DOI issue:
United States
DOI article:Solon, Léon Victor: A review of architecture: Its accessory arts in the United States
DOI Page / Citation link:https://doi.org/10.11588/diglit.42698#0142
UNITED STATES
missed by the majority as unlikely to give material help by providing
American solutions for European problems.
So far as American business buildings are concerned they are considered,
generically, to be “ sky-scrapers,” a type of erection banned by the
building codes of practically all European cities ; an unnatural growth,
the unavoidable outcome of an inflation of real estate values, arising
from conditions unlikely to occur in Europe. The “ sky-scraper ” has,
from the time of its invention, been one of the stock arguments against
any possible development of architectural dignity in the American
city ; but the work of Cass Gilbert, and of many others, has proved to
the entire world that the resourcefulness of American genius could pro-
duce designs of magnificent grace, based on the strict observance of
what was esteemed an insuperable obstacle to beauty.
With respect to American domestic architecture, the uninformed
majority has a preconceived idea that this type of work is an ingenious
grafting of the Surrey cottage on to a stock of Californian bungalow.
The select few, whose acquaintance with the work of their American
confreres is limited to rare half-tone reproductions of the more sensa-
tional edifices published in their home magazines, are naturally subject
to the desire for more, which all artists experience on seeing excellent
and individual work. Unfortunately for them, this desire is liable to
repression by the consideration of the widely dissimilar conditions, for,
and under which, these striking works are created ; this point alone
reducing the estimated value of prospective study to the level of
an amusing indulgence of inquisitiveness, unlikely to reward the
student with practical suggestion.
The first evidence of modern architectural activity in the United
States which pointed to a parting of the ways from accepted standards
was, of course, the “ sky-scraper,” which for many years was regarded
as the awful example of Enterprise commandeering an Art, unguided
by Taste. In the earliest examples that have survived, architectural re-
finement does not seem to have been desired by the promoters ; in fact,
it would appear that any contact with art was regarded as a flippant
digression, likely to be detrimental to a business atmosphere. The
status of the architect under such conditions could not have been en-
viable. A new form of construction had just been inaugurated which
had not yet the endorsement of tested durability, with the result that
mere artistic considerations and questions of taste could not be enter-
tained on a par with engineering contingencies.
In a land where all run, and in running few have a mind free to read,
the time arrived when the heads of great business organizations per-
ceived that bulk alone failed to impress. They realized also that
certain rare buildings possessed a vague quality, inducing a mental
process in the lay mind, which left an impression decidedly favourable
128
missed by the majority as unlikely to give material help by providing
American solutions for European problems.
So far as American business buildings are concerned they are considered,
generically, to be “ sky-scrapers,” a type of erection banned by the
building codes of practically all European cities ; an unnatural growth,
the unavoidable outcome of an inflation of real estate values, arising
from conditions unlikely to occur in Europe. The “ sky-scraper ” has,
from the time of its invention, been one of the stock arguments against
any possible development of architectural dignity in the American
city ; but the work of Cass Gilbert, and of many others, has proved to
the entire world that the resourcefulness of American genius could pro-
duce designs of magnificent grace, based on the strict observance of
what was esteemed an insuperable obstacle to beauty.
With respect to American domestic architecture, the uninformed
majority has a preconceived idea that this type of work is an ingenious
grafting of the Surrey cottage on to a stock of Californian bungalow.
The select few, whose acquaintance with the work of their American
confreres is limited to rare half-tone reproductions of the more sensa-
tional edifices published in their home magazines, are naturally subject
to the desire for more, which all artists experience on seeing excellent
and individual work. Unfortunately for them, this desire is liable to
repression by the consideration of the widely dissimilar conditions, for,
and under which, these striking works are created ; this point alone
reducing the estimated value of prospective study to the level of
an amusing indulgence of inquisitiveness, unlikely to reward the
student with practical suggestion.
The first evidence of modern architectural activity in the United
States which pointed to a parting of the ways from accepted standards
was, of course, the “ sky-scraper,” which for many years was regarded
as the awful example of Enterprise commandeering an Art, unguided
by Taste. In the earliest examples that have survived, architectural re-
finement does not seem to have been desired by the promoters ; in fact,
it would appear that any contact with art was regarded as a flippant
digression, likely to be detrimental to a business atmosphere. The
status of the architect under such conditions could not have been en-
viable. A new form of construction had just been inaugurated which
had not yet the endorsement of tested durability, with the result that
mere artistic considerations and questions of taste could not be enter-
tained on a par with engineering contingencies.
In a land where all run, and in running few have a mind free to read,
the time arrived when the heads of great business organizations per-
ceived that bulk alone failed to impress. They realized also that
certain rare buildings possessed a vague quality, inducing a mental
process in the lay mind, which left an impression decidedly favourable
128