DOI issue:
No. 347 (February 1922)
DOI article:Bennett, T. P.: American architecture: The recent exhibition in London
DOI Page / Citation link:https://doi.org/10.11588/diglit.21395#0091
AMERICAN ARCHITECTURE
York the sky-scraper is a necessity, and
having done so can admire the skill and
knowledge of the architects who provide
solutions to such difficult problems.
This matter of necessity is the best
answer to the critics who either advocate
or condemn high buildings for London.
If they are not required they will not be
built. If they are an absolute necessity
no amount of outcry will prevent them
from eventually appearing. The problem
resolves itself into the question ** Is the
necessity absolute i " 0 0 0
That the sky-scraper does not con-
stitute the bulk of American work, or is
even representative, was amply shown by
the exhibition. In the matter of other
buildings, the ability of the American to
seize upon and emphasize the essentials
of his problem was fully proved. A
chapel, an army supply depot, a library,
a bank or a synagogue, all indicate clearly
their special purposes. Domestic work
is restrained and dignified or open and
attractive according to its location in town
or country. With a wide diversity of
purpose this suitability is no mean achieve-
ment. Accompanying it, however, are other
qualities such as recognition of the de-
mands or requirements of site, and the
proper use and expression of materials.
There is a studied beauty of detail, a variety,
a wealth of accurate knowledge that cannot
fail to win our admiration. The model
taken for much of the work is self-evident.
Some is unmistakably inspired by the
buildings of Italy, some by the quiet de-
lightful English college Quad or Elizabethan
house. Other buildings show French or
Spanish influence, but whatever the
44 motif/' we seem to feel that it fits the
subject and has been developed with sound
and accurate knowledge—that it shows,
in fact, true scholarship. This is, per-
haps, the term that best describes American
Architecture as it is to-day. It is, above all,
44 scholarly." It is designed by men of
taste who have added knowledge to their
ability, and now design something which
the educated artistic mind unhesitatingly
accepts as satisfactory. Such praise does
not admit that the work is invariably
faultless. Here and there we feel that the
designer has striven and failed—failed,
shall we say, nobly but nevertheless un-
74
mistakably. These cases are rare. They
serve to show that these buildings which
look so natural and inevitable were not
really so. They only arrived at perfection
after much hard and patient labour, much
sifting of details, and much cold, hard self-
criticism upon the part of the designer. 0
Finally, the draughtsmanship must not
be overlooked. Draughtsmanship is a
minor but a very delightful part of
architecture, and one that will always
be attractive. There were in the exhibition
some excellent essays in pencil. Perhaps
on the whole the pencil work was the most
brilliant, but there were also exhibits
showing good wash and water-colour
handling, and very fine examples of pen
and ink. It is noteworthy that the per-
spectives and drawings were essentially
architectural in character. The form of
the buildings, their treatment, and in many
cases their details, had been accurately
delineated, and this without loss to the
drawing as a 44 picture." These methods
indicate a realisation of the correct way to
portray architecture. The impressionistic
work, often effective, is useless alike to
client and architect. 000
This exhibition with its strong vitality
and sustained interest was of great value
to the lay as well as the technical
public. Its examination has been a matter
of great enjoyment, a pleasure that will
bear future repetition. 000
To the forthcoming issue of The Studio
Year-Book of Applied Art Mr. Ben-
nett, the writer of the foregoing article,
will contribute a paper on American
Domestic Architecture as represented in
the recent exhibition, and the paper will
be illustrated by a large number of repro-
ductions selected from the photographs,
etc., contained in the exhibition. Another
special feature of this issue of the Year-
Book will be an article on Pottery by
Mr. Bernard Rackham of the Victoria and
Albert Museum, which will be accom-
panied by about eighty illustrations. Also
there will be an illustrated article on one
of the most important housing schemes
undertaken in England—that which is
being carried out by the London County
Council on the estate at Roehampton pur-
chased from the Pierpont Morgan family.
York the sky-scraper is a necessity, and
having done so can admire the skill and
knowledge of the architects who provide
solutions to such difficult problems.
This matter of necessity is the best
answer to the critics who either advocate
or condemn high buildings for London.
If they are not required they will not be
built. If they are an absolute necessity
no amount of outcry will prevent them
from eventually appearing. The problem
resolves itself into the question ** Is the
necessity absolute i " 0 0 0
That the sky-scraper does not con-
stitute the bulk of American work, or is
even representative, was amply shown by
the exhibition. In the matter of other
buildings, the ability of the American to
seize upon and emphasize the essentials
of his problem was fully proved. A
chapel, an army supply depot, a library,
a bank or a synagogue, all indicate clearly
their special purposes. Domestic work
is restrained and dignified or open and
attractive according to its location in town
or country. With a wide diversity of
purpose this suitability is no mean achieve-
ment. Accompanying it, however, are other
qualities such as recognition of the de-
mands or requirements of site, and the
proper use and expression of materials.
There is a studied beauty of detail, a variety,
a wealth of accurate knowledge that cannot
fail to win our admiration. The model
taken for much of the work is self-evident.
Some is unmistakably inspired by the
buildings of Italy, some by the quiet de-
lightful English college Quad or Elizabethan
house. Other buildings show French or
Spanish influence, but whatever the
44 motif/' we seem to feel that it fits the
subject and has been developed with sound
and accurate knowledge—that it shows,
in fact, true scholarship. This is, per-
haps, the term that best describes American
Architecture as it is to-day. It is, above all,
44 scholarly." It is designed by men of
taste who have added knowledge to their
ability, and now design something which
the educated artistic mind unhesitatingly
accepts as satisfactory. Such praise does
not admit that the work is invariably
faultless. Here and there we feel that the
designer has striven and failed—failed,
shall we say, nobly but nevertheless un-
74
mistakably. These cases are rare. They
serve to show that these buildings which
look so natural and inevitable were not
really so. They only arrived at perfection
after much hard and patient labour, much
sifting of details, and much cold, hard self-
criticism upon the part of the designer. 0
Finally, the draughtsmanship must not
be overlooked. Draughtsmanship is a
minor but a very delightful part of
architecture, and one that will always
be attractive. There were in the exhibition
some excellent essays in pencil. Perhaps
on the whole the pencil work was the most
brilliant, but there were also exhibits
showing good wash and water-colour
handling, and very fine examples of pen
and ink. It is noteworthy that the per-
spectives and drawings were essentially
architectural in character. The form of
the buildings, their treatment, and in many
cases their details, had been accurately
delineated, and this without loss to the
drawing as a 44 picture." These methods
indicate a realisation of the correct way to
portray architecture. The impressionistic
work, often effective, is useless alike to
client and architect. 000
This exhibition with its strong vitality
and sustained interest was of great value
to the lay as well as the technical
public. Its examination has been a matter
of great enjoyment, a pleasure that will
bear future repetition. 000
To the forthcoming issue of The Studio
Year-Book of Applied Art Mr. Ben-
nett, the writer of the foregoing article,
will contribute a paper on American
Domestic Architecture as represented in
the recent exhibition, and the paper will
be illustrated by a large number of repro-
ductions selected from the photographs,
etc., contained in the exhibition. Another
special feature of this issue of the Year-
Book will be an article on Pottery by
Mr. Bernard Rackham of the Victoria and
Albert Museum, which will be accom-
panied by about eighty illustrations. Also
there will be an illustrated article on one
of the most important housing schemes
undertaken in England—that which is
being carried out by the London County
Council on the estate at Roehampton pur-
chased from the Pierpont Morgan family.