\PENCIL POINTS' VOLUME II J~NUARY 1921 NUMf.>ER I
WHAT IS AHEAD?
HAT sometime and somehow he is going to chiefly on the construction details and on construc fill a better position than he now has is tion work, with a thorough study of materials, their T probably at the back of the mind of almost cost and use. He should know design well enough every draftsman. Just what he is going to be, ju?t to see that the designer's ideas are sympathetically how he is going to get there, and just when he is embodied in the construction. going to start are often matters that have not been The man who wishes to become a specification determined. As a matter of fact, most men either . writer will, naturally, gain all the information he can stick in a rut or drift aimlessly from one thing relating to the materials and methods of construc to another, and get nowhere. As one comes into tion, the various types of equipment and fittings contact with life, his tastes, his abilities, and his limi that enter into buildings of all classes. He will study tations become more clearly defined, and he may the use of language as a means of direct and un discover that he fits best into a line of work either mistakable expression and will endeavor to ge~ a allied to or quite different from the kind of work broad view of the construction field and to know he expected to follow. One's first choice of em every detail that enters into a building. To develop ployment is largely a matter of chance and at the orderliness of mind and method, thoroughness and best is the result of little more than a shrewd gues~ reliability are of prime importance to the man who at his capabilities. Though it is unwise to stick to hopes to become a specification writer. He must a line of work for ~hi ch one is not well suited, it have the ability to give almost infinite attention to is important not to be diverted by every thing that detail and must have a knowledge of every detail of looks like an opportunity and discouraged by diffi the work of construction from experience on the culties encountered in developing in one's chosen work. field. The practice of architecture is not open to the If an architectural draftsman is to develop with man with merely a "taste for architecture" or closed out going outside of the field of work in which he to t~e man who is without financial advantages. The is engaged-and there is plenty of room in that atelier, scholarships, the libraries the museums are fi eld for men who have the right qualifications available for al_! who wish to le a ~n, and are wining there is a future for him in several different branches to l?ursue their chosen course with unswerving of the work. He may become a designer, a chief persistence. The man who wishes to become a suc draftsman, a superintendent of construction, a speci cessful architect should concentrate mainly on de fication writer, or perhaps an architect. yeloping t?e ability to make a clean-cut, well-organ If he is to develop into a designer, the thing of ized s~lut10n of each problem, to produce a design primary importance is obviously to study architec that will take care of all the practical requirements tural design systematically and thoroughly, to and as a matter of fact, will grow from them. Th~ develop an ability to organize the elements of a de ability to g-ive beautiful expression in terms of sign whether it be for a whole building or for a bit architecture to a ~ractical problem is the quality of ornament, to store his mind with a knowledge that makes the architect. To acquire this ability the of the best work of the past and to refine his taste potential architect must make himself a part of the thn;>ugh familiarity with and appreciation of good best side of life, familiarize himself with the uses design, t? become a c; ultured man through acquain of different types of buildings and seek every means tance with good literature, good painting, good of cultivation, as well as training and experience in sculpture, as well as good architecture. architectural design, presentation and construction. Natural ability is necessary in each of these If he is to be a chief draftsman he will need to branches of work, as it is in the practice of architec develop executive ability, to make himself absolutely ture, but to natural ability must be added much hard depe!1dable, as w~ll as to gain a good knowledge of w~ l~ directe.d work, bo~h in the developing of thi~ arch!tecture, par~1cularly of the practical aspect of ability and m the carrymg out of the work. Genius architecture, as 1t appears both in drafting room alone is not enough to bring success-a brilliant idea work and in actual construction. _ if it is not worked out thoroughly is of little value The man who wishes to become a superintendent but the field is open to the man who will study and of construction will, naturally, centre his attention work intelligently and enthusiastically. 5
RDD154 21415 ? -0 - < ------a,7'::::c m -f' . IP
Photograph by Wims Brothers BUSH HOUSE, LONDON, ENGLAND. HELMLE & CORBETT, ARCHITECTS
Third, and Final, Stage of Rendering by Hugh Ferriss. For First and Second Stages See Pages 8 and 9 THREE STAGES OF A RENDERING
BY HUGH FERRISS
RELIMINARY to the beginning of work on pencil was chosen allowing the use of a fairly defi the rendering the writer studied the project nite line, with the sharpened point, and a compara P as a whole with the architect, the character of tively rich tone quality, when using the broad edges the design, the relation of the building to its sur of the lead and when rubbing with it. Grades 2B roundings, etc., receiving information as to what and 3B were employed. A fairly smooth, heavy view of the building was desired for this delinea drawing board was used. tion, what the purpose of the drawing was, and First Stage-The composition, being visualized, whether it was to be the horizon line, van made essentially for ishing point, center reproduction. He line of Bush House, also received t h e silhouette of its mass necessary d a t a to and the masses of ad work from, consist joining buildings to ing in this ca s e left and right, like mainly of a scale wise the traffic in drawing of the ele the foreground (the vation and a photo latter as one mass) gTaph showing the w e·r e suggested in existing surround seven or eight free ings. hand lines. B u s h The spirit in which H o u s e was then the drawing was to roughly drafted with be carried out was T-square a n cl tri considered; whether, a n g 1 e, information for i n s· t a n c e, it being taken from the should tend toward architect's elevation ; the impressionistic or buildings to left and suggestive or to right were similarly ward the literal. In indicated in a rela- · this c a s e a literal tive degree of defi treatment was chos niteness, likewise the en, as the architect's foreground. Light designs had reached tone values were pro a definite stage, the du ce cl by rubbing surroundings we re over the lines with well known and of the finger. It was significance to the the object at this project and the ob stage to h a v e the ject in having the essentials b o th of drawings made was line and tone values to convey a realistic sufficiently indicated impression. to suggest the final Black . and white result, but sufficient had been specified, ly tentative to allow but the question as any changes which to what medium to might prove desirable use next called for to be easily made. See reproduction of consideration. The Architects' drawing which, together with a photograph of the surroundings, necessity for defin supplied data for the rendering shown on the opposite page. Bush House, the drawing at the encl of the first stage ing detail with some London, England. Helmle & Corbett, Architects accuracy suggested on page 8. that such mediums as charcoal or lithographic craym1 Second Stage-The next step was to advance the would be too broad. On the other hand, as it was essential values to approximately the final degree, desirable to recognize the characteristic, varying tonal ignoring indication of detail (certain essential lines qualities of London buildings, and as it was the aim to were first reinforced sufficiently to keep them from produce a drawing not entirely without atmospheric being obliterated during this process). General affect, a hard pencil line did not seem appropriate; tones were applied over the surface, using the broad nor did the gTay of the ordinary lead pencil lend edge of an inch of the lead cut from the pencil, and itself well to the depth of tone desired. A carbon (Continued on page 36) 7 ,.····""'""' ------· -0 m z () -r -0 ... . 0 -z -I Vl
Photograph by lV urts Brothers First Stage of Rendering by Hugh Ferriss the Final Stage of Which is Shown on Page 6. See T ext on Page 7. PENCIL POINTS
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"'~ -2 Vi "tj 1 ~ "l l.> "-' t' VJ ~ £ ~ l! f 9 PERSPECTIVE DRAWING, PART VIII BY PAUL VALENTI EFERRING to Figure 22, in the case of point D + 3 in the opposite direction and it will be D = 3 x y;2 the height or width of the pic found that this line intersects line aV in exactly the R ture (whichever ·the maximum dimension same point as before, or in point A' which is the may be), we shall find the perspective of point A perspective of point A. Checking up this operation in the usual manner-first by referring point A to as before we may center again in point a rotating the ground line by a perpendicular to point a, once more VJ of line aA this time to the right to the thence a straight line to the vision point V. Center ground line. Unite the point of intersection of ing in point a with radius aA rotating to the left this arc and the ground line with the point D -;- 3 describe arc of circle Aa' intersecting the ground in the opposite direction and we will observe that line as was done in this line will intersect Figure 14 in a pre line av in exactly the vious lesson. (Part same point as before, IV.) Unite point a' or in point A' which with the ooint D in is the perspective of the opposite direction. point A. As before, at the in The same applies in tersection of this line the case when we a' D and line aV we have selected a condi will find point A' or ------L tion of D = 2 x Yi of the perspective of the width of the pic point A. To check ture (having drawn up our operation we up closer to the trans may center again in Figure 23 parent plane), divid point a with radius ing each time line aA aA, rotating this time to the right, describe arc of or distance of object from picture plane in the same circle Aa/' intersecting the ground line as before. number of parts as we divided line VD or distance Unite point a" with point D in the opposite direc of observer from picture plane. (See Figure 23.) tion. Again, at the intersection of this line A"D and line aV we will find point A' or the perspective CONSTRUCTIVE ANATOMY. of point A which it will readily be seen occurs in BOOK of great value to every one who exactly the same place. But this is what we wish wishes to learn figure drawing is "Construc to eliminate, that is, point D which is so far out A tive Anatomy" by George B. Bridgman, in of our picture plane. Consequently we will pro structor in drawing and lecturer on the construction ceed to divide for our convenience the distance VD and anatomy of the human figure at the Art Stu into three parts, bringing point D exactly on the dents' League, New York City. This book has just border of our picture calling it D + 3 (D divided been published by Edward C. Bridgman, Pelham, by 3). Now by dividing in similar manner line aA N . Y., at $7.50. It consists of 216 pages of text (or the distance of our object from the picture and illustrations, is neatly bound and well printed. plane) also into three parts, centering in point a, The illustrations are from numerous drawings that rotate VJ of this distance first to the left (as in the show effectively the conceptions of the human fi gure previous case) to the ground line. Unite the point that have made Mr. Bridgman so successful a of intersection of tl1is arc and the ground line wi':h teacher of figure drawing. : I I I I I I __ ].______.,.______p~a ~------_+v______::-_.,...,P.'.:~ ------<>- ----:=--:=-J -- 7 3 - ·---- 2. I \ / I -~-- - j _____Z- --·- ,) ------'\ ,/' J- -·------··--- -·---- \A' ./ -·- J.- ---· .r. - ---, ==·;~¥::::-:-__:_~ i L ~ a'~ , .d .1 ;a" \ \. ! 1 _,,/ ; ' ·, T i \ ·,,,_ +zI / I '- ...... - ._l-1_.__ ..,,../ A Figure 22 IO VOL. II, No. 1 p E N C I L P 0 I N T S PLATE I I i· r-· ··· . ' • i ' •"' .-,,),•\.·· ": -' ! ·- · ·· .l'. ··:i.;; t. ;· : :· l l !'C •t ' ',,i · ~ =·~ ; ::_"~ i· ;·;' . : ;'<~ i Ii, A ROMAN PALACE AND THE BATHS OF DIOCLETIAN From H . D'Espouy's "Fragments d'Architecture Antique" On the other side of this sheet is presented a reproduction of a plate from D'Espoiiy's "Frag ments D' Architecture Antique," showing a Roman palace from a co111position by Felix Duban, also a restoration of the Baths of Diocletian. Halls in which were baths of different temperature, also an open place for gymnastic exercises, with halls at the side in which exercises were taken under in struction were provided. There was a hall for games, an assembly room, and there were various other rooms necessary to the operation of these completely-appointed and luxuriouJ: baths. VOL. II, No. I p E N C I L P 0 [ N T S PLATE II THE LINCOLN MEMORIAL, WASHINGTON, D. C., HENRY BACON, ARCHITECT FROM A RENDERING BY BIRCH BURDETTE LONG The work by Mr. Birrch Burdette Long, reproduced on the opposite side of this sheet, presents the Lincoln Memorial at Washington, D. C., as it will appear when seen across a portion of the lagoon that will form part of the landscape gardening around the memorial. Though the building is com plete, the landscape planned will require a long time to reach the stage of development intended in order that it may form a suitable setting for this memorial, which is justly considered one or the fines t memorials ever erected. Mr. Henry Bacon was the architect. The bitilding contains a series of great mural paintings typifying the varioits aspects of Lincoln's life painted by Jules Guerin. Some of lvl r. Giterin' s figure studies for these murals hct"ve been published in earlier issues of this magazine and others will follow. The memorial will contain a statue of Abraham, Lincoln b3• Daniel Chester French. PENCIL POINTS VOL. 11, No. 1 PLATE III .. }1 i : .. " r'• ~. f'1 ·I . I I ~ ,.. ... \ ~ • F •• -~":!._ :c. GT·'4.· • t:l._ ., _ VIEW FROM A WINDOW IN MILAN FROM A DRAWING BY OTTO R . EGGERS On the other side of this sheet is a reproduction, at the exact size, of a drawing made by Mr. Otto R. Eggers, from his window in Milan in I9I2, when he was studying as the first holder of the Le Brun Travelling Scholarship. This drawing is in pencil with a f ew light washes of color. PENCIL POINTS VOL. II. No. I PLATE IV -'I /.!.--.- . ./' . . . ft-'>. ;! t·, .. ..._..;.1.-: · ·~ ! J .. ·1 CotlTtCJ') of Kennedy & Co. A FIGURE STUDY BY TROY KINNEY The figure study for "Provoqiwnte," reproduced on the opposite side of this sheet, is marked by the sensitiveness and delicacy of drawing that are characteristic of Mr. Troy Kinney's work, quali ties to be seen in his many etchings of dancing figiwes inspired by the Ballet Russe, varioits inter pretive and Classic dances, and by the dances of Spain. In this figitre drawing we have an especially delightful study and an interesting example of this artist's technique. THE STUDY OF ARCHITECTURAL DESIGN WITH SPECIAL REFERENCE TO THE PROGRAM OF THE BEAUX ARTS INSTITUTE OF DESIGN THE BEAUX-ARTS METHOD BY JOHN F. HARBESON Tivis is the first of a series of articles in which Mr. Harbeson will explain the method of work ing and how to get the greatest benefit in following the program of The B eaux-Arts Institute of De sign. This series is designed to cover matters of 'method and leave the time of the instntctor and the student free for tlie individual problem. It is not intended as a substititte for personal instruction and criticism, but as a means of clearing the ground. Mr. Harbeson ,is closely identified with the work of the Beaux-Arts Institute of Design. These articles are based on his experience in the teaching of architectural design. The sitbjects covered will embrace the following: "The Analytiqite or Order Projet," "The B Class Plan Projet," "The Class A Plan Projet," "The Class A Decorative Projet," "The Archaeology Projet and Measured Drawings," "Sketch Problems-'.'-ED. HE system for the study of Architectural De design-and the science of design is necessary to sign conducted by the Beaux Arts Institute the architect in order that he may express himself T. of Design is, of course, founded on that of clearly. the Ecole des Beaux Arts in Paris. The scheme The Ecole is different from any school in this of education is similar, and architectural education country in several ways; ways that suggest a pos in this country has been for many years largely sible future development here and the growing under the tutelage of men. who have had the train demand for a governmental department of fine arts ing of the Paris ma y result ulti School. In trans mately in a nation planting this sys al school. tem to America, its In the first place sponsors have in the Ecole is recog terpreted it freely nized in France as into American ways the final school for and it n o w has architectural educa certain traditions tion. In this coun differing slightly try, there is as yet from those of the no such authority, parent school. But and a number of in order to under schools claim, and stand the scheme .of in fact have had by study o n e should t u r n s, superiority know something of in training, as evi the Ecole itself. denced by the re T h e Ecole des sults of competi Beaux Arts was tions in which men founded in 1671 as trained in the dif a royal academy of ferent schools have architecture by a entered. minister of King Main Entrance, Ecole des Beaux Arts, Paris Then, too, the Louis XIV named Ecole in Paris is Colbert, perhaps known best to Americans through surrounded by notable monuments of architecture, the novels of Dumas. Cardinal Mazarin had pre and by galleries filled with the masterpieces of all viously founded an academy of painting and sculp ages. The whole city is a museum, and within a ture, and at a later period these two schools were few hours ride are hundreds of superb buildings, joined. ancient, medieval and modem. England, Spain and Since this early beginning the Ecole has slowly Italy are no farther from Paris than is Chicago formed the tradition that governs its procedure to from New York. Nowhere can be found so com day. The purpose of its training is to impart to plete a set of representative buildings as in Paris. each student a method of attacking and stitdying There is no modem architectural program that has any problem in architectural design which may be not there an excellent translation. If a library, for presented. It gives a training in composition and instance, is the subject of competition, in a few 19 PENCIL POINTS hours the student can visit many form part of the student's libraries and start his work background. The main en with all the benefits of existing .... trance through the ground court tradition. S ever a 1 of our is shown in one of the illustra schools are fortunate in being tions published here. near excellent museum collec But most important of all is tions- but none of them is as the method of study of the yet surrounded by such a wealth Ecole, as on this its success de of actual architecture, for this pends. The features of this is a young country. system at the Ecole, as sum Furthermore the school it med up by one of its profes self is a grouping of fine archi sors, and quoted by Walter tecture. The nucleus of this Cook in an article that appeared group is the old convent of in the issue of The Architec Petits Augustins, founded in tiwal R ecord for January, 1901 , 1608 by Queen Margaret of are: 1. The division into ate Valois, and completed after her liers. 2. The tradition of the death by Q u e e n Marie de older pupils helping the young Medicis. This convent w a s er. 3. The teaching of design suppressed during the Revolu by practi sing architects (and tion and became for a while a we might add here the judg m u s e u m where relics from men t of the competitions by a Churches and Chateaux were trained j u r y of practising collected. · One of these, a por- architects). 4. The beginning tion of the fa<;ade of the Cha- of the study of design as soon teau d'Anet, is shown in one of as the student enters the ate the illustrations in this article. Entrance to Chateau D'Anet, Ecole des lier. 5. The system of the Beaux Arts, Paris When in 1830 the Ecole took esquisse. possession, various alterations were made to the All of these features the Society of Beaux Arts buildings to adapt them to their new purpose, and Architects, composed of former Ecole students, has portions have been added from time to time. The incorporated in the work of the Beaux-Arts Insti Cour du Murier, a view of which is shown, is part tute of Design ," which can be made use of by any of the cloister of the convent. Note the delightful one who is industrious and wishes to study. The atmosphere of this court, with the fountain, the individual student in a small town can learn much. old tree, and the casts of statues under the arches. Students in the cities where ateliers have been Another interesting part of the old convent which formed in which criticism in design can be had from remains is the chapel, not illustrated , now contain school-trained men and where libraries and museums ing an exhibition of casts and small objects. Form exist, T-iave an opportunity for the finest kind of ing a decoration at the end of the room is a copy architectural training. Also there is always the of the "Last Judgment" painted by Michelangelo opportunity for the student to become ultimately a in the Sistine Chapel in Rome. A view of the competitor for the Paris Prize. The winner of this vestibule of the Salle Melpomene is shown. The prize may enter the higher class in the Ecole des library is attractive both for the wealth of books Beaux Arts, finish his architectural studies in Paris and for the architectural beauty of the room in and travel in Europe. which they are housed. In the court of the library The Beaux Arts Institute of Design has achieved are a number of the archaeological remains that a position of authority in this country in that most Cour du Murier, Ecole des Beaux Arts, Paris Hotel de Chimay, Ecole des Beaux Arts, Paris 20 PENCIL POINTS Exhibition of Students' Drawings at a Judgment of Work from Atdiers in Various Parts of The Country in a Room at The Headquarters of The Beaux Arts Institute of Design in New York City of th e architectural schools now use its programs, If the student can JO!Il an existing atelier he and send their work, in whole or in part, to be should by all means do so. If there is none near, judged by its juries in New York City. The knowl he should try to persuade some other draftsmen, as edge that an award is made on a problem after it many as possible, to take up the work at the same has been compared with some hundreds of others, time; discussion of the problems during the course from all parts of the country, makes the rating is of great value in spurring one's own efforts and especially valuable as an indication of the student's stimulating one's imagination. progTess, and makes the award precious if it be In an atelier one of the causes for the rapid de one given only for di stinguished work- a medal in velopment of the new student is the tradition al Class A, or a first mention in Class B. ready mentioned as one of the features of the E cole The most important thing is for the student to system-the older, more-advanced pupils helping take the vvork with the rig-ht attitude. Any one the younger ; and what goes with it, the younger problem must be considered not as an end in itself, men working for the older. This is called "nigger but as a part of a well mapped-out training in de ing" and consists in doing anything the advanced sign-and design man asks-usual is not concerned ly taking a study primarily w i th to double a scale, ornamentation or rubbing a draw detail, but with ing, i n king-in, m a k i n g an ar~ laying o u t me rangcment t h a t chanical work, etc. w i 11 satisfy the It is in return for practical req uire this that the older ments, with the man gives criti compositi on of c ism s to th e elements, with the younger, s ho ws proportfon of him how to better masses, with the his problem, tells arrangement and him of documents di s p osition of that fit his case, openings. etc .. and gives him a lift with producing a with his render building of pleas ing, and in other ing appearance. Vestibule of the Salle Melpomene, Ecole des Beaux Arts, Paris (Con. on p. 34) 21 PENCIL POINTS DETAIL OF FRONT ELE VATION r SCM.E :3< IN-_l FOOT- ~- K r:Y "1'0 ...... ltLA1 . .. '·~ """ """'"".~ SECTION ON crnn R. LINE DETAIL OF FRONT ELEVATION BUILDING FOR THE CHEMUNG CANAL TRUST CO., ELMIRA, N. Y. DENNISON & HIRONS, ARCHITECTS This drawing, Figure 16, shows front stitdied in model shown in Figure I7 on page 23. 22 THE USE OF SCALE MODELS, PART III BY FREDERlC C. HIRONS Jn the article of which this is the third installment, Mr. Frederick C. Hirons, of the firm of Dennison & Hirons, Architects, points oivt the practical advantages in the use of scale inodels · for study diwing the design ing of buildings and e%p/ains methods of procedure, step-by-step. The Process as applied to the exterior and in terior of a bank brnilding is described in this installment. The working out of other problems will be ta./wn 1,p in the same manner in the next issue.-ED. MONG the most important questions in de tion of the light, noting whether it comes from the sign which may be answered by the use of side walls or oeiling and whether the room will be A models are those relating to the building as lighted by diffused or by direct sunlight. seen in perspective and the effect of lighl in relation The interior of the building for The Chemung to the color of the materials used. As for the first Canal Trust Company, at Elmira, N. Y., was of these, the models will serve to correct the errors irregular owing to the shape of the lot, and a diffi made in giving too cult prob 1 em to much or too little solve was found projection to t he in the ceiling. In major elements of this case careful the design and will construction draw enable the architect ings were made giv fully to appreciate ing the radii of the the relief that is arches and all in necessary to be formation n e c e s given to ornament sary for putting up and detail located the furring and the at various heights rough plastering. A above the observ s k e t c h drawing er's eye. The model showing the general of the Chemung character of orna Trust Co. of El ment desired was mir a, N. Y., a then made and a p h o tog rap h of scale model at l 7~" which is shown on scale w a s subse this page, solved quently made of the problem of the structural drawings The question of select for the furring a n d ing the modeller to do rough plastering, giving the work is important. the various radii, spring The most satisfactory of arches, depth of re way, in the opinion of veals, etc., supplemented the writer, is to select a by the sketch at y,i-in. painter or sculptor by scale of one penetration the quality of his work and pendentive. It can -and not by competitive thus be seen that much bids. The · difficulty of time was saved by this the latter method arises means of study without as follows : It is still any full-size drawings, customary among t h e and using the 1 y;!-in. majority of architects' scale model in the place offices to mark on the of drawings. working drawings what As to the material in portions are to be mod which the ornamental elled, and to stipulate work is executed, it will just exactly what is to be well to point to a few be finished. Then bids of the qualities and the are obtained f r om a limitations of the com n u m be r of modellers. monly u s e d materials. The lowest estimate is In studying from the accepted and, frequently, small-scale models it is the modeller begins to necessary to consider the w o r r y whether he is material . in which the "stuck" or not. As to modelling will be copied. that, it all depends on In using granite, which what the architect de is a very coarse stone, mands and to what de it is advisable to keep gree he wishes to study all ornament and reliei his work and experience simple; this elimination ___J will prove that it is best of detail being, however, Portion of Ceiling Treatment in Building for The Chemung Canal to work with t w o or governed by the distance Trust Co. Dennison & Hirons, Architects t h r e e modellers until of the ornament from they get to know your the eye of the observer. A most excellent example tastes and to what extent you carry the study of of modelling and carving in granite and one which your work. As a detail in the matter of practical shows the qualities of this stone to best advantage, execution of the model, it is a good idea if one has are the eagles in the panels on the end pavillions of the time to do it, to take two casts from the glue the Pennsylvania Station at Thirty-third Street, mould, one for carving and finishing for the irol! New York. Limestone is softer than granite and or bronze foundry, and the other cast to be colored carving may be carried successfully much further. the exact color which you wish the finished metal In some of the softer limestones the most intricate work to have. The contrast between the white Gothic tracery and pierced ornament may be exe pl aster cast and the same cast painted black is cuted. Marble is the most variable of all building astonishing, so greatly does the darkening of the stones, because of its many varieties of color and cast reduce its apparent size. texture, is capable of the most beautiful effects in the hands of a master carver. Iron occupies the EXHIBITION OF ARCHITECTURAL same relation to bronze that limestone does to WATER COLORS. marble. In delicate ornamental work ,such as bank screens or ornamental grilles, if iron be used, the HE Massachusetts Institute of Technology relief and detail should be kept considerably bolder T will hold an exhibition of architectural water than if the work is executed in bronze. Iron so colors, which will open to the public on Jan used is usually given a shop-coat of paint and later uary 5, 1921, and continue for three weeks, at the several coats of paint at the job. It can readily be Rogers Building, 491 Boylston Street, Boston. This seen what would happen to modelling too deli exhibition will contain examples of the work of cately carved. In the case of bronze, the metal is Whistler, Sargent, Winslow Homer, J anin, Joseph left in its natural color without treatment other Linden Smith, and of many men who are well than that given slow oxydization. known throughout the country. This exhibition is one of several steps taken in an attempt to place 6efore the students of this school, and the interested Note-The model shown in the photograph on public, examples of good architectural work 111 page 23 was made by Ricci, Ardolino & Di Lorenzo. painting, drawing, faience and terra cotta. 24 SKETCHING AND RENDERING IN PENCIL, PART VI BY ARTHUR L. GUPTILL fo this series of illitstrated articles, the first of which appeared in the Aug1~st isme of !his journal, the tech nique of pencil sketching and rendering is being _tak~n up step by step, carrymg the archit~ctural drf!ftsman or stitdent through a systematic coitrse. of study which nas b;en grr;iditally d~velope~ and Pitt into practice by Mr. Guptill in his classes at Pratt fostitute, J?r~okly11 , New } o_r~ City. The l·l!ustrations ar~ not . merely copy plates, but each is drawn to illwstrate some prmciple of co111p esition or s11ggestion for technique in the text.-En. Com position (Continued) use. An ink-bottle, a turnip and a vase of roses might be arranged into a pleasing composition so N landscape painting and decorative drawing far as variety of form and size and value are con more such liberties are taken, however, than are cerned, but unity would always be lacking in such I permissible in most architectural sketching or a group for these objects are not sufficiently well rendering, for architecture must as a rule be truth related by use to ever become a satisfying single fully portrayed, the changes to better the compo whole. It would be equally difficult to compose a sition being made for the most part in foliage, coal scuttle, a hair brush and a cut glass pitcher, shadows, and the like. To illustrate this matter of but a comparatively simple matter to form an ex changes, we have shown in Figure 14, Sketch 2, cellent composition of a loaf of breaf partly sliced, the dark boat in exactly the same position as on the with knife, plate, etc., or of a garden trowel, flower photograph. This spacing is not wholly satisfactory pot and package of seeds. Fortuna"ely nearly all as the boat seems isolated in the center of the objects of an architectural nature are so closely sheet, attracting by its placement more than its related that little difficulty is experietfred in fi nd proper share of attention. In such a case as this ing things which go well together, so the delineator it would be better to improve the composition by of architecture has much less trouble in this respect moving the boat to the right or the left or i': might than does the painter of still life. Unity in archi be tied into the scheme by the addition of extra tectural work is often injured, however, because lines or tones. Amendments like this are always certain accessories are too important in relation to advisable, and it is also wise to omit from a sketch the architecture itself. It is not inappropriate tu such objects as have little or no relation to the sub show an automobile at the curb before a Colonial ject itself, and which, for this reason, detract from doorway but if it is indicated so large in size or the main idea which the drawing is intended to made so conspicuous in any manner that it detracts express. This means that we must observe the from the doorway it then prevents a perfect unity "Principle of Unity," which requires that a compo in the sketch. It is mainly for this reason that in sition must be a homogeneous whole, all its parts rendering architectural drawings such accessories are related and so thoroughly merged and blended to often left in what sometimes seems to the beginner an gether that they become a single unit. In order to unfinished state. Trees are shown in a conventional secure unity in a drawing only as much of the and inconspicuous manner, clouds are often either material before us is selected as relates directly to omitted or only lightly indicated and shadows are the subject of the sketch. Separate your subject simplified. This brings us to a discussion of the from everything else that is visible, and think of "Principle of Balance" which is so closely related it as a single harmonious whole. This rule applies to the principle of unity as to be really a part of it ; whether your subject be an entire building, or some in fact without balance there can be no unity, for portion such as a dormer window or some still by balance we n1ean, as the name implies, !he smaller detail,-a door knocker, for example. Once equilibrium or restfulness that results from havmg v6u have determined. which of the ideas are to be all the parts of a composition so arranged that each ~ejected as irrelevant, you must decide on the rela receives just its correct share of attention. Every tive importance of those which have been accepted part of a picture has a certain attractive force which as essential, for unity in a drawing depends not acts upon the eye and in proportion to its own only on the selection or rejection of material but power to attract it detracts from every other part. on its emphasis or subordination as well, for unless If we find our interest in a drawing divided between each detail is given just the amount of attention several parts,--if certain tones or lines seem too in that is proportionate to its importance, the compo sistent or prominent,-we know that the composi sition will not count as a complete and satisfactory tion is lacking in balance and likewise lacking in unit. Failure to give sufficient emphasis or accent unity as well. It is impossible to give concise and to the leading parts of a drawing causes a loss of definite rules for obtaining balance in drawings, force to the entire composition and in the same mainly for the reason that the attractive force of way neglect to properly subordinate the unimpor each portion of a drawing depends on an infinite tant parts leads to confusion and complication. number of circumstances which are variable. A To further illustrate this principle of unity let short, straight line drawn near the center of a clean us consider some simple objects found in everyday sheet of paper has a power to catch and hold the 25 PENCIL POINTS DIAGRAM· 1· Figure 15. Illustrating some of the principles of composition in examples of varied character. PENCIL POINT S eye. Let a figure "6" or some other curved line permanent and solid and should appear to rest firmly be drawn near the straight one and even though on the ground. A void, therefore, any effect of they are of equal size the curved line will prove the violent wind or of speeding automobiles or hurry more powerful attraction of the two. In the same ing people. If persons are indicated it is well to way a star-shaped form or a triangle has more have them walking quietly into the picture or ap strength to attract than a square or rect~ngle of proaching the center of interest, for if they are like area. This power depends not entirely on shown walking away from the center towards the shape however, but on the value of light and dark margin line the eye follows them and the balance as w~ll. Draw two squares on paper, side by side, is thus disturbed. There are, of course, exceptions the one dark and the other light and if the paper is to this. If many people are shown, as in a street white the dark square will exert the strongest force scene, they may be represented as going in all di but if the paper is black the white square will jump rections, for the sense of motion in one direction into prominence. Again, the attractive power of will be offset by that in the other. Figures of any an obj ect varies in proportion to its proximity to sort greatly injure a drawing, however, unless they other objects. If, for example, a man is shown are well drawn and naturally arranged into effec at srnall scale in a standing or sitting position near tive groups, and so should either be omitted entirely the center of the sheet he will receive considerable or represented well. attention if by himself, but if surrounded by other Figure 15 is designed to show certain displeasing objects he will seem much less noticeable. Then, effects often found in architectural drawings, which too, a moving object or one which suggests motion, it is best to try to avoid. A reference to Diagram will be more prominent than a similar object in 1 will disclose that the foremost corner of the house repose. Let a man be shown running and he is is equi-distant from the two end margin lines. It seen far more quickly than if he is at rest. Objects is seldom advisable to place a building in this posi near the edges of the sheet or in the comers usually tion, a possible exception being a tower which is arrest the eye more quickly, too, than they would absolutely symmetrical. Diagram 3 illustrates the ii near the middle of the paper. same point, while Diagram 5 applies the idea to These examples are sufficient to show the diffi an interior, and in both of these the effect is some culty of attempting to give definite directions for what unpleasant. Do not, then, divide the picture obtaining good balance. The best suggestion we can space into two equal parts by having some impor off er is that the student make first of all, as soon tant line directly in the center. Look again at Dia as a drawing has been blocked out in its main pro gram 1, 3 and 5 and you will find that the horizon portions, a preliminary sketch such as we have de line or eye level towards which all the receding scribed. A painter is able to make many corrections horizontal lines seem to vanish is just one-half way in his work as he progresses, until excellent balance from top to bottom of the picture space, and this in every part is gained, but in pencil sketching, division is unsatisfactory, too, and better results where the nature of the medium and the limitation are obtained when the horizon or eye level is either of time demand that the work be done very directly above or below the center of the sheet. In the sann and with few changes, it is difficult to make well way the sketch of the bridge at 3, Figure 14, would balanced drawings unless the artist or student has be better if the top line of the bridge was not so had considerable practice or unless preliminary near the center, for here the picture space is also studies are made. Almost invariably such studies divided into two nearly equal parts by this line. save time and give results in the end that more than ~gain, it is usually well to avoid many opposing justify the labor spent on their preparation. Then, Imes of the same slant or angle, for variety is al by way of additional precaution, as the final sketch ways desirable. In Diagram 1 the lines at A B C progresses set it away from you at intervals or and D are all of equal pitch. T his leads to ~101;ot tum it upside down or on end or even reflect it ony. The same fault is found in 3 and 5. It is in a mirror so as to see it in a reversed or changed better to so place the building on the sheet as to position. When so viewed the balance should still avoid these difficulties and Diagrams 2. 4 and 6 be good and if not, the necessary adjustments should are better in placing than 1, 3 and 5. Diagram 3 be made. If some part seems too prominent either has other faults. First the perspective is so violent tone it down or accent other parts until balance is that the building has the unstable effect of restinO' . 1 b restored. on its ower corner, and the crossed lines of the These principles of unity and balance which we streets form too conspicuous a pattern with a ten have described all too briefly are most important dency to draw the eye away from the building as they apply to all forms of drawing and design, towards points A and B. Diagram 4 has a more but we must leave them to offer a few suggestions pleasing. variety of ma~se~ and the interest plainly which relate ef; pecially to architectural work. centers 111 the mam bu1ld111g. Diagram 5 shows a First of all, in making drawings of architecture ~au!~ in that the two visible wall surfaces are equal strive for an effect of restfulness and repose. A 111 size and shape, as are also the ceilinO' and floor painter of birds and animals or of marine views and here, too, there is no real center of focus fo;. often desires an appearance of motion, but care the eye jumps back and forth between A and B. must be taken not to suggest much movement when Diagram 6 is better, for the interest undoubtedly drawing architecture, for each building should look (Continued on page 36) 27 larly, often having an informal feed following the regular program, the social side properly balancing the more PENCIL POINTS serious aspect of the Club's work. Published Monthly by THE STAMFORD MONUMENT. A L THOUGH not unlike the famous circular monu- THE ARCHITECTURAL REVIEW, Inc. ment of Lysicrates, the Stamford Monument has a character distinctly its own. It has an individuality in Publication Office-Stamford, Conn. many of its features such as columns, cornice and base. Editorial and Advertising Offices-One Madison Ave., New York It commemorates all the wars from the early Indian wars down to the Great War, in all of which sons of the City RALPH REINHOLD, President C. H. PETERS, Vice·Pr.. ident of Stamford took part. F. W . ROBINSON. Treuurer EDWARD G. NELLIS, Secretary Between the Ionic columns engaged in the drum of the monument, the names of the battles are carved. The EUGENE CLUTE, Editor names of those who took part in the action are cast in Associate Editors bronze and the tablets are placed directly underneath W . V. MONTGOMERY E. ·M. URBANO on the base. George A. Freeman was the architect. Wes tern Representative J. W. DICKINSON SHADES AND SHADOWS. 702 Security Building, Chica110, Ill. THE revised translation by Julian Millard of M. Jules Fillet's work on shades and shadows, simpli Copyright, Igu, by The Architectural Review, Inc. fies the practice of casting shadows into simple and easily Subscription rates per annum, payable in advance; United States of America and remembered rules. Mr. Millard has k ept well to the U.S. Pouessions, Cuba and Mexico $1.00, Single copies 10 cents ; Canada $1.25 original but has made deviations to further elucidate some all ocher countries $1.50. points. The geometric figures explain the m ore complex PENCIL POINTS is on sale ot the following book shops : New York, Bren architectural forms and their shades and shadows. The tano's; Chicago, McClurg's; Boston, The Old Corner Book Store ; Washington, problem of construction of the shades and shadows of the Brentano's. Wholesale Distributors, The American News Company; New York more difficult forms such as capitals, bases, balustrades, etc., are solved and demonstrated. The size of the book is 9Y,x12Ys inches. DEPARTMENT OF ARCHITECTURE, AGRICUL TURAL AND MECHANICAL COLLEGE OF A reader of PENCIL P OINTS has sent in the following TEXAS. inscriptions copied from the panes of a window of an old ORK in the Department of Architecture of the English Inn. W Agricultural and Mechanical College of Texas, is "Should you ever chance to see A man's name writ making exce llen~ progress and more than fifty men are on glass, Be sure he owns a diamond, And his parents now registered in that department. This indicates a own an ass." marked development since the resumption in January "I told the waiter James, to fetch me for my picken 1919, of architectural instruction, which had been sus some Beaune of '87 and a tender little chicken. He took pen&ed on account of the war while all efforts were cen my order in a trice, but as I hope ·for Heaven, the wine tered upon training young men for the service. was bottled in the Spring, the bird was "87." An additional drafting room has been fully equipped for the use of sophomores, while the old drafting room, Friend (looking over Brown's flat )-"And what is similarly equipped is used for juniors and seniors. this passage for?" Brow.n- "Passage ! Great Scott, this During last year a large number of plaster casts were is the dining room!" added to the department's collection and valuable books were added to the library. "If it is versatility you seek, go find an architect. He The annual Southern Intercollegiate Competition in must be an artist, or his buildings will offend the eye ; Architectural D esign will be conducted this year by the an engineer, or they will ci::umble; a lawyer, or he will architectural faculty of this college. The competition, get his patrons into trouble; a doctor, or his buildings open to seniors only, is held early in the Spring. will be hygienically unfit to live in ; and last, but n ot The archite ctural faculty also has announced that at the least, he must be a gentleman or we will have nothing to end of the year a prize, consisting of valuable architec do with him."-Riche lieit. tural books, will be given to the student who does the best all-around ar chitectural work during the year in the A branch in St. Louis will be maintained by the Cutler-. senior, junior, and sophomore classes. The cost of these Hammer M;mufacturing Company, which has secured books is to be defrayed by the faculty. suitable office space in the Railway Exchange Building, T he a1·chitectural teaching staff consists of E. B. St. Louis. This office is a branch of the Chicago District La Roche. J. M . Kellogg, H. N. June, who are all well office and is being established because of the increasing prepared fo r their work, each having had practical exper amount of business clone in the St. Louis territory. Mr. ience in addition to being a graduate of a leading Ameri Harold Phillips, formerly of the engineering department, can University. The first two named graduated in archi Cl.1icago .. and later office manager of the Chicago office , tecture at Cornell, and the third at Pennsylvania. will be m charge of the new St. Louis branch. Professor Henry Norton June of Cincinnati is the new member of the Architectural D epartment. He brings with Courses of instruction in artificial illumination will him a record of accomplishment from the Ohio Mechanics be given by Mr. Frederick .T. McGuire, of the Department Institute where he headed the architectural work over a of \Nater Supply, Gas and Elect1·icity of the City of New period of years, at the same time giving attention to the York, under the auspices of The Department of Education. private practice of his profession. in two hi i course or be graduates of a professional school requiring three years study for a degree, or they mu s ~ be t".'enty four years of age and have spent ~ve years. m an. mdus trial establishment in work requtnng techmca~ skill. Dr. I. L. Kandel, 522 Fifth Avenue, . New Y o:k, is secret EXHIBITION AT THE ARDEN GALLERY. ow that the inter-relation of the arts is . becomi•1g N generally recogni zed, the interest of a rchitects_ and of designers in various fields is turned toward many or the forms of art expression which, th ough they 1~ay b ~ar little superficial evidence of relation to the _wo1·k m which the designer is engaged, do form ve ry mterestmg and sometimes inspiring subj ects for study. One of these fi elds that is little known excepting to those who devote much time especially to the subject, will be represented _by the exhibition of ritual and theatrical masks, together with a collection of decorated costumes designed and executed by Madame Marie Gallenga of Venice, which wi ll open on J anuary 3 and continue till J anuary 18 at the A rden Gallery Fifth Avenue, at Forty-eighth Stt·eet, New York. The r~as o n for the holding of this exhibition is the recent and widespread revelation of inte1· est in the use of theatrical masks, which has fixed the attention o f a group of American artists who are now experimenting in this new-old art with gratifying results. From a statement issued by the Arden Gallery, we TROY KINNEY. quote the foll owing : "Masks for ritual and theatrical pur poses have been used by primitive people~ from time THE spirited and sensitive etchings and dry-points immemorial, appearing first in crude coatmgs of clay which Mr. T roy Kinney has made, during the past daubed directly upon the performers and later as remov few years, of dancing figures have given him a unique able masks made of every description of material and used place among present-day artists. His interpretations con to disguise participants in religious mysteries and dances. vey the spirit of the subject in each case, in a distinctive "The invention of the tragic and comic masks used in manner that is not marred by mannerisms, in fact this the Greek theatre and attributed by Attic tradition to artist gets his results in such a way that one is not Thespi s was undoubtedly merely a development of these conscious of his technique until one deliberately turns more ancient and cruder disguises, wh ich transformed the actor in mysteries and dances at wi ll , into a god, animal to examine it. or demon, etc., as the occasion demanded. W ith all th eir spiritual quality his drawings are sound "Greek and the J apanese art li fted these crude, but in composition, showing much the same feeling for ~a ssi n g often elaborately decorated di sgui ses, into the realm o f and the prope1· inter-relation of the parts of a design that subtle characterization. is a characteristi c of well designed architecture. "Specimens ranging from Ceylon to America will be M1·. Kinney gain ed much of his development during shown, this series culminating in a wonderful noh mask the time he spent in Spain where he studied from an from Japan and a group of modern masks hy contempo artist's viewpoint the principles and methods of Spani sh rary artists. To these will be added J avanese marionettes dancin rr and since that time dancing in general has occu di stinctly Greek in feeling, probably the last remnant of pied m~'ch of his attention as a subject for inteq~reta!i o n. the influence of Alexanclet- the Great's Indian conquest, From accomplished dancers he has learned how mfimtely and a f ew marionettes of the Punch-and-Judy type, some expressive a single line may be. how varied its meanings. of which show by their vividly decorated faces the con Mr. Kinney's work has lately been exhibited very promi venti ons of the larger masks. nently and "The J ournal of the American Institute of "Madame Gallenga's costumes, designed and executed Architects" recently devoted much space to the publi under her direct supervision in her Venetian studio. are cation of a number of h is dancing fi gures. His work important enough as an art product to form an exhibi has also been reproduced in magazin es that reach the t ion quite by themselves. In E urope Madame Gal1 e. nga's general public. genius in her particular fi eld is acknowledged. Every Mr. Kinney is an Ameri can whose ancestors were iden detail of th ese superb costumes is designed and made in tified with the early history of this country. He was her ateli er. Their lines are founded upon the inspiration horn at Kansas City, Mo. F or several years he was an of great art periods." illustrator in coll abo1· ation with Mrs. Kinney over the signature "The Kinneys." Mr. Kinney's studio is in Lord Chesterfield in 1749 advised his son when at New York City. Vice nza to "employ three or four cl ays in learnin ~ th e Five Orders of Architecture, and you may know all that you need know in that time. Pallad'o's own book of FIELD SERVICE FELLOWSHIPS. Architecture is the best you can make use of for that puroose, skipping over the lowest mechanical parts of it H E Cornell Alumni News of November 18th contains such as the mate1·i als, the cement, etc." T an interesting account of the memori al for the one hundred and twenty-seven American Field Service men A series of travelling exhibitions which will, ulti who lost their li ves in F rance. A series of Field Service mately, embrace such items of home decoi-ati on as wall F ell owships, named after these men, in French universi paper. pottery, etc., has been inaugurated by The Ameri ties. have heen made available to American graduate can Federation of Arts. as a part of its progi-am to put shidents. F or 1920-21, these fellowships are offered not "art in every home." The .exhibition of "Pictures for the to exceed twenty-five fellowships covering thirty fi elds H ome," recently held at the Sage Foundation Building, of study. Applicants must be citizens of the United New York City, will be sent on a tour of the country. States, of good moral character, and possess a knowledge The similar exhibition held last year was immediately of French ; they must have completed a four-year college successful and three exhibitions of the kind were assembled. 29 QUERIES II fo this department PENCIL POINTS will endeavor to answer questions of ge1ieral interest pertaimng to Architec ture and allied arts, giving the best available information from authoritative sources. We desire that y_ou feel free at all times to make use of this service, inviting yottr co-operation ill making the department both interest ing and val1wble. Showld you desire an answer by mail, enclose stamp for reply. Address queries to, PENCIL POINTS, (A ttention of E. M. Urband), Metropolitan Tower, New York City. Question-Can you inform me where I can buy a tect and Engineer,'' published in San Francisco, often book or plates from which I can get some ideas about shows the type of architecture which you descrihe. building backgrounds for show-windows, etc.? M. A. L., Their address is F oxcroft Building, San Francisco. "The Cedar Rapids. Answer-The Merchants Record, 1909, \i\T estem Architect," a monthly magazine, also publishes 403 page s; "\Nindow Trimming," Merchant's T ext architecture of this type. Their address is 215 South Book Co., 1905. D ecora.tive Furnisher, "The Connection Market Street, Chicago, Ill. Between Sight and Sales," V. 33, pp. 37-38. "Window Question-Please tell me where I can get the best Backgrounds," Dr-:,i Goods R eporter, 1912; "Display vVin information on supporting and securing cut stone trim dow Lighting," F . Laurent Godinez. VI/. T . Comstock Co., ming and courses. H. A. H., Detroit, Mich. A i1.s-&e r 1914 ; "Lord & T aylor Window Displays," Upholsterer, As a practical book for this need, F. E . Kidder's Book 1919. "One Hundred Easy ·window Trims," Chicago, on Masonry Construction, published by Wiley & Son, will Byxbce Pub. Co. , 1913; "The Window Trimmer." M er prove useful. For detailed information, the literature rha11t's Record & S how liVindow, New York and Chicago. di stributed by the Indiana Limestone Quarrymen's Asso Monthly. ciation, Bedford, Incl., National Building Granite _Quarries Question-Will you please advise if "The Lincoln Associ ation, Inc., Boston, Mass., Rockport Gramte Com pany, Rockport, Mass., and other producers of stone for Memorial" at \i\Tashington, D . C. , has been illustrated by any architectural magazine ; if so will you advise name builcli.ngs w'ill be helpful. of publication ? J. E. K., Patterson Creek. W . Va. ,,-/ 11 swer-"The Architectural Review" has published Com DRAWINGS BY KENNETH CON ANT. petitive Drawings in the issue of October, 1913; a series HE drawings by Mi-. Kenneth Conant shown in a of articles has been published during November by the T recent exhibition at the galleries of A rthur H. H ar "American A rchitect." low & Co. New York City, are of unusual interest Q 11 estiou-May I take the liberty of asking you, if and show great skill and a rar e understanding in the rendering of architectural subjects in pencil. . . you can advise me as to the most up-to-date treatise on At the time this work by Mr. Conant was exh1b1 ted li brary requirements, fl ooring and construction. B. W. W., in the F ogg Art Museum of Harvard, a few months ago, Providence, R. I. Answer-"A Portfolio of Carnegie Li V\T . H. D ownes, in the Boston Transcript, said in part as braries" by Theo. ¥Vesley Koch, Wm. T. Comstock Co ., follows : "Mr. Conant, as holder of the travelling schol publishers, 23 Warren Street, New York. It contains 120 arship of the architectural department of H arvard, cer plates show'ing different li brary designs and plans. tainly put in his time in E urope to excellent advantage Question- Can you supply a reader of PENCIL POI NTS and from Spain in particular he brought a wonderful with the foll owing informatiq11? Believing that archi series of drawings-not of castles in Spain, but of the tectural models a1·e becoming more valuable for enlighten rich, splendid, majestic specimens of ecclesiastical Gothic ing a client, I wish to know about the materials employed, architecture in which that coun '. ry abounds. No artist the scale used for different classes of buildings, the names sets forth with greater deli cacy and di stinction of style of any books written on this subject. In short, any h elps the captivating characteristics of a great Gothic building, that will enable a draftsman to make a realistic model with its spires and towers outlin'ng themselves against with its surroundings. J. R. T .. Raleigh, N. C. Atiswer- the sky, its lace-like contours cli mbing buoyantly, its ri ch "Architectural M odelling" by P ercy Collins, in A merican sculptured details losi ng all their sharpness in the soften H omes and Gardens. Vol. 12, pp. 261-63. "Architectural ing di stance, and hinting at even loveli er refi nements of Sketch Models" in The Architec t and En9ineer, San line and form than the eye can perceive. No arti st unites Francisco. V ol. 49, pp. 57-61. "Models for Architecture" with its shee r deli ght in the 1·esources of hi s medium and in The A rn crican Architect, V ol. 109, pp. 265-270; "Mod the feeling for the grandeur of hi s theme a more per elli na in Cu-dboard." by F . W. Hammond, Blackie & fect or a -more adrnirahle degree of measure. reserve, and Son '"'London ; "Clay Modelling," by F. Farrington, Blackie sweet r easonableness. Nowhe1·e is th ere any trace of & S~ n London ; "Clay M odelling and P laster Casting," by excess, exaggeration. italics. Every last line and clot is P . N. 'Hasluck, D. McKay, Philadelphia, 1912. The ma informed with a fine architectural ima.ginati on and a terials employed and the methods used for different classes sensi tive appreciation of beauty and dignity. of buildings are discussed in these references. "In contemplating this ser'es of drawings one cannot Question- Can you i-e fer me to any late treatise with help thinking of Samuel P rout. o f Bonington. even of example illustrations on Spanish Mission Arcl1itecture as :Weryon. The firmness and certai nty of the drau, htsrn an applied to small house work such as is commonly used ship, the authentic architectural sense of structure, and in our S outhwestern Cities and Mexico, of "adobe." the inexhaustible enj oyment of the ni cturesq ue element. C. F. C., Indiana, Pa. Answer-There are no special controlled and ordered hy a beautiful temperance and treati ses issued on the small standard mission house. text reverence, are qualities and traits inextricably associated 11ooks being avail able 0 11 the larger types of houses as with the works of the most indisputable pi cto1·ial inter illustrated in "The Picturesque Architecture o f Mexico" preters of great architecture. hy L. A. Baume, "Franciscan Mission Architecture of "Mr. Conant was appointed instructor in th e architec Alta" by Rexford Newcomb, "Mission Archi tecture" by tural school of H arvard this year, upon his return from Prentice Duell. The archi tectural magazine, "The Archi- his travels." 30 ARCHITECTURAL ACOUSTICS C HAPTER VI N our last two chapters we have laid stress on loss of distinctness. The louder the original sound, the two chief sources of bad acoustics, namely, the worse is this condition. As in the case of light, I reverberation and echo, and have attempted to the solution is to introduce an amount of sound show the distinction between these two classes of absorbent material just sufficient to cut down the phenomena, generally confused in the popular mind. reflection to the degree best suited for comfortable While it is not wise to press the analogy too far, it hearing. In rooms which have satisfactory acous \viii perhaps help some of our readers to understand tics without artificial treatment, this condition is the subject more readily if we point out certain due chiefly to the furnishings and the clothing of similarities in the reflection of light. Reverberation the occupants. In most auditoriums, however, the may be compared with diffuse reflection of a light design and finish require a greater degree of ab wave, while echo is comparable with specular or sorption than is supplied by such means and in mirror-like reflection. these cases the additional amount must be intro If we place a source of light in a room whose duced · particularly on upper surfaces where the interior surfaces are finished, sound is most freely reflected. entirely with a dead black l 00 For this purpose, structural paint, or better still, covered materials of high coefficient of with black velvet, the illumi .90 absorption like AKOUSTOLlTH nation will be found to be and RUMFORD TILE are ideally \'e ry unsa! isfactory, as the low suited, as they lend themselves refl ecting power of walls and --~A to pleasing architectural effects ceiling causes only the direct and form a permanent and rays from the source to fall integTal part of the structure. on any object in the room. 10 As we have previously ex If, however, the surfaces of plained, the exact area of any the room are coated with a 60 g i v e n absorptive material flat white paint, the illumina which should be used to re tion from the same source will i,.---.... duce the reverberation to the be brilliant, owing to the ad 50 / . '\. proper degree is susceptible of dition to the direct rays of exact calculation as the result of scientific research. rays reflected back and forth - at every conceivable · angle 4 THE SPECIFICATION WRITER AND THE MANUFACTURERS' LITERATURE, PART VI BY LOUIS R. HOLSKE Fire Escape Constritctrion- T he architect would re door, much the same initial thoughts present themselves quire complete drawings showing sizes of material and to the architect's mi nd- in all cases is the hanger ball -bear connections in order to satisfy himself as to the foll ow in g and what is the method of attaching to the door ? ing poi.nt s. T he safe carryi ng capacity of the platform l s it possible to adjust the hanger, in case of settlement and stairs. The nature of the platform and treads, are in the building, without removing casing and trim ? W hat th ey slat form or soli d with per forations? The balcony is the form of the track and what thicknesses of metal construction. The size of the anchor members carried are provided for various weights? vVhat is the spacing through the wall and the size of washer on the inside. of the supporting brackets? In res idence hangers what Are the railings similarly anchored? The height of rail measures have been taken to eliminate the metallic rattle ings and spacing of the members comprising them. H ow in operation ? A re the wheels of cast metal or har d much weight is provided to counterbalance the drop lad wood ? Applying to elevator doors, particularly, what der and how is protection against the weather provided precautions have been taken to guard against the hang-er for pulleys and g uides for weights. In the stair and plat jumping the track due to a violent cl osing of the door ? form type is the whole con struction tied properly to For two and three-speed elevator doors how are the the steel frame of the buildi ng. What foundations are straps for the second and thirdcspeed folds of the doors provided for the posts. A re mesh guards provided above attach ed to the ori ginal pl ane? In the case of the so the stair and platform railings? called combination door, i.e., all folds to hi.nge when de sired to give the full opening, how is this accompli shed ? Gratings-In considering a grating of any kind, area, In the case of hangers placed on the outside, as for fl oor or shaft, the architect must satisfy himself as to barns or stables, how are they protected against the its carrying capacity and consequently sufficie nt of the weather and is the housing such as to prevent its use by detail of the grating shoul d be provided to show the size birds as a nesting place ? In the case of garage doors of members, the connection between them, and the method having other than one way movement, the architect woul d of attaching to supports. Regarding area gratings, inas 1·equire full details of the method . p1·oposed and where much as tl~e sun's rays are always angular, if the bars the track is curved and unsupported he would req uire an could be set at the average angle of the sun's rays, a assurance that the unsupported track will carry the doors great deal more li ght might be obtained in basements or without defl ection. W hen the doors are operated elec cell ars li ghted through ar eas. trically he will need a full description of the apparatus. Flaq-po/es-Inasmuch as the familiar wooden pole Lif ting A pparatus- The information required by the can .not be conside1· ed a manufactured a rticle in the sense architect in preparing his plans is much the same for all of that expression assumed in these articles, the steel li fting apparatus, it concerns in the fi rst place space re pole only will be considered. The architect would want quirements. H aving determined the size of the car, he to know the proportion of the di ameter at the base to will require the foll owing information : The cl earance the height of pole and the taper. H e would want to know necessary for the car in the shaft, the height of the the thickness of metal and if any reinforcement would be sheaves above top landing, and the space required above the necessary at the ground level. H ow is the joint bet ween sheaves · the size and position of the machine room and sections made and how long is the inside cou pling used the depth of the pit if any be necessary. For his speci in making the joint ? What is the nature of the truck, fication the architect will have to determine the maximum fi xed or revolving, and what is the method of anchoring load and desired speed. the type of machine, and the it in place ? If a revolving truck, what bearings are used? cost of the car. H e will require from the contractor a Is the pulley housed or protected against the weather? complete layout and specification coveri.ng the installation. O f what material is the axle and its bearing? Ma.ii Chute-The architect wili r equire figured detail Stair Co nstritction- One of the most important plans of the chute showing the size of the opening in points in considering any stair constniction is the string the various fl oors and the method of attaching the chute and this should be shown so clearl y as to enable the to the wall s. H e will r equire assurance th2.t the chute architect to readily determine its size and area of cross proposed complies with the postal regulations; that in secti on in order that he m ay calculate the carrying capa case of stoppage it may be readily opened to remove city. The type of risers and treads should also be shown. the obstruction. He will require information regarding Door Hangers-In consi dering a door hanger, whether the receiving box, its material and cost. for residence," garage. stable, elevator or automatic fir e (Continued on pa._qe 34) 32 PENCIL POINTS PENCIL POINTS THE SPECIFICATION \\TRITER AND THE MANU advanced man it is of m ore value than working on his FACTURERS' LITERATURE own problem, to say nothing of the guidance and help he gets in return. (Con/inned f rom paqe 32) This spirit of give-and-take is the finest thing in the Ash Receive-rs-In contemplating the use of an ash atelier ; a man will soon learn that the success of th e receiver under the boiler the architect will req uire detail ateli er is the success of each man in it. drawings, showing the size of the receiver, its depth lf the student has to work alone, he should ask some below the fl oor and the method of anchoring it in place. practising architect to criticize his work, preferably a man Also, the size and capacity of the cans and the method who has been trained· by the Beaux A rts method either of supporting them. He will require a detail of the re in Paris or in this country. vol vi.ng mechanism. llne of the features of. the system mentione COLUMBIA UNIVERSITY ATELIE R A LL who attend the Columbia Atelier realize the "Good Fellowship Spirit" which prevails among its students. This led to a little informal dinner given at Brown's Chop House, N . Y., at which most of our members were pres·ent. \Ve were highly honored by having with us two of our critics, Professors Prevot and Flannigan and Professor Boring, head of the Columbia School of Architecture. They, too, entered into the song and frolic of the evening. As a climax to our very enjoyable evening useful hand books were di stributed. At the end of the evening it was decided that several "Get together evenings" be set aside for furthering the good team wo rk ever present within the Atelier. J. G. ScHUHM A:-IN, JR., President. THE BEAUX-ARTS METHOD. ( C ontimted from f>aqe 21) ways helps him to develop quickly in all those things that are learned from experience. I'roni a cleverly-designed card bearing greetings to the It is hard for a .new man to realize that working on readers and editor of PENCIL POINTS, designed by Chas. C. some one elses problem is doing him as much good as ll osek. Hold f;age horizontally below eye level and t11r11 working on his own, and that if it is the work of a more slowly three-qivarters around to read. 34 PENCIL POINTS 35 i '!lllllllllllllllllllllllllllllllllllll ll llllllllllllllllllllllllllllllllll ll lll llllllllllllllllllllllllllllllllllllllllllllllllll!llllllllllllllllllilllllllllllllll lllllllllllllllllllllllll lll ll lllillllllllllllllllllllllllllllllllllllllllllllllll ll lllllllll lll ll llllllllllllllllillllllllllllllllllllllllllllllllllll ll lllllllllllllllllllllllllllllllllllllllllllllllllll:llllllllillllllllllllllllllllllllll'llllllll;lllll!J, FRINK LIGHTING SERVICE and FRINK POLARALITE SIGNS have solved the lighting needs of large establishments. Such as McAlpin, Bristol, Astor, Park Ave., Waldorf-Astoria, Pennsylvania and Commodore Hotels. The services of this company are not only available to the old practitioners, with whom we have cooperated in the past tor over half a century, but are extended also to the younger architects, with lighting problems. For their information and seT'vice this literature is now aYailable. Lighting Service for Hospitals. A treatise on Frink Lighting for general as well as for special hospital uses. F rink Lighting Service for Banks and Insurance Companies. Details of bank lighting and text. Frink Lighting Service for Stores. Text and illustrations on window, counter, case reflectors, electroliers and sign lighting. H ot el Pennsylvania Modern Church and Cathedral Illumination. It contains types and data sheets for church lighting. Picture Lighting. A treatise on Frink Reflectors tor this important use. I. P. 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