DOI Artikel:
Yockney, Alfred: Architecture and decoration in the United States
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.41879#0191
ARCHITECTURE AND DECORATION
IN THE UNITED STATES. BY ALFRED
YOCKNEY
A MERICAN art has so many sources that it is difficult to discover
/ \ its derivation or to j udge its extent. That a national art has been
/.% and is being developed is certain, in spite of assertions to the
^contrary. Curiously enough the most emphatic doubts con-
cerning the reality of this artistic growth are heard in the States, and it
is in Europe that the possibilities of evolution are discerned. We are
inclined to minimise the criticism inflicted on themselves by some
Americans. Temperament, environment, ideals, and so on may be
opposed to the establishment of an orthodox art; but the vitality and
resources of a comparatively new civilisation are sure to yield in the
future results of the greatest significance.
In its relation to current work this question of derivation and destiny is
important. It is also interesting and rather complex. That much of the
earlier work of all descriptions should show British influences is natural.
In architecture Wren and his immediate successors were so useful and
so good a source of inspiration that the force of example is not yet spent.
The Georgian or Colonial style is still followed with almost undiminished
reverence. Excursions into Gothic, Tudor, and other styles continue to
be made by modern architects both for private and public buildings.
This is reasonable enough, and the products comply not only with the
sympathies of designers but with the fancies of clients. In addition to
these adaptations of the work of bygone centuries, the heritage of every
one in practice the world over, American architects have shown origin-
ality in many ways, and in the case of elevator buildings they have con-
tributed not a little to the sum total of architecture. The skyscraper
presents opportunities for criticism, like every other invention, but as
a solution of aproblem and as an object-lesson in construction this species
of design is unique and important. There is more artistic genius absorbed
in the erection of such a building than is often supposed. Just as the
appearance of an ancient cathedral is dependent largely on the appro-
priateness of the decorations, though almost invisible to the eye, so does
the many-storied office building of America derive a beauty of its own
through the accessories which form part of the scheme. In such a work,
of course, the architect must think in mass and altitude, but the way
in which the monotony of the facade is relieved by the cornice and other
details indicates the degree of success attained. Imagine, for instance,
the practical difficulties to be met by Mr. Cass Gilbert in piling up the
57 stories of the new Woolworth Building in New York, 750 feet above
the street level; and realise if possible the skill with which the architect
has introduced the ornamental details. Use has been made in the scheme
179
IN THE UNITED STATES. BY ALFRED
YOCKNEY
A MERICAN art has so many sources that it is difficult to discover
/ \ its derivation or to j udge its extent. That a national art has been
/.% and is being developed is certain, in spite of assertions to the
^contrary. Curiously enough the most emphatic doubts con-
cerning the reality of this artistic growth are heard in the States, and it
is in Europe that the possibilities of evolution are discerned. We are
inclined to minimise the criticism inflicted on themselves by some
Americans. Temperament, environment, ideals, and so on may be
opposed to the establishment of an orthodox art; but the vitality and
resources of a comparatively new civilisation are sure to yield in the
future results of the greatest significance.
In its relation to current work this question of derivation and destiny is
important. It is also interesting and rather complex. That much of the
earlier work of all descriptions should show British influences is natural.
In architecture Wren and his immediate successors were so useful and
so good a source of inspiration that the force of example is not yet spent.
The Georgian or Colonial style is still followed with almost undiminished
reverence. Excursions into Gothic, Tudor, and other styles continue to
be made by modern architects both for private and public buildings.
This is reasonable enough, and the products comply not only with the
sympathies of designers but with the fancies of clients. In addition to
these adaptations of the work of bygone centuries, the heritage of every
one in practice the world over, American architects have shown origin-
ality in many ways, and in the case of elevator buildings they have con-
tributed not a little to the sum total of architecture. The skyscraper
presents opportunities for criticism, like every other invention, but as
a solution of aproblem and as an object-lesson in construction this species
of design is unique and important. There is more artistic genius absorbed
in the erection of such a building than is often supposed. Just as the
appearance of an ancient cathedral is dependent largely on the appro-
priateness of the decorations, though almost invisible to the eye, so does
the many-storied office building of America derive a beauty of its own
through the accessories which form part of the scheme. In such a work,
of course, the architect must think in mass and altitude, but the way
in which the monotony of the facade is relieved by the cornice and other
details indicates the degree of success attained. Imagine, for instance,
the practical difficulties to be met by Mr. Cass Gilbert in piling up the
57 stories of the new Woolworth Building in New York, 750 feet above
the street level; and realise if possible the skill with which the architect
has introduced the ornamental details. Use has been made in the scheme
179