "produce the goods." The club competition is therefore a more serious item in the building up of the draftsman into the capable practitioner than it is often thought to be. It is the basis of that imaginative practice that is the antidote for the routine work of tracing the thought of the employing designer, the relief from the monotony of mechanical reproduction of the thought of another, the one chance for that exercise of imagination that is DESIGNED BY GEO. A. DAHL HONORABLE MENTION THE WESTERN ARCHITECT MAY : : 1915 Page 39 13 without limit in latitude that makes the artist in design. Later that freedom is curbed by the requirements of actual practice for which it is the best school for training. DESIGNED BY F. H. HAFEY Among the competition activities of the Minneapolis Architectural Club the past season there has appeared some very interesting problems, rendered with fidelity to purpose and materials but with all that imaginative quality that is the basis of true design. The last competition of the year was for a "Concrete Gateway," and prizes were awarded by the Universal Cement Company of Chicago through their Minneapolis representative, Ernest Macgowan, an associate member of the Club. Among the drawings submitted the committee selected that of Clyde Smith for first place; F. A. Stranel, second place; George A. Dahl, mention. These designs, with the first prize design in a former competition, a "Fountain in Concrete," won by Oscar Lang, with an executed design by a noted architect for comparison, are selected to indicate the work of this club in design, plan and rendering. DESIGNED BY OSCAR LANG Saint Paul and Minneapolis architects were told recently by a critic that they did not travel enough. It is plainly evident that those in control of many of the most notable buildings recently erected in these cities do travel. ENTRANCE CALIFORNIA UNIVERSITY. BERKELEY. CALIFORNIA JOHN GALEN HOWARD. ARCHITECT THE SQUARE DEAL IN SUB-CONTRACTING Under the heading "The Sub-contractor invited to commit Hari-Kari" William H. Sayward, Secretary of the Master Builders Association of Boston, discusses some peculiarities of sub-contracting as practiced in Boston. As Mr. Sayward's comments are applicable to the general practice of sub-contracting, and coming as they do from the highest authority on building contract subjects in this country, they are worthy of serious attention. Mr. Sayward says: Many years ago this Association formulated a "Code of Practice" intended to indicate the line of conduct considered honorable for principal and sub-contractors to follow in their relations with each other. This Code in one article recited the following: "A principal contractor, when making up his estimate, is not entitled to receive bids from subcontractors if he is at the same time making himself their competitor by figuring their portion of the contemplated work. It is legitimate for a principal contractor to figure all portions of work, depending upon no one for what are usually known as sub-estimates, but it is not legitimate for him to receive bids from others for sub-work and then figure those portions in competition with such sub-bidders." "Various measures have been devised from time to time to ensure observance of this rule of conduct. One of the most effective measures was mentioned in an early issue of this Monthly Letter (July, 1910), and one of the prominent architects in this city was referred to as having established a practice by which the principal sub-contractors were absolutely protected against "jockeying" of their bids. That practice may be briefly described as follows: Bidding for sub-portions of the work are taken by the architect; the successful bidders are then announced, with the amounts of their bids, to all general contractors who are to make proposals for the principal contract and the general contractors are required to include these identical bids and none other. This system insures the assignment of sub-contracts where they belong, and relieves sub-contractors of one of the risks which they run in the ordinary course of competition. "A recent modification of this system is peculiarly interesting in view of the fact that it apparently offers a safe road, but in fact leads to one of worst of the pitfalls. Page 40 THE WESTERN ARCHITECT MAY : : 1915 "Several sub-contractors of a special trade are named in a specification as the only ones in that line who will be accepted; then follows a peculiar feature which seems to be directly in contravention of that part of the Code of Practice above referred to. If I understand the matter correctly, these acceptable sub-contractors are, by further terms of the specification, subjected to the possibility that the general contractor, after having become informed of the amount of the bids of the aforesaid acceptable sub-contractors, will be permitted to become a competitor for the same work. It is easy to see how absurd the proposition is in practice. Sub-contractors are invited to place their bids in the hands of a general contractor, who may then, if he chooses, be their competitor. It is hard to conceive of a more ridiculous proposition. It would be hardly more so if each competitor for sub-portions of the work were expected to place his bid in the possession of all of hisjcompetitors! "I am told of a case in point where a general contractor, having used one of the acceptable' bidders on a certain piece of sub-work, shortly after the principal contract was awarded to him made a piteous appeal to the lowest acceptable sub-contractor, whose figure he used, saying that he had made a mistake in his estimate' for the general contract, and would the subcontractor kindly help him out by scaling down his bid. A familiar plea, very ingenuously presented. "The sub-contractor very naturally responded to the effect that he was the lowest bidder of those declared by the specification as "acceptable" and he could not see his way clear to help the general contractor who had been careless in his estimate. Thereupon the said general contractor proceeded to secure the approval of the owners of himself as a direct contractor for that portion of the work previously considered a sub-contract, and upon which said general contractor had secured information of value through the sub-bids furnished him on the assumption that there was to be square dealing. "It is needless to enlarge upon the pernicious character of this transaction, or to indicate that a general contractor who will indulge in such a form of malpractice is certainly to be most heartily condemned, and persistently avoided by sub-contractors! The most imperative question is, How can architects and owners hold up their heads under the operation of such methods, and practically approve of them by assent? "It is to be hoped that this case will be followed up by the sub-contractor who has been defrauded as well as by the other 'acceptable' sub-bidders who were induced to spend their time simply to be made "goats' by owner, architect, and general contractor. Some precedent should be established which will prevent repetition of this form of stealing." THE SERIOUS VALUE OF FRIVOLITY As a Napoleon plays chess, a frivolous recreation in itself, a relaxation and a brain cathartic, perhaps, and from that recreation gains new inspiration and subtility in planning his next campaign, so the architect can find no greater aid to his material advancement in designing than to leave the office to the cub draftsman or the janitor and seek the most remote places from all that suggest concrete design and its accompanying problems. The progressive architect, he who is abandoning his European trips in search of examples and only visits that source of variety in design for inspiration in his work, can gain more pure inspiration filtered of all extraneous suggestion, by traveling where the variety of line and composition has been built by nature in its ages old evolution. The one "best bet" in this country, the trip that contains all the elements that are required, is that taken on the steamships of the Northern Navigation Company between Duluth on the westernmost shore of Lake Superior and Collingwood on the south shore of the Georgian Bay in Canada. There are the imperial heights, the color and the distances of the Glacier Park, the sagebrush covered sand levels of Arizona, the prairie or the mountain; but on this trip all that makes for architectural inspiration, is not only found but intensified in a perspective quality that is unknown to other environments. They are too natural and gradual to be startling and disturbing. They have infinite variety without exciting and sudden transformation. They are restful in every aspect, but they penetrate the subcon-ciousness to influence the recipient long after the incident seems to be forgotten. The steamer is a hotel with every convenience and luxury without a disturbing environment of crowded streets. From the heights of the Duluth shore, over the waters of an unsalted sea in which motion, colors, form and distance is mingled in changeful variety. The Thunder Bay marvel of mountains in silhouette is reached at Port Arthur. Then there is the Saint Mary's River at the Soo, and next to those at Panama, the greatest hydraulic engineering works of the canal builders. Then the rocky, pine-clad islands of the North Channel, the granite sternness of the Lacloshe mountains that dominate the shore back of Killarney, the myriad black bass which infest the islanded waters that from five to ten miles from the main land rim the north and east shores of the incomparable recreation country of the Georgian Bay. But description does not describe when it comes to the varied beauties of the boat trip of these great lakes. How can one describe the freedom, the ozone, the sunsets or the Northern lights that are all a part of this wonderland? From any standpoint of judgment those who know, believe that there are more of those essentials that make for happiness in the present, the mental and physical health in the future, in this trip, than any other in this or any other country. As a relaxation from the work of the past and a preparation for that of the future it is not in search of pleasure but a business proposition that shculd cause the architect to decide to invest in its benefits the coming summer. THE WESTERN ARCHITECT MAY 1915 Page 41 THEW EST E R.N architect A NATIONAL JOURNAL OF ARCHITECTURE AND ALLIED ARTS, PUBLISHED MONTHLY VOLUME 21 JUNE_ ,9I5 NUMBER 6 The most important advance made in are not only state but national leaders in all that makes Architects our architectural history in its profes- for professional advancement and public refinement. Passed in sional aspect is the passage on May 3 Now that, their confreres in New York have become New York of a law governing the practice by the convinced that regulation is necessary it is hoped that a state of New York. It is not only the similar change will be effected so that Ohio will be the supremacy of this state, numerical as to members of the next state to place its practitioners upon a real and not profession, financial as to the number of buildings erect- an assumed professional basis. The persistent and self-ed, but the transformation of the mass of its practi- sacrificing work of the committee in charge of the regis-tioners from opponents, active or passive, to almost tration measure in New York during the past six years unanimous supporters of the measure, that marks this cannot be too highly commended or the congratulations as the passage of the safety zone in the advance toward extended to them upon their success too strong. A a nation-wide registration of architects. It was in 1902 close acquaintance with the several bills presented and that the Western New York State Association of Archi- passed by state legislatures for the purpose of regulating tects prepared a measure calling for the examination architectural practice since the first was passed in and licensing of architects and sent the chairman of its Illinois leads us to pronounce the New York "act to committee, William Worth Carlin of Buffalo, to Albany ammend the general business law to regulate the practice to secure the introduction of the bill. While the pro- of architecture" the most direct, concise and compre-fession, centered in the Institute Chapter in New York hensive measure yet passed with the purpose of bringing City did not actively oppose the bill it did not give it order out of the chaos of unlicensed architectural practice, support, and the influence of one architect, one contractor and one engineer, probably with political back- The normal development of trade in ing, was sufficient to influence Governor Flower to kill Trade Canada with its demand for building the measure by refusing to sign it though it had twice and Foreign materials and appliances manufactured passed both houses of the legislature without a dissent- Demand jn tne United States, has called for the ing vote. Again some ten years ago a bill was present- investment of vast sums in local plants ed that never left the hands of a committee. In 1908 in the Dominion. A much larger demand upon these con-the efforts of a few who were broad enough to brush cerns will soon be made by those cities in France and aside selfishness and sentiment and see the practical Belgium that have been practically razed by the war. need for an established and not an asserted profession, This demand will be met in some degree by the establish-began under the leadership of John W. Yost to form an ment of factories there, but the building materials will adequate measure and seek for its acceptance by the be supplied largely by the home plants. This demand is Chapter and its passage by the legislative assembly of not only certain but must be met systematically to a the state. While waiting an opportune time to call the degree. A commission of French architects and town-legislators' attention to the measure when the full im- planning experts from the cities and towns destroyed portance of a regulated profession to the people of the by the Germans, have already drawn plans for the restate could be presented, the bill was closely studied. building on a larger and better scale. In Rheims, for It benefited from the delay both through the steady instance, an area of fifteen hectares will be newly out-accumulation of friends to its purpose and in the direct- lined; as in the town of Chermont in the Argonne, where ness and comprehensiveness of the text. The active six new streets and three hundred houses will be con-opposition of some few of the most distinguished mem- structed. A vast amount of building material, machines bers of the profession is one of the singular features that and implements for municipal reconstruction on the best attends all architects examination and license law agita- possible hygienic and practical basis, in the opinion of tion. 11 has never been clearly shown why except through leading French architects, will soon be required. It is the expression that "the country is not yet ready for a reg- evident that a considerable portion of this material will ulatory law," or the ouerile "we don't want to be tagged be sought in the United States. The fugitive Belgian like common peddlers." This feeling seems most con- architects in England have for many months been study-centrated in Cincinnati where the local opposition has ing the same problem in connection with the English prevented the passage of a license law by architects that architects. It is therefore as certain that the building not only stand professionally high but on other questions of the destroyed cities will be carried on along the most THE WESTERN ARCHITECT JUNE : : : 1915 approved system of town-planning and modern construction lines as that they will be rebuilt. The situation calls for a like system of organization among American manufacturers so that the element of speculation and the uncertainty of quantity in demand may be met, and wasted effort be reduced to a minimum. The opportunity for this business expansion is as stupendous as it is certain. Met with promptness when it comes, by careful planning and the establishment of a commercial clearing house where all standard manufactures may be passed on and distributed, it will be profitable. While the larger cities move more slow-Proper Housing a ly or not at all, those of smaller popu-National lation but with more youthful enthusi- Movement asm, are taking up many movements that make for right living. The people of Texas are in earnest in their consideration of the housing problem in the cities and on the farms of the state. Those of Michigan are pointing with pride to Grand Rapids with its absence of a "slum district," and a national movement seems to be well under way among the people generally to establish those conditions that will reduce disease, immorality and degeneracy to a minimum. This movement extends from the crowded slums of cities to the small village and the farm. Some states, like Minnesota, make it a part of its constructive program to make farm life more attractive by supplying ideal plans for farm buildings and their surroundings. The backyards of the village cottage is no longer a depository for old cans and other rubbish. This leads to a desire for better design and arrangement in houses, the planting of trees, the improvement of roads. Whatever the pessimist may say, the entire trend of American life today is upward in movement toward a more healthful manner of living. The seventh national convention on city city planning was held at Detroit on a Recognized June 7-9. This was a notable gather-Necessity mg There was assembled at its sessions all of those who have vision and prophetic sense of what our cities must be if we are to lead the world in civilization. Five important sessions were held. The first was called to order by Frederick Law Olmsted of Boston, the active leader in city planning and reconstruction in the United States, the legatee and namesake of that master of horticultural art, the illustrious Frederick Law Olmsted. At this session Six Years of City Planning" was reviewed by the Secretary, Flavel Shurtliff, and E. H. Bennett, trained by Burnham to succeed him in his work of building cities as they should be, as consultant to the Detroit City Plan Commission, spoke of the plans projected for the future of that city. At the second session the best methods of land subdivision were discussed by E. P. Goodrich, and Paul A. Harsch of Toledo, Ohio, spoke on the same subject from the standpoint of the real estate developer. A session was held on board a boat as the delegates viewed Belle Isle and the location of the Scott monument, the design for which was the subject of one of the most notable competitions of recent years and won by Cass Gilbert, who presided at the evening session. Facts regarding city planning authority were given by Dr. Robert H. Whitten who was followed by Frank B. Williams of New York with details regarding planning administration in Europe. The personnel and trend of this conference indicates that city planning exponents and their propaganda has attracted general attention. It is notable that this was not a gathering for mutual admiration or professional association but was invited by and a large proportion of its expenses were paid for by the city of Detroit. In return the education of the public in the value of a definite civic plan is deemed full compensation for the city's interest. They are taught that the reconstruction of their city, though seemingly expensive, is in the light of advanced values a paying proposition, while the general benefit derived through added living convenience and health is an accumulative asset that increases in value year by year. Whether the professors of architecture in the architectural departments of State universities should be allowed to practice Private Practice by School Professors the profession in the open market in fair competition with established practitioners is an open question. This has not been objected to as far as we have observed. Objection has been made, however, in cases where the employees of the state have taken advantage of their peculiar surroundings to take work at reduced prices to the detriment of those whose sole income is in their practice. A specific case is noted in Kentucky, where the Louisville Chapter of the American Institute of Architects has seen fit to address a set of resolutions to the State University authorities protesting against such practice by two of its professors in architecture. In this protest the Chapter charges that the accused are using the library and offices of the university and the time and services of students to carry on a private practice, and through this advantage charge lower fees. As intimated, this is not an isolated case according to reports that have not been investigated. If true, the damage is not so much in the private loss to individual practitioners, but in the effect it has upon the support of the school to which the good will of the profession is a very considerable asset. One case where the taking of work at a reduced fee by those connected with such an architectural school in direct competition with local architects, and is resented and talked about in architectural circles, will do more to make that school unpopular than can be counteracted by any amount of successful tuition in the school. If architectural professors engage in private practice, it should be obligatory upon them to rigidly adhere to all the written and assumed ethics of the profession. It is especially inimical to the best interests of the school they represent, to cut the commonly accepted schedule of charges. When the work is taken away from another practitioner on this ground, it becomes a decidedly deterrent factor in the scholastic work that the professional director represents. THE WESTERN ARCHITECT JUNE : : 1915 Page 43 REGISTRATION LAW PASSED IN NEW YORK ASSEMBLY BILL NO. 1149 — AN ACT TO AMEND THE GENERAL BUSINESS LAW TO REGULATE THE PRACTICE OF ARCHITECTURE. 77. Registered architects. Any person residing in or having a place of business in the state, who, before this article takes effect, shall not have been engaged in the practice of architecture in New York state, under the title of architect, shall, before being styled or known as an architect, secure a certificate of his qualification to practice under the title of architect, as provided by this article. Any person who shall have been engaged in the practice of architecture, under the title of architect, before this article takes effect, may secure such certificate, in the manner provided by this article. Any person having a certificate pursuant to this article may be styled or known as a registered architect. No other person shall assume such title or use the abbreviation R. A., or any other words, letters or figures to indicate that the person using the same is a registered architect. 78. Board of Examiners. The regents of the university shall, within ninety days after this article takes effect, appoint a board of five examiners who shall make rules for the examination and registration of candidates for such certificates, subject to the approval of the board of regents. Such board of examiners shall be composed of architects, who have been in active practice in the state of New York for not less than ten years, previous to their appointment, selected by the regents. Such examiners shall be entitled to such compensation for their services under this article as the board of regents shall determine, not exceeding in the aggregate the amount of fees collected from applicants for certificates. 79. Qualifications; examination; fees. Any citizen of the United States, or any person who has duly declared his intention of becoming such citizen, being at least twenty-one years of age and of good moral character, may apply for examination or certificate of registration under this article, but before securing such certificate shall submit satisfactory evidence of having satisfactorily completed the course in an approved high school or the equivalent thereof and subsequent thereto of having satisfactorily completed such courses in mathematics, history and one modem language, as are included in the first two years in an approved institution conferring the degree of bachelor of arts. Such candidate shall in addition submit satisfactory evidence of at least five years' practical experience in the office or offices of a reputable architect or architects, commencing after the completion of the high school course. 1 he board of examiners may accept satisfactory diplomas or certificates from approved institutions covering the course required for examination. Upon complying with the above requirements, the applicant shall satisfactorily pass an examination in such technical and professional courses as are established by the board of examiners. The board of examiners in lieu of all examinations may accept satisfactory evidence of any one of the qualifications set forth under subdivisions one and two of this section. 1. A diploma of graduation or satisfactory certificate from a recognized architectural college or school, together with at least three years' practical experience in the office or offices of a reputable architect or architects; but the three years' experience shall be counted only as beginning at the completion of the course leading to the diploma or certificate; 2. Registration or certification as an architect in another state or country, where the standard of qualifications for the same are not lower than those required by the board of examiners under this article; 3. The board of examiners in lieu of all examinations shall accept satisfactory evidence as to the applicant's character, competency and qualifications, and that he has been continuously and exclusively engaged in the practice of architecture for more than two years next prior to the date when this article shall take effect; or satisfactory evidence that the applicant has been actually and exclusively engaged in the practice of architecture on his own account or as a member of a reputable firm or association for more than one year prior to the date when this article shall take effect; providing the application for such certification shall be made within one year of such date. Every person applying for examination or certificate of registration under this article shall pay a fee of twenty-five dollars to the board of regents. 79-a. Certificates. The result of every examination or other evidence of qualification, as provided by this article, shall be reported to the board of regents by the board of examiners, and a record of the same shall ' be kept by the board of regents, and such board shall issue a certificate of registration to every person certified by the board of examiners as having passed such examination or as being otherwise qualified to be entitled to receive the same. Every person securing such certificates shall file the same with the county clerk of the county in which he resides or maintains a place of business. The board of regents may revoke any certificate, if such action be recommended by the board of examiners, after thirty days' written notice to the holder thereof and after a hearing before the board of examiners, upon proof that such certificate has been obtained by fraud or misrepresentation, or upon proof that the holder of such certificate has been guilty, of felony in connection with the practice of architecture. 79-b. Violation of article. Any violation of this article shall be a misdemeanor, punishable for the first offense by a fine of not less than fifty and not more than one hundred dollars, and for a subsequent offense by a fine of not less than two hundred nor more than five hundred dollars, or imprisonment for not more than one year, or both. 2. This act shall take effect immediately. The time selected for members of the American Institute of Architects to attend the Panama-Pacific Exposition in a body, has been set for the month of September. A vote was taken by letter and those intending to visit the exposition signified a preference for that date. Page U THE WESTERN ARCHITECT JUNE : : : ,915 ON THINGS OF COMMON CONCERN BY F. W. FITZPATRICK. ARCHITECT The design of buildings and their appurtenant surroundings must of course always be considered as resting on universal need. Shelter and structural utilities of every sort and kind, except the very simplest, spring from the need of the many and everywhere symbolize something of social significance, whether they be "designed" or not. This is self-evident. In speaking of architecture everything depends on the viewpoint as things are today. A layman usually thinks of an architect merely as one who can assist him in getting his buildings up—sometimes he thinks of him also as a trustworthy adviser in the selection of "style," but sometimes when he has thought over his problem he "approaches" his architect with an open mind. In this event he may be glad to have the fact pointed out that buildings are not in themselves things that are by social dictate, so to speak, "assembled" from parts taken from a stored up set of forms which have been "halo-ed" by long ages of usage. This is what the schools claim, but fortunately for art's sake the ordinary layman of the West does not yet recognize his own "ignorance"—instead he instinctively feels an individual need, not related to former time or place. He wants "individuality" and a harmonious disposition of the elements that go to make his problem unique. The typical "Westerner" may request of his architect a building "a little out of the ordinary," in other words, by way of protest against the present tendency toward "style" mongering, he is saying that he does not care for templesque or cathedralesque or for any expression of "style" intended to recall these by the use of derived forms. The architect may assure him that style may well take care of itself provided he wants his buildings so designed as to be suitable to the limitations of actual conditions and to nicety of use and is willing that the architect may have free opportunity to work within the scope of these restrictions. He will explain that a true expression of individuality is more or less a certain outcome where the owner and the architect meet on definite terms, the one with a clear idea of his need, the other with a clear idea of how to satisfy this man's need in a practical and wholly complete manner. To satisfy the requirements of a structural problem by the employment of such form as is best suited to needs, to develop the aspect of unity in such builded forms and to show forth such beauty as the employed materials may possess by arrangement of contrasts and special treatment, is "shop" work of a kind that must give to the eye of the beholder more or less of appreciative pleasure and intellectual satisfaction in the things thus brought about. The aspect of unity—the speaking quality of a composition is the greatest quality a building can possess, for then we see it separate from that of which it is made, as we see a tree or a person,—it is individualized. The idea of unity is best expressed perhaps by the words, seeming advisability. So then any construction which purports to be a whole must inevitably have that organic arrangement of parts which is best explained by the idea of subordinate units, in series of different kinds, each indispensable to the whole, yet each having the appearance of unity within their own separate sphere of influence. Where separation or union must occur between parts each part shows to best advantage where it maintains its individuality. For you started out to convey an idea in a special way and cannot violate the essential need of a showing of unity as opposed to a showing of confusion, by departing from your idea, and introducing a contrary order, for instance, a blending where a separation is required. A wall and a ceiling where blended by a curving surface never conveys a beautiful thought. A column which is part wall, part column, is always offensive to the structural instinct. A beam obviously unnecessary but a part of a celing resting on such a false column is manifestly absurd. Yet almost entirely of such confused absurdities is the Renaissance style composed. If the idea of organic structural arrangement is clear in the mind of the designer, then what influence should natural environment have on his creative impulse? The earth's surface is composed of plains, water levels and hills or mountains, that is level, oblique and broken surfaces. Since there is no absolute standard of the beautiful it follows and is apparently true and usual that the appearance of any hill or broken feature of the landscape can be agreeably modified by the introduction of trees, walks, roads, fences or the walls and roofs of buildings. You can treat the hill or slope or cliff in a large way as part of your "composition,"—you organize an arrangement. The slope, the contour or the silhouette, may be emphasized or modified by the lines with which you join or the spaces by which you separate the elements of your composition. Groups of buildings, trees or other features become units. The group then being composed with an eye to a subordinate arrangement of units. Color of building material and of natural surfaces and richness of verdure may be effective in producing thrilling contrasts. Now the flat or level prairie creates an entirely different problem as far as opportunity of modification is concerned; for you are extremely limited as to viewpoints compared to conditions, as outlined above, where the whole composition is seen from many viewpoints. To see the flat city you must be in the midst; for, if outside you see only a silhouette which can but hint at an order of arrangement, and the nearby view is lost. It would seem, that by using three or four different houses for the building of a whole city, placed in constantly changing arrangement of grouping and planting, there would be local character and more variation of aspect than is possible today where endless rows of houses of all sorts and kinds toe right up to a line in a most monotonous and deplorable similarity. Such is the inevitable result where freedom of arrangement, our only opportunity for play of artistic impulses, is impossible because of our social condition where everyone seems THE WESTERN ARCHITECT JUNE : 1915 Page 45 SCHULZE BAKING COMPANY'S BUILDING. CHICAGO. ILLINOIS JOHN AHLSCHLAGER & SON. ARCHITECTS THE WESTERN ARCHITECT JUNE : : 19'5 MILL ARCHITECTURE - OLD AND NEW - 1880 - 1915, MINNEAPOLIS, MINNESOTA HEWITT a BROWN. ARCHITECTS :: :: :: :: THE WESTERN ARCHITECT JUNE : : : 1915 VENETIA APARTMENTS. OAKLAND. CALIFORNIA C W. McCALL. ARCHITECT :: :: THE WESTERN ARCHITECT JUNE 1915 • t y j i c a i. floor ha'n • CASTLEWOOD APARTMENT. OAKLAND. CALIFORNIA C. W. McCALL, ARCHI THE WESTERN ARCHITECT JUNE : : : 1915 TYPICAL SECOND AND THIRD FLOOR PLAN FIRST FLOOR PLAN CANTERBURY HALL. BALTIMORE. MARYLAND E. H. GLIDDEN, ARCHITECT J THE WESTERN ARCHITECT JUNE : 1915 RESIDENCE OF W E. GRIGSBY, BERKELEY, CALIFORNIA 'i'lit JOHN HUDSON THOMAS. ARCHITECT :: :: :: :: THE WESTERN ARCHITECT JUNE ; : : 1915 THE WESTERN ARCHITECT JUNE : : : 1915 THE WESTERN ARCHITECT JUNE : : : 1915 h-m o —I -J 2 h— U l. j < 2 JCCTION THRO' /LUANDA f\OOf- JECT10N THfNCT VtaANDA KOOr'-tTAJT Cavcj t^g^p^¦' JCCTION TUMI Jouth Wall or Living r\oori' Jection thino Partition room no -JCCTION 'Tttl\0' NOMH WALt -JtCTION TrH\0' Vctsanda Wall - -Dctail or Corsvirr. nunc orVtcANDA H.ail corina ¦Detailj or • MJiDtNCt rot\ DlV Wl LLI AH ZUtTILL- oak FAf\t\, illinou • JOHN'j. VAN X)lj\(jEN- Tyfic.\l Jection ihi\u AI\CMITtLCT * Nomh K Jouth Wall' THE WESTERN ARCHITECT JUNE : : 19'S RESIDENCE MR. ALFRED BERSBACH. WILMETTE. ILLINOIS JOHN S. VAN BERGEN. ARCHITECT. OAK PARK. ILLINOIS THE WESTERN ARCHITECT JUNE : : : '915 =e£sa n da Longitudinal J c c t i o n or .Building Looking I a j t - j" c » I - i. 'a" » I - o* THE WESTERN ARCHITECT JUNE : I9'5 FIRST FLOOR PLAN RESIDENCE OF MR. RICHARD CLUEVER, MAYWOOD, ILLINOIS JOHN S. VAN BERGEN. ARCHITECT, OAK PARK, ILLINOIS THE WESTERN ARCHITECT JUNE : : : 1915 J. more anxious to conform to a hard and fast equality in appearance, however, riduculous it may actually be, than to seek individuality in a free atmosphere where changing circumstance would at least develop a variation of aspect. If environment places on the architect only such restraint in the design of the particular as is consistent in a broad arrangement of all the natural and artificial features of a composition; then, of course, with respect both to the eye of the beholder and to practical requirements, he is limited as to one best possible solution of every problem; so, in the nature of things architecture really starts and ends with arrangement. He then must have some method of conveying this information by which order is established in the prosecution of any building operation; so, how shall the architect word his exact meaning? We use a line to signify a separation or a joining. Where an edge or termination occurs it is spoken of as a line. We speak of emphasizing lines—vertical lines— oblique lines and horizontals. To answer a significant question as to whether the dominant horizontal line is peculiarly appropriate to the level or the rolling prairie land, we should say that the repetition of the lovely line where the land and the sky meet is the most appropriate, that it assures the most of a quiet reposeful ensemble, because it remains always subordinate in relation to the whole view. That the great arching dome overhead appears still more vast and wonderful because of the harmony and subjective quality of the repeated horizontal lines. But freedom within such certain broad limitation or "straight line restraint" is not sufficient for some of the nearer sighted designers who will say, "yes, but man always craves the thing which nature did not provide: he wants the high tower or the pyramid to 'relieve' the landscape of monotony." Let him prove his theory and you will find that in his work he has used the horizontal because he had to. That people can not live in towers and pyramids, is self-evident; so, he tried to use a combination of the oblique with all manner of curved makeshifts in order to escape the insistence of the horizontal. "Besides," he will say, "you designed the horizontal for the prairie and then you use them on the hill top and mountain side where they look ever so much better than they did on the level prairie." "Why, of course!" you answer, "for you can see them from many more viewpoints which do but exhibit their real character in greater measure." He blundered in thinking that he had proof that you were wrong in the first place; and so, by a sort of left-hand self-deception, he is equally sure that the use of the "styles" must be right. But, is it not true with all the heat of our clash of opinion, that while the horizontal is peculiarly at home on the prairie, it is actually a rectifier of vision on the oblique or broken site? We are built to stand on plumb lines or lines polar to the earth and our eyes pair absolutely on the level. So for this and for other obvious reasons, it is an instinctive need that man expresses when he lays out his building on the level, swings its axis at a right angle to the sun's path and builds his walls perpendicular. Since the light is from above, his horizontals, or horizontals in combination with obliques, always give a shadow or emphasis to the level line. So, his generous roof line, in creating shelter from an inclement sky, exhibits that sweet and intimate quality of shelter inseparable from the idea of "home." The buildings of the native Bhutanese and Swiss have visualized this quality perhaps more markedly than those of any other people. Of course, conditions of site fix the orientation of these buildings as is seldom the case where people build on level lands. Even while the horizontal is the most reposeful as compared with the vertical and the oblique, conditions must always compel the exercise of reason in its use for the kind of building required. A tall building with accentuated horizontal lines is an incongruity evidencing confusion of thought, because a tall feature or tall building stands contrary to the broad base of repose and contrary things always tend to destroy one another. In nature there exists an ever-changing condition; the expanding cloud majestically rising against the blue, the slow motion of the glacier, the quick rush of storm, the drift of sand or snow before the wind, or the action of vibrant sunlight as it splits up in changing into the growing plant; these do but exhibit, in most impressive form, the endless transition of which we are ourselves but a part. In building then the decorative line, form and color must symbolize the desire of the inner being to see and feel as opposed to the obvious inertia of a structural necessity; an element which is free moving and accen-uative of direction, something which has the feeling of a continuation. It is necessarily subsidiary to the structural motive. The decorative line which emphasizes the structural form is always the most exquisitely beautiful where its subtle influence works for unity of the whole. In architecture we seek to reflect the condition or aspect of things of nature which always must be external to our building. But in skillful organization the parts seem sometimes to so eloquently answer their law that you have a subconscious impression that they must have flown together by a sort of magnetic attraction for one another. The unlettered as well as the cultured must alike exult in beholding a creation which stands absolutely separated from that of which it is made and manifests a freedom of thought wherein not a single trace of confusion is evident. From the foregoing outlines you will see that where a clear idea exists for a scheme forms will fall naturally into an orderly arrangement and express meaning as much through exquisite adjustment to use as through accent in decorative color or surface treatment. Organic architecture is that arrangement of builded form which from any viewpoint impresses us with qualities which reside in exquisite combinations and contrasts, thus exciting the pleasant and deep appreciation of the beholder. This kind of architecture proves its worth in its possession of personality—it commands an Page 46 THE WESTERN ARCHITECT JUNE : ; 1915 atmosphere. You are convinced it is right; it complements life to which it is both a frame and a background. Music, sculpture, landscape, works of art are enriched by its agency—are ennobled by its subtle presence and special attitude. Only buildings which have a personality can have a consciously expressive attitude or boast of balance or symmetry or power or real meaning. A conglomerate, whether it be of many rooms or many parts, is still like a half uttered sentence; it lacks arrangement though it has words; it asks nothing of you though perhaps its designer or builder meant it should and did attempt to dress it in a "style." If architecture mirrors the soul, then what are the vast majority of existing buildings but mere receptacles, boxy or stupendous, mayhap, but repellent. Confusedly heaped together they excite only our resentment at and pity for the designer. Architecture is essentially the great out of door art, and it belongs more intimately to the hill and valley, the cliff and the prairie or shore line, than to human use. The eternal horizon modified by the wonderful breasts of hills, by the long heaving swells and gentle sloping dips: this is "my country" of the great Western prairies. The study of nature's ways and moods is necessary that man's work may complement and set forth her wondrous charms. Thus may he harness her subtle strength to his humor. The architecture of the past, so much of it, a meaningless expression, a ceremonial jumble, was a secret, exclusive art. It has been essentially a timidly nursed, privately owned, autocratically developed, effusion, as witness: the temple, the court, the palace; it was not a consciously aspirant social expression. Ancient and medieval architecture could not help but discover and develop through use, certain forms and orders of arrangement which must always be of influence in the design of buildings, but the spirit that guided and worked results was not as a rule that which felt for nature's support. Each kind was a wave of specialized usage; a limited, arbitrary impulse based on some particular practical limitation or intellectual attitude of the day. We won't quarrel any longer about diameters or other non-essentials. On this the eve of a widespread change in the feeling for and care of the things of the common good, we are awakening to a conscious desire for expression. It is evident in literature, music, the plastic and the graphic arts. Why not in architecture? Our people are turning to the purposeful work of building up the standard of citizenship. Blood of a strain common to all the sadly confused fatherlands of Europe is here, now mingling in the Commonwealth and seeking through her institutions a certain prophetic fulfillment of ideality. It has bequeathed to us an impelling desire to be free and strong in our creative endeavor. We can, if we will, open our eyes to the need and our hearts to the love of the beautiful as being glorified because of the more ideal forms in which our imagination clothes them. There is no authority but our own and our demand for a re-created world can and should be of an all inclusive permanently operative kind. The lesson of all past ages of expressive effort shows that each age had its own conscious "moment" and with this its own peculiar mode of artistic expression. The style we see resultant of that momentary effect was inspired by a certain standard of life. Emphasis is placed on shapes, which show more often a weakness of conviction and feeling than they show a feeling of strength and purpose. Our perception of this fact puts the creative architectural efforts of the past into proper perspective. In such critical retrospect of history we read the cause and then turn and see the result of each style of a period, so we come to realize more pertinently the need of an artistic response to our own modern social "moment." In America, and especially in the Middle West, life exhibits without a doubt a fullness of vision, a purposeful attitude, and consciousness of inter-dependent power such as has never before in history been true of any people of any other time or place. This power is taking hold and endeavoring to limit the shaping effect of social conditions as to bring about a freer opportunity in life environment for all than has ever been hinted at before. It seems certain that a sober and reasonable creative expression must be forthcoming in architecture through which all would speak and feel. It must be a true reflection of our real condition, a simple statement of the broad yet intimate relation which we see in things today, whether they be things of state, or things of science, or things of nature. At present our undeveloped and wrongly developed educational method seems to stand in the way of progressive change. We are trained to curb spontaneous impulses which would lead to profound desires. The main thing is to come into our own and let it do for us so that we as free men may leave our own record, as we pass along the great highway of life. The art of architecture in the new West hopes to generate a feeling of reverence for the hill and valley, the cliff and shore line, the great smiling sunlit prairie. It especially recognizes the need of conforming to certain limitations. Materials selected for and cast in forms suitable to functions—constructions, which while being shelters fit for special use are also unmistakably pertinent, inside fulfilling outside promise, outside reappearing or penetrating inside refinement of workmanship, of color, of decorative sculptured form and of furnishings exquisitely harmonized in-door and out. Thus will human expression through architecture be clear, true, relevant and consequently immensely more eloquent than it has been in the past. Simple truth will take the place of "philosophies," of thrice removed "inspiration," of computed and classified "laws" of composition, of explanation in meaningless "technical" scholarly words of that which is not obvious to the eye, therefore non-existent. The sophistical reactionary tendency leads not to the ideal, but to the final result of a stupefying monotony of existence. THE WESTERN ARCHITECT JUNE : . 1915 Page 47 If architecture mirrors the soul, then why should any building be anything but beautiful or reasonable? Ugliness is evidence of sin, stupidity, wastefulness, chaos and confusion of thought. Out of the realm of art come the things that arc of more moment than the things of the mere material world; mere possession is coin to the multitude—it is empty and without value here. The realm of art is antipodal to that of the op-peratives machine-like labor or the sweaty toil of the harvest hand; yet, one is as necessary to man's existence as the other; each is an overlapped part of the other. The world which knows culture has always striven toward the attainment of that condition which would develop a certain balance between the two extremes. For each man to be as much artist as he is farmer and vice versa would be the ideal existence, but this of course, is still a proven impossibility, though it may come some day. DESIGN FOR SCHOOL WOLFE AND THEODORE LENZEN ARCHITECTS. SAN JOSE. CALIFORNIA ARCHITECTURAL SCHOOLS At a recent meeting of the Board of Regents of the University of Michigan the designation of "Colleges" of Engineering and Architecture was adopted in place of the former "Departments" of Engineering and Architecture. In this organization the College of Architecture controls its programs in architecture and architectural engineering, while the College of Engineering controls the various courses in Civil, Mechanical, Electrical, Chemical and Marine Engineering. Two additions to the teaching staff have recently been made both in the work in freehand drawing and painting for architectural students. L. A. Makielski is now teaching the advanced work in drawing from the living model. Mr. Makielski studied at the Art Institute of Chicago, winning the foreign traveling scholarship and subsequently spent four years in study abroad, three in Paris and one in general travel. While in Paris he on two occasions exhibited in the Salon. An exhibition of paintings by Mr. Makielski is now being held in the Art Gallery of the University. Another appointee in drawing and painting is Mr. Earle Barnes, a recognized landscape painter who studied at the Art Students League of New York. There have been a number of lectures by visitors recently; one by Stephen M. Wirts on Furniture Design, another by the well known painter Joseph Lindon Smith on the temples at Anchor Wat in Cambodia; Theodore W. Koch, author of "Carnegie Libraries," on the Planning of Libraries, George Gibbs, Jr., on City Planning, and C. L. Lewis on Building Superintendence. The Detroit Architectural Atelier, whose patron is Professor Lorch of the University Architectural Department, has just held an exhibition of its work in Detroit. Some of the work of the College of Architecture has recently been shown at the Chicago Architectural Exhibition at the Art Institute of Chicago and will also be shown at the architectural exhibition to be held at the Detroit Museum of Art in June. COMPETITION Artists and designers are invited to participate in the competition for designs of two seals or emblems, to serve as the official symbols of the North American Gymnastic Union and its subsidiary, the Normal College of the N. A. G. U., respectively. The designs desired must lend themselves to various decorative uses, but are to be offered in form primarily suitable for reproduction and use in the printing processes, as stated in the rules, on letterheads, bulletins, college catalogs, etc. A prize is offered, and the competition is to be judged by a competent jury of experts, consisting of Harold H. Brown, Director of the John Herron Art Institute; Carl H. Lieber. art dealer, and Arthur Bohn, architect. A prize of five hundred dollars is offered for the best design for each symbol. All designs must be received on July first by Harold H. Brown, care of John Herron Art Institute. Indianapolis, Indiana. The Neighborhood Center idea, worked out by Schenck and Mead, architects, of New York, won the first prize in the competition instituted by the City Club of Chicago. Page 48 THE WESTERN ARCHITECT JUNE : ,915 AN IMPORTANT ANNOUNCEMENT With this exceptional preparation for the work, dur-c- v t i r r-u- . i . r. ing the past thirteen years Mr. Johnson has had entire h.. V. Johnson ot Chicago announces that alter con- 5 , , i ••• r. i_ .• • t/- o -i . i yr, . ivn control of all the departments and activities ot the tinuous service as Vice-President and Western Manager . ./-.i- cc j c tL m t.- l n-- d c r • i\/r u 9 National Fire-Proofing Company s Chicago office and ot the National hire-Proofing Company since March 2, t rom u u j i • -a. ..l .. its Western branches to the Coast. Not the least valu-1902, he has severed his connection with that company . . j -ii .• • c r i ¦ i i ¦ able of this experience, great as it is with 031) commer-and will continue in the nre-proohng business under his H 5 . cial and public structures, great grain elevators or own name. * ° , . ,. • £ L Mr. Johnson's desire is to place his personal time and residences to his credit, has been his direction of that efforts at the command of architects, engineers, contrac- company's splendidly equipped testing station and .. j ii ri- 4. j • laboratory where everything connected with fire-proohng tors and owners and make use of his own patented lm- J J . ° ». • ..l j c ¦ ^i.ii jt and fire-prevention has received the most scientific and provements in methods of using structural clay products. / tl ¦ n r a. exhaustive investigation. 1 his announcement calls tor more than passing men- s . . 4.: \/t i i ' .• -.i .i 4- l • , All this experience Mr. Johnson has decided to place tion, as Mr. Johnson s connection with the entire subject ^ J . t c • .• •. r at the command of the construction world with the ot hre-resisting construction, its form-invention, manu- i.ummauu v-£ . j-^iw i • • 4. r 4.- i added factor of the introduction of his latest and best tacture and installation, is longer in point of time and iai-i«i u. ^in. "u"^ • 4- 4. • n •. i .• j i improvements in fire-resisting construction methods more intimate in all its relations to purpose and evolu- pu""™" s _ tions in application than that of any other individual in which the executive details of an immense corporation s the United States. His identity with the development activities have made it impracticable for him to develop, of clay product protection for steel structure and its accessory uses covers more than thirty-five years of The death of Jeramiah O'Rourke, architect, of constant activity. Newark, New Jersey, is announced. Mr. O'Rourke Drawing upon a more or less accurate memory, it was Supervising Architect of the Treasury during the was about 1880 that his father, the inventor of many of Cleveland administration, and a fellow member of the the original forms of hollow tile construction, died and American Institute of Architects since 1886. His death left the work of carrying on the industry to E. V. John- occurred »n April 23 after a long professional career, son, then about twenty years of age. Besides the com- havln§ been born ln Ireland eighty-four years ago and pletion of the largest fire-proofing contract let up to that comln§ to Newark in 1850 where he took up the trade of time, that for the Chicago City Hall and County Building, carpentry and planning. His life was always a credit there was the factory at Ottawa, afterward developed to to the lar§e number of those who as carpenters wrote an immense plant for the burning of clay, that was part tbe genesis of architectural history in these United of the responsibility that fell upon this young man's States and became honored subsequently as practicing shoulders. The thorough manner with which he met the architects. problem and the demands of the structural steel evolu- The advantages of metal lath and its protective tion that shortly afterward came with its avalanche of plaster coating is set forth and illustrated in an attractive-new and intricate covering requirements, is one of the ly compiled pamphlet issued by the Northwestern Ex-most remarkable incidents in modern construction his- panded Metal Company in reference to its Knobum tory, and equal in importance with the development of Metal Lath and other expanded metal products. The the steel frame. detail illustrations are largely in full size. Architects It is probable that to him first occurred the adapta- will find in it many ingenious methods of plastering in bility of hollow tile, made for partition use, to the con- difficult angles and corners where suspended ceilings are struction of exterior walls. The offices of the company necessary. The overcoating of old weatherboarding and in Chicago were built in 1884 entirely of hollow tile. construction for stucco walls is also detailed. Soon afterward a great grain elevator was constructed on Lake Superior of this material and the strength and Among the names of architects who recently addressed lightness of hollow tile thus demonstrated, its use in members of a sub-committee of the Illinois legislature residences large and small followed as a natural sequence. on the subject of an engineers' liscense law, were: In fact to record the evolution of hollow tile involves Emery Stanford Hall, Charles Fox, Elmer Jensen, Bruce automatically a biographical sketch of E. V. Johnson Watson, William Drummond, W. G. Carnegie, Fred-(facetiously, and to an appreciable extent, accurately rik Perkins and Francis Barton. The names of those dubbed by a friend, "Ever Victorious.") composing the intelligent committee appointed to pass tl j l'li • ¦ 4. j jf i_ • i l on the merits of the case were: Farrell, Epstein. Field-1 he devices which he originated and for which he «•.»«-«, ^h01"". "au lij 4.4 ¦44LLJJ j ..l sack, Placke and Vickers. holds patents, run into the hundreds and cover the entire field of structural clay product manufacture from A pamphlet that in matter and illustrations makes the invention of proper machinery and kilns for the it almost an exhaustive treatise oEff the subject of Gravity factory end, to meeting the requirements of the architect Spiral Conveyors, is issued by the Otis Elevator Com-and engineer designers in supplying their demand for pany. It should be in the library of every architect protection to the constantly increasing and new forms and engineer for ready reference when considering the introduced through their development of the skeleton details of any building where a product is to be moved steel frame. from one floor to another. the western architect june : : : 1915 Page 49