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September 1921 ft I r SEPTEMBER 1QQ1 ABCH1 RECORD IPublishzd in New York ' ( * .55 a Copy 323 a Year BISHOPRICFor "All Time and Clime" The Super Stucco-Plaster Base Residence Mrs. Rose F. Vorenburg, Puritan Road, Swampscott, Mass. Architect Harry E. Davidson, 46 Cornhill St., Boston, Mass. Stucco Contractor J. H. Townsend Co., Pemberton Sq., Boston Bishopric Stucco Base used on all exteriors. is of great importance in the con- ITstruction of the house of stucco to provide for the preservation of its beauty, its resistance against fire, ver- min and decay, its insulation against change of temperature and dampness. Bishopric stucco and plaster base in con- struction and in use, offers the possibili- ties of this insurance. l nntin // SWEETSWEETS UTATOO // "*"MCI] HI M* I IMCLUWf U/ We have prepared a bonklct for you, containing facts an<l flaures. and illustrated with pho'Oaraphs of beautiful houses built with Bishopric stucco, plaster and sheathing units. Ask for it. The cTM BISHOPRIC Bishopric Mfg. Company bTUCCO-PLAfBASE 102 Este Avenue Cincinnati, O. Factories: Cincinnati, Ohio, and Ottawa, Canada New York City Office: 2848 Grand Central Terminal ^gj&jpg^ 1 WBllllKMSiliiK^ 1 - IrT^ b|H( |g ARCHJTEC Editor: MICHAEL A. MIKKELSEN Contributing Editor: HERBERT CROLY Business Manager: ]. A. OAKLEY COVER The Harkness Memorial Tower. Water'color by James Gamble PAGE Rogers THE HARKNESS MEMORIAL QUADRANGLE AT YALE : James Gamble Rogers, Architect 1 6 1 By Marrion Wilcox THE SPALDING SWIMMING POOL AT DARTMOUTH COLLEGE: Rich & Mathesius, Architects - 183 By Leon V. Solon BASILICA OR TEMPLE 193 By Benjamin Ives Oilman TENDENCIES IN APARTMENT HOUSE DESIGN. Part IV. Buildings on Narrow Lots (Continued) 198 By Frank Chouteau Brown THE EARLY ARCHITECTURE OF PENNSYLVANIA. Part X. Mantel- pieces (Continued) ' 214 By A. Lawrence Kocher THE COMPETITION FOR THE FELLOWSHIPS OF THE AMERICAN ACADEMY IN ROME - 227 By Roscoe Guernsey, Executive Secretary THE MEMORIAL ROOM AT QUANTICO, VA., TO CAPTAIN PHILLIPS BROOKS ROBINSON: Murphy & Dana, Architects - - 235 United Yearly Subscription: Stales, $3.00; Foreign, $4.00; Single Copies, 35 cents. Copyright The Architectural Record :o2i, by Co. All rights reserved. Member A udit Bureau of Circulation. PUBLISHED MONTHLY BY r^'i THE ARCHITECTURAL RECORD COMPANY AVJ 115-119 WEST FORTIETH STREET, NEW YORK T. S. MORGAN. Pres. W. D. Vlce-Pres. E. HADSELL, S. DODGE, Vice-Pros. J. W. FRANK, Sec'y-Treas. M JC.X.-.-XJL .JLI JJL'.^ZX........~X.l '^XZ'. .TZ... JUL.....-JLr YV ' il vv vv HARKNESS TOWER-THE HARKNESS MEMORIAL QUADRANGLE AT YALE. JAMES GAMBLE ROGERS, ARCHITECT. 162 THE AKCHITECTVRAL : RECORD VOLVME L NVMBER III SEPTEMBER, 1921 HARKNESS MEMORIAL QUADRANGLE JAMES GAMBLE ROGERS ARCHITECT MarriorL Wilcox mindful of the nobler tradi- plies with particular force and in a special YALE,tions, has expressed them in these manner. great stone buildings. Even our de- The Harkness Tower recalls certain votion to Light and Truth (the Lux et towers in England and on the European Veritas inscribed over the main gate- continent. But it and they recall vividly way) is quickened. For, as one truth the Hellenistic towering lighthouse, the ever shows the way, as though with a Pharos, which was built about 280 B. C. at light, to another truth, so especially may Alexandria. Light is a strikingly ap- architectural truths such inspiring propriate word. And further, although manifestations of art as these light the the word light is used figuratively in this path to truth in other sciences beside that explicit linking of the college motto and of the new aesthetics, to truth in many the significance of the Harkness Tower, branches of human knowledge. I should fancy that, in connection with This applies to the Quadrangle as a the tower, it may become possible for us whole. To the Harkness Tower it ap- to think of the word as meaning some- 163 THE ARCHITECTURAL RECORD. thing more definite than just a source of, top. Thus the lower part is treated as mental or spiritual illumination. If 1 the foreground, the summit as the back- hear at some future time that it has been ground, of a picture; the apparent re- decided to illuminate at night the upper moteness of the background from the part of the principal tower above the foreground being due, in part, to the chime of bells I shall not be surprised. aforesaid adaptation of well-known rules I it in i. re- , Meanwhile, as study from many of perspective painting, e., those points of view, the Harkness Tower ex- lating to the gradual withdrawal of the emplifies this change in architectural warmer colors, stronger lines, broader forms : An immortal thought of Hellenis- masses, from the middle distance and tic architecture is here expressed in Gothic background. terms. And the Gothic genius has I have called the Pharos an immortal wrought, gradually, through the cen- thought of Hellenistic art. Well, then, turies, its most characteristic modifica- this new tower at Yale seems to me to tions upon the remote Alexandrian origi- possess the quality that visualizes art- nal, transforming pilasters, panelled walls tendencies of the past and present, and in and separate columns into continuous its turn will affect those of the future. lines of growth. These Gothic vertical For the first time since its actual com- lines of growth and traceried Gothic win- pletion, I have the pleasure of seeing it dows replace also the several terraced this afternoon. An imperfect impres- stages that Sostratus, architect of the sion, indeed, I received six months ago, Pharos, designed in such diversity of before the scaffolding had been removed. plan that the uppermost stage was cir- But I saw it many years ago, when I was cular, the stage immediately below being a boy in New Haven, and the ground on octagonal, while the first stage above the which the tower stands was part of an foundation was rectangular. open lot, our playground. It was a com- But in the Harkness Tower I find plete structure of its kind then, and unity in diversity, with the stress on with its continuous, almost living lines- for are indicated of beautiful unity ; separate stages -growth, was very imperish- only by skilful, subtle decorative modifi- ably. It was of Yale ideals in a boy's cations, until at the highest stage the rect- imagination. angular form changes, with happy effect, Now, the unity in diversity, so well to the polyhedral. achieved in the Harkness Tower, is a The impression that the vertical con- principle observed in this entire group of tinuous lines of the Harkness Tower new buildings in the Wrexham Tower make upon the mind of the observer and Cloister; in Branford Court, of naturally increases the apparent height which the north side will always be called of the structure. Because they are not a classic, an architectural companion of interrupted by prominent horizontal stately sixteenth-century and seventeenth- string-courses or cornices, imagination century English verse; in the smaller, readily carries such lines upward, pro- charmingly homelike southern courts. them into the blue. "L' courts in the tracting Allegro" ; more secluded Add to this the enhancement of apparent northern courts, with their higher sides, height that is ascribable to the genuinely "II Penseroso" courts; in the brilliantly aesthetic use of three varieties of stone, successful Tourelle, that is serene on the namely, seam-face granite, that is quar- High Street side and romantic or pic- ried, I think, at Hingham, Massachu- turesque as a bit of Old France on the setts; then, as the general trimming- court side; in such features of the ex- stone, Briar Hill sandstone from West terior as the brave tracery of a series of Virginia and Ohio; with gray Indiana windows in the Elm Street faqade, and limestone for some of the buildings. The that western part of the Library Street Harkness Tower has granite in the lower fagade on which light and shadows play, part, granite and gray stones in the mid- or, as deep shade and high light, simply dle portions, and gray stones alone at the rest. 164 t I, M ST fcEET MEMORIAL Q.UADR.ANGLE. J - ASSIGNMENT PLAN F I ELST 5TOU.Y BLOCK PLAN THE HARKNESS ME- MORIAL QUADRANGLE AT YALE. JAMES GAMBLE ROGERS, ARCHITECT. 165 MEMORIAL GATEWAY, FROM BRAN FORD COURT -THE HARKXESS MEMORIAL QUADRANGLE AT YALE. JAMES GAMBLE ROGERS, ARCHITECT. 166 THE ARCHITECTURAL RECORD. And in this entire group of buildings or from diversity, should be mentioned. one is aware of architectural work in- Here is its vital exemplification: Our spired by Yale's traditional loyalty, by architect tells me that the presentation of devout patriotism. An article on Archi- the theme to his clients (the nobly gen- tecture in New York, written for the In- erous donor and her associates, I sup- ternational Studio, has recently given my pose) was unlike anything ever seen be- view of the accountability of architects fore. He gave them merely a general to the people of our country. Now it is sketch-plan, showing no details; a very evident to me that our distinguished crude, rough model in clay that indicated architect must have asked himself as his the disposition and relative heights of the plans took shape: "Do I know, do my buildings; and a few original drawings clients know, for whom this work will be that disclosed the spirit of the undertak- done, really? whose attention it will ing (see ARCHITECTURAL RECORD, Feb- hold or invite more or less constantly? ruary, 1918). Thus the clients became And his answer has been, I assume : This sharers of the aesthetic concept. He did work addresses itself to all the people of not employ contractors, but secured the our country, through those who come service of a builder who aided in, so to from every State and Territory.
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