VOLU M E: Ill NOVE:N\BE:R 1921 NUMBER 11

A MESSAGE FROM GROMORT

HE fact that M. Georges Gromort's book on it is possible that sometimes it provoked men to de­ Itali an Renaissance architecture has now been bauchery and crime, but it is not to be doubted that, T translated into Engli sh impels us to devote in developing sensibility, it produced very great art­ this page to an appreciation of his work, in the ists. O n the other hand it exalted good instincts belief that calling the attention of our readers to to the same extent as evil ones, and it is probable the translation is the best use we can make of the that peoples. like works and individuals, are worth space usually devoted to an editorial. much more possessing a few qualities than lacking T his book contains a vitalizing message for the any defects." architect and the architectural student. lt stirs one Speaking of the charm possessed by many Ren­ and gives greater power. It deepens, organizes ancl aissance buildings he says, in part: "F rom the three clarifies one's understanding of the meaning of ar­ marble steps by which one reaches the portico of the chitecture. If reading it does not make a man a Libreria Vecchia to the topmost mouldings of the better architect, we believe he must be either per­ balustrade which crowns its brilliant cornice, there fect or, hopeless. is not a line, not a detail of ornament the study of This book is much broader than its title " Italian which seemed less useful, or rather less ai1 1,11sing, to Renaissance J\ rchitecture." \ i\T hile discussing the the artist than any other. ... The architectural de­ Renaissance the author makes clear the reasons for tails have been s t~1di ed , caressed, we might say, with the general excellence of the work of the period the same loving conscientiousness of which we spoke under considerati on and since these reasons are a moment ago. Q uite a spontaneous conscientious­ basic, points the way to the creation of architecture ness, however, and one that we are hardly called of the highest character today- not necessarily in upon to credit the artist with. He was amnsing the Renaissance manner. himself, and there _d oes not seem to be very great i\I. Gromort is peculiarl y well fitted to stimulate merit in that. How could works of art conceived an appreciative interest in the spirit of architectural with such fervor and executed from beginning to works. This sets his book apart from other schol­ encl with so much delight he really tedious? Did arl y, hi storical and descriptive works, and gives it their authors reall y possess so little happiness, or special value. rather so little common ability? The least particle There is somehow the quality of a spoken message of talent, backed up by such a way of working, oughl from the author to each reader. This is so, per­ to produce interesting things: what if these methods haps, because M. Gromort prepared this work for are placed at the service of genius?" hi s own pupils, men he knew and talked to. The M. Gromort classifies the Renaissance works of translator, M r. George \i\!aters, himself an able art­ architecture in three divisions, marking the period ,~ ist. has preserved this quality while sympathetically of development, and he discusses each period in a turning into Engli sh M. Gromort's text. way that is illuminating and intensely interesting. As indicating the author's approach to his sub­ The book contains one hundred ten photographs and ject. we give below two quotations from the book. measured drawings, also forty-five illustrations in In speaking of the exaltation of personality which the text and a fo lding chronological chart of the was one of the characteristics of the Renaissance principal Renai ssance buildings. period he says: "If one of the faults of our time. as Stendhal so bitterly complained, is an unfortunate THE SKETCH COMPETITION propensity to di sgui se the tendencies and the pas­ S THIS issue goes to press we are able to say sions which form the depth of our nature and con­ A that the Birch Burdette Long Sketch Competi ­ stitute the onl y elements worthy of characterizing tion for 1922, judging by the number of entrie;;. us, the men of the Renaissance on the contrary never will be as great a success as the competition held last hesitated to give free rein to these propensities, good year. The judgment will take place shortly at the or bad as they might be. and to cultivate carefully headquarters of the Architectural League o f New those likely to distinguish them from their neigh­ York where a selection of the drawings will be ex·· bo1·s. \Ve do not have to inquire what such a con­ hibited for one week A t ravelling exhibition of ception is worth from a philosophical point of view; sketches will then he sent on the road.

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R endering by Otto R. Eggers, Dram1. -in P encil witli Light Washes of Color. For Description of the Making of This Drawing See Mr. Eggers's Article B eginning on the Opposite Page. THE GENESIS OF A RENDERING

BY OTTO R. EGGERS

In this article J.1r. Eggers describes ·in detail the way in which he made one of his renderi11_qs , covering evei-31 step from the first conference with the c/.ient to the completion of the drawi11g, ill11strating his method of work­ i 11g bv a concrete example and making helpfiil co mments as he proceeds.- Eo.

H E drawing reproduced on the opposite page always keeping in mind the exterior. The size of was made for the double purpose of study­ the various rooms were more or less predetermined. T ing the design and of showing the idea to the Incidentally, it may be said that the ceilings were to client. The first step was, naturally, to learn the be high and the interior more formal than the ex­ cli ent's requirements. In this instance this was teri or. N ext, a sketch plan was drawn with T- rather easy, f o r square and triangle. she had spent much Then rough ele­ time in France, had vations wer e a house in a sub­ o I sketched, merely urb of Paris in studies in m as s, fact, and showed a made principally to decided preference ,. . give the silhouette for the chateau of the roofs. One type. The i d e a of these elevation ...... wa_s crystallized hy f .... studies is shown on gomg over a num- /. this page. It hap­ I j ~ · I ber of books with pens to be of the the client, notin g river front of the the characteristics house, opposite to of the old chateanx R onr;h Study of an Elevation. that shown in the that especially ap­ perspective. pealed to her. The site, a strip o f comparatively The planting that would be required by the site level land along a river, was of the kind into which was then studied in a rough sketch. This planting a house of this character would fit very well . The is shown on a more carefully drawn plot plan which slight slope of the ground was eliminated before was made at a later stage and is reproduced on page the completi on of the work. A s the approach was 12, in connection with this article. to be from the higher ground on the side opposite The next step was the making of the preliminary to the river front, the first view of the house would drawing that was to serve as a basis for the render­ be in the nature of a bird's-eye view. Under these ing. This drawing is shown in the illustration at circumstances, it was apparent that steep roofs the bottom of this page. It was made practically in would be desirable-the kind of roofs that one can elevation in order that the design might be studied play with. the more easily. It is at one-eighth inch scale and Rough free-hand studies of the plan were made. was drawn very lightly and indefinitely. A hard

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The Preliminary Drawing Hl hich vVas Used as a Pasis for the R endering Shown on the Opposite Page.

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and very definite clrawing makes a bad basis for a of the surface upon which they are cast does not rendering fo r it is difficult to avoid getting the hard­ show sufficiently to give life to the . shadows, the ness of the preliminary drawing into the finished indication of this detail may be strengthened. work. By the way, a professional render who has Where ivy is shown, if. it does not come out black that kind o f drawing gi ven to him, as is often the enough, it can be ·strengthened later by making case. is badly handicapped at the start. There seems what may, for lack of a better term, be called curly, to he no way out of that difficulty, however, where zigzag little lines, that suggest the leaves. the rendering is not to he cl one by the designer, for In drawing trees it seems natural to draw them one man can hardly be left very much freedom in­ upward, the way a tree grows. I put in the trunk terpreting another's architecture. first and then draw the branches out from it and Tn making this preliminary drawing there was no the smaller branches in turn, indicating the branches instrumental preparation, in the usual sense. A plan only very lightly. I then draw in the foliage and at one-sixteenth inch scale was used for reference strengthen the parts of the branches that can be onl y. The widths and heights of the various main seen among the foliage. parts were simply scaled off and a vanishing point Only the general characteri stics of different kinds assumed somewhat to the ri ght of the centre. The of trees can be preserved, as a rule, in a rendering, ridges of the roofs were drawn to this point. The the general form and manner of growth, for in­ long hori zo ntal elements of the front, eaves, etc., stance, the very crooked branches of the apple tree were drawn in with the T-square used as a straight­ and the characteristic shape of its masses of foli­ edge and tilted so as to make the lines converge age; the pine tree with its mast-like trnnk from towards the left. N o vanishing point was estab­ which hori zontal branches radiate at intervals. Some li shed at the left, the lines being drawn as seemed trees have a general cone shape massing , while the about right. elm is well known by its broad-spreading top, etc. The architecture was studied on this drawing ; The oak is an especially diffi cult tree to preserve the ~ i zes an cl widths of openings. etc., a figure of a man character of in a rendering. being li ghtl y sketchecl in for reference as to scale. In drawing shadows in the fo reg round I keep all This drawing was left sufficiently indefinite to per­ the lines horizontal, no vertical lines or slanting­ mit further study in the making of the final sketch. lines. Shadows can often well he put in by scratcl;~ On this preliminary drawing I roughed in lightly ing with the pencil from side to side and smudging the general position of the planting that would he with the thumb to pull the whole together. When necessary around the building. I then put a piece a shadow has been made in this way a green rubber of very transparent tracing paper over this drawing may be used to make some ho1·i zontal light spots and went aheacl with the pencil sketch, making it tha~ give the effect of sunlight coming clown through over the preliminary drawing which showed through foliage. Later on one can put a dab of yellow in clearly. each of these Jig-ht spots to carry further the surr- I first consid er the scheme of my picture in a gestion of sunshine. "' general way to decide where the lights and darks In a pencil rendering, I hardly ever indicate are to lie placed and their relative intensity. If, as clouds. I leave the sky absolutely untouched. be­ in this case, the drawing is to be mounted on gray cause cl ouds usually compete with the building and cardboard and Chinese white used to bring up the unless they are composed and drawn with great care contrasts. I consid er where I shall use the white. their appearan ~e is not good. There are times, how­ I usuall y start working as near the centre of in­ ever. when I want clouds in a rendering; then I terest of my picture as I can without the danger of give them careful study. putting my hand into the drawing. To save the In choosing a paper for a rendering I prefer a rendering· I usually draw with a T-square under my smooth paper rather than one that has considerable hand. My reason fo r starting near the centre of texture. excepting for large renderings. \"lhile interest is that in this way I am able to feel the drawing on thin paper I use a piece of smooth card­ drawing as I proceed. When the main entrance of board as a foundation and tack my drawing paper a building appears in a drawing . it is usually best to clown over it. make this the centre of interest. When the pencil work was completed. the next As a rule. if there is any foliage in front of a step was to mount the drawing by fl oating it on a building, that should be put in first, as one cannot cardboard. Floating a thin paper drawing requires do any rubbing out. Usuall y, the nearer planes some practice. I first tun1 the c11·awing face down­ should be drawn first. so that all that goes back of ward on a clean piece of paper. Then I wet it them may take their proper value and position. thoroughly with a clean sponge full of water. Next Each part drawn should he fully rendered before I pour drawing board paste onto it and spread the passing on to the next part. with the exception that paste evenly with the wet sponge, being sure that positi ve blacks may be put in after the drawing is the paste is spread all the way to the edges and that otherwise completed. In general. it is well to work it does not dry anywhere. I then have some one from the top downward, so roofs are among the help me by taking up two corners of the drawing first parts drawn in. I hardly ever use a straight­ while I take up the other two. The drawing is edge in rendering. excepting once in a while to run lifted by the corners and turned over so that the in a few lines. when I have a long cornice. for in­ paste-covered side is clown . It is then let down onto stance. If, when shadows are drawn in. the detail (Continiied on page 35)

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Figure 182. "Un Chateau d'Eau." Portion of Design by M. Janin, Pupil of M. Lalou,'1: . Placed Second, Grand Prix D'Ronie, Ecole des Beaux Arts, Paris.

14 THE STUDY OF ARCHITECTURAL DESIGN WlTH SPECIAL REFERENCE TO THE PROGRAM OF THE BEAUX-ARTS INSTITU'l E OF DESIGN CLASS B. PLAN PROBLEM. PART XI. Indication

BY JOHN F. HARBESON

!11 this series of articles, which began in Jan11ary, 192 1, Mr. Harbeson is explaining the method of working and how to get the greatest benefit in following the Pro.<;ram of The Beaux-A1·ts lnstitwte of Desi.Qn. It is not intended as a substitute for Personal instruction and criticism. The "A11alytique" was treated i1I issues for Feb­ ntary to S eptember. 1921, inclusive.-Eo.

S ARCHITECTS number of columns in the understand it, "indi­ portico is preferably left to A cation" may be of the time when that number three kinds, in each of may be studied; the crown­ which the object is to get ing feature of the end motif an "effect" ; part of this de­ is purposely vague: there sired effect is to give an will be a mass there that idea of the third dimension will show in silhouette­ as well as the Aoor area, for that is all that it is desirable instance making thicker the to indicate. There is a cer­ points of poche that sup­ tain freedom in the draw­ port big rooms, as we shall ing of an esquisse : it is not see later. These three kinds the place to express with are (a) that used in mak­ definiteness. ing the esquisse; (b) that ( b) In making studies it used in making studies, for is needless to say that "in­ one's own use or to present dication" is a great time to the critic, and ( c) that saver. Were time of no used in presentation draw­ value studies might be made ings. Indication as used in by means of carefully the drawing of an "esquisse Figure 178. An Example of the Kind of In­ drawn and rendered plans esquisse" or sketch prob­ dication Used in M a!?ing a Study. and elevations, but where a lem is a mixture of the last limited time is given for a two. It will be con­ problem, (and to pre­ sidered separately. pare for actual prac­ (a ). In an esquisse, tice, where time has a a scheme is to be money v a 1 u e) the shown, bnt an indica­ principal use of indi­ tion of detail of any cation is to make vis­ sort is avoided by ible the "scheme" as preference, so that all rapidly as possible, such questions of de­ and to confine one's tail may be left for attention to the big study. Thus, in Fig­ principles of design ure 177, while the big as effect i n g this divisions of the build­ scheme, and keep it ing are shown both in away from detail. M. plan a n d elevation, Scellier de Gisors. there is no attempt, formerly' a professor for instance, either in at the Ecole des Beaux plan or elevation, to Arts in Paris, pre­ fix the number of win­ ferred that all studies L------..,------=~----lj of elevation put before dows in the wall which forms one of these Figure 177· An Example of the Kind of Indication him early in the study divisions: even the Used in Making an Esquisse. of a problem should 15 I I

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Figiwe r8o. "L es Salles de Fetcs cl de Reunion et Les Graudcs Serres d'zm Jardin d'Accliniatation." Design by M. M a,-.ime P etit, PujJil of NI. Deglane. Achille Leclere Prize, I9I 2. Ecole des Beaux Arts, Paris.

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have all the openings-doors and windows-blacked Figures 162 and 163 (September). As we have in solid with ink, which of course will show imme­ already said, the former gives very well the general diately the proportion between the solids and the effect, yet a comparison of the two immediately voids of a f a<;;a cle, as well as the proportion between shows the diffe rence in time required to get this the different voids, and these are the first things that effect. must be studied and made satisfactory. He felt that (c). Even in the presentation drawings, when an a clever man, one who renders well , frequently de­ elevation is at small scale, the ornament on mould­ ceives himself by ri1aking studies in which he has, ings is frequently inclicatecl ancl not drawn. Unless because he can render well, covered up the faults a drawing is large enough in size to study such de­ in his design or taken the attention away from them. tail it makes little difference whether the ornament I t is for the same reason that most critics ask be egg and dart or tongue and leaf, or something to be shown in the first few clays of study of a prob­ else-a band of gray is the important thing. Bas­ lem and at intervals during this study a plan on reli efs or sculpture may frequently be indicated which all the wall s are pochecl- blacked in in ink­ rather than drawn on such small scale elevations. even if cl one free-hand with a brush or a stub pen. In the plan indication is of more importance, be­ This will at once show the varying sizes of the cause thei plan is a conventional drawing, and indi­ rooms, their relation to each other, and which ones cation plays a large part in this convention. Indica­ a re important. ti on affects both the "poche"-the actual walls of As the studies progress the indicati on enters more the building- and the "mosaic," both inside and into detail. In free-hand studies of elevation, or outside of these walls. Let us take first the poche. studies in which the As we have said, main lines, the part the poche shows already determined which rooms a re f r o m previous important : the big drawings, are made rooms will usually with T-square ancl have thicker walls triangle, other parts - thicker points of are clo ne free-hand poche- because the and largely "indi­ great spans requir­ ca t e d. " In any ed to roof them study of elevation wi ll cause heavy shadows p 1 a y an loacls on t h es e important part: the wall s. These rooms line o E shadow hav­ too will usua!J y ing been cast. the have a richer out­ shadow can be most line-as the walls quickl y fill ed in by may have pilasters, a vertical free-i1an d l. • i engaged columns, hatching in pencil • ~ c panels, or niches, or by a series of which w o u 1 cl be spirals, as in Fi;>;­ lacking in corridors ure 178, usuall y or rooms intended srnuclgecl with the for the services of fin ger in e ith er the building. Thus case. Openings are the poche will at 111 e r e 1 y indicated once give scale and until some arrange­ character to a plan. m e n t worthy o f It is interesting t-; more careful study study the Grand is decided u p o n. P rix plan of Bigot, Such details as bal­ Figure 179, to see usters, column caps, how the character or ornament, are in the three por­ indicated r at h e r ti ons of the group than drawn. - hath h o u s e, Indication in plan casino, ball-room­ is important fo r its are shown by both use in study f o r poche and mosaic. the same reason­ In examining any to avoid spending plan we see that the time on detail that wall s vary in size should be spent in Figure 1 8 1. "A R·iding School in the Country," by G. E . - in a big plan, study of propor­ Brumbaugh, Univers-ity of P ennsylvania. H onorable M en­ t h a t there is a tion. C om pare tion in Class B ., Interscholastic Competition l9II-l2. great variation 111 17 1 I I /

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size. They vary in thickness for several reasons. four sides. All these things affect the poche. 1. High walls are thicker than low walls built of 4. A change in the material used in construction the same materials. This is the result of construc­ will, of course, cause a change in the character and tive necessity, as any building law will show. 2. weight of the poche. This is especially striking The larger the room, the thicker will the walls be. where a building is in part of masonry and in part if built of the same materials. This again is the of steel construction. In Figure 180, a horticultural result of constructive requirements. 3. A change in society's building, note the interesting differentiation the type of construction materially alters the shape between the poche of the rooms of more ordinary and size of the points of poche-vaulted rooms re­ size and construction, and the large horticultural hall quire heavier points of support than flat ceiled ones. in front-a sort of monumental greenhouse, where Where thrusts occur in construction, either from the thin points of support show that the construc­ arches, or from vaults, or from some kinds of tion is of metal and indic_ate the large areas of glass. trusses, the resultant pressure must be taken care of This plan is also interesting for its study in mosaic. by means of a thickening of the wall in the direc­ Note, too, the character of poche used to express tion of the thrust-resulting frequently in buttresses the large central banking room in the Grand Prix - unless counter-balanced by a corresponding thrust plan of Tony Garnier, Figure 9, in l\fr. Swales' on the other side. If a room has a barrel vaul t, article in the November 1921 issue of PENCIL there wi ll be heavy walls on the sides, and li ghter POINTS. walls, or none at all, on the ends; whil e a room The walls of a fac;ade are usuall y heavier than with a cloister vault will have heavy walls on all (Continued on page 34)

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Figure rJ9. "Un Etablissement d' Eaux Thermal es et Casino," by Eugene B-igot, Pupil of M. Laloux. Grand Prix, r900, Ecole d'Beaux Arts, Paris.

18 PENCIL POINTS VOL. Ill, No. u PLATE XU

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TEMPLE OF VENUS AND ROME FROM D'ESPOUY'S "FRAGMENTS D'ARCHITECTURE ANTJQUE" I i

The restoration of the Temple of Venus aud Rome reproduced on the other side of this sheet fron1 D'Espouy's "Fragments D'Architecture Antique" is a most interestiug representation of this v ery large temple of which remains still exist. This temple was bwilt by Hadrian 1:n 135 A. D. and was recon­ structed by Ma."Centius in 307 A. D . As will be seen by referring to the plan in the corner of the plate, it was divided in two parts. The detai:t including the lion's head is a portion of the ornament of the cormce. PENCIL POINTS VOL. III, No. " PLATE XLII

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DOWN-TOWN NEW YORK. PENCIL SKETCH BY VERNON HOWE BAILEY The sketch of down-town New York by V ernon H owe Bailey which is reproduced on the other side of this sheet is one of the most interesting of this artist's drawings and shows his mastery of t fJ chnique admirably. It is lithographic pencil on a paper of light ivory tint. PENCIL POINTS VOL. III, No. 11 PLATE XLIII

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FIGURE STUDY BY KENYON COX On the other side of this sheet is reproduced one of the remarkably fin e j; enc1:t studies from life made by the late Kenyon Cox. It is our good fortune to be able to present th:s draiving through the courtesy of Mrs. Co x . PENCIL POINTS VOL. III, No. u PLATE XLIV

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PENCIL SKETCH, BY KENNET H CONAN T . CATHEDRAL AT LU Go • SPAIN, FROM THE TOWN WALL. , \ ; ;

One of the nwny delightful sketches made in Spain by Kenneth Conant 1:n the summer of I920 is reproduced on the other side of this sheet. I f. is one of the finest of the series, and conveys the architecture espec.-'ally w ell while havin,q excellent p.'ctrrial character. Other drawi11gs by 111r. Conant will appear £n early issurs. MOTION PICTURE THEATRE DATA, PART V BY EMIL M. MLINAR. In thi,r serial article Mr. Mlinar, who is the N1:w York associate of C. Howard Crane, Architect, De­ troit, 1vfichigan, is going thoroughly into the Practical considerations in motion-picture theatre design, presenting the data indispensable in designing and making drav:ings for such theatres. Mr. Mlinar specializes in theatre work afid was_ formerly of the office of Thomas W. Lamb.-En.

UCH thought has been expended by archi­ scenium on.account of the fact that they project be­ tects upon the design of the proscenium, yond the architectural surface. From the theatre M and it is interesting to note here how some owner's standpoint, however, the boxes are often architects1 have treated this feature, especially the highly desirable, not only on account of the fact b i g area supporting that they provide ad­ the sounding board. ditional seating and We, therefore, pub- higher prices than are 1 i ~ h in connection charged for m o s t with t h i s article a other seats, but be­ number of p h o t o­ cause when a motion graphs showing 'the picture theatre is built proscenium in various with boxes it may be motion· picture thea­ more readily turned in­ tres, including several to a legitimate theatre. of i the type that is Personally, I am in favored by architects favor of doing away on the Coast as well with the proscenium as the kind of treat­ boxes but if they are mE;nt generally em­ required they should ployed in the East and be given particular throughout the coun­ study. try. One of the most In their effort to Nlezzanine of Loew's State Theatre, Los Angeles, Cal. serious mistakes in sedure the most effec­ - Weeks & Day, Architects. connection with the tive proscenium treat­ designing of the pro­ ment architects for some time have endeavored to do scenium is to overlook the fact that the people sit­ aw:ay with the customary boxes, l'Vhich do not per­ ting at the side of the house must look through that mit of the most satisfactory treatment of the pro- portion of the auditorium into ·which the boxes pro-

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Mezzanine of Loe7!1 s State Theatre, Oakland, Cal. Weeks & Dq,y, Architects.

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Detail of Loew's State Theatre, New York. Detail of Capitol Theatre, Detroit, Mich. Tlzomqs f!V. L amb! Arr:hiter:t, C'. Haward Crane, Arcln'.tect. PENCIL POINTS

Audit01·ium of The Capitol Theatre, New York. Thomas W. Lamb, Architect. ject and in order to overcome the possibility of cut­ the front of the stage, a very bad thing to do. The ting off the view of the screen from some of tbe placing of the screen at the front of the stage would seats the relation of the boxes to the stage must be make the first six or seven rows of seats undesir­ carefully considered. It will be noted by reference able, for the picture becomes distorted when viewed to the illustration of the auditorium of the Capitol from this position and to view the screen at such Theatre, New York, that the designer has cut down an angle is also very uncomfortable. A good rule the corner of the box over the lower orchestra boxes to follow is to place the screen within five feet of so as to avoid the rear of t h e cutting into the stage and arrange sight from some the sight lines ac­ of the orchestra cordingly. It is seats. Though the well to assume a value of this box stage d e p t h of for seating people thirty feet clear was not regarded which is usual for as highly impor­ this type of house. tant, it has been This measurement so designed that is taken from the it is entirely sat­ so-called curtain isfactory for use. line at the point Not infrequent­ back of the foot­ ly in planning a lights where the theatre too much asbestos or steel is taken for grant­ curtain is located. ed as to the plac­ This arrangement ing of the picture allows for the use s c r e e n. It is of a stage setting sometimes assum­ which may be ar­ ed that the screen Proscenium of Loew' s State Theatre, Los Angeles, Cal. chitectural in the will be placed at Weeks & Day, Architects. (Con. on p. 33)

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Prosce11iu.ni of Loew's State Theatre, Stockton, Cal. ~Veelis & Day, A rchitects.

Balcony and Bo.xes of Loew's State Theatre, Los Angeles, Cal. Weeks & Day, Architects.

30 THE BURNHAM LIBRARY OF ARCHITECTURE. PENCIL POINTS FROM the Illinois Society of Architects' "Bulletin" we quote the following: Published Monthly by "It was ten years ago that D aniel H. Burnham died, leaving to the Art Institute a fund of $50,000 for an ar­ THE PENCIL POINTS PRESS, Inc. chitectural library. The income from the fund has been spent for books, under the guidance of a committee of Publication Office-Stamford, Conn. architects; Howard Shaw, chairman, E . H. Bennett, Peirce Anderson, Hubert Burnham, and vV. A. Shattuck, the last Editorial and Advertising Offices-r9 East 24th Street, New York named succeeded by E. S. Campbell; I ohn Holabird was added to the committee r ecently. The committee pur­ RALPH REINHOLD, President F. W . ROBINSON, Treasurer chased the architectural books of Ryerson Library, and EDWARD G. NELLIS, Vice President and Secretary until 1920 the collection was kept in that library. By that EUGENE CLUTE, Editor W .. V. MONTGOMERY, Business Manager time the nucleus of 1,200 volumes had doubled, and the RAY D. FINEL, Advertising Manager architectura'l alcove had been outgrown. In January of Copyright, r922, by The Pencil Points Press, Inc. 1920 the coll ection was moved into a newly finished room, adiacent to Ryerson Library. This room was designed by Subscription rates per annum, payable in advance; United Stat~s of America and H oward Shaw and contains two murals contributed by U . S . Possessions, Cuba and Mexico $1.00, Single copies 15 cents; Canada $1.25 all other countries $1.50. Payment for Foreign Subscription should be made by the artist, Frederick Clay Bartlett. International Money Order or America:n Express Money Order, drawn in terms "During these ten years the committee has striven to of United States Money. gather a- good working library; additions of antiquarian All Subscribers are requested to state profession or occupation. character have been incidental. Yet in the present col­ ln changirig address, please send old as well as new address. lection of 3,300 volumes there are many rare works of which any library might be vain. The first illustrated edi­ tion of Vitruvius, Florence, 1513; the first architectural book published in England, Serlio, dated 1611 ; Kip and LLOYD WARREN. Knyff's "Neuveau theatre de la Grande Bretagne," 1720; the "Oeuvres" of I ean LePautre and the so-called "Petit Marof' both of, the seventeenth century; and the second Roman . edition of Piranesi, 1748-1783 ; these are a few of L OYD WARREN, · whose devotion to _architectural the works necessarily kept behind glass. As a whole, the L education made him a most powerful mfluence for collection is open to the reader; and as the library is free the good of the profession and won for him_ the esteem of at all times to architects and draftsmen, there is no hin­ architects and educators as well as the gratitude of num­ drance to the man who means to know the work of the berless students throughout the country, met hi s death by great men. As a matter of fact, it is really visited by a accident on the night of October 25. Mr. vVarren, evi­ very small proportion of those who should know it." dently seized by an attack of dizziness cause~ by an in­ jury to his head sustamed a few we~ks earlier, ~ppears to have made his way to an open wmdow for air, and leanino- out fell to the pavement of the court six stories below." The injury which was the indirect cause of his death was received while Mr. Warren was at Parma, Italy. His chauffeur ran his car onto a rock pile in avoid­ ing a collision and Mr. Warren was thrown ~pw~rd 111 such a way that his head struck a metal cross piece m the top of the car. The wound required eight stitches and had not completely healed at the time of Mr. Warren's death surgeon's gauze being found on the wound. Mr: ·warren, who was a bachelor, lived at Harperley Hall 1 West 46th Street, corner of Central Park West, Nev/ York City. He was a member of the Knickerbocker Club Racquet and Tennis, Tuxedo, Century, University, and 'other clubs. He was a brother of Mr. Whitney Warren of the firm of Warren & Wetmore, architects, and was at one time associated with Mr. vVhitney Warren in the practice of architecture, but for the last many years he devoted himself to ed u~ a ti ona l worl~, chiefly as Director of the Beaux-Arts Institute of Design. Mr. Warren was fifty-four years old. H e studied at the Ecole des Beaux Arts, Paris, for seven years previous to 1899 in the Atelier D aumet, was an Architecte Diplome par le 'Gouvernem'ent Franr;ais, a member of the S. A. D. G., and one of the founders of the Society of . Beaux­ Arts Architects, from which the Beaux-Arts Institute of Design grew. At the time of the world war Mr. Warren headed the A. E. F. training school at Belleview, in France establi shed for the purpose of making the facil­ ities fo'r study that abound in France available to members of the A. E. F . awaiting return home. The growth of the Beaux-Arts Institute of Design to its pre~ e nt import2.nce as a unifying and inspiring force in architectural education in this country, affording as it does facilities for the comparison of the work of stu­ dent~ in all parts of the country at its judgments, with the consequent stimulation of the students to put their best efforts into the work, has been due in a large meas­ ure to Mr. Lloyd Warren, to whom his associates in the work, the men who have contributed largely and freely , of their own talent and energy, are the most ready to offer tribute for his leadership. Lloyd Warr en.

31 I

PENC I L POINTS

THE AMERICAN ACADEMY IN ROME. some of his family portrayed. If the Academy could ROM a letter recently r eceived by Mr. C. Grant each year send back its men as well fortified with pros­ F LaFarge, Secretary of the American Academy in pects, and the talent to meet them, as is the case with Rome, from Mr. Gorham P. Stevens, Director, we quote T homas Hudson Jones, there would be little necessity the following: "W'e have wound up the affairs of last for a welfare committee for our returning Fellows. year, and are now fairly embarked upon those of this "Professor Lamond, with the two Fellows, Composers year. Professors Frank and Showerman are both in .. resi­ Sowerby and Hanson, have covered an extensive itinerary dence. Professor Curtis arrived from Naples in the Ford during the summer; Venice, Vienna, Salzburg, Munich, sedan which he brought from America with him and which Cologne, Bonn, were vi sited, where chamber music of an he and Professor Fairbanks are sharing. It is the only international character, such as at the Salzburg festival, Ford sedan in Rome and creates quite a sensation in the was attended. Opera was heard in Munich, while in Ven­ city. The enrollment in the schools amounts thus far to ice and Cologne visits were made to publishing houses twenty-four students, but we expect about as many more where information was obtained enabling the Musical to join us as the season advances. The new men are all Department to enlarge, in the future, its library of scores. most enthusiastic about what they have seen of Europe. In England, Glastonbury, Gloucester and London were I attended Professor Frank's first lecture at the Forum visited and Sowerby rehearsed his new Sonata for pre­ today and there were many students from both schools sentation at Aeolian Hall, London, on October 10th. The present. Professor Frank is an inspiring lecturer. Leeds Festival began on September 30th and prior to it, "We have had an applicant in painting, who wishes to Professor Lamond and Sowerby attended rehearsal for try the competition nex t spring in Rome. He is a young eight hours a day for a week, and survived! artist of twenty-two from California, and he has just "Hanson left the party on its way to England for a had a year in Paris where he entered the Ecole des Beaux short visit to Sweden, where he expected to have one of Arts. Former Sculptor Polasek and Former Painter Cox his symphonies performed. both appeared in Rome last montlt. It is needless to say . "While ii;i London.' Hafner, our first-year architect, got that they were much inter ested in all that was going on, m touch with the director of the South Kensington Mu­ particularly Mr. Polasek who was not at all familiar with seum and engaged his interest in the model of St. Peter's our buildings on the J aniculum. dome that Hafner hopes to execute during his second year. . "All our articles for the Academy number of Art and From the general attitude of his · reception the South A:·chaeology are r eady with the exception of Mr. Paul Kensington Museum may acq uire the model. Manship's. He says he has never done any writing, but "James H. Chi!lman, Jr., has written an exceptionally I hear.cl him give a lecture eleven years ago on Greek able and illuminating paper on the Palfadian Church of Archaic art which was one of the best conferences I ever the Red.entore, in Venice, in which he accomplishes, }:Vith heard. He says he is writing the article and he ought to not a little success, the acrobatic frat of refuting both turn out something worth while. the enthusiasts and detractors of Palladio, at one stroke. "I attended a reception in honor of the Southern It is a very acceptable article for publication. · Commercial Congress (of North America), and I bad "Schwarz, our first-year painter, has returned from an opportunity to talk with the chairman of the Con­ his travels and seems much ·1- cjuvenated. He has spent gress, Mr. Clarence J. Owens. He asked permission to considerable time in the excelt ent environment of Flo:·­ see the Academy so I invited him and his Congress to ence and has made two copies whi!e there. take tea on tbe terrace of the Aurelia with all Rome "Ciampaglia, Griswold, Smith and Amateis are travel­ spread out at their feet, and then they all went through ling, while Cecere, Hafner, Chillman, Schwarz and Lascari the studios. Before leaving I had. a talk with him in my are at present in r esidence. office, and he expressed the desire to help the Academy. . "Gris:vold has devised an excell ent scheme (submitted He seemed to be a very active man and in touch with a 111 detail to the Committee on the School of Fine Arts) great many interests. He said he would call upon Mr. for a method of issuing tessere, by the Academy, for the Mead, a thing I sincerely hope he does. important and most frequented villas in Italy, which will "The large umbrell a pine trees, thirty feet high, have en'.lble the office in Rome to omit an almost continual just been erected in the forecourt of the main building. private correspondence with villa owners and save our These trees are a gift from Mr. Kendall and I believe Fellows from functioning as a bureau of inquiry for the that Mr. Vitale also has a hand in their donation. They constant stream of scholars passing through Rome." are twenty years old and their roots have been in boxes for the last three years, so that there is every hope that they wi ll live. A hundred years from now I suppose these pine trees will look like some famous pine trees I know PERSONALS. of at Hadrian's Villa. They will cover the forecourt wi th <:;:. D AVIS G~DMAN r ecently opened an office for the prac­ a beautiful net-work of gr een and branches. tice of architecture at 14 St. John Street, Suite 34, Mon­ "It may interest you to know that I had a call from treal, Canada. four British architects the other day. They were study­ ing the work of McKim, Mead & White and they knew FRANCIS CHIAVERINI, formerly 117 Broadway, Providence, all about the building before seeing it, from architec­ R. I., and vVE SLEY: H. BLANK of Boston, Mass., have tural drawings and photographs. forn;ed a partnership for the practice of engineering and "Professor Fairbanks and I are trying to arrange for ar.chitecture under the firm name of Chiaverini & Blank, some casts for Princeton University. T hat university with new offices at 32 Broadway, Providence, R. I. desires to reproduce two bays of Bramante's courtyard in E_DGENE A. STOPPE,R. Architect and Engineer, has removed Santa Maria della Pace at Rome, and the bavs are to be 111 s offices f.rom 1J07 Arch Street to 510 Fuller Buildin<> placed in the new architectural museum at Princeton. I 10 South Eighteenth Street, Philadelphia, Pa. "' am negotiating with the Italian government for permis­ sion to do the work." PETER B. SHERIDA N, Architect,. 803 Markle Bank Building, From a letter received from Frank P. F airbanks Pro­ H azl: ton. Pa., has removed hi s offices from, the third to fessor in Charge of The School of Fine Arts, we' quote the eighth flo or for the purpose of securing larger offices. the fol!owing: "September usuall y has been the conclud­ CARL P. BERGER .. Architect, has removed his office to 500 ing month for the third year Fellows but because of the Sydenham Bmldmg, 1512 Vvalnut Street, Philadelphia, Pa. deferred sch olarships of the Architect Chillman and our Painter Lascari, only J ones bade farewell to the Academy STANLEY BRUCE ~LWELL and ROBERT MURRAY BLACKALL at the customary time. J ones will arrive in Boston and have become associated in the practice of architecture un­ go imm.ediately to New H ampshire to the country place der the name of Elwell & Blackall, 44 Bromfield Street of Mr. George Baxter Upham, for whom he is to design Boston, Mass. ' a lion fountain head for an antique marble basin after H. GEORGE FINK, Architect, has removed his office from wh!ch he will return to New York. He has som'e por­ thi: R _e publi~ Building to Suite 301-340 Merrick Building trait busts to do and Mr. F. Baker has talked of having Miami, Florida. ' 32 PENCIL POINTS

the Secretary of the Navy, especially wrote a foreword in which he expressed his appreciat10n and thanked Mr. Bailey in behalf of the Navy. A series of prints of these drawings is in the Muse de la Guerre in France. In 1921 Mr. Bailey made an extensive tour of Spain vi siting its larger cities and many towns difficult of ac­ cess in far remote districts. In Madrid he made a num­ ber of color drawings of the P alace of the Duke of Alba, also of his great fifteenth century castle of Coca in the Province of Segovia, one of the most notable ruins of Spain, and his entire collection of one hundred and six ty drawings were purchased by the Hispanic Society of America for the permanent coilections of the Hispanic Museum where it is now installed. ln addition to his architectural and industrial black­ and-white illustrations he has made water-color drawings of many American villas and important estates, and his drawings have been used ex tensively by leading architects. One of Mr. Bailey's drawings is reproduced on a plate page in this issue.

MOTION PICTURE THEATRE DATA ( Conti1med from 'page 29) sense of being tied in with the theatre or a type with draperies. which has, in many instances, been handled very successfully. If this rule is applied in regard to the placing of the picture screen a better proportion will be immediately given to the outer face of the sounding board treatment and the attention of the designer will be called to the impossibility of placing seats in the portions of the house at the sides of the auditorium-at about the VERNON HOWE BAILEY fourteenth row from th~ front, where the seats must be omitted because the screen cannot be seen. This open floor space which is provided is usually highly desirable, ERNON HOWE BAILE Y'S early training was that for building; ordinances require exits at the front of the V of a newspaper staff arti st. He studied at the Penn­ auditorium and this open space prevents conjestion at the sylvania Museum School and th e P ennsylvania Academy exits. of Fine Arts, Philadelphia, where he first exhibited in its Where proscenium boxes are desired by the owners they annual ex hibition at the age of se venteen, following which should be carried in with the loge treatment of the bal­ he j oined the staff of the Philadr.lphia Times, going two cony. This gives a better composition than detached boxes years later to the Boston H erald on which for seven years and produces the effect seen in theatres where the balcony he was actively engaged in the making of character forms a complete horseshoe. It also brings the boxes to sketches and rapid drawings of the widest variety of sub­ such a height that they do not interfere with the view of j ects. illustrating important news events, including the Na­ the screen from seats in the auditorium. Usually three tional Republican and Dem ocratic Conventions in 1900. boxes are placed on either side. The entrance to these In 1902 he made a series of drawings of the Coronation boxes should be arranged through a foyer back of the of King Edward VII. in London. The large number of grand drape, which often forms the main feature of· the drawings of London made during one year's residence at proscenium treatment and a good example of which will this period came to the attention of Sir Charles Holme, be seen by reference to the illustration of the Capitol editor of the Studio JV!aqazine, who pub'ished two series Theatre. N ew York. This foyer back of the boxes should of these drawings and commissioned Mr. Bailey to make contain a separate staircase leading up from the audi­ two additional sets of drawings of the collections of Ox­ torium. It is required by many building ordinances and ford and Cambridge. Mr. Bail ey's drawi-n gs also appeared is usually three feet wide. This foyer also is used as a in London newspapers, including The Graphic, The Dailey coat room by the people occupying boxes and there should M ail, and The Express. be stairs or some other means of access to the organ loft Returning to America in 1902 Mr. Bailey made draw­ which is usually placed above this foyer and directly back in g-s for leading N ew York newspapers and rnaf(azines of the grand drape on each side of the auditorium, the and his drawings have been featured in J-!arp cr's Century, organ beil)g divided into two sections. Where the boxes Scribner's. etc., magazines for which lie has travell ed ex­ are connected with the balcony it is possible to usher the tensively in America and Europe. H e has made drawings people who have seats in the box es to their places by of a large number of American cities and "American Cities bringing them uo the g1·and staircase to the mezzanine in P encil," published in Even>body's JY!agazine. including and down through the balcony. This is re•rn rded as more the last drawings of old San Francisco made a few days satisfactory and pleasing to the patrons than when they before its destruction in 1906, attracted much favorable are ushered down the side-aisle of the or chestra and are attention. as did hi s drawings of the St. Louis Exposition. then obliged to climb a narrow staircase in the foyer of the boxes. Besides subject9 of a.n architectural nature he has pic­ tured extensively Ame1·i ca's great industries and because The heights between the boxes, meaning the first level of of hi s prominence in thi s field, he was the first artist each box, should be two f eet, and each box is divided into authorized by the United States Government on its en­ three sections which allows eight inch steppings between ti-ance into the war in 1917 to make drawings of the stir­ the boxes. The s+('ppings in the boxes should be three feet r ing activities in navy yards and munition works. He two inches wide. Lately th eatre owners have come to see made the first drawings ever made inside the great Beth­ the desirability of provrding- very comfo1·table seats in the lehem steel plant and was the only artist permitted to make boxes and for this reason the wider steps are being used. drawings with the American fleet at sea. this collection The proscenium treatment in the type of theatre under of · nearly one hundred lias been exhibited in the leading discussion requires a space measured from the curtain museums throughout th e country. F or the catalogue of line to the extreme point in the auditorium of about thirty- this exhibition oi Mr. Bai' ey's drawings J osephus Daniels, ( Continued on page 37)

33 QUERIES 11 11

Jn this dePartment PENCIL POINTS w ill endeavor to answer questfons of general interest pertaining to ArrhitPC­ ture and allied arts giving the best available information from authoritative sources. liVe desire that you feel free at all times to· make iise of this service, inviting your co-dperation in making the dep artn~ent both inter.es!­ inq and ·ualuable. Sho1tld you desire an answer by mail, enclose stamp for reply. Address queries to· The Editor, PENCIL POINTS, Metropolitan Tower, New Yorll C+v.

Q1t·estion-\l\iill you kindly advise me of the name of line" ; none of the lines of the mosaic should cross this some book on the designing of log buildings such as are snap-line. usually constructed for summer homes on _lakes and in Figure 181 is a good example of a very simple presen­ the mountains? A. H. R. Answer-There 1s a book en­ tation of a B Class problem-one submitted in the inter­ titl ed "Lo" Cabins and Cottages, How to Build and Fur­ scholastic competition of 1911-12-a riding school in the nish Th e~" by W. S. Wicks, published by Forest and country. It is interesting to see how well the forecourt Stream. We believe that the price is about $2.50. looks, drawn with so very few lines. Figure 182, a por­ Question-Can you tell me of. a book _th~t treats of .the tion of the Grand Prix competition plan of M. Janin for specifications for a modern busmess bmldmg? C. H. J. a Chateau d'Eau, while very different in scale, shows in Ans-&er-"Modern Building Superintendence and the the same way how well the presentation of a plan may Writing of Specifications," by D~vid B. ~mers o~1, treats be studied, and how few lines are necessary if they are of such a building as you ment10n. It 1s published by in the right place. This plan would give many ideas for Charles Scribner's Sons, New York City. the treatment of entourage. Question-Are there any descriptions and views of Long Nate- Students will find it well worth while to 1·ead tlu chalPter on "Indication" in Joh11 V Van Pelt's boo/~ Island Dutch Colonial houses? R R W. Answer-A "EssentiaJs of Composition." very interesting series on Dutch Colonial Houses in F lat­ bush (Brooklyn) appeared a score of years ago in The Architectural Record. You can probably consult these CARNEGIE INSTITUTE OF T ECHNOLOGY. issues in a .public library, or perhaps some architect of HE Summer Course in Architecture at the College of your acquaintance has preserved issues of that time. T Fine Arts of Carnegie Institute of Technology, Pitts­ Questio1i:-Will you please tell me where I can obtain a lmrgh, Pa., under the supervision of Prof. H . Sternfield book on the five orders according to Giacomo Barozzi da was ve1·y successful. A letter received from the Beaux Vignola and the price? H. L. Answer-An English Arts, New York, sh·ows that Ca1'negie Tech. headed the translation of "Esquie's Vignola," one volume, bound, list of awards for work done by the students at Summer $6.00, is published by Wm. Helburn, New York. War.e's School. "American Vignola" is in two volumes. V ol. I- The Five The Class "A" problem was "An Art Museum in South Orders and Vol. II-Arches and Vaults- Roofs and America," while the Class "B" problem was "An Aquar­ Domes.:_Doors and Windows-Walls and Ceilings-Steps ium," which was to be built on a ''Private Estate." The and Staircases. The "American Vignola" is published by Jury of Awards gave Carol B. Marks a first medal pub­ the International Book Publishing Co., Scranton, Pa .. at lication, and A. D. Reid a first mention placed publica­ $2.50 for each volume. tion, these beinll; the highest awards that the Jury can give. The remaining awards were a second medal to F. C. Disque, Carnegie Tech. graduate and present Professor THE STUDY OF ARCHITECTURAL DESIGN of Architecture at Penn State; Messrs. J. B. Blair, L. L. Broida and E. M. Gearhart first mention, and E. 0. An­ (Continued from page 18) derson a mention. interior walls and mean a heavier poche; as before men­ Professor Ster.nfield, a Paris Prize Scholarship Man, tioned the big rooms require heavy poche no matter where deserves a great deal of credit for the showing these men located. . made. With him as head of the department assisted by To really give scale to poche the student should study Prof. D. D. Ellengton, also a Paris Prize Scholarship plans of executed work, measuring the thickness of con­ Man, Prof. Richardson, a Woodman- Scholarship Man, struction and dimensions of materials, especially in docu­ the Architectural Department of Carnegie Tech. has one ments of antique, Gothic and Renaissance work, for it is of the best faculties of this kind in the country. Luther on these that our tradition of design is founded, and mod­ Lashmit, graduate of Carnegie, T ech., is an instructor in ern work, with its steel construction, is apt to make use Architectural Design. He is the first Carnegie Tech. grad­ of very thin walls unless the rooms are studied in sec­ uate to teach in the school from which he graduated. tion, in which case the walls are furred out to .give the reveals our tradition requires. The indication o.f the mosaic-and the drawing of the THE ATELIER MEMPHIS. entourage-in the presentation should show the same char­ T HE Atelier Memphis held its election of officers for actel'istics as already exist in the poche. Usually the the new year September 22nd. Everett D. Woods, poche is in black ink, both the outline drawn with the rul­ Massie!·; H . B. Burnham, Sous-Massier; Harvey Johnson, ing pen, and the surface between. All the other lines are Captain of Nouveaux. drawn with a diluted ink, and should be sufficiently dark The Atelier Memphis is starting on its second year with so that they wi ll not be lost in the first washes of the growing enthusiasm and increase in membership. The rendering after being rubbed in preparing the drawing Beaux-Arts spirit is taking hold and it is hoped that the for rendering-and yet not so dark as to conflict with the success of the Atelier in Memphis will inspire the other poche. ] ust outside the' poche it is well to put a "snap- cities of Tennessee to follow its example.

34 PENCIL POINTS

THE GENESIS OF A REND E RING may not have been fully r eali zed or at least not eff ec­ ( C 011 tin11 ed f rom page 13 ) ti vely acted upon. the cardboard, the centre touching fir st and the draw­ ing being allowed to fall into pl ace eas11y aid smooth1y FINE ARTS F E DE RATION. It is necessary for one who has never done it to t ry AT T HE annual meeting of th e Fine Arts F ederation, th is part of the process a few tunes before good the foll owing officers were elected for 1922-1 923: r esults can be obtained. A ci ean piece of thin paper is A rnold W. Brunner, president; Charles Dana Gibs-on then laid over the drawing and the edge oi a fl exible vice-president; \i\lil!iam Laurel H arris, secretary. The di~ triangle is drawn over the pa per from the centre outward rectors elected were: Arnold W. Brunner, J . M onroe in all directions to squeeze out all the surplus paste ·and H ewlett, Egerton Swar twout, D ouglas Volk and Adolph water. The cardboard should be tacked down on a board A. Weinman. to prevent it from curling when the paste dries. T he drawing reproduced here was mounted on smooth T ~ E first issue of the Art Center BuJetin appeared cardboard of a cold gr_ay color. I then laid on light m July, 1922, and contain s eight pages of inter estmg washes of water color over the pencil work. vVhere the art news of the seven constituent societies : Art _'\liian ce sunlight would strike the stucco of the house I put on a of A merica, Art Director's Club, American Institute of li ght wash of Chinese white. This brought up the con­ Graphic Arts, N ew York Society of Craftsmen, Pictorial trast lost by m ounting the thin paper drawing on the gray Photographers of America, Soci ety of Illustrators, and cardboard. The color is all on the sunlight parts, there the Stow a ways. is no color on the shadow parts. The colors used all have a great proportion of yell ow in their composition. On the t rees a little green and sometimes a little brown-pink STATEMENT O F THE OWNER SHI P , MANAGE M E N T , CIR· was used. Of course if you want an autumn foliage CULATION, ETC., R EQUiRED BY THE A CT OF effect brown-pink and carmine and orange may be used CO NGRESS OF AUGUST 2~, 1912, with the yellow. But in making a r endering of this kin cl Of PENCIL P orNTS, published m onthly at Stomforcl, Conn ., for I use no positive colors, with the exception of orange, October 1st, 1022. occasionally. Orange can be used pure, but must he k ept State of Nuv York, on the higher parts of the picture, such as chimneys, etc. County of New York, ss., It is so strong that it leads the eye a way and, ther efor e, Be f o ~ e me, a N otary P ublic, in and for th e State and county should not be used pure below the centre of the pa per aforesaid, personally appeared VV. V, i\t! ontgomery, who having been as the effect is unpleasant if the eye is lead below this duly sworn according to law, deposes and says that he is the Busi­ ness i\ianager of the corporation publishing Pencil Poin'~s, and that point. In this drawing I used little, if any, blue, the the' foll owing is, to the best of his knowledge. and belief, a true state· cold gr ay of the cardboard showing through the thin ment of the ownership, nnnagement (and if a daily paper, the paper supplies the blue needed, while the two other p ri ~ circ_ulati on), etc.J of the aforesaid publication for the date sl10wn in maries are present in the water-color washes used. I may the above caption, required by the Act of August 24, 1Ul2, embodie d in section 4 4 3 . P ostnl L aws and Regulations, prin ted on the rev erse say here that no r endering in which color is used seems of this form to wit : complete unless all the three primary colors are pr ese n ~ 1. T hat the names and add resses of the publisher, editor, man· in some form. aging editor, an d bu sin::-s s managers are : Name of Post office address THE BOSTON ARCHITECT U R AL CLU B. P u blisher, The Pencil P oints Press, I nc., 19 East 2H h St., N. Y. C ity. ITH the co-operati on of the architectural depart­ Edito1·, Eugen e Clut e, 19 East 24 t h St., N. Y . City. W ments of the M. I. T. and H arvard, the Boston l\f anaging Editor, N on e. Architectural Club is making a vigorous effort to Busin ess 1v[an ager, VV. V . l\:I ontgomery, 10 E ast 2-!th S t. , N. Y . str engthen its educational work. Fully realizing the value City. o f the competitive ateli er system and recognizing what 2. Tllat the owners are: (Give names an d addresses of in di­ is gener ally admitted, that three or more ateliers are de­ v idual owners, or, if a corporation 1 give its name an d the names and addresses of stockholders owning or holding l oer cent. or more sirable for the best r es ults of th is system the club is of the total amou nt of st ock. ) · endeavoring to develop a strong third atelier. Knowing The Pencil P oints P ress, I nc., 19 East 24th St., N. Y . City. that an ateli er depends for its strength on its older m en . R alp h R einhold, 19 East 24th S t., N. Y. C ity. Professors Ferran and H affn er are making every eff or t F . Vv. Robinson, IO East 24th St., N. Y . City. to get graduates back to thei r schools to work side by E. G . Nellis, 19 East 24th S t., N . Y. C ity. side with the undergraduates. Three prizes of over one lVIarion S. Carpenter, 920 Fifth Avenue, N . Y. City. hundred dollars each are to be offered on pr ojets open 3. T hat the known bondholders, mortgagees, and other securi ty holders ow ni n~ 01- hc-. lding 1 per cent. or more of tota l amount of to undergraduates and graduates not over five years out bo nds, mortgages, or other securities are : (If the re are none , so who do the proj ets at the school or at the Club. If the state.) , None. club can be made to appeal to th ese older men they will 4. That the two paragraphs next above, giving the t}ames of th e come to the club to do these proj ets. then mor e will owners, stockholders, and !iecurity holde rs, if any , contain not only the list of stockh olders and ;ecurity holders as they appear upon come and a strong cl ass of older men will be developecL the bool

35- THE SPECIFICATION DESK A Departmen t f or Specifi.ca tion Wri ters

MISCELLANEOUS ITEMS OF CONSTRUCTION some of these territorial service stations also have de­ partments for taking care of batteries, supplying gaso­ PART VIII. lene, oil and grease and for taking care of tires, but BY OTTO GAERTNER. generally these departments occur in the local agent's service stations and ordinary garages. In this series of notes Mr. Gaertner of the staff of For all these types of builoings, prope1'ty on a street McKim, Mead & White, Architects, will treat of a mmr corner is most desirable as separate entrances are most ber of the minor matters of co11stri1ction that are trouble­ easily provided for the office and show-room space and some unless the architect ha/iPens to have met a similar for the storage and service parts of the building. Unless problem previoi1sly- matters of a more or less special the building has a wide frontage this cannot r eadily be nature.-ED. done on an inside plot without sacrificing the space for a wide driveway adjacent to the show-rooms and offices Garages-This is a subject upon which volumes can be and the traffic en tering or leaving the building interferes written but only a few general considerations can be dis­ with the pedestrians going to anti from the show-rooms. cussed in an article of this kind. Perhaps later we can It may also curtail the necessary parking space near the · go into more detail. Garages are of several types, non­ show-room entrance for the motor cars of the people fireproof, private and commercial, as well as fireproof doing business there. A sloping site is often desirable, private and commercial. The commercial garage may especially if it is corner property, since in a low build­ include a service station or it may include a sales de­ ing it r nables the service and repair department to be partment. Generally speaking, the great increase in the located in the basement or on the floor above the ground number of automobiles in use and the enforcement of floor where the offices and show-rooms occur. The serv­ zoning and building laws, makes it necessary to give more ice anti repair department can then be reached without care to deve'. oping the types of garages. T hey must have sacrificing either the space for a freight elevator and a good appearance at a reasonable cost, be planned for its approach or for a ramp. Access to a back street or convenience to save ti1be and labor, and as far as possible all ey is also a great convenience. be of fireproof or fire~resisting construction . Forgetting Also, location has been found to have much to do with for the moment the private garages, although many of successful business. Obviously, a property on the main the facts apply to them also, we wi ll give attention to thoroughfares adjacent to both the business and resi­ the types of a commercial character, remembering that a dential parts of the city is most desirable for local agents' general discussion is of service not only to the draftsma!l show-rooms and service stations. If possible, the prop­ but to the specification writer as well. erty should permit future expansion for prospective They must be designed so that the minimum number growth of the business and this should also be considered of sq uare feet of area a·re needed to store a maximum in planning the building itself both for the future need number of motor vehicles and at the same time permit of changing about departments ancl for its future increase the utmost unhampered movement of the cars to and from in area or height. J:'roperty that permits large window their storage places. The buildings should be fireproof, areas on all sides also has advantages. Buildings of this even if this is not mandatory according to local laws, as nature should have more glass than solid wall. is the case in most cities and progressiye communities. The distance between ttoors will be governed by the Broad spaces with as few corners as possible for the height of the building, but sixteen feet and preferably accumulation of combustible rubbish are best. There more should be all owed for the show-room floor. Auto­ should be ample light and ventilation. Ample light creates mobiles do not make as favorable an impression when an incentive to keep all nooks and corners clean, tends shown in a low or cramped room as when shown in the to prevent accidents and consequent iaw suits and also open. lt is advisable to increase the entire story height saves time and labor by providing good light for exam­ in excess of the actual .need so as to permit the introduc­ ining, overhauling and repairing the vehicles. Ample tion of a mezzanine floor behind the show-rooms and ventilation permits the easy removal of the gases dis­ sales offic~s. The show-room should have large plate charged by the exhausts of the automobiles and the gases glass windows with ample space behind them so that the of vaporized gasolene used for cl eaning purposes or re­ cars can be stood in such a way as to permit the whole moved from parts of the vehicles. The gases from the of each car to be seen by the passerby and a large, well­ exhausts, in addition to being offensive, are a dangerous lighted room makes a better background than dark mahog­ cause of exp:osions and sometimes cause fatalities due any or other material. If the window must have a back­ to asphyxiation. In smaller quantities they destroy the ground it should be light in coior except in the unusual health and energy of the peop:e employed where they case of very light colored cars. Of course, the higher occur. the story the farther back from the window the. light In addition to car storage space and working space, will J)enetrate so that less artificial light is needed. other spaces must be provided depending upon the par­ If a building is designed on the unit system so that it ticuiar: use to which the building is to be put. It may may be increased by adding mor e units side by side, or be a building to be used for manufacturing parts and on top, there are likely to be heavier piers between the assembling cars, with storage facilities for both before windows and it may not be feasible to have only the entl they are distributed to the main territorial service sta­ piers heavy and the others light as is often done. \!Vhen­ tions which in turn distribute to the secondary service ever possib'.e, additional lighting should be provided by stations that supply local agents and repair shops. If means of skylights, but if such skylights occur over the thei main territorial service station is nea1· the border or storage space for finished cars, care should be taken by sea coast it may need facilities for handling the foreign providing ribbed, prismatic or ground glass which will export departments of the company with the necessary not permit the hot sunlight to blister the finish on the show-rooms and office. Railroad freight sidings an; often cars. Eleven or twelve feet is a goood height for the essential. The secondary service station must have con­ upper stories which should not be too low for proper siderable facilities by way of offices, etc., for handling li ght and ventilation. visiting local agents from out of town and must haYe The spacing of the columns is another item to be con­ ample show-room space. In this type of building, most sidered. While twenty and twenty-one feet on centres of the repair work of parts and accessories is clone which is a good and economical spacing structurally, it is not cannot be done in the service stations of t he local agen's so good for a space where motor vehicles are to be anti ordinary repair shops. Often such agents and shops moved about. A thirty-foot spacing or over is much more find that the company's service station can make such economical in the maintenance of the businss and avoids repairs or replacements of parts cheaper than they can accidents to the cars. Also, cars may be stored closer themselves, so· it increases the volume of business in the together and much time i s sav!!d in getting them in and territorial service station. Although it is not common, out. Therefore, it is well to study this part of the prop-

36 PENCIL POINTS erty from more than one point of view and if necessary PUBLICATIONS OF INTEREST TO THE SPECIFI­ increase the initial cost by increasing the column spacing CATION WRITER. if a saving in overhead is assured. In a one or two Any publication mentioned 1mder this heading will be story building this initial cost will not be greatly increased sent free, unless otherwise noted, wpon request, to readers and in such a building even fifty or sixty foot spans can of PENCIL POINTS by the firm issuing the p11blicatio11. readily be provided at a slight increase in cost, trusses When writing for any of these items please mention PENCIL being used instead of girders. POINTS. Beautiful Homes- Attractive booklet illustrate d in col­ ors giving hints on \Vood finishing and inte rior decora­ ~ion, covering all the rooms of the house. Also complete wood finishing specifications. 6 1/z x 8'h in. 30 pp. Berry Brothers, Inc., D e troit, Mich. MOTION PICTURE THEATRE DAT A. Stage aml Theatre Lig·hting-Ill ustrated catalog cov­ ering all equipn1ent required, together \Vith n1uch use­ ( C ontinited from page 33) ful information on the subject. 6 x 9 in. 130 pp. Uni­ versal· Electric Stage Lighting Company, 321 West 50th two feet, m easuring on the axis of the auditorium. The Street, New York. Carborundum Anti-Slip Tile- Illustrated booklet with curve and projection of this feature depends on the sight sectional drawings sho\ving application of Carborundum lines which are established as previous'.y described. For tre·ads under vaiying conclitions. G'h x 8'h in. 24 pp. a house one hundred feet in width a stage opening fifty American Abrasive Metals Company, 50 Church Street, N ew York. feet wide is very desirable. Other dimensions should be Arti sts' Colors and Su1•1>lies- CataJog and price list proportioned to this. The height of the opening, mean­ covering complete llne. li x 9 in. 52 pp. Winsor & New­ ing the architectural height, can be what the designer ton, Inc., 31 East 17th Street, New York. '.l'lte G & .G Telescopic Hois.t-Fully illustrated catalog wishes, but there is a girder or a truss placed, as a rule, \V1 th Elpe.c1flcat1 ons, quarter inc h scale drawing-s of a ll twenty-eight feet above the stage level. This forms the models and special 1natE: ria l-nandllng section. 8 lh x 11 constructional top of the stage opening and from this in. 20 pp. Gillis & Geoghegan, 537 W est Broaclway,-New York. girder upward is a wall back of which are stored the va­ Architectnr.al Brass and Bronze Wo1·k- Illustrated port­ rious curtains. This height is established on the assump­ folio showrng many installations of various types of tion that the gridiron which carries all the necessary work. 9 x 12 in. 80 pp. Penn Brass and Bronze Works apparatus in connection with the flying of the scenery, is 105 Dobbin Street, Brooklyn, New York. ' COl)}ler- Its Etl:ect Utlon Steel an ;_l itoofing 'l'in-Sc i e11 - fifty-seven feet above the stage. This provides ample tific treatise o_n the subject sho,ving exhaustive co1n­ height for the use of any set. It is important in this parative tests of roofing materials. Fully illustrated. connection to bear in mind that the valence which is em­ Specifications. Plates s nowing d e t a ils for tin roofing and sheet metal work. 81h x 11 in. 40 JJP. Amer'ican ployed to cover the space between the actual top of the ~~~ e t and Tin Plate Company, Frick Building, Pittsburgn, sta;,.e opening and the arch of the architectural treatment mu~t be proportioned to the height of the curtain and Brix1ue11t for Perfect lUortar- .Gooklet 'vith frontispiece that if the arch is made very high, the valence becomes illustrating residence designed by Mr. Charles A. Platt. Coinplete information regarding Brixme nt mortar. 8 7~ x too heavy and dwarfs the opening and injures the gen­ 11 in. 16 pp. Louisville C e ment Com11any, L o uis ville, Ky. eral effect of the treatment in the auditorium. . Store .Fi.·onts in Arc~itect~1r .a l 'l,ei.Ta Cotta-Profuse ly From the architectural arch springs the sounding board illustrated brochure 'v1th many s e ctional dra,vings and full-page plates. 8 'h x 11 in. 50 pp. N ew .Jerse y Terra which is, without doubt, one of the most important fea­ Cotta Co1npany, Singer Building, Ne'v York. tures of the theatre. Although numerous attempts have Ventilation-History of v e ntilation, compl e te eno-ineer­ been made to eliminate this curved surface, the old method ing data, capacity tables, installation dra"vings and spec­ ifications for installing in various types of buildings. of providing this big arch is the most successful one, not 8 'h x 11 in. 7 2 pp. Moline & Heat, Moline, Ill. only from a design standpoint but from the practical Itookwood Potter')'-Loose-l eaf portfolio showing ap­ standpoint of acoustics. Designers have often striven to plications of Rooln:vood tile to various types of rooms in different c lasses of buildings. 9 x 1 2 in. 60 plates. Rook­ get away from the usual auditorium treatment which em­ wood Pottery .Company, Cincinnati, Ohio. bodies this arch and I know of some instances where the n:.awneer Store fi.,ronts-lf'our valuable booklets 'vith omission of the sound board has been the cause of great sheets of full-size d d etails s howing store front construc­ regret. In fact, one of the most important houses in the tion suitable for ali types of buildings. The Kawneer Company, Niles, Mich. · United States, a legitimate house and on a large scale, Hoffinan Case1nents- Loose-leaf portfolio 'vith many has given endless trouble. In many cases where a theatre full-page plates showing d etails of casement window has been built without a sounding .board and complaints have construction. Full-size d d etail sheets 24 x 30 in. 8 'h x come in from the general public, _. the owners have at­ 11 rn. 34 plates. Andrew Hoffman Manufacturing Co., 28 East .Jackson Blvd., Chicago, Ill. tempted to remedy the condition by suspending a woodten The li:elsey Systems- Collection of six interestin~ sounding board from the gridiron over the stage. In booklets on tl~e subject of heating and ventilation. n"'. the smaller houses this is sometimes effective to a degree lustrate d . Specification data. Kelsey H e ating Company, Syracuse, N. Y . but in the larger ones. it may be regarded as highly un­ ln1perial Su1ler- S1nokeless Boilers- Loose-leaf port­ satisfactory. The most successful proscenium arch that I folio showing modern fuel saving e quipme nt. Engineer­ have seen to date is that of the Capitol Theatre, New ing data. Blue prints. Tables of capacities. S'h x 11 in. 32 pp. Utic a Heater Co., Utica, N. Y. Yark. One of the minor matters of design which it is Sanitary Hospital Apparatus-Complete illustrated cat­ well to note in connection with this proscenium arch is alog showing hundreds of engravings of a ll types of the manner in which the perforations to take care of equipme nt required in modern hospitals. Should be in every 'ibrary. 9 x 12 in. 132 pp. James B . Clow & Sons the overhead ventilating system are arran"ed. The system Chicago, Ill. ' emp1oyed for ventilation in this theatre is· the downdraft Catalog• No. 295, issued by the B. F. Sturtevant Com ­ system, whicJ1. I believe, is the most desirahle for theatre pany, treats on the subject of Air Washing, describing ventilation. Referring to the illustration of Loew's St;ite equipment suitable for installation in factorie s, theaters and other types of buildings where air COIH.'"fitioning is Theatre. New York, it will be noted that electric lighting­ required. 8 1h x 11 in. 44 pp. The B . F. Sturtevant Com­ has been provided back of the beam on the face of the pany. Hyde Park, Boston, Mass. JJroscenium arch to illuminate the wide front surface. The li:eruerator- Complete illustrated booklet describ­ ing the Kern

37 I ·­ ;) I 38 J PENCIL POINTS

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~.~~~~~~~ D emi Inf Hou,;e. Oyster Bay, N. Y., Carrere & Hasr ings, Arch1tects The architects have not been hampered for money in working out their de- signs for this noble structure, in which the very genius of brick, as the fired clav of the all-supporting earth, h as been embodied. Unfortunately the h alf-tone does not reproduce the exquisite color blending of the brickwork. CVariety of Effetts in the Face CJ3rick Wall HE many beautiful Face Brick walls-in residences, kind of mortar joint, all contribute to extend the artistic T in commercial, industrial and public buildings­ possibilities of the Face Brick wall. that are built every year indicate the infinite variety of The Portfolio of Architectural Details in Brickwork effeds obtainable by the archited in the use of this shows more than a hundred examples of beautiful plastic material. The great variety of color tones and brickwork-all in standard size brick. These de luxe t extures in the material itself, the arrangement of the half-tone plates are assembled in three series, each in units in various bonds, the innumerable patterns ob­ an enclosed folder, with printed tab, ready for filing. A tainable by shifting the headers or stretches in succes­ set of these folders will be sent to ·any architect request­ sive courses back and forth, and the color, texture, and ing them on his office stationery. AMERICAN FACE BRICK ASSOCIATION 1760 PEOPLES LIFE BUILDING • CHICAGO, ILLINOIS