MAY MAY

NEW YORK

119 WEST 57th

_ t

Special Design No. 257

HE hi^h quality and finish of Cast Ferro- Tcraft, as compared with other metals, and the ability of our craftsmen to execute the

most exacting requirements, have won wide The Villa recognition in the Architectural field. Let us submit details of the Ferrocraft Line UTTLE V BAILEY allmetal R;« diator Cabinets are the ultimate in for all heating and ventilating purposes; or T design, construction and finish. Selec­ send us specifications of your special needs. tion of models in finishes to match in­ terior. Full particulars upon request. •i J TUTTLE & BAILEY MFG. CO. Makers of Registers and Grilles for Eighty-one Tears 441 LEXINGTON AVENUE NEW YORK CITY

THE PROVINCETOWN PLAYHOUSE W

25 (< THE PLAYWRIGHTS THEATRE 1 I 72 U ADVENTUROUS" TO J I- CO "COURAGEOUS II 00 "EXPERIM ENTAL n

H o HERE—Eugene O'Neill's "Emperor Jones" and "Hairy Ape" were first produced o u HERE—Hasenclever's "Beyond" and Strindberg's "Dream Play" were given for first time in America HERE—"Fashion" and "Patience" were revived > HERE—"In Abraham's Bosom" by Paul Green, won the Pulitzer Prize C w 2^ro SUBSCRIPTION SEASON 1927-28 FIVE PLAYS $11.00 o

CATALOGUE

ORGANIZED BY

LITTLE REVIEW, NEW YORK JANE HEAP

SOCIETE DES URBANISTES. BRUS­ SELS LOUIS VAN DER SWAELMEN M. GASPARD » U. S. S. R. SOCIETY OF CULTURAL RELATIONS WITH FOREIGN COUN­ TRIES AMERICA BRANCH

KUNSTGEWERBESCHULE, VIENNA PROF. JOSEF FRANK

CZLONKOWIE GROUP "PRAESENG", WARSAW SZYMON SYRKUS

ARCHITECTS D. P. L. G., PARIS ANDRE LURCAT. . ADVISORY AMERICAN SECTION HUGH FERRISS

119 WEST 57th STREET NEW YORK 1927

PRICE 50 CENTS 91-1 o O O M M T

HONORARY COMMITTEE

Robert Adamson George S. Hellman M. H. Aylesworth Harry Arthur Hopf Rich.ird F. Bach Mrs. Axel Olaf Iseling Frank Bailey L. J. Lippman Ge< >rge Gord< >ii Battle Henry Goddard Leach David Belais Lucius N. Littauer L. J. Bclnap Mrs. Sidney Lowenthal Dr. I i >ins Berman L. C. Marburg Alexander M. Bing Wm. Mc Clellan Leo. S. Bing John L. Merrill Hon. Sol Bloom David Metzger Francis Blossom Col. Robert H. Montgomery Dr. Christian Brinton Ralph Modjeski Mrs. Louise Upton Brumbach Samuel Mundheim Alexander Chatin Dr. Eugene A. Noble. Robert Catts R. H. Stratton S. H. Church A. R. Orage Hon. W. W. Cohen lames W. Osborne Harvey Wiley Corbett H. D. Pease Augiwte I. Cordier George H. Pegram [ohn 0*Hara Cosgrave Michael I. Pupin Mrs, H H. Dey W. F. Read Tohn V. N. Dow Felix Riesenberg Valentine Dudensing George Sarton Howard Elliot Jefferson Seligman Robert Erskine Fly Henry Bl.ickman Sell Colin G. Fink Howard Hilton SpeOman John H. Finley James Speyer Donald S. Friede Mrs. Francis B. Thurber, Jr. Eva (fautier Nelson M. Way Dr. Wm. Paul Gerard, C E. Harry Weinberger Bernard F. Gimble Louis Wiley Dr. A. A. Hamerschlag Mrs. Rose Wheeler ARTISTS COMMITTEE

Alexander Archipenko Andre Lurcat Robert Chanler Elie Nadleman Andrew Dasberg Man Ray Charles Demuth Boardman Robinson Muriel Draper Charles Sheeler Marcel Duchamp Ralph Steiner Prof. Josef Frank I. Syrkus Hugh Ferriss L. Van der Swallmen Louis Lozowick

AMERICA

ALFRED BOSSOM, NEW YORK 1 Project for 35 Story Office Building

BUCHMAN & KAHN, NEW1YORK 2 The Insurance Center Building, N. W. Cor. 37th and 6th Avenue. 3 Park Avenue Building

cr- LEONARD COX, NEW YORK 4 Imaginary Pr cl for Skyscraper to cover 4 city bkx lu > Design for Soldien and Sailors Memorial.

HUGH FERRISS, NEW YORK Sketch Model of Glajs Skyacra] J. H. Sullivan, associated Archil 7 Studies. 0 S ARTHUR LOOMIS HARMON, NEW YORK c o 8 Model of the Jerusalem Y.M.C.A (; Photograph of the Hotel Shelton. 1<) Photographs interior H< >K ! Shelton

HELMLE & CORBETT, NEW YORK

11 Pennsylvania Powei and Light Bmldm 12 Number C^iu htth Avenue.

RADIATOR BUILDING 0 A'

ARCHITECTURE OF THIS AGE

ED by obscure springs, there arose in Now the question is being asked: Is there not Greece and Rome the mighty Current of proceeding at this moment a truly unique move­ Fthought and instinct which has swept ment in the Arts? through the subsequent ages. Could one survey this channel, this Grand Canyon, he might mark If one seriously asks himself this question, he how the Stream, cleaving Earth, has sculpted may be at first halted by the many affectations and left aloft the stratas of succeeding civilisa­ of "Modern Art": Architect X is obviously tions and cultures. practicing professionally simply because this architect wants to do something "new"; artist Y We may examine this architectural record. is painting simply in order to paint artist Y. We may see standing—where the stream once Does there really exist in the world, at the given was—the exposed strata ot the Romanesque; we moment, any artistic endeavor founded more may note transitions to the Gothic and to the deeply than in mere personality? Renaissance. It is a legal fact that in 1918 a regulation was America overlooked this Grand Canyon. A passed in New York City which altered the few decades ago, there appeared a movement in forms of buildings. This law was passed for Architecture which has been described as a certain utilitarian and quite impersonal reasons: modern Renaissance. It consisted of this: a to conserve property values, to check traffic con­ unique progress had enabled us to attain a bird's gestion, to admit light and air to streets. But eye view of the Past such as had never before this law had a profound effect upon architectural existed. We were free to choose. Our archi- design. Cubes became pyramids. Previously, tecta, with the visa of scholarly honor and good cube-like masses had been juxtaposed along our taste, swarmed and selected. avenues in such fashion that but one side of the mass was exposed. Civic architecture became— CHARLES HIGGINS, NEW YORK and has for long been—a problem of designing 13 Coal Pock.ts, 19th Street and East River one side of a box. Architecture was two-di­ mensional. Fifth Avenue is a series (>t stage sets. Rut pyramids, however juxtaposed, cannot lose RAYMOND M. HOOD, NEW YORK identity, location, form, axis and summit. The innovation of the pyramid-like form produced, 14 American Radiator Building (Model show- in the contemporary architectural mind, a sit­ three Stages in development). uation. 15" Model: Solution for New York Street Traffic. 16 Studies: Solution for New York Street Many architects proceeded to handle the new Traffic. form as they had been wont to handle the old. They built the familiar pile of Base, Shaft and Capital as high as they, by law, could; they then KNUD LONBERG-HOLM, DETROIT "stepped back" the structure and built up an­ other form of the same parts—and so on, until 17-21 Design for Radio Broadcasting Station (Steel, concrete and glass). they had filled the theoretical pyramid with as many classic cubes as possible. WILLIAM E. LESCAZE, NEW YORK But at the same time, quite different tenden­ cies appeared: Corbett's Bush building, Har­ 22-25 Soldiers and Sailors Memorial mon's Shelton Hotel, Hood's Radiator building, 26 Interior Modern Living Room. Saarinen's Tribune tower. As these giant struc­ 27 Interior Modern Apartment. tures march with deliberate stride into American cities, it becomes apparent that we are facing HENRY KILLAM MURPHY, NEW YORK a new architectural race. 2«S Barkcntinc "Bucccnccr."

McKENZIE, VOORHEES & GMELIN, May we find, in this age of the Machine, tendencies which are more than local to Amer­ NEW YORK ica? The fact is that exhibits are appearing r 29-31 Photgraphs of New York Telephone from all parts of the w orld which unanimously Building. assault a certain accepted convention of Beauty. What has been the criterion for this conven­ tional Beauty? Has it not been simply Pleasure- ANTONIN RAYMOND, TOKIO, JAPAN Pain? Familiarity? Habit? It has been a con­ 32 Photographs. vention which has called the matured human form—as sculpted by the Greeks—beautiful. But the potential human form—as sculpted, be­ REBORI, WENTWORTH, DEWEY & fore birth, by Nature—it would call ugly. MCCORMICK, CHICAGO It becomes apparent that if we are prepared to 33 Midland Club. leave the pleasant security of forms already ma­ 34 Roanoke Tower. tured by others—if we are willing to expose our­ 35 Randolph and Michigan Tower selves to a travail of our own—in this event, we will find that Creation demands of us a dedica­ ELIEL SAARINEN, BIRMINGHAM, MICH. tion from which we must be relinquished by Culture. 36 Design for Chicago Tribune Building. 37 Christian Science Church, Minneapolis. It is possible that the very stream which 38 Christian Science Church, Minneapolis, hewed the architectural Grand Canyon is itself Interior. about to expire. It is possible that we must 39-40 Railway Station—Helsingfors, Finland. look elsewhere. It is possible that another stream is already beginning to flow. J. BECHINING VINCHERS, NEW YORK

HUGH FERRISS 41-51 Designs for a Technical School.

6 ARCHITECTURE IS THE CRITERION OF THE INTEGRITY, THE JUDGMENT, AND THE SERIOUSNESS OF A NATION. —RENAN

INSURANCE CENTRE BUILDING By Buckman & Kakn, Cor. 37/// and 6th Avenue

MASSES By Hugh Ferriss ELECTRICAL PLANT Germany 8 THE AESTHETIC OF THE MACHINE AND MECHANICAL INTROSPECTION IN ART

N THE aesthetic phenomenon of the evcv While the painter Gino Severini confirmed by lution of the plastic arts the necessity, of means of an admirable theoretical essay in the I considering the Machine and Mechanical Mercure de France (1916) the theory that "the elements as new symbols of aesthetic inspira­ process of the construction of a machine is tion, has not been sufficiently taken into analogous to the constructive process of a work account. of art"

PRECURSORS This Futurist exaltation of ours for the new era of the machines crossed the Italic frontier We Futurists were the first to understand and awoke echoes among the Dutch, the Rus' the marvellous mystery of inspiration which ma' sian, the Germans and the Spanish. chines possess with their own mechanical world. Fernand Leger recently declared his painting In fact, Marinetti in his first Manifesto on to be concerned with the love of those forms the Foundation of Futurism published in the created by industry and the clash of the thou­ Figaro in 1909 stated: "We shall chant the sand coloured and persuasive reflections of the vibrant nocturnal fervour of the arsenals and so called classical subjects. ship-yards lit by their violent electric moons, the bridges like giant gymnasts striding the Guillermo de Torre, the daring Spanish poet rivers, the daring steamers that nose the hori- and founder of the Ultraist movement, an- zons, the full-breasted locomotives that prance nounced in his manifesto "Vertical" in 1918 the on the rails like enormous iron horses bridled forthcoming epoch of the new and mechanical with tubes, the gliding flight of the aeroplanes world. whose screw flutters in the wind like a flag or Today we see a new tendency manifesting seems to applaud like an enthusiastic mob. The itself at the recent international Artists Con­ racing automobile with its explosive breath and gress of Dusseldorf. This is the movement of its great serpent-like tubes crawling over the the "Constructionists" as exemplified in the bonnet—an automobile that whizzes like a vol' works of the Russian, Dutch, German, Scan- ley from a machine gun is more beautiful than dinavian and Roumanian painters among whom the victory of Samothrace." we may note Theo Van Doesburg, Richter, Lissitzsky, Eggelin and Janco. The Construe From the appearance of the first Futurist tionists, though they take as their starting point Manifesto of Marinetti up until today, there an extremely clear theory, announcing the con­ has been a ceaseless searching and questioning structive exaltation of the Machine, become in the field of art. Boccioni in his book, Futur­ inconsistent in the application of their doctrine, ist Sculpture and Painting (1914) stated that confusing exterior form with spiritual content. the era of the great mechanical individualities has begun; that all the rest is paleontology. We today—without ignoring the attempts Luigi Russolo (in 1913) with his invention of that have been made in the course of the last the noise-makers constructed new mechanical years by ourselves and certain Futurist friends instruments to give value to new musical sounds of ours—intend to reassume and synthetize all inspired by noise, while Luciano Folgore in his that which has been expressed individually and poem the Chant of the Motors (1914) exalted incidentally in order to arrive at more complete the mechanical beauty of workshops and the and more concrete results, in order to be able overpowering lyricism of machines. Later, in to realize more fully new aesthetic values in the my manifesto entitled Absolute Constructions field of the plastic arts. in Motion-Noise (1915), I revealed by means Our experience has convinced us of the truth of new plastic constructions the unknown con­ of certain of our plastic truths and has allowed structive virtues of the mechanical aesthetic. us to perceive the errors that lie in others. OLD AND NEW SYMBOLS 3. The plastic exaltation of The Machine and the mechanical elements must not be con­ In the history of art throughout the ages ceived in their exterior reality, that is in formal the symbols and elements of inspiration have representations of the elements which make up been suggested to us by the ancient legends and The Machine itself, but rather in the plastic classic myths created by modern imagination. mechanical analogy th.it The Machine suggests Today, therefore, where can we look tor more to us in connection with various spiritual reali­ contingent inspiration than among the new ties. symbols which are no longer the creation of the imagination or the fantasy—but of human 4. The stylistic modifications of Mechanical genius? Art arise from The Machine-as-interferential- element. Is not the machine today the most exuberant of the mystery of human creation? Is it not 5. The machine marks the rhythm of human the new mythical deity which weaves the le­ psychology and beats time for our spiritual ex­ gends and histories ot the contemporary human altations. Therefore it is inevitable and conse­ drama? The Machine in its practical and ma­ quent to the evolution of the plastic arts of terial function comes to have today in human our day. concepts and thoughts the significance of an ENRICO PRAMPOLINI ideal and spiritual inspiration. The artist can only pin his faith to the reali­ (Translated Jry E. S.) ties contingent on his own life or to those ele­ Reprint from Little Review. ments of expression which spiritualize the at­ mosphere he breathes. The elements and the plastic symbols of the Machine are inevitably as much symbols as a god Pan, the taking down from the Cross, of the Assumption of the Vir­ gin, etc. The logic, therefore, of aesthetic AUSTRIA verities becomes self-evident, and develops paral­ lel with the spirit which seeks to contemplate, DR. JOSEPH FRANK, VIENNA VI live and identify itself with reality itself. 52-54 Perspectives of Country Houses. 55 Ground Plan and 2 Perspectives of Coun­ THE AESTHETIC OF THE MACHINE try Houses. 56 Ground Plan and 1 Perspective of Coun­ AND MECHANICAL INTROSPECTION try House. We, today, after having sung and exalted the suggestive inspirational force of the Ma­ OSWALD HAERDTL, VIENNA I chine—after having by means of the first plastic 57-59 Photographs of Country House in Meran. works of the new school fixed pure plastic sen­ 60 Photograph of Workmen's Cottages. sations and emotions, see now the outlines of 61 Photograph of Architectural Exhibition in the new aesthetic of The Machine appsaring Paris. on the horizon like a fly wheel all fiery from 62-63 Photographs of Architcctur.il Exhibition in Eternal Motion. Vienna. 64 Ground Plan and Facade of a Country House in Erba. WE THEREFORE PROCLAIM 65 Perspective of a country House m Erba. 1. The Machine to be the tutelary symbol of the universal dynamism, potentially embody­ PROFESSOR DR. M. C. JOSEPH HCFF- ing in itself the essential elements of human MANN, VIENNA I creation: the discoverer of fresh developments 66 Project for the Beethoven Music Hall in in modern aesthetics. Vienna, Perspective and Ground Plan. 1:1000. 2. The aesthetic virtues of the machine and 67 Perspective of the Vestibule in the Becth- the metaphysical meaning of its motions and i rven Memorial in Vienna. movements constitute the new font of inspira­ 68 Perspective of the Austrian Pavilion at the tion for the evolution and development of con­ Exposition des Arts Decoratives, Paris, temporaneous plastic arts. 1925.

10 PROJECT FOR BEETHOBEN MUSIC HALL IN VIENNA By Joseph Hoffmann

11 MODEL WCPK'NGMAN'S UNIT HOUSE Bx 0 aid Haerdtl

69-7 Photographs of Inner Rooms. 1. Corri­ Photograph of Country House. Phil. dor. 2. Pantry. Ginther. 71 Photograph of Dwelling House. 81-83 Photographs of Country House. Phil 72 Photograph of County House in Velden Ginther. and Ground Plan. 84-85 Photographs of Country House. A. Z 73 Photograph of Hall. Ulrich. 74 Photograph of Lady's Dressing Room. 86 Plans of Country House. R. Trestler. 87 Plans of Workmen's Cottages. R. Trestler, CLASS IN ARCHITECTURE 88 Plans of Country Houses. C. Panigl. 89-90 Photographs of Hotel H. Steindl. PROFESSOR DR. M. C. J. HOFFMANN, 91 Photograph of Cottages. St. Simony. VIENNA I 92 Photographs of Cottages. R. Trestler. 93-94 Photgraphs of Country Houses. R. Trestler 75 Ground Plan of Country House. Ulrich. 9S-96 Photographs of Country Houses. C. Panigl 76 Ground Plan of Cottages. Ulrich. 77 Photograph of Bath Room. Lilly Engel. 78 Photograph of Country House. A. Z. DR. OSKAR WLACK, VIENNA VI Ulrich. 79-80 Photographs of Cottages. A. Z. Ulrich. 97 Perspective and Ground Plan of an m Photographs of Country House. A. Z. bassy Building in Angora. Ulrich. 98 Country House in Angora.

PROJECT FOR BATH-HOUSE (MODEL) By IJli Engel, Pupil in Master-Class Pro). Joseph Hoffmann, Vienna

12 MACHINE AND ART

T IS indisputable that the basis of Art al­ ways remain the -ame, even though the I exterior forms of Art change, the spirit of the epochs is reflected in these forms. Before the period of the Renaissance, Art was bound to the religion, and was mystic in neral. These variation ot forms were called "Styl Thru these different styles, we recognize the different spirit- ot the epochs which are reflected therein. Let us lcx)k at the Egyptian style which, through it- monumental character, reminds ua of the mysteries of the eternity of the Earth. Let us look at the Gothic style which precip­ itates itself towards the heights ot religiou- Spirit. This styles v s only po^ible during the Middle Ages when the ten-ion of religion- be­ lief was pu-hed to extrem Many other out- ride expressions tell us of the spirit of passed epochs, I prefer not to dwell on the period ot th Renaissance, because thi- form ot Art contains lcn through movable tonus and color- I have be,n working directly in thi- tor several years, being inspired by the Einstein Theory ol \\e\\ tivity ,i- well .1- by the ambience ot the mo I modern city ot the world. New York. I have invented "Peinture Changeante" with which I can paint different movement-, rhythm-. all kind- ot changes and transformations ol line, color, form and subject, beginning with natu­ ralistic forms through the most abst d form This inventi n 1- called "Archipentura" which means, superior painting. I do not disapprove ol static painting which has refl r t \\ the most refined variations ol the soul and hum n spirit but as this painting doe- not posse the means ol reproducing the real action, 1 do not think it the right mean- t< i express (>ur time i t Acti< >n. To this end, Archipentura is superlative, be cause it can -how real action in the picture.

ALEXANDER ARCHI^ENKO COAL POCKETS B\ CI: II 'M. \ • YOi

PROJECT FOR A RADIO BROADCASTING STATION By Knud Londberg-R \m

14 /

OARMF.NT CENTRF NEW YORK F. A. Fair child's Aerial Service

BELGIUM

R; ACKE, COURTRAI J. EGGERICQX, BRUSSELS 99 Moving Pieture Theatre "De Gouden Laiv 108 Villa fcI/Escale" at Le Panne (Belgian teern,', at Courtrai (facade). coast). 100 The Same (Interior). L. FRANCOIS, BRUSSELS M. BAUGNIET, BRUSSELS 109 Dwellings at Palerme and at Brussels. 101 First Sketch for Smoking Room 110 Interior of Shop at Brussels. V. BOURGEOIS, BRUSSELS M. GASPARD, BRUSSELS 102 The Modern City. Place des Cooperateurs 111 Furniture for photographic accessories and at Brussels. for the display of useful objects. 103 The Modern City. Apartment Building 112 Interior and Furniture. in Brussels. J. F. HOEBEN, BRUSSELS L. DE KONINCK, BRUSSELS 113 Villa de Mme. S. at RcetlvAnvers. ^^_^_^^_. " , l_M_ J • • 104 Miscellaneous. 1 14 City Plan n>r the Suburb of MoYnlvck St. Kan at Brussels. L. DE KONINCK AND L. FRANCOIS H. HOSTE, BRUGES-LINDENHOF 105 Apartment Building in Brussels. 115 "Noordzee Hotel" at Knocke (Belgian J. DELIGNE, BRUSSELS coast). 116 Hotel for Unmarried Workman (industrial 106 Hall tor Dancing Lessons at Brussels. city of Salzaete, Flandre Orientale). 107 House at Brussels. 117 Church of Zonnebeke near Ypres.

15 P. VERBRUGGEN, BRUSSELS 132 Corner hou with apartments. 133 Jiwitutr of Ba I riology .it Antwerp

R. VERWILGEN, CITY ENGINEER BRUSSELS 134 City Plan in the Devastated Regions 135 Tli. S,m-K\

Louis Lozowick

H. HOSTE AND L. VANDERSWAELMEN, F. GOSSE, BRUSSELS l

118 Sculptor at Geneve. Monument to the Belgian Soldiers Interned 110 at Amersfoort PaysBas. Pylone. Front and Side. 120 S. JAZINSKI, BRUSSELS

121 Cabinet and Couch for a Music Room.

MARES & ZANDHOVAL, BRUSSELS

122 School at Maestricht (Holland) at Maestricht (Holland).

NYST, BRUSSELS

123 House at Brussels (detail of the entrance). 124 House at Brussels (facade).

A. POMPE, BRUSSELS

125 Orthopedic Institute at Brussels. 126 Miscellaneous.

P. RUBBERS, BRUSSELS

127 Houses at Brussels. 128 Inexpensive Houses at Kappcleveld.

L. VANDERZWAELMEN, CITY PLANNER, BRUSSELS

129 City Plan of the Industrial City of Sab zaete (houses in the city by the archi­ tect Hoste). 130 Plan of the City of Kappcleveld (houses in the city by the architects Hoste, Hoe- ben, Rubbers, Pompe).

A. VAN HUFFEL, BRUSSELS COSTUME FOR "MACHINE-VENGEANCE" 131 House at Ghent. By Vera Idelson 16

U I >' T .Mhl H ^1 1 »~al L * 1 .V GRAIN ELEVATOR, BUFFALO. N. Y. Built by Monarch Engineering Co.

ISOTTA-FRASCHINI MOTORS INC STEINWAY & SONS 401 Air Engine. 422 Steel Frame (Piano). EIMER & AMEND 423-424 Moving Parts.

402 Display of Chemistry Glass. RALPH STEINER HUNT DIEDRICH 42 S-4 38 Photographs. 403 Fire-Screens. GEORG JENSEN DEPERO 439 Hand-made Silver. 405-406 Tapestries. Loaned by Nina Perera. U. S. ARMY DEPT. FAIRCHILD AERIAL SERVICE 440 Machine Gun. 406-415 Photographs. 441 Rifles. SAUNDERS DRAPER PULMOSEN SAFETY EQUIPMENT CO. 416 Design for Motor Car. 442 Industrial Safety Garments and Masks RAVENNA MOSAICS, INC. G. LASCHAISE 417 Glass Mosaic Panel. 443 Seated Figure. "Three wise men". Loaned by Helena Rubenstcin. 418 Modern St,lined Glass. E. NADLEMAN 419-421 Photographs of Mosaics and Stained Glass Windows. 444 Head. Executed by Ravenna Mosaics, Inc. Loaned by Helena Rubenstcin.

17 gigantic engineering feats and colossal mechan­ ical construction. The skyscrapers of New York, the grain ele­ vators of Minneapolis, the steel mills of Pitts­ burgh, the oil wells of Oklahoma, the copper mine- of Butte, the lumber yarcU of Seattle give the American industrial epic m its diapason. Environment, however, is not in itself art but only raw material which becomes art when re- o 'instructed by the artist according to the re­ quirement of aesthetic form. The artist cannot md should not, therefore, attempt a literal soul­ less transcription of the American scene but rather give a penetrating creative interpretation of it, which, while including everything relevant to the subject depicted, would exclude every­ thing irrelevant to the plastic possibilities of that subject. Every epoch conditions the artist's attitude and the manner of his expression very subtly and in devious ways. He observes and absorbs env­ ironmental facts, social currents, philosophic speculation and then chooses the elements for his work in such fashion and focuses attention Louis Lozowiek on such aspects of the environment as will reveal his own esthetic vision as well as the essential character of the environment which conditioned it. THE AMERICANIZA­ The dominant trend in America of today is towards an industrialization and standardisa­ TION OF ART tion which require precise adjustment of struc­ ture to function which dictate an economic utili­ zation of processes and materials and therebv F ONE were to grant the allegation that foster in man a spirit of objectivity excluding all America possesses a meagre cultural her­ emotional aberration and accustom his vision to itage and lacks the weight of established I rhapes and color not paralleled in nature. tradition, it would by no means follow that material for creative activity in wanting. The The dominent trend in America of today, be­ intriguing novelty, the crude virility, the stu­ neath all the apparent chaos and confusion is pendous magnittude of the new American env­ towards order and organization which find their ironment furnishes such material in extravagant outward sign and symbol in the rigid geometry abundance. To the truly creative artist the of the American city: in the verticals of its fallow rawness of the field should prove only an rmoke stacks, in the parallels of its car tracks, additional incentive to its intensive cultivation. the squares of its streets, the cubes of its fac­ The artist's task is to sift and sort the material at tories, the arc of its bridges, the cylinders of its hand, mold it to his purpose by separating the gas tanks. plastically essential trom the adventitious and, in this manner, enrich the existing culture and Upon this underlying methematical pattern help to establish a new tradition. as a scaffoMing may be built a solid plastic structure of great intricacy and sublety. The The history of America is a history of stub­ artist who confronts his task with origin il vision born and ceaseless effort to harness the forces of and accomplished craftsmanship, will note with nature—a constant perfecting of the tools and exactitude the articulation, solidity and weight processes which make the mastery of these forces of advancing and receding masses, will define possible. The history of America is a history of with precision the space around objects and be-

18 tween them; he will organize line, plane and volume into a well knit design, .mange coloi and light into a pattern oi contrast and harmony M^\ weave organically into every composition and all pre\ ading rhythm and equilibrium. The true artist will in sum objectify the dominant experience ot our epoch in plastic terms that possess value to, more than this epoch alone. A composition is most effective when its el­ ements are used in a double function: associa­ tive, establishing contact with concrete objects of the real world and aesthetic, serving to create plastic values. The intrinsic importance of the contemporary theme may thus be immensely en­ hanced by the formal significance of the treat­ 60" SUPERIOR McCULLY ALL STEEL GYRATORY ment. In this manner the flowing rhythm of CRUSHER modern America may b: gripped and stayed Built bv Allis-Chalmers and its synthesis eloquently rendered in the na­ tive idiom. The whole of mankind is vitally affected by industrial developement and if the artist can make his work clear in its intention, convincing in its reality, inevitable in its logic, his potential 1 audience will be practically universal. And this is perhaps as high a goal as any artist might hope to attain. LOUIS LOZOWICK

INDUSTRIAL PLANT Louis Lozowick Russia GARDEN FOR IV'ON. LE VICOMTE DE NOAILLES A HYERES By Gal I Guevrekian

ROOF GARDEN. HCU3E OF IVCN. E. D.. VERSAILLES Bv Andre Lure at 2 VILLA AT GROSLAY NEAR PARIS Bx Jean \foreu FRANCE

GABRIEL GUEVREKIAN, PARIS

136 Photograph—Garden for Mon. Le Vicomtc de Noailles A Hyeres. 137 Plan for same. 138 Colour drawing of same. 139-140 Photographs of model for Garage. 141-146 Studio Alban. 147 Plan Perspective Axometrique of same. 148 Villa for Mon. R. W. 149 Arts Decoratifs, Paris, 1925. 150 Garden Arts Decoratif. 151 Music Shop "Au Sacre du Printemps." 152 Music Shop "Au Sacre du Printemps," Interior. 153-157 Plans for Garage.

ANDRE LURCAT, PARIS

158 Plan for Workingmen's Dwellings. 159 House of Mme. E. B. Cite Jeuret-Paris.. 160 House of Mme. E. B Cite Jeuret-Paris, Garden Facade. 161 House of Mme. E. B. Cite Jeuret-Paris, Interior Stairway. 162 Garden of same. 163 House of Mon. A. M , Versailles. HOUSE AT BOULOGNE-SUR-SEINE By Robert Mallet-St evens 21 1

GARDEN FACADE. HOUSE OF MON. E. B., VERSAILLES Bx Andre LurQat

164 House of Mon. A. M., Garden Facade North. FRENCH 165 House of Mon. Jean Lureat (Painter). ARCHITECTURE 166 House of Mon. F. T. Cite Jeurct. 167 House of Mon. E. B., Versailles. HE BALANCE sheet of French archi­ tecture up to the time of the present 168 Living Roome of same. movement may be summed up as follows: 169 Furniture in Library by Gravures. T Tradition abandoned in 1820; since then a cen' 170 Houses of Mon. A. H. and Mme. E. B. tury lost. Cite Seurat, Garden Facade This unfortunate result has come about in spite of the isolated efforts of such architects as J. CH. MOREUX, PARIS Viollet'le'Duc, de Baudot, Tony Gamier and 171-172 Plans. Perret to recover the line of pure tradition. The lack of response to their work may be accounted for by the general confidence felt in the teaching ROBERT MALLET-STEVENS, PARIS • - i - - — • ' •• • . _ i _ • i—. - — —. — given by the state schools under the successive 172 Photograph, House at Boulonge-sur-Seine governments of the past century.

22 Our School of Fine Arts was founded a hun­ machine-attitude (a misunderstanding of a new dred years ago on a false theory, and from the form of beauty), which could result only in beginning its teaching has been empty and un­ suppressing all life and lyric quality in the plastic real, based on a misunderstanding of tradition. expression of an art already abstract in itself. It must die now ol its own malady; we can do nothing to help it. We began by completely shedding all decora­ tive formulas and following simply the nature In the first years alter the war a few archi­ of our materials. This brought inevitably the tects appeared who had observed the spirit and unity of appearance and simplicity of expression needs ot their time closely. These men were which are the strict basis for the future of a new trying to draw up technical and aesthetic lawf s plastic development. for new buildings, adapted to modern life and Our first constructions show clearly that we enriched with the immense possibilities offered are using only primary elements, whether in by the expansion (A industry. Under the stimu­ volume: cube, prism, cylinder, sphere; or in lus of such an opportunity very young archi­ surface: square, rectangle, circle. tects, not connected with any official organiza­ tions, are now beginning to develop, thereby The future will show whether this shedding justifying their forerunners. of an empty culture, resulting from a plastic purification and the economic conditions of our The Frenchman, who is both intelligent and time, has helped to develop architects who will distrustful, has a tear of innovators. He must recapture the tradition abandoned a hundred observe them before accepting them. This re' years ago and who, for this purpose, wrill find sistence, however, is a source of fresh energy for the laws of their own aesthetic within them­ us, as only those who welcome struggle and op­ selves. position will survive. The hangers-on of the ANDRE LURCAT early days are being automatically eliminated, January, 1926 and our own efforts are consequently more fo- cussed and willed.

The few "modern" architects in France to­ day—for we are not many—may be considered (1) YOUNG FRENCH ARCHITECTS: innovators. (1) Gu''vn'kian, Le Corbusier, Andre Lurc^at, Mal­ let-Stevens, Moreux, Guilleminot. Unfortunately our small number is not all that prevents effective action. We are also To be recalled: Auguste Perret, Tony Gamier. hampered by our fundamentally individualistic habit of mind: no organization, and hence a (2) CONSTRUCTIONS: scattering of effort; no influence in official Gu^vn'kian: shops and gardens. quarters when competitions are held; pnd no aid from the state for propaganda in France or Le Corbusier: private houses, Paris and vicinity; abroad. These are serious drawbacks in our public garden, Bordeaux-Pessac. time, when architecture should be essentially collective. Andre Lurqat: private houses, Paris and vicinity. The "modern" architect in France at present is completely isolated, unknown by the public Mallet-Stevens: private houses, Paris and the and ignored by artists. provinces; garage. Moreux: industrial plant, Paris; country homes It is important to stress the continuity of the in vicinity. instinct which leads French architecture away from theoretical research and toward construe Guilleminot: tions uniting both plastic and structural values. During those years which were so rich for us in Wotc: Since this article was written, the plastic, and so lean in technical experience, we impuke of the young has gained strength and were concerned chiefly in saving the intellectual the public seems much more favorable to our and structural values from being wiped out. movement, apparently recognizing its necessity But we also had to avoid the dangers of the and truth. 23 POWER PLANT Germany 24 DOUBLE.HOUSE. BAUHAUS Dessau Germany, By Walter Gropius

STATE THEATRE JENA By Walter Gropius and Adolpk Meyer, Germany

25 BERLIN CENTRAL A'RPCRT AT NIGHT Phot' './/»// Courtrsv German Railroads

GERMANY

GERMANY

173 Municipal ( ras Works Berlin, Photograph. 174-179 Industrial Architecture, Photographs. lcSO Modern Factory Building, Hanover. 181 Photograph 4 motor nine passenger plane "Air Hansa." 182 Photograph, Berlin's new West Harbor. 183 Photograph, Three motor plane manned by two pilots. 184 Photograph, The Bow of Chili Hous Hamburg. 185 Photograph, Giant Cooling Tower Berlin Generating Stati< >n. 186-209 Photograph, New German Architecture. 210-211 Photograph, Factory, Erie Mendelsohn. 212 St.it.- Theatre Jena, Walter Gropius and Adolph Meyer. 213 Model for a Garage for 1000 Automobiles.

CHILI-HOUSE. HAMBURG

26 ATEL!ER AT BAUHAUS Dessau Germany, By Walter Gropius

MODEL FOR A GARAGE FOR 1000 AUTOMOBILES By I he Brothers Luckhardt and Mums Anker, Berlin

27 -> 3-* 1 Por iin Computing Cylinder Scale, which THE FAFNIR BEARING CO. automatically indicates the weight and 34> Double row, radical 1 iring, self-ali^nin^ pnee ol the article being weighed. type. 332 Mahogany Fully Automatic Card Time Recorder, equipped with program de' vice t<» ring bells, sirens or other signal AMERICAN CAR &, FOUNDRY equipment. 346 Model of 47ft A C. F. Cruiser. ALEXANDER ARCHIPENKO CHARLES DEMUTH % -. -. '"The Glorification ot Beauty' Silver Bronze. 347 "Business". 334 "Flat Torso" Gilded Bronze. 348 "From the Window o\ the Chateau". "Silhouette of a Woman" Bronze THEO. VAN DOESBERG J. R. HERTER & CO. 349 Card Players. 336 "Spring" (Printemps) Modern. 350 Colour Construetion. 3 37 Stained (i 1 ass Effect (Copy of Mediaeval 351-353 Time Spaee ' mstruetions design modern treatment). 338 Flower Basket (La Vasque) Modern. LETT-HAINES

JACQUES LIPSCHITZ 3^4 Painting

339 Toreador. PEVZNER 340 Worn.in. 341 Musical [nstrum<:n t 355 Wall Decoration (Red). 3 ^~ 6 Wall Decoration (Cork) MAN RAY 357 Construetion in Relief. 358 Head. 342 Chess. 35 Head.

OSSIP ZADKINE GABO 343 Head of Young Man 360 Lighting Tower 344 Lady with Fan. 361 Torso.

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29 ARCHITECTURE SUPREMATISM OPENS UP VOLUME balanced the relationships between volumes. PURISM F ALL the plastic arts architecture is the made compositions of the lines of walls, enclos most closely bcund to human lite—life ing space. conceived not merely as a physiological function but also as a certain process of vital rhythm, as the composition of life. THE NEW LAWS OF An architectural work blends with space. It ARCHITECTURE might be said to recover the space which is out­ are based on a heroic composition of communi­ side and to function.ilize the space which is cating passages, and neither place volumes on inside it. That is to say, it gives a well-defined top of each other nor side by side. THEY purpose to each segment of space which enters DESTROY VOLUME ONCE FOR ALL. into it. Modern technical means will allow the archi­ The functioning of space, entering into an tect partly to move and partly to destroy the architectural work acts as a scale. In every elements which make up volume; that is to say, house, during the period of its destiny, daily life to open volume out upon space. The interior, is played upon the notes of that scale. opened by this mobility, will blend with the The construction of a modern building is rest of space and take on architectural values based upon a new conception of space in archi­ through the functioning of each section. tecture. THE CUBE WILL NO LONGER EXIST. The architect of the past ENCLOSED Walls and openings will become a subordinate SPACE IN VOLUME. part oi the building,—they will he movable. The only stable elements left will be the up­ The historical steps in the conception of space rights, about which all living necessities will in architecture may be indicated as follows: be centralized.

CLASSIC ARCHITECTURE The new schools of plastic architecture make use of modern technical means, and the latter placed volumes side by side or on top of each serve not only to construct but also to create other—the lighter on the heavier. The prob­ the forms in which the courage of abstract cre­ lems of form were solved by a juggling of pro­ ation will henceforth actualize itself. portions, which at that time expressed the whole notion of art. It will thus be seen that the creative thought of the architect has left the path prepared for Result: the period of revolt, characterized by it by classic architecture; for that path was a an aesthetic hypertrophy and the degeneration blind alley. of ideas of proportion. Having left this path, the architect found Consequently modern art renounces classic new conceptions rapidly succeeding each other, art from the ground up and even refuses to and each time of course the theorv anticipated try to modernize it. the technical possibilities of realization. Every day, however, is bringing us new tech­ CUBISM nical possibilities and new experiences. made efforts to unite volumes by means of their Cubism, purism and suprematism have al­ reciprocal penetration. ready become links in the long chain of archi­ tectural creation, and OPEN VOLUME will CONSTRUCTIVISM soon be one more such link. placed heavier volumes on top of the lighter. S. SYRKUS Problems of form were neglected in favor of Warsaw, 1926. problems of pure technique. Result: technical hypertrophy.

30 PROJECT FOR A CHURCH By H Oder f eld and 5. Syrkus, Warsaw

CONFECTIONERS SHOP B\ Stan Brukal ki. IIarsaw

31 POLAND

ST. BRUKALSKI 214*220 Confectioner's Shop.

ST. AND B. BRUKALSKI 221-223 Country Church.

J. MALINOWSKI 244 Interior of a Bed Room.

W. STRZEMINSKI 225 Cafe.

S. SYRKUS, IN COLLABORATION WITH — . -— W. STRZEMINSKI 226-228 Fur Shop.

H. STAZEWSKI 229 Office.

H. ODERFELD, S. SYRKUS 230-234 Plan of a Church.

B. LACHERT, L. NIEMOJOWSKI, J. SZANAJCA 235-238 Inexpensive Houses c>

B. LACHERT, J. SZANAJCA 239 Vi"a a Gdynia.

B. LACHERT 240 Architect's House Id

* *"*—» D J. SZANAJCA O LU 241 Notary's House.

QC <*> B. LACHERT, J. SZANAJCA < 2 242 Wooden Country House h do si o B B. LACHERT, J. SZANAJCA 24.^ Houses En Serie. 5« Plan of the School of Political Sciences at Warsaw,

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244 273 Work of the Society k'OSA \

274-281 Work of the Associ.iti.»n "ASNOVA"

282-288 Work of Mellmkotf. The Russian Section will arrive too Lite to cata logue in detail.

289 Boilers.

:(;0'294 Industrial Architecture Photographs loaned by Amtorg Trading Corp.

NOTE—Russian Section except Industrial Photographs courtesy of The American Society for Cultural Rel.itinns with Russia.

COSTUME FOR MECHANICAL THEATRE By Alexandra Exter, Russia

:4 INDUSTRIAL ARCHITECTURE Russia

TORSO By Gabo

GRAYBAR ELECTRIC CO. 361 Electric Ironer. 362 Hamilton Beech Electric Motor. TCHLIETCHEFF 363*368 Machine—Age Costume Designs.

HANS ARP 369-372 Decorations.

FRANKLIN SIMON & CO. 373 Screens: Courtesy of Display Dept JOHN STORRS 374 Sculpture in Metal Design for Clock Tower. BARTLETT HAYWARD CO. 375 Blue Print of Waterless Gas Holder. 376 Photograph of Waterless ( J as Holder. LOUIS LOZOWICK 378 Lord and Taylor Centennial. a—Setting for Fashion Show b—Window Display* 379 Sta 5 tting tor "Gas". LABOUR BUILDING. MOSCOW 380 Machine Ornament (series). By Vesnin 400 Amen, an Cities.

35 MACHINE-AGE EXPOSITION

HE Machine*Age Exposition will show actual machines, parts, apparatuses, pho­ Ttographs and drawings of machines, plants, constructions, etc., in juxtaposition with architecture, paintings, drawings, sculpture, constructions, and inventions by the most vital of the modern artists. There is a great new race of men in America: the Engineer. He has created a new mechanical world, he is segregated trom men in other ac­ tivities ... it is inevitable and important to the civilization of today that he make a union with the architect and artist. This affiliation will benefit each in his own domain, it will end the immense waste in each domain and will become a new creative force. The snobbery, awe and false pride in the art- game, set up by the museums, dealers, and second-rate artists, have frightened the general GATE-VALVE 72' Bx Crane Co. public out of any frank appreciation of the plastic arts. In the past it was a contact with and an appreciation of the arts that helped the individual to function more harmoniously. "plastic-mechanical analogy" which we wish to Such an exaggerated extension of one of the present. functions . . . the extension of the mind as evi­ The artist and the engineer start out with the denced in this invention of Machines, must be same necessity. No true artist ever starts to a mysterious and necessary part of our evolution, make "beauty" ... he has no aesthetic intention see in the Machine nothing but a menace or a —he has a problem. No beauty has ever been utility. There are others who are alive; who achieved which was not reached through the have become impatient with the petrified copy­ necessity to deal with some particular problem. ing of the dead and dying; who are interested in things dynamic. The artist works with definite plastic laws. He knows that his work will have lasting value only if he consciously creates forms which embody WE ADDRESS OUR EXPOSITION the constant and unvarying laws of the universe. TO THESE The aim of the Engineer has been utility. He works with all the plastic elements, he has We will endeavor to show that there exists a created a new plastic mystery, but he is practi­ parallel development and a balancing element in cally ignorant of all aesthetic laws. . . . The contemporary art. The men who hold first rank beauty which he created is accidental. in the plastic arts today are the men who are organizing and transforming the realities of our Utility does not exclude the presence of age into a dynamic beauty. They do not copy beauty ... on the contrary a machine is not or imitate the Machine, they do not worship the entirely efficient without the element of beauty. Machine,—they recognize it as one of the real­ Utility and efficiency must take into account ities. In fact it is the Engineer who has been the whole man. Let us take one of the simplest forced, in his creation, to use most of the forms and most obvious examples . . . the motor car. once used by the artist . . . the artist must now Take the first cars . . . the lack of rhythmic bal­ discover new forms for himself. It is this ance in their organization, their stupid, sterile,

36 vertical lines frustrated all feeling of horizontal CURTISS AEROPLANE CO motion and velocity. Today the finest cars with 310 Model of Plane. their rhythmic coordination of lines induce a 311 Engine. consciousness of velocity and motion even greater than their actual speed in miles per hour. NORMA-HOFFMANN BEARING CO. 312 C-94 Norma Ball Bearing. The experiment of an exposition bringing to­ 313 RLS-27 Hoffmann Roller Bearing. gether the plastic works of these two types of artist has in it the possibility of forecasting the W. F. HIRSCHMAN CO., INC., lite of tomorrow. All of the most energetic artists, both here and in Europe: painters, sculp­ LE ROY, NEW YORK tors, poets, musicians, are enthusiastically organ­ 314 Effico Rotary Ball Bearing Ventilator ized to support this exposition, the Engineers are giving it their interested cooperation. A. SCHRADER'S SON -;H. 315 Diving Pump. 316 Diving Dummy Mounted with complete equipment. 317 Complete Telephone Outfit. 318 Picture and Easle (View of S-51 Sub- marine).

J. R. HARBECK HYDE WINDLASS CO. ""295-296 Radio Construction. 319 Propeller.

INTERNATIONAL BUSINESS MACHINES SARCO COMPANY, INC. 320 Coffee Grinder. 297-298 Temperature Regulators 321 Meat Carver. 322 Time Clock. U. S. DEPARTMENT OF COMMERCE STUDEBAKER CORP. OF AMERICA Bureau of Standards. 299 Telemeter, Carbon Resistor Type. 323 Crankshaft. EDISON LAMP WORKS OF GENERAL YARNALL-WARING CO. ELECTRIC 300 Yarway Seatlcss Valve. Harrison, N. Y. 324 Largest and smc1 1 lest lamps made. PUBLIC SERVICE PRODUCTION CO., 325 Photograph of b ulb-blowing machine. NEWARK STATION W. R. N. Y. 301 Model Harrison Gas Works. 326 Ossiphone.

BOSTON GEAR WORKS JANES & KIRTLAND, INC. 302 Exhibit of various types of gears 327 Steel Dresser.

INTERNATIONAL HARVESTER CO SOCONY BURNER CORP. 303 Electric Farm (Model). 328 Arrow Oil Burner. 304 Toy models of implements. 305 Industrial Tractor. INTERNATIONAL BUSINESS MACHINES 306 Plow. CORP. 329 Double End Coffee Mill with adjustable CRANE CO. burrs, equipped to pulverize and granu' late cofl'e< at a high rate of speed. 307 Gate Valve. 3 3 0 Meat Sheer, slices hot and cold meats to 308 Stop-Check Valve. any desired thickness within a range of 309 Oil Separator. 1/64 of an inch to Yi inch.

37 MODERN GLASS CONSTRUCTION

UPPLYING daylight to buildings is one of the most important problems of the S architect. This problem becomes more complicated as the cities become more congested and buildings are closer to each other. So far, windows and, in the upper stories, skylights have been the only possible means of supplying daylight to the interior of buildings, as there was no practical way of constructing luminouc walls

GYROSCOPE STABILIZER which would preserve the necessary privacy, be By E. E. Sperry poor conductors of heat and cold, need no up- keep and give the protection necessary for the THE POETRY OF average building. The problem has been simpli­ fied by the fact that in modern building con­ FORCES struction the outside walls usually do not have to carry any load in addition to their own Although we may come unacknowl­ weight, being simply curtain walls. The inside edged, as poor relations, still we turn to our partitions are also only intended to divide the fellow scientists, and salute them as furnishing space into rooms, the entire weight of the build­ us with tools and symbols for our work, for ing being carried by steel columns and beams. indeed we feel more related to them than to the brotherhood of poets who continue to build The solution of this problem has now been poems from materials with which we should accomplished by the use of glass units designed blush to be guilty of concern. It is interesting in a way that they would distort the light rays to be shown by the scientists that the gases to such an extent that all transparency is elimi­ composing the air we breathe are electricity, as nated. This has been obtained without the use are likewise all the elements of the material of any milky or other admixture in the glass universe. Penetrated, permeated, and in a material which would decrease the transmission sense created, as we are by this force, it follows of light. The individual glass units are as- that the human mind is no exception—it too is sembled with cement mortar to form tiles or electricity. blocks of a convenient size for masons to lay We find it not only natural and poetic to up in walls, each tile having a cement border to become practitioners of the poetry of forces, supply the necessary suction for the mortar used but inevitable. From this basis, or spring-board, in laying up the tiles to set in the same length we plunge mentally and boldly into the seeth­ of time it would take in the case of concrete tile, ing universe of electrons and vibrations, beyond and at the same time emphasizing the structural which forces repose. Having reduced all the nature of the work. elements to their common denominator, elec­ Buildings constructed in this manner receive tricity, we move about more freely, in ethereal the greatest possible amount of light. Windows behavior. We have apparently reached the may be inserted m the walls wherever it is de' common substance out of which diversity sired to have a view of the outside. This con­ springs. But it is necessary to say something struction presents to the eye the same solid ap­ like this: if the common germ thinks like a pearance as a brick wall while affording the same plant, it will unfold a plant; if it thinks of itself protection as to visibility of the interior from as a fish, it will dart forth a fish. This seems external observation. The interior of the wall to hint the identity of subject and object: to forms a luminous surface shedding the greatest turn perception in a direction where it no longer i mount of light possible without the disadvan­ views the evolution of ages, but where it be­ tage of large window surfaces which destroy holds the instantaneous manifestation of forces. privacy, admit too much heat and coM, and also MARK TURBYFILL are a source of continuous expense for upkeep.

38 RAVENNA MOSAICS. INC. The Five Wise and the Fiv> Foolish Virgins Design by Prof. E. Dulberg Weimar

These glass tiles may also be used tor inside Electric light bulbs may be installed in the space partitions, allowing daylight to pass from one between the two ceilings in a manner to throw room to another and yt at the same time assur­ the light against the ceiling which, in turn, re­ ing to the occupants all trie advantages of com­ flects it from the relief glass to the room below. plete enclosure. By the use of amber-colored glass the effect of warm sunshine may be achieved, lending a most This principle ot lighting up spaces by means pleasant atmosphere to the entire room. The of large luminous surfaces in preference to com­ treatment ot the ceiling in relief prevents the paratively small spots of light may be applied to light from being "spotty" and makes the entire artificial light as well as to daylight. Ornamental effect harmonious. glass relief ceilings may be installed in rooms about eighteen inches below the plaster ceiling. FREDERICK L. KEPPLER

39 H

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SOME OR i i THE USERS JOHNS" MANVILLE CO. Wk BECK ENGRAVING CO. m PICTORIAL REVIEW SCIENTIFIC EN6RAVIM6 CO. SPENCER-KELLOGG CO. STARRETT^VAN VLEECK

,.*. ^^m ANDREWH.KELL06G6.C0. I I YALE UNIVERSITY * ^B SCHWEINLER PRESS

^ATIONAI ANILINE CNEfllCAL CO. ,x SYDENHAM HOSPITAL - ^, - . y STAHOARO OIL COMPANY OF N.Y AHDNJ^ UDUPONTDeNEHOURS&CONPANY MURPHY VARNISH COMPANY VALENTINE L. COMPANY COFFEE EXCHANGE BEECH-NUT PACKIN6 COMPANY AMERICAN WOOLEN COMPANY R.H. MACY €r CO. JOHN WANAMAKER ALEXANDER SMITH CARPET CO. '/^ NATIONAL LEAD CO. MILLER RUBBER CONPAN ARBUCKLE 6, COMPANY AMERICAN LITHOGRAPHIC CO. BOTANY WORSTED MILLS TERHUHE,YEREANCFe*WOlfF~ KEMT-COSTIKYAH H.A.5CH0ENHAL5. PHOTOGRAPHER NICHOLAS HURAY. PHOT06RAPHFR NEWS PRINT SERVICE BUREAU

ZM_LPR PRESS, INC., N.W Y. Vita Gl

The new window glass that transmits > • the ultra-violet health rays of the sun

ODAY, buildings are being de­ Vita glass is genuine glass, manufactured signed especially to let in sunlight. in two forms—clear and cathedral. Both TAnd yet the sunlight that their glasses are supplied cut to specifications, windows admit has been robbed of all its ready for installation, each light bearing the health value. For ordinary window and trade-marked label. Because of the inv portance of Vita glass to health, its installa­ plate glass do not transmit the vital ultra­ tion naturally increases re-sale values and violet rays of the sun—rays that promote makes houses, apartments and offices easier health, help to prevent rickets in children, to rent. kill germs and increase mental and physical The value of Vita glass is attested by energy. Vita glass does transmit these eminent authorities. We should be glad to rays. It is now possible therefore to bring furnish details. Vitaglass Corporation, outdoor health indoors. ^0 East 42nd Street, New York City.

BUILDERS Are Turning West to BERGEN COUNTY Dr. Charles V. Paterno is one of the first of New- County. Tides of population shoulmid turn west and York's greatest apartment builders to buy land in flow over the Hudson River Bridge at a greater Bergen County. Others are bound to follow this rate than they have flowed East to Queens. Think great "Pioneer" Builder just as they followed him what it means to have an opportunity to buy at on Park Avenue, Riverside Drive and Washington Auction a "Paterno" property in Bergen Count> See this Paterno property for yourself. Study the Heights. I lay you. Home-seekers, Builders, In­ future growth and make your plans to buy as many vestors, Speculators and Operators, you should 0* th"se Paterno Budge Zone lots as you can make no mistake in following Dr. Paterno to Bergen afford. Public Auction Sale 565 PATERNO BRIDGE ZONE LotS At S31\;i 11 V>eime and 011 Newly Opened Yan Mostrainl BERGEN \ E W Ave., Through to Jones ltoad, Opp. Kngleuood Golf Club COUNT! tNGLEWOOD JERSEY Saturday, May 28 th & Decoration Day, Monday, May 30th

CI On Installment Kalloon L< cafes T.nN 2.30 o'clock. Under Tent, on Property 80 Contract Send for Hookmap 1.7 Liberty StreH \e» rorl Clfa now TO GO—To reach proper t) \ ia Port L«•»• (126th Street) Kerry, to Pali ...1. Avenue, right I Main street, Port Lee, loft one block t" Lemoim (Sylvan) Avenue, rigrhf to Van Nostrand AVHUI 1 balloon on lots. Via Dyckman Sti 1 •'• n up terry approach to Palisade Avenue, •trataht t \\ blocka to Sylvan (Lemolne Avenue, left to Van Nostrand Avenue t.. balloon on lots. IVI < ; I OT I I HML£YI£:~'. 3 NAY