Arch and Enginer 1914

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The Architect and Engineer

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Contents for January
Detail Entrance to Masonic Temple, San Francisco

The Work of Bliss & Faville, Architects
B. J. S. Cahill
Forecast of 1914 Building Record
Who's Who in Pacific Coast Architecture
// Clarence Richard Ward
Developing a New StyleA Rebel in the Camp of Architects
Abstract of an Essay on Flats
Illumination
...
Charles T. Phillips, C. E. . .r'
Architects' Competition for $350,000 Fountain
The Value of Paint for Structural Steel
A. H. Sabin
A Successful Architectural Competition
Local Materials and Labor in Connection with Federal Work
Among the Architects
Editorial
State, County and Municipal Engineering
Heating and Lighting
By the Way
(Index to Advertisements, page 8)
PAGE
Frontispiece
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ENTRANCE MASONIC TEMPLE, SAN FRANCISCO

BLISS & FAVILLE, ARCHITECTS
Frontispiece
,
of California
January, 1914
TH E
ARCHITECT
AND
ENCINEER
OF CALIFORNIA
JANUARY
VOL
XXXV
THE
1914*
NUMBER
WORK OF
BLISS &FAVILLE
BY B\J 'S'CAHILL
I
HOWEVER much a life of storm and stress may mellow the work of
the painter, the composer or the poet, it is doubtful whether a
checkered career has ever reacted favorably on the output of an
architect. The reason is quite obvious. Architecture is itself born of
material success. More essential to the creation of the Acropolis were
the spoils of the Persians than the genius of Pericles. A gigantic ac
cumulation of Peter's pence built the biggest of all Christian churches,
just as the people's pennies of the United States have builded Mr. Woolworth's most monstrous of skyscrapers. Money in large quantities is
the first essential to all building operations, no matter where nor how
derived: by confiscation, contribution, or plain business competition.
In this sense the effective architect must have buildings to build. A
struggling architect is something of an anomaly, like a struggling banker.
To reverse the argument, does it not sound odd to speak of a successful
clergyman? A priest's business is to pray and preachnot to prosper.
Now, as there is something wrong about the notion of a prosperous priest,
so there is something a little wrong, too, about a struggling
architect. Success achieved by strife in an architect's career is too often
gained at a price that no rightly constituted man will pay. Better frank
failure through lack of patrons than a feverish and frantic victory at the
expense of ethics, fair play and decency.
The career of Bliss & Faville is particularly free from sordid and
undignified strife. From first to last fortune has favored them as the
684820

gods favored the heroes of antiquity. And
there is that in Greek art and ethics which
disapproves all victories that are not easy, all
conquests that are not calm. Moreover, the
demands of the profession are exacting. They
call for sound judgment, a sane view of life,
untortured with strife and care, and a liberal
and continual supply of commissions. Noth
ing can be done well unless it is done abund
antly and done often. A large output is essen
tial to a good output. Yet, on the other hand,
the output should not be too large so that, as
in some cases, the architect is merely an ad
ministrator of a huge plan factory, rather
than a creator, a developer and an artist.
These felicitous conditions have attended the
career of Bliss & Faville, the architects, from
the start, with results that have brought credit
to the status of architecture on the Pacific
Coast, as well as inspiration to their brethren
and pleasure to the public, who enjoy the
many-sided benefits conferred by well-arranged
and beautiful buildings.
********
II
The series of buildings here illustrated are
shown more or less in the proper sequence of
their design and construction. They group
themselves into the usual three periods that
are almost inevitable in any sequence of cre
ative work. First one detects the influence of
school training and the traditions of the foster
firm or master, or patron, as the French would
say, where apprenticeship was served. Of
course this first period includes the enthusiasm
for the antique, which is usually the first ob
session of the young architect who is worth
his salt. In this class one easily places the
two bank buildings, the Oakland Library and
the McNear residence. Three of these are
studies in pure classic, and three of them are
distinctly reminiscent of similar work done by
McKim, Mead & White, the distinguished trio
in whose office this firm learned its craft and
acquired its initial inspiration.
The second period of a creative career is
usually a departure from this first impetus on
formal academic lines towards something freer.
It often includes essays into various different
styles. In this period one should place the St.
Francis Hotel, the Prescott School, the Dio
cesan House and the Columbia Theater. In the
Balboa Building and the University Club there
are signs that the architects' ideas are becom
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ing fixed along definite lines that are distinctly Italian. Something of the
formality of the first period still remains, but there are signs that texture,
surface and material will be considered in place of abstract form ; that
feeling and variety will supplant logic and symmetry hereafter as the
guiding principles of design.
The final period is marked by the definite adoption of what, for want
of a better term, I will call the early Italian manner as distinguished from
the later Roman or more local Venetian. The definition is loose and
perhaps it might be more illuminating if one added that it is a style in
which materials of the cheaper kind such as brick and terra cotta are
wrought into forms of unexpected elegance where considerations of color
and texture give new charm to old motives and where by the magic of the
builder's craft inert masses of material take on a new glamor of poetry and
romance. Perhaps it is the first appearance of the picturesque in architecture.
Perhaps it is a sort of democratic development by which the designer's
efforts are broadened and the spirit of architecture is made to dwell in
common clay as well as in cut stone and costly marble.
In this third manner are to be placed such structures as the Oakland
Hotel, the Children's Hospital, the London and Liverpool and Globe
Building and the new Masonic Temple. An excursion into the fascinat
ing realms of Spanish Renaissance as seen in the Exposition walls af
fords an agreeable interlude to an otherwise very consistent and persist
ent program.
Ill
The Oakland Library, looked upon as an architectural organism, be
longs to the same family as the famed one in Paris and its first cousin
in Boston. This is a distinct merit. If the problem is the same the
solution should also be similar. This building was won in a competi
tion. The writer well remembers how unchallenged was this award,
although in a sense the program, as in so many other instances, was con
ceived with far less intelligence than the solution. In other words, while
most of the other competitors were racking their brains to arrange a lot
of rooms according to instructions, the architects of the winning plan
conceived the whole as one large room occupying the entire floor, the
divisions needed in a library being worked out with low partitions and
screen walls after the manner of a bank. The clean simplicity of the
whole scheme is quite admirable. The cost is kept down by a sensible
reiteration of motives, both large and small, and a severe though not
uninteresting squareness of outline.
The Prescott School is a vindication of a theory long entertained by the
writer that Tudor or Collegiate Gothic done in brick and stone is the
correct style for educational buildings of all kinds. It allows massed
and mullioned windows, it permits the more expensive accumulations of
stone work to be concentrated at points of importance in a way less
easy in classic, and finally it lends itself to honest and frank use of brick
for the rear walls, sides and courts in such a way that, if handled with
skill, leaves a sense of a complete design from play ground as well as
street front. It is hard to imagine the bad effect on young and tender
minds of the shoddy and makeshift expedients of architect and school
board trying to build a "classic" school house on one-quarter of the
funds really needed. This putting up of a false front is of course the
basis of all that is mean and vulgar in life. Yet most of our
schools are built on these principles. A glance at the picture shows
how much more charm and interest can be got out of a Tudor tower in
50
Che Architect and Engineer
51
honest material than out of a bald portico of uncouth columns support

ing a cornice of buckling copper or sanded sheet metal.
The Diocesan House, in similar style, has the fascination of the in
frequent, but where this sort of work is done often this example would
appear a little too stiffly symmetrical and a little heavy in its traceries.
The Bank of California, as seen from the outside, is a good example
of classic work rightly done because sumptuously done, which the nearclassic of a cheap school house never possibly can be. It is a fine sample
of a Corinthian colonnade and pitched in such a scale as to really suggest
the boldness and the splendor of ancient Rome. No doubt it is a fine
thing to have in every metropolis at least one example of each of the
orders to remind us of the tremendous dignity of the antique, lest we
accept the silly philosophy of the street which believes the latest thing
is the best thing.
It is rather an unfortunate fact that the plots of ground upon which
many of our banks are built are of unsatisfactory proportions. This
building would be far more pleasing were it either longer or narrower.
The widening of the central intercolumnar space is somewhat disturbing
to the fastidious eye, and the perfectly blank pylons flanking the sides
seem abrupt and unfinished. Both these blemishes might possibly have
been neutralized by making the side columns align with the corner front
column, which should be drawn out to the side of the lot. Two columns
added to the Sansome street row would just carry the series to the
corner pilaster. This would have given an appearance of greater length
where greater length was needed. On the other hand, it must not be
forgotten that a very useful elevator to the directors' room is carried
in the granite shell of what appears to be a thick and solid corner.
The interior has the lift and spaciousness of a Roman Basilica, but
the undecided proportion is an adverse condition, and Tennessee marble
in large masses creates an austerity of tone that is not quite comfortable.
Otherwise the banking room carries an air of great dignity.
An unfortunate feature of this interior, and indeed of other interiors,
such as the Savings Union and the London and Liverpool and Globe,
consists of lack of consideration given to what, for want of a better term,
I will call the "outlook." Of what avail is it to design with conscientious
care the four walls, the ceiling and the floor of any monumental cham
ber with painstaking attention to scale, color and lighting so that perfect
harmony shall unite all parts in one consistent effect? Of what use is
this accumulation of effort if the whole is finally to be marred by the in
trusion of the commonplace and discordant details of the surrounding
streets or the back walls, bill boards and smoke stacks of the average
alley? Let the reader, if he be an architect, consider that he has before
him a section through a large banking room. The windows are high and
big, and in the gray detail of the wall design they stand out magnificently
as bold, white, rhythmic forms. The effect on paper is lovely, especially
if the pilasters and surfaces in between are tinted in crayon or skilfully
toned. Now let your draftsman fill in these ghostly silhouettes of un
sullied white with the brutal brickwork, iron shutters, crooked gutters
and what-not of the old buildings across the court. These things are
actually there and will be seen to the utter discomfiture of all your de
signing and the spoiling of the most carefully considered harmony you
can ever evolve. Even if the exterior features are not hideous, they are
almost certain to be quite out of scale, and the bigger the windows and
larger the room the more disturbing is the effect.
PRESCOTT SCHOOL
OAKLAND, CALIFORNIA
DIOCESAN HOUSE FOR THE EPISCOPAL

BISHOP OF CALIFORNIA
SAN FRANCISCO
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jiff 'km[\
sill
TAHOE TAVERN
LAKE TAHOE, CALIFORNIA
Far better than screening the windows with the hackneyed and
rather unreasonable Roman grille (the draftman's delight, I know),
would it be to use translucent glasschipped, blurred, ribbed, mottled,
it is all one. This device would let in the light and without offense to
the sight. I have often been surprised to find architects so little sensi
tive on this point.
The Hotel St. Francis furnishes a very pretty problem in its exterior
design. Here we have a complete facade of three pavilions and two
intervening courts. To this, by the merest chance, and because at the
outset such a possibility was unexpected, must be added another wing,
but there is no room for another court. What is to be done? The prob
lem is, like squaring the circle, quite insoluble. A dominating tower
say some. My suggestion, since the original building is dark Colusa
stone, would be an apparently separate building of palest terra cotta, but
this would not suit the owners, who obviously wish to let the growing
business of the hotel announce itself to the world at large. Probably,
after all, the architects have wisely cut this Gordian knot instead of try
ing to untie it. They have simply widened the end pavilion until it
reached the corner, and let it go at that.
The interior is full of interest architecturally. There is an effect
created of sumptuousness and crowdedness which gives that bewildering
sense of the pulse and passion of life at high pressure in a great
metropolis. Nor is this achieved by any trick the least bit vulgar or
garish. The original tea room, which has recently been changed to a
dining room, was a harmony in Antwerp blue tapestry and gray stone
work unsurpassed in its effect by any hotel interior in the country.
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DINING ROOM
HOTEL ST. FRANCIS
58
COLONNADE
SAVINGS UNION RANK & TRVST COMPANY
SAVINGS UNION BANK & TRUST COMPANY

SAN FRANCISCO
DETAILS OF BRONZE DOOR

SAVINGS UNION BANK & TRUST COMPANY
TAMALPAIS CENTER
KEXTFIELD. MARIN COUNTY, CALIFORNIA
61
62
DETAIL. COLUMBIA THEATER

SAN ERA XCISCO
64
Hospital For CHILDREN AND TRAINING SCHOOL For NURSEs

SAN FRANCISCO
|
COURT, HOSPITAL FOR CHILDREN
AND TRAINING SCHOOL FOR NURSES
ARCADE. HOSPITAL FOR CHILDREN

AND TRAINING SCHOOL FOR NURSES
67
LOUNGING ROOM
HOTEL OAKLAND
69
LOUNGING ROOM
HOTEL OAKLAND
71
BALL ROOM
HOTEL OAKLAND
Compared with the old, the new room, decorated by Herter, has the crash
and vigor of a brass band in place of the subdued and elusive ravishment
of strings.
The Savings Union Bank, also in granite, like the Bank of California,
gives the town a clean example of the Ionic order. The facade on
O'Farrell street is somewhat thin, as though designed for marble. The
interior is more agreeable than the Bank of California by reason of the
warmer-toned marble used. The design gets rather ineffective, as it
ascends, however, a series of very meagre pilasters finally supporting a
ceiling scheme of painted panels that seems almost trivial in comparison
with the studied work below.
The University Club Building, like the Oakland Library, is a most

successful example of appropriate elegance wrought in great simplicity
out of the most inexpensive materials. The refinement and grace of the
cornice is notable, even in a city of fine cornices.
The Columbia Theater is a sound study in the correct use of terra
cotta, although there are purists who deny that this material should be
used in columns. Considering the extraordinary difficulties of polychrome
clay for exteriors, the detail is an encouraging success. If there is ever
to be an architecture of the future, color will be its basiscolor and
texture, rather than form.
The Children's Hospital is a San Francisco institution that serves as
a record of architectural epochs. First came the mill-made, bay-win
dowed pile of the early eighties, to be succeeded in the next decade by
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LIVERPOOL AND LONDON AND GLOBE

INSURANCE COMPANY'S BUILDING
SAN FRANCISCO
INTERIOR, LIVERPOOL AND LONDON AND

GLOBE INSURANCE COMPANY'S BUILDING
74
The Archttect and Engineer
rage Brown's Maternity Home, one of the first examples in San Fran
cisco of the ultra-refined Colonial. In the next decade came Schweinfurth's "Little Jim" ward with its radical form and ragged brick work.
The latest expression combines in one the refinement and the texture of
the last two. In many respects it marks the beginning of what is prov
ing a new epoch in our treatment of brick work.
The Hotel Oakland is in the same general style, combining lightness
of form, careful study of jointing, bonding and color and due regard to
the picturesque quality mentioned at the outset. The layout of this
building with regard to its fitness for social functions of all kinds and
degrees of elaborateness, is quite unsurpassed by any other building on
the coast.
The London and Liverpool and Globe Building is a graceful little struc
ture suggesting an Italian Loggia filled with glass windows and turned
into an insurance office.
BUILDING FOR EASTMAN KODAK COMPANY

SAN FRANCISCO
76
BALBOA BUILDING
SAN FRANCISCO
DETAIL. UNIVERSITY CLUB BUILDING

SAN FRANCISCO
78
MASONIC TEMPLE
SAN FRANCISCO
DETAIL, MASONIC TEMPLE

SAN FRANCISCO
COMMANDRY. MASONIC TEMPLE

SAN FRANCISCO
COMMANDRY, MASONIC TEMPLE

SAN FRANCISCO
MASTER'S STATION, LODGE ROOM NO. 4

MASONIC TEMPLE
ORGAN GALLERY, LODGE ROOM NO. /

MA.SOX IC TEMPLE
ENTRANCE LOBBY
MASONIC TEMPLE
RESWEXCE FOR MR. F. If. "rXEAR

MEXLO P. lRK. CAUFORNIA
88
RESIDENCE FOR MR. WM. MAYO NEWHALL

SAN FRANCISCO
RESIDENCE FOR MRS. FLOREXCE IV. VI HE MOORE

PIEDMONT, CALIFORNIA
90
RESIDENCE FOR MRS. FLORENCE BLYTflE MOORE

PIEDMONT. CALIFORNIA
RESIDENCE FOR MRS. R. D. GIRVIN,

SAN MATEO COUNTY, CAL.
ELEVATION NORTH ENTRANCE,

BUILDING FOR PANAMA-PACIFIC
INTERNATIONAL EXPOSITION
PANAMA-PACIFIC INTERNATIONAL EXPOSITION,

SAN FRANCISCO
Copyright by P. P. I. E.
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FRONT ELEl ATION

JARIED INDUSTRIES BUILDING
The Masonic Temple marks the culmination of work to date turned

out by a firm whose most important service to architecture is probably
yet to come, despite the fine showing of these pages.
The pictures tell plainly of the scope, the importance and the high
effort of the work done. To dwell on their points of excellence would
take more space than this magazine affords. And since brevity has been
aimed at, we have in the main spoken of their few defects, therefore,
rather than of their many merits.
Forecast of 1914 Building Record

IN SAN FRANCISCO
HIRTY-FIVE million dollars is a conservative estimate of the total

building operations in San Francisco for 1914. This forecast is
based upon reports from architects' offices, banking interests, the
Municipal Department of Architecture and the Director of Works of
the Panama-Pacific Exposition. With the possible exception of the ex
position work the figures represent what would constitute a normal year's
expenditure of a fast-growing city like San Francisco. Already the fi
nancial situation is clearing, and there is every reason to believe that the
banks will be more liberal with loans in the early spring. If they are,
a splendid year for the building industry will follow, for there are scores
of property owners ready to build if given financial assistance. The city
needs more hotels and apartment houses to handle the exposition crowds,
a fact that was apparent during the recent Portola celebration, when peo
ple were turned away and some of the hotels had to place cots in the
halls to take care of their guests.
The total building record for 1913 was $32,797,259, or almost $10,000,000 short of January, 1913, prognostications. The slump was due largely
to the financial situation, the banks declining to negotiate new loans of
any considerable size. Estimates of building construction for this year
may be classified as follows :
Municipal buildings
$ 6,500,000
Panama-Pacific buildings . . .
10,000,000
Office and store buildings . .
10,000,000
Hotels and apartment houses
5,000,000
Miscellaneous
3,500,000
In the down-town section at least four notable office structures are
assured, since none of them is dependent upon bank loans. The Hobart
estate has already let two or three contracts in connection with its
22-story skyscraper to be erected on the site of the old Postal Telegraph
building on Market street, near Montgomery. This structure will cost
close to $1,000,000. Within two blocksto be exact, the corner of Mont
gomery and Pine streetsthe Sweeney heirs will build a fourteen-story
store and office building, costing not less than $750,000, while on the same
side of Market street as the Hobart building, but a block west, Mr. Wil
liam H. Crocker will build a lofty addition to the Crocker building. The
present structure is eleven stories, with a two-story annex on the west
side. This annex was erected hurriedly after the fire and never has been
considered a permanent building. It will be razed and replaced with an
eleven-story Class A structure to cost approximately $600,000. At
Market and Fourth streets Mr. John D. Spreckels will erect a $1,100,000
skyscraper that for height will tower above all other architectural peaks
in this city. Architects Rcid Bros, have designed this 26-story building,
and they have been given orders to complete the working drawings in
anticipation of an early start on the structure. All of the leases on the
present three-story building expire this year. It is possible the new
building will be built around the old structure so the occupants can
remain until their leases run out.
In the matter of hotels and apartments, several large ones are contem
plated, including a seven-story $200,000 Class C building on Sutter street
for Lachman Bros. : a $250,000 building for Selah Chamberlain on Nob
Hill, a twelve-story, 500-room Class A hotel on the old Y. M. C. A. site,
now being promoted by Boston capital ; and a seven-story Class C hotel
at Post and William streets for Messrs. Trowbridge and Perkins.
THE DIRECTOR OF WORKS, Panama-Pacific Exposition, estimates that the
Exposition Company will let contracts during the year aggregating $2,500,000. This, of
course, is a rough estimate and does not include work to be done by the various
states and foreign governments, which will spend on building construction at least
three and one-half million dollars, and the concessionaries will spend for the same
purpose about $4,000,000, making a total of about $10,000,000 for exposition work.
ARCHITECTS WILLIS POLK & COMPANY, Merchants' Exchange Building,
have about $2,000,000 worth of work under way or in prospect. This includes the
22-story Hobart Building, work upon which has been started ; the addition to the Mills
Building, which will cost in the neighborhood of $350,000; the Cuyler Lee garage in
Oakland, costing $60,000; two residences in San Francisco costing $50,000 each, and
the Crocker mansion in Burlingame. Architect Polk's name has been mentioned in
connection with a splendid new building for the Fireman's Fund Insurance Company, to
be erected on property owned by the company on California street. While it is ad
mitted that the company will build here, no positive information is obtainable at this
time.
ARCHITECT LEWIS C. HOBART, Crocker Building, already has about $2,000,000 worth of work on the boards. This includes a substantial addition to the Crocker
building on Market street, which will cost anywhere from $500,000 to $1,000,000, the
exact size and height of the structure being at present problematical. Mr. Hobart is
completing the working drawings for the University of California' Hospital to be
erected west of the present buildings of the Affiliated Colleges and to cost $600,OUU.
The hospital will be Class A. The cornerstone will probably be laid in February.
Architect Hobart is also preparing working drawings for a $20,000 Day Nursery build
ing to be erected at Second and Folsom streets for the Kip Memorial Mission and
Day Nursery, Inc. Contracts have been let in the same office for part of the work in
connection with a Museum building in Golden Gate Park. The same architect is pre
paring preliminary sketches for a Class A office building to be erected in Fresno.
ARCHITECT FREDERICK H. MEYER, Bankers' Investment Building, is pre
paring plans for a seven-story Class C hotel to be erected at Post and Williams streets
for Messrs. Trowbridge & Perkins, and to cost $100,000. The building will contain
100 rooms, all of which will have private baths. Work is now in progress from plans
by the same architect for a physicians' building, Trowbridge & Perkins owners, on
Sutter street. This will cost $200,000 or more. Architect Meyer also has plans in
prospect for several power houses and sub-slations for the Pacific Gas & Electric Com
pany. Plans have also been drawn for the reconstruction of the Stanford Museum build
ing at Palo Alto, and a $200,000 residence for I. W. Hellman, Jr.
ARCHITECTS REID BROS., California Pacific Building, estimate that the new
work in their office this year will exceed the three-million mark. The largest item will
be the Spreckels building to be erected at Fourth and Market streets, and which will'
cost $1,100,000. This structure will be 26 stones high, and work will be started inside
of 90 days. Other commercial work in hand will total $900,000, and this includes a
seven-storv building for the Sharon Estate back of the Palace Hotel and a $300,000
office building in Oakland. This firm also has work in prospect amounting to $500,000
for Class B apartment houses and $75,000 in Class C construction. A hotel in Port
land to cost $350,000 is also assured.
ARCHITECT O. R. THAYER, Merchants' National Bank Building, reports that
construction has just been started on the B. Davidow garage on Van Ness avenue,
which will cost approximately $50,000. The same architect will shortly complete plans
for a one-story reinforced concrete produce market to be built on Union street, east
of Fillmore, at a cost of $10,000. Mr. Thayer has under way plans for a six-story
concrete hotel building to be erected on Bush street near Kearny, having 70 per cent
baths, automatic elevators, steam heat, etc., and to cost $30,000. Plans are also being
drawn for two residence flats on Second avenue for S. P. Russell to cost $6,500.
ARCHITECT ALBERT FARR, Foxcroft Building, has plans for a score or more
handsome residences, some of the owners being H. B Allen, who will erect an $8,000
house at Sea Cliff; Dr. Gilbert Graham, a $10,000 house at Claremont; Railroad Com
missioner Max Thelen, a $10,000 residence in Claremont; George Sargeant, a $10,000
house at Twenty-fourth and Lake streets ; Jack London, a $40,000 country house at
Glen Ellen; H. M. Wright, a $12,000 residence in Claremont; John Spohn, a $25,000

house and garage at Claremont; O. A. Smith, a $5,000 house in St. Francis Wood; a
club house and garage for the Belvedere Land Company costing $8,000, and a group
of forty-eight houses to be built on Eighth avenue in the Sunset District for Allen
& Company, and which will cost from $3,500 to $4,500 each.
ARCHITECT J. R. MILLER, Lick Building, has work in prospect aggregating
$250,000. This includes an office building, several apartment houses and a garage.
Much of Mr. Miller's work will be for the Rudolph Spreckels interests. Mr. Miller has
under construction an addition to the Metropolitan Life Insurance Building, costing
about $125,000.
The Consulting Board of Architects of the City of San Francisco estimates the
following work in that department, some of which is already under way, including the
City Hall and Auditorium :
City Hall, Class A
$3,500,000
Auditorium, Claps A
1.200,000
San Francisco Hospital, yard improvement? and fixtures
1,000,000
City and County Jail, completion
175,000
Potrero Emergency Hospital, Class A
17,500
Auxiliary Fire Alarm Station
40,000
Engine House Number 12, Class C
65,000
Engine House Number 48. Class C
33,000
Cooper School, reinforced concrete
100,000
Washington Irving School, brick and steel
100,000
Oriental School, brick and steel
118,000
Marshall School, frame
80,000
ARCHITECTS O'BRIEN & WERNER, Foxcroft Building, have completed revised
drawings for the San Francisco Labor Temple, a four-storv steel and brick building to
be erected at Sixteenth and Capp streets, at a cost of $70,000. The same architects
have made pfans for a handsome country residence in Pleasanton, and they have pros
pects for several good-size apartment houses.
ARCHITECTS BAKEWELL & BROWN, 251 Kearny street, are now engaged
upon preliminary sketches for about $700,000 worth of new work, which includes a sub
stantial addition to the Lane Hospital at Clay and Webster streets. The building will
probably be five stories, Class A, and will cost $100,000. Contracts have just been let
by this firm for a three-story-and-basement store and hotel building at Tenth and
Franklin streets, Oakland, for G. E. and S. E. Ellis. Plans are being prepared by the
same firm for a number of costlv residences.
ARCHITECTS WARD & BLOHME, Alaska Commercial Building, have just com
pleted working drawings for a two-story-and-bascment municipal firehouse for motor
apparatus to be erected by the Citv of San Francisco at Commercial and Drumm streets.
The building will cost about $60,000. The same architects have under construction a
four-story Class C addition to the Children's Hospital at California and Maple streets.
Plans have been prepared by the same architects for a substantial addition to the Cliff
House. Drawings are in progress for a residence and studio for Haig Patigian, the
sculptor. Sketches have been prepared by the same firm for a $200,000 apartment house
to be erected in the Nob Hill section.
ARCHITECT T. PATTERSON ROSS, 310 California street, is taking figures for
the structural steel for a seven-story-and-basement steel and concrete apartment house
to be erected on Greenwich street and which will cost approximately $120,000. The
building will be 100x70 feet and will contain fourteen apartments of six and seven
rooms each. The same architect will let contracts in the near future for a four-storyand-basement Class C store and hotel building on the northeast corner of Sixth and
Clara streets for the Hamburger Investment Company. The cost is estimated at $80,000.
ARCHITECT J. MARTYN HAENKE, 1114 Story Building, Los Angeles, and Engi
neer H. J. Brunnier, Sharon Building, San Francisco, are preparing plans for a four
teen-story Class A bank, store and office building to be erected on the northeast corner
of Montgomery and Bush streets, the site of the old Occidental Hotel. It is estimated
this building will cost close to $1,000,000. There will be between six and seven hundred
offices. The ground area is 330x195 fect and there will be provision for two banks and
a number of stores on the ground floor.
ARCHITECT G. ALBERT LANSBURGH. Gunst Building, has under construction
a Class C hotel for A. Eiscnberg and is preparing plans for a $75,000 addition to the
Concordia Club on Van Ness avenue. This will include a gymnasium and concrete
swimming tank. Mr. Lansburgh has also made plans for an automobile building to be
erected on the grounds of the Panama-Pacific Exposition.
ARCHITECT EDWARD T. FOULKES, Crocker Building, has about one million
dollars' worth of work on the boards. This includes the Oregon State Building for the
Panama-Pacific Exposition, to cost $100,000; the Inside Inn for the Panama-Pacific
Exposition, to cost $500,000; hotel for the Columbia Realty Company to cost $75,000,
and a Class A theater for the down-town section to cost $200,000.
ARCHITECT WILLIAM H. WEEKS, 75 Post street, has work aggregating $500,000 for which actual working drawings are being made. This work is summarized as
follows: Eureka High School, $120,000; Ceres Grammar School, $35,000; Monterey
High School, $35,000; Watsonville Theater, $50,000; four-story building and addition to
Mansion House, Watsonville. for the Luttcnich Bros., $100,000; building for George F.
Brewington, Watsonville, $15,000; First National Bank Building, Bakersficld, $65,000;
Turlock Opera House, $50,000; Bank of Chowchilla, $10,000.
ARCHITECT AUGUST NORDIN, Mills Building, estimates prospects in his office
for this year totaling close to $340,000. Part of this work is dependable upon the banks
making the necessary loans to his clients. The work will include hotels and apartment
houses of a high class. One building that will go ahead without delay is a reinforced
concrete hotel in the Mission district, to cost in the neighborhood of $20,000.
ARCHITECT HOUGHTON SAWYER, Shreve Building, writes as follows: "There
is approximately $1,000,000 worth of building in preparation in this office. I am not at
liberty to go into details at this date. It is impossible to forecast what other work may
come in."
It is very probable that the "Burlingame Court," a high-class apartment hotel de
signed by Mr. Sawyer, and for the construction of which preliminary estimates were
taken last summer, will materialize this year. The building will be erected on a promi
nent corner in the vicinity of Nob Hill, and will cost $500,000. Mr. Sawyer has also
completed plans for a high-class school building to be erected by the City and County
of San Francisco this year, and which will cost in the neighborhood of $100,000.
ARCHITECTS SMITH & STEWART, Marston Building, have prospects of quite
a little work, including a new town hall for Daly City and an apartment house in San
Francisco. This firm made plans last year for a high-class apartment hotel to be erected
in Sacramento, and this job will in all probability go ahead in 1914.
ARCHITECT EDWARD G. BOLLES has plans for a number of attractive resi
dences, among them a $15,000 home to be erected on the east side of Twenty-fifth avenue,
north of West Clay street, for Mrs. Josephine Nahl.
ARCHITECT B. R. MAYBECK, Lick Building, has plans for several costly resi
dences, both in the city and out of town. Work has just been started on a fine city
home for E. C. Young, manager of the Walk Over Shoe Company, in Forest Hill.
This house is designed along old English lines with exterior of half timber, plaster and
shingles. There will be a concrete garage.
In St. Francis Wood there will be quite a little building this year. J. M. Ruth wilt
erect a $10,000 home there, and others who will build are Louis P. Steller. George W.
Brooks, secretary of the California Insurance Company, and Frederick M. Gibbs. Plans
for the Iatter's house have just been completed by Architect Henry H. Gutterson.
ARCHITECTS CUNNINGHAM & POLITEO, First National Bank Building, have
a large amount of work under way for the coming year. A $25,000 brick and marble
crematory for the California Cremation Society, Inc., will be erected at once at Fresno,
Cal. A two-story-and-basement home for Mr. Carl Martin, assistant manager of the
Emporium, will be erected in West Lake Park at a cost of about $6,500. A twostory-and basement brick school to cost $50,000 will be at once erected for the State
University at the State Farm, Davis, Cal.
ARCHITECT A. W. CORNELIUS, Merchants' National Bank Building, has the
working drawings well advanced for a two-story-and-basement Class C school building
to be. built at a cost of $50,000 for the town of Pittsburg, Contra Costa county. Ex
terior will be of pressed brick, terra cotta and galvanized iron trim, steam heating plant,
oil burner and vacuum cleaning systems. There will be a frontage of 240 feet with two
wings, twenty class rooms and assembly hall to seat 700. Mr. Cornelius is also prepar
ing plans for several motion picture theaters.
ARCHITECT SIDNEY B. NEWSOME, Nevada Bank Building, has plans ready
for figures on several attractive buildings, among which are a three-story frame apart
ment house for Mr. J. V. De Ryana to be built on California street between Fifth and
Sixth avenues, at a cost of $12,000, and a two-story-and-basement frame residence for
P. A. Dinsmore of Oakland, to cost $1C,000.
ARCHITECT HENRY C. SMITH, Humboldt Bank Building, has a large Class C
school building now under construction, costing $70,000, at Fairfield, Solano county, and
he has drawings ncaring completion for a $70,000 hotel for the same town, to be erected
for a syndicate headed by Mr. J. N. Watson, director of the Chamber of Commerce of
Fairfield. This structure will be of reinforced concrete, three stories and basement, and
will be about 150 feet square with a 60-foot patio in the center.
ARCHITECT CHAS. E. HODGES, Bankers' Investment Building, is now prepar

ing plans for an elegant residence to be erected in St. Francis Wood, San Francisco,
for Mr. H. J. Jones, assistant treasurer of the Southern Pacific. It will be a two-storyand-basement home of frame and plaster and will cost tn the neighborhood of $20,000.
ARCHITECTS WM. KNOWLES and ERNEST COXHEAD, associated, Hearst
Building, have plans well advanced for a church to cost $60,000 for the Plymouth
Brethren Congregation of Oakland. It will be erected on Piedmont avenue. Brick and
stone construction, seating capacity 1.500; English Gothic style of architecture; tower
100 feet high, pipe organ, stained-glass windows, etc. Mr. Coxhead also has plans
completed for a residence for Dr. Henry Walter Gibbons, to be erected at a cost of
$9,000 on California street, near Twenty-first avenue. Mr. Knowles has plans for a
two-story-and-basement Class C store and loft building to be built on Mission street,
near Sixth, for Mr. Duncan. It will cost $15,000. In addition to this building, another
is under way of similar design and cost for Miss Carrie Rea of San Jose. Architect
Knowles is also preparing plans for the immediate erection of a choice residence in
the prevailing Spanish style for Mr. Wm. C Murdoch, Jr. It will be built in Forest
Hill, San Francisco, and will cost $25,000.
ARCHITECTS FABRE & BEARWALD, Merchants' National Bank Building, have
a three-story-and-basement frame apartment house under construction, costing $15,000,
at Pacific avenue, west of Jones street. San Francisco, for Mr. A. Artru. These archi
tects will let a contract at once for a two-story reinforced concrete building for laundry
purposes. It will cost $7,500 and be erected for M. Betcave on Ellis street, west of
Hyde street, San Francisco.
ARCHITECT LOUIS MASTROPASQUA of 580 Washington street, San Francisco,
has figures all in for a three-story frame apartment house to be erected for Mr.
Victori Sattui, Twenty-third and Bryant streets, San Francisco. It will cost $15,000.
The National Ice Company, through its engineer, Mr. Charles Wallace, is now
letting segregated contracts for a $70,000 five-story Class A cold-storage building, to be
erected on Battery and Union streets. The structural steel is already being fabricated
by the Vulcan Iron Works. The structure will be 90 by 120 feet.
ARCHITECT M. MATTANOVICH, 995 Market street, is taking sub-bids on a
three-story-and-basement apartment house to be erected for Lachman Brothers of San
Francisco at a cost of $40,000. There will be five stores and 34 apartments of three
and four rooms each. The exterior will be of white Portland cement.
ARCHITECT G. A. APPLEGARTH, Call Building, has prospects of about $350,000 worth of new work, including a substantial addition to the Bekin Van & Storage
Warehouse, a reinforced concrete garage for A. B. Spreckels, a commercial building to
be erected in the wholesale section and to cost $200,000, and a frame apartment house
on Nob Hill, costing $40,000. Mr. Applegarth is also the architect of the Clift Hotel,
now under construction on Geary street.
ARCHITECT W. G. HIND, Maskey Building, is completing working drawings for
a six-story Class A apartment house to be erected on the northwest corner of Sacra
mento and Jones streets for Dr. Redmond Payne, and to cost $130,000. The building
will have steel frame, pressed brick and terra cotta exterior and all modern conven
tences. There will be two apartments of eight rooms each to a floor.
ARCHITECT HERMAN BARTH, 16 Geary street, is preparing working draw
ings for a Class C apartment house to be erected on California street in the vicinity
of Hyde, at an estimated cost of $70,000. Construction will be steel and brick, with
pressed brick and terra cotta exterior. There will be 36 apartments of two and three
rooms each. Mr. Barth has one or two other apartment houses in prospect for which
preliminary sketches have been made.
ENGINEER G. B. ASHCROFT, Balboa Building, is taking figures for the con
struction of a seven-story-and-basement Class C steel frame hotel on O'Farrell street,
near Powell, to cost $100,000. The exterior will be faced with red pressed brick.
There will be 100 rooms, tile baths for every floor, electric passenger elevator, stores
on the ground floor, etc. The owner is C. A. Hooper.
ARCHITECT CHARLES J. ROUSSEAU, 46 Kearny street, has plans for two
Class C hotels , for Edward H. Mitchell. One of these buildings has just been started
and is at Scott and Lombard streets. The other will be at Steiner and Lombard streets,
and they will cost about $30,000.
ARCHITECT CHARLES PETER WEEKS, Mutual Savings Bank Building, is
preparing the working drawings for a group of hospital and infirmary buildings for

Alameda county, and which will cost in the neighborhood of $1,000,000. It is hoped
to start construction on one or more of these buildings late in the spring. The same
architect ltas plans for the reconstruction of the Union Iron Works Company's plant
in South San Francisco. The old buildings are to be replaced with modern structures
and some of this work is already well under way.
ARCHITECTS ROUSSEAU & ROUSSEAU, Monadnock Building, write as
follows:
In answer to your letter of recent date requesting a report of the probable
volume ' of business we anticipate during this year (1914). we are pleased to say
that from the outlook to date we expect to do 'over one million dollars' worth of
business, as at the present time we have over $500,000 worth of business on the
boards.
We have just started the erection of a two-story Class A steel frame theater
building for Nellie Harris upon her lot on the north side of Broadway, west of
Grant avenue. This theater will have a seating capacity of 2.000, and when com
pleted will be one of the most substantial structures of its kind in this city. The
exterior is finished in cement plaster and will cost $50,000.
We are preparing plans for a three-story frame apartment building to be
erected at Prince and Telegraph avenue, Berkeley, for W. R. Scott, general man
ager of the Southern Pacific Company. This building will contain thirty-five
apartments of two, three and four rooms each, and will cost in the neighborhood
of $45,000.
We have let contracts for the erection of a six-story Class C brick apartment
building to be erected on the southwest corner of California and Stockton streets,
San Francisco. The building will contain 72 apartments of two and three rooms
each and will be erected at a cost of $105,000. The owner is the Portola Realty
Company.
Following is a list of a few of the buildings for which we are now preparing
plans:
A four-story-and-basement reinforced apartment building to be erected for
J. B. Reite upon his lot on the south side of Post street, west of Larkin. There
will be 38 apartments of two and three rooms each. The estimated cost is
$40,000.
A three-story frame apartment building on the southwest corner of Greenwich
and Larkin streets containing 35 apartments of two and three rooms each.
A four-story-and-basement apartment building for Dr. Baird. to be erected
upon his lot situated on Oak street north of Fourteenth street in the city of Oak
land. The building will contain 28 apartments of two, three and four rooms
each, and will cost $40,000.
A one-story brick garage building for F. W. Taylor, to be erected on the north
east corner of Brook street and Broadway, Oakland. The building has been
leased to the Howard Auto Sales Company and will be erected at a cost of
$15,000.
A two-story brick garage building for J. Sather. to be erected upon his lot
on Shattuck avenue and Haste street. Berkeley, at a cost of $15,000.
A three-story frame apartment building for Mr. Hampton, to be erected on rbo
corner of Twenty-second and Valley streets, Berkeley. The building will con
tain 20 apartments of two and three rooms each, and will be erected at a cost of
$25,000.
Plans are also being prepared for a two-story residence for Mrs. Gillan, to be
erected in the city of Fresno at a cost of $20,000. Also five two-story residences
for the Tormey Company, to be built on Thirtv-third avenue, near Lincoln Way
San Francisco, at a cost of $12,000.
ARCHITECTS FRANK T. SHEA & JOHX O. LOFQLTST, Bankers' In
vestment Building, report the following work in prospect for 1914:
Mission Dolores Church, Sixteenth and Dolores streets
$200,000.00
Sts. Pietro E Paolo Church (Italian Church), north side of Filbert street, east of Powell
street
200,000.00
St. Paul's School, Twenty-ninth and Church streets
70,000.00
Pumping station, Holy Cross cemetery
20,000.00
Star of the Sea Church. Eighth avenue and Geary street
50.000.00
Chapel at St. Patrick's Seminary, Menlo Park
100.000.00
Providence Hospital, Oakland, Cal
125,000.00
Sacramento School. Sacramento, Cal. . . :
200.000.00
Receiving vaults, Havwards cemetery, Haywards
50,000.00
Kennedy Hotel, southwest corner of Ellis and Larkin streets
40,000.00
St. Patrick's Church, Mission, near Third streets
100,000.00
Juan Cooper's residence, Monterey, Cal
30,000.00
Who's Who in Pacific Coast Architecture

II.Clarence Richard Ward.
AMERICAN architecture has made a distinct advance during the past
two decades. This agreeable change is no doubt due principally
to the character of the men who are engaged in this profession.
Progress in architecture in San Francisco is due largely to men who, like
II
Clarence R. Ward, have made extensive study and research. Mr. Ward
was born in Niles, Michigan, December 19, 1870.
At the age of
six years he came to California, where he received his public
and high school education. Later he went to Oakland and was
given a special four-year academic education at the California Mili
tary Academy, and at the same time received valuable practical
training in the offices of prominent architects in Oakland. Since 1885 he
has been almost continually preparing for and practicing the architectural
profession. In 1890 Mr. Ward went to Atlanta, Ga., and spent four years
in practicing general architecture with the firms of Burnham & Root, Bruce
& Morgan and Henry W. Norman. He then returned to San Francisco
and became associated with Architect Frank T. Shea. Later he
entered the office of Edward R. Swain, where he aided in the
construction of the Ferry Building and other important structures.
Mr. Ward succeeded Mr. Swain and finally consolidated his prac
tice with that of Henry H. Meyers. During this affiliation the firm de
signed many important buildings, among which are the Alaska Commer
cial, the Wells-Fargo, and the reconstruction of the Kohl building, the
execution of the Hobart buildings, six buildings of various classes for
Hyman Brothers, Samuels' Lace House building, Goldberg-Bowen build
ing, Stockton Savings and Loan building, and the People's Savings Bank
building, Sacramento. The firm constructed some sixty buildings of
all classes since the fire. Mr. Ward is now associated in practice with J.
Harry Blohme. Their principal executions have been the Stanford Me
morial church : Children's hospital and the Machinery building for the
Panama-Pacific Exposition. As an evidence of his efficiency, Mr. Ward
was for some time a member of the State Board of Architecture, and is
at present a member of the Architectural Commission, P. P. I. E. He is
an enthusiastic member of the San Francisco Chamber of Commerce, a
member of the Pacific Union, Bohemian and Olympic Clubs, is a former
president of the Family Club, a member of the Merchants' Exchange, an
honorary member of the San Francisco Architectural Club, and secretary
of the San Francisco Society of Architects.
*
Grooved Boards for Cement Plaster Work
Not Satisfactory
Architects and builders who have been using the grooved redwood
boards in place of metal lath as a back-ground for cement plaster in resi
dence work are very much disgusted. The recent hard rains have soaked
through the plaster to the redwood, and no sooner does the water strike
the wood than it becomes badly discolored. Finding its way outside again,
the chocolate-colored fluid drips over the surface, streaking it up so badly
that the exterior presents the appearance of having passed through a
smoky fire or a bombardment of mud. Of course the only thing to be
done is to tint the plaster work with a waterproofing paint. It is noticed,
too, that the plaster, when placed over the grooved boards, cracks much
more easily than on metal lath. There is no question but that it is a
mighty unsatisfactory method of constructioncheap, perhaps, for the
contractorsbut expensive indeed for the owner.
93
The Charm of New Orleans

By C. H. Whitaker. Architect and Delegate to the Recent A. I. A. Convention.
AND what is this wonderful charm of New Orleansa charm pos
sessed by no other city in America? A charm which hovers over
her streets and squaresher shuttered windows, her balconies,
decked with exquisite bits of wrought iron ; her gardens, smiling to the
passer-by, or, what is still more charming, haunting him with the vision
inspired by the top of an old oleander, glimpsed above a moss-covered wall.
Ah ! these are some of the things seen from which she draws her charm
yet one can scarcely define the multitude of things unseenthe swift
spirits of thought that carry one here and there, as suggestions follow
quickly upon the heels of vision. To walk the streets of old New Orleans
is to review, in your memory, the history of France for two centuries or
more. And mingling among the retinue of kings and queens, soldiers and
courtiers, poets, artists, musicians, there defiles the procession of hardy
pioneers, the men who brought the indomitable and unconquerable energy
of France to this land of bayou and prairie. The history of the Old World
intertwines with that of the newand you want to go back and become
a factor in the making. Somehow or other it all seems to have been more
interesting, more rose-colored, more filled with the amenities of life than
is this rushing river that now bears us upon its swirling tide.
Of such is the charm of New Orleans to me. It seems idle to enumerate
her separate "points of interest." They are innumerablethey greet you
at every turn. A courtyard beckons you through an arch, a garden calls
you from behind a grille or wall, a balcony here, a window there, the pitch
of a roof, the curve of a moulding, follow each other in an intoxicating suc
cession of joys and sorrows.
You are happy in thinking of a time when there were builders and
craftsmen to do all these thingsand to think that they are no more, and
that the life of which their handiwork was but a symbol has become only
a memory.
For although the men and women of New Orleans will still extend you
the most charming hospitality, and although when nature insists that you
shall attend to a well-earned hunger, you may dine in a manner not to be
surpassed, I care not where you go, you are still haunted by this insistent
vision of something that has gone. You feel that the people you meet in
the old quarter are also haunted with the same visionand that they, too,
would like to go back.
Rut you cannot have charm without a certain sadness, nor will you, for
this reason, regret your visit to New Orleans. Its charm will enchant you,
come back to you and haunt you until, like thousands of others, you yield
to its calling and find yourself once again crossing Bay St. Louis or Lake
Pontchartrain and approaching, through a bewildering avenue of live oaks,
cypress and palm, this city of charm.
And 'twere well to remember that New Orleans is already a metropolis,
rising steadily in the importance of her commerce. Each year sees her
a little poorer in the things which call you backyet even to miss the New
Orleans of today is but to pave the way for a regret for which there is
no remedy known to man.
DESIGN FOR A CITY RESIDENCE

FALCH & KNOLL, ARCHITECTS
95
Developing a New Style A Rebel in the Camp of

Architects*
San Francisco architects will remember Mr. A. A. Cantin, who for a number
of years practiced his profession in the Bay City. Mr. Cantin formerly maintained
offices in the Phelan Building, and during that period he designed and superin
tended the construction of the Elks' Club Building in Powell street. Mr. Cantin
went abroad about four years ago, to return recently with what he terms a new
order of architecture {if such be possible), and to make his findings the more
emphatic he has had them patented, and now his brother architects all over the
country arc cither praising or belittling this so-called "discovery."
It may seem strange that an architect's ideas should be subjected to patent,
but this new-style architecture possesses unprecedented features, it is said, and
the inventor or discoverer reserves the right to supervise any development that
may ensue. He is, however, seeking no monopoly, as the license fee for using
the style is nominal.
It is very questionable whether it be possible to discover a new order at any
time, and still more so in the present commercial age. The practical architect
doubtless will detect certain flaws and discrepancies in these designs which subse
quent criticism and debate will develop. Meanwhile, anyone seeking intelligently
to improve present conditions of architecture in America is rendering yeoman
service, and all who disagree with his problems will at least commend Mr. Cantin
for his bold attempt to prescribe a new diet for that suffering infant, American
Architecture.Editor.
NDER the heading "A Rebel in the Camp of Architects," Mr. W. H. de
B. Nelson, in the November number of The International Studio,
gives an interesting discussion of the Cantin invention, which, he
states, is based on a fundamental order of architecture, with the addition
of a new arch and column combination. It results from an effort to fathom
the reason for the discarding by the ancient Greeks of the combination of
the arch and column from their beautiful structures. Although they were
fully aware of the use of the arch, yet history does not record any single
building of importance where such a combination occurred, which unde
niable fact invites reflection. It seems a safe hypothesis, therefore, that
they deemed such a combination unfinished, and, consequently, inartistic
in design. Of course it is to Italy that we must turn to judge the merits
and demerits of past and present style. Past-style arcades betray unfin
ished structure, lacking in cohesion between column and archivolt ; the
observer feels a sense of unrest in facing the arch moldings dead-ending
upon the top of the abacus. The addition of bolsters and entablatures
between the top of the column and the archivolt lends no beauty to the
combination nor truth to the construction.
"A most prominent defect in the old arcade is the overhanging of the
angles of the archivolt over the periphery of the column, by which a
clumsy appearance is obtained, and a fear that the arch may crush the
abacus.
"It would be impossible in this short article to go any length in point
ing out technical refinements involved. Suffice it to say that in the newstyle arch and column the above-mentioned defects are eliminated and the
beauty and finish of the capital enhanced by the proper termination of
the archivolt moldings upon the column shaft. This new-style archi
tecture should particularly commend itself to architects and sculptors alike,
as it offers such splendid opportunities of design and permits them to
impress their personality upon a structure, making it more symbolic of
*Mr. Cantin is reported to have returned to Son Francisco for the purpose of supervising tha
construction of numerous models of his work. He also maintains on office in the Mehlhorn Build
ing, Seattle, with Mr. Charles Ifaynes.
96
its purpose and more impressively beautiful than is possible with any
other style. Then, again, it would give immense scope in group designing
of columns ; magnificent effects could be assured by different colored
marbles being used for capital and shaft. Such a color combination is
of immense importance and quite out of the question in old-style archi
tecture.
"The most notable feature is the placing of statues upon consoles in
the panels of the capitals, by which means both interiors and exteriors of
structures can be enriched. Here again architect and scupltor can co
operate, as in theater foyers and lobbies; public halls and vestibules, to<j,
lend themselves to the most varied treatment, and may thus win fresh
interest in the eyes of the visitor. At present, outdoor statues are too
high to be admired properly, and are soon disfigured by exposure, but if
placed about the column capital in the new style these objections would
automatically vanish. Take, for instance, a modern ball room, and very
little imagination must show the immense possibilities of Mr. Cantin's
design, which lends itself equally to Spartan simplicity or lavish elabora
tion. Transplant yourself for a moment to the new postoffice in New
York City, opposite the Pennsylvania Railroad station. What a splendid
field presents itself here for architect and sculptor to unite in placing
upon the column capital allegorical figures in keeping with the historical
legend carved in the frieze !
"The human figure is the most appropriate decoration for capitals and
must surely supersede the present designs, with their monotonous castiron appearance. In capitals where the figure or bust is used in a leafwork design, a jumbled effect is produced and the main motif is lost. A
glance at the old-style capitals in elevated positions shows 'spottiness'
and fails to give a clean-cut appearance when observed from the ground.
"To create a new architecture it is a sine qua non to possess a funda
mental basis. This might ordinarily sound like platitude, but the many
efforts to butt against tradition and evolve a new style in this country
have failed utterly, for the very simple reason that the modes employed
have lacked this essential quality. In Mr. Cantin's design the column
architrave with frieze and perforated cornice form a new order of archi
tecture to add to the Doric, Ionic, Corinthian, Composite and Tuscan orders.
A new factor is introduced in architectural standards by the column and
arch combinations. It has been the custom to place a column of any order
under an entablature or arch, without any change in the formation of the
capital. As an arch is an entirely different structure from an entablature,
why should not the connection differ? The new style adds to the design
of a building, creates new motifs, is more flexible, makes a finished connec
tion to the column, and, with well-designed sculpture decoration, fills all
requirements for beauty, utility and stability.
"Of what use are heavy, overhanging cornices? On the other hand,
beautiful shadow-play may be expected from these perforated cornices in
the new style because they are perforated in the farthest overhanging part ;
open-work partitions may be filled with tracery or with colored glass, the
sunlight projecting the colors among the shadows upon the frieze. This is
a point of considerable importance if we are to construct with an eye to
fine effects.
"In old-style architraves the height is too shallow to carry proportion
ately the superimposed load, while in the new style this difficulty is obvi
ated by extending the capital right up to the under side of the frieze, which
member must be planned in proper relation to the load it carries. The
97
sculpture work on the panels of the capital has a low relief at the base and
center of the panel, heavier at the top, so as to cast proper shadows at
the abacus line. In illustration of this precept, the reader's attention is
called to Goujon's figures in the Fountain of the Innocents, in Paris. To
revert for a moment to the Renaissance period, it is interesting to reflect
what use architects and sculptors would have made of this new-style archi
tecture in their column capitals and perforated cornices. As the column
capital bears the shape of the Latin cross, it is safe to say that all their
ecclesiastical architecture would have been carried out in this style and
enriched with madonnas, Christ on the cross, saints and angels, etc.
"Men like Michaelangelo, Donatello, Goujon and Thorwaldsen would
have left us a better heritage of beautiful motifs in stone and marble, but
the classical style columns did not appeal to them as worthy material for
their art.
"In the old-style architecture the abacus is so thin as to appear brittle;
'ears' of foliage at the angles give no solidity to it, and a bunch of leaves
at the top of the column carrying untold tons of masonry seems almost
childish in conception."
*
Abstract of an Essay on Flats

Those of our readers who dwell in "flats" or apartment houses in the
large cities of the country cannot fail to appreciate the following abstract
of an essay on flats by George Fitch and copyrighted by George M. Adams:
"Flats are an invention whereby people who live in crowded cities can
be piled up in layers like pancakes.
"A flat consists of a collection of living rooms all on one floor. A flat
building consists of from six to sixty sets of rooms all under one roof and
under the over-lordship of a janitor who lives in the basement and doses
the furnace with coal on the homeopathic plan. A really expert janitor
can run a twelve-flat furnace all winter on a wagon load of coal and can so
chill the tenants when they come down to complain that their rooms will
seem tropical when they return to them.
"Flats are built of brick, wood, stone, strawboard, felt and tissue paper,
the latter being used principally for partitions. An economically built flat
building is usually provided with a lightwell which is entirely filled with
conversation. By means of this well the occupant of the top flat can hear
what the husband of the first floor says when the coffee doesn't suit him,
and when the woman in number 2 tells her late returning spouse that he
is a brute the women in numbers 1, 3. 4, 5, 6, 7. and 8 quiver with simulta
neous indignation.
"Flats have handsome hallways fitted with New Jersey Turkish rugs,
and back porches where one may have a garden consisting of a geranium.
They are also provided with bathtubs and two kinds of water, cold and
not so cold. In the cities, owing to the high price of ground, aldermen and
building material, the rooms in a flat are sometimes very smallso small
that when the daughter is playing the piano the mother has to wash the
dishes gently for fear of splashing on the music so small that the mem
bers of the family have to be measured for the bedrooms as they would for
vests, and anyone weighing over 180 pounds has to work himself into the
bathroom by means of glove powder and a shoehorn."
DISTRIBUTION Of LIGHT IN A VERTICAL PLANE ffcOM

A 6.6 AMPERt LUMINOUS AUC LAMP.
ChA3.T "PHILLIPS,
p. .
foNSuj-TtNO tuatwttli.
*"
SAM FRAWCISCO.
Illumination
By CHARLES T. PHILLIPS, C. E.
In Two Papers I.
THE infinite possibilities of bettering artificial illumination, as presented
by electricity, have created a new type of engineer. The scientific
study of the problems of illumination and the importance to general
public health in the matter of conservation of vision have led us to a point
where not only efficiency and economy must be considered, but the problem
of health for the masses must be accorded its proper importance.
This is a day of specialization. An architect no longer tries to master
the intricacies of all the special branches of work entering into the design
ing of a building. He is the master mind in the undertaktng, but the heat
ing, ventilation, electrical work, illumination, etc., which are subjects of
special study, are now the work of experts in each particular line. The
advent of the illuminating engineer as a specialist should thus be hailed with
greater delight and relief by the architect than by any other member of the
community.
Mural decorations, capitals, columns, mouldings and relief work exe
cuted by the master artist, all conceived by daylight, and frequently with a
predominating direction of light, may receive an entirely different light
treatment under artificial light, and completely reverse the artist's concep
tion. Vast sums of money may be spent in the decoration and equipment
of public buildings and expensive homes, yet, such little attention will be
given to the proper application of artificial light that, when viewed at night,
the effect is not only different, but frequently so grotesque that it is the
despair of the artist.
The importance of illuminating engineering as a profession is rapidly
growing as the necessity of scientific knowledge in connection with lighting
problems is being recognized. No problem of lighting is a simple problem.
The public is being educated to the economies that can be obtained by the
use of properly designed lighting installations, and is quick to criticise obso
lete and inefficient methods.
99
Physical research work, covering the investigation of the absorbing,

reflecting and diffusing properties of matter, the photometrical measure
ment of light, the study of complex phenomena of color and color sensation,
and the production, utilization and effect of luminous energy and attendant
radiation, is the foundation upon which the science of illuminating engineer
ing is based.
Each year finds the standard of artificial lighting raised to a higher
plane. The introduction of a greater variety of lighting units, reflectors,
and systems of application, the solution of difficult problems through scien
tific investigation and a better knowledge of the underlying principles of
illumination have all added their share toward bettering the conditions in
the field of artificial lighting.
While some manufacturers are leading in the designing of correct light
ing appliances, it would seem from the numerous lighting devices that are
being marketed, without rhyme or reason, as far as proper illuminating en
gineering principles are concerned, that not even the fundamental princi
ples are known.
The advent of the high efficiency lamp must be credited with the rapid
advancement in scientific illumination. This includes not only the incandes
cent lamp, but the many types of high efficiency arc and vapor lamps.
When we had only the carbon filament incandescent lamp and the old type
of enclosed arc lamp, both of which are now practically obsolete, there was
no incentive to better the application of these units, but, with the develop
ment of more efficient filaments for the incandescent lamp and the wonder
ful improvements in other lighting units, the engineering profession awoke
to the vast possibilities of the scientific application of these newer lamps.
The same can be said of the gas lamp, of which there are a number which
possess great merit. The great drawback to the gas lamp has been the
lack of some satisfactory method of lighting, but with the newer systems of
electric and pilot-light ignition, this objection has been overcome. The
fact that a gas lamp has a tendency to vitiate the air may make it objection
able for residence purposes, but, in public buildings, with an adequate venti
lating system, the gas lamp should give satisfaction.
From the early days of the pine knot, man has sought to increase the
efficiency of his methods of artificial lighting. The striving for perfection
and the vast amount of work done in the research laboratories, have made
wonderful strides toward the goal of a perfect method of artificial lighting,
yet man has not been able to accomplish what Nature has done in the
lowly firefly and glowworm. The light emitted from these insects is a
form of light without heat, practically 100 per cent of which lies within the
range of the visible spectrum.
The business of the illuminating engineer is to produce a given or a
required result of illumination at the minimum outlay for the original in
stallation and subsequent maintenance cost.
The training of an illuminating engineer embraces many subjects. A
thorough knowledge of the physical sciences is necessary and, not the least,
is an understanding of the eye, its structure and characteristics. The eye
has been likened to a camera. In a number of respects this is true, although
there are more points of difference than of similarity. The eye is not optically
perfect, but what it lacks in this respect, it more than compensates for in
its enormous range of sensitiveness. The eye adjusts itself to various de
grees of light intensity by the automatic expansion and contraction of the
iris through which the light is admitted to the eye. If the iris were perfect
in its function, looking at bright lights would not be dangerous, for the iris
100
would shut down to a very small opening. It usually can go no further

than 2 mm., however, which is about 2/25 of an inch, tn diameter. Under
this condition, the retina can be exposed to an excessive amount of light
which will result in scotoma, which may last for an indefinite length of
time. This form of blindness has been caused by looking directly at an
electric arc at short range and also by the filament of the new type of
incandescent lamps.
To see objects clearly with a minimum of fatigue, there must be suffi
cient illumination, but there must not be too much illumination. Bright
lights in the field of vision should be avoided as well as flickering lights.
Flickering light is harmful, especially when the flicker is so rapid that
retinal adaptation cannot follow the fluctuations.
Yellow is the color easiest for the eye to handle. It comes in the middle
of the spectrum, and has a wave length that all eyes can easily apprehend.
The colors at the end of the spectrum are more difficult. For this reason,
along with its low intrinsic brilliancy, the old carbon filament lamp was
not objectionable when used with the filament exposed.
The light that reaches the eye directly is not of the slightest use, and,
for this reason light sources should, tt possible, be kept out of the range of
vision.
Bright light is tiresome, regardless of the direction from which it comes
to the eye, but is much more tiresome and more exhausting if it comes from
unusual directions. Under all normal conditions the light comes from
above. The eye is protected from light from above by the eye brows, which
project forward over it so that the light does not fall upon the white por
tion of the eye very stronglv. The reason for snow blindness is probably
due not only to the great intensitv of the light, but largely to the fact that
it comes from an unnatural direction.
It is obvious that no appraisal of efficiency in illumination can be com
plete unless we consider its effect upon the eye. The realization of this ts
a noteworthy development in illuminating engineering.
We legislate against noises, and yet we compel the public to face
dazzling sources of light which offend the eye even more than the uproar
does the ears. W e are perhaps a long way from the day when irritating
lights will be legislated against, but, along with the conservation of natural
resources, the conservation of vision will be eventually considered.'
The opponents of lighting legislation have claimed that although the
object to be attained through the passage of laws regulating lighting is
worthy, such laws would not be equitable. We fail to see where the regu
lation of artificial lighting would work a hardship any more than those laws
governing the installation of wires, plumbing, etc. An electrical con
tractor may install an exposed powerful tungsten lamp directlv in front of
the unshaded eyes of factory workmen without violating any laws or under
writers' rules, yet such a procedure is a crime against humanity, because it
menaces the sight of the workman.
School children are subject to the painful glare of misplaced lamps of
high intrinsic brilliancy, and yet, while in some states it is compulsory to
have the eyes of school children examined, nothing is done to remedy the
source of the majority of eye troubles. The laws that have been framed f:>r
the regulation of artificial lighting have been primarily for factories and
workshops.
The terms used in connection with illumination are numerous, and a few
of those most commonly used are as follows: "Ampere" is the name ap
101
plied to the unit expressing the volume of flow of electricity and would cor
respond to the number of gallons of water flowing through a pipe. "Volt"
is the unit of electrical pressure and may be described in the same sense as
the pounds pressure in a water system. The "Ohm" is the unit of resist
ance offered to the passage of an electrical current. The "Watt" is the
practical unit of electrical power and is the product obtained by multiplying
the volt by the ampere. Ten volts by five amperes would be 50 watts.
"Kilowatt" is the commercial unit of power and is 1000 watts, the prefix kilo
being the Greek word for thousand. "Kilowatt Hour" is one kilowatt of
electricity flowing for one hour. Eight kilowatts flowing for three hours
would be twenty-four kilowatt hours. This is the unit by which electricity
is usually sold, and is abbreviated K. W. H. In the United States the in
tensity of a light source is expressed in candle-power. The old unit of
candle-power was the British standard candle, which was a spermaceti
candle seven-eighths of an inch in diameter, burning at a rate of 120 grains
an hour. A sixteen candle-power lamp, for example, was one that radiated
sixteen times as much light as the British standard candle. A few years
ago a new unit of candle-power was adopted in this country, known as the
international standard candle. This is about 1.6 per cent less than the
British standard candle. The international standard candle has been
also adopted by most of the foreign countries, with the exception of Ger
many, which still retains a unit known as the hefner, which is 0.9 of one
international candle.
"Foot-candle" is the unit of intensity of illumination at a point one foot
distant from a source of light of one candle-power. "Lumens" is the unit of
light flux and is the quantity of light falling upon an area of one square foot at
an intensity of one foot-candle. "Intrinsic Brilliancy" is a measure of the
brightness of any light source and is generally measured in candle-power
per square inch of surface. The intrinsic brilliancy of the sun at noon is
about 800,000 candle-power. An incandescent carbon lamp filament is
about 120, the crater of an electric arc 45,000, and the moon, about 3. "Co
efficient of Reflection" is the ratio of the intensity of the reflected light to
the incident light. Highly polished silver has a coefficient of reflection of
.92, a mirror .70 to .85, while black velvet has only ,004. The latter is known
as the coefficient of diffused reflection. The reflection from polished metals
and glass is known as regular reflection, while that from painted surfaces,
paper and other materials is diffused reflection.
While a light source is rated in candle-power, it is rather a misleading
method of comparison, for the reason that the rating is usually taken at the
point of maximum candle-power, which, for an incandescent lamp, is at
right angles to the filament and is called the mean horizontal candle-power.
For instance, a sixteen candle-power carbon filament lamp gives sixteen
candle-power along the horizontal axis, while the candle-power at the tip is
only 6.6, which is 41% of the maximum. A tungsten lamp of 20 candlepower gives less than five candle-power at the tip. A distribution of light
in the vertical and horizontal planes of a tungsten lamp is illustrated bv
Fig. 1.
In measuring the output of a lamp the candle-power, as usually ex
pressed, is not of much benefit. The mean spherical candle-power will give
a better idea, while the lumens per lamp or per watt is the accepted standard.
We can measure in lumens not only the output of the lamps, but also the
flux of light through the plane of illumination, and the ratio of the lumens
through the plane of illumination to the lumens yielded by the lamps, gives
the net efficiency of the installation.
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103
In making candle-power tests, an instrument known as a photometer is

used, and the sources of light are usually compared with an incandescent
lamp which has been seasoned and standardized by laboratories making a
specialty of furnishing these lamps, known as secondary standards. Photom
eters that are used for measuring illumination, instead of the intensity of
a source of light, are frequently called illuminometers or luxometers. While
the principle is the same, the construction is different for the different types
of photometers. All photometric measurements are made by a visual com
parison of the source to be measured with some standard, and, as it is im
possible for the eye to tell us how many times brighter one light is than
another, some method must be used that will make this comparison. Photom
etry has in late years developed from a simple geometric science to a com
plex science that involves not alone physics and mathematics, but physi
ology and psychology as well. Formerly, photometry was almost entirely
concerned with the measurement of light of the same color. Recent de
velopment of light sources of varied color and new ideas of light distribution
have brought changes. The difficulty of comparing the intensity of lights
of different colors has resulted in a new form of photometry known as
heterochromatic photometry.
While there are numerous lighting units on the market, only a few of
the best known will be mentioned. They can be divided into three groups:
First, those having a filament of hie:h resistant material, mounted in a glass
bulb from which the air has been exhausted and which becomes incandescent
upon the passage of an electric current. Second, those which consist of a
glass or quartz bulb or tube in which a vapor or gas becomes luminous
when a current is impressed upon same. Third, those in which an electric
arc is the source of light, burning between two pencils of carbon or other
material. The Nernst lamp, of which there are quite a number in use, is
still another type.
The first commercial electric lamp belongs to the first group and the
filament was of carbon. This is, even today, the best known electric lamp.
The next lamp to be developed belongs to the third group, and was known
as the open carbon arc lamp. The arc was formed between two carbon
pencils and was exposed to the free air, causing a very rapid consumption of
the carbons, necessitating the renewal of the carbon electrodes about every
six hours. Where this lamp was used for street lighting, burning from ten
to twelve hours per night, each lamp had two sets of carbons, the second set
automatically cutting in when the first set was consumed. The next im
provement was to enclose the carbons of the arc lamp in a small glass globe
and to use a better grade of carbons. The enclosure of the carbons pre
vented an excessive amount of air from reaching the arc; consequently,
owing to a lack of oxygen, the carbons were not consumed so rapidly and
one set would burn from fifty to one hundred hours.
Twelve or fifteen years ago, an improvement over the original carbon
filament incandescent lamp was developed. The filament was suhjected
to a process which changed its characteristics from those of carbon to those
<>f a metal, and the lamp is known as the metallized filament lamI), the
trade name of which is Gem. This lamp is still in use, and, as the effi
ciency is higher than that of the carbon filament lamp and the price about the
same, it should make a desirable substitute for the less efficient lamp. The
Gem lamp has an efficiency of about 3 watts per candle-power against 3.5
watts for the untreated carbon filament.
The first of the high efficiency lamps was the tantalum, which belongs
to the first group. The ftlament is of tantalum metal, mounted the same
10-!
as the carbon filament lamp, and, due to the higher temperature at which
the filament can be worked, the efficiency was raised to a point where
the consumption is only two watts per candle-power. This lamp, how
ever, did not give good results on alternating current, owing to a rapid
deterioration of the filament, the life being only about half as long as when
used on direct current. The success obtained from an efficiency stand
point, by the use of tantalum for incandescent lamp filaments, led to
further research and experimenting with other rare metals. A very ma
terial advance was made in the use of filaments of tungsten metal, a ma
terial particularly suited for this purpose, by reason of the high fusing
pointabout 3050 C. These lamps, of American manufacture, the trade
name being Mazda, are the acme of perfection in the field of incandescent
lamps. Their efficiency is the highest yet obtained for incandescent lamps,
being only 1.25 watts per candle-power and even better in the large sizes.
Their performance is the same on both alternating and direct current, and
the objectionable features found in the earlier types of this lamp have been
entirely eliminated.
A new type of metallic-filament incandescent lamp is being developed,
which, it is claimed, will operate at the low specific consumption of 0.5
watts per candle-power. This is less than half of that required for the best
incandescent lamps now available. This new lamp contains a special
shaped tungsten filament and the bulb is filled with an inert gas, such as
nitrogen, at a pressure of about one atmosphere.
The highest efficiency of late types of incandescent lamps is entirely
due to the ability of the filament to withstand a high temperature. A
clear idea of the relation of the temperature of an incandescent body to
efficiency of light generation may be obtained by reference to Fig. 2. At a
temperature of 100 C. the wave lengths have not the power to stimulate
the optic nerves, although certain nerves near the skin are affected and a
sensation of heat is felt. At 600 C. a larger amount of energy is radiated,
and some of the shorter waves are capable of exciting the optic nerves
and we have the sensation of light. At a still higher temperature there are
short waves generated which are incapable of affecting either the optic
nerves or those near the skin, but are very active in producing chemical
changes. This is shown on Fig. 2 at a temperature of 3700 C. Very high
temperatures are not desirable, due to the increased number of chemical
waves which have a harmful effect on human beings and a bleaching effect
upon colored materials.
In the second group belong the mercury-vapor lamp, the Moore tube
and others of a similar nature. The great disadvantage of the mercuryvapor lamp has been its color. The lack of proper proportions of red and
yellow rays gives the light a ghastly appearance, and makes it valueless
where appreciation of color value is required. Several means have been
employed to improve this defect, but, until recently, none of them have
proven a success. The use of cadmium amalgam in place of mercury, and
a quartz instead of a glass tube, has finally achieved the desired results;
besides, the efficiency has been increased in the larger sizes, the consump
tion being 0.18 watts per candle.
Numerous developments have been made in recent years in the type
of lamp mentioned in the third group. The luminous arc and the flaming
arc are perhaps the most noteworthy. The luminous arc lamp gives a
distribution and quality of light very superior to the early type of arc
lamps. The electrodes used in this lamp are different from those in other
forms of arc lamps heretofore used. The upper electrode is composed of a
105
solid copper rod sheathed by a thin iron tube. The lower electrode is of
magnetite. This lamp is also called the magnetite arc lamp owing to the
material from which the lower electrode is made. The life of the upper
electrode is from 2,000 to 8,000 hours, and the lower, from 120 to 150
hours, depending on the current adjustment. In the carbon arc lamps,
the crater of the carbon is the source of the greater portion of the light,
while in the luminous arc, the arc between the electrodes, which is about
9/16 inches long, is luminous throughout its length, thus furnishing the
majority of the light rays. The light distribution from a luminous arc
lamp is shown hy Fig. 3. Carbon arc lamps divide themselves into three
classes, those that use solid carbons, cored carbons and flaming-arc carbons.
The first two classes depend essentially, for their light producing, upon the
continuous-spectrum radiation of highly heated carbon in the positive
crater. The only purpose served by the cored carbons is the centralization
of the arc. In the third class, however, the arc itself yields the principal
share of emitted light. The most efficient lamp on the market today, in
current consumption per candle-power, is the flame arc lamp. The first
of this type of lamp used in this country was imported from Europe, and,
although it had much to recommend it from an illuminating point of view,
the lamp was so poorly constructed mechanically that it was soon looked
upon with suspicion by prospective buyers. While the European lamp
still retains its weak points, the American-made lamps are as satisfactory
and reliable as any other type of arc lamp, and are giving excellent service.
The characteristics of this lamp are high efficiency, the maximum light in
the lower hemisphere, the warm and pleasing quality of the light, which
is of a brilliant golden yellow, and the fact that the color of the light can
be changed by impregnating the carbon electrodes with chemicals.
(Concluded in the February X umber.)
*
Architects' Competition for $350,000 Fountain
ACTING under authority granted by the Common Council of the City of
Detroit, Michigan, by resolutions of November 25, 1913, the Detroit
City Plan and Improvement Commission announces that it will insti
tute a competition for the selection of an architect to design and supervise
the construction of a fountain to be erected in Belle Isle Park, City of De
troit, to be known as the James Scott Fountain. The sum available for the
work amounts to $350,000.
The competition will be conducted in accordance with the regulations
of the American Institute of Architects. It will be in two stages. The first
stage will be open to all architects resident in the United States who from
their experience and training are, in the opinion of the committee, capable
of carrying out this important work. The second stage of the competition
will be limited to not more than ten competitors, at least six of whom will
be chosen by a jury from those competing in the first stage. The competi
tors in the second stage competition will receive compensation.
The Commission has employed as professional adviser Professor E. J. A.
Duquesne of Harvard Universityarchitect of the French government
and will be assisted by him in the conduct of the competition and choice of
competitors.
The Commission invites architects who desire to compete to send their
names, addresses and qualifications as to experience and training to Pro
fessor E. J. A. Duquesne, Robinson Hall, Harvard University, Cambridge,
Mass., before noon, February 1, 1914.
106

The Value of Paint for Structural Steel
By A. H. SABIN.
The principal objection to the use of steel as a structural material is that its
life under ordinary conditions is comparatively short. Although engineers have
for years endeavored to obtain a paint which would adhere to the steel and
would prevent, or at least greatly retard, corrosion, it cannot be said that the
problem has been satisfactorily solved. Paint makers have turned from one
material to another, and it has been claimed for each new brand that a satisfactory
paint has at last been discovered. It has only been within the last few years that
engineers have been brought to any appreciation of the fact that it would be neces
sary to learn more about the properties of paint materials and the fundamental
principles of paint making before much progress could be expected.
Whatever progress has been made is due, not to the discovery of new paint
materials, but to a better understanding of those materials which have been com
monly used. Progress has been made in our knowledge of linseed oil and of red
lead, the two important ingredients of structural steel paint. Engineers are also
realising that time spent in the preparation of the surface to be painted and in
applying the paint is a good investment. The following paper by Mr. A. H. Sabin
indicates recent progress in paint making and discusses the properties of the in
gredients of paints for structural steel.-Editor.
MUCH has been written and much has been done relative to the pro
tection of steel ; but improvement has been slow, progress being
made step by step. Some years ago Mr. G. W. Thompson at
tempted to classify pigments, as to their relation with iron, by suspending
them in water and immersing pieces of iron or steel in these mixtures.
The results were somewhat surprising; some of the pigments which com
mon experience approved seemed to increase corrosion in this condition,
and others, known to be useless in protective paints, seemed to be much
better for preventing it. Lampblack, for instance, was the worst in pro
voking corrosion, and white zinc or pulverized chalk prevented it. This
was probably due to the fact that lampblack contains, condensed on the
surface of its particles, considerable carbonic acid, which is the most gen
erally active agent in the corrosion of iron, while white zinc and chalk are
basic substances by which iron is not rusted ; however, the carbonic acid
in lampblack is displaced by grinding in oil, and the well-known lack of
durability in paints made of white zinc and chalk prevents their good
qualities from coming into action.
So great is the need of more knowledge as to the value of pigments in
paints, and their mode of action, that nothing which promises new infor
mation is neglected. A committee of five chemists from different parts
of the United States, with the approval of the Society for Testing Ma
terials, made a series of tests of the principal pigments, and of some other
substances, on steel immersed in water; and, as was to be expected, arrived
at substantially concordant results. These results, as has been stated,
were of no value from the standpoint of the paint maker, being inconsistent
with the known value of the pigments when ground in oil or varnish.
When the report was published, however, the pigments were classified,
according to their water value, into three groups, namely, inhibitors, indeterminates and stimulators. This was the origin of the use of these now
well-known words in paint terminology. It was expressly stated in the
report that this was a classification as regards water only ; but the names
were so convetvent and so tempting that those not familiar with the sub
ject, and also many who s^w their value for advertising purposes (two
quite distinct classes), put them into common use to classify pigments in
oil. It is obvious that anv classification of pigments in oil should be
based on their behavior in oil, and if. as must be conceded, this is radically
107
different from water tests, the latter should not be regarded. All this in
vestigation began some years ago; meanwhile numerous young men, mostly
students working under the supervision of their teachers, have made brief
and generally inconclusive studies of paints, and almost without exception
have used these indefinite terms, inhibitors and stimulators. Patents have
even been taken outwhich, in the writer's opinion, are not only worthless
but invalidcovering the use of old and well-known pigments. What is
worse, every maker of a paint nostrum assures his hearers or readers that
his particular paint absolutely inhibits rust, and that everything else stimu
lates it. This is the whole history of this jargon about inhibition and
stimulation ; it never had any particular value to the consumer, and it is
generally used to mislead him.
It is obvious that in a good paint the pigment particles are enveloped
in a film of oil ; they do not come in contact with the iron ; if they did, the
paint would peel off, for no dry pigment adheres well to metal. Steel rusts
because air and moisture act on it : and paints are used to keep air and
moisture from it. They do not inhibit rusting, except as they inhibit the
cause of it.
The important practical question is whether paints have been or can
be improved as to being non-porous and durable. This is essentially de
pendent on the relation between the pigment and the oil. As to the true
nature of this relation, very little is known ; but something is known about
its visible manifestations. It is known, for instance, that one pound of dry
red lead mixed with one-quarter pound of oil makes a paint of ordinary
consistency, and one pound of dry lampblack requires at least six or eight
pounds of oil, say, thirty times as much, or making allowance for difference
in density, six times as much, as the red lead. Similarly, one pound of
white zinc takes twice as much oil to make a paint as one pound of white
lead ; and white lead takes nearlv twice as much as red lead. These are
things we know : but we have no idea why they are so. Again, red lead,
which is an oxide of lead, makes an excellent paint for iron ; oxide of iron
is neither very good nor very bad ; oxide of manganese is bad. Our knowl
edge of paints is as yet largely empirical. Where we are gaining is in
more general appreciation of the value of the proper application of paint,
better preparation of surface, more confidence in good paint rightly used,
and in the better preparation of paint materials. For instance, in the
older books, and until about twenty years ago, we find analysis of red lead
showing as low as 55 per cent of true red lead, with 45 per cent of litharge.
Red lead is made from litharge, and the presence of the latter is not a sign
of adulteration, but of incomplete conversion. At the same time other
samples showed as high as 80 per cent of true red lead. As is well known,
there was much difference of opinion in those days as to the value of red
lead as a paint for iron ; though most users liked it, some thought it poor
stuff. It is now known that its value depends on the quantity of red lead
it contains. Coarse red lead always contains litharge, bceause the litharge
in the middle of a large particle is never oxidized. It was observed that
the finer the red lead, the better it was, and so a demand arose which
forced the manufacturers to make higher grades: now they arc grinding
their litharge to an impalpable powder before roasting it, with the result
that 94 per cent of true red lead has been on the market for some years.
Then an unexpected fact was developed. The old red lead when mixed
with oil would set in a day or sooften in a few hoursinto a cement,
just like plaster of Paris and water; this tendency made it work with diffi
culty and unevenlv in application, and its coarseness gave it a tendency
108
to run ; but the new, or high-grade, article is inactive to oil, and brushes
out smoothly like a house paint. This enables the painter to cover 50 per
cent more surface with the same quantity and still get a coating having a
uniform thickness which gives more protection than the thin portions of
the paint formerly used. This secures greater economy, even at a slightly
greater cost per gallon ; and this is an economy not only in the cost of the
paint, but in the labor, because the paint works more easily, and a man
can cover more surface in a day ; it also requires less skill, and therefore a
less highly paid man, to do good work. For the last year or two red lead
ground in pure linseed oil has been offered to the trade as a paste ready
to be thinned with more oil ; such a paste keeps for a year or more, or
indefinitely as far as known, like white lead paste. Its use saves time and
waste in mixing, and, being ground through a mill, the mixture is perfect,
which is not the case with hand-mixing ; and, as it avoids the presence of a
dusty pigment, it is more sanitary.
The only serious objection to the use of such red lead is that it dries
more slowly than the other kinds. This can be obviated, however, by the
use of a little japan drier. There is a well-founded prejudice against the
use of excessive quantities of drier in any paint; but it should be remem
bered that red lead paint mixed in the (standard) proportion of 28 pounds
of pigment to one gallon of oil, contains 20J4 pounds of pigment per gal
lon of mixed paint. If this pigment contains 15 per cent of litharge, it has
three pounds of litharge per gallon. Now, ordinary, good, lead japan
driers, or lead and manganese driers of approved quality, contain the
equivalent of one pound of litharge in about three gallons of drier, and
three pounds of litharge will make eight or ten gallons of drier. To make
one gallon of mixed 94 per cent red lead paint dry requires only one pint
of drier; the rest is excess. It is much safer to add the desired quantity of
drier. It may be asked why the litharge in the 94 per cent red lead is not more
active ; it is probably because, when the peroxidation of the lead has been
carried so nearly to completion, the particles of litharge are enveloped so
completely by a dense coating of true red lead that the oil does not reach
them. This is obviously not the case with the commoner and less thor
oughly oxidized pigment.
It has sometimes been suggested, by those not very familiar with the
chemical questions involved, that the litharge is the essentially valuable
part of the paint, and that the red lead is only an inert extender. This is
not so. The whole history of the subject shows that the improvement in
red lead for paint during the last twenty-five years has been made by reduc
ing the litharge contained in it ; litharge alone, or used with other pigments,
has not been satisfactory, though orange mineral, which is red lead free
from litharge, is most excellent, and would be used if its cost were not so
great. Further progress will undoubtedly produce red lead with a lower
percentage of the protoxide ; in fact, the 94 per cent red lead now in the
market usually contains much more than 94 per cent of true red lead.
Progress has also been made in our knowledge of linseed oil. Within
a few months the American Society for Testing Materials has adopted
specifications for North American raw linseed oil, which is of better quality
than that made from South American seed. These specifications are the
result of a great deal of work by many of the best oil chemists, and it is
now possible for any good analyst to tell whether or not an oil is pure and
good. Methods of paint analysis are in general being standardized ; and
a vast amount of work is going on in Germany and England as well as in
109
the United States, on the chemistry and nature of drying oils. At present
linseed oil has adulterants, but no substitute ; China wood oil is a valu
able drying oil, more valuable for some purposes than any other, but, as
an oil for ordinary paints, it is used, as far as the writer knows, only to
cover up the use of non-drying oils which must be regarded as adulterants.
At present prices, it is not likely to be used even in this way. Fish oil is
used to some extent, as it always has been, in paint for roofs and smoke
stacks, but one should not be disturbed by talk about the "newer paint
oils," for, except China wood oil, there are none.
In closing, it may be well to mention that the committee appointed by
the American Society for Testing Materials has made a final report on the
condition of the paints on the Havre de Grace Bridge. As is well known,
this bridge was painted six years ago by a committee of that society, which
committee included several members of the American Society of Civil En
gineers. This report describes three of the paints as excellent ; two of
these were straight red lead in oil, and the third was red lead, with about
15 per cent of a pulverized silicate added, in oil, the red lead being about
98 per cent true red lead. Nine other paints, of varying composition, are
reported as affording generally effective protection to the structure. As
all these paints were carefully applied, it is fair to conclude that the
durability of any good paint may be increased one-half, and probably
doubled, by proper care in its use as compared with average practice. It is
only by continually reiterating this fact that we shall ever secure the most
elementary and fundamental requirement for the economical treatment of
structural steel.
This Was a Successful Architectural Competition

ARCHITECTS all over the country have manifested keen interest in
following the erection of the municipal group at Springfield, Mass.,
because the plans for the $1,900,000 project were accepted by compe
tition according to the rules of the American Institute of Architects. The
designers, Messrs. Pell and Corbett of New York, were selected by a com
mission of which Prof. Warren P. Laird of the University of Pennsylvania
was the architectural adviser. The group of buildings, consisting of an
auditorium with a seating capacity of 4,000. the campanile with a chime
of twelve bells, and the Administration building, was formally dedicated
last month, and among those who participated in the exercises was Mr. F.
Livingston Pell of New York, one of the architects of the group. He said
in substance :
It is not often in the career of an architect that he is given the opportunity of
designing such buildings as we are dedicating tonight. The object of the architect,
it is often said, is to get the job. We like, however, to accept a higher standard,
that set by Prof. Ware of Columbia, namely, to build beautiful buildings. Few of
you realize the amount of work and minute attention that is involved in the evolution from
the plan to completion of buildings of the character of this municipal group. If you knew
of the care we take in our work you would understand why it is that the erection of a
building like this means to us almost as much as the development of a child whom you have
brought into the world and educated would mean to you.
It is rarely that we have the opportunity of working in a town where the taste
and appreciation of architecture is as high as it is in Springfield, so that we are
permitted to do good work. In this respect you are co-architects with us. As a
result of our work togther you have a home for your municipal government that is
not equaled in New England.
110
You know the history of these buildings in the course of their construction. At
ftrst they were referred to as "Mr. Pratt's twins," and the tower as a nursing bottle
placed at a sufficient distance from each one. I assure you that the architects and
the building commission had no race suicide idea in mind when they planned the
group.
Doubt was expressed as to the necessity of a municipal auditorium. Probably
the same doubt was expressed by your forefathers as to the advisability of having
a town hall. The auditorium has proved its usefulness already. In the short time
since last spring that it has been completed, it has been in almost constant use, and
had a reasonable rental been charged for it the building would have proved a com
mercial success. One of the largest taxpayers in this city said to me today: "I
can calculate to within a few dollars the share I have paid toward the erection of
the Campanile, but when I see the sunlight and clouds upon it late in the afternoon,
I feel that I am repaid for all it has cost me as a citizen of Springfield."
*
*
Local Materials and Labor in Connection With

Federal Work
THERE ltas been considerable correspondence between various Home
Industry organizations of the Pacific Coast and the Treasury De
partment in Washington, with the idea of persuading the govern
ment architect to favor local materials when a Federal building is to be
erected in the vicinity of such materials. The agitation has brought forth
the following emphatic declaration from Secretary McAdoo, and it is
probably final insofar as the Government is concerned :
To whom it may concern:
The Department is frequently requested to include in its speciftcations for the
construction, etc., of Federal buildings the requirement that the successful bidder
for the work shall use a particular material, fixture, appliance, or method, or that
certain of the materials and labor to be used in the construction of the buildings
must be obtained in the localities in which they are to be erected. The Department
is compelled to deny these requests for the following reasons:
The law requires that proposals for the construction of Federal buildings shall
he solicited by public advertisement unless the public exigencies require the immedi
ate deltvery of the articles or performance of the services sought to be obtained.
The obvious purpose of the law is to secure through broad competition the lowest
terms obtainable. This object would be defeated if bidders were restricted to the
products of any particular state or locality or if the bidding were similarly restricted
to residents of any particular section of the country.
The Department always declines to indicate by name or brand the particular
materials, fixtures, appliances, methods, etc., to be used, but specifies the grade of
both materials and labor. Bidders are free to procure these anywhere obtainable,
provided they meet the specification's requirements.
Nothing in the specifications for the different buildings prevents local contractors
from bidding on the work. Nor is there ever anything in the Department's specifi
cations which would prohibit a successful bidder residing elsewhere from obtaining
his materials or labor from the manufacturers or dealers and the artisans of the
locality in which the proposed building is situated, provided the specification require
ments, as to quality, etc., are met.
The Department is always gratifted, whenever local materials and labor are found
to answer its requirements, but it can not undertake to restrict competition by
limiting bidders to local materials and labor. Whenever the Department has infor
mation concerning an available local stone or face brick, it endeavors to draw its
specifications so that proposals may be submitted on these materials, but can not
do so to the exclusion of materials of the same class produced elsewhere.
Those interested in the development of local industries or the employment of
local labor are always free to bring the same to the attention of the successful
bidder for a particular Federal building. Whenever materials, etc., the use of which
it is sought to have the Department specify or require, are submitted for approval
by a contractor for a Federal building, they are invariably given due consideration.

Amerirait 3itatitute af Architerta
OFFICERS FOR 1914-15

PRESIDENT . . . . . . . ... R. CLIPston STURG1s, Boston
FIRST Vice-PRESIDENT ....THos. R. KIMBALL,
Omaha, Neb.
SEcond Vice-PRESIDENT . . . . FRANK C. BALDw1N,
Washington
SECRETARY. . . . . . . . . . D. KNickERBACKER Boy D.
-
TREASURER . . . . . . . . . . .
AUDITOR. . . . . .
Qalifurnia State #uarh af Arrhiterture

NORTHERN DISTRICT.
PRESIDENT ... . . . . . . . . . . . . . ... JoHN BAKEw ELL, JR.
SECRETARY AND TREASURER. SYLVAIN ScHNAITTACHER
(ORGANIZED 1857)
Washington, D. C.
J. L. MANRAN, St. Louis
T. J. T. Fuller, Washington, D. C.
Members
JNo. BAKEw ELL, JR.

EDGAR A. MATHEws
WM. CURLEtt
JosepH C. Newsome
SOUTHERN DISTRICT.
. . . . . JoHN P. KREMPEL
SECRETARY-TREASURER. . . . . . . . . . FRED H. Roe HRIG
Octavius MoRGAN
P. HUNT
MEMBERs. ...................
WM. S. HEBBARD
PRESIDENT ......
- - - - - - - -
- -
San Francisra Architectural (IIuh

Board of Directors
For One YearIrving K. Pond, Chicago; John
M. Donaldson, Detroit; Edward A. Crane, Phila.

delphia.
For Two YearsC. Grant La Farge, New
York: Burt L. Fenner, New York; H. Van Buren
Magonigle, New York.
For Three YearsW. R. B. Willcox, Seattle,
Wash.; Octavius Morgan, Los Angeles; Walter

Cook,
New
York.

PRESIDENT . . . . . . . . . . . . . . . ... GEO. E. GREEN wood
VICE-PREstdENT. . . . . . . . . . . . . . CHAs. PETER WEEK's
L. WILLIAMs
SecretARY.................
TREASURER ................... WM. D. SHERMAN
Directors
JAMEs A. MAGEE
HENRY A. THoMSEN
- - - - - - -A.
na Angelra Architectural (Cluh

PRESIDENT .............. ARTHUR RoLLAND KELLY
VICE-PRESIDENT ... . . . . . . . . . . . . HARRY F. WithEY
SECRETARY-TREASURER
HENRY E. BEAN
San Francisco Chapter
Chairman Educational Committee
PRESIDENT . . . . . . . . . . . . . . GeoRGE B. McDougALL

Vice-PRESIDENT . . . . . . . . . . . . . . EDGAR A. MATHEws
SECRETARY-TREAsURER....SYLVAIN
TRUSTEEs. . . . . . . . . . . . .
''''
ScHNATTACHER
JoHN T. VAwTER
Chairman
y" Geo.
HENRYB.G.McDougAll
ScHULzE
House and Entertainment Committees,

Massier of Atelier
GILBERT STANLEY UNDER wood
Southern California Chapter
#ait Birgu Arrhitrrtural ABBuriatium
... RobERT B. YoUNG

Vice-PRESIDENT . . . . . . . . . . . . . . ALBERT C. MARTIN
PARMENTIER
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
FERNAND
SECRETARY
...AUGUST WAcKERBARTH
TREASURER. . . . . .
PRESIDENT . . . . . . . . . . . . . . . . . . . . . . . . . J. B. LYMAN
VICE-PRESIDENT . . . . . . . . . . . . . . . . . . . . F. C. CREssy
RoBT. HALLEY, JR.
SECRETARY. . . . . . . . .
. . . . G. A. HAUsseN
TREASURER. . . . . . . .
PRESIDENT . . . . . . . . . . . . . . .
- - - - - - - -
- - - - - - -
- - -
- - - -
- - - - - -
- -
Board of Directors
Octavius MoRGAN
H. M. Patterson
J. J. Blick
Portland, Ore., Chapter

. EDGAR M. LAzARUs
PRESIDENT. . . . . . . . . . . .
....JNo. G. WILsoN
Vice-PRESIDENT . . . . . . .
SEcRETARY-TREASURER. . . . . . . . . . . . H. A. WHITNEY
MoRR1s H. WHITE House
Ellis F. LAwRENCE
TRUSTEEs. . . . . . . . . . . . .
#urtlanth Arrhitrrtural (Club

OFFICERS For 1913
PRESIDENT ......................... FRANK LoGAN
VICE-PRESIDENT ... . . . . . . . . . . . . . . JNo. M. HATToN
SECRETARY. . . . . . . . . . . . . . . . . . . . WM. H. FLANIGAN
TREASURER.................. William P. D.Awson
Arrhitratural Leagur uf thr?Jarific(Unast

PRESIDENT . . . . . . . . CARL F. Got LD, Seattle, Wash.
Vice-PRESIDENT
... MY RoN HUNT, Los Angeles
... J. S. Cote, Seattle, Wash.

SECRETARY
TREASURER: ........... W. C. HAYs, San Francisco
Washington State Chapter
Next Convention CitySeattle.

OFFICERS 1913-14
PRESIDENT
. . . .. . ... . . . .. .
Vice-PRESIDENTs
... ....
...CHARLEs H. ALDEN
. F. EveRETT
- - - - - - - -
Gove
ALBERT HELD
. . . . . . . . ARTHUR L. LovELEss
SECRETARY
TREASURER . . . . . . . . . . . . . . . . A. C. P. WillAtzEN
D. J. MYERs
Addition AL MEMBERs
D. R. HUNTINGTox
of CouncIL. . . . .
W. R. B. Willcox
"......)
Fixture Contract
The
Fink
and
Schindler
Company
have been awarded the contract for the
interior fixtures and fittings for the Bank

of San Leandro, including the mahogany
wood work,
Cost, $9,290.
marble
and
bronze
work.
W. H. Weeks, architect.
112
Building a House and a Town

"How to Build a House and a Town"
was the subject of a University extension
lecture recently given in Berkeley by Ar
chitect William C. Hays, assistant pro
fessor of architecture in the University of
California.
"Scientific management is coming to be
applied in household affairs as well as in
business." said Professor Hays. "The
kitchen is a laboratory and its arrangement
and equipment should save all lost motion,
from the receipt of the raw material to
the delivery of the finished product. Many
gas ranges, for instance, arc still designed
as if a heavy bucket of coal were to be
lifted, and so the cook is obliged to bend
over, instead of having oven and fire set
at a comfortable level.
"The tailor-made closet is another great
modern improvement, with its rods for
hanging coats and trousers, its movable
trays for shirts, its provision for light and
ventilation, and its economical use of space.
"The sleeping porch has evolved from
the ancient horror of the curtained bed
set in the old-time bedroom niche. Mod
ern plumbing has as much revolutionized
housekeeping as the invention of the steel
frame has altered the aspect of cities.
"Beauty is of immense value to a com
munity, commercially as well as in the
psychological dividends which it yields its
inhabitants and its visitors. Every man
should plan his house so as to enhance the
beauty of his town. There should be har
mony in color, in materials, in the slopes
of the roofs, in tree planting, and in gar
deningharmony, but not monotony.
"There is immense responsibility laid on
those who have to do with civic affairs
and have opportunity to make their home
town beautiful and likable. Most Cali
fornia towns can look forward to a popu
lation vastly greater than they at present
have. The obligation is upon them to
plan wisely for the future, to foresee fu
ture needs in the way of transportation,
traffic, streets, proper development of par
ticular neighborhoods for residence, for
business, for transportation purposes and
for manufacturing. Now while land is
vastly cheaper than it will be a few years
from now, communities should see to it
that they provide themselves amply with
space for a civic center, for schools and
school gardens, for agricultural high
schools, for parks, for recreation centers,
and for a public playground within half
a mile of every resident of the city. As
congestion grows these playgrounds be
come enormously valuable in promoting
health, well-being and character."
Fixture Contract
The Fink & Schindler Company have
been awarded the contract for the in
terior fixtures and fittings for Robbins'
jewelry store, 147 Geary street, San
Francisco, at a cost of $3,750.
The Decoration of Oakland's City Hall

A mural painting by Maxfield Parrish
for the end of the Council chamber in
Oakland's new City Hall, an allegorical
group of statuary above the main entrance
to the building, and a great bronze tablet
at the head of the main stairway in the
rotunda, have been suggested as necessary
to the completion of the building by Henry
Hornbostle, the architect who designed the
structure. During a recent visit to Cali
fornia Mr. Hornbostle said :
No spirit of economy should be permitted
to interfere with the completion and finishing
of this building. Oakland's City Hall has no
rival in the world and nothing should stand
in the way of making its appointments com
patible with the structure.
Some noted painter of mural decorations
should be commissioned to paint a canvas for
the wall of the Council chamber. Such a paint
ing from the brush of Maxfield Parrish would
be worth a hundred fold its cost as an adver
tising medium for Oakland throughout the
world. An allegorical group illustrative of
the ambition and destiny of the city, carved
by a master, should adorn the main ' entrance.
A bronze tablet of artistic design should be
placed at the head of the stairway in the
rotunda.
To the end that the best talent in the coun
try might be called on for such work, it should
be thrown open to competition.
Cass Gilbert's Latest Building
Detroit's new $1,000,000 library will be
constructed from a design submitted to
the Public Library Commission by Cass
Gilbert of New York City, whose plan
recently was adjudged by a jury of ex
perts to be the best of six plans submitted
bv architects of New York and De
troit. Fireproof construction will prevail
throughout, and the exterior will be ex
ecuted in cut stone work. Interior ar
rangements are designed along the
simplest possible lines, and there will be
ample aisles and a great array of mod
ern conveniences. Simple classical lines
will predominate in the new structure,
which is to comprise two stories and a
mezzanine floor. The approximate bulk
of the building will be 1.700.000 cubic feet.
Capacity for 500,000 volumes will be con
tained in the stack room, which is to be
well lighted by natural light. Mr. Gilbert
will receive six per cent of the $1,000,000
appropriation for the library.
Architects Should Travel
Architect Hugh Braunton of the firm
of Braunton & Leibert, Vancouver, B. C,
has left for the eastern states on a busi
ness and pleasure trip.
Mr. Braunton contends that in order
to do justice to oneself in the profession
it has become absolutely essential for
the architect to travel, thereby person
ally familiarizing himself with new ideas,
especially when improvements follow
one another as rapidly as they do in the
present age.
113
Personal
Oscar Mohr, architect, member of the
Dolphin Rowing Club and designer of
the aquatic park at the foot of Van Ness
avenue, and Miss Ruth Brown of San
Rafael were married Christmas week by
Judge Graham at the judge's residence.
2368 Vallejo street. San Francisco.
A co-partnership has been formed by
Wilbur David Cook, landscape architect,
F. A. S. L. A., and Messrs. R. S. Rankin
and R. F. Wyckoff, civil and landscape
engineers, with offices in the MarshStrong building, Los Angeles. The firm
will specialize in landscape architecture
and engineering, and the scientific de
velopment of land. Members of the firm
have had fifteen years' active practice in
the East and seven years on the Pacific
Coast.
W. J .Mathews, architect, of Oakland,
has been made superintendent of con
struction in connection with the new
Oakland Auditorium.
Robert Morgeneier, architect, of Oak
land, has formed a connection with the
West Coast Showcase & Fixture Com
pany, a newly organized firm capitalized
at $100,000 and having headquarters at
Berkeley. F. T. Russell of Oakland is
president and Mr. Morgeneier is secre
tary and treasurer. In addition to super
intending the mechanical work for the
new companv. Mr. Morgeneier will con
tinue his practice as before.
Architects Eager & Eager of Los An
geles have dissolved partnership by
mutual consent. A. W. Eager will con
tinue the present office in the Story
building and F. O. Eager will engage in
business independently.
Ernest J. Kump, formerly of San Fran
cisco has opened architectural offices at
No. 227 Rowell Building, Fresno. Prior
to coming to San Francisco, where he
supervised the construction of the West
Coast Iron Company's plant at Sixteenth
and Rhode Island streets. Mr. Kump was
located in the southern part of the San
Joaquin valley.
Club Elects New Officers
At the semi-annual business meeting
of the San Francisco Architectural Club,
held January 7, 1914, the following of
ficers were elected: President, George
Greenwood: vice-president. Charles P.
Weeks: secretary, Albert R. Williams:
Treasurer. William D. Sherman: di
rectors. Henry A. Thomsen and James
A. Magee. William A. Garren was ap
pointed to fill the unexpired term of
George Greenwood.
Milk-Bottle Architecture
We don't know what the art-loving
architects think of this. We imagine we
hear their unanimous groan of disap
proval come gurgling down from their
ateliers up under the roofslike sour
milk running from a huge bottle.
Probably the advertising boys like it
better.
Anyway, there it is. Two of them on
the new building of one of Indianapo
lis' leading milk companies. The two
front corners of their building are giant
milk bottles built of white enameled
brick. They measure 52 feet in height
and have a diameter of 22 feet. The
proportions are exactly those of a stand
ard quart bottle.
Evidently they overlooked a bet in not
using deep yellow brick for the upper
sectionsto indicate the color of cream.
The Berkeley Campanile
(Springfteld Republican.)
A 300-foot campanile, to cost $200,000,
is beiner constructed at Berkeley for the
University of California, the gift of Mrs.
Jane K. Sather of Oakland, who also
gave $25,000 for a chime of bells. It will
make a fine landmark, visible from ships
entering the Golden Gate and from all
the cities clustering about the bay. The
first steel column was swung into place
last week, and the tower will be done in
1915. How much simpler things would
have been for Giotto and the other old
builders, if they had enjoyed the ad
vantage of steel construction! Their
first problem was to make a tower stand
up. a problem which can hardly be said
to exist for the modern builder. When
it comes to looks, something is to be said
for Giotto.
114

There is plenty of work for the
The
ArrhiOF
Engineer
tertCALI
anth
FORNIA
Member of California Periodical Publishers' Association
and General Contractors' Association, San Francisco
Published Monthly in the interests of the

Architects, Structural Engineers, Contract
ors and the Allied Trades of the Pacific
Coast by the Architect and Engineer Co.
California
State
Board of
Archi
STATE BOARD
tecture, Northern
Division, if re
SHOULD GET
ports of the in
BUSY
cated
crease in the num

ber of no-certifi
architects are to be relied
upon.
It seems that the dearth of
offices
617-619 Monadnock Building, San Francisco

Telephone Douglas 1828
Builders' Exchange, Oakland
Trrams of sunscription
(Including postage) to all parts of the United States $1.50

annum; to Canada 50c additional; to all Foreign points
1 additional.
Vol. XXXV.
Jan., 1914
ASSOCIATE
No. 3.
EDITORS
H. J. BRUNNier
A'einforced Concrete
WM.
! Inspection
#B.E.GESTER,
Hunt, C. E.
- , and Tests
F. W. # # Fireproof Construction
W. W. BREITE. C. E. |Structural Steel
H. J. BRUNNier
-
A Thol McBEAN
Brick, Tile and Terra
W. E. DENNISON
Cotta
HowARD FROST,
G. B. AshcroFT. C. E.
Artificial Stone
HARRY LARK iN
and Roofing
J. R. D. MACKENziE FRED M. Woods, Jr..
Rock and Gravel
C. WALTER Tozer - Interior Decoration
| Roofs
WiLBUR DAvid Cook, Landscape Architecture

Zegal Points
T. C. Kierulff
PAUL C. BuTTE
Electrical Construction
NATHANIEL ELLERY, C. E. - Good Building Construction
-
business in many of the architects'

offices and the consequent laying off
of draftsmen have driven the latter
to desperation, and they have been

taking work for little or nothing. Of
course this hurts the profession not
a little, and those who hold certifi
cates from the State naturally
are entitled to some protection.
Therefore it is up to the State
Board to get busy just as the
Medical
State
Board
has
been
active the past month in rid

ding San Francisco of quack doc
tors. At a recent meeting of the
San Francisco Chapter of the Ameri
can Institute of Architects, the fol
lowing resolution was offered by
Mr. T. J. Walsh, and the fact that it
was unanimously adopted indicates
that the members of the profession
appreciate the seriousness of the sit
uation:
ARCHITECTURAL
Fred H. Meyer
August G. Headman
Edward T. Foulkes
Alfred F. Rosenheim
J. C. Austin
F. D. Hudson
Sumner P. Hunt
C. Sumner Greene
G. Albert Lansburgh
Ralph W. Hart
. Rei
Norman F. Marsh
. H. Hildebrand
Maxwell G. Bugbee
KennethMacDonald, Jr. Clayton D. Wilson
Houghton Sawyer
Almeric Coxhead
John G. Howard
Harrison Albright
Arthur Brown, Jr.
John Parkinson
T. J. Welsh
W. J. Cuthbertson
Chas. P. Weeks
A. W. Smith
Benj. G. McDougall
T. Patterson Ross
Octavius Morgan
William H. Weeks
. A. Newman
Chas. W. Dickey
H. Alban Reeves
Henry C. Smith
#".
Whereas, the Committee of Publicity

has for a period of two years called the
attention of the Chapter to the fact that
by reason of indifference and lack of in

terest the work that should go to the
architectural profession is now being

done by contractors and others, with
the result that many are losing busi
ness and many draftsmen are idle,
Resolved, that the members of this
Chapter who are members of the State

Board of Architecture, together with our
President, wake up and take energetic

steps to prosecute persons who are prac
ticing architecture without a license, and,
if necessary, to employ special counsel.
CONTRIBUTORS
Hardly a week passes in the win

Jas. W. Reid.
William Curlett
Albert Pissis
J. Harry Blohme
Herman Barth
Arthur O. Johnson
Herbert E. Law
Hon. Jas. D. Phelan
J. T. Walsh, C. E.
Smith O'Brien
H. F. Starbuck
Nathaniel Blaisdell
W. T. Bliss
William Mooser
Robert Morgeneier
ter season that we do not read in the

newspaper reports
THE WALUE OF
AUTOMATIC
SPRINKLERS
-
of fires of how the
automatic sprink
ler
demonstrated
its efficiency.
few days ago one of the dailies re

E. M. C. Whitney
Frederick W. Jones
AManager
ported the discharge of a watchman
Afanaging Editor
in a big Eastern factory. It seems

his attention was attracted to a flood
"FIRE A
CRIME"
Rolling Doors.
and Steel Sash.
|f See the SIMPLEX METAL WINDOW.
750 Keller St., Los Angeles

Of California
Single Copies.
$1.50 per Year
25 Cents
Issued monthly In the tnterests of Archttects, Structural Rngrlneem. Contractors And th Allted Trades ol the Pactfic Coast.
Entered at San Franctsco Post Offtce as Second Class Matter.
Contents for February

PAGE
Residence of Mr. P. Col, College Park, California
Frontispiece
A San Francisco Architect's Comments on Some Eastern Architecture
47
William A. Newman, Architect
Illumination
03
Charles T. Phillips, C. E.
Bonds in Brickwork
73
Simplified Design of Wind Bracing in Tall Buildings
75
Alfred J. Krafft, C. E.
William Curlett, F. A. I. A.
79
Arizona Architectural Competition
HO
The Practical in Architecture
81
Herbert Booth King
Union of the Oceans 83
Walter E. Dennison
A History of Architectural Terra Cotta
84
Harry Lee King
Making and Laying Composition Floors
96
Robert P. Skinner
The Architect Saves You Money
.......
98
Louis C. Newhall, President Boston Architectural Club
Architects Becoming Known oy Their Work
99
B. Cooper Corbctt, Architect
Fire Prevention Again
101
F. W. Fitspatrick
The Architecture of Open Air Schools
106
John R. Van Pelt
History of Vitrified Clay Sewer Pipe
108
Benjamin Brooks
The Autoclave Test for Portland Cement
109
ill
Editorial
11*
116
119
By the Way
126
(Index to Advertisements, page 8.)
::
|-=
----
---
|- |
||
|||
THE
Architect
and
Engineer
Of California
Vol. XXXVI.
FEBRUARY,
1914.
No. 1.
A San Francisco Architect Comments on Some

Eastern Architecture
By WILLIAM A. NEWMAN*
IT IS gratifying to note the material improvement architecturally in the
buildings that are now being erected in the larger Eastern cities, es
pecially in the more general use of fireproof materials, architectural
bronze, fancy marbles and mosaic ceilings.
A great deal can be said of the quaint and very interesting homes and
other landmarks in the older sections of New Orleans and Baltimore, but
there is probably nothing more inviting on this continent to the Western
architect than a ramble among the magnificent public and semi-public
buildings in the capitol at Washington.
Next to the library, the Pan-American building meets with the hearti
est appreciation. Both inside and outside, in design and execution, it has
such an appeal as to bring forth the architect's exclamation, "Good."
The convention I attended in Washington was a most successful one,
having for its object the standardization and improvement of methods used
by the Government in unifying and expediting the construction of Federal
buildings. These matters had the attention of members of Congress and
of President Wilson's cabinet, and there promises to result through this
educational process a better appreciation of art and architecture.
A few days' stay in the New York metropolis enabled me to enjoy the
beauties of the Wool worth and new Municipal buildings, the Custom
House and Library, and to view the luxurious homes and apartments on
Riverside Drive, together with Columbia College, St. John's Cathedral and
Union Theological Seminary, which latter group is admirable for its fine
Gothic feeling and execution. The Metropolitan Museum of Art is within
and without very attractive to an architect.
For a good interior in polvchrome terra cotta, together with an oyster
and a hot bird, etc.. I would recommend the McAlpin grille.
In Boston Messrs. Peabody & Stearns have something creditable under
way in the new addition to the Custom House which is towering into the
skyline a la Oakland City Hall.
Down town in Chicago it is still as smoky as ever and discouraging for
any architect (but a blind one), for after a few months it is impossible to
tell the architect's color scheme of a building, let alone the material used
on the exterior. But there are some splendid interiors, notably those to
be found in the La Salle and Blackstone hotels, the Pompeiian room in the
Auditorium, and the new Peoples' Gas building, the latter unquestionably
*Mr. Newman is associated with Supervising Superintendent Tos. W. Rolterts of the Treasury
Department. San Francisco. Mr. Newman has recently returned from a month's visit in the East,
where he attended the annual convention of the Society of Constructors of Federal Buildings.
48
the late Daniel Burnham's best work. For a first-class interior terra
cotta job it would be hard to improve upon the Railway Exchange. The
glass mosaic ceiling in Marshall Field's is also worth seeing, being executed
in blue.
Out here on the Pacific Coast every now and then we hear the local
architect unfavorably contrasted with his eastern brother, but you can tell
that one to "Forget it" when you recall seeing in the east the all-too-many
good projects spoiled by faulty design or improper selection of materials
used.
How many local architects could get by with such a number of big,
ugly and prominent patches as you will find on the exterior columns of
McKim, Alead & White's Pennsylvania Railroad Station in New York, or
how many would last a week in San Francisco after such iron rust stains
began to checker with ocher the granite walls of that important and costly
new Scottish Rite Cathedral in Washington, is problematical.
In conclusion I want to say that everywhere there was manifested a
feeling of confidence in future business conditions, and I predict that San
Francisco will surely have some prosperity in the next twelve months.
*
Domestic Architecture that is Different
OMETHING different. That is what Messrs. Wolfe & Wolfe, the San
Jose architects mean to give their clients. That they have succeeded
one need only to glance at some of the accompanying' pictures, which
show the wide range of domestic architecture covered by them. For the
most part their work is very good, although a few houses they have de
signed are so unusual in their treatment that the critics are bound to be
heard from. In San Benito county Messrs. Wolfe & Wolfe have recently
completed a house for Mr. Macomber, a wealthy cattle raiser, which is
unique, indeed. The owner wanted "something different."
He has
it. The architects have developed a style which might be termed a mod
ern adaptation of the Moorish. Were this unusual architectural effort
placed upon a city lot we fancy it would call forth a world of criticism, but
placed where it is, 'mid the low, rolling hills of San Benito, with their
ever-changing California colors, the house seems to fit in very well. The
colors blend splendidly with the surrounding country and there is a cer
tain feeling in the style that gives a charm to the place which a more serious
or dignified design might not create.
The firm has done some very good work along Mission and Spanish
lines, notably the house of Dr. Bangs in San Jose and a number of smaller
houses of the bungalow type. The roof of the Beard residence in Modesto
indicates the adaptability of clay tile for residence work.
The residence of Peter Col, in College Park, is a pleasing example of
the latest style in domestic architecture. The style is a natural result of a
growing tendency to use asphalt materials for roof coverings. The wellknown work of Frank Lloyd W right is along these same low, broad lines.
Santa Clara has shown a pleasing interest in so-called "open-air"
schoolsbuildings in which the windows are so arranged as to readily open
whole sides of the building to the outside. Quite a number of these have
been designed by Mr. Frank Wolfe and his son. A typical suburban school is
shown in this number.
The facade of the Santa Clara County Hospital is a good example of the
firm's Colonial work.
F. D. Wolfe, Architect
COUXTV HOSPITAL,
SAW JOSE, CALIFORNIA
F. D. Wolfe. Architect
FIRE DEPARTMENT HEADQUARTERS

SAN JOSE, CALIFORNIA
'J he Architect and Engineer
C. J, Wolfe, Associate
51
CASA DEL REV APARTMENTS,

SA CRA MEXTO, CA L1FORNIA
52
LAMOLLE HOUSE,
C. D. Wolfe, Associate
53
MOORISH COUNTRY HOUSE

FOR MR. A. K. MACOMBER,
PAIC1NES, CALIFORNIA
55
Fil/t fLQDH Plan
RESIDENCE OF MR. E. HATCH,

COLLEGE PARK, CALIFORNIA
a
jM,o.<r
--7I "-7I
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DXIXIQ 'l\00R E0XEQIS3X JO 'RM HE1EP "103

E0ELL0C 'RKPA VINVOJllVD
F. D. U olfe, Architect
C. J. li'olfe, Associate
57
BUWGALOH' FOR MR. ROY ATKIXSON,

SAN JOSE, VALIFORNIA
FOOT SA2DI/j
SECOND FLOOR PLAN,

RESIDENCE OF DR. F. H. BANGS,
61
HOUSE FOR MR. R. T. EVENS,

PALO ALTO, CALIFORNIA
62
F. D. Wolfe. Architect
C. J. H olfe, Associate
Ol' EX-AIR SCHOOL HOUSE

FOR AUSTlN DISTRICT SCHOOL
63
Illumination
By CHARLES T. PHILLIPS, C. E*
(Second Paper)
HE NEED of artificial daylight has long been felt, and there are a
number of lamps on the market provided with colored glass screens
to produce a spectrum resembling daylight. These devices are n'ore
for special than for general use. Industries such as textile mills, litho
graphing establishments and stores where color matching is desired have
use for them. The theater stage has felt the want of some type of illuminant that will give a daylight effect, and some of the large theater
owners have spent considerable money experimenting along those lines.
The deficiency of most artificial light is the lack of blues and the great
excess of orange and red. This is shown in various spectro-photometric
curves and colorimeter readings published from time to time. If a tem
perature of approximately 6000C. could be obtained in an incandescent
body, a white light could be produced, but, as this is impossible, other
means will have to be used to obtain the same results. A subtractive pro
cess, where undesirable radiations are filtered out, will accomplish this
result, but it is not commercially possible on a large scale. Another pro
cess where white light is obtained by various mixtures of spectrum colors
will give a physiological white, but it can not be used for color matching.
The object in frosting incandescent lamps is to hide from view the
brilliant filament. The frosting presents a broken reflecting surface to
the rays of light, causing them to be redirected or diffused. Although the
candle-power is decreased by frosting, it is not the frosted surface that
absorbs the light, however, but the fact that the frosted surface diffuses
the light and causes some of it to be redirected through the glass perhaps
three or five times. This redirected light is absorbed by the glass and
carbon deposit on the inside of the bulb. Frosting also causes a change
in the distribution, decreasing the horizontal candle-power and increasing
it at the tip. The life of a frosted lamp is also less and the useful life is
very much less. If a tungsten lamp is bowl frosted, the tip candle-power
is increased, the horizontal candle-power is decreased , and the mean
spherical candle-power is decreased about 5 per cent. Frosting the entire
lamp reduces the mean spherical candle-power about 10 per cent. The effect
of frosting is shown by Fig. 1.
As there is no light source on the market which gives a correct dis
tribution of light, for all conditions, it is necessary to use suitable re
flectors or globes to modify and correct the distribution. Owing to thehigh intrinsic brilliancy of modern illuminants, the light source should not
be exposed to view. Some diffusing medium should be used, even though
there is a small loss of light. The eye will see objects more distinctly,
even if the intensity on the plane to be illuminated is lower.
The efficiency and effectiveness of various types of reflectors for in
candescent lamps do not seem to be fully understood by the average person.
The clear glass prismatic and opalescent reflectors have a lower loss by
absorption (being as low as 9 per cent) than the opaque type. The latter
has an absorption of from 14 to 40 per cent, depending on the make. This
comparison shows that the opaque type is the least efficient, yet for certain
purposes it is most effective, consequently the most efficient to use. The
distribution of light from three types of prismatic reflectors is shown by
Fig. 2.
*Pacific ltuiMinu, San Francisco.
64
DISTRIBUTION CUR.VE SH0W1N6 THE ETTECT Of rROSTIWti

OM THE LIGHT DISTRIBUTION Of AM lMCAMDr.SCI.NT LAMP.
FIG I.
BARE LAMP
EXTENSIVE TYPE
//// il\Vx
'/fJ \\
. INTLN51VE TYPE
CHARACTERISTIC DISTRIBUTION OF
LIGHT TROM DIFFERENT TYPE. OF
RLTLrLCTORS.
CHA.S.T PHILLIP5
CCN1U1TIH0 T'H Wl.f.
.SAN rRANfl.'SCO
/"/r; z
f 0CU.3ING TYPE.
It seems hard to realize the difference in the distribution of the light

flux which a change in the position of the lamp in a reflector will make,
or how the success of an installation depends on the location of the
fixtures, the type of reflectors and holders used, the color of the walls
and ceiling and the height at which the fixtures are hung.
To buy reflectors because the price is low is poor economy. The re
flecting surface of these reflectors is generally inefficient, the design is
usually poor and the results of the installation is not satisfactory. The
65
next mistake is to use a type of reflector which is not suited to the con
ditions. This is often shown where an installation which is pruperly de
signed is copied for a condition that is radically different.
In the efficient lighting of a room it is not only necessary that the
greater portion of the light flux be directed to the plane of illumination,
which is generally about thirty inches from the floor, but it is also neces
sary that the upper portion of the room shall not be in darkness. This is
where the reflectors and globes of prismatic glass meet the demand. They
not only deliver to the plane to be illuminated the majority of the light
rays, but also permit a certain quantity of the rays to penetrate to the
upper portion of the room. The control and redirecting of the light rays
is shown in a marked degree in searchlights, where a parabolic reflector
is used to concentrate the light flux in a slender beam. It is a well known
fact that a perfect parabolic reflector, equipped with an absolute point
source of light at its focal point, would reflect all the light incident upon
its surface in a direction parallel to the axis, and thus form a beam with
the same intensity for an indefinite distance, barring only atmospheric
absorption. It is not practical to obtain this result, due to the fact that
it is impossible to obtain a true point source, and it is evident with the
light sources we have, a cone of light will be emitted. This can be noted
in automobile headlights where it is possible to obtain a much better and
stronger beam of light with an electric lamp of eight candle-power than
with an acetylene lamp of twenty candle-power it not being possible to
locate the acetylene flame at the focal point of a parabolic reflector, due to the
heat from the flame which would damage the reflecting surface, and the shape
of the flame which is not suited for this purpose.
Reflection from all painted or calcimined surfaces is largely of a dif
fused nature with a slight amount of regular reflection. The law that
"the angle of reflection equals the angle of incident" is hardly practical to
apply to painted or calcimined surfaces, unless it is for general results
only. It has been found that the reflecting power of colored surfaces
depends to a great extent on the quality of light by which they are il
luminated.
The statement is frequently made by salesmen of reflectors that their
reflectors increase the amount of light given by the lamp. This statement
is not correct because, as a matter of fact, a reflector will absorb a portion
of the light and thus decrease the mean spherical candle-power of the
lamp. The object of the reflector is to redirect the light flux to the work
ing plane. The majority of the lamps require some means to accomplish
this result, although there are some types of lamps which for certain
conditions do not require a reflector. Glassware, which is purely for dif
fusing purposes, must not be confused with that where the principal of
specular reflection is employed. The first is for diffusing the light and
concealing the light source, and is of no value where it is desired to
redirect the light. Ground glass, opal glass, etc., are of this type.
No one manufacturer makes a line of lighting supplies that is best
suited to all conditions, and frequently the illuminating engineer is com
pelled to design apparatus to suit certain conditions. The Allegheny
County Soldiers' Memorial Hall, .Pittsburg, is perhaps the best example of
-where apparatus made by a number of firms was used to get the desired
results. The light is diffused downward through glass plates which form
a. false ceiling, and the riotous color effect produced has been a wonder
to all beholders. There is the golden yellow light from the flame arc
lamp, bluish green from the mercury vapor lamps, rose from the nitrogen
66
:
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CONSULTING tNGlyff R.
SAN FRANCIS(0.
67
vapor tubes, amber and white from carbon filament and tungsten lamps,
and other shades from a combination of different lamps and colored glass.
While manufacturers of lighting fixtures have striven to improve their
product from an artistic point of view, the possibilities of the scientific
application of shades, reflectors and lamps have received scant attention.
The non-appreciation of the fact that art and science should work hand
in hand is to be deplored, especially since the advent of the newer type
of lighting units. There has been considerable criticism of the fact that
some of the electric fixture manufactures are from five to ten years behind
the times. This unfortunate state is due more to the consumer than to
the manufacturer. The average person, in selecting a lighting fixture,
considers those that are pleasing to the eye only. If the fixture does not
give sufficient light, larger lamps are substituted, or the shades are re
moved. If the light from the fixture is objectionable, due to glare or other
reasons, the lamps are blamed and not the fixture, thus the fixture manu
facturer is not encouraged to consider the inherent possibilities in com
bining art and good illuminating practice. The aesthetic taste is gratified,
but utility and efficiency are neglected, consequently the consumer pays
high electric bills, suffers from improper lighting and accepts it all as one.
of the ills to which flesh is heir. An incident that can be cited is the case
of a retail store having about 70000 square feet of floor. Several firms,
supplying fixtures, wiring, etc., were called in to remodel the lighting. The
work was done but it was not satisfactory. There was not sufficient light,
the distribution was poor and, the monthly bill was higher. Tungsten
lamps were used both before and after the change. The owners then
called in an engineer who made a survey of the installation, designed a
new layout, using the same apparatus, with the exception of some changes
in the reflectors and wiring, and the result was approximately twenty per
cent better lighting and fifty-six per cent reduction in the monthlv current
bill.
Objects of practical utility, such as lighting fixtures, in as far as they
claim to be within the realms of beauty, make two demands upon our
attention. They must fill a practical purpose as a lighting fixture, and
they must achieve this end in a smooth and harmonious manner. The
object of a lighting fixture is to illuminate. No architect specifies them as
necessary to the harmonious completion of a building, then why should
not the decorative features be built around the lighting units, thus obtain
ing utility and efficiency, instead of the lighting being a secondary con
sideration to the design of the fixture? Does an architect design a build
ing and then have the lot and purpose to which same is to be used, adapted
to his design? The adaptability and construction of a building are of vastly
more importance than its ornamentation, as the lighting of a building for the
comfort of its occupants should receive first consideration, rather than light
ing for ornamentation or display. Service first and ornamentation second, as
the lighting is simply a means to an end. In a certain public building, there
is a room in which there are very elaborate lighting fixtures, costing thous
ands of dollars, and more than overdone in design. Directly beneath one
of these fixtures is a desk used for writing, and in order to make it adaptable
to its purpose, it is necessary to furnish a drop cord from this ornate fixture,
with a cheap desk lamp and a green glass shade. This two dollar drop lamp
accomplishes the purpose that the elaborate fixture does not. The room was
intended for a reading and writing room, and not a show room for electric
fixtures.
The subject of direct versus indirect lighting has been discussed and
compared so often that it would seem that the last word has been said. Salesmen
68
handling each line have numerous arguments to advance the sale of their
goods, each claiming the superiority of their product, yet, when boiled down
to concrete cases, we find that there is no set rule by which the different
systems can be compared. The indirect system is, of course, the least ef
ficient as far as the watts required for a given intensity on the working plane
is concerned. With a correctly designed system of indirect lighting, under
ideal conditions, perhaps not over 55 per cent additional current is
required for the same intensity as that required for a well designed system
of direct lighting, but these ideal conditions are rarely ever met in practice.
The factors to be considered in the design of a system of indirect lighting are
the kind and quality of reflectors, the color of the ceiling, the color of the
side walls, the ceiling height, the shape of the ceiling, whether domed or
broken with plaster ornaments or beams, the height the fixtures can be hung
and the arrangement of the lamps and reflectors in same. The efficiency of
various systems of direct and indirect lighting with average conditions may
be assumed as follows : indirect cove lighting 20 to 30 per cent, indirect with
suspended units 40 per cent, direct lighting with frosted lamps placed near
the ceiling 50 per cent, and direct lighting with lamps equipped with ef
ficiency reflectors, 70 per cent.
While it is well to consider a system of lighting from a standpoint of cur
rent efficiency, other points will have to be considered also, and current con
sumption may be secondary to many of them. The beauty of the space to be
lighted, the absence of glare and the feeling of comfort should first be con
sidered, still efficiency should not be lost sight of in striving to perfect the
other considerations.
Whether the voltage loss in wiring should be considered seriously is a
subject hard to cover in a limited space. On a 115-volt system the voltage
drop will run from a fraction of one per cent to ten per cent, the measurement
being made between the service and the socket. A loss of three volts will
mean a loss of about 10 per cent in candle-power for tungsten lamps, and
at the same time the life of the lamp is lengthened, but the watts per candlepower is increased, thus lowering the efficiency. Whether it would be econ
omy to increase the wire sizes, and by this means increase the efficiency of the
system from a current consuming standpoint, or keep the cost of the instal
lation as low as possible and raise the maintenance, is a problem in which
the following factors will have to be considered : increased cost of wiring,
cost of current, load factor, cost of lamps for renewing, quality of the light
and depreciation of the wiring.
There are two variables which should be considered if the maximum result
in the use of incandescent lamps is to be obtainedefficiency and life, the
increase of one being accomplished at the expense of the other. If the cost
of current is known, when designing an installation, and the approximate
number of hours per day the system will be used, a balance between the two
variables can be found at which it is most economical to operate the lamps.
Tungsten lamps are rated at 1.25 watts per.candle, but they can be operated
at as low a current consumption as 0.4 watts per candle, although at a sacrifice
of life. In the first instance, the average life will be about 1000 hours, while
in the latter case, onlv a few hours. The most economical efficiency must then
be determined by considering the cost of the lamp, the cost of energy and
the number of hours per day that the lamps are in use. The characteristic
curves of tungsten lamps, as shown by Fig. 3, illustrates the effect of operat
ing these lamps at different efficiencies. These curves do not apply to other
types of lamps, as each has its own characteristics and will varv considerably
from those shown for the tungsten filament. There are two life ratings of
incandescent lamps, the actual life, of the length of time before the lamps
30
15'
15
69
ior
DISTRIBUTION Of LI6HT
TROM A PRISMATIC TatTLXCTOfc.
WITH 150 WATT J50WL TK05TE.D
LAMP.
J507TED LINES 3H0W DISTRIBUTION OT J.I6HT
TfiOM. A DAT5E. 150 WATT JLAV\T>.
FIG. 5
i*?iMcZ**g
met-,
burn out and is no longer serviceable and the useful life, which is the length
of time before the candle-power falls to 70 per cent of its rating. Incandescent
lamps which have deteriorated until the bulb is black and the candle-power
has decreased materially had better be replaced by a new lamp, for usually
the increased current consumption per candle-power of the old lamp will
pay for a new lamp.
TABLE OF LIGHT INTENSITIES FOR DIFFERENT CLASSES OF
SERVICE.
Light intensity
in foot-candles.
Theaters, churches and auditoriums
1 to 3
Reading rooms
3 to 4
Ball rooms
3 to 6
Residence (general illumination)
1 to 2
Desk lighting
2 to 4
Stores (general illumination)
3 to 8
Show windows, show cases, etc
6 to 20
Bookkeeping
3 to 5
Drafting, engraving and watch repairing
5 to 10
70
In all vocations there are certain beliefs more or less firmly rooted in the
popular imagination but actually based upon erroneous ideas. The electrical
industry is full of them, and in spite of the advance of technical education
and repeated disproofs, there is still a large number of fallacies that have not
been exploded. That the cheapest method of producing light will produce
the cheapest illumination, is one of them. The fallacy that a high intensity
of light is good lighting is another. A high intensity will frequently cause
a glare that will strain the eye which, under continued exposure, radiates
to the socket and surrounding regions of the face and head. The intensity
of artificial illumination required for comfortable reading has been tested
numerous times by various engineers and scientists, and the amount required
has been found to vary considerable, depending on the person, the surround
ing conditions and the direction from which the light is received. Specular
reflection from the paper has considerable influence on the amount of light
required. With artificial light an intensity of from one to two foot-candles
is considered necessary, although some individuals can read with ease with
an intensity of from 0.5 to 1,0 foot-candles or even lower. From tests made
with natural light, it was found that with an intensity of 0.22 foot-candles
certain individuals could read with considerable comfort, while other persons
could not read without eye strain. Black print upon a white page may have
a ratio of brightness of 20 to 1, while the ratio of the brilliancy of a incan
descent lamp filament to a shadow cast by same may be several million to
one. It is evident then that if there is a difference in the brightness of various
parts of the object, our ability to see plainly is more a matter of contrast than
of the actual amount of light. We can read a printed page with ease with
an intensity of one foot-candle, but should we raise the intensity to five footcandles the ratio between the black print and the white paper would remain
the same. In fact, we could raise the intensity to a point where the black
is physically many times brighter than the white originally was, and even
then the appearance is still black and white.
Owing to the high intrinsic brightness of the modern illuminant, the
direct rays are very injurious to the eye and cause eye discomfort and visual
inefficiency. In designing lighting systems for factories and offices, the loss
of eye efficiency means a loss in the amount of work that can be accom
plished. In theaters, stores and public buildings, the physiological effect of
lighting systems should be given careful consideration.
The commercial value of artificial illumination seems to be well recog
nized and the effect of a brilliantly lighted store or theater fagade seems to
affect the human being much the same as the moth is drawn to the flame.
There is perhaps no way in which the merchant can achieve as satisfactory
results, with the same expenditure, as with a properly designed system of
show-window lighting.
In the case of lighting an industrial plant, two conditions have to be
considered. One class is where the workman's attention is confined closely
to some particular point of operation. Therefore, in designing a system of
lighting to meet this condition, attention must be centered upon the point
of operation and the general lighting becomes secondary. If the case does
not require close attention of the eye, the importance of local lighting is sub
sidiary to the general lighting. The proper lighting of modern industrial
plants requires even more thought than is necessary for any other class of
buildings, and, where high efficiency is desired, the effect of well lighted (both
artificial and natural) and cheerful surroundings has been long recognized
by efficiency experts as an important factor to consider. Good illumination,
where clerical work or drafting is done is economy in a number of ways.
71
The output is increased, the quality of the work is better and the electrical
bills are decreased.
Apparently little consideration has been given to the lighting of public
libraries. Here again the conservation of vision should be the keynote of

the interior arrangement, yet judging from the dearth of information on
the subject, little or nothing has been done to improve upon the now
obsolete system of chandeliers, with local lighting on the desk and tables.
In the lighting of a home, the illuminating engineer comes in closer
contact with the personality of the inmates than in any other class of
building. If the installation is pleasing and comfortable with due con
sideration to efficiency and to the artistic, it is sure to bring forth praise
and appreciation from members of the family. In no class of building can

the conservation of vision be more easily accomplished than in the home,
although the school room will be a close second.
There are a number of methods in vogue of calculating illumination,
two of which are commonly used. They are known as the point-by-point
method and the flux-of-light method. In regard to accuracy, it is safe
to say that each has merit. There are certain conditions under which both
may be relied on, and other conditions where one is necessary to check
against the other. The point-by-point method is tedious, especially where
there are several sources of light in the same room. In this case we have
a number of tables and curves from which we can obtain the illumination at
any point from each lamp. The distance at which the lamps are spaced
and the height it is desired to hang them must be decided first. Taking an
imaginary plane, known as the plane of illumination, which is usually
about thirty inches from the floor (the height of a desk or table), point
by point we calculate the light flux produced by each source singly and
then add them, the reflection from the walls and ceiling also being con
sidered. This method will give the uniformity of the illumination which
is generally plotted in a curve, as shown on Fig. 4.
The principal objections to the flux-of-light method is that it does not

given an idea of the uniformity of the illumination. It requires experience
to use this method and get satisfactory results. The formula for the use
of the flux of light method is as follows: Lumens required = (area in

square feet X intensity in foot-candles desired) + (per cent effective
lumens). The per cent of lumens that are effective depend on the kind
and type of reflectors used and the color and character of the walls and
ceiling. The data pertaining to the reflectors can be obtained from data
books or by making photometer test of same. For instance, a room having
unbroken walls and ceiling surface of white plaster and using prismatic
reflectors, the effective lumens are 60 per cent.
A simple problem is shown in Fig. 4, where it is desired to design an

efficient system of lighting for an auditorium.
Referring to the accom
panying table of light intensities for different classes of service, we find

that an auditorium requires from 1 to 3 foot-candles.
We will take the
average of 2 foot-candles and, applying the formula for the flux-of-light

method, we find that 14,666 lumens are required. Dividing the space be
tween the beams, as shown, and placing a fixture outlet in each space, we
have a total of ten outlets. This will mean 1466 lumens per outlet, and,
in referring to data on tungsten lamps we find that they will give 7.84
lumens per watt. This will then require 187 watts per outlet. As there
are no single lamps of the wattage required, we will be compelled to use
either three 60 watt lamps per outlet, or two 100 lamps, which will be
more than required, or one 150 or one 250 watt lamp. As it is desired
72
to design the installation as efficiently as possible, and keep the installa

tion cost low, the 150 watt lamp will be best, although the intensity will be
less than we first estimated. To plot a curve of the illumination it is
necessary to divide a typical portion of the floor to be lighted into small
squares, as shown, the intersection of the lines being stations (see Plan,
Fig- 4), at which the intensity will be calculated.
Curves, showing the distribution of light with 150 watt tungsten lamps
from different type of reflectors, are necessary, and we will select a pris
matic glass reflector, giving an extensive distribution of light, as shown
by Fig. 5. Assuming that these reflectors will hang fifteen feet from the
floor, which is the proper height for good light distribution with this re
flector, the light is then calculated from each lamp, and reflected light from
the ceiling and side walls, to each station and, from the result thus ob
tained, the curve shown at Fig. 4 is plotted. The formula used is : Footcandles = (Candle-power X Cosine of Angle ê,. -H (Distance, in feet,
that lamps are from the Test Station on the Plane of Illumination)". The
angle e is the angle which the ray of light makes with the vertical. In
spite of the fact that the maximum light flux from the reflector is at an
angle of 40, the intensity is higher under the lamp. The reason for this
can be seen by performing the calculation.
*
Discovery of a Roman Pottery

A RECENT report of the excavations at Corstopitum shows that a
Roman pottery of importance was at one time established there.
The remains of a heuse have been discovered, the northern half of
which was clearly devoted to the manufacture of pottery. "In the north
east room," says the report, "two small tanks were found, constructed of
flags set on edge and abutting against the north wall ; they were filled with
clay, apparently unworked, and a considerable heap of the same material
was found near them, lying on the latter floor level, which was eight to
twelve inches above the original floor, the latter being about 2 feet 9 inches
below the present surface. The adjacent chamber to the west showed
similar levels, and in each of these rooms, on or above the latter floor,
a large quantity of unbroken pottery was found, which had evidently been
manufactured on the spot from clay found in the neighborhood. The ware
was coarse, and most of it of a yellowish brick-red color, but some frag
ments had been fired in a muffled kiln and showed a dull purple. Several
types of vessel were represented, the most noteworthy being flat dishes,
some of which had been a large size. The kiln adjoined the west wall of
the second of these rooms. It was 9 feet long and 2 feet 2 inches wide,
and was floored with flat tiles, 8 inches square and 1^4 inches thick; the
sides were of masonry, with two flues, 6J/2 inches wide, on either side.
Apparently the ends had been stopped and the top domed with clay at
each firing, as a large quantity of burnt clay was found in the kiln, as
well as broken pottery of the same character as that already mentioned ;
and, in order to gain access to the north end, a portion of the original north
wall of the house had been taken down, and rebuilt in the space which
had previously divided this house from the building on the northern half
of the site. To the south of the brick flooring, and on the same level, was
a floor of clay, 2 inches thick, lying on a layer of good opus siginum. The
discovery is of particular interest, as confirming the indications found in
previous years of the manufacture of pottery at Corstopitum ; but the quan
tity of fragments unearthed was so large that it has been thought advisable
to defer a more detailed description, which, it is hoped, will be included
in a future report.
73
BOnds in Brick Work

of the bonds that are now employed in exterior brick work are
S EVERAL
described in an interesting article by H. D. Eberlien. He says the most
common bond, in fact, almost the only one employed during a great part
of the Nineteenth Century, is the running bond, in which all the courses are
composed of stretchers, that is to say, brick laid lengthwise, the only
headers or endwise brick visible being at the window jambs, at the
starting of piers and pilasters and in straight header courses at more or
less frequent intervals where their use is made obligatory by the local
buildings laws to tie the face-wall to the backing. Each course breaks
joints vertically with the courses immediately above and below. Run
ning bond is perhaps the simplest and certainly the least interesting and
artistic way of laying brick and has little to commend it except considera
tions of economy.
The Flemish bond, in which every course consists of alternate headers
and stretchers is, after the running bond, the one we most commonly
meet with, having been generally used in our brick buildings of Colonial
date, in which the black header and red stretcher effect is so often notice
able. Flemish bond is constructionally honest, artistic and satisfying,
and its almost universal employment in modern building of Colonial style
cannot be too strongly commended.
The double-stretcher Flemish bond which, as its name denotes, con
sists of two stretchers together, followed by a single header in all courses,

the headers being laid above the joints between the two stretchers in
the course next below. It is coming more and more into vogue in Amer
ica and has been used in some of our largest buildings with signal success.
For the vertical joints between the contiguous stretchers mortar
colored to exactly match the brick is often used, thus making a blind joint
and giving the effect of one double-length stretcher. The use of double
stretcher Flemish bond sets a big, broad scale and can be employed to
advantage in large wall surfaces, particularly where it is desired to take
off somewhat from the appearance of height, as the strongly marked
horizontal lines have that effect. This feature can be further emphasized
by slightly increasing the thickness of the horizontal mortar joints.
English bond and Dutch cross bond, like both the single-stretcher and
double-stretcher Flemish bond, are replete with artistic feeling and de
serve to be far more widely known and used than they now are in Amer
ica. Not only are they essentially artistic but they are strong and honest
in structure. Both English bond and Dutch cross bond have alternate
courses, the one wholly of stretchers and the next wholly of headers; but
in the English bond the stretchers of all the courses come directly above
each other while in the Dutch cross bond the stretchers of the first and
fifth courses break joints with the stretchers and of the third and seventh
courses respectively and thus throughout, giving a diagonally diapered
appearance if the mortar joints and the hue of the brick be judiciously
contrasted.
The bonds mentioned are the most usual kinds, but one also meets
with special adaptations of recognized types; it is, however, quite suf

ficient for general purposes to remember the five enumerated. In fact,
many people, who are supposed to have some knowledge of such matters,
have difficulty in keeping the differences clearly in mind and generally
fall down in trying to describe them.

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01
Simplified Design of Wind Bracing in Tall Buildings

By ALFRED J. KRAFFT, Associate Member American Society C. E*
IN ENGINEERING NEWS of March 13th. 1913, there appeared an ar
ticle on wind-bracing by Mr. R. Fleming. A method there given
(Method I) for finding the stresses in the girders and columns of a
building, due to wind pressure, is similar to that of Mr. A. C. Wilson in
Engineering Record of Sept. 5th, 1908. Both Mr. Wilson and Mr. Flem
ing have likened the frame work of a building under wind pressure to a
rectangular cantilever beam under concentrated loading, and from a con
sideration of the theory of flexure have determined, approximately, the
existing stresses.
But it is obviously more direct and more conducive to clearness to in
vestigate the stresses according to the fundamental equations of equilib
rium, since these equations are the foundation for the theory of flexure.
By so doing a vast amount of unnecessary explanation is eliminated,
certain useful relations are found to exist, and the amount of labor involved
is, in consequence, greatly reducedthe method lending itself readily to
rapid slide-rule calculation.
The proposed method will be applied to the following three cases:
Case
IEqual bays.
Case II-Unequal bays.
Case IIIEqual or Unequal bays and knee-braces.
CASE T.
(Equal Bays)
Take the eight-story building with loads, dimensions, etc.. as indicated
in Fig. 1.
To find the stresses in the entire frame, an analysis of a single story bent
will suffice for deducing relations which hold good for the entire structure.
The single-story bent is shown in Fig. 2. with the outer forces, reactions,
bending moments, etc.. as indicated and according to the following
assumptions :
(1) Bending moments at the top and bottom of a column ) Points of
are equal.
V contra flexure
(2) Bending moments at the ends of a girder are equal.
) at mid-length.
*J. E. KrafTt & Sons, Architects nnd Engineers, Sr.n Francisco, Cnl.
76
(3)
The vertical reactions of the columns are directly proportional to

their distances from the gravity axis of the column group and act
upward on the leeward side and downward on the windward side of
the gravity axis.
(4) Columns deflect equally, and girders deflect equally.
There are now five unknown quantities which can be obtained from
the following five equations:
(1) H + H ='
(2)
(3)
(4)
(5)
from
XH = O
H1h = 2M1
Hah = 2 (M1 + M2)
**
> M = O on outer cols.

**
on inner cols.
3V1 = 2 M1
4V1 = 2 M2
**
**
**
44
on outer gars.
on inner gars.
From these five equations we deduce the following:

h
P'-
V =
2 =
H1 =
3 P
20
7 P
20
H2
M.
M2 =
And the stresses in the entire frame according to these relations are
given in Table I.
CASE II
(Unequal Bays)
Assumptions same as for Case I.
If x = distance from Col. I to gravity axis of column group, from

assumption (3) we have:
= '(x - lo
V, = V. (1 + l2 x)
v. = '(', '+ 1 + 1 x)
V2
And zv o gives x = " " "

""
4
-
Let li = 10 ft, 12 = 12 ft, la = 14 ft, then x = 17 ft.

And
V2 =
T.7 V.
V3 =
5
17
V.
v. = 'v,
17
Since the 1's differ, all the M's and H's differ, giving for this Case,
the additional unknownsM, on Gdr 3, Ha on Col. 3, II, on Col. 4, making 8

unknown quantities.
The eight unknown quantities can be determined from the following

eight equations:

(1)
(2)
(3)
(4)
(5)
(6)
Hi + H2 + H2 + H. = P
Hih
H2h
Halh
H, h
10V
(7)
12
(8)
14
(# v.)
(' v.)
=
=
=
=
=
from
2M1
2 (M1 + M2)
2(M2 + M3)
2Ms
2M1
**
**
**
**
**
77
X H = O
X M = O on
**
on
**
on
**
on
**
on
Col.
Col.
Col.
Col.
Gdr;
1.
2.
3.
4.
1.
= 2M2
**
**
on Gdr; 2.
= 2 M3
**
on Gdr. 3.
From these eight equations we deduce the following:

17 ph_17 \
V = #P.;
; ;M
14
M2 =
'M.
133
M3 = 85 M1
H1
85
724"
229
Hs
_ #1."
277
H. =
133
724
P
And the stresses in the frame, according to these relations, are obtained
as in Case I.
CASE III.
(Equal or Unequal Bays and Knee-Braces.)

Knee-braces are indicated in Fig. 1 of Case I.
The ends of the columns and girders are now assumed hinged. Hinges
are also assumed to exist at the ends of the braces.
The shears and direct stresses in the middle portions of the girders and
columns are the same as in Case I, but change at the brace intersections
by an amount equal to the algebraic sum of the horizontal or vertical com
ponents, as the case may be, of the brace stresses.
The maximum bending moments in the girders and columns are at
the brace intersections, where the shears change sign.
KNEE-BRACE STRESSES.
The moments which were at the girder and column intersections of

Case I are, in this Case, resisted by direct stresses in the knee-braces.
Therefore
M = (F + F) d sin 6
F = M cosec e F.
And
... .
Or expressing F in terms of the moments we have:
F=(M.M,
M.
- M.,
etc.)*: "Where M-end moment
on gar. of story in question, Ma + 1, Mu + 2, etc. = end moments on suc

cessive goirs. next above.
[Note that since the knee-braces are all of the same length and slope,
it follows from the assumptions, that in any one panel the stresses in
the knee-braces are numerically equal.]
The case of Unequal Bays and Knee-Braces is similar to that of Equal
Bays and Knee-Braces.
78
THE LATE WILLIAM CURLETT,

P. A. I. A.
79
William Curlett, F. A. I. A.
IN THE death of Mr. William Curlett, which occurred at his country
home in Menlo Park on January 21st, San Francisco has lost one of its
best citizens and the architectural profession has been deprived of one
of its most valued members. Mr. Curlett had been ill for a long' time and
months ago was compelled to yield the active cares of business because of
broken health.
Mr. Curlett was born in Belfast, Ireland, in 1846, and received his early
education in that city. His architectural training was also obtained in
Ireland and England, where he practiced for several years. He came to
America in 1871, taking up his residence in San Francisco. Later he
journeyed to Los Angeles and established an architectural practice, design
ing among other structures the Severance building at Sixth and Main
streets. During that period he also took an active part in promoting
the city's interests and laid out St. James Park, which has become one
of the show places of Los Angeles.
Returning to San Francisco, Mr. Curlett continued his professional
work with uninterrupted success, among his architectural achievements
being the Phelan building, Head building, Shreve building, Mutual Savings
Bank building and residences for Mrs. M. Pauline Payne at Menlo Park,
for Mrs. William H. Crocker on Nob Hill and for former Mayor Jas. D.
Phelan at Los Gatos.
Since his early association and partnership with Augustus Laver, the
architect of the City Hall of San Francisco, destroyed in the fire of 1906,
he designed many of the best known commercial buildings and residences
in San Francisco and throughout California, including the court houses
of Los Angeles and Fresno counties, the San Bernardino State asylum and
the Flood mansion in San Mateo county. In much of his Los Angeles
work Mr. Curlett was associated with his brother-in-law, Theodore Eisen,
of that city.
Many of his early architectural works were destroyed in the fire of
1906, including the residences of Wm. Crocker, W. Sherwood, L. L. Baker
and the old Clunie building.
Mr. Curlett was a man of fine attainments and his life was one of useful
and meritorious achievements. He possessed a personal poise and dignity
that commanded respect and admiration and kindly qualities that endeared
him to his friends. He had that pure love of his art which makes pro
fessional ideals paramount to commercial gain and he strove to give the
best that was in him to his work, however much he was hampered by
matters that conflicted with ideals of architecture and art.
Mr. Curlett was a Fellow of the American Institute of Architects, a
member of the California Chapter A. I. A., former president of the State
Board of Architecture, member of the Bohemian Club, Doric Lodge No.
216, F. & A., Masons, also a 32nd degree Mason and a member of the Scot
tish Rite bodies. He was selected as chairman of the advisory board of
architects for the exposition in 1915.
Mrs. Curlett, who is a sister of Architect Theodore Eisen of Los An
geles, a son, Aleck E., and a daughter, Mrs. L. Mills, of San Francisco
survive.
Robert B. Young
Robert Brown Young, senior member of the firm of R. B. Young & Son,
architects, of Los Angeles, and president of the Southern California Chap
ter of the American Institute of Architects, passed away at his residence,
1101 South Hoover street, Los Angeles, January 29. The end came peace
80
fully after months of intense suffering which he had borne with remark
able fortitude. He was elected president of the Southern California Chap
ter of the A. I. A. in October and accepted the honor by letter but on
account of continuing ill health was unable to actively assume the duties
of the office.
Mr. Young was born in Huntington county, Quebec Province, Canada,
April 1, 1855. He received his early education there and when a young
man decided to seek his fortune in the West and went to Denver, Colo.
There he acquired a training in construction and architectural work. In
1880 he was wedded to Mary C. Wilson of Denver and the following year
they moved to San Francisco. They remained there but a short time and
about 1883 went to Los Angeles, Mr. Young at once embarking in the
practice of architecture. Thirty years ago there were not many large
structures in Los Angeles and Mr. Young became identified with many
of the earlier large building enterprises. Among the buildings of which
he was the architect may be noted the Westminster, Hollenbeck, Lankershim, Occidental and Lexington hotels; the Barker Bros., Blackstones and
California Furniture commercial buildings ; and the Seminole and Westonia
apartments. He was the resident architect of the new Orpheum Theater
in Los Angeles. He also designed a number of Catholic churches and
school buildings in the diocese of Los Angeles and Monterey. His archi
tectural practice in later years extended to Arizona, the Yuma county
court house being among his achievements there.
Theodore F. White
Theodore F. White, 1526 Wilcox avenue, Hollywood, mining engineer,
street and highway contractor and better known as father of oiled roads
in California, was drowned in the flood waters overflowing from Lvtle
creek at a point on Eighth street, Colton, on January 27th. Air. White
had been active in street and highway contracting during the last twelve
years, was a man of sterling character, respected by his associates and the
engineers with whom he came in contact, beloved of his employes, and
regarded by many inspectors on the contracts he was executing as having
only one faultthat he did his work too well for his own good. Mr.
White was 69 years of age.
*
*
Arizona Architectural Competition
Architect Myron Hunt of Los Angeles, advisor to the regents of Arizona
University in the proposed architectural competition for a university
building to cost $150,000, announces that the competition will be an open
one under the rules of the American Institute of Architects. No geograph
ical lines will be drawn upon those eligible to, compete. The program for
the competition has been drawn, but the regents of the university are
waiting to have some points regarding the Arizona law requiring com
petitions on public buildings cleared before announcement is made.
Arizona has a law identical with that passed by the California Legis
lature in 1872 which the courts of this State have recently held to be
inoperative. The Arizona law has been observed in a desultory fashion
and conflicting opinions have been rendered by county attorneys regard
ing its status. As a matter of fact the Arizona law is as much of a dead
letter as the California law and it is believed the same grounds exist for
declaring it invalid as were found in California. The matter is now re
ceiving the attention of Arizona legal authorities.
81
The Practical in Architecture

By HERBKRT BOOTH KING
KILL and knowledge more than genius are the important factors in
Modern Architecture. To enclose a piece of ground with four walls
and subdivide it to meet certain prescribed requirements is more of
a mathematical than an artistic problem. When, in addition to this, the
commercial side demands economy, stability and a fin de siecle equipment,
new responsibilities occur of a decidedly practical nature. The tendency of
many architects to clothe themselves with an almost impenetrable armor of
reserve (and even disdain) when approached by the man behind the mixer,
the hod or the plane, is not justified by their relative importancefor one
could better eliminate the Italian glow than the Irish bog. The architect
who lives continually in the atmosphere of his academic training is often a
dreamer and of little use excepting for Moorish villas, Swiss chalets, Span
ish pagodas, Indian kiosks and similar importations. A modern apartment
house, hotel or factory, when careful study is required of working drawings
rather than perspectives, does not appeal to him. He is like a tailor who
studies lines instead of linings, who adheres to texts to the disregard of
textures. The practical tendency of architecture has led to a division
among the architects themselves. Certain theorists, not being overbur
dened with orders, settle down as teachers of architecture instead of prac
ticing architectsat least one seldom hears of them excepting through
long-winded addresses at Institute meetings, when they delight to expound
the "ethics" of the profession and deplore the decadence and venality of
certain of their brethren.
They become like Greek statues, objects to be adored at a distance, but
seldom approached by the vulgar horde of capitalists and builders. It is a
joy to have a few men of this class in any profession or businessthey lend
color and tone without causing much disturbance among the activities.
They use as a fetich to explain their inaction"It is unprofessional to so
licit orders"and sit undisturbed in their artistic dens, preferring to be
lionized rather than employed. It is this tendency of the old-time archi
tectural bodies to Knight the dreamers and condemn the workers that has
led to the formation of competitive organizations where mathematics will
stand for more than astronomy or star-gazing, and where the European
sketch-book will not be consulted oftener than the practical publications
and the manufacturers' catalogues. This seceding class believe that "a
new idea is born each day" which will be of use to them and are watching
out for the modest leaflet or the timid stranger that will acquaint them
with the newest development which will add to the practicability, efficiency
or permanencv of their work, and they find in every co-worker, however
humble, a valuable contributor to their fund of information. Such an
architect is a seeker after knowledge, and every new building he plans
shows the result of his hospitality and receptivity and is not a mere dupli
cate of the last one.
The late George Post was approached by a gushing female who said,
"Tell me, Mr. Post, what is the foundation stone, the first requisite, the
essential factor in your noble profession of architecture?"
"Getting the job!" growled out the old war horse.
If she had propounded another inquiry as to what had contributed most
largely to his success, he would doubtless have replied, "Knowing how to
use other people's brains and not depending entirely on my own."
Success to the new movement! which means a shaking oft" of the old
shackles of conventionality and precedent and emerging into a broad atmos
phere of auricular and visual contact with the building world and an ab
sorption and appreciation of its developments and accomplishments.
82
UNION OF THE OCEANS"

Executed in Terra Cotta by the
Steiger Terra Cotta and Pottery Works.
Union of the Oceans

By WALTER E. DENNISON
WHEN the form of Aphrodite graced the universal flood
In her shell of pearly whiteness, all unmindful of the waves,
Rode the Earth's first precious cargo, purest Beauty and her dove,
Argosie of priceless value, under seal of Earth's first love,
Bound for port of rose and myrtle, where the peaceful water laves
Amber strand of Amphitrite. Pulsed first then the sailor blood.
Many cycles Oceanus felt the stroke of fearless keel,
Not alone of hardy Argo, but of pirate ship as well ;
One in quest of fleece of Colchis, shining with its dust of gold,
Other flying flag of darkness, swarming with its robbers bold.
Preying on the ships of commerce, making every course a hell
Leading down to realms of Pluto. Now the oak has turned to steel.
Now the god of competition all the fruits of earth would seize.
Broken are the continental bars and bonds of Atlas' hold.
All the maids of ocean revel o'er the land of tropic sprites.
Waters strange with waters stranger bid their creatures see the sights,
See the union of the ocean where those trod who sought our gold.
In the sap of the equator lies the sweetness of the seas.
From
Plymouth Rock and Albion,
Baltic and the Euxine Sea,
Land of Lap and Hindustan,
Steppes of Russ and vines of France,
Pyrenees and Switzerland,
Danube, Rhine and Amazon,
Hoang Ho and Yenisei,
Ganges' Mouths and hidden Nile,
Italia, Jerusalem,
Land of Kurd and land of Ham,
Australia and Sandwich Isles,

Hudson's Bay, Pierian Spring,
Arcadia, Hesperides,
Sirius and Southern Cross,
Zenith heights and Nadir depths,
Canals of Mars and Milky Way,
Come on, come on to Panama;
Taste California's sugarbush.
In the sap of the Equator
Lies the sweetness of the Seas.
83
84
PEDIMENT OVER ENTRANCE. BUILDING FOR

NORTHWESTERN BANK, PORTLAND, OREGON
Doyle & Patterson, Architects
A History of Architectural Terra-Cotta*
By HARRY LEE KING
THERE are about twenty-five factories in the United States producing
terra cotta and these are located principally in the States of New
York, New Jersey, Pennsylvania, Maryland, Georgia, Illinois, Indiana
and Missouri, and in the West Coast States of California and Washington.
The oldest of these plants was established about thirty-five years ago. The
process of manufacture pursued in each is fundamentally the same, though
there is some variation in the newer plants by reason of the introduction
of improved methods.
In the eastern part of this country the source of clay supply is prin
cipally from the rich deposits in New Jersey.
In the Middle West the best clay is found in Indiana, while on the
Pacific Coast very fine clays are found in Central and Southern California,
Northern and Eastern Washington, and in the southern part of British
Columbia.
Illustrations show Interior views of the Gladdlnp-McBean Factory at Lincoln, Cali
fornia. The terra cotta models were executed by the same company.
TERRA COTTA DETAIL.

LOS ANGELES ATHLETIC CLUB Bl IL DING
Parkinson oV Bergstrom, Architects
85
FRIEZE ON SECOND STORY CORX'ICE,

NORTHWESTERN BANK BUILDING, PORTLAND, OREGON
The clay is mined in open pits, by hand or steam shovel, and hauled
to the factory by railroad, overhead cable lines or teams.
In California mining is done almost entirely in the summer time. Raw
material is stored in huge piles at the factory, protected from the weather.
The mixing of the botly is an interesting process, in that it is done
according to a prescribed formula, which demands the use of several
different clays, selected according to their physical behavior under fire
and for other qualifications ; with these are mixed certain chemicals
and a large proportion of "grog," which is ground up gritoriginally
pottery saggers or terra cotta rejected from the kilns. This grit having
once passed through the fire, is unaffected by another application of a
high heat, and thus its function is to control the action of the clay body
and to prevent warping and twisting. After passing through a series of
mills, fitted with knives which cut the clay to a fine consistency, sufficient
water having been introduced to make it pliable, the body is ready for
delivery to the men who are to press it into the moulds. It is interesting
to note that all of the ingredients which combine to make the body, are
nicely calculated to a standard point of maturity of 2,300 Fahrenheit.
This also applies to the color glazes. There is also a factor of shrinkage
in the clay to be considered, and this contraction is about one inch to the
foot. So every piece of terra cotta goes into kiln proportionately one
inch to the foot larger than it emerges.
One of the essentials to good service from a terra cotta factory is a
well equipped drawing office, and in this department the architect's draw
ings are thoroughly dissected (and weighed in the balance, in other words) and
the whole scheme subdivided into features and these again are diagramed
FRIEZE, SECOND STORY CORNICE,

NORTHWESTERN BANK BUILDING, PORTLAND, OREGON
TERRA COTTA DETAIL OVER ENTRANCE TO FEDERAL

PRISON, ALCATRAZ ISLAND, CALIFORNIA
87
into single units, each of which is

carefully measured and sized. For
before any manufacture can be
commenced, absolutely accurate
drawings must be made. So the
first action under a contract is
the preparation of shop drawings
which analyze construction, size
of individual pieces, length of
feature, the relation of the terra
cotta to contiguous building ma
terials, its connection with the
steel framing, and all other de
tails. These shop drawings are
submitted to the architect for his
drafttng room approval, accompanied by full
size details, except in instances
where the latter are previously
furnished by him. Upon approval of these drawings a computation is
made of the various sizes and shapes of pieces, with a tabulation of repe
titions, and records are accordingly made and forwarded to the plaster
working department together with shop drawings and the full size de
tails. In order to provide a sufficient allowance for shrinkage of the
clay from the time it is milled until the burned state is attained, an inch
is added proportionately to fourteen inches, and terra cotta shrinkage
drawings are customarily drawn to this scale, or as it is generally ex
pressed, 1 to 14.
The plaster shop is naturally divided into two branches of work
model making and mouldingwhich in their relation are negative and
positive. The models in general contour take the same shape in which
the finished product will appear, except in decorative features. Such
instances require only a plain background which is delivered into the
modelling shop where the ornamentation is executed, as will be explained
more in detail later on. From the positive model a negative mould is
made, and on this is registered a record of identification, giving the order
number, the section let
ter and the mould num
ber, all of which corre
spond to the shop and
setting drawings, and these
markings are transferred to
the terra cotta when
pressed. By means of this
system of marking, a single
piece can be ordered from
a building and accurately
remade.
The modelling shop is
a component part of the
plant with a pervading
atmosphere which is
scarcely akin to inert
clods of clay and dull
plastic forms. In it are
modelling boards bearing
modelltng room
88
89
the most varied and con

trasted details in process
of execution. Here the
pliant modelling clay, un
der the skillful manipu
lation of artists, takes on
many forms, perhaps to
the graceful sweep of
some festooned panel, a
stately caryatid, a grace
ful capital, or to a fanci
ful grotesque. (Consider
for a moment the collec
tions of different designs
which meet here, each
representative of the gen
ius of an architect, and
then realize that a few
weeks hence they will be
STOCK ROOM
everlastingly moulded into fixed
form and separated by perhaps
the extent of the whole con
tinent.)
In this department
artists of recognized ability only
are employed, oftentimes the
development of ornamental de
tail is left by the architect en
tirely to the modeller. It is the
practice of the trade to main
tain a competent photographic
department and through it the
modelling is submitted to the
architect for inspection and if
not at first entirely satisfactory,
corrections are made and resub
SHIPPING ROOM
mitted until finally approved.
Many architects prefer to inspect the modelling in person, and this method
of approval is encouraged by the manufacturer.
The pressing shop is the next
department in progressive se
quence and there the clay body
is pressed into the moulds. This
operation is performed prin
cipally by manual labor, but in
some plants machinery is also
employed for work of simple
character. The usual manner is
to press a piece face down,
building up the sides second
arily and finally to insert the
cross webs. When sufficiently
dried it is turned out of the
mould on to a fiat board, face
kiln for burntng upward, and then the process of
90
"finishing" is begun. This operation consists of smoothing down rough

places, squaring sides, truing angles and generally touching up orna
mental parts, usually a slow procedure and one requiring considerable
skill. The material must be thoroughly dried before being fit for the kiln
and this state is hastened by the introduction at night of waste heat from
the kilns. While pieces of average size dry in about five days, as much
as ten days or two weeks and even longer is required for those of largest
proportions and greatest solidity.
The spraying of terra cotta merits attention. For the most part the
glazes are atomized on the terra cotta, the number of coats applied vary
ing from one to four, according to the shade desired. In granite colors,
however, the glaze is oftentimes sponged on, and the black spots similar
to the fleckings in granite are obtained by means of "sputterers" or by
other special machines with some such colloquial title. For there is a
nomenclature peculiar to the business. There is also a branch of this
department which demands most skillful handiwork and attentionwhere
polychrome sprays are applied. But one color can be put on at a time, and
an intricate design requires utmost care and long time in execution.
After being sprayed, terra cotta is ready for the last stage of manu
factureburning. The kilns are worthy of brief description. Exteriorly
they resemble conventional bee hives in general form, save for a flattened
roof, and are constructed of fire brick, bound with strong iron bands.
There is an exterior and also an interior wall, and the heat rises through
the flue between and is carried down a large central stack, thus giving
complete radiation to all parts of the circular interior. Coal has been the
medium employed for many years for firing, but the modern plants are now
burning liquid fuel oil, which is easier to handle, cleaner, more readily con
trolled, and more combustible. The use of oil as a fuel permits a perfect control
of firing units, and by simple mechanical adjustment a steady feed is main
tained and the fluctuation, caused by the banking and drawing of coal
fires is avoided. The loading of terra cotta in kilns requires care and
skill. The customary method is to build up compartments in fire-brick
slabs (not unlike the method employed in building houses of cards) and
into these the pieces are placed separately. Discrimination is used in
setting, and contact must be prevented, for when the degree of maturity
is reached, two pieces touching would become fused. This does not
obtain with the fire-brick slabs, for these having already been burned to
a higher heat are not in a fluxing condition at 2,300 Fahrenheit. At this
point it is again interesting to remember that the component elements
that combine to make up this product are nicely calculated to mature
when this high temperature is reached. Fifteen days is the allotted time
for loading, burning, cooling and unloading a kiln. There are some of
a small design and, therefore, limited capacity which turn over in half
this time, but these are used principally for hurrying forward remakes or
final pieces. The average capacity of terra cotta kilns is about forty-five
to fifty tonsthe more modern ranging to between eighty and a hundred
tons.
Terra cotta is carefully laid out in features and fitted prior to ship
ment. Any unevenness, due to uncontrollable shrinkage, is adjusted on
large rubbing beds, which grind the pieces to exact size and thus perfect
alignment and even jointing is assured. Well regulated fitting shops pay
particular attention to special features, such as first story and entrance
work, columns, caps and extraordinary work.
Fragile by nature, this material requires careful attention throughout
its manufacture and this point is especially emphasized in shipping. It
91
is loaded in quantities of salt hay and every precaution is taken to safe

guard its journey. Yet it oftentimes finally falls into the hands of a
careless truckman and suffers some chipping before delivery at the
building.
The only practical means of transporting terra cotta to extended points
is by railroad car, and by deck boats. The material to be carried in holds
of steamers must necessarily be crated first, an operation which con
sumes much time and is costly.
One other department of a terra cotta factory, not previously men
tioned, is the chemical laboratory. The constant service of a chemist of high
standing is required and his working hours are entirely occupied with the
preparation of sprays or glazes, and in carrying on experiments in colors. While
there is a range of standard colors closely maintained by the trade, each manu
facturer has a line of special shades and composition peculiar to his fac
tory. Terra cotta is regularly obtainable in many shades of gray (match
ing limestone in general tone), buff, red, white and cream, with vitreous,
matt glaze and full glaze finishes. Some manufacturers carry a special
line of material, which faithfully reproduces the texture, veinings and
fleckings found in the different granites. The development in recent
years of polychrome terra cotta has placed at the disposal of architects
an unlimited range of combinations to choose from.
92
Terra cotta becomes a dis

tinct and unique material from
the fact alone that it can be pro
duced with several hard-burned,
unchangeable, and enduring col
ors on one piece, and in this re
spect it stands alone.
Commercially speaking, it rec
ommends itself to architects,
builders and owners through
qualities which it possesses dis
tinct from and in contrast to
other building materials. A kiln
product, it is fireproof, making
it primarily a logical building
material, and a necessity in large
capital to pilasters
structures. It is also a hollow
ware and its relatively light
weight, as compared with the density of stone, granite or marble, renders
it most adaptable for tall structures, and this represent? a great economy
terra cotta detail,

public library bu1ldixg
portlasu, oreco.x
93
in planning steel skeleton construction. The cost of modelling in clay is

reasonable and represents a considerable saving when compared to that
of carved stone, and it is equally permanent. Not only in ornamentation
or decorative features can terra cotta be successfully employed, but whole
fagades, from sidewalk to parapet, are now being generally built entirely
of this product.
Briefly then, some of its potential advantages are that is it a practical
building material, fireproof and weatherproof, readily adaptable through
its lightness in construction to structures of any size, and at the same time
structurally strong and possessing a tensile strength sufficient for its
designated purpose.
To the builders it is a material which works in perfect harmony with
brick, stone, marble or granite. It is readily obtainable, easy to handle,
quickly set and economical in use.
To the owner it represents a great saving in the initial investment,
for it can be used as stone and is cheaper in comparative cost. This fact
becomes more pronounced in considering ornamental designs.
Not only for this reason does it appeal to the architect, but also for
its ready adaptation to ornament, and because the pliant clay, responding
to the touch of the modeller, retains when burned an artistic expression
hardly obtainable in chiseled stone.
GARDEN FURNITURE IN
HADDON HILL, OAKLAND, UAL.
By Strsi Studios
94
The Quantity System of Estimating Again

IN THE ARCHITECT AND ENGINEER of recent date there was pub
lished an article by Mr. Sullivan W. Jones of the firm of Palmer, Hornbostel & Jones, architects, of New York City. The article was in the
nature of an appeal to the architects of the country for the adoption of the
quantity system of estimating.
Mr. R. Clipston Sturgis, the new president of the American Institute
of Architects, sent the Brickbuilder the following expression of the propo
sition :
Your article brings to general attention a matter of extreme interest. It has
long been a matter of wonder to those familiar with the work of the quantity sur
veyor abroad that the waste, duplication of labor, and liability to serious mistakes
and loss incident to our haphazard methods should be allowed to continue. The
excuse contractors have given for the continuance of the system of individual
quantity-taking has been that no two take off quantities or figure alike. Some
figure brick per thousand laid, some figure the materials and the labor as separate
items. Some might cube a building and submit a straw bid based on a cost per
cubic foot. It is certainly time that this babel of methods and this guesswork bid
ding should be replaced by accurate methods generally accepted.
The condemnation of the plans and specifications prepared by architects for
bidding is unfortunately based on a considerable majority of drawings and specifi
cations so used; but it might also be stated with truth that a large number of
architects have neither the education nor experience to justify their being classed
as architects. The majority of men who in their respective communities com
mand respect as architects of good standing produce working drawings and specifi
cations which are fairly clear, exact and complete. Even these would, however,
be benefited by the scrutiny of the quantity surveyor in taking off quantities.
Many individual architects have given "constructive thought to the active rela
tionship existing between himself, the contractor and owner," and the standard
documents of the American Institute of Architects were largely based on individ
ual documents. It is not, therefore, quite fair to state the contrary so strongly,
but one delights to hear it definitely stated that failure in a specification is due to
"want of intelligent preliminary investigation," "lack of accurate knowledge" and
lack of "the power of expression." These appear to be the very kernel of the
matter, and it cannot be too often stated and insisted upon that writing specifica
tions is a task of great difficulty requiring exceptional knowledge and no little
literary acumen. The man who knows his subject and knows how to express him
self will never take refuge behind blanket clauses.
Anything that will encourage better drawings and specifications should re
ceive the support of all architectseven if we never attain the Utopian ideal of
wording that "shall not he capable of more than one clear and definite interpreta
tion by the bidders." The interpretation of words is an extremely complex and
difficult subject in a country so large, where the same word means different things
in different parts of the country.
To produce drawings and specifications such as are desired requires time, and
the owner who wishes the doubtful advantage of competitive bids should be given
clearly to understand that such bids are properly based on complete drawings and
accurate specifications, and for this the owner must not only allow time, but must
also know what he wants. In any comparison with Europe one must bear in mind
that our building operations take very much less time than theirs, and that any
system which requires English time for execution is out of the question here.
The introduction of making one survey of quantities for all builders would
eliminate much waste of time and put all on the same basis as to data. It is not
clear, however, how a builder could estimate "on bills of quantities and not on
drawings and specifications."
The payment of the cost of the survey should surely come directly on the owner
and not indirectly. He must pay it in the end, and as the work, like that of the
architect, is done for him and in his interests, the surveyor should be paid by and be re
sponsible to the owner. It is not clear why he should be paid on the basis of the cost
of the work. It is no more laborious to take off plain marble ashlar than to take
off the quantities of shingles. It would seem as if quantities rather than cost
should be the basis of the charge, unless indeed it were frankly based on time.
The general scheme proposed seems excellent and should be supported.
95
From Mr. Ferdinand Parmentier, Secretary of the Southern California

Chapter, A. I. A., the following was received :
Some six years ago an attempt was made to introduce this system in Los
Angeles. A firm of quantity surveyors established offices and carried on their
practice for a period of six months or so, in accordance with the so-called English
system of quantity surveying. The system, however, at the end of that time was
abandoned, and the surveyors left our city for good. It developed from the infor
mation that I had received from architects, as well as contractors, that the practice
of these quantity surve3'ors had not been carried on in a strictly regular manner,
with the result that neither architects nor contractors have since that time been
enthusiastic to reintroduce the system.
I fully agree with Mr. Jones, and realize the unfortunate condition of affairs in
the average architect's failure to properly co-ordinate his drawings and specifica
tions, and his awkward attempt to establish his own infallibility by means of the
wording of the contract, such a general custom making it impossible to effect any
material uplift in the standard of the architect's relations to the owner and the
contractor. The great difficulty that presents itself, however, seems to me to be
the insurance of the honesty of a quantity surveyor. Mr. Jones suggests standard
rules and units for the measurements of the executed work, but even then the possi
bilities of irregular conduct on the part of the quantity surveyor for the interest
of some particular contractor would be difficult to avoid. The Code of Rules as a
tentative basis proposed for the working out of an American quantity system is
practical and feasible in so far as Rules 2, 3, 4 and 5 are concerned, but I should
find Rule 1 exceedingly difficult of enforcement in California.
In giving the various aspects of the operation of the quantity system Mr. Jones
presents a good illustration of the law of averages, establishing theoretically that
by this system the owner would receive a more favorable bid from the successful
contractor, thereby more than compensating him for the payment of the quantity
surveyor's fee. In this particular, perhaps, the majority of architects will agree
with Mr. Jones. However, I believe that the average owner would not entertain
the same confidence in this theory, but count on the contractor's competitive efforts
to secure the work to neutralize any "overhead'' expenses that might be charged by
him.
This question of quantity surveying was brought up for discussion before a
regular meeting of our Chapter held on September 10th, 1912. and elicited little or
no enthusiasm among the members at that time. Personally, I think the system
of quantity surveying, as outlined by Mr. Jones, is a good one, and I should like to
see it adopted bv architects throughout the country.
DON LEE GARAGE, SACRAMENTO

Exterior Finished in Sacramento Sandstone Brick
')(,

Making and Laying of Composition Floors
By ROBERT P. SKINNER*
HE report on "floorings of sawdust and magnesium chloride" has given
rise to innumerable inquiries from correspondents from various parts
of the United States, all of whom express a desire for further details.
It was stated in the original report that extensive use was being made in Ger
many of a flooring composition consisting of a solution of chloride of magne
sium to which pulverized magnesia is added, together with considerable pro
portions of sawdust, and which, being skilfully compounded, provided a rela
tively inexpensive and fairly fireproof flooring material, especially useful in
large office buildings and public halls. One inquirer stated that the art of lay
ing these floorings in Germany is far ahead of the practice in America, and
asked particularly for the method of coloring the material and of governing
its expansion and contraction.
According to my information, there should be neither expansion nor con
traction of the material from any cause whatever, after a flooring of magnes
ium chloride is once laid. The very ingredients are such that there is no buck
ling or cracking due to heat or cold : In Hamburg the composition is mixed
and spread where the building operations are being carried on, the prepared
dry meal being delivered in bags from the factory and the lye water made on
the spot. It is impossible to state the precise rule for the composition of the
meal or for the lye solution, these being the manufacturers' secrets and each
manufacturer claiming particular merits for his own formula. These formulas
are not patented, and there is no doubt that they are all substantially alike.
Several manufacturers have expressed a willingness to sell their process, either
for the whole of the United States or for a restricted territory. One Hamburg
firm sold its formula for a small place in Southern Germany for $1,428.
The mixture of meal and lye water is made in a mortar box, and when a
thickness of not more than 2 inches is proposed it is spread and smoothed with
a hand trowel ; when a thickness of four inches is desired, the material is
tamped and then smoothed. The amount of lye water used in mixing the meal
depends upon whether the flooring is to be simply spread or tamped ; if spread
the ordinary practice seems to be to use from 4 to 6 buckets of the lye water to
1 sack of meal, the sack apparently containing from 50 to 60 pounds.
These floorings were first utilized in large office buildings in Hamburg,
and probably elsewhere, as a basic flooring for linoleum and also for the addi
tion of artificial wood-marble flooring. These wood-marble floorings are sub
stitutes for wood, and the panels are polished like hardwood floors ; that is to
say, smoothed with steel shavings and given a coating of wax. When lino
leum is applied, it is glued to the magnesium-chloride foundation with a lino
leum cement, which is said to be composed of copal resin and putty.
In Germany linoleum is never tacked to wood or artificial stone flooring,
as is usual in the United States, but it is invariably glued in place, an ordinary
flour paste being used when it is applied to wooden floors. Linoleum thus laid
is washed afterwards with soap water and when dry given a coating of wax,
exactly like a hardwood floor. This treatment is the ordinary practice in the
large office buildings in Germany, even in hallways where thousands of people
pass in the course of a week.
The magnesium-chloride flooring was first considered a particularly excel
lent foundation for linoleum, and it i? only in comparatively recent times that
it has been found possible to color it and to lay it so attractively that no lino
leum covering is necessary. It is laid tight against the side walls, making the
entire floor waterproof. In bathrooms and around toilets, it is brought to
*U. S. Consul General, Hamburg. Germany.
97
the edge of the porcelain and the joints arc rounded upward, so that no crev
ices present themselves in which dust or dirt can collect, nor should there be
any joint through which water might percolate.
The favor in which linoleum is held in this country is such that manufac
turers of these new composition floorings have some difficulty in inducing buy
ers to put down this material, in solid or varied colors, in preference to a simi
lar natural color foundation with linoleum coverings, although the cost and
wearing qualities of the former method are said to be much in its favor. Lino
leum costs in Hamburg about 8G cents per square meter (a square meter equals
1.2 square yards), and the cheapest class of magnesium-chloride foundation
pavement costs 48 cents, making a total of $1.34 per square meter against a cost
of $1.19 per square meter for a colored wood-marble floor attractively finished.
The new floorings may now be obtained in almost any color, or in mottled col
ors. When mottled colors are desired, the different colored mixtures are pre
pared separately and tamped in together as the floor is laid. Special dyes are
required for these operations, and there are a number of manufacturers who
produce them. In a general way, from 15.4 to 22 pounds of color are necessary
for 220 pounds of mortar. The proportions vary with the strength of coloring
desired. The colors themselves are of different prices. One manufacturer
quotes red, blue, black and brown at $4.76 per 220 pounds ; oxide green, $53.55 ;
and blue, $19,04 to $21.42 per 220 pounds. Another manufacturer quotes red
dye, very much in demand, at an average price of $3.81 per 220 pounds. The
prices again vary with the quantity ordered. The more delicate tints, such
as green and blue, are more sensitive to light, particularly if exposed for a long
time, than the quiet colors, such as black, red and brown. Red is especially
favored, and the many different shades are said to be absolutely unchangeable.
Most of the manufacturers of these dyes also supply dyes for cement tiles,
stucco, imitation marble, sand-lime bricks, and cement blocks.
One Hamburg manufacturer claims for his own composition that it is
crack-free under all circumstances, warm under foot, elastic and sound-proof,
preferable to linoleum, as linoleum curls at the edges after a time, breaks or
wears away, and absorbs water, permitting it to leak through. This same manu
facturer submits a certificate of examination from the royal board of examiners
of material in the Technical High School in Berlin, reporting as follows on the
examination of samples of his material:
1. After the sample plates were soaked in water and had been exposed
to frost 25 times at 15 degrees C. below zero, the samples remained unharmed.
2. After the plates had been lying in water for eight days a very small
proportion of water (9 per cent ) had been absorbed.
3. After the plates had been attached to a vessel containing waterafter
24 hours, none; after 48 hours. 2 cubic centimeters, or 5 per cent; after 72
hours. 4 cubic centimeters , or 10 per cent, of moisture had been absorbed.
This manufacturer also claims that in this country his composition is
cheaper than pine flooring, tiling, or stone ; that it may be used to cover old
worn-out wood and stone-plate floorings, staircases, and the like without the
necessity of removing the old floors. Wherever a foundation is firm and dry
it may be laid without any complicated preparations. Finally, it may be cleaned
with cold water and only very seldom should lukewarm water be applied.
After complete cleansing and thorough drying, the flooring should be rubbed
with raw linseed oil or should be waxed.
Magnesium chloride, the chief ingredient of these compositions, is worth,
in 50-ton lots, in casks of 880 pounds f. o. b. Hamburg. $11.50 per ton fused.
If in lesser lots. $12 per ton. Greek calcined and powdered magnesite, in bar
rels of 396 to 440 pounds, is worth $33.32 to $35.70 per 2,000 pounds f. o. b.
Rotterdam. Raw Magnesite, in casks, is worth $30.94 per 200 pounds f. o. b.
Hamburg.

The Architect Saves You Money
By LOUIS C. NEWHALL, President Boston Architectural Club.
THE architect, like Shakespeare's "Man," plays many parts in his pro
fession. Yet the part he plays in the planning and erection of a
building of any kind is an almost unknown quantity in the minds of
business men and owners generally, whether this involves the expenditure
of much or little money, in the building of a small private house or the
erection of an imposing business structure.
The province of the architect bears the same relation to the owner as
that of a specialist in medicine to his patient. It is the architect's busi
ness to know all the conditions that the owner wants to meet in a house
or building.
It is the architect's business to be so familiar with costs of labor
and materials that he can, with a reasonable degree of accuracy, tell the
intending builder the cost of the structure that is to be built. It goes
without saying that a specialist in medicine will often save the cost of his
fee to his patient by knowing exactly what to do, and so where an owner
consults an architect who has had training and experience, he will pay
for the cost of services and obtain a result proportionate thereto.
It has been a mistaken notion on the part of many people that the em
ployment of an architect would necessarily increase the cost of a building.
This is not so, because the trained architect, knowing his cost of labor
and material, will so apportion this cost and so plan his building that he
will save his commission to the owner by economical planning and design
ing, and at the same time produce the most economical building, at the
least possible cost.
This is where the owner many times makes his mistake. The public
at large do not realize that architecture is a precise profession ; one that
is based absolutely on experience in building matters, and that the trained
architect can and does build economically and reasonably, and that he
can obtain, with the use of the same amount of labor and materials that
an untrained man would use, results far better than this same untrained
man, under the same circumstances, and often times at less cost.
Real estate owners, and men who develop property, think many times
that they are economizing in obtaining mediocre ability and that by buy
ing plans outright from builders they are saving on their investment. The
result is quite to the contrary, x^fter the development is completed, the
buildings done, they find they do not have the investment value that some
other building, or some other property has which has been carefully con
sidered, not only from the standpoint of architecture, but from the stand
point of investment also.
Too often the real estate promoter cuts his nose off and never realizes
that his property is not as attractive as some other, and does not yield the
same proportionate profit. It has been demonstrated to many real estate
promoters that the employment of the very best class of architects obtain
able is really the wisest kind of an investment for them, and a real economy
in the long run.
This is true, not only in designing, but in superintending of buildings,
for the architect who is thoroughly trained should be of decided value to
an owner in the carrying out of any building project. There are number
less instances during the progress of a building where an architect's advice,
decision and initiative are of the utmost value and importance. These
things the owner knows little of, and it is not of advantage to the con
tractor to advise him against his (the contractor's) own interest.
99
These things the owner, unless he has had a vast experience in build
ing operations, realizes little or nothing of. It is the architect's business
to act as the owner's representative, to consult with and advise the owner
regarding estimates obtained from responsible builders, in many cases
these bids being from each trade separately, thereby assuring a minimum
cost. This is called a split contractwhere the architect acts almost as
the general contractor in obtaining and letting these sub-contracts, usually
saving the owner the general contractor's profit on the same.
The owner's interests are carefully looked after during the progress
of construction by the architect, and contractors and sub-contractors are
sure of being dealt with in an absolutely fair and impartial manner, thus
insuring to the owner the very best class of work consistent with the
amount of money being spent therefor. The comparatively small fee
which the architect charges for these services will be more than offset by
the savings effected in the contract price alone, and by the better class of
work thereby obtained.
In general, the province of the architect is not only to represent the
owner and see that his interests are fully provided for and covered, but
also to see that the contractor has absolutely fair play, that no more is
exacted of him than he has figured to do, and in short, to act as a mediator
between the owner and contractor to the end that the owner may get the
building that he wants, and that the contractor may erect the building in
exactly the manner in which the plans and specifications upon which he
has figured require.
It will be seen, therefore, that the architect is acting in a dual capacity,
representing the owner and also protecting the contractor, so that the
owner shall not exact more than belongs to him, nor the contractor do any
less than required of him by the contract which he has signed.
*
Architects Becoming Known by Their Work

By B. COOPER CORBETT, Architect.
ARCHITECTURE is as a mirror and reflects the taste of the people
who build, and those that are sensible know that it is penny-wise
and pound-foolish to be without an architect for their own future
home, palatial or humble.
The average citizen is now commencing to approve of the skill of an
architect and knows the difference between a cheap set of "ready-made
plans" in the hands of the "well-meaning builder" and those under the
superior supervision of a professional architect.
"What makes Paris one of the most beautiful cities in the world? Not
alone the taste and appreciation of art of the French people ; not alonej
their thrift, energy and sound business sense. Proper architectural super
vision has most to do with it."
One of the greatest wrongs is the manner in which some daily journals,
especially in their Sunday issues, illustrate our local building enterprises.
Care and judgment should be shown by them in the selection of buildings
that are meritorious in design, and the work of the legitimate architect
should be given preference. They would then have plenty of fine material
from architects who are somewhat reluctant now to illustrate in a daily
journal, because some building company's design, without architectural
proportions, is given an equal or greater display in the same page.
100
Another evil is to be found in the way some real estate firms allow the
erection of indiscriminately designed buildings, not designed by real archi
tects, in their tracts, setting a poor example when there should be a high
architectural standard.
*
Something About Advertising
THE failure of a trial advertisement has set more business men against
advertising than any other factor in publicity. This is a pity when
the indefiniteness of a trial advertisement is considered. A trial
advertisement represents low-water markabsolute bottom.It is not
decisive. It has no more value as evidence than a first meeting with an
individual who afterwards becomes your friend. Of all the advertise
ments in a long campaign, the first ad is the worst, though it is written
by an adept. If it is written by a novice in advertising, that novice will
never write a weaker one. It is like the first discord struck out of the
piano by a beginner. If a student becomes disgusted with such an initial
effort he will never get farther, and if a merchant abandons his advertising
intentions because the first advertisement was unremunerative, he will
never get farther. The first attempt at anvthing is valuable only as an
educator. Advertising is like seed sown, it's got to have time to grow
before you can reap the harvest.
If a paper, after careful examination, impresses you at all favorably,
it's worth giving a fair trial. In no case should a trial ad be inserted for
less than six months. If the paper is going to be a paying investment
for you, it will begin to show results by that time.
There is a big difference between feeding a cow just enough to keep her
alive, and feeding her enough to create a profit.
The same is true about advertising. Nine times out of ten a small
advertisement inserted one or two times is simply a waste of money,
while the same advertisement inserted for six or more months would have
become a paying investment.
*
Asbestos-Coated Steel Indestructible!

Here is a new construction materialasbestos-covered steelwhich is
said to be practically indestructible. The Duckback brand, for exterior
use, is composed of a steel sheet, of U. S. Standard gauge, 18, 20, 22, 24 or
26, coated on both sides, with one or two layers of asphalt, applied hot,
on which is compressed a layer of long-fiber asbestos, in grav or terra
cotta colors. The sheets are either flat, corrugated or beaded, and are
attached to the roof structure in the same manner as black or galvanized
plates. Their weights range from 125 to 225 pounds per 100 square feet.
The price of 22-gauge metal is $11.50 per 100 pounds.
The asbestos will take and hold paint, if desired, but this is not neces
sary for the preservation of the material, one of its recommendations be
ing that the cost of maintenance is practicallv eliminated. The material
has been proved under the most severe use, as roofing and siding for acid
factories, steel plants, coal-mine installations and fertilizer factories near
the seacoast. About 400,000 square feet of this material were recently
used in covering a modern zinc-smelting works.Mining Journal.
The .Irchitcct and Engineer
101
Fire Prevention Again

By F. W. FITZPATRICK.
The following breezy and reminiscent paper by Mr. Fitzpatrick was read at
the recent convention of the American Society of Municipal Improvements, held
at Wilmington, Del. It is a reiteration of vital truths which Mr. Fitspatrick
has told in the past. and in many instances his predictions which were ignored
have come to pass with even greater disaster than ivas prophesied.Editor.
'OUR committee on Fire Prevention
has been good enough to invite
Y me to address you upon my favor
ite theme, Fire Prevention. They've
added that I should limit myself to the
educational features of that subject, which
stirs up all sorts of and pretty ancient
memories. Mr. Evans and other more able
teachers than I will entertain you with
the details and fine points and technique
of that subject, so I may be pardoned if
I go a bit into reminiscences, the early
efforts made to arouse interest in Fire
Prevention, the struggle we had to
have it recognized at all, its history as a
mere infant that may be all the more in
teresting when we note the splendid pro
portions it has now reached, its mag
nificent adolescence if not full-grown maturity. True, we see all about
us grave errors in construction, lax prevention of fire, gross negligence
and all that sort of thing, but to one who remembers what conditions
were thirty years ago the present is indeed almost perfection personified.
We've grown not by little inperceptible inches, but by jumps and bounds.
Think of it; here are popular as well as scientific societies devoting whole
evenings to fire prevention; great societies have been organizd devoting
all their energies to that one end; technical and popular journals and
papers discuss it, and even the editors of daily papers intelligently com
ment upon it; there is not a city or town in the land that has not recently
added special enactments in its laws looking to the prevention of fire;
states and large cities have established fire prevention days, a sort of
P'ourth of July affair, when extraordinary efforts are made to teach the
young, the employed, all citizens, the real significance of the term; fire
departments are giving attention to the subject, and even our architects
and builders are awakening to the realization that it is good policy, real
economy, to build not only as well but a bit better than they are com
pelled to by law. Heretofore you've had to knock them down and sit on
them in order to get them to make any move in that direction at all.
And all this has been accomplished in less than thirty years, for prior
to that time the term fire prevention had not even been coined, let alone
any of its significance understood, and it all has been accomplished through
education, sheer persistence, the everlasting reiteration of its simple
truths, their expounding on tons of paper via other tons of printer's ink !
Education ! Why, in fire prevention or in anything else it's the whole
thing; with it you can do wonders; without it all is lost.
102
The Beginning of Fire Prevention

Almost thirty years ago there appeared in some technical journals a
few weakly written, purely tentative and absolutely academic articles on fire,
and the suggestion was made that perhaps there was too much fire ! Before that fire was accepted as a visitation from on high, a punishment for
our sins, a necessary evil, something to be borne with resignation and
fortitude. Then a city of the West revised its building code and a young
architect had something to do with that revision. He injected most
carefully here and there, between party wall requirements and fees for
inspectors, a word or two calling for better construction, a little less in
flammability of buildings. The city attorney caught those items, he was
aghast that anyone should have injected such "jokers;" they must, for
sooth, be for some fell and sinister purpose, so out they went. The mat
ter was taken up in council, and that dignified body gravely settled that
a city had no business to say how a building should be built; such regu
lations would be insufferable curtailments of individual rights and liberty,
and the fire and police committee was up in arms because someone had
invaded the city's sacred rights to fires. Was the author of those regu
lations trying to insult the fire department? It was there to put out
fires ; did he imagine it could not attend to its business that he should
talk about lessening fires?
The newspapers were approached, editors glanced at the matter sub
mitted, laughed sarcastically and pityingly informed the fire prevention
enthusiast that the insurance protection was all that anyone needed; they
wouldn't clutter up their columns with any new-fangled nonsense as
long as there was a dog fight or other real newsy item to display under
scare-heads to their expectant readers.
Some fire prevention matter was printed at private expense and dis
tributed like the mustard seed of old. Some of it stuck, however, and
appeared first,' in the little jerk-town papers and later in the big fellows,
and that was the signal for the insurance anvil chorus to begin. Fire
proof construction, intelligent handling of explosives and combustibles,
etc., etc., was all rot. The fire departments would put out fires and the
salvage folk would save what they could and the insurance companies
would pay the balance of the loss. That's the way it had been for years,
and so must it continue, the ordinary and accepted way. Architects poohpoohed fire prevention, and when they did try to build a bit better they
merely substituted unprotected iron for wood, and cried derision at us
and our theories when fire warped and twisted that iron and let the build
ing down on top of the firemen. And the builders rose in arms. We
were, of course, a pack of visionary idiots, but if we ever did get our fool
fire prevention theories established there would soon be no work for the
builders, for, as it was, about six-elevenths of the building done was merely
to replace burnt buildings; no fires, very little building, therefore scant
picking for the builders and a complete readjustment of economic con
ditions. W hy not leave well enough alone?
Uphill Work for the Educators
And so it went, mighty uphill work for the educators, ceaseless and
bitter criticisms, obstacles that seemed almost insurmountable, a thank
less task, interesting withal, and the less encouragement it received the
more urgent seemed the necessity of its prosecution, and those few en
thusiasts kept at it grittily. To you gentlemen, who are too young to
remember those early stages of the movement, or who were so busily
103
engaged in other lines that you had not yet given it any attention, it may
all seem a very rational growth. The advantages of fire prevention are
so obvious that it sounds almost monstrous that it ever could have been
opposed, or that its simple requirements were ever looked upon as in
sufferable. But you can believe me that it was a long and bitter fight. I
have been interested in and watched from the inside the progress of many
reforms, many drastic upheavals that have been deeply resented, but .no
where else have I seen so much, such well-generaled and heavily financed
opposition as was directed at fire prevention. Even today you can see
how it will still crop out. Go and suggest some little improvement in a
building code and watch the procession of interested opponents, big busi
ness men, builders, real estate sharks and their cohorts that will file into
the city hall, there to register their solemn protest against the innovation
that is aimed at the welfare of the city.
The turning point came about ten years ago. Not only was the sub
ject tolerated, but there was actually some enthusiasm shown. The pa
pers opened their columns freely to our sermons and exhortations ; more
than that, some of them gave whole sections to the discussion and exploi
tation of fire prevention. The technical journals sanely commented upon
the happenings of the day that pointed a moral. The colleges added a
few words to their engineering courses. The architects came to the
realization that steel and other materials might be unburnable, but never
theless were very damageable by fire, so they protected them and did,
more or less reluctantly, other preventive things. And then came the
really big and convincing lessons in our education. Some wild-eyed en
thusiast had been prophesying dire disaster to our cities ; one had in fact
written an article that had been widely quoted in which he foretold
quite by accident, I assure youthe order in which the most likely cities
would be attacked by fire (and had been well hooted at because those
two cities had such exceptionallv fine fire departments that they made it im
possible for the foolish prophecy to be verified). Well, earthquake and
fire conspired with him and Baltimore and San Francisco were laid low !
The Impressive Sermon of Big Fires.
No more impressive sermon was ever preached than those two fires,
nor was ever a lesson so quickly and respectfully heeded. There was
literallyfor a whilea veritable scuffle to see which city would most
thoroughly amend its code, which manufacturing concern would make
the most rigid rules anent prevention or which individual would shout
the loudest approval of all that was being done in that direction. No
spanked school boy ever promised abiding and complete reform so quickly
and earnestly as did the great United States and Canada at that time.
Educate in fire prevention? Oh. yes, that's my subject, and I'm ex
pected to enounce some wise homilies thereon. One could string out
such homilies for endless pages; I'll bunch mine in a paragraph.
Just keep everlastingly at it, that's all. The public, through years of
hammering at it, is in a receptive mood. Let everyone who has seen the
light and knows the simple rules of the game of fire prevention elect him
self a committee of one to preach them and write them wherever he can.
See a billboard advertiser at work and learn from him the efficacy of
keeping a subject or matter before the people. Go and do likewise.
Never let an opportunity escape, and lo, before many years you'll find the
country so well versed in the art, so insistent upon obeying its every re
quirement that you will wonder indeed that there ever could have been
a time when education in fire prevention seemed necessary.
104.
Some Notes on Causes of Failure of Stucco Work

NUMBER of years ago stucco was quite generally used in cer
tain localities, but owing to failures of the material to withstand
the action of the elements and to other causes, this type of construc
tion was almost entirely abandoned. During the last few years, however,
there has been a very marked tendency by the building public to take up
this class of construction again ; therefore this word of caution.
We do not want to have the same experience with this class of work
as the concrete block industry has had, and yet, unless due care is used
in drawing specifications and in their application, there are going to be a
great many failures as in the past. Our architectural friends are very
partial to stucco exterior, and if it is properly mixed and applied will come
up to their expectations in every way. So much depends on the selection
of the material, proper mixing and proper application that only skilled
mechanics who are familiar with this class of work should be employed.
I remember one residence in particular, where there were a great many
horizontal cracks in the stucco running almost the entire length of one
side of the building. These cracks were about two feet apart and were
very pronounced. The whole area of sides and ends was very unsightly.
After a careful investigation it was found that in nearly every instance
where cracks had developed, they were at a point where' the wire lath
was lapped, and in many places less than one-quarter inch thickness of
stucco was over these laps. In some instances by cutting out the cracks
it was found that the metal lath was not even tacked solidly in place, and
yet stucco work in general was condemned by a number of parties on the
results obtained in this one building. It was quite apparent that the
trouble was not due to any fault of the material, but in this particular
instance was entirely due to the application of the wire lath and stucco.
In addition to the large cracks at the laps of the wire lath, there were a
number of hair cracks throughout the entire area, which apparently were
caused by too much troweling of the concrete mass, and as was found by
investigation there was a coating or frosting of Portland cement on some
of the areas and the cracks penetrated just through this frosting. Other
areas were entirely smooth and cracks had not developed.
In another case regular lime mortar plaster without any Portland ce
ment was used for the scratch coat. . The first coat consisted of regular
interior plaster and the second coat consisted of Portland cement, asbestos
rock and asbestos fiber. The second coat was. very thin and the damp
salt air and moisture penetrated through to the first coat. The lath be
came swollen and the stucco came off in sheets. The stucco on this work
was condemned and the faults were laid at the door of the asbestos and
Portland cement. Upon investigating the matter thoroughlv, it was
readily proven that the entire trouble was due to the nature of the lath
and the materials entering into the first coat.
I have referred to these buildings with a view of cautioning people
interested in stucco construction to see that this particular part of the
building is given proper attention. In the past succo has been applied in
two coats, the total thickness being about one-half inch to five-eighths inch.
Past experience is teaching us, however, that one inch is by far better, and
if the material is applied in this thickness house owners and architects
should not have reason to regret its use.
Another point of considerable importance is the color. A uniform
color is rather difficult to obtain, on smooth surfaces particularly, but it
105
can be obtained if proper attention is given to the selection and mixing

of the ingredients and if the stucco is properlv applied. When Portland
cement and sand are used, it is very essential that the sand should be
absolutely free from any organic materials which have a tendency to dis
color. It is also of vast importance that the ingredients be mixed very
accurately and carefully and that a sufficient amount be mixed at one
time to cover certain areas exposed to the same lights and shadows.
For example, the work should not be left in an uncompleted condition
half way between windows or half way down the side walls, for just as
surely as this is done, there will be a streak showing where the latter
work was started. If it is necessary to do a certain given area at two
operations, care should be used to get the materials properly blended and
the new stucco floated or troweled to correspond exactly to that already
done. By using a little care on details of this kind the ultimate results
will be much more satisfactory.
Portland cement and sand as a stucco mixture has been used with
fair success where work has been carefully supervised, but there has been
such a lack of proper attention to the mixing and application that there
have been some bad failures. The use of asbestos rock and fiber to take
the place of sand is meeting with considerable success. The asbestos
fibers have a tendency to hold the water which is used to mix the con
crete mass, longer, thus giving the Portland cement ample opportunity to
become properly set, and in this way stucco mixtures are possible that are
more uniform in color and less liable to crack, as the fiber also furnishes
additional bond.
There is one point which is frequently lost sight of ; that is, it is pos
sible to manufacture or make concrete slabs that are free from cracks
and that can be exposed to the elements for an indefinite period without
discoloration. Therefore, should cracks develop in a well-constructed
stucco work it can be invariably traced to settling of the building or the
shrinking of the frame. By insisting upon thicker stucco walls the lia
bility of the stucco's cracking is reduced to a minimum.
The price of lumber is readilv advancing and the desire for fireproof
exteriors, especially in the suburban districts, as well as artistic effects
that may be obtained from stucco, are creating a universal demand for
this type of construction, and while the initial cost may be slightly more
it is such a small part of the total outlay and such an important part of
the structure that the best is the cheapest in the end.Cement and Engi
neering News.
*
*
*
The Troubles of an Architect
Architect"Now, where would you prefer the drawing room, sir?"
Mr. Strukile-"Look here, young man, I've let you put up a smokin'
room, when I don't smoke ; a music room, when I couldn't play a mouthorgan; a nursery, when I ain't got no nurse, and a pantry, when I don't
pant. But I'm goin' to draw the line at a drawin' room, when I couldn't
even draw a straight line."
*
From 350 pounds pressure to 22 pounds is the record of the water
which climbs to the top of the Woolworth building in New York City,
the tallest in the world. That is, 350 pounds pressure in the big pumps
is needed in the basement to lift water to the top of the 57-storv pile,
and have 22 pounds of force left. This is said to be twice the pressure
needed to bore a hole through the strongest brick wall.
106
The Architecture of Open-Air Schools

By JOHN R. VAN PELT,*
UNLIKE the architecture of the ordinary school where experiment has
prescribed the type, open-air schools have not yet been built and
tried out. Open-air school rooms have been built or altered from
old school rooms as minor parts of buildings, roofs covered and uncov
ered, have been turned to the purpose, but the complete school, planned in
all its details toward the one end and of an advanced type, is yet to come.
In describing the ideal conditions to which I think such a school
should conform, I have in mind a type slightly less radical than what is
sometimes known by the title, namely: a school that is entirely out of
doors, with little more than a roof, and is typified by those at Shrewsbury
House and Bradford in England. On the other hand, something that is
considerably more open than what has been styled the low-temperature
school, such as the Graham School, or such schools as No. 21 in New
York, where the rooms have been adapted from the regular type by merely
changing the pattern of the windows and keeping them open.
In other words, I propose a building so constructed that the air in all
parts of rooms where the children remain will be continually replaced by
outdoor air that has only sojourned a few seconds within the limits of
the building, yet not a building that is entirely without heat.
The ground for such a school should be sandy or gravelly, without too
much clay, so as to preclude a humid condition in the entering air. It
should be protected from the windpine, spruce, etc., forming an excel
lent screen ; but these trees should not be too close to the building and
should not cast a shade upon it. City schools should be so situated that
sun will not be cut off from them by adjacent skyscrapers. This is also
important because the high buildings of our later construction cause con
centrated air currents that would render work in an open-air school almost
impracticable, by blowing papers and material about and forcing dust
and dirt up and through the school.
Toilets are to be placed so that odors cannot reach the open class
rooms. An unsanitary condition of this kind will become particularly
objectionable in warm weather.
It is essential that the plan be so arranged that all class rooms,
study rooms, the auditorium and wherever the children remain shall
have ventilation on two or more sides, and to really fulfill conditions prop
erly, the room should be open on at least two sides that are opposite each
other. Corner rooms with windows on the sides perpendicular to each
other may be satisfactory when there is a sufficient amount of wind; but
when there is little movement in the atmosphere, a dead corner with
eddies is likely to retain the air in certain portions of said rooms. On the
other hand, if rooms are entirely open on two opposite sides without pro
tection a storm or misty rain will carry completely across the room. For
this reason an open gallery is advantageous.
General plans may be divided into three classes: The "U" or "H"
plan, where the wings are about open courts, the "T" or "Star" plan,
where the wings radiate from a center, and the enclosed court plan. The
last named is not so good, and all plans should so enclose the courts that
the latter are open on at least one side which is not the north. This is to
insure the entrance of the sun into all parts of the court during some part
of the day.
rSchool of Architecture. Columbia University. (Read at the Fourth International Congress on
School Hygiene, Buffalo, N. Y.)
107
I see no objection to building three stories high above basement or

higher, if means of ascent can be provided. Open galleries and open
staircases are good, provided they are protected from snow and sleet. A
great advantage is that children passing between the cold rooms do not
undergo a sudden change of temperature.
An objection to placing class rooms on the ground floor is dust and
odors from the street and the general impurity of the air.
Class rooms may have the floor warmed. This would slightly temper
the air and keep the children's feet from becoming cold, tending to dry
them if they had not come to school with rubbers. If the floor is. heated
it must necessarily be of a material that will not be affected by the heat.
For this reason the warmed floor may be attained by metal plates sep
arated by composition.
Coat rooms should be well ventilated, but kept reasonably warmed,
that is, about 65 degrees Fahrenheit. This will appear quite warm to the
pupils coming from the class rooms and halls, and a higher temperature
would be uncomfortable before the smaller children could succeed in ad
justing their clothes. It may be suggested that coat rooms could be
omitted, in that the children wear about the same clothing in the class
room that they do out of doors. If they have to come to school through
snow and storm, their outer wraps should be taken off and dry wraps
put on, and I believe it would be better to provide a proper place_ to keep
such wraps, allowing the damp ones to dry.
Furthermore, exceptional cases occur where fragile or anemic chil
dren suffer from time to time from the cold. This has been noted in the
Graham School reports, and the warmed cloak room offers an excellent
place where their vitality may catch up. Although limited space may
seem to force wardrobes in the class rooms, I consider it a bad solution.
In such case a warmed room for recuperation should be provided on each
floor.
Toilets must necessarily be warmed. In very cold weather plumbing
pipes would freeze. A temperature of 60 degrees to 65 degrees Fahren
heit is ample. Anything higher than this would be bad.
In the laboratories, manual training rooms, etc., provision often has
to be made to maintain such a temperature that liquids under study will
not freeze, and where fine and delicate work is done the temperature can
not be allowed to go quite as low as where some protection for the hands
may be worn in cold weather. Furthermore, below a certain tempera
ture, it is not easy, and for some persons, not possible to perform very
delicate work. Steam radiators should be introduced in such rooms, and
if a number of small radiators are scattered about, the heat can easilv be
graduated by turning on one or more and allowing the others to remain
empty. Provision must be made for draining these radiators rapidly.
Rooms for visitors should be provided where the temperature is not
allowed to fall too low, and heat will probably be required in the princi
pal's and teachers' rooms.
In spite of the fact that such a school is open and a considerable
amount of heat lost, the fact that the average temperature of the build
ing is kept so much lower than is ordinarily the case will probably show
a slight saving in coal over the usual type of school house. Sufficient
experiment along this line has not yet been made to definitely determine
the proportion.
108

History of Vitrified Clay Sewer Pipe
Venerable Past of a Product Five Thousand Years Old Found to Embody

"Modern" Principles of Manufacture
By BENJAMIN BROOKS in Contract Record
BEFORE the history of Europe really begansay, approximately, five
thousand years agothere were current in the Greek "myths," or
fairy tales, numerous persistent rumors of a magnificent and powerful
people inhabiting a mysterious island to the south, in the Mediterranean
Sea. Was it history or was it just a fairy tale?
Nobody could be quite sure which, until less than a generation ago,
a freak of the desert winds blew the sand off the ruins of Egypt's ancient
foreign office and disclosed the little clay tablets whereon were recorded as
plainly as in print the letters sent and received by the ancient and honor
able Minister of Egypt's Foreign Affairs. Although these letters had been
written and filed so many thousand years ago, it was perfectly plain to
any archaeologist who glanced at them that about the time Moses was a
gallant young man ready to fight any ruffian who crowded a good-looking
girl out of her turn at the public well, this magnificent and powerful civiliza
tion hinted at in the Greek fairy tales really did exist on the Island of
Crete.
*\
There was bountiful trade with other countries ; there was much trouble
about who handled the customs receipts, and with pirates, and with en
croachments of barbarous armies. But there were also huge profits and
great wealth, and there was a king who was enough of a sportsman to make
a Roman holiday look like a county fair on a rainy day.
Bull fighting was the king's special delightnot such tame sport as it
is nowadays, but bull-baiting without red flags or horses or weapons of any
kind; just a troupe of lithe young men and women, quick as lightning on
their feet, who danced before the enraged taurus, grasped his long horns
as he charged them and leaped lightly over him through the air to be
caught in one another's arms. Some royal sport! But the king had an
other and a quicker way of spending money if his gold and silver and ebony
checker-board, recently discovered, is any indication. And, of course, he
had a magnificent palace, and the best Egyptian architect imported to
build itwhich brings us to the hero of the story.
Palaces were a common thing with this celebrated architect no doubt,
but this palace for the Cretan kinghalf pirate and half patron of royal
sportswas to be something extra. The ruins of it still proclaim the fact.
And one of the little extras that was to make it a famous palace was the idea
that it should be drained not merely with open, mosquito-ridden ditches
or rough stone waterways, but in a truly up-to-date and sanitary manner
with pipes. But pipes of what?
It is not difficult to see how he arrived at his choice of materials. The
Egyptians had already developed the use of clay bricks. One pyramid had
been built of them (and it still stands) and there were the everlasting clay
tablets bearing the hieroglyphics, and clay vessels of every sort to contain
wine and water. Now if a tall clay vase with a bottom in it would hold
water, why wouldn't a succession of tall clay vessels without bottoms, and
fitted end to end, convey running water? And this was the invention of
vitrified clay sewer pipe, five thousand years ago.
The comparison of the first locomotive, the first steamboat, or the first
printing press, with the last, is usually interesting by contrast, but if we
take the first clay sewer pipes as they were dug from the ruins of this
109
Cretan king's palace, still in perfect condition, and compare them with
the clay pipe of today, we are struck by the great similarity of the two.
There they are, four inches in diameter, in thirty-inch lengths, with belland-spigot joints, without blisters, cracks or any imperfections that would
prevent their giving good service in any town of today.
How much did this far distant architect know and how much was he
guessing? Did he realize that in creating bell-and-spigot clay sewer pipe
he was giving something to the world that would be an important feature
in its civilization ever afterward? Did he realize that in selecting clay
for his material of sanitation he had chosen absolutely the only material
that could have carried sewage and resisted its acid-bearing vapors, or
carried water and resisted its solvent carbonic acid, and remained to be re
discovered after five thousand years? If an untutored girl like Cleopatra,
only a few centuries later, knew that lemon juice would dissolve pearls
or any other limey substance, this king's architect may have known more
than we think about the destructive chemistry of sewage and the great
value of burned clay to resist it. If he knew how to cut 40-ton blocks of
stone from quarries without powder, float them across the Nile without
tug boats, haul them across the desert without railroads, steam, donkeys
or wire cables, pile them up in a temple without derricks or jackscrews,
and fit them together without mortar so that not a five-hundredth of an
inch intervened between them, it is difficult to guess how much he knew
about sewerage and sanitation. It is fortunate, perhaps, that there
was no regular patent office in Egypt, or we might still be paying him
royalties as we do to the organized brigands of Gizeh who have come to
own the Pyramids.
Now there are two sides to engineeringthe Adventurous and the
Commonplace. This original inventor, whoever he was, with no building
ordinances to bother him, and plenty of the king's money to spend, must
have enjoyed the adventure of it exceedingly. But that was five thousand
years ago. Today the big money is to be found on the Commonplace side.
The most successful engineers of today hire draughtsmen at $2.00 a day
to invent details for them while they deal strictly in standard materials
and keep their eyes on standard specifications and their fulfilment. Not
being the inventors of the Briggs logarithms, a lot of us must be content
to use them faithfully without alteration to the sixth decimal placefor a
living. It is the same with vitrified clay sewer pipe. We did not have the
fun of inventing it or using it as an experiment, but we must use it as
the standard of all first-class sanitation. And, after all, there is great honor
in dealing in the most indestructible material ever invented and in carry
ing forward the world's sanitation as well and as thoroughly as the most
wonderful of all builders did for the Kings of Crete.
*
The Autoclave Test for Portland Cement
MR. W. LAURENCE GADD, an English cement expert, recently read
at a meeting of the Concrete Institute in London a paper entitled
"Some Fallacies in Cement Testing." The paper is somewhat ex
haustive, touching upon a number of points regarding which cement ex
perts are pretty generally agreed, but containing one paragraph which, be
cause the subject has recently been the cause of some warm discussion on
the Pacific Coast, the Architect and Engineer believes it will be of interest
to many of its readers to reprint.
The paragraph in question contains Mr. Gadd's ideas upon the value
of the "Autoclave Test," so called, and is as follows :
110
This test, recently proposed by Mr. H. T. Force, in charge of testing materials

on the Delaware. Lackawanna and Western Railroad of Scranton, Pa., is merely
a revival of Dr. Erdmeyer's high-pressure steam test introduced in Germany about
1881, and rejected by German cement experts as being unreliable and misleading.
In the words of Professor Gary of the Royal Bureau of material testing, it is even
less adapted to distinguish useless cements from useful cements than the usual
methods of determining constancy of volume. According to Dr. Cushman of Wash
ington, the details of the test have been several times revised during the last twelve
months, but the procedure is now as follows:
For each test three neat briquettes are made, and after twenty-four hours in a
moist closet these are weighed and then placed in the autoclave, sufficient water
being added to cover them. Pressure is then raised by heating the apparatus by
gas burners or other suitable means, the time taken to raise the pressure to 295
' lb. per square inch being not more than one hour.
The pressure is maintained at 20 atmospheres for a further period of one hour,
at the end of which time the autoclave is slowly blown off, the briquettes removed (when
their conditions permits) and placed in the moist closet for one hour. They are then
re-weighed and broken in the cement-testing machine in the usual manner. The tensile
strength so obtained is compared with that of twenty-four-hour neat briquettes kept in
moist air, and- must show an increase of at least 25 per cent over the latter. The
autoclave briquettes must also develop a strength of at least 500 lb. per square inch,
and the gain in weight must not be greater than 1 per cent. Expansion bars, 1 sq. in.
in section and 6 in. long, are also made up and tested for expansion after twenty-four
hours in the moist closet and two hours in the autoclave. The expansion of these bars
must not exceed one-half of 1 per cent.
Under this test some cements developed greatly increased strength whilst others were
reduced to powder. Comparison of results, extending over twelve months, showed that
the failure could not be due to the presence of free lime, but it was thought to be due
to the presence of coarse granules of cement which are not hydrated when the cement
is gauged, but which might threaten the stability of the structure by subsequent hydration
after a lapse of time.
The disruption of the briquettes by the hydration of the coarser particles of
cement clinker, under high pressure and heat, is probably correct. I myself drew
attention to this in an article published more than six years since, but numerous
experiments have convinced me that such coarser particles hydrate eventually in
the cold without expansion. If it were otherwise the whole of the concrete work,
in this and other countries, carried out with coarsely ground cements during the
last twenty years, should now be in a very precarious condition.
I have made a number of tests with the autoclave with somewhat erratic re
sults; but with finely ground modern rotatory cements, the Le Chatelier expansion
of which did not exceed 2 mm., the whole of the samples, with one exception, con
formed to the test as laid down. The one exception, curiously enough, was the
most finely ground member of the series, the residue on the 1802 sieve being only
16 per cent.
On the other hand, a number of samples ground to the fineness stipulated in
the standard specification, viz., from 12 to 18 per cent on the 1802 sieve, failed to
withstand the conditions of the autoclave test, although they were perfectly sound
when tested by the ordinary boiling or Le Chatelier methods.
I hold that growth of strength by age is of less importance and is not such a
criterion of quality as is generally considered. Modern cements prepared from
purer clinker and much more finely ground than formerly attain a strength ap
proximating to the maximum much more quickly, and it is evident that a cement
which attains, say, '8 of its maximum strength at short dates, has less margin for
growth than one which only develops '5 of the maximum in the same time.
The stipulated pressure to be maintained in the autoclave (20 atmospheres) is
needlessly high and serves no useful purpose. The same effect is produced at a
pressure of 5 atmospheres as at 20 atmospheres, as the following tests on a sample of
cement show :
Pressure in Autoclave
Tensile strength (lbs. per square inch.)
5 Atmos.
lOAtrnos.
20 Atmos.
745
760
780
790
795
740
767
777
760
There is, therefore, nothing to be gained by carrying out the test at the high
pressure advocated in America.

Qalifornia State *marh af Arrhiterture
Amerirait 3itatitute nf Arrhiterta
NORTHERN DISTRICT.
PRESIDENT ... . . . . . . . . . . . . . . . . JoHN BAKEwell, Jr.
(ORGANIZED 1857)
SECRETARY AND TREASURER.SYLVAIN ScHNAITTACHER

PREside.N.T. . . . . . . . . . R. CLIPston STURGIs, Boston
FIRST V1cE-PREsipENT ....THos. R. KIMBALL,
Omaha, Neb.
SEcond Vice-PREsipENT. ... FRANK C. BALDw1N,
Washington
SECRETARY. . . . . . . . . . D. KN1cKERBAcKER Boyd,
Washington, D. C.
J. L. MANRAN, St. Louis
AUDITOR. . . . . .T. J. T. FULLER, Washington, D. C.
TREASURER
.. . . . . . .. . .
Members
EDGAR A. MATHEws
Joseph C. Newsome
JNo. BAKEweLL, JR.
SOUTHERN DISTRICT.
PRESIDENT ............. . . . . . . . . JoHN P. KREMPEL
SECRETARY-TREAsURER..... . . . . . FRED H. Roeh RIG
OcTAvius MoRGAN
MEMBERs. ...................
P. HUNT
WM. S. HEBBARD
ait
Board of Directors

M. Donaldson, Detroit; Edward A. Crane, Phila
delphia.
*rantiara Architectural (IIIth

PRESIDENT ... . . . . . . . . . . . . . . . GEo. E. GREEN wood
VICE-PRESIDENT .............. CHAs. PETER WEEKs
SECRETARY................
A. L. WILLIAMs
TREASURER . . . . . . . . . . . .
W.M. D. SHERMAN
Directors
HENRY A. ThomsEN
JAMEs A. MAGEE
- - - - - - -
Two
- - - - - -
YearsC.
Grant
La
Farge,
New
York; Burt L. Fenner, New York; H. Van Buren


Cook,
New
York.
na Angeles Arrhitertural (Clith

PRESIDENT .............. ARTHUR
RollAND KELLY
F. Withey
SECRETARY-TREASURER . . . . . . . . . . HENRY E. BEAN
John T. Vawter
Vice-PRESIDENT ............... HARRY

PRESIDENT . . . . . . . . . . . . . . GeoRGE B. McDougALL
Vice-PREside.N.T. . . . . . . . . . . . . . EDGAR A. MATHEws
SEcRETARY-TREAsURER....SYLVAIN ScHNAITTAcHER
J Geo.
B. McDougALL
HENRY G. ScHULzE
TRUSTEEs. . . . . . . . .
- - - - - - - -
Chairman House, and Entertainment Committees,

Massier of Atelier
GILBERT STANLEY UNDERwood
#ait Birgu Arrhitrctural ABBuriatinn
Vice-PRESIDENT. . . . . . . . . . . . . . ALBERT C. MARTIN

SECRETARY . . . . . . . . . . . . . . . . . FERNAND PARMENTIER
TREASURER. . . . . . . . . . . . . . . . . August WAcKERBARTH
PRESIDENT . . . . . . . . . . . . . . . . . . . . . . . . . J. B. LYMAN
VICE-PRESIDENT ... . . . . . . . . . . . . . . . . . F. C. CREssy
SECRETARY.........
... RoBT. HALLEY, JR.
TREASURER. . . . . . . . . . . . . . . . . . . . . . . G. A. HAUsseN
-
Board of Directors
J. J. Blick
Octavius MoRGAN
H. M. Patterson
#urtlanth
Architectural (IIIth
OFFICERS FOR 1913

PRESIDENT . . . . . . . . . . . . . . .
Frank LoGAN
VICE-PRESIDENT. . . . . . . . . . . . . . . . . JNo...M., Hatton
SECRETARY. . . . . . . . . . . . . . . . . . . . WM. H. FLANIGAN
TRLAs URER. . . . . .
WILLIAM P. Dawson
- - - - - - - - -
- - - - - - - - - - - -
PRESIDENT. . . . . . . . . . . . . . . . . . . . EDGAR
M. Lazarus
...JNo. G. Wilson
Vice-PRESIDENT ..
SecretARY-TREASURER.
.H. A. WhitNEY
Morris H. Whitehouse
TRUSTEEs. . . . . . . . ' ' ' ' ' " Ellis F. Law RENce
-
Arrhitertural Tragur afthr?larifir(Unast

PRESIDENT . . . . . . . . CARL F. Gould, Seattle, Wash.
Vice-PRESIDENT . . . . . . . MYRON HUNT, Los Angeles
SECRETARY. . . . . .
J. S. Core, Seattle, Wash.
TREASURER. . . . . . . . . . . W. C. HAYs, San Francisco
- - - - - - -

OFFICERS 1913-14
Concrete Office Building

PRESIDENT
. . . . . . . . . . . . . . . . . . CHARLEs
Vice-PRESIDENTs
.......
- - - - - - - -
H. ALDEN
J. F. EveRETT
('
Gove
SECRETARY
Albert HELD
. . . . . . . . . . . . . . . . ARTHUR L. LovELEss
TREAsure R
. . . . . . . . . . . . . . . . A.
AdditionAL MEMBERs
of CouncIL..........
~!
C.
P.
WillAtzEN
D. J. MYERs
D. R. Hu NTINGTon
W. R. B. Willcox
Engineers Mayberry & Parker, 472

Pacific Electric building, Los Angeles,
are preparing working plans for an 8
story and basement reinforced concrete
store and office building to be erected
on Central avenue in Phoenix, Arizona,
for Dwight B. Heard and associates.
112
The World a Field of Contest

At the annual meeting of the Archi
tect and Engineer's Association in Los
Angeles, President Arthur B. Benton
gave an interesting talk, touching at
some length upon the belief that the uni
verse is one .vast field of conquest where
in the survival of physical fitness has
been accomplished by elimination of
weaklings, nations or individuals. "If, as
we hope," said Mr. Benton, "the future
advance of the race is to be unhampered
by wars, history in the future will in
ever increasing volume record the con
quests by men of the tremendous forces
of nature.
"With the era of world-wide peace will come
congestion of populations, to provide for whose
welfare, even to avert whose extinction, will de
mand generals of engineering and of architecture
as resourceful and as courageous as the greatest
military heroes of the past. Even today, could
architecture and engineering have proper consid
eration in their highest practice, the greater part
of the harvest of the 'Grim Reaper,' who is,
after all, the one relentless and insatiable enemy
of mankind, would be the reaping of grain white
for garnering, and not, as now, also the destruc
tion of the tender blade, the corn in the milk and
the wheat of humanity in the summertide of
growth and development.
"It is proverbial that 'the good die young,' and
why? Is it not that this is a physical environ
ment in which we must live? Mind is in some
sort lord of matter, but mind must wage constant
war with matter in a material universe, or go
down in disastrous defeat. It is a combat which
should enlist the enthusiasm of men of our pro
fessions, as war for principle has that of the
splendid men of the past. We hear much of the
victims of war; but men generally think little of
the innumerable multitude of victims of the ordi
nary conditions wherein men attempt to live and
thrive. Ordinary conditions, I say, even in our
most civilized communities and richest cities.
"Man alone of all the animals must teach him
self architecture and engineering in order to live
the life which his nature demands for its proper
development. War as a destroyer must give pre
eminence to bad building and bad engineering in
the places where men are born and work, where
they attempt to live and thrive, and where they
die miserably, even as fools perish. They bar out
the sunshine, they stlifle the air, they overheat,
thy underheat. They spend much money to con
serve filth and to pollute water. They build traps
to invite fire and cunningly contrive breeding
places for germs. They murder thousands by
grade crossings, and tens of thousands by needless
congestion. They starve for want of proper means
of transportation for the wasting fruits and grains
of a marvelously fertile earth. It is impossible to
more than suggest at this time the crimes of ig
norance which men everywhere commit for want
of good engineering and right architecture, or
the terrible toll which death collects from that
ignorance.
"It is because of this dependence of the
whole race for its _ physical well-being upon its
builders and mechanicians that I so exalt our pro
fessions and would demand for them a better rec
ognition in this so-called scientific and practical
age. I say "so-called" of deliberation, for life is
many-sided, and in truth no age is scientific or in
truth _ practical that progresses unequally; that
magnifies unduly the physical, the mental or the
spiritual attributes of humanity. A man of perfect_ physique, deficient in mind and without mor
als is but a brute. If to perfect physical develop
ment we add keen mentality, without spiritual
vision, he becomes a standing menace to his fel
lows. How silly and inane this constant harping
of miscalled 'practicability,' as if the harp of
man's nature had but one string! I am glad that
tonight_ I address men who to succeed in their
professions must limit their aspirations by no
chains of half-knowledge or inadequate concep
tions of the dignity of humanity or of the mag
nificence of their opportunity for service."
San Francisco Chapter Notes

At the January meeting of San
Francisco Chapter, A. I. A., a com
munication from Mr. Harris Allen
with reference to the competition for
the Elks' Hall building at Berkeley was
referred to the Board of Directors, as
was also the letter from the San Fran
cisco Architectural Club in regard to an
architectural exhibit in 1915.
The Secretary was directed to notify
the Panama-Pacific International Expo
sition that the Chapter had been instru
mental in the selection of Los Angeles
as the convention city for 1915, and that
San Francisco would be included in the
itinerary of the visiting architects, and
that the Chapter had a committee for
that purpose.
The Chair announced with regret that
since the last meeting the Chapter had
lost from its membership through death
Ernest Martin Hoen of Sacramento and
F. H. Martens of San Francisco. The
Secretary was directed to send suitable
letters of condolence and sympathy, ex
pressing the regret of the Chapter at the
demise of the deceased members.
Le Brun Traveling Scholarship Compe
tition
The second bi-annual competition for the
Le Brun Traveling Scholarship, founded
by Pierre L. Le Brun, will be held in the
early spring. It is open to any architect,
a citizen or resident of the United States,
between twenty-three and thirty years of
age and who is not, nor has been the
beneficiary of any other traveling scholar
ship, and who has had at least three years
experience as draughtsman or practicing
architect. The amount is $1,000, the
period of the scholarship not less than
six months.
Each competitor must be nominated by
a member of the New York Chapter, A. I.
A., who shall certify in writing that the
above conditions are fulfilled by the nom
inee and that in his opinion the nominee
is deserving of the scholarship.
Berkeley Architect Wins Scholarship
Chandler Harrison of Berkeley re
cently sailed for Paris, where he will
spend two years at the Beaux Arts
school, pursuing his studies of architec
tural art. He then expects to spend a
year in the east studying architecture be
fore returning to the coast. In a prize
competition last spring Harrison won a
$1,000 scholarship in the Paris art school,
which was offered by the Architectural
League of the Pacific Coast. He has
been associated with Bakewell & Brown,
architects of San Francisco, for several
years.

Architectural Exhibit at San Francisco,
1915
The committee appointed to make a
report to the Board of Directors of the
American Institute of Architects as to
the advisability and practicability of an
architectural exhibit in connection with
the San Francisco Exposition in 1915 pre
sented the following report at the recent
convention in New Orleans:
1. It is recommended that the Executive Com
mittee request the directors of the exposition to
assign approximately 3,000 square feet of floor
area in the Palace of Fine Arts for the purpose
of an architectural exhibit; that in making this
request the Executive Committee notify the direc
tors of the exposition that the Institute will, in
case this assignment is made, appoint a suitable
committee to take full charge of the selection of
exhibits, and the arrangement and hanging of the
same, provided the directors of the exposition are
willing to delegate this power to the Institute.
2. The Institute shall undertake no responsi
bility in the matter of defraying any part of the
expense of such exhibit.
3. A member of the institute, resident in San
Francisco, should be appointed as chairman of
the exhibition committee, and this appointment
should be made in advance of the request of the
directors of the exposition, in order that the chair
man may be empowered to discuss with the di
rectors of the exposition and the chief of the De
partment of Fine Arts all questions as to the
exact jurisdiction of the Instttute and the expo
sition authorities in connection with the archi
tectural exhibition.
4. The exhibit above mentioned should be
planned in such a way as to be particularly ex
pressive of the development of architecture as an
art, and should include architectural drawings and
photographs, models and cartoons, selected with
special reference to beauty of design. It should
not include material illustrative of the progress in
the science of architecture and building. As a
means of expressing the latter phases of archi
tectural development, the Institute should recom
mend the allotment of space in the Liberal Arts
Palace for an exhibit, with regard to which the
Institute's committee should not be concerned, ex
cept as its advice might be called for. '
5. Provided the request for the assignment of
space in the Department of Fine Arts ts granted
under the conditions outlined, an exhibition com
mittee should be appointed, under the chairman
ship of the member above mentioned, consisting
for the most part of members of the Institute
resident in San Francisco, with additional mem
bers in the other principal cities.
6. In case the above recommendations are ap
proved by the Board of Directors of the Insti
tute, the present committee will immediately pro
ceed to formulate more detailed suggestions as to
the plan and scope of the proposed exhibition.
J. MONROE HEWLETT, Chairman.
Willis Polk to Design Sweeney Building
It is stated that Willis Polk & Com
pany of San Francisco will design the
Sweeney skyscraper to be erected on
the site of the old Occidental Hotel, at
Montgomery and Bush streets, San Fran
cisco. Previous reports of this building
first credited Architect L. B. Dutton as
the designer and later a report was cir
culated stating that J. Martyn Haenke
of Los Angeles had been commissioned
to prepare the plans. Mr. Polk states
that he has a contract with the owner's
son, Robert Sweeney, and that prelim
inary plans have already been started.
A building twenty stories high is pro
posed. The cost will be in the neigh
borhood of $2 000,000.
113
Fixes a Schedule on Building Loss

An exhaustive investigation into the
subject of depreciation of buildings has
been made by the San Francisco Real
Estate Board through a special com
mittee. The inquiry was conducted with
architects, contractors and fire under
writers, and also experts among real
estate men, who gave results of experi
ence in valuing buildings, and as an out
come of the deliberations a report has been
formulated giving depreciation on class
A buildings at 2 per cent a year, on class
B buildings at 2r/i per cent a year and
C class includes brick walls, with or
year.
Class A buildings are limited to those
having a full steel frame, with concrete
or brick walls and concrete or hollow
tile floors and roof and fireproof par
titions. The next class comprehends re
inforced concrete structures, while the
class B type includes brick walls, with
or without a steel frame, and reinforced
concrete buildings, in all of which the
floors have wooden joists and the in
terior partitions are made up of wooden
studs.
No estimate of the depreciation of
frame buildings was given in the report.
Tentative City Planning Ordinance
A tentative ordinance for the creation
of a San Francisco City Planning Com
mission was presented to the Welfare
Committee of the city government last
month. The ordinance has the approval
of the City Architects, the Park Com
missioners, City Engineer, City Attor
ney, Charles H. Cheney and others who
are interested in the City Planning move
ment. The committee agreed to report
favorably on the resolution of Super
visor Murdock that an appropriation be
made to secure a date for San Francisco
of a City Planning Exhibition which is
being shown throughout the country by
the American City Bureau of New York.
12-Story Skyscraper for Oakland
Architect C. W. Dickey of Oakland
has returned from the East, where he
spent several weeks acquainting himself
with modern office building features,
which he will embody in a 12-story sky
scraper to be erected at the corner of
Washington and Fourteenth streets,
Oakland, for a syndicate of capitalists
and business men, headed by C. J.
Heesman, Alfred Kutner and A. L.
Levinson.
More Honor for Architect Weeks
Architect William H. Weeks of San
Francisco, who probably has designed
as many, if not more, high-class school
buildings in California than any other
architect, has been commissioned to pre
pare plans for two splendid grammar
schools to be erected in Santa Rosa at
a total cost of $180,000.
114
THE
ArrJjttrrt ani. lEtujinrrr
OP OALIPORINIA.
Member of Caltfornta Periodtcal Publtshers' Assoctatton
and General Contractors' Assoctatton, San Franctsco
Published Monthly In the interest* of the
offtccs
617-619 Monadnock Building . San pranclsco
Builders' Exchange, Oakland
TERMS OF SUBSCRIPTION
(Includtng
all parts
of the; toUntted
Statespotnts
11.50
annum ;postage)
to Canadato 50c
addtttonal
all Foretgn
flperaddtttonal.
Vol. XXXVI.
Feb., 1914
No. 1.
ASSOCIATE EDITORS
H. J. Brunnter
Reinforced Concrete
Wm. B. Gestf.r.
| Inspection
Loren E. Hunt, C. E.
-I and Tests
WSF^TRC,cf: i "reproof Construction
S-jMSIS- C ^\
Structure Steel
Terra
Howard Frost. )
L"a
G. B. Ashcroft, C. E. Artificial Stone
JHARRRDY.feNNZ,E : \*>ofs and Roofing
Fred M. Woods. Jr.. - Rock and Gravel
C. Walter Tozer - - Interior Decoration
Wtlbur Davtd Cook, LandscapeArchitecture
T. C. Kterulff
Legal Points
Paul C. Butte - Electrical Construction
Nathantel Ellery. C. E. - - - Good Building Construction
ARCHITECTURAL
Fred H. Meyer
F. D. Hudson
August G. Headman Sumner P. Hunt
Edward T. Foulkes
C. Sumner Greene
Alfred F. Rosenheim Ralph W. Hart
G. Albert Lansburch Norman F. Marsh
E. H. Hildebrand
Maxwell G. Bugbee
KennethMacDonald.Jr. Clayton
D. Wilson
Houghton Sawyer
Almeric Coxhead
John G. Howard
Harrison Albright
Arthur Brown. Jr.
John Parkinson
T. J. Welsh
W. J. Cuthbertson
Chas. P. Weeks
A. W. Smith
Benj. G. McDoutrall T. Patterson Ross
Octavius Morgan
William H. Weeks
H. Alban Reeves
Chas. W. Dickey
J. C. Austin
Henry C. Smith
CONTRIBUTORS
Wm. A. Newman
J. T. Walsh, C. E.
Jas. W. Reid
Smith O'Brien
Albert Pissis
H. F. Starbuck
J. Harry Blohme
Nathaniel BJaisdell
Herman Barth
W. T. Bliss
Arthur O. Johnson
Willtam Mooser
Herbert E. Law
Robert Moreeneier
Hon. Jas. D. Phelan
B. J. S. Cahill
John Galen Howard j F. A. I. A.
Louis C. Mullgatdt \
E. M. C. Whttney
Fredertck W. Jones
Manager
Managing Editor
The architect who spends time in

selecting the best and most permanent
materials
SUBSTITUTIONS
and then writes
his specifications so as to open the
door for cheap substitutes is little
short of a weakling. The contractor
plays the "or equal" to its logical
conclusion. Better cut out these
disturbing words and thus leave less
to chance and the persuasive con
tractor.
Whether Builders' and Contract
or's Exchanges are a blessing or an
evil is a question ofEXCHANQES
ten agitated. The
VERSUS
advocates plead that
INTERCHANGES by interchange of in
formation and ideas
good results follow. The opponents
say that the incentive for i linking
during the business hours of the day
and the temptations of the L
room annex offset any good which
might result from having general
meeting plans.
What say our
readers?
With 300,000 Europeans booked
for this port as soon as the canal
opens and six times
this number likely to
WHO WILL
land here within the
HOUSE THE
next two years, the
MULTITUDE?
question of building
for this army's residence and encamp
ment offers an interesting problem. It
offers an interesting problem. It
opens up a future market for build
ing supplies which should be fore
seen and provided for. And it should
set the banking interests to think
ing. If somebody don't "loosen up"
before long the crowds will be here
and there will be no place to put
them. San Francisco needs more
hotels and apartment houses.
Eastern manufacturers who do not
establish themselves on the coast
with more than a nom
ESTIMATING inal agency often com
plain that they do not
AT LONO
secure Pacific Coast bus
RANGE
iness. It is but natural
that an architect does not care to
"FIRE - A
CRIME"
Rolling Doors.
and Steel Sash.
fj0- See the SIMPLEX METAL WINDOW.
525 Market St., San Franciaco

Terms of Subscription,
Of California
Single Copies.
$1 JO per Year
50 Cents
Id monthly In the Interest* ot Archttects. Structural Engineers. Contractor! tad the Allted Trade* of the Pactfic Co.
Contents for March

PAGE
Echo Tower, Court of the Ages, Panama Pacific Exposition Frontispiece
Louis Christian Mullgardt
Some of the California Work of Louis Christian Mullgardt, F. A. L A
47
Herbert D. Croly
With Forty Illustrations of Homes Designed by Mr. Mullgardt.
Are Engineers Underpaid?
80
Some Waterproofing Prohlems
90
(A Paper Read Before San Francisco Chapter, A. I. A.)
Louis C. Mauer
San Francisco Puhlic Library Competition
97
The Steel and Iron Industry of the Pacific Coast ....
98
What Concrete Will Not Stand
101
Cut Eating the Architect's Fee
102
William Schultz, Architect
Advantages to the Architect in Mechanically Mixed Paints 104
No Institute Competition for University Building
105
A Los Angeles Architect's Impressions of New Orleans and the Re
cent A. I. A. Convention
106
John C. Austin
The Kind of Architectural Competition That Hurts the Profession 109
Ill
Editorial
114
116
119
By the Way
126
(Index to Advertisements, page 8.)
Copyright P. P. I. E.
Frontispiece
of California
For March, 1914.
ECHO TOWER COURT OF THE AGES

LOUIS CHRISTIAN MULLGARDT, ARCHITECT
THE
Architect
and
Engineer
Of California
Vol, XXXVI.
MARCH, 1914.
No. 2
Some of the California Work of

Louis Christian Mullgardt, F. A. I. A.*
By HERBERT D. CROLY.
|r. Louis Chrtst1an Mullgardt, some
of whose work is illustrated herewith,
is emphatically an original designer.
The freshness of his vision and the nov
elty of many of his technical expedients
will be manifest to the most superficial
observer, while at the same time it is
equally obvious that his innovations have
not been conceived in any perversity of
spirit. He is a man who goes his own
way, because he has to go his own way;
but there is no implicit assertion that his
road is the only right road, and the road
itself can be traced back to a familiar
country and opens up a vista towards an
architecturally more habitable region.
The Californian prepossession for archi
tectural forms, derived from Spain, usual
ly expresses itself in a frivolous and
furious gesticulation and capering to what
is supposed to be the music of the old
Mission buildings.
Mr. Mullgardt's
Terra Cotta Roof Covering of Mr.
houses, on the other hand, are sober, sim
Taylor's Residence. Claremont Hills
ple and self-possessed adaptations of
Spanish street architecture to modern uses. Like the old houses in Mon
terey, they are placed firmly on the ground, are devoid of ornament, and
have overhanging roofs, which, from certain points of view, have an ef
fect similar to that of a Spanish sombrero. The walls are, however, nec
essarily very much more broken by windows than in the older Spanish
building, and this fact compels the architect to dispense with large, bare,
unbroken wall spaces, upon the effect of which so much of the dignity of
the old Spanish buildings depended.
He shows himself to be essentially, if not exclusively, a landscape
architectan architect who sees a dwelling not on paper, but as a land
scape painter might see it. His houses take form in his mind as an accent
*Excerpts from an article, "An Architectural Innovator, : Group of California Homes," published
in the Architectural Record of August, 1911, written after t visit of the editor of The Record to
California in January of that year.
48
and an element in a certain group of natural surroundings. They are

designed both to fit into the site and in certain cases to fit the spirit and
the general forms of an entire countryside. Mr. Mullgardt is a landscape
architect not in the sense that he knows where to plant shrubs and how
to make them grow, but in the sense that he knows how to make a house
grow out of the whole group of natural surroundings which enter into
any relation to it. The best of his houses are moulded to their sites;
they are softened and enveloped by the neighborhood foliage ; they are
warmed and tinted by the sunlight ; they give one the sense of breathing
the very air. In short, they have a way of appearing to live on the
spot where they happen to have been put. Mr. Mullgardt has evidently
been fascinated by the California landscape; and it is no wonder that he
has been. It is surely one of the most perfectly modeled and composed
landscapes in the world. One does not have to go in search of picturesque
and charming points of view. Its most ordinary aspects are gracious and
bewitchingwherever it has not been ruined by houses. Moreover, it is
a landscape which has been wrought particularly for human habitation.
The scale of its valleys and hills, the character and distribution of the
foliage, its quick response to planting and cultivation, its climatethese
and a score of other characteristics make the countryside of the coast dis
tricts of California the best place in America in which to live a whole
some and varied country life, and at the same time the landscape in
which an architect with any imagination would most prefer to build a
house. It offers the architect opportunities of fitting buildings to land
scape, which certainly are not surpassed elsewhere in the world. Any
architect who is also a bit of a poet, as Mr. Mullgardt evidently is, can
not but be fascinated by visions of castles and villas which would consti
tute not a desecration to the landscape, as are the great majority of
present buildings, but its crown and glory.
The only house in the design of which Mr. Mullgardt has had an op
portunity of expressing his talent at its best is that of Mr. H. W. Taylor.
It crowns a hill back of Berkeley. Because of its site it becomes a
conspicuous object in the landscape from many different points of view
in the neighborhood ; and it is seen in immediate relation to a certain
amount of unoccupied land and certain masses of foliage. Thus it really
has surroundings into which it can be tied, to an extent that a house sit
uated directly on a street never can have. Obviously, it is extremely dif
ficult to obtain photographs which do justice to the subtle and elusive
intimacies which an architect may create between a house and its site ;
but the reader can, we believe, get some idea of the unusual character
of the relation between Mr. Taylor's house and Mr. Taylor's hill from the
accompanying illustrations. The distribution of the masses of the build
ing, the salient roof, the grouping of the windows and the contrasts and
harmonies of color, all contribute essentially to the intimacy. Yet, one
can hardly account for it by any enumeration of technical expedients.
Back of it all is a gift, which enables the architect to make his detail
piquant while at the same time keeping it subdued, and to design a house
for which the hill had been waiting since the day of its birth. Mark the
way in which the sky line of the house continues and completes the sky
line of the hill, and the way in which the salient chimney rises at just the
right point for the purpose of tying together the two slopes of the hill.
Neither is the house disappointing on a nearer view.
Remark how naturally the building rises out of the ground ; how solid
it is near the earth, and how cleverly the necessarily large number of
49'
openings are grouped above a single level. Remark how the terracing of
the hill to the left of the house ties the land to the building, while at the
same time the low, dense planting prevents its effect from becoming
merely architectural. Remark how much gayer and more enter
taining the old Spanish forms have become in this rendering. The build
ing, instead of being planned as a fortress to exclude sunlight and the
air, has been opened up and ventilated. The sunlight and the air have
been made welcome in good, wholesome American fashion, while at the
same time the structure has been kept substantial and dignified by the
solidity of its lower parts.
The photographs necessarily fail to do any justice to one of the inter
esting and original aspects of Mr. Mullgardt's work, and that is to his use
of color. He realizes in the first place that color has a more important
part to play in the architecture of California than it has in that of the
eastern states. "Florida and California," he says in his paper on the "Use
of Color in Architecture," "with their Oriental atmosphere show a natural
tendency in that direction, partly due to early Spanish influence, but
largely because climatic conditions call for it. The Occidental has not
fully awakened to this fact as yet ; but he will, as is proven by the more
extensive use of the lighter tints, approaching white, in the walls which
he builds today. We are beginning to realize that it is the white wall
which makes the blue sky seem more blue than it was, and that the red
roof is more red. In this are the first signs of an awakening which will
be but the forerunner of an ultimate acceptance of the complete gamut
of color."
Mr. Mullgardt himself uses color delicately, but with assurance. With
the exception of a few wooden bungalows, his houses are plastered ; and
he has invented a method of putting on the final coating of plaster in a
much more interesting and varied texture than such walls ordinarily get.
Moreover, the color of the plaster, instead of being the usual dead gray,
has been warmed up, and it mellows very effectively with age. During
the summer in California there is a good deal of dust in the air, which
is caught by the roughened plaster, and which makes it steadily improve
in color.
Even more original is Mr. Mullgardt's treatment of the surface of his
roofs. One of the illustrations of Mr. Taylor's house gives a near view
of the roof, which looks as if it were covered with flat, irregular cobble
stones. As a matter of fact, the roofing material consists of flat, but
rounded and irregular, pieces of reddish terra cotta, laid in cement; and
it makes, we believe, an entirely satisfactory as well as a very good look
ing roof. The joints between the pieces of terra cotta are much more
conspicuous in the photograph than they are from the angle at which
they are ordinarily seen. Usually one gets the sense of a pretty solid
mass of color, broken only by a sort of irregular pattern, which is, I think,
much pleasanter to the eye than are the regular undulations made by the
ordinary tiled roof. The color of Mr. Mullgardt's tiles is, also, much
less harsh than is that of the modern imitations of the old Spanish tiles:
and Mr. Mullgardt varies it in different buildings. The originality and
beauty of this aspect of Mr. Mullgardt's work must be seen in order to
be appreciated.
We shall not attempt any specific account of Mr. Mullgardt's other
houses. They, all of them, are unmistakably the work of the man who
designed the residence of Mr. H. W. Taylor. He has approached his
other problems with the same fresh eye, and he has used the same original
50
and well-devised set of technical expedients. On the whole they consti

tute a real attempt to give the old Spanish forms a local meaning and pro
priety under California conditions ; and there can be no doubt that Span
ish architecture at its best assuredly constitutes the most available point
of departure for the domestic buildings in California. They are all worth
careful attention, because they illustrate on the one hand Mr. Mullgardt's
fertility and on the other his integrity. Mr. Mullgardt is, above all, an
artist, whose dominant ambition is to make his work a genuine expres
sion of himself. But he needs, in order that he may do himself justice,
the same sort of an opportunity that he had in the house of Mr. H. W.
Taylor. His unique gift is that of being able to make a building a real
and natural supplement to a landscape ; and this gift implies both a deep
love and a discriminating appreciation of nature, and an ability to im
agine architectural forms which really serve his purpose. It is very much
to be hoped that he will be granted many chances to express his very
rare and distinguished talent, and that Californians will understand that
in him they have an architect who is capable of establishing a novel inti
macy between the landscape they love so well and the houses they build
so badly.
The Country House in California
The following consists entirely of excerpts from an article published in
the Architectural Record of December, 1913, under the caption, "The
Country House in California :"
The country house in
California is a young
and tender plant,
which, like many an
other American archi
tectural sprig, is full of
life and promise. The
soil is rich, the air is
kindly and the need is
great. But the pros
pect of its future is
clouded by the fact that
Henry IV. Taylor Residence in the Berkeley Hills
it has as yet no suffi
cient salient tendency
to grow in one fruitful direction. Its energy is partly dissipated by the
divided counsels which determine its growth, and Californians will do
well to bear in mind that they have less excuse for miscellaneous experi
ments in the kind of country house they build than have their fellow
countrymen in the east.
So far as the east is concerned one could hardly give good reasons
for asserting that a man ought to build any one kind of country house,
because so much would depend upon the neighborhood in which he had
happened to buy his land.
Californians, on the other hand, have inherited and have partly ac
cepted such a stylea style which has some authority because it is both
local and appropriate ; and its peculiar propriety consists first in the fact
of its adaptability to the California country side.
The country in California, with all its variety, possesses in its arable
parts certain admirable and uniform characteristics which invite (the
building of a particular sort of house ; and inasmuch as this sort of house
51
has already been built to a certain extent upon local soil, Californians are
in the fortunate position of having good reasons for remaining faithful
to a simple and comparatively familiar style of domestic architecture.
It will, I am afraid, immediately occur to some of my readers that the
style to which I refer is that of the Missions, but such is not the case.
The
Missions architecture was ecclesiastical rather than do
mestic, and the attempts which have hitherto been made to adopt the pe
culiarities of the Mission style to the design of contemporary American
houses have been almost wholly grievous in their effects. The Missions
contained in their architecture much that was rudimentary, awkward and
ununiformed.
If one wishes to disengage the valuable remnant in Mission archi
tecture, one should go back to the originals from which they were de
rived, for the local variations which the Friars made upon these originals
were due almost entirely to ignorance, and the necessary lack of proper
tools, materials and mechanism.
The one respect in which the Mission buildings may in the end have
a useful formative effect upon the design of Californian country houses
lies in the fact that it did stamp the Spanish tradition upon Californian
architecture, and the Spanish tradition is only, it must be remembered, a
picturesque version of what may in general be described as the Latin or
Italian tradition. But this Spanish tradition has left traces of its former
sway in California, which are much more useful to the modern American
house builder than are the Missions, viz., the old adobe dwellings, and it
is these dwellings which constitute the most valuable model for a Cali
fornian domestic style.
The adobe houses, also, are only distant echoes of the highly and
carefully wrought Spanish and Italian buildings from which they were
derived, but even when erected in a primitive land, and under rude eco
nomic conditions, they retained something of the high style of their
models. They were long, low, restful structures with salient, but gently
sloping tiled roofs, overhanging eaves, enclosed porches or piazzas, and
bare stretches of plastered walls.
Californians enjoy their country more naturally and more innocently
than do the inhabitants of any other state in the Union, and this attitude
of theirs toward country life will undoubtedly have an important effect
upon the design of their country houses.
In the vicinity of the larger cities the rich are making country places
which are intended to afford an opportunity for the most elaborate and
expensive pleasures of country life.
They remind one of the lines and proportions of the ranch houses
which I have already described, and in this respect they perpetuate the
best available tradition. They tend to be one or two-story buildings, with
long, low lines, and with a roof overhanging and dominating the upright
members. The piazza, which was so necessary to the farmer in the in
terior valley, is generally dropped, and an enclosed porch substituted in
its place, so that the rooms of the house will receive the grateful sunshine.
Indeed one may safely prophesy that California, more than any other
state in the Union, will little by little become the land of great country
estates, because not only will the well-to-do Californians themselves seek
more permanent and elaborate houses, but the New York and the Chicago
millionaire will frequently covet a fitting residence in California, just as
an English duke or a German prince has his villa on the Riviera. The
Californian country side is assuredly destined to become something more
53
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THE POPLARS. A SUB URBAN HOME DESIGNED FOR THE DELINEATOR
HOME OF MR. If . L. II OLCOTT, BERKELEY, CALL FORNIA

Louis C. Mull gardt, Architect
72
NORTHEAST VIEW, RESIDENCE OF MR. S. O. JOHNSON, BERKELEY

Louis C. Mutigardt, Architect
SCIENTIST CHURCH FOR ALAMEDA, CALIFORNIA

Louis C. Mullgantt, Architect
73
74
PERGOLA, POOL AND FOUXTAIN

7.V MRS. MOFFHT'S GARDEN,
PtEPMOXT HILLS, CAL1F0RNIA
75
HOTEL, COTTAGES. GARAGE. GARDENS AND OTHER BUILDINGS

FOR LA "ARRA GRANDE. MONTECITO HOT SPRINGS
LOUIS CHRISTIAN MULLGARDT.
ARCHITECT
BUILDING FOR THE BURNETT

ESTATE,
SAN
FRANCISCO
LOUIS C. MULLGARDT, ARCHITECT
77
COMPETITIVE DESIGN FOR THE PERRY MEMORIAL

AND LIGHT HOUSE. SOUTH BASS ISLAM). LAKE ERIE
LOUIS C. MULLGARPT.
ARCHITECT
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81
SOUTH ELEVATION OF CHIMES, TOWER AND

CASCADES, COURT OF THE AGES, P. P. I. E.
These Cascades Symbolize the Wonderful Phenomena of the Appearing and Disappearing of Water.
They Are Overgrown With Slender Water Plants: at .Wight They Arc Mysteriously
Illumined from Underneath.
Louis C. Mullgardt, Architect.
WEST ELEVATION OF CHIMES TOWER.

COURT OF THE AGES, P. P- /. E.
Copyright. P. P. I. E.
83
"LISTEXING TO THE STORY OF THE AGES,"

NORTH AVEXUE, COURT OF THE AGES,
SHERRY E. FRY,
SCULPTOR
84
PREHISTORIC FIGURE, "MAN FEEDING A PELICAN"

TO BE USED AS ONE OF THE FINIALS 01 ER
ARCADE OF THE COURT OF THE AGES, P. P. I. E.
ALBERT WEINERT,
SCULPTOR
85
SIDE APPROACH. ARCHES AND ARCADES, COURT OF THE AGES. P. P. I.

than a granary and a fruit garden for its permanent residents and a health
resort for birds of passage.
Certain favored parts of it are manifestly destined to be an ornamental
garden for Americans, both from within and without the state, who want
and can afford the most elaborate and highly wrought pleasures of coun
try life.
It is the design of these large houses in particular which need to be
influenced by a single good and appropriate style.
The Californian country side, while neither English. French, nor even
Italian, is something better than any of these. It is normal. It is tem
perate. It is well balanced.
It is classic. Like all classic and normal things, it makes its effect by
a mixture of daring and discretion, and is as free from timidity on the
one hand as it is on the other from excess. The architectural and horti
cultural embellishment which it receives should partake of the same
character.
It should seek effects which are both simple and vivacious, but whose
simplicity is not obtained by mere reticence and elimination, and whose
vivacity is neither disorderly nor bizarre. Its simplicity that is, is pre
cisely equivalent to a triumphant mastery of all the elements, either nat
ural or architectural, which contributes to the total effect. Its architec
ture should not mutulate the natural grace of the countryside in the in
terest of some stiff and rigid scheme, but neither should it fear to impose
an appropriate architectural scheme upon the round contours of the
hills.
It should neither try to imitate natural effects in its architecture and
planting, nor should it seek to sear the landscape with lines which ignore
and disregard such natural effects.
Just as it is the part of good manners to be polite and cordial without
being stiff and insincere, so it is the part of good landscape architecture
to be formal and self-possessed without being unnatural and prim. In
the absence of such intimate and successful combination between the arti
ficial, practical and aesthetic needs of men and the artless irregularity and
86
diversity of nature, the architecture of a country house and its grounds

cannot possess any classic propriety of form.
The design of every country house, which is a matter of serious archi
tectural consideration, should be approached from two points of view
the point of view of how the house will look in relation to the landscape,
and how the important features of the landscape will look when seen
from the house in relation to the necessary artificial arrangement of its
grounds.
In the case of the country house in California, the first of these points
of view is of more than usual importance. The coast country consists
throughout of small hills and valleys, and the tops of these hills will
naturally be generally chosen as the sites for dwellings. In such situa
tions these houses will be conspicuous features in the landscape. They
should be designed so that they will neither be out of place on their hills,
nor merged inconspicuously into them and the surrounding trees. They
should consequently be buildings which are long in proportion to their
height, because a house which is cocked up in the air does not look well
on a hill, and because the live oaks which will be planted in their imme
diate vicinity are not big enough in scale to provide a proper background
for a tallish building.
The walls of these houses should be light in color, because a very
positive color is the best means of emphasizing a building, which is both
conspicuous and is surrounded by trees, and because white or gray houses
look well in the brilliant California sunshine.
It should have a gently sloping roof, but one which is broken in out
line, large in surface, gay in color, and emphatic in the shadow which is
cast by its eaves. A building in the foregoing type would resemble in
some respects an Italian villa, but it would have many characteristics
which depend upon local conditions. It would be a more picturesque
building than the Italian villa usually is, because the American taste for
the picturesque is too strong to be disregarded. Its walls should be
pierced by many more openings, because the sunlight is grateful and
necessary, even in California, and because the plan of a modern Ameri
can house demands a large number of rooms and consequently of win
dows. Then again, the amount of ornamental detail to which one is ac
customed in Italy might well be reduced on these houses, because in our
country such detail costs more than it is worth.
Sculptured ornament there will be, of course, but the architect should
depend for his effect upon the masses and color of his building, and the
shadow it casts, and its plainness should be relieved chiefly by trees,
shrubbery and vines.
When we come, however, to consider the house, not from the point of
view of its place in the landscape, but as a means of introducing its in
habitants to the countryside and there amusing them, we reach a very
different set of requirements. The house must not merely hold its own
in the landscape without becoming an excrescence, but it must be planned
in relation to its surroundings so as completely to satisfy the complicated
practical aesthetic needs of its inhabitants. Such is the meaning, the
purpose, of formal landscape architecture and gardening. The formal
treatment of a country place does not consist, as many people seem to
imagine, in laying out straight roads and paths irrespective almost to
the nature of the ground, and then outlining or terminating them with
walls and pergolas.
It consists, first, in laying out the roads, approaches and buildings
connected with the estate so that convenience will not interfere with the
good looks. It consists, secondly, in effectively outlining the most beau
87
tiful landscape views, which are accessible in the immediate vicinity of

the house and in shutting off those which are not beautiful. It consists,
finally, should a flower garden be wanted, in giving that flower garden a
size, a layout and a frame which is adapted to its situation and its neces
sary natural and architectural surroundings.
This is not, however, an essay in landscape gardening, and I cannot
go any more into detail. But it was desirable to give some idea of the
house and garden which was adapted to the coast country of California,
because that country manifestly demands a certain kind of architectural
treatment. Such methods of treatment may or may not come to prevail,
but whatever authority the architectural profession can exercise in Cali
fornia should be used in their favor. So rare and perfect an opportunity
exists nowhere else in the United States, atul it remains to be seen
whether Californians will have the good sense to use it discreetly. They
will have every temptation to go astray, and to disfigure the landscape
with an eruption of architectural and horticultural blotches, because it
is a country in which almost any kind of house is practical and almost
any kind of plant will grow.
Nevertheless there are at least some reasons for believing that they
will come to appreciate the desirability of treating such a simple, tem
perate and normal landscape in a simple, temperate and normal spirit.
The Californians love their country without affectation and without
effort : they possess a greater potency of successful achievements in the
arts than do the inhabitants of any other single section of the Union ;
and. best of all, they have shown an unusual power of co-operating either
formally or informally to accomplish some purpose which is recognized
to be good. They show an active and adaptable intelligence, that is,
without being arbitrary and perverse in its exercise, and they may well
reach some common sensible understanding about the sort of country
house best adapted to their countryside.
The Court of the Ages.
The Court of the Ages (sometimes
known as the Court of Abundance
and Festal Court) of the Panama Pacific
International Exposition, partly illustrat
ed in this issue, is one of three inner
courts. The inner courts are like great
rooms within an enormous structure, hav
ing the sky as ceiling.
The architectural style of the Court
of the Ages is similar to the Spanish
Gothic.
This court will be seen as a unit. It is
340 feet square. The avenue extending
north to the esplanade is 156 feet wide
and 475 feet long. The four palaces sur
rounding this court and flanking North
avenue are over 70 feet high. The court
has a continuous cloister on its four sides,
20 feet wide and 50 feet high ; above and
back of this the palaces form a clerestory.
The chimes tower is 200 feet high and
connects with the avenue leading to the
esplanade. It is designed to contain a
Echo Tower "Festal Court"
complete set of electrically controlled
Pannma-FJacific International Exposition
chimes suitable for the rendition of classi
88
cal music. The echo towers are 150 feet high, the three towers forming
an equilateral triangle in plan. The side approach arches accent the
east and west avenues, which link the three inner courts.
The theme of this court is based on the world's geological development.
Effects of water and fire as constructive elements are symbolized by cas
cades, sculpture, architectural embellishments and mural paintings. Mural
panels within the cloister symbolize water, earth, air and fire.
The court has three levels, the middle portion, being the lowest, af
fords an unobstructed view from the cloister and the outer or second
level of the court.
The cascades symbolize the activities of water. They are overgrown
with long slender plants through which the water flows.
The central basin contains a processional fountain symbolizing the
ages and the progressive growth of life upon earth. There will be cypress
and orange trees in front of the arcade. Ferns and creeping plants will
trail into moats which mirror the cloister.
The . sculpture of the chimes tower illustrates the world's progress.
The color and texture of all walls will be that of Roman Travertine stone.
Everything will be viewed under the most favorable modern lighting.
Pools, bordered with low growth, will be in the north avenue. The
main tower and the colossal sculptured figures will be reflected in
these pools. The walls of this avenue will be enriched with eucalyptus
and magnolias set in a low tangle of plants.
The principal entrance to the Court of the Ages is from the south. A
deep-set arcade, out of which one sees the sunlighted chimes tower and
cascades. In the immediate foreground is the basin and fountain.
The cascade terminations have groups of water sprites, the columns
are surrounded by figures symbolic of Neptune's reign.
*
Architect's Duty Two-fold.
MR. FREDERICK L. ACKERMAN. A. I. A., explains in his paper on
"Present Unfortunate Conditions of Practice and the Retned}'"
(Journal of American Institute of Architects) that the task of the
architect is two-fold. "As architects and as artists our duty is to formalize
and to express in material form the activities and thought of our day.
This we do quite unconsciously in our offices, and our achievements there
are an exact measure. of our individual ability and the limitation set by
the people in their laws and ordinances. No amount of inspiration, no
degree of talent, will carry us beyond a simple expression of the demands
and desires of the people, and the limits set by them in the laws and
ordinances which stand as the principal factors in our progress.
"As citizens, our duty is to provide the conditions for a better archi
tecture. Our knowledge of the arts, the logical nature of our training,
and our attitude of mind towards such problems entitle us to the position
of directing the forces which are at hand. We know the nature, the im
portance, and the necessity of the laws needed. We also know better than
the people why these laws cannot be passed, for we have tried and failed.
"Our task, therefore, if we are to spend our time and effort in other
than a useless endeavor, is to explain to the people by every honorable
means within our power, and in terms of logic and common sense, the
simple nature of our ideals, to the end that all shall come to understand
and realize that idealism of the architect and the desires of the people
for a habitable city are but the same thing."
89
Are Engineers Underpaid ?

OF COURSE, it could not be claimed that the average compensation
of this profession is excessive; nobody claims or supposes that
civil engineers as a class are getting rich out of their professional
work, says the Engineering \'e\vs in editorially commenting on the statis
tics collected by the American Society of Civil Engineers. But if the
average civil engineer at the end of five years' experience is earning
$2,000 a year, increasing at the end of 11 years to $3,000 a year, and to
$4,000 at the end of 15 years and $5,000 at the end of 21 yearsif the
average civil engineer gains this much return from his professional work,
then he has small cause to complain. There can be little doubt that he
is doing better than the average physician or lawyer, to say nothing of
clergymen and teachers.
But are these average earnings thus compiled really the average earn
ings of the civil engineering profession? We do not believe that these
earnings by any means represent the average compensation of engineers.
Rather, they show the average earnings of those who achieve exceptional
success in the profession ; and that changes their whole significance.
In the first place the membership of the American Society of Civil En
gineers represents the men who have succeeded in the profession. In the
second place, the professional requirements for membership distinctly limit
the privilege to those who are or have been "in responsible charge of
work," as the society's constitution puts it.
It would be interesting to inquire what percentage of the civil engi
neers of the United States hold membership of one grade or another in
the American Society of Civil Engineers.
Government Offers a Billion Feet of Timber.

Secretary of Agricultrue Houston has offered for sale one billion feet
of western yellow pine timber on the Kaibab national forest in north
western Arizona, just north of the Grand Canyon of the Colorado.
This sale is the largest yet proposed by the government, and was
recommended by Forester Henry S. Graves after a personal examination,
supplemented by a careful investigation on the part of the logging engi
neers of the forest service. They reported that this amount of timber not
only could be cut in accordance with forest principles, but that it would
be necessary to offer at least a billion feet as a sufficient inducement to
warrant the building of a railroad and other facilities to develop the tim
ber and other resources of the region.
Bids will be received for this timber up to June 15. 1914, and the
minimum initial prices which the government will accept for stumpage
are $2 a thousand feet for yellow pine and $1.40 a thousand for fir and
spruce. These rates will ]>e adjusted at the end of every five-year period,
the readjustments being based on the current market price at the end
of such period. Three years will be allowed for the building of the rail
road, and twenty-five years for the cutting of the timber.
Don't expect outsiders to give you a big rating on a one-inch space.
90
Some Waterproofing Problems*

By LOUIS G. MAUER
HE task assigned to me this eveningthat of addressing you on the
problems of waterproofing, is one that should, perhaps, be handled
by a person more competent than myself. However, it is not my
purpose to enter into an extended discussion of the history of waterproof
ing and the merits of the various preparations on the market. My inten
tion is to tell you my experience in solving the problems that have come
to me. I want to tell you about waterproofing as I have seen it in the
ten or more years that I have made it a specialty.
Every architect here knows very well that when he gets a client, two
factors must be taken into consideration. One is results, and the other
is cost. The client who doesn't demand the most possible for his money
has something the matter with him and ought to see a physician. It is
the most natural thing in the world for a man to look to his architect
for results, for that is what he hires him for. And while the results are
wanted in generous quantities, the cost factor must not be overlooked.
Keep the cost down, he tells you, and in the same breath he demands the
best results possible. Just as you architects are required to give your
client satisfactory results, so each contractor must perform his respective
part of the work in a creditable manner. Unfortunately the factor of cost
is too frequently looked upon by clients as the most important thing to be
considered. In such cases the architect is powerless to provide the things
that he knows will insure best results. His alternative is to provide a
substitute, which invariably is an inferior article. This "penny-wisepound-foolish" policy was only too apparent during the recent heavy
rains. What cheap waterproofing did to some of our best buildings is
too well known to require further exploitation here.
Now the problem that interests all of you is how to obtain most satis
factory results in waterproofing at a minimum cost. There are two
classes of waterproofingone underground, the other above. Under
ground work, as a rule, is subjected to water pressure either by seepages,
springs or direct pressure where basements are below tide or streams.
Work of this character requires an entirely different method of treatment
than waterproofing the building above ground, since it must effectually
resist a constant water pressure.
Walls above ground are not subjected to constant water pressure,
therefore they require a treatment to be water repellant ; that is to say, a
remedy to prevent the absorption of water.
There are four distinct methods employed to accomplish waterproof
ing results :
First. By density of the materials from which your walls are con
structed ; density of the material itself or the aggregates of which it is
composed.
Second. By the membrane system. This method is used principally
for underground work. For floors it is placed between concrete slabs, or
on the outside of walls where the water pressure is against the wall.
Third. By a surface coating composed of asphaltum, tar. or any oil
base material. The latter being water repellant. fairly good results are
obtained. A surface coating is only efficient, however, as long as the
material applied remains intact.
* Extracts from and a few additions to a paper read before the San Francisco Chapter, American
Institute of Architects. February 19, 1914. Mr. Mauer is manager of the Imperial Waterproofing
Company of San Francisco.
91
Fourth. By non-absorption or the elimination of capillary attraction.

The material I have found to accomplish this result is a chemical solu
tion having a water base, and which can be readily mixed in the cement
aggregates for either underground work or surface application above
ground.
In regard to the first methodDensityyou are probably all aware
that the aggregates of a concrete mass or cement mixture may be pro
portioned in such a manner as to obtain a density that will not permit
the perculation of water, but to obtain this result in a concrete wall or
plaster surface after they have hardened would incur a task that would
not be practical for ordinary construction, nor could this method be judi
ciously applied to a brick wall which is always more or less porous and
absorptive.
The second method, the membrane system, is one that is very success
fully used. To adopt this method for floor work it is necessary to place
a concrete slab, then the membrane system, composed of asphaltum and
felt, in such number of layers as deemed necessary, then the additional
slab of concrete. The upper slab necessarily must be of sufficient strength
to withstand the hydrostatic pressure. The actual cost of this method is
the felt and asphaltum membrane, plus the cost of the lower slab of con
crete. The membrane being composed of an absolute foreign material to
the concrete does not become a component part of either slab or con
cretein fact, separates them entirely, the only bond between the two
slabs being the cohesion of the asphalt itself.
Although it is claimed that the membrane system of waterproofing is
to a certain extent elastic, still, it is frequently found that breaks occur
when the concrete slabs develop contraction cracks, thereby impairing the
results of waterproofing efficiency.
The membrane system is also used on the exterior of walls. This re
quires the necessary excavation to give room for applying the membrane.
The cost of this work is the membrane plus the cost of excavation and
back-filling of same, and in many cases a protection wall. If for any
reason a membrane system could not be applied on the outside, and same
would be adopted on inside of wall, it would be necessary to construct a
special wall ; otherwise, if the water should percolate through the outer
walls, it would press away the membrane. The cost of this work for in
side walls would be the cost of membrane plus the cost of wall to hold
the membrane in place.
If, for any reason, breaks should occur in the membrane system, per
mitting water to penetrate the membrane, it would not necessarily mean
that the break is where it shows on the surface, as the water may travel
some distance between the membrane and the upper layer of concrete
before finding the weakest point to the surface.
The third methodsurface coatingts used quite extensively for
treating walls above ground, and to a certain extent for underground
work as well.
By applying a good surface coating of asphaltum, tar or any oil-base
material where the water pressure presses the coating against the wall,
good results will be obtained so long as the life of the asphaltum or oil
is retained in the coating. As a rule the oils are quickly absorbed when
applied to any absorptive surface, leaving the solids of the coating as a
more or less inert substance with its binder, in fact, its principal element
of life, separated. To avoid this it is very important to have a founda
92
tion that will prevent the separation of oils and solids contained in the
surface coating.
To apply a surface coating on the inside of walls under plastering, the
so-termed damp-proofing or plaster-bond coat is, in my opinion, an abso
lute waste of the expense incurred. This applies to all material without
exception. Whenever a wall is thoroughly saturated with water from
the outside up to the point of the damp-proofing coat, there is no material,
be it ever so elastic, solid or efficient, that will withstand the pressure.
As a matter of fact it must then withstand a direct water pressure instead
of being only a water repellant at intermittent intervals.
The fourth methodnon-absorptionmeans the elimination of capillary
attraction. Under this method and by using the materials referred to I
have accomplished results on those problems that have come under my
direct supervision, both underground where subjected to severe water
pressure, and in treating buildings above ground by surface application.
This material is a chemical solution (water base contains no oils), pene
trates an absorbent substance and becomes a part thereof, accomplishing
the waterproof results, not by the filling of voids or a surface coating, but
by making the substance to which applied non-absorptive and impervious
to water.
If you will carefully analyze the fact, you will find that even a very
porous material containing a large percentage of voids will not become
saturated with water unless it is absorptive, nor will you find that water
will follow fine cracks in any surface, unless the substance itself has suc
tion and absorb water. Now. then, this being a fact, the method of
waterproofing by having the aggregate of the material made non-absorp
tive to resist water pressure and eliminate capillary attraction, for all sur
faces exposed to water absorption at intermittent intervals, is one that
will solve many of your difficulties.
Let us first consider its application for work below ground. In base
ments we accomplish results by the most direct and simple means. The
plastering of the walls on the inside with waterproof mortar and the
Floors with waterproofed mortar topping, thereby saving the expense of
exterior excavation and cribbing which would be necessary in order to
apply a membrane or surface coating to the outside.
On new work where walls are green and bonding of plaster certain, no
greater expense is involved than the nominal cost of the waterproofing
material, which is to be added to the sand and cement for plastering and
topping.
But in old basements or any surface not permitting a perfect bond,
quite a different problem presents itself. Here the surface to be plastered
must be carefully prepared to insure proper bonding of plaster by rough
ening the surface. We all know the weakest point is the angle between
the floor and wall, therefore particular care must be taken to reinforce
this point by forming a cove so as to make the connection between the
floor topping and wall plaster continuous.
Should the argument be advanced that floors or walls waterproofed are
liable to crack, thereby causing leaks, let me say that the chances are
very slight indeed, if the walls are properly designed and constructed and
the floors thick enough to resist the hydrostatic pressure.
Walls and floors that crack due to contraction or expansion or other
causes will sever or open up a membrane almost as quickly as a plaster
coating. And what is the result? A heavy expense is incurred, owing to
the fact that the break in the membrane may be many feet away from the
93
point where the leakage shows on the surface. With the membrane
method repairs are virtually impossible, while a waterproof plaster coating
may be quickly and permanently repaired at very small expense. The
leakage always exists where it shows on the surface. The cracks could
easily be cut out to a certain depth and pointed up, making same absolutely
water tight.
Many basements in our city presenting all sorts of conditions from
seepage of ground water to tide pressure have been successfully water
proofed with this method.
Time does not permit going into this subject to such an extent as it
might justify, but permit me to say, I would not hesitate to undertake to
make absolutely dry any basement under the most severe water pressure
by plastering it on the inside and using this material as a part of the
water gauging the cement and sand mortar. This mortar can be applied
even while the water is percolating through the wall.
If necessary the mortar could be held in place with boards pressed
against the wall. This might develop small holes, permitting the water
to escape, but which could easily be plugged up after the other portions
are thoroughly set. Cement mortar applied on walls saturated with water
will gradually dry out even with the water pressure against the wall.
No doubt this question will come to your mind: will the use of this
material, used in the aggregates of cement mortars, be detrimental to its
strength or cause additional labor in its use? In answer to this. I wish to
state that on the contrary the use of this material is a decided advantage;
the initial set is somewhat retarded, but in thirty-six or forty hours you
will find the cement mortar much harder and stronger, this in comparison
with equally proportioned cement mortar gauged with water alone. The
working of cement mortar is also made much easier and smoother, the
action being similar to that obtained by the use of lime putty in cement
mortar.
For treating a building above ground, the result can be obtained by a
thorough surface application, by either brush or spray, preferably the lat
ter. By this I mean every particle of the wall must be saturated. This
will leave no surface coating and will not change the color or texture of
any surface to which applied, be it a white sand or a lime stone or a red
brick. A surface application will only give results and become effective
when applied on any absorptive material.
Take, for instance, a porous brick. It requires very little effort to ob
tain penetration with this material of %" or even y2", and to this depth
waterproof results would be found, permitting you to remove a part of the
surface and texture of the brick, without destroying the waterproofing
efficiency.
The method employed for treating walls that require a change of color
is this : Waterproof as above mentioned, then apply any concrete paint
for color effect only. By treating the walls with this material you have
the most perfect foundation for any oil base material. The surface made
non-absorptive prevents the absorption of the oils in your paint pigments.
This, as you all know, is the life of any oil paint.
At this time I wish to caution you to guard against careless workman
ship by the individual mechanic, the economical use of the material con
trary to directions and requirements, and the lack of knowledge of these
special problems by those in charge of the work.
94

Architectural Acoustics Fundamental Principles*
IN TWO PAPERS I
By JOHX T. VAWTEB, Architect
WE are apt to think of the subject of architectural acoustics as a com
paratively new one, but upon a little investigation we find that its
history began centuries ago, long before that of many of the more
perfectly developed sciences which we now regard as venerable.
Modern writers seem fond of classifying the subject with the so-called
"lost arts," and numerous articles and references may be found claiming that
the Greeks were once masters of the science. Some of these statements are
backed by the results of special investigations of the old ruins and the logical
conclusions drawn therefrom, but in all cases known to the writer these argu
ments, however logical and however closely knitted in their association of
ideas, contain some oversight of the well established laws of physics, and with
all due regard to the sagacity of that wonderful people it remains yet to be
proven that the Greeks were ever in possession of more than an intuitive
knowledge of the science of acoustics.
If such a statement is to carry any degree of conviction we must give some
attention to the reasons behind it, but in so doing we would be compelled to
make other statements not yet proven, so for the present let us leave the ques
tion to be answered by implication in the remainder of the paper, remembering
that if the science of acoustics is proven to be based upon the "laws of motion"
and "the law of the conservation and interchangeability of energy," and those
alone, we may then rightfully pass the burden of proof to those who would
maintain that the Greeks were familiar with these laws and that they them
selves belong to the lost art class and were merely rediscovered by such men
as Galileo, Newton, Joule and Helmholtz in modern times.
These laws are the basis of all engineering design and practice and of all
scientific, physical research. In all problems involving their principles we must
start with them in reasoning from the known to the unknown and their applica
tion to literature on the subject of acoustics is a safe and sure test of what
should be accepted and what should be rejected. A more or less disregard for
these laws or perhaps in some cases an ignorance of them, has led to a common
treatment of the subject of acoustics as a problem filled with unexplicable
mysteries only to be approached by those versed in a half supernatural power,
much as the problem of legerdemain, witchcraftry and spiritualism are sup
posed to be approached.
Superstitions Have Vanished
Such an attitude has left the science undeveloped through ages and it is to
Professor Sabine of Harvard University that we now owe the present rational
method of attacking the problem. The superstitious element has vanished;
there are no more mysteries ; the stretched wires, the empty beer bottles, the
unnailed sheathing, the roughened plaster, and the draped chandeliers are no
longer offered upon the altar to appease the wicked god of auditory disturbance.
In place of these we are turned to old familiar laws of universal application,
and a few mathematical formulas so simple and easily understood in their
handling that it makes little difference whether or not we are able to derive
them for ourselves.
A review of these natural laws may not be out of place here, even though
they be so well and universally established, for they are many faced laws and
our recognition of them often depends upon the angle by which they are
approached.
*Paper read before the Southern California Chapter American Institute of Architects, March 10, 1914.
The Architect and Engtneer
95
The Law of Motion

Newton has given us the laws of motion in three postulates, as follows :
First: Every body (particle) continues in its state of rest or uniform
motion in a straight line, except in so far as it may be compelled by external
force to change that state.
Second : Change of motion is proportional to the impressed force and
takes place in the direction of the straight line in which the force is impressed.
Third : To every force there is a corresponding force equal in magnitude
and opposite in direction.
1 Iere then is our starting point, the same point from which we started in the
solution of stresses in trusses, beams, girders and columns and the basis of our
design in wood, steel and concrete. These old familiar friends are welcome
at any time and a feeling of confidence springs up when we realize they
can again assist us over the difficulties which appeared insurmountable in our
first survey of the problem of acoustics. As a statement, however, this may
not be quite acceptable without a word of proof. We may say these laws are
good and true but they are the laws of dynamics dealing with matter, motion
and force, and so far we are not certain that the propagation of sound has
anything to do with these elements. Our doubts could only be allayed by
experiments but if we should provide ourselves with a large glass tube with
closed ends in which a bell had previously been placed so as to ring when the
tube were swayed back and forth, and if all of the other materials and ap
paratus mentioned below were at our hand we could doubtless prove to our
own satisfaction that the production of sound depends upon not one but all
of the elements of dynamics.
Dynamic Theory of Sound
Suppose the tube to be closed air-tight but filled with air: we sway the tube
and hear the ringing of the bell. Suppose then we replace the air of the tube
with hydrogen, oxygen, or gases of mixed elements and each time sway the
tube ; we find in each case that the sound of the bell is audible and we would
also find that the volume of sound were proportional to the specific gravity of
the surrounding gas. Futher experiments might be carried on by compressing
the gases to different degrees and in each case we would find that the denser
the medium the better the sound would be transmitted. Now let us exhaust
all gases and air from the tube, leaving it empty ; no matter now intervenes
between the bell and the walls of the tube, we sway the tube and see the
clapper strike the sides of the bell but no sound is heard. We have expended
force in swaying the tube ; we have seen the motion of the bell clapper but by
isolating our bell in a vacuum we have cut off all material connection between
it and our sense organ of hearing. This experiment alone will probably suffice
for a positive proof of the dynamic theory of sound, but if we wish a negative
proof let us try to think of some sound which we have heard which was inde
pendent of any one of the elements of matter, motion or force.
Energy Interchangeable
If we accept the dynamic theory of sound our other law of the conservation
and interchangeability of energy will need no proof, for the ideas of matter,
motion and force comprise all ideas of energy and a statement of the principle
is sufficient.
Energy is the ability to move mass ; it may be either potential or kinetic
according to whether or not the movement actually takes place the two forms
are interchangeable but indestructible. We may wind up the weight of a clock,
thereby expending kinetic energy which is then stored as potential energy in
96
the clock weight and reconverted into kinetic energy as the weight slowly de
scends and causes the swinging of the pendulum. Numerous examples of this
interchangeability of forms might be given but there are at least two other ways
in which the interchangeability of energy may take place and we must allow
the one example to stand as typical of the many, and pass on to another
viewpoint.
In the several manifestations of energy the elements of motion and force
may be regarded as unchanging but differently applied to matter; while matter
may be regarded as made up of atoms, molecules, and total mass, and though
still interchangeable the form and properties of the energy varies. This varia
tion depends upon whether the force is applied to the atom, molecule, or total
mass. When the force is applied to the atom the resultant energy is known
as chemical ; when applied to the molecule it may be either electrical energy,
heat energy, or light ; and when applied to the total mass it is known as
mechanical energy or work.
The way in which these different manifestations of energy are convertible
one into another without loss is a subject upon which we might spend
our lives and perhaps base an investigation of every natural phenomenon and
action of man, but for the purpose of a discussion of acoustics we shall only
need to consider two of these forms of energy, namely, mechanical energy
and heat.
If we should have carried our bell and tube experiment a step farther we
might have proven that while sound travels only through matter it may do so
freely without, insofar as we know, changing any property of that matter.
That is, a test of the air through which sound is passing shows no evidences
of either chemical, or electrical disturbances or of the production of either heat
or light. From this condition we may then safely assume that the propagation
of sound is a mechanical phenomenon dealing with the total mass moved by
a force. It is a form of mechanical energy indestructible, but convertible. The
only converted form with which we shall deal here is that of heat ; the trans
formation being made by way of that condition known by the ignorance cover
ing name of friction.
Wave Transmission
A discussion of the production and transmission of wave energy in general
should be logically introduced here before passing on to the specific form of
sound energy, but as we are perhaps already more familiar with the wave
theory of sound than of heat, light or electricity, with which we would have
to deal, we may confine our discussion to a single example of a wave trans
mission of mechanical energy.
Let us consider a long piece of gas-pipe fitted at each end with a well-made
piston and let us consider it as completely filled with water. If we should
move one of the pistons slowly in by means of a lever, the piston at the other
end would reciprocate to the movement. If the pipe were very long in com
parison to the piston we may readily see that while the force was transmitted
from end to end of the pipe the individual drops of water in the pipe made
only a very short travel. If the motion of our lever had been very rapid we
might have noticed a very perceptible difference of time between the corre
sponding movements at the opposite ends of the pipe. This difference of
time, of course, depending upon the length of the pipe, and if it were of suffi
cient duration we might make several rapid movements of our piston back and
forth before the first were responded to by the piston at the opposite end.
(Concluded in the April Number.)
NATHANIEL ELLERY, C. E.
The Highways of California

By NATHANIEL ELLERY, C. E *
No subject carries with it keener interest right now than good roads. With
about every fifth person in California owning an automobile, the question of
good highways is an alluring one. Naturally the automobile owner wants the
best road that his money will buyive say his money because he is paying more
than his share when you take into consideration the new automobile license rates,
together with the increased tax levy authorised by the people five years ago for
the construction of the new state roads. Nathaniel Ellcry, former state engi
neer, has been asked by this magazine to describe what has been accomplished
thus far in the state highway work, and his first paper is printed herein. Mr.
Ellery will discuss the subject as a citizen interested in the welfare of the com
monwealth. It is not his purpose to make a political issue of the matter. He
will undertake to shoiv, without fear or favor, the inadequacy of the present
methods of construction. Mr. Ellery has no fault to find with the materials
now being used. It is proposed to show in succeeding articles the actual con
ditions by photographs.Editor.
TO THE people of California I shall extend a review of a problem
which at this time is of intense interest. To not only those of the
rural districts of the state, but to each and every citizen who pays
to construct or maintain the road there are facts, stripped of any de
ceptive verbiage that should be considered with sober thought. After an
experience and study of this engineering problem in our state for nearly
fourteen years and striving only for the service of the public during that
period, I approach the subject with the view of the official and the citizen
interested in the welfare of the commonwealth. For two years now have
I watched the progress of highway work within our borders as a private
citizen, and in consequence have the two sides in perspective. As an
official I did not seek the dollar at the price of dishonor, nor did I ever
uphold official intrigue for popular praise. It matters not therefore where
the truth strikes, for I bow obsequiously to no man for political prestige,
nor do I cringe at the crack of the political whip. It is my positive de
sire to treat the whole highway subject from an independent and fair
standpoint and give my readers the benefit of a somewhat intimate knowl
edge of the matter. In this article I shall review the historical and legal
phases of the question and in subsequent writings give engineering facts
on construction and maintenance of our roads.
Until recent years the states of the American Union allowed their
counties to administer the highway affairs within their territory. After
years of this method of handling such affairs in which time local interests
became so involved in local politics as to preclude any effectual work or
lasting results, there has been devised other plans of road administration
and procedure. In California from the official position of Highway Com
missioner and later State Engineer, I traced, had to do with and watched
the evolution of the ways and means of handling this vast public expendi
ture.
The funds of the counties devoted to roads were applied for political
effect with little thought of results. The great bulk of the tax money was
thrown into mud holes or a desultory repair with no thought of a real
maintenance. Political debts were paid with this money, and the appli
cation of private business efficiency was entirely lacking. From the
standpoint of the taxpayer who had any "inside" information, the seeth
ing mass of road business was steeped in infamous politics and dishonesty.
People were stirred to action in this public business through the ad
vent of bicycle in about 1893 and the automobile and motor-driven vehicle
later. No one had taken any particular interest in our neglected common
"Formerly State Engineer of California.
roads, and the farmer and those who had business to travel them had be
come reconciled to wallowing through the mud in winter and the dust in
summer. In spots local pride sometimes caused a small improvement,
but in the whole 50,000 miles of our highway these efforts were inappre
ciable. All this is now in the process of changing, as the motor has
wrought havoc with this road lethargy. The cry and demand now is for
permanently improved highways, and millions of dollars are being spent
in the transformation.
Distinctly do I remember a few years ago my own endeavors to create
some enthusiasm for improved roads, but it required a potent factora
necessity of the peoplenot only for business but for pleasure. We would
tell the farmer the relative cost per ton mile haulage over the road, rail
road and water. We would show the beneficial results from the improve
ment, but obstacles were always placed in the way. Necessity has now
changed it all, and we are rapidly turning out road work, some good, some
bad and some mediocre.
My reader, let me go back and retrace a few of the more important
features and show you we have not obtained an entirely satisfactory so
lution of the problem. New Jersey was the pioneer state to break away
from the old accustomed plan and establish a state aid system for roads.
This occurred as far back as 1892. Other eastern states followed this
lead, and then after about twelve years heavy state bond issues for this
improvement began to appear. The aid plan for roads seemed to avert
much of local politics and was therefore given an advantage in so far as
results were concerned. The state, the county and a district or county
subdivision proportioned the construction expense and built under state
supervision later, usually to turn over to the county the thus improved
roadway for maintenance under state inspection. This was a distinct
advance step.
California had created by statute a Bureau of Highways to investigate
and report on road conditions and devise improved plans and methods.
In the same year, 1895, our state took over the first state roadSmith's
Flat, El Dorado county, fifty-eight miles to Lake Tahoe. A departure in
state affairsa new state institution requiring upkeep and maintenance
the same as any other institution. The bureau lasted until 1897, when it
was superseded by a Department of Highways with three commissioners
at the head. The law provided automatically for the retirement of two
commissioners at the end of the first two years, when a single head took
charge. In 1901 the Sonora and Mono state road was acquired by act of
the legislature. It was about seventy-eight miles long and extended from
above Sonora to Bridgeport, Mono county, over the Sierras. Another
move to establish a road policy in our state, but we had no provision in
our organic law to permit of a system of state roads or aid for such. In
November, 1902, there was voted by the people of the state a constitutional
amendment (Article IV, Section 36) providing for a liberal state road
policy, and now the way was cleared for action. The first results of this
constitutional change was many special road bills introduced at each ses
sion of our legislature, but most of them were finally found in the waste
basket. Pet measures to satisfy constituents were now in vogue and a
state road looked good to many.
The brunt of the expenditures for roads had fallen on the rural dis
tricts, as incorporated cities and towns were excluded from taxation for
country road purposes except perhaps where the statutory law allowed the
county supervisors to exact a little money from the county general fund
for bridges and sprinkling. Bonding cities for roads had received its
quietus in the case of the proposed model road from Sacramento to Folsom. The Supreme Court of our state handed down a decision in 1898
(Cal. 121, p. 670) denying the right to tax the citizens of the city of Sac
ramento for the purpose of improving the Folsom-Sacramento model high
way. This general condition prevailed with our counties until, in 1907,
State Senator Savage introduced a bill in our legislature providing for
bonding the counties, including cities, for road purposes and outlying a
plan of procedure. Mr. Racon and Mr. Fleming of Los Angeles came to
me about this law and asked my support, but I assailed the plan as in
correct in its method of dealing with the problem. They desired to try
out the scheme in Los Angeles and asked now that the points raised
against it be withheld in order to give Los Angeles a chance to improve
its roads. The law was passed, but has been amended each succeeding
two years mostly in minor details, but neither of the two main objections
I advanced have been correcteda provision of maintenance and the nocommission scheme. Political commissions are worthless, and unsalaried
commissions are worse than worthless. For a while a new commission
may sweep clean, but sooner or later it cannot help but lack efficiency.
Who ever saw a private enterprise successful without a distinctive head
to direct business and execute orders? Fourteen years actual experience
has led me to this positive conclusion. Place a man at the head of a work
and make him responsible. There will be no passing the "buck" or evad
ing responsibility as the board or commission scheme invariably docs.
He must stand up to his work or else fail. I cite for your consideration
the work on the Panama Canal and now the method provided at the
Canal zone for the government of that terrritory. The administrative
head is given an untrammelcd right to select his own immediate help and
thus approach a better efficiency standard than if hampered by red tape
and official interference.
The Savage Act vested in the Board of Supervisors the power to ap
point three commissioners to serve until the bond money, if voted, was
spent and the construction work was completed in accordance with the
outlined scheme, and then the improvement was turned into the old chan
nel for maintenance. Understand, California has been endeavoring to
maintain roads without system for forty years. Letting the proper care of
roads go as secondary is surely a mistake and was so pointed out at the
time of the passage of the act. I shall show later this plan as wasteful,
unwise and incommensurate with private business efficiency.
Prior to this county bonding act there was permitted by law (Statutes
1901, p. 277) a bond issue for roads on a subdivision of a county not includ
ing a city or incorporated town. It was known as the Permanent Road
Division Law, but was only applied in a few isolated cases. It still re
mains a law of the state, but has practically given away to the Savage
bonding scheme.
During my incumbency of office at Sacramento, I struggled to obtain
recognition for some good road laws. The state had engaged in assuming
control of some old mountain roads and also undertook the construction
of some needed highways in the isolated districts. All the while, I stud
ied the problem and saw the necessity of proper legislation that we might
get the road business from politics or at least get some space between
these subjects.
The laws of Europe and of the American states were investigated.
The management of this public business was seriously considered, and I
became a convert to the state aid plan and finally concluded the HigbieArmstrong law of New York could be effectually applied in California.
In 1903 I proposed such a law to our legislature ; it passed, but the Gov
ernor at that time thought the law in advance of our needs. Again and
again I stood by and had this law introduced in our legislature, and then
had it turned down, as it looked the only supporter and real advocate was
the highway commissioner. While the county bonding act was being ap
plied in some of our counties, Governor J. N. Gillett at a road meeting
at Stockton, California, promulgated his law for bonding the state for
$18,000,000 to construct a system of roads. At that time some opposition
developed, as Mr. Daggett of the Los Angeles county commission and
others thought it might damage the chance of voting the county bonds.
However,
Los Angeles county voted
$3,500,000,
San Joaquin county voted
1,890,000,
San Diego county voted
1,250,000,
Sacramento county voted under the general statute. . . . 660,000,
for road improvement.
Shortly after the bonding of Los Angeles county for the foregoing
amount I, as state engineer, was requested to meet in the city of Los
Angeles to discuss the highway situation. We met in the offices of the
Chamber of Commerce, and some of those attending were as follows : Mr.
J. M. Eddy, secretary Stockton Chamber of Commerce ; Mr. Wiggins, sec
retary Los Angeles Chamber of Commerce ; Mr. G. Cooley of San Ber
nardino, Mr. P. Holt of Stockton, Mr. M. C. Marsh of Long Beach, myself
and two or three others. The discussion related to the proposed Gillett
measure, and Mr. Eddy initiated a plan to have three or five commission
ers at a comfortable salary instead of the plan as Mr. Gillett advocated,
i. e., placing the work under the State Department of Engineering. Now,
my reader, I shall give you the real facts that led up to the state bonding
act for road improvement and the present status of it.
Before the session of the 1909 legislature many people visited Governor
Gillett and advocated different schemes, and they nearly all desired an
appointed commission. He flatly refused, placing the work in the State
Department of Engineering under practically one head with an advisory
board. It is here I cannot refrain from extolling his good sense and judg
ment and condemn the unwise and disastrous overthrow of the intent of
the law by his successor, Governor Johnson. In due time Governor Gillett's highway bonding act was introduced .in the legislature after the
Attorney General had shaped it to meet the Governor's views. Accom
panying this act was another bill providing for an appropriation of $70,000
to determine the routes of the roads, cost, data, etc., but this latter act
was summarily killed, as it was thought by the legislators it would
jeopardize a favorable vote by the people of the state on the main act. The
constitution of California (article XVI, section 1) provides for a referen
dum or vote of the people to bond the state for over $300,000, and neces
sarily the Highway Act fell in this category. The State Highway Act
passed the legislature after being amended to recompense some counties
for work done under the Savage Act. There remained yet the vote of the
people at the next general election to either discard the proposition or make
it law. Thoroughly interested in a plan for a state road system, I gave
much time and funds to help carry the bonding plan, while Air. J. M. Eddy
fought the scheme with vehemence. He issued a pamphlet and talked
against it.
Let me quote from the pamphlet: "If the California Good Roads As
sociation desires to perform a lasting service to the state, it will not only
oppose by every honorable means the adoption of the bonding law, but
will formulate a broad and comprehensive system for the state supervision
of highways, for state aid in maintaining the principal highways when
once properly constructed, and providing for an efficient administration
of state highway matters through a commission of five business men, who
will give their undivided attention to the work for which they should be
paid an adequate salary. I say a commission of five men instead of three,
because of the great extent of the state and of the great diversity of condi
tions."
Mr. Reader, you certainly see the similarity of this and a previous state
ment made by me of a meeting over two years previous to the issue of the
above statement. Politics are all very well in their place, but not in road
matters. Mr. Eddy is a road theorist, and the above quoted plan is all rot,
not calculated for efficiency, but a soft political snap for five of the faithful.
Notwithstanding considerable opposition, the bonds carried and the act
became a law of the state. Apparently nothing remained but the carrying
out of the provisions of this law when there appeared a cloud on the
horizon. Politics again entered, and the 1911 legislature devoted much
time in an effort to defeat the will of the people as expressed by their
votes. Numerous acts were proposed and the political sop of having com
missioners was at the bottom of it. The administration wanted a measure
passed in effect divorcing the administration of the law from the Depart
ment of Engineering. Mr. W. F. Chandler, a member of the assembly and
a staunch administration supporter, tried various means to meet the de
mands of the "program," but the Attorney General ruled against legally
separating the work as defined by the law from the engineering depart
ment. Finally a fake way of planning the coup was evolved by increasing
the advisory board of the department of engineering with three paid mem
bers. A highway engineer at a salary of $25,000 per annum was first put
forth, but finally a salary of "not to exceed $10,000 per annum" was al
lowed. The paid members of the advisory board and the highway engi
neer are paid from the general appropriation of the state and not the
proceeds of the bond issue. This sum amounts to $10,800 per annum for
the three paid advisory board members and $10,000 per annum
for the highway engineer. The appointment of all road help
under the 1911 amendment to the department of engineering laws
was placed directly in the Governor's hands from the. office boy
up. The bill known as the Chandler Act which accomplished all
of this was so zealously advocated by its author, Mr. Chand
ler, that he took the bill from the assembly and later from the sen
ate without an order from either house as prescribed in the joint rules 16
and 17. This action was strictly illegal, but easily accomplished along
the path of immunized politics. Remember the law of the department of
engineering did not create a state highway commission, but by the Chand
ler act there were three members added to the advisory board of the de
partment after the bond issue for state roads had become a law. By a
resolution of the advisory board of the department a state highway com
mission was creatednot bv law, but by resolution of a state board. Let
me call your attention further to this resolution that you may better pass
judgment and note the politics played at the very inception of the state
road plan.
. .
A meeting of the advisory board was held in the Governor's office on
Tuesday, August 8, 1911, when the Governor and his friends undertook
the formation of the resolution. Neither myself as state engineer or the
secretary of the department were present at the time of its formation, but
on the following day Mr. Al McCabe, private secretary to the Governor,
brought the resolution to me to be placed upon the minutes of the meet

ing of the day previous. Some time after this transfer of legal rights by
a combination of executive and legislative skill, Mr. Carleton, the attorney
appointed to attend the needs of the highways, stated he could not under
stand by what legal authority there existed a highway commission. In an
opinion from Attorny General Webb dated Jan. 19, 1912, I quote: "The
name 'California Highway Commission' is derived purely from a resolu
tion of the advisory board of the department of engineering. In law it
has no significance or recognition." This is fine. The expenditure of
$18,000,000 by a commission which legally has no recognition. Did the
people intend that when they voted the bonds? The state department of
engineering law makes the state engineer the chief executive officer, and
further states, quoting: "He shall have charge of all the engineering and
structural work of the department." The resolution says the California
Highway Commission shall have the following powers: "(1) To take full
charge of the entire matter of the construction and acquisition of a system
of state highways in and for the state." It was always my opinion that
legislation came from the legislative branch of the government and not
otherwise. Again, the Engineering Act of March 20, 1909, makes the
Attorney General the attorney for the department of engineering, but you
note Mr. Carleton is the highway board's attorney at a salary of $200
per month. Politically this may be what they want, but it has no value
in road business. In the strife to get our highways away from politics,
there seems no end to the machinations of the politicians. Here we have
the spirit and letter of the law defeated by the chief executive of the state.
The voters approved the plan under a department of engineering, but as a
matter of fact it is run for all practical purposes by three men even whose
official position was created subsequently. This pseudo commission is
handling bond money which is really a trust fund with apparently no war
rant of law. The state engineer has been relegated to a back place and
some of his power, even though he is under bond to perform his duties,
has been usurped by the commission. Further, the Highway Bonding Act >
uses this language : "The department of engineering shall have full power
and authority to purchase all supplies, material, machinery and to do all
other things necessary or proper in the construction and maintenance of
said highways." If my diagnosis of this statement is correct it means all
things, including labor and help. Rut how about the Chandler amendatory
act granting to the Governor of the state the employment of all help under
the bonding scheme? Again, let me quote the Attorney General in an
opinion issued Jan 22, 1912. "It follows that the act of 1909, providing
for a system of state highways, cannot in any respect be modified nor can
the plan or method of pursuing or accomplishing the same be changed by
legislative act." Again let me quote Simonton, an authority on bonds.
He writes : "The act usually designates the body or officers who may
authorize the issue of the bonds, in which case they can be issued by no
other body or officers. Likewise when it designates what officers shall
execute the bonds no other officers can do so." Where the necessity for
this legal entanglement comes in I never could see, as the original plan
was clear and sufficient under the department of engineering to do the
work without too much political interference. Strangely at this particular
time an investigator at the other side of the continent in the state of New
York recommends the removal of the whole state highway system there
from the field of party politics.
In the succeeding article I shall deal mainly with the location and con
struction of the county and state highways.
Government Would Have All Federal Buildings Alike

WHENEVER a city or town makes public inquiry about its longdelayed postoffice building, the Washington authorities send out
the stereotyped excuse that "the supervising architect's office is
six years behind in its work." To bring daylight to the supervising archi
tect's office, buried under constantly increasing work, it is said to be the
plan of the Treasury officials to suggest to the Public Buildings Commit
tee of Congress a plan for adopting standard types of buildings to be
erected in cities of similar size throughout the country. This plan is thus
outlined in a recent press report :
"Treasury officials have been at work for several months on a preliminary re
port to the Public Building Committee created by Congress to work out and im
prove some system by which a standard could be formed for public buildings, so
that cities of a certain size should get a prescribed size of buildings. By its adop
tion, it was argued, the necessity of drawing plans for every new building would
be eliminated, the expense of the upkeep of the supervising architect's office would
be lessened and the actual time consumed between the authorization of a building
and its completion would be greatly diminished."
Are we then, in going from one end of the country to the other, to see
the same postoffice and federal building everywhere? Perhaps if it were a
really good type of architecture it would be more pleasing to see it dupli
cated occasionally, rather than to find abortions in the design of our public
structures, through an attempt to originate something different.
But how much better would it be to follow the plan of the American
Institute of Architects, expressed by resolution at the last convention, to
relieve the congestion in the Treasury Department by the employment,
through selection or by competition, of architects in private practice for
the work in that department? As admirably expressed by the convention,
what our public structures most need is "that some orderly system should
be adopted by the United States government in the designing of its build
ings, monuments, etc., in the purchase, selection and acceptance of sculp
ture, painting and other works of art, whereby the services of those archi
tects, sculptors and painters best qualified for such work may be made
available."
Senator George C. Perkins has written to the Berkeley Chamber of
Commerce that he will help to pass the proposed bill which provides for
employment of additional consulting architects in the office of the Secre
tary of the Treasury. Several hundred projected buildings are held up in
Washington because of lack of consulting architects to complete plans and
specifications, Berkeley's building being among the number thus hindered.
*
$30,000,000 Museum Group
STEPS have been taken to found a group of museums in New York
City, to be known as "The Museums of the Peaceful Arts." The
group is to consist of 20 buildings, and when completed will con
stitute the greatest institution of its kind in the world. The entire cost of
the group is estimated at about $30,000,000, and the annual maintenance
charges at between $2,000,000 and $3,000,000.
It is proposed that the museums shall be divided into the following
branches : Electricity, steam, astronomy and navigation, safety appli
ances, aviation, mechanical arts, agriculture, mining, labor, efficiency, his
toric records, health and hygiene, textiles, ceramics and clays, architecture,
scenic embellishment, gardening, roads and road-building materials, com
merce and trade, printing and books. In addition, there will be a central
library containing books and periodicals relating to the subjects of the
museums. This is the first project looking toward the establishment of a
museum of science and industry to take definite form in the United States.
97
MODESTO HOTEL, MODESTO, CAL.

Bernard Joseph, Architect
Exterior Faced with Sacramento Sandstone Brick
San Francisco Public Library Competition
SIX San Francisco architects have been invited to prepare competitive
plans for the proposed $1,000,000 Library building to be erected in
the San Francisco Civic Center. The competition is authorized by
the Library Trustees, who have retained the Consulting Board of Archi
tects, composed of Messrs. John G. Howard, Frederick H. Meyer and John
Reid, Jr., as advisers, and the program has been prepared by them with
the approval of the American Institute of Architects. The competitors
are George W. Kelham, G. Albert Lansburgh, Edgar A. Mathews, Albert
Pissis, Reid Bros, and Ward & Blohme.
The designs are to be submitted not later than noon May 4th, and the
judgment will be made by a jury of three persons, one to be a member of
the Board of Library Trustees, one architect to be chosen by the board
from a list of five names proposed by the advisers, and the third member
to be an architect who is not a resident of California and to be chosen by
the competitors, subject to the approval of the board. Each of the suc
cessful competitors submitting designs in accordance with the program
will be paid $1,000 in consideration of his services. The selection of the
successful design will be made not later than May 18, 1914.
*
You can't get figs from thistles. Nor can you get an assured income
from a shoe-string advertising proposition.
98
STEEL FRAME OF ST. IGNATIUS CHURCH, SAN FRANCISCO

Chas. J. I. Devlin, Architect
The Steel and Iron Industry of the Pacific Coast
VTHE CENTRAL IRON WORKS.
OF THE score or more steel and iron industries of San Francisco,
probably none has enjoyed a more successful career than the Central
Iron Works. Starting as a small repair shop with Messrs. F. Stoesser and A. A. Devoto as its proprietors, the concern has developed into
a factor in the Iron World of the Pacific Coast. The first plant was lo
cated at the corner of Beale and Howard streets, the site of the old Ralston
Iron Works. In 1904 the plant was moved to Eighteenth and Florida
streets, but it was not until in 1906 that the present considerable space was
utilized. The company is now using over 30,000 square feet of room and
has one of the most complete and modern fabricating plants on the coast.
Its capacities may be said to run as high as 250 tons per day. The com
pany makes a specialty of quick deliveries and guarantees high-class work
manship.
90
STEEL FRAME, BANK OF ITALY, SAN FRANCISCO

Shea & Lofquist, Architects
One of the first steel frame contracts filled by the Central Iron Works
was in connection with the old Cooney building on Powell street, between
Sutter and Post. The frame work for this structure was part way up at
the time of the fire and earthquake, and it remained intact during these dis
turbances. The work was completed after the fire, and the building was
one of the first to be finished following the conflagration. Frank T. Shea
was the architect.
Some of the most notable installations have been in church work, the
largest being the fabrication and erection of 1400 tons of structural steel
for St. Ignatius church, Charles J. I. Devlin, architect, the steel contract
on this job alone amounting to over $100,000. Another church whose
100
ANDERSON'S GAIETY THEATER, SA.V FRANCISCO

O'Brien & Werner, Architects
101
steel frame was fabricated by the Central Iron Works is the new Mission
Dolores at Sixteenth and Dolores streets, Shea & Lofquist, architects.
The steel and iron work for a number of theaters have also been furnished
by this company, including 450 tons for the Pantages theater, Miller &
Colmesnil, architects. This was a sixty-day rush job. Some 350 tons of
steel were fabricated for Anderson's Gaiety Theater, the same being sup
plied in 70 days' time. The steel for the Tivoli Theater, amounting to
over 400 tons, was turned out in less than 65 days. This building was
designed by Architects O'Brien & Werner.
Probably the largest rush job ever turned out west of Chicago was the
fabrication of 350 tons of structural steel in 59 days from the date of sign
ing the contract to the date of completion of the work, for a nine-story
steel frame for the Bank of Italy building, San Francisco. The plans were
prepared by Architects Shea & Lofquist.
While most of the large jobs have been in the city of San Francisco
the company is in a position to fill outside orders with the same speed
and satisfaction as it does the local work. The accompanying pictures
give the reader an idea of the class and volume of work done by this
company.
*
PRACTICALLY every failure and near failure in concrete has been
due to confidence on the part of somebody that concrete can sur
mount all manner of bad usage.
The fact is that there are plenty of good standards in concrete design
and in concrete construction, but that they are not observed by many of
those engaged in concrete building.
This neglect has a three-fold cause : ignorance, undue economy and
over-confidenceand the first two could not exist were it not for the
last. It is a pretty poor concrete man who does not know that frozen
concrete will not setbut there are plenty who will take a chance with
ten-day concrete at 40 degrees F. if they need the forms. Why? Pri
marily because they want to save the money that an additional set of
forms would cost. But if there were not confidence that the concrete will
stand up, the pocketbook would not govern judgment.
Practically every designer of concrete buildings will admit that 850
pounds per square inch is too high a stress in the concrete beams over
the room where his own family sits down to dinner, but he is not so wor
ried about that stress when it is in someone's garage. He feels confident
that it will not fall down, in spite of tests which show it to have a low
safety factor.
Throughout the whole field this pernicious combination of ignorance
and complacency extends ; instances might be multiplied almost without
end. It is the duty of the societies such as the American Concrete Insti
tute, which recently convened in Chicago, to urge upon the workers in the
industry a proper appreciation of the dangers of this over-confidence.
Skinning of work is a species of ignorance, for nothing is quite so evident
as the fact that good work in concrete construction pays. But the man
who thinks he knows more than the so-called authorities is the hardest to
reach because he is clad in the nearly impenetrable armor of conceit.
Every concrete failure means a slight betterment in methods, for a
certain number of hitherto unconvinced practical or commercial men are
shown by that most potent object lesson, a heap of ruins, just what con
crete will not stand.Engineering News.
102
Cut Rating the Architect's Fee

By WILLIAM SCHULTZ, Architect*
HERE comes a time in almost every successful man's life when after
|
profitably manipulating his biggest deal or accumulating a fat bank
account by persistent and consistent saving, he lays back in his
easy chair and sees through the rings of smoke from his jimmy pipe the
picture of his future homethe home that is to be his very own.
After deciding to build one must have suggestions as to what he wants,
for although we live in houses every day of our lives, and see what is
good and what is bad in their planning, the very familiarity breeds con
tempt and often the things we most often meet are least noticed. There
are houses and houses, and all intended to serve the varying purposes of
the varied occupants. He must find out just what house is most suited
to his needs. Building decided upon, the family rummage through all
the old copies of the Ladies' Home Journal and the Woman's Home Com
panionhousehold oracles. Single stories, two stories, houses large and
houses small, houses good and houses bad introduce themselves in all
the catchy, tawdry array of glowing description and nicely colored illus
trations, with landscape gardening to match. Passing the news stand a
"house book" fresh from the press catches the intending owner's eye. He
dives into the store and the book changes owners.
The family burn the midnight oil studying the latest addition to their
library. Its promises are seductive. One of the most attractive is: "A
beautiful eight-room cottage, of first-class materials, with all modern im
provements, including hot air or steam heating, which has been actually
constructed for $2,500. Blue prints, typewritten specifications and bill of
materials complete for $5,00." They have struck the trail. This is just what
they want.
Hundreds of such "bargains" can be found in the "house books" that
are scattered over the country. Experience proves to the bargain seekers
that the stated cost of these houses is purposely underestimated to get a
ready sale for the stock plans. But, like most experience, it comes too
late. Says one of the cut raters : "Our plans are much more carefully
drawn than the plans provided by the average architect who charges
from $100 to $200 for his services, ours being accurate and correct in
detail. The cost of the original tracings, the writing of the original speci
fications, is from $100 to $200, varying according to the size and style of
the house." These statements can be challenged. Nearly all stock plans
are the work of junior draftsmen or apprentices, often miserably drawn,
turned out in much the same manner as sausage is ground out of a sausage
machine and with about as much concern for architectural qualities and
the owner's comfort.
Any reputable architect who charges for his services the prices men
tioned by our contemporaries, gives not only his best efforts to the plan
ning and design of each individual house, but his personal supervision to
their construction. According to the system proposed by the job-lotters
either the owner must know something about building methods or super
vision must otherwise be conspicuous by its absence.
There are hundreds of dissatisfied home owners who wish when they
built they had employed an architect to look after their work. Accuracy
is the supervisor's watchword. He sees that no defective materials go
into the building, that all fulfills the terms of the specifications, that the
workmanship is good ; in short, that the owner gets what he is paying for.
'New Orleans, La.
103
By this method such nuisances as leaky roofs, defective plumbing, smoky

chimneys and premature deterioration are avoided. Suppose, for instance,
a porch flooring inferior to the grade specified is usedand it can be
easily done by an unscrupulous builder, few persons knowing anything
about lumberthis would mean several years shortening of the life of
the floor. Faint can be "doped" with whitening to save material, and a
building so treated requires repainting two or three years sooner than it
would with a good job of work.
A stock plan seldom meets expectations. Alterations are always nec
essary, and often the owner is compelled to turn the whole matter over
to a legitimate architect for reworking of the plans.
There are many stock plans published. The best are from California.
But the California house is hardly adaptable to the less sunny climes of
other parts of the United States. The main objection is that they are
mostly of the low type which must be covered with composition roofing;
this is far from being ideal where rains are frequent because it is difficult
to make them absolutely water tight. Los Angeles can employ them
with impunity because there the rainfall during the whole year is scarcely
enough to moisten the ground. The room sizes and general dimensions
of these houses are somewhat scantier than is considered good practice
for permanent dwellings. Still the California bungalow teaches designers
valuable lessons in charming originality of exterior and economy and com
pactness of planning. There are numerous examples of clever adaptation
of them to other localities. But they must be adapted, and it takes your
local architect to do it.
Stock designs from the north and east as a rule fall short of excellence.
While cleverness is often exhibited in interior planning, the elevation is
but too often a repetition or some phase or other of the perishing Queen
Anne cottage, elsewhere termed the "genteel" style. Its abortions are
many. Wriggles, twists, squirms and all kinds of acrobatics cavort on
its wall surfaces, and many of them would serve as apt models for the
candied gingerbread of quaint old Nuremburg.
Now a word about the "architect who charges from $100 to $200 for
his services." He has a knowledge of your needs. He knows because he
has studied them and everything else concerning his profession. His
incentive is love of his work ; his reward is his client's satisfaction. The
product of his pencil is accurate and reliable, not tinged with commercial
ism, but finished with the touch that only certain knowledge and artistic
instinct can give. His recommendation is the healthfulness and attract
iveness of the homes he has producedtheir occupants' comfort. And all
this for the enormous sum of about one month's salary of the contented
beneficiarv !
*
We
We
We
But
Absolutely Necessary
may live without poetry, music and art ;
may live without conscience and live without heart :
may live without friends, we may live without fads;
business today cannot live without ads.
*
Show us an architect who believes in keeping his plans to himself!
104
Advantages to the Architect in Mechanically

Mixed Paints
By G. B. HECKEL, Secretary P. M. A. of U. S.
ARCHITECTS, being human, are subject to the same frailties as the
rest of men. One of these is the proneness of human nature to fol
low the beaten path, even though it may be as direct as that made
by the fabled calf traversing the primeval forest.
The question of mixing paints is entirely a problem in mechanics. For
mechanical work machinery is more efficient and more economical than
manual labor, therefore a paint mixed by machinery is better and cheaper
than paint of the same composition mixed by hand.
The proposition is very simple on the face of it. Here, however, the
prejudice against ready mixed paints comes into play, and this in conjunc
tion with the routine habit of writing specifications for painting, make a
combination difficult to overcome.
The real objection to ready mixed paints is seldom stated. It is not
composition, nor consistency, nor the difficulty of adaptation ; it is the fact
that painters' tradition is violated by their use. Painters have mixed
paint from time immemorial and the natural inertia of human nature rebels
against change of procedure.
The objection commonly heard is that every job requires different treat
ment dependent upon the character of the materials and their condition.
The painter is supposed to know how to vary his mixtures to meet these
conditions.
Some painters do this, sometimes. More frequently the foreman
painter follows routine, and if he finds the consistency of his material not
to his liking, adds a little oil or volatile thinner, or a little "japan," to
facilitate working.
It is entirely possible, however, to vary the consistency of prepared
paint, within very wide limits, by pouring off a part of the thinner por
tion, if too thin, or by adding oil or "thinners" if too thick. The ordinary
painter needs no instruction on this procedure.
Granted, then, that it is possible to adapt prepared paints to all ordi
nary situations, and granted that these products must, from the manner
of their production, be better mixed and more uniform than hand-mixed
paints, why are they not always specified?
One objection is that their composition is unknown. The composition
of paints mixed by painters is also unknown, at least in one vital factor
the composition and percentage of "liquid dryer" used. Moreover, in the
northwestern states generally the paint cans carry formulas : hence this
objection is not valid. Furthermore, knowledge of the formula really
helps but little. There are well made and ill made pigments and paints of
the same composition. "Purity" is by no means synonymous with quality.
The ability and integrity of the manufacturer is really a better guarantee
than the formula.
As a matter of fact, the objection to prepare'd paints harks back always
to architects' routine and painters' inertia. It is a matter of pretty gen
eral knowledge among technical consumers of paint that two or more of
the prime white pigments (basic carbonate and basic sulphate white lead, zinc
oxide and leaded zinc) in combination, with or without a moderate per
centage of inert reinforcing pigment (barytes, silica, asbestine, etc.") make
paint that is in every way superior to paint made from any single pigment.
105
Such paint covers more surface, affords better protection for a longer
period, holds its color better and, because it covers more surface per gal
lon, is cheaper to the consumer than a single pigment paint. All the
better grades of prepared paint on the market meet these specifications
and in practice justify these conclusions.
The writer has been intimately connected with paint testing on a large
scale for the past ten years and is convinced that the architects' routine
above referred to is in no small measure, responsible for the general dis
satisfaction with painting "as she is did."Western Architect.
*
No Institute Competition for University Building

The Board of Regents of the University of Arizona have been com
pelled to abandon their project to hold a competition in accordance with
the code of the American Institute of Architects to secure plans for a
new Agricultural building to be erected at the university in Tucson for
the reason that there is in the statutes of Arizona a state law which is a
verbatim copy of the old California law of 1872. Unfortunately, on ac
count of the lack of Arizona court decisions for a precedent, the attorney
general of that state has been compelled to rule that the law is still
operative in Arizona, and as its provisions are incompatible with the ethics
and rules of the American Institute of Architects it was found to be im
possible to frame a program which could be approved by the Institute.
Since the law requires that plans for public buildings be secured by com
petition the Board of Regents had no alternative except to hold on open
competition in accordance with the requirements of the act, and to comply
with its provisions the successful architect, among other things, will be
required to furnish a bond that the building can be built for the sum
specified, which will be about $150,000.
The regents of the university were particularly desirous of having an
Institute competition, as they sought to interest the best talent not only
in the west but also in the east. They had engaged the services of Archi
tect Myron Hunt of Los Angeles, who was to act as professional advisor.
*
*
*
How Many Engineers Are There?
There is at. the present time, and has been for some years past, an
annual output of graduates from the schools of civil engineering in the
United States amounting probably to 4.000 to 6,000 per annum. Besides
this annual increment, there must be included the large number of stu
dents who take a partial course in the engineering schools and leave with
out graduation to take up engineering work. There is also the consid
erable number of men who work into engineering without the advantage
of an engineering school course, adding to their practical experience on
actual work such knowledge as they can gain from the correspondence
schools' aid in home study.
W hat the total number of civil engineers in the United States may be
at the present time can only be guessed, especially since, as noted above,
there is no possibility of drawing a hard and fast line as to who is and
who is not a civil engineer. It is probable, however, that those engaged in
civil engineering work of one sort or another, not including, of course,
those engaged merely as laborers or skilled workmen, number not less
than 100,000 at the present time. Engineering News.
106
A Los Angeles Architect's Impressions of New Orleans

and the Recent A. I. A. Convention*
By JOHN C. AUSTIN.
N FRIDAY, the 28th day of November, 1913, a committee from the
Southern California Chapter of the American Institute of Archi
tects, consisting of Messrs. A. C. Martin, A. F. Rosen
heim, Fernand Parmentier, and myself, started on the Southern Pacific
train for the annual convention of the American Institute of Architects
to be held in New Orleans.
Needless to say, every member of that committee was weighed down
with the responsibilities placed upon him, and each one felt that any busi
ness that any other passenger might have must be of minor importance in
comparison with their own.
The two delegates from San Francisco (Mr. William Mooser and Mr.
Henry A. Schulze) were both affected in the same way, but they showed
their dignity more definitely than did the Southern California delegation,
as they had a "drawing room" all to themselves and for two days held
aloof from all the rest of the passengers while they wrote ream after ream
of material that must be brought before the national body in order to
prevent its dissolution.
The journey was a pleasant one owing to the fact that the members
of the two Chapters were congenial, each having in mind one object only,
viz. :The betterment of all building conditions. The time flew by as
mile after mile of country was passed, all of it more or less monotonous.
The first two days was through desert land, the balance of the time swamp
succeeded swamp : and we all felt that fate had indeed placed our homes
in pleasant places when compared with those that we saw on our journey.
We arrived in New Orleans on .Sunday evening, and went straight to
the Grunewald Hotel, where the convention was to be held. We were
received by the hotel management with the statement that the hotel was
full, and there seemed to be some hesitation about giving us rooms, not
withstanding a letter produced by Mr. Rosenheim showing that rooms had
been reserved. Eventually Mr. Martin and I were given a room that was
usually used as a "sample room ;" in it were two beds, about half a load of
lumber, a dressing table, two chairs, and dust over everything. The next
day the lumber and some of the dust were removed, and. we were made
more comfortable.
We found that many of the delegates from other parts of the country
had arrived before us, and until the time of the starting of the conven
tion more delegates came in on every train. I recognized a number of the
men that I met in San Francisco at the convention held there in January
of 1911, other men's faces and names were familiar to me through the
publicity given to them by their marvelous achievements. When I met
some of the men and mentally compared their achievements with mine, I
could feel all of my egotism was oozing away, and that my hat band was
becoming perceptibly loose.
On Monday morning we met Mr. Favrot, the president of the New Or
leans Chapter, and found him to be a "Prince of Good Fellows" and over
flowing with the hospitality for which the south has a world-wide reputa
tion.
*Abstract of a Report read before Soitthern California Chapter.
107
With Mr. Favrot was a committee from the New Orleans Chapter of
the American Institute of Architects, whose duty it was to show us
through the French quarter of the city. The French quarter is the oldest
part of the city, and in it are some of the oldest buildings in America. The
streets are narrow, and the paving in some instances is of stone blocks laid
over a hundred years ago; the surface is very irregular, and the odors are
legion.
On each side of these narrow streets are quaint old buildings, some of
red brick and some of stucco. On the first story of these buildings are
funny little stores with low ceilings with whitewashed beams and plaster
more or less smoky and begrimed. Above the stores there are open bal
conies connecting with every story. These balconies are the chief charm
of the ''Quarter." All of the railings and supports are of cast iron, and
some of them are exquisite in both design and execution.
We went through the old hotel, which is now abandoned, but which
was used in early days by the aristocrats and the wealthy. The rooms
were lofty and spacious, also they were well appointed when the time that
they were used is taken into consideration. It was easy to form an opin
ion of the luxury that was then enjoyed. In this hotel we saw the place
where slaves were offered for sale, and one could hardly repress a shudder
at the thought of such hopeless misery and such luxury being under one
roof.
The "Absinthe House" was one of the quaint old houses that we saw
low ceiled, old-fashioned bar, whitewashed walls, and plank floors
scrubbed to a bonelike whiteness. Here again one could let his fancy
bring up grisly spectres of misery engendered by the chase after the luxury
of the moment.
We didn't miss the "haunted house" where the tradition runs that an
old woman would whip and torture her slaves to death. The inference is
that these slaves still send forth pitiful wails of distress during the dark
hours.
The French Quarter of New Orleans would furnish enjoyment to a
lover of the quaint, the old and the beautiful, for as many days- as we had
hours to devote to it ; so the description I give must be, to say the least,
very superficial.
The buildings show that men of education and refinement designed
them. The detail in many instances is beautiful, and the excellent preser
vation of the buildings show that the work was well done and that the
percentage obtained by an investor was not the sole factor thought of by
the one who erected them.
The city of New Orleans is built below the level of the river, and the
water is kept out by means of levees or dykes. Less than ten years ago
all of the sewage of the city was carried away by means of open gutters
in the streets, but now there is an up-to-date plant and the sanitary con
ditions are good. However, when the new sewer was installed a great
deal of damage was done to buildings owing to the undermining of foun
dationsnotably the old Roman Catholic Cathedral, which was so badly
damaged that the upper walls had to be tied together with iron rods.
These rods are very unsightly, but 1 believe that after the foundations
have been rendered safe and considerable repair work done in all parts of
the building that they will ultimately be removed.
The Jesuit Church from the outside is an insignificant structure
crowded in between other buildings; and while one can see that it is a
108
church, yet one is entirely unprepared for the beauty of the interior.
After passing the huge entrance doors (which are of cast iron covered
with heavily moulded small panels like a honey-comb) and crossing a
rather dingy vestibule, you enter one of the most striking auditoriums in
America. It is lofty as a cathedral, its decorations are gorgeous, and its
windows beautiful. Strange to say, the interior of this building is in the
style of the Moors. The columns, arches, enrichments and outline are all
Moorish, carried out in the bright colors that only the Moors could use
without being garish. The subdued light filtering through the stained
glass windows mellows everything, and there isn't a harsh note anywhere.
It is truly a "House of Worship" notwithstanding the fact that every de
tail was evolved by a race of people who viewed the Christian religion with
hate and abhorrence.
I started out to give my impressions of the Convention, but drifted off
into a description of a few of the things that I saw ; and as one convention
is much like another with the exception of a few vitally new subjects, I
have very little to say. Reports of committees were read and usually ap
proved, and some of them were of the utmost importance.
The subject touching on government architecture and the supervising
architect was discussed. It was stated that the work of that department
was six years behind if no other work was brought in, yet new work is con
stantly being brought in that must take its turn.
We in the west feel the bad effects of long delays worse than the older
communities of the east. Our towns sometimes double their population
in ten years, yet men who can not possibly understand our problem are
commissioned to design a building to fit a certain sum of money appropri
ated to fill the needs of the time that the appropriation is made. A few
years after the appropriation is made a building is built that is inadequate
before it is completed.
Generally the Federal buildings resemble a Greek Temple dedicated to
a heathen god, and in many cases the heathen god would have kicked at
the results. Take our own postoffice, with the lower half of granite and
the upper half of red-brown sandstone ; both halves are good in design if
taken by themselves, but taken together the result is chaos.
The specifications are sometimes written without a knowledge of the
materials that are best for the locality, and in some cases they are written
with the intention of using materials that are easily obtained in the lo
cality where the building is to be erected. A postoffice is being built in
Riverside, and the interior trim is of redwood. Some years ago redwood
was used in finishing our cheap cottages, but its use was discontinued
owing to its softness. Redwood isn't much harder than cork ; yet some
one writing the specifications with the best intention in the world, thinking
that he was benefiting the locality by using a native wood, has specified
something softer than yellow pine. I can readily see that exhibition sam
ples of curly redwood, which is taken from the roots of the tree, and which
is hard, has given a false impression of the wood. Curly redwood is hard
to get and is expensive, but common redwood is as poor as any finishing
material for a public building can be.
I will venture to say that if tht government work were given to archi
tects of reputation who lived in and knew the locality in which a govern
ment building was to be built, that a saving of far more than the architect's
fee would be saved owing to the architect's knowledge of local conditions,
and the building would fit its surroundings.
109
It has been suggested that plans of postoffices be standardized, and that

a plan for a certain sized town would be known by number; such a sug
gestion is hardly worthy of comment. The same design for a town in
Arizona with its hot sunshine and level plains could not be appropriate for
a town of like population in the Alleghany mountains, or the wet climate
of Oregon. Each building will present a different problem, and it is hard
to comprehend why men of brains and education could possibly think of a
rubber-stamp method for government architecture.
The American Institute of Architects' code governing competitions was
thoroughly threshed out in committee, and the undesirable features re
moved. It provides every facility for those who desire a variety of ideas
to call upon men skilled in their profession, and to obtain their ideas with
fairness to all.
The building public has drifted into the habit of thinking that it has the
privilege to call upon an architect to spend his time and money in giving
it the benefit of his skill and knowledge without compensation. Why this
condition exists is hard to say, but I believe the fault is largely with the
architect who is too anxious for work, and who does not think of the harm
that he is doing the profession at large when he agrees to make sketches,
etc., for nothing.
r
*
*
The Kind of Architectural Competition that Hurts
the Profession
RECENTLY the Board of Education of the city of Chico, California,
advertised for competitive plans for a brick school house. The pro
gram was apparently prepared by a novicepossibly the city hall
janitorat any rate it has not been taken seriously by members of the
profession, as is indicated by Mr. August G. Headman's letter to the city
superintendent of schools. The program and letter are reprinted in full
herewith :
NOTICE TO ARCHITECTS.For the benefit of architects inquiring concerning
plans for a new brick school building to be erected in Chico School District, the Board
of Education of the city of Chico in and for Chico School District, hereby invite archi
tects to submit designs for a school building that shall furnish the last mentioned rooms
and accommodations as a minimum requirement. The Board of Education shall judge
and select or reject the plans. It is especially understood that no premium or award
shall be offered for any rejected plan. The accepted plan shall become the design and
plan from which the building shall be erected.
Plans for the proposed new Oakdale grammar school building shall be made to the
scale of one-eighth inch to one foot, and shall consist of the following drawings :
Foundation plan.
Basement story plan.
Main floor plan.
Second story plan.
Roof plan, and a longitudinal and a transverse section, four elevations, front, rear
and both sides. The proposed building to be combined elementary and grammar school
for approximately 400 pupils, half boys and half girls. The building shall be two stories
and basement in heightnot fewer than eight class rooms size 24x32 and about 14
feet with cloak rooms, each class room with built-in bookcase, not smaller than 12
cubic feet inside. One office. One library well provided with shelving. One auditorium
of seating capacity of not less than 600. Two basement rooms for manual training.
Two basement rooms for domestic arts. Kitchen to be plumbed for water and gas.
Entrances, halls, office and auditorium to be wired for electricity. Basement to contain
heating plant for auditorium and a room for bicycles. No toilet system other than
for teachers' use need be installed. Small lavatory and drinking founts must be on
each floor.
Plans shall be completely and accurately figured with all necessary dimensions and
spacings, and thickness of walls in each story shall be clearly indicated. Specifications
110
. shall be complete, and shall accurately describe all materials and labor required in the
construction and finishing of the building. Kach architect who submits plans shall fur
nish the secretary of the Board of Education two complete sets of plans and specifica
tions as above enumerated, on or before the 9th day of March, 1914. and one of the
sets furnished by the successful architect shall be kept as a public record from the date
of and following the selection by the Board of Education of such plans and specifica
tions for use in the construction of a public building. The successful architect will be
required to finally furnish four full sets of plans and specifications, and four full sets
of blue-print detail drawings. Full-size detail drawings for all mill work, stair work
and other parts of the proposed structure shall be furnished and delivered to the board
by the successful architect within three weeks from the date of the official adoption of
the plans for the building.
In case the successful architect becomes the superintendent of construction of the
building the board will allow as an entire compensation 6 per cent of the contractor's
price of the building exclusive of furnishing and fixtures. In case the architect does
not become the superintendent of building construction, then compensation of 6 per
cent shall be divided between the architect and building superintendent in accordance
with the prescribed rules for architects' fees. Th entire compensation of the successful
architect is to be dependent upon the cost of the building, without change in plans or
specifications, from original filed copiesthe total cost as shown by regular bids from
reliable contractors to not exceed the sum of $30,000. In case the board fails to get
a bid from a reliable contractor to erect the proposed building for $30,000 or less, then
the architect furnishing the plans, etc., shall forfeit all claim to any compensation what
ever for his plans and specifications, etc.
The Board of Education expressly reserves the right to reject any or all plans, also
to require such minor changes as may be found necessary before the final adoption of
ar,y PlanCHAS. H. CAMPER,
City Hall, Chico, Cal.
Secretary Board of Education.
San Francisco, California, Feb. 16th, 1914.

Mr. Chas. H. Camper,
City Supt. and Sec. Chico School Dept.,
Chico, California.
Dear Sir:We beg to acknowledge the receipt of data entitled "Information for
Architects," also your letter dated February 6th, written in respect to the proposed new
Oakdale grammar school building, to be erected in Chico.
It is the policy of our firm to enter, when convenient, architectural competitions of
recognized standard, when the interests of our profession are protected, and the demands
of the program within reason and in accordance with the Code of Competitions of the
American Institute of Architects. The information, or rather program of competition,
as issued by your board is, to say the least, unfair and defective in many ways and will
not attract the serious attention of any responsible men of the architectural profession.
We note in one clause of your program that the architectural compensation of 6 per
cent shall be divided between the architect and superintendent in accordance with pre
scribed rules of architectural fees. This is one of the many items contrary to the code
and good practice, and inasmuch as your board therein admits knowledge of the archi
tectural schedule, it is to be regretted that your board or architectural advisor did not
study the code more carefully.
I am taking the liberty of mailing your board a copy of a circular of "Advice and
Information on Architectural Competitions," issued by the American Institute of Archi
tects. I might also mention that should your board desire to seek any advice in refer
ence to the above matter, the San Francisco Chapter of the American Institute of
Architects has a special committee for that purpose, who would be pleased to assist you
without charge, of which Architect Wm. Mooser, Nevada Bank building, of this city, is
chairman.
It is not the intention of the writer to offend your board, nor to be considered as
a critic of your actions, but it is my desire, if you will permit me, to inform you of the
proper recognized procedure in cases of your kind, and in turn uphold the standard
and code of the architectural profession, thereby protecting the interests of the entire
community.
With my best wishes to your board and to your undertaking, and hoping that you
will accept this letter in the spirit in which it is written, I am,
Yours most respectfully,
AUGUST G. HEADMAN.

Ameriran 3itatitute af Arrhiterta
(ORGANIZED 1857)
PRESIDENT ... . . . . . . . R. Clipston STURG1s, Boston
FIRST Vice-PREsident....THos. R. KIMBALL,
Omaha, Neb.
Second Vice-PREside.N.T. ... FRANK C. BALDw1N,
Washington
SECRETARY... . . . . . . . D. KN1cKERBAcKER Boyd,
Washington, D. C.
. . . . . . . . . . . J. L. MANRAN, St.
AUDITOR. . . . . . T. J. T. FULLER, Washington,
TREASURER
Louis
D. C.
Qalifurnia State Buarh uf Arrhiterture

NORTHERN DISTRICT.
PRESIDENT ................... John BAKEwell, Jr.
SEcRETARY AND TREASURER.SYLVAIN ScHNAITTACHER
Members
JNo. BAKEw ELL, Jr.
EDGAR A. MATHEws
JosepH. C. NEwsome
SOUTHERN DISTRICT.
PREsibENT. .................... John P. KREMPEL
SECRETARY-TREAsURER.......... FRED H. Roehrig
Octavius MoRGAN
MEMBERs....................
P. Hu Nr
WM. S. HEBBARD
ait
Board of Directors

M. Donaldson, Detroit; Edward A. Crane, Phila
delphia.
For Two YearsC. Grant La Farge, New
York; Burt L. Fenner, New York; H. Van Buren
Cook, New York.
*rantiara Architectural QUIith

PRESIDENT .................. GEo. E. GREEN wood
Vice-PRESIDENT .............. CHAs. Peter Weeks
SecretARY....................... A. L. WILLIAMs
TREASURER ................... W.M. D. SHERMAN
Directors
HENRY A. THoMsEN
JAMEs A. MAGEE
na Angeles Arrhtfertural (Uluh

PREsineNT
ARTHUR RollAND KELLY
VICE-PRESIDENT ............... HARRY F. Withey
SECRETARY-TREASURER .......... Henry E. BeAn
John T. Vawter
Chairman House and Entertainment Committees,
Massier of Atelier
GILBERT STANLEY UNDERwood
- - - - - - - - - - - - - -

PRESIDENT . . . . . . . . . . . . . . GEORGE B. McDougALL
Vice-PRESIDENT . . . . . . . . . . . . . . EDGAR A. Mathews
SEcRETARY-TREAsuRER....SYLVAIN ScHNAITTAcHER
TRUSTEEs. . . . . . . . . . . . . . . . .
J| Geo.
HENRYB.G.McDougALL
ScHULzE
#ant Birgu Arrhitrrtural ABBuriation
Vice-PRESIDENT. . . . . . . . . . . . . . Albert C. MARTIN

SECRETARY . . . . . . . . . . . . . . . . . Fernand PARMENTIER
TREASURER. . . . . . . . . . . . . . . . . AUGUST WAcKERBARTH
Preside.N.T. ........................ J. B. LYMAN

VICE-PRESIDENT .................... F. C. CREssy
SecretARY..................... RoBT. HALLEY, JR.
TREAsurer....................... G. A. Haussen
Board of Directors
Octavius MoRGAN
H. M. Patterson
J. J. Blick

PRESIDENT ... . . . . . . . . . . Morris H. Whitehouse
VICE-PREsident. . . . . . . . . . . . . . . . ALBERT E. Doy LE
SECRETARY. . . . . . . . . . . . . . . . . . Ellis F. Law RENcE
TREASURER . . . . . . . . . . . . . . . . . . . . Folger Joh NsoN
Council MEMBERs . . . . . . ...} EDGAR M. Lazarus
FRANK LoGAN
#urtlanth Arrhitertural (Uluh

OFFICERS FOR 1913
PRESIDENT ......................... FRANK LoGAN
VIcE-PRESIDENT ................. JNo...M., Hatton
Secretary.................... WM. H. Flanigan
TREASURER.................. WILLIAM P. Dawson
Arrhitectural Geague afthe $larifir(Unast

PREsident. . . . . . . . CARL F. Gould, Seattle, Wash.
Vice-PRESIDENT . . . . . . . MYRoN HUNT, Los Angeles
SECRETARY. . . . . . . . . . . . . J. S. Cote, Seattle, Wash.
TREASURER... . . . . . . . . W. C. HAYs, San Francisco

PRESIDENT
... . . . . . . . . . . . . . . . CHARLEs H. ALDEN

J. F. EveRETT
VICE-PRESIDENTs ............... GEorce Gove
ALBERT HELD
SECRETARY . . . . . . . . . . . . . . . . Arthur L. Loveless
TREAsURER . . . . . . . . . . . . . . . . A. C. P. WillatzEN
Appirional MEMBERs
D. J. MYERs
or CouncIL. . . . . . . . . .
R. HUNTINGtoN
W. R. B. Willcox
.#
Honor for Mr. John H. Schumann

Mr. John H. Schumann, Jr., president
of the Moller & Schumann Company of
Brooklyn, N. Y., has been elected to the
directorate of the Citizens Trust Com
pany of Brooklyn, to fill the vacancy

caused by the death, in December, of Mr.
John H. Schumann, Sr.
112
Architect Wright Returns

Architect G. Alexander Wright of San
Francisco recently completed a tour of
the United States, visiting twenty-nine
of the larger cities and their building
exchanges for the purpose of bringing
about more efficient estimating and con
tracting methods.
Last winter Mr. Wright visited Eng
land, where he talked over exposition
matters with some of the British officials.
He asserts that the true reason why the
British Government is not exhibiting is
because British manufacturers are sp
busy with orders taxing the capacity of
their plants that they have become in
different to the exposition. The Panama
canal toll has no bearing on the situa
tion, according to Mr. Wright.
Speaking of local building conditions,
Mr. Wright said: "In visiting twentynine of the largest cities of the United
States, I must say that I have seen noth
ing in any of the big Eastern cities that
could show San Francisco how to do
anything in the building line. Our build
ing ideas seem to be far in advance of
those of the East."
New Architects
The State Board of Architecture,
Southern California Division, has grant
ed certificates for the practice of archi
tecture to the following: W. S. Greene,
1036 Van Nuys building; Francis Barry
Byrne, 805 Trust & Savings building;
and Clinton Hall, 801 South Union ave
nue; all of Los Angeles; R. Rayner
Christien, 931 North Spurgeon street;
Birger A. Elwing, 410 West Second
street; and J. Flood Walker, 303 East
Fourth street, all of Santa Ana; and John
Cyril Bennett, 176 Terrace Drive, and
Charles E. Norberg, 1211 Avoca avenue;
both of Pasadena.
Given State Certificates
At a meeting of the State Board of
Architecture, Northern Division, held on
Tuesday, February 24th, the following were
granted certificates to practice architecture
in this State : J. S. Gould, Lloyd A. Rally,
Kenneth MacDonald, Sr., V. Wyss Thaiman, Charles E. Butner, Fresno; Ralph
P. Morrell, Stockton.
Architect Lenzen Busy
Architect Theodore W. Lenzen, Hum
boldt Bank building, San Francisco, has
quite a little work in his office. He has
recently taken figures for the construc
tion of a three-story frame apartment
house on Guerrero street for the Braun
Realty Company, and bids have also
been taken for a two-story frame store
and flat building for B. Longo. Plans
are being prepared for a moving picture
theater and also an apartment house.
Wants Portland Chapter to Wake Up

In his annual report, Edgar M. Laz
arus, F. A. I. A., and retiring president
of Oregon Chapter, A. I. A., urged the
members to infuse new life into the
organization, otherwise, he predicted that
it would surely die a painless death.
The new officers of the Chapter are:
Morris H. Whitehouse, president; Albert
E. Doyle, vice-president; Ellis F. Law
rence, secretary; Folger Johnson, treas
urer; Edgar M. Lazarus and Frank Lo
gan, members of the council.
The following committees, with their
respective chairmen, have been appointed
for the present year: Municipal plans
and affairs, Folger Johnson; program
and entertainment, Andrew Fouilhoux;
professional practice, A. E. Doyle; edu
cational architectural league, William G.
Holford; legislative, D. L. Williams;
membership, F. A. Naramore; quantity
surveying, Chester Hogue; building laws,
H. A. Whitney, and publicity, Ellis F.
Lawrence.
Advisory Architect for Fresno Schools
A new building policy in the handling
of the $450,000 school bond issue has
been decided upon by the Board of Edu
cation of Fresno city which has deter
mined to employ an advisory architect,
for whom the State will be searched, to
have general charge of all construction
plans, and to place the detailed work on
the actual blueprints in the hands of a
local draughtsman.
Superintendent of Schools C. C. Starr,
as secretary of the board, was instructed
to send out circular letters to the lead
ing architectural firms in the State ad
vising them of the plans of the local
department and asking them for a state
ment of qualifications to undertake the
supervision of the work.
Country Club House
Architect Edward G. Garden, Phelan
building, San Francisco, is preparing
working drawings for an attractive coun
try club house to be built near Elmhurst. Alameda county, for the Sequoia
Country Club. The estimated cost is
$70,000.
Country Residence
Architects Willis Polk & Company,
Merchants Exchange building, San Fran
cisco, are preparing plans for a $200,000 country residence for W. B. Bourn,
president of the Spring Valley Water
Company.
.
Berkeley Residence
Architect C. W. Ratcliffe, Jr., of Berke
ley has completed plans and taken fig
ures for the construction of a two-story
and basement Mission style house in
Claremont for E. A. Nickerson. The es
timated cost is $20,000.

Pittsburg City and County Building
Another competition of unusuaj inter
est has just been decided. The plans of
Architect E. B. Lee, Pittsburg, associ
ated with the architectural firm of Pal
mer, Hornbostel & Jones of New York
City, have been selected for the proposed
county and city building, which is to be
erected on a site bounded by Grant, Dia
mond and Ross streets and Fourth ave
nue in the Iron City. The commission
which finally chose the architects includ
ed County Commissioners J. Denny
O'Neil, I. K. Campbell and S. J. Toole,
and Councilmen John M. Ghoering, Rob
ert Garland, Dr. J. P. Kerr, Dr. G. A.
Dillinger, W. A. Hoeveler and Dr. S. S.
Woodburn. Cass Gilbert and Walter
Cook, architects of New York City, acted
as advisers to the commission. The
competition included fifteen Allegheny
county architects. The firms receiving
honorable mention were MacClure &
Spahr, R. M. Trimble, Janssen & Ab
bott and Rutan & Russell. Mr. Lee re
ceives no immediate prize, but is allowed
$5 000 for preparing plans and specifica
tions to realize his design. The design
of the building is of Romanesque style.
Personal
Architect Frank Lloyd Wright, Jr.,
landscape architect of Chicago, will es
tablish an office in Los Angeles, being
at present with Architects Montgomery
& Montgomery, 805 Trust & Savings
building.
Architect Francis Barry Byrne of Los
Angeles, has taken charge of the archi
tectural offices of Walter Bailey Griffin
of Chicago during the absence of Archi
tect Griffin in Melbourne, where he will
superintend the erection of the Austra
lian capitol buildings.
The firm of R. B. Young & Son, archi
tects, will continue under that name in
their offices in the Lankershim building.
The son, Mr. Frank Wilson Young, the
junior member of the firm, who is well
known both socially and in a business
way, has practically had charge of the
business for the last six months, as Mr.
R. B. Young had been confined to his
home eVcr since an operation performed
last August.
Charles L. Johnson of the Atlas Port
land Cement company of New York,
was a recent visitor in San Francisco
and Los Angeles. Mr. Johnson reported
business conditions much improved. He
is quite enthusiastic over prospects for
an exceptionally good business year on
the coast. The Santa Cruz White Port
land Cement Company has exhausted its
supply of white cement and discontinued
its manufacture. They are now selling
the Atlas Portland White Cement.
Announcement has been made that
since the death of Mr. William Curlett
the architectural firm of William Curlett
113
& Son will be continued under the same

name and management as heretofore by
Aleck E. Curlett. The offices will re
main in suite 1027 Title Insurance build
ing, Los Angeles.
Mr. George P. Robinson of Los An
geles, and assistant supervising engineer
of street construction in the City Engi
neer's office, has accepted the position
of City Engineer for the city of Santa
Barbara.
Firemen's Fund Company to Build
The Firemen's Fund Insurance Com
pany has adopted plans by Architect
Lewis P. Hobart of San Francisco, for
a monumental home office building to
be erected upon the site of the old build
ing of the company at the southwest cor
ner of California and Sansome streets,
San Francisco. Construction is sched
uled to begin April 1st.
With a site 87% feet square, this new
structure will harmonize with the classic
Bank of California building on the oppo
site corner. It will be three stories high,
with provision for three additional floors
to be erected in the future, and its
facades will be dominated by double col
umns, the design being in the Corinthian
order. The base will be of granite and
the columns and cornices of terra cotta
of a light color. The recessed walls will
be mostly of bronze and plate glass.
The building is to be used entirely as
the home office of the insurance company.
It will be of class A construction
throughout, with a full steel frame and
reinforced concrete walls, partitions,
floors and roof.
Architect Brings Suit
W. H. Crim, an architect of San Fran
cisco, has filed suit in the Superior Court
against W. N. Hohfeld of Mayfield for
$566 for alleged services rendered.
The case came uo in the San Francisco
courts, but as Hohfeld is a resident of
Mayfield, a change of venue was de
manded and granted. The case will be
heard in the Superior Court of Santa
Clara county.
,
Fraternity House
Architect John Reid, Jr., member of
the consulting board of architects of the
city of San Francisco, has completed
plans for a $25,000 fraternity house to be
erected on Hearst avenue and Highland
place, Berkeley, for the Phi Delta Theta
Society. The building will be frame and
plaster, with clay tile roof and will be
equipped with all modern conveniences.
The Butterfly Map
The Panama-Pacific International Ex
position Company have adopted the new
style world map invented by Architect
B. J. S. Cahill to show the route of avia
tors in the forthcoming flight around the
globe, to take place from San Francisco
in 1915.
114
THE
Arrlittrrt anil Enginrrr
OFF CALIFORNIA
Member
of Caltfornta
Pertodtcal
Publtshers'
and
General
Contractors'
Assoctatton,
San Assoctation
Franctsco
Published Monthly In the interests of the
Architects, Structural Engineers, Contract'
on and the Allied Trades of the Pacific
OFFICES
617-619 Monadnock Building. San Francisco
Butlders'
Telephone
Exchange.
DouglasOakland
1828
(Includtng
postage)
to all parts of the Untted States $1.50
rr
annum
;
to
addtttonal. Canada 50c addtttonal ; to all Foretgn potnts
Vol. XXXVI. March, 1914
No. 2
ASSOCIATE EDITORS
H. J. Brunnter
Reinforced Concrete
Wii. B.. Gester.
J Inspectton
Loren E. Hunt. C. E.:. - . 1 and Tests
F.' WSF?patr.ck: I Fireproof Construct
K,!SC' E }
Structure SUet
Cotta
Howard Frost. )
G. B. Ashcroft, C. E.
Artificial Stone
Harry Larktn - J. R. D. Mackenzte - J- Roofs and Roofing
Fred
M. Woods.
Rock and Gravel
C. Walter
TozerJr..
Interior Decoration
T. C. Kterulff
Legal Points
Paul C. Butte
- C.
Electrical
Nathantel
Ellery.
E. - Construct1on
- Good Building Construction
ARCHITECTURAL
Fred H. Meyer
F. D. Hudson
Edward T. Foulltes
C. Sumner Greene
G. Albert Lansburgh Norman F. Marsh
E. H. Hildebrand
Maxwell G. Bttgbee
KennethMacDonaldJr. Clayton D. Wilson
Houghton Sawyer
Almeric Coxhead
John G. Howard
Harrison Albright
Arthur Brown. Jr.
John Parkinson
T. J. Welsh
W. J. Cuthbertson
Chas. P. Weeks
A. W. Smith
Benj. G. McDougall T. Patterson Ross
Octavius Morgan
William H. Weeks
H. Alban Reeves
Chas. W. Dickey
Henry C. Smith
J. C. Austin
CONTRIBUTORS
Wm. A. Newman
J. T. Walsh. C. E.
Jas. W. Reid
Smith O'Brien
Albert Pitsis
H. F. Starbuck
Nathaniel Blaisdell
J. Harry Blohme
Herman Barth
W. T. Bliss
Arthur O. Johnson
William Mooser
Herbert E. Law
Robert Mortreneier
B. J. S. Cahill
Hon. Jas. D. Phelan
John Galen Howard t F. A. I. A.
Louis C. Mullgardt \
E. M. C. Whttney
Fredertck W. Jones
Manager
Managing Editor
It is time the different Institute

Chapters on the Pacific Coast awak
ened to the fact
A PLEA FOR
that if the real
HARMONY IN
purpose of the orTHE CHAPTERS
ganization is go
ing to be accom
plished, trivial differences must be
adjusted and fancied wrongs over
looked and forgotten. New working
blood must be infused into the all
but dormant bodies, and the mem
bers should each one take it upon
himself to boost and not belittle his
Chapter. These words of advice are
directed particularly to the San
Francisco and Oregon Chapters.
In Los Angeles, Southern Cali
fornia Chapter is pulling together
splendidly a recognized charac
teristic of the townspeople there, by
the way. Up in Seattle the Chapter
is doing good work, and its meetings
are well attended, but in Portland,
the Oregon Chapter is moribund, if
we are to accept the statement of
the retiring president, Mr. Edgar M.
Lazarus, F. A. I. A., who, in his an
nual report presented at the Chapter
meeting in December, declared that
unless more interest is aroused in
the Chapter proceedings the organi
zation will shortly die a painless
death.
Now as to the San Francisco
Chapterits troubles are altogether
too well known to need further air
ing here. The Architect and Engi
neer has refrained from exploiting
any of the dissensions that have all
but wrecked the organization, al
though it has been repeatedly urged
to do so. In some instances the
Chapter is right in the position it
has taken with reference to flagrant
disregard of ethics of certain of its
members, but in some other matters its
policy is open to criticism, and until its
tactics are changed we can see little
else than a turbulent career. And what
a pity it should be so ! The archi
tect whose very success is dependent
upon a harmonious blending of lines
and colorshere we find him in his
own society, intended to help him to
maintain his professional standard
and dignityhere we find him.
"FIRE - A
CRIME"
Rolling Doors*
and Steel Sash.
See the SIMPLEX METAL WINDOW.

of California
single copies,
$1.50 per Year
SO Cents
lMUd monthly In the Inter*its of Archttects. Structural Engtneers. Contractor! and the Allted Trade* of the Pactfic Coast.
Contents for April

PAGE
EESIDENCE OF ALFRED I. DTJPONT
.
Frontispiece
Carerre & Hastings, Architects
THE DECORATIVE POSSIBILITIES OF CONCRETE 47
C. W. Boynton and J. H. Libberton
Illustrated
ARCHITECTURAL ACOUSTICS
70
John T. Vawter
A MODERN TERMINAL RAILROAD STATION
76
MUNICIPAL AUDITORIUM FOR THE CITY OF OAKLAND
79
O. P. Shelley, C. E.
Illustrated
A SUBWAY SCHEME
86
Guy Quintin Doane
Illustrated
THE OAK PARK GRAMMAR SCHOOL, SACRAMENTO
90
John J. Donovan, Architect
Illustrated
THE THRALL OF THE AXIS
91
F. W. Fitzpatrick
A SYMPOSIUM ON HEATING AND VENTILATING
93
Thomas Morrin, C. E.
AN INEXPENSIVE SMALL FARMHOUSE .....
96
THE HIGHWAYS OF CALIFORNIA
98
Nathaniel Ellery, C. E.
Illustrated
VACUUM CLEANERS
105
VINCENT ASTOR'S NEW BUILDING
109
EDITORIAL
112
. WITH THE ARCHITECTS AND ENGINEERS
114
HEATING AND LIGHTING
119
BY THE WAY
126
SHOW.
GARDEN,
IN
POOL
ACROSS
WIEW
CRESIDENCE
ING
FOrNoSEnRtViAsTpORiYe.ceDEL.
OF
Hfor
&
CARERRE
1914.
April,
ASTINGS,
WThe
DUPONT,
I.
ALFRED
CIaLlMiIfNoGrTnOiNa,.ARCHITECTS
of
Engineer
and
Architect
THE
Architect
and
Engineer
Of California
Vol. XXXVI.
APRIL, 1914.
No. 3
The Decorative Possibilities of Concrete*

By C. W. BOYNTON. M. W. S. E., and J. H. LIBBERTON, Assoc. W. S. E.
IN THE early days of construction, the
| architect and engineer appeared on the
work under the title of master-mason.
This individual wore long robes as an in
dication of his authority, and the designs
on his trestle board are a matter of history.
With the passing of the master-mason
came the architect and engineer, the one a
worker in lines, the other a worker in fig
ures. '
The combination is ideal ; one specializ
ing on beauty and the other, safety and ef
ficiency. Too often, however, safety and
efficiency receive first consideration, and
the beauty only gets its share after costs have been carefully calculated.
In reality, the most common buildings of a manufacturing type can be
made to conform to pleasing lines without the additional expenditure some
times thought necessary. After pleasing lines have been determined, then
comes the question of decoration. In many instances this is carried to
extremes, and we find exquisite examples of stone carving and cornice work
being placed at the top of an eighteen or twenty-story office building, which
no one can see or appreciate except a possible few located in the offices
upon the opposite side of the street.
This may be said of the Chicago postoffice (Fig. 1), with the exception
that here the entire structure has been injudiciously placed. It is well rec
ognized that a structure of this kind occupies a maximum ground area with
a minimum return in floor space and light area. This building was a large
undertaking from an engineering standpoint, but whether or not it is an
architectural success, few may judge because of the impossibility of viewing
the entire building at one time. Of the same type is the capitol at Wash
ington, but so judiciously has it been placed that a full view may be ob
tained from all sides without obstruction. In the open, or upon the crest
of a hill, the Chicago postoffice, even though inefficient in design, would be
architecturally beautiful.
There is an o]d maxim to the effect that the designer should ornament
his construction and not construct his ornamentation. This is an admirable
*Abstract of a paper read before the Western Society of Engineers.
48
Fig. t.CHICAGO POSTOFF1CE, WEST FRONT

saying, but should be subordinated to another rule, that he should ornament
his structure only if he lacked the skill to make it beautiful in itself. A
structure of any kind that is intended to serve a useful end, should have
the beauty of appropriateness for the purpose it is to serve. It should tell
the truth, and if the character were such that it can be permitted to tell
the whole truth, so much the better. It should preferably be beautiful
and not beautified.
There is a certain charm about a massive structure almost irrespective
of design. The sight of a pyramid on the desk would call forth no ex
pression of interest or enthusiasm, but let this grow in size until it as
sumes the proportions of those famous structures of Egypt and many
pilgrimages will be made to view it. Of course the Egyptian pyramids
are assumed to be the resting place of kings, and the placing of the
blocks required the use of more muscle or machinery than we at present
have any knowledge of, but our idea of their beauty and grandeur obtains
primarily from the immensity of the structures.
49
There is no reason, however, why mass should not be combined with

decoration, provided the design is not made subordinate to the decora
tion. This combination has often been used very effectively. The ques
tion is, what medium shall be chosen? At the Unity Church, Oak Park
(Fig. 2), the building is not only monolithic concrete, but the ornamenta
tion partakes of the same characteristics, having been cast at the same
time and of the same material. In a building of this type, however, much
attempt at decoration would be fatal and the unobtrusive style adopted
detracts not in the slightest from the dignity obtained by large areas and
Fig. 2.DETAIL OF UNITY CHURCH, OAK PARK, ILLINOIS

massive construction. W ith a different style of building, such as the
Administration building at Washington Park (Fig. 3), the treatment may
be entirely different and the concrete be called on to assume the most
intricate shapes.
Both of these buildings show the same surface finish. The architecture
determines the decoration. W ith conditions reversed and the decora
tions transposed, the effect would be ludicrous. In these buildings the
monotony of the form concrete has been relieved by the use of a rather
dry surface mixture which discloses the nature of the aggregate used.
Fig. 4.ENTRANCE DETAIL. ADMINISTRATION BUILDING,

WASHINGTON PARK, CHICAGO
DETAIL OF ENTRA\XE TO THE BUILDING OF THE PIQUA HOSIERY CO.,

P1QUA, OHIO
52
In work of this kind, particular attention must be paid to methods of

obtaining uniformity of surface and absence of horizontal joint markings
(Fig. 4), although the latter blemish is not nearly so noticeable on work
of this character as with the wet mixture.
After all, the question of pleasing effects depends not only on the sur
faces and the surface treatment, but on the combtnation of design with
the surface texture.
The method of treatment on the Piqua Hosiery Company's building (Fig.
5) is especially pleasing. So is the exterior finish of the Western Fire Sta-
Fig. 6. WESTERN FIRE STATION, WESTON, MASS.

tion (Fig. 6), where panels have been hush hammered, preserving the
corners and margins intact. Consistent with its purpose, the entire struc
ture is of reinforced concrete.
No doubt everyone is familiar with what seems to be the proverbial
small town water supply tank, with its hemispherical bottom and sprawl
ing legs; anything but an ornament to the community. This same type of
structure was installed at Gary, Indiana (Fig. 7), but so well has it been
concealed that the tower is a thing of beauty and possesses real archi
tectural merit. The work of molding so large a structure in reinforced
53
Fig. 7.GARY WATER TOWER, GARY, INDIANA

concrete was greater because of the forms required, the total height being
125 feet. But the finished structure justified the labor. The lower 25
feet and the upper cornice are of cast concrete stone, made by George
Rackle & Sons of Cleveland. The remainder is of reinforced concrete.
The relief of the surface monotony is seen in the decorative work at the
top and base.
Decoration, however, is not an essential of mass construction, as has
been clearly demonstrated by the Spanish in the design of the adobe
dwellings and missions. But adobe perishes and our interesting relics of
former days will soon be a thing of the past. Noting the possibilities of
monolithic concrete for preserving this architecture. Frank Miller has
undertaken to petrify indefinitelv, as it were, some of the most interesting
details of the mission architecture developed by the Franciscan Fathers
Fig. g.GLENWOOD INN, RIVERSIDE CAL.. LOOKING FROM THE

STREET INTO THE COURTYARD
55
in California (Fig. 8). Thus when the last adobe wall has crumbled we
shall still have a replica of the Campanile of San Gabriel (Fig. 9) and the
imposing arches of San Fernando, these having been duplicated in the
Glenwood Inn at Riverside, California. Little other material than con
crete has been employedexcept the roof tile, which undoubtedly lend
color to the scheme and interest to the picture. On the roof is a famous
collection of bells, over 300, dating back to 1278. It seems, consequently,
particularly fitting that these old relics, after their furious experiences,
may now rest content, enclosed and surrounded by a structural material
which will preserve their last resting place intact through the centuries
to come.
Of the mission type, also, are the rest or way stations of the Pacific
Electric Railway, at Pasadena, California. These are fast replacing the
old wooden rough-and-ready stations, none of which was consistent with
the high-class residential district through which the company operated.
On both sides a bench is built into the wall so as always to furnish pro
tection from rain.
Fig. 1o.THROOP POLYTECHNIC INSTITUTE, LOS ANGELES, CAL.

Myron Hunt, Architect
An unexpected test of building materials presented itself during the
San Francisco earthquake, and the architect for the delightful bell tower
on the Mills College campus, Miss Julia Morgan, states that it was one
of the few buildings which remained undamaged in that vicinity.
Because it includes some of the most notable sculpture on the coast,
the building of the Throop Polytechnic Institute at Los Angeles, Cal.,
may have interest (Fig. 10). It is all of reinforced concrete, even to the
tower, and was designed by Architect Myron Hunt of Los Angeles. The
sculpture was executed in New York and cast in glue molds by a local
company, the cost of this one item being something over $5,000. Warm
climates seem particularly suited to plain concrete construction, and its
general adoption may partially be explained by the cool appearance of
the plain surface.
Concrete, still in its formative state of development, is a compara
tively new architectural material, although structurally it has been prov
56
ing its permanence for many years. The particular reason for gratifica
tion comes in the new discoveries, and new uses to which it is continually
being put. Every day there arises some Philistine who has discovered
something new and worthy of consideration.
A few years ago the theory of applying concrete by means of a hose
and nozzle met with derision, but every day we hear of more work being
done by this method, the machine being designated as the "cement gun"
and the concrete "gunite." An interesttng piece of work has been ac
complished by the Boston Elevated Railroad at the foot of O street, Bos
ton, where a garden fence has been constructed by this method. The
base and posts are built of concrete poured into the forms in the usual
way, the posts being relieved by protecting brick quoins (Fig 11). The
street face of the panels were shaped by means of a wooden form, and
each central panel was faced with steel. The concrete was applied from
the rear with the cement gun, making the panels 2y2 inches thick and
the styles 4 inches thick. The interesting point in the operation is that
the entire panels are made in one piece at one operation.
Fig. u.CEMENT GUN CONSTRUCTION ON WALL OF THE BOSTON

ELEVATED RAILWAY
A buildtng should be fitted to the country in which it is to be located,
and more and more attention is continually being given to the unity which
must exist between the landscape and the layout of concrete structures
which are to be added as permanent improvements. A striking example
of this is to be found on the Duke estate at Somerville, N. J. (Fig. 12),
where white cement and white sand have been used in facing the concrete,
in order, possibly, to give more contrast against the natural beauty of the
surroundings. The bridge (Fig. 13) harmonizes with the rest of the
work, but might be improved if the surface markings were eliminated
the general lines accentuated by bush hammering, or some one of the
other numerous interesting surface treatments, to which concrete may be
subjected.
57
Fig. 12.CONCRETE RETAINING WALL AND BALUSTRADE ON

DUKE ESTATE, SOMERV1LLE, N. J.
In a similar manner the concrete posts which have been added to the
Lake Shore Drive in Chicago not only add materially to the dignity and
beauty of this boulevard, but are, themselves, better set off by being so
well located (Fig. 14). Imagine this particular design on South Clark
and Harrison streets. For a while the posts would look entirely out of
harmony with their surroundings, but there is every probability that
their advent would produce a desire on the part of the property owners
to clean up the streets and buildings so as better to accord with the
dignity of the lamp standards.
A note on the method of construction of these poles may be of inter
est since they are of reinforced concrete, cast in one piece, including the
base. The surfacing is made of a special mixture of cement, dark red
Wisconsin granite and a small amount of mica, which is washed, after
removing from the mold, with a weak solution of hydrochloric acid. The
design is the result of a contest in the Chicago Architectural Club, the
successful contestant being John Hamilton.
Fig. 13.CONCRETE ARCH BRIDGE ON THE DUKE ESTATE,

SOMERV1LLE, N. J.
Fig- 15CONCRETE RAILING AROUND ENTRANCE TO JACKSON PARK

HARBOR, CHICAGO
Fig. 17.OGDEN AVENUE VIADUCT, BALTIMORE AND OHIO RAILROAD

CHICAGO, SHOWING TILE INLAYS
60
Of a similar nature is the work on the concrete railing around Jackson

Park Harbor, also in Chicago (Fig. 15). Here, as before, the concrete de
pends for its beauty upon the surroundings rather than upon the excel
lence of the design, although it is well agreed that little could be added
which would improve the dignity and solidity indicated by this superior
example of a concrete railing. The white surface is obtained by the use
of limestone screenings which emphasizes the important part of the ag
gregate plays in determining the color of the concrete into which it
enters.
The attention which is being paid to the design of improvements which
will harmonize with the surroundings may well be illustrated by the work
of the B. & O. Railroad on its Independence boulevard viaduct, Chicago
(Fig. 16). A total of some twelve to fifteen different designs were pre
pared, and only after careful consideration was one finally decided upon,
which the railroad officials thought would be suitable to submit to the
Park Board. How well they succeeded is evident. Were the plain steel
structure considered by itself, a realization could be had of the tremendous
improvement which has been effected by the simple addition of the rein
forced concrete covering. Some of the earlier work of the B. & O. Rail
road shows an entirely different method of handling concrete, depending
upon the inlaid tile for decoration rather than upon the excellence of the
design (Fig. 17). Of course, as this bridge is located on West Ogden
avenue, Chicago, there is nothing in the way of beautiful landscape to
mention and probably the officials believed that a little brightening of the
concrete surface would relieve the monotony of a busy business street.
But work of this kind is extremely expensive and can best be illustrated
by a comparison of this bridge with the Independence boulevard struc
ture, which is of 250-foot span.
Fig. I8.SACRAMEXTO BOULEVARD VIADUCT, BALTIMORE AND OHIO

RAILROAD, CHICAGO
Fig 24.CONCRETE BLOCKS IN THE CONSTRUCTION OF THE NORMAL

PARK METHODIST CHURCH, CHICAGO
61
62
For some time Alfred Hopkins of New York City has been a strong
advocate of reinforced concrete for the construction of buildings and has
added a large amount of information to our knowledge of the concrete of
the old Romans, having investigated this point personally and in some
detail. Nevertheless, Mr. Hopkins has never brought himself to believe
that concrete should be used for the ornamentation upon buildings of
the same material. For this purpose he advocates terra cotta (Fig. 21).
This building is all of reinforced concrete to the roof, and part of this
has been constructed of concrete slabs. But for the panels and column
capitals, Mr. Hopkins has turned to terra cotta tile, with excellent re
sults. For the average individual, of course, a detail of this kind would
be prohibitive in cost. But with such a sized undertaking as this mam
moth residence the high individual cost of these panels is small when
compared with the total cost of the building. However, with the advances
which are being made in the use of colored aggregates, it is gencrallv
possible to obtain all the color variations necessary in the concrete itself.
INTERIOR OF GAGE E. TARBELVS RESIDENCE, GARDEN CITY, L. I.,

SHOWING SUBSTITUTION OF FRESCO FOR LATTICE
Oswald Ilering has utilized lattice work on one of his most important
dwellings in combination with decoration of molded concrete. But where
Mr. Hopkins would use terra cotta, as in the panel inserts, Mr. Hering
has used concrete, depending upon exposed aggregate to furnish the touch
of color needed.
Wood paneling will also break up large areas of concrete surface and
is entirely in keeping with the old half-timbered style of architecture, so
familiar to our forefathers. It is impossible to appreciate the pleasing
surface which has been obtained on this modest appearing dwelling
(Fig. 23), but a slight explanation may help to make clear how the effect
is obtained. The finish is known as a dry dash, and in this instance has
been applied to concrete blocks. After the plaster coat has been placed,
a dash mixture of white marble and blue stone chips with gravel screen-
Fig. 23.RESIDENCE, JAMAICA ESTATE, L. I.
64
rooms on the opposite side of the central portion of the building are with
out roof, but are fitted with concrete rooms and steel lockers in double
tiers. In order to reach the beach the bathers must pass through a pool
of water and through a triple shower direct from above and from both
sides, so that a partial wetting is received before reaching the beach.
The concrete was deposited rather dry in order to obtain a rough
finish, and the form marks do not seem to detract in any way from the
pleasing surface made by the coarse aggregate. The decorations are of
brick and clay tile, the brick having been placed when the concrete was
poured, but the tile subsequently, space being made for them by tacking
wooden shapes to the inside of the form.
It is not surprising that an individual directly connected with the
cement industry as is Albert Mover, should build of concrete, nor is it
surprising that one who is so well versed in concrete construction should
obtain very pleasing effects as indicated by the work on his residence at
South Orange, New Jersey. Liberal use has been made of exposed ag
gregates, employing a mixture of Portland cement with limestone screen
ings, marble chips and dark trap rock (Fig. 19). Not stopping here, much
dependence has been placed upon Moravian pottery decoration, which
harmonizes well with the concrete surface, as is shown in the fireplace,
with its inlaid panel showing an Indian at a fire, whether warming his
hands or starting the blaze being not self-evident (Fig. 20). The balcony,
also, has been worked out in pottery, but somewhat differently than the
fireplace. The distinguishing feature lies in the fact that instead of being
inlaid the figure comes out in bas-relief, and although somewhat serpen
tine in design, seems fairly consistent with the grape-vine motive. Un
doubtedly this panel would be somewhat softened to its improvement by
the ivy, which was evidently not in leaf when the picture was taken.
Fig. 21.PORCH DETAIL, RESIDENCE OF CHAS. E. RUSHMORE,

WOODBURY FALLS, N. Y.
Fig. 10.FIREPLACE IN THE HOME OF ALBERT MOYER, SOUTH

ORANGE, N. J.
66
The Ogden avenue viaduct is 135 feet between abutments, and yet the
cost of concrete finish and inlay tile was greater than the total for the
other structure of 250-foot span. A simpler structure has been designed
for Sacramento boulevard (Fig. 18), but as this street is much narrower
than Independence boulevard, naturally an entirely different method of
treatment was necessary and the lines have been made to follow somewhat
along the Mission style.
Notwithstanding the excellent decorative work which has been done
in plain and reinforced concrete, there are, nevertheless, numerous advo
cates of tile decoration. Instances are many where the use of brick or
tile emphasizes the contour and enlivens the surface at very little expense.
A little touch of color relieves the monotony of a single toned exterior
and is illustrated in the seed warehouse of Otto Schwill & Co. at Mem
phis, Tennessee. This building would undoubtedly be equally as efficient
were it built without any attention to pleasing architectural effects. With
the present leaning toward pleasant work rooms for employes, this idea
OFFICE BUILDING, PACKARD AUTOMOBILE COMPANY, BUFFALO, N. Y.

has spread to the exterior with the result that our factories are sur
rounded by grass plots and gardens, and the buildings themselves, so far
as possible, are made to conform with the tendency toward providing
pleasant environment.
The office building of the Packard Automobile Company at Buffalo,
New York, is an equally good example of the combination of concrete
and brick, although the decoration is of cast concrete.
Another example of the use of colored clay tile for concrete decoration
is to be found in Minneapolis, where on the north shore of Lake Calhoun
a large building has been constructed of reinforced concrete, called the
Calhoun liaths. The central portion of the building is roofed and serves
as the entrance, housing the ticket office, the rooms where bathing suits,
towels and keys to lockers are distributed, and the refectory. It also
connects directly with the terrace above the bathing beach. The dressing
67
ings is thrown on, which imbed in the mortar and furnish a clean, bright
surface without further treatment. When a coarser effect is desired it
can be obtained by a rough cast, the mortar mixture being thrown on
with a paddle and the texture of the surface depending entirely upon
the size and character of the aggregate and the consistency of the mixture.
Stucco finish has found favor when applied to concrete blocks as a
backing, and there are some architects who believe that this is the only
satisfactory means of handling what has seemed to be in many cases a sad
makeshift so far as a building material having architectural merit is con
cerned. This impression has probably grown from the continued manu
facture of rock-faced and inferior blocks by those who are entirely un
qualified to undertake this kind of work. Such examples as the Normal
Park Methodist Church in Chicago (Fig. 24), the blocks for which were
built by the American Hydraulic Stone Company, and the design exe
cuted by H. B. YVheelock has done much to eliminate this impression.
The tone contrast was here obtained entirely by the use of colored ag
gregates, using the natural sand finish on the trim, but a dark granite for
the body. The surfaces were then scrubbed to expose the aggregate, and
the building is itself a strong recommendation for the much maligned
concrete block.
After considering the all-concrete buildings and the buildings in which
other material has been used for ornamentation, it is interesting to turn
to work where the latter condition has been reversed and is well illus
trated by the work of S. T. Yourtee on the Kingsbury apartments in St.
Louis (Fig. 25). The blocks were cast in sand molds, and on account
of the surface given by this method, subsequent treatment was unneces
sary because of the peculiar matte surface which the rough sand mold pro
vides. Very intricate figures are easily worked out by this process and
many buildings in St. Louis attest to Mr. Yourtee's skill in handling
concrete.
Another prominent figure in the manufacture of decorative concrete
stone is the Economy Concrete Company of New Haven, Conn., which
has begun at home
to demonstrate the
possibilities of con
crete for furnishing
the ornamentation
for buildings o f
other material.
Some of the most
interesting work
which this company
has done, and that
which it prizes most
highly because of
the personal inter
est, can be seen at
the co m p a n y ' s
home office, where
a fireplace is com
posed principally of
ornamental concrete
stone ( Fig. 26 ).
Fig. 36.-FIKEPEACE DETAIL. ECOXOUY COXCRETE CO..
The figures above
NEW HAVEN, CO.V.V.
the mantel are
68
molded after the various workmen about the plant, with the exception of
the one at the far right, who represents transportation. The other fig
ures represent in their order (1) the draftsman laying out the plan, (2)
the sculptor working over the pattern, (3) the laborer pouring the con
crete, and (4) the workman putting the finishing touches on the surface
and correcting any flaws caused by removing the forms.
The work is all cast in solid and uniformly proportioned concrete
without special surfacing, using wooden or plaster molds. Where neces
sary, glue molds are employed for the under-cut work. This, of course,
gives a rather smooth surface and is the only criticism which could be
made of the product. With but slight additional expense, however, the
surface can be chiseled so as to relieve what sometimes appears to be a
rather putty-like surface when fresh from the molds.
Fig. 17. GYMNASIUM, U. S. MILITARY ACADEMY, WEST POINT. ALL

TRIM ABOVE THE FIRST STORY OF CONCRETE STONE
Cram, Goodhue S- Ferguson, Architects
The work of this company has favorably impressed such architects as
Cram, Goodhue & Ferguson, who designed a number of buildings at West
Point, including the gymnasium and cadet barracks (Fig. 27).
The writers, not being architects, have dealt somewhat sparingly with
the subject of architectural and decorative possibilities of concrete and
have rather depended upon the illustrations to indicate the purpose of
this paper. After all, architecture and architectural decoration is a pe
culiar study On the one hand, we have those who contend for close
adherence to the ancient styles of architecture, and on the other hand
we have many brilliant minds who have achieved wonderful results and
designed some of our most pretentious structures along entirely new
lines, yet without voluminous criticism from those who consider them
selves authorities.
69
70
Architectural Acoustics Fundamental Principles*

By JOHN T. VAWTKR, Architect
DISCUSSION of the production and transmission of wave energy in
general should be logically introduced here before passing on the
specific form of sound energy, but as we are perhaps already more
familiar with the wave theory of sound than of heat, light or electricity,
with which we would have to deal, we may confine our discussion to a
single example of a wave transmission of mechanical energy.
Let us consider a long piece of gas pipe fitted at each end with a wellmade piston, and let us consider it as completely filled with water. If we
should move one of the pistons slowly in by means of a lever, the piston
at the other end would reciprocate to the movement. If the pipe were very
long in comparison to the piston we may readily see that while the force
was transmitted from end to end of the pipe the individual drops of water
in the pipe made only a very short travel. If the motion of our lever had been
very rapid we might have noticed a very perceptible difference of time between
the corresponding movements at the opposte ends of the pipe. This difference
of time, of course, depending upon the length of the pipe, and if it were of suffi. cient duration we might make several rapid movements of our piston back and
forth before the first were responded to by the piston at the opposite end.
What actually takes place is that momentum is given to a quantity of water
equal to its mass times its velocity and this amount of energy is transmitted to
the next adjacent equal quantity of water and so on throughout the length of
the pipe. The forward movement of the piston may be considered as pro
ducing a compression and the backward movement as producing a rarefaction
of the water. These follow each other as pulsations or inequalities of
pressure, and when these inequalities of pressure are plotted as ordinate along
a straight line and their extremities joined we have as a result the sign curve
or wave. It will be seen from this that the wave has no counterpart in the
phenomenon itself, but is merely a name given to one representation of the
phenomenon. This example is roughly typical of all wave motion and of the
propagation of sound.
A sounding body is one which is causing between 50 and 30,000 of
such pulsations to advance through a medium in one second of time.
Vibrations may be produced either more or less rapidly than this, but the
human ear does not record them, and even these limits are sensed between
the dullest "thud" and the shrillest "squeak." Tones are distinguished
over a much narrower limit of frequencies and well toward the lower end :
middle C being usually placed at 256 vibrations per second.
We should be careful not to confuse this frequency of vibration which
is a purely mechanical phenomenon with the time of sensing a sound
which is purely psychological. The human car as an approach to the
mind is only capable of recording about fifteen distinct sensations per
second. That is, if more than fifteen tone groups of waves fall upon the
ear in one second they tend to blend into a single sensation, but if less
than ftfteen such groups are equally distributed over the time they may
each be attended to separately by the mind. A familiar illustration of
this endurance of sensation is presented by the moving picture in which
one picture is substituted for another before the sensation caused by the
first has ceased to endure. In tbis way we obtain a smoothly blended
sensation as of motion, whereas if the substitution of one picture for an*Conclusion of paper read before the Southern California Chapter American Institute of Architects,
March 10, 1914. The first installment of this paper appeared in the March number of The Architect
and Engineer.

other before our eyes had been so slow as to allow a cessation of one
image before the next were presented we would have only been aware of
a succession of different pictures.
In speaking of the sound waves proceeding from a sounding body of a
particular surface or to a particular point, either by a direct or indirect
path, it is often called a "sound ray" or simply a "sound." It should be
understood that this is a purely ideal term and that nothing of the kind
actually exists.
Origin and Progress of Sound
Although not strictly true, we may, for convenience, assume that
sound proceeds from a source of sound (considered as a point) as the
surface of a constantly enlarging sphere. The surface of this sphere is
made up of the air through which it passes and consists simply of a
variable series of strata of air either more or less dense than the surround
ing and surrounding air of the sphere. A plane section of this sphere is well
illustrated by the dropping of a pebble into a quiet pool of water; the circular
wave which is produced shows by its elevated part the water which is more
dense than that inside or outside the circle, while the depressed part of
the wave shows the position of the water which is less dense than that
either inside or outside the circle.
This wave circle proceeds from the center of disturbance with a certain
radial velocity, but the water itself has no such radial motion. Each
drop of water has been raised above the surface during compression and
has dropped below the surface when the pressure was relieved ; it has
therefore moved only in a vertical path and not along a radius of the wave
circle.
Sound waves proceed in a very similar manner, without actually mov
ing the air through which they pass and of which they are made up; there
is no radial motion and therefore no such thing as a sound ray. However,
if we wish to designate a particular part of the surface of a sphere whose
center is fixed, we may best do so by designating the radius of the sphere
to that point, and this is what is meant when we speak of the "sound
ray" or simply a sound.
Since in architectural acoustics we are dealing with surfaces, rather
than with points and since a radius might be drawn to each and every
point in a surface, the element or unit with which we deal is a conical
prism or a cone of rays whose base is the surface under consideration
and whose volume is made up of the rays conceived to be drawn from
every point in the surface to the common center. This cone of rays may
be shown or at least designated, on a drawing by drawing its axis, or that
ray which terminates in the center of gravity (or strictly the centeroid) or
the base. In speaking of a sound we should conceive of such a cone of
rays, and in speaking of a "sound ray" we usually mean the axis of such
a cone.
Absorption and Reflection
When a sound is thrown against a surface, it is partially absorbed and
partially reflected according to the nature of the surface. If the surface
is such as to entangle the sound waves its temperature is raised ; that is,
it transforms sound energy into heat energy, and it is said to be an ab
sorbent surface; if a surface offers little opportunity for the entanglement
of sound waves they are reflected and the surface is said to be nonabsorbent. No known substances possess either the propertv of total
absorption or total reflection ; but each has a definite absorbing value per
72
unit of surface; the open air is the most absorbent medium known, and
therefore one square foot of an opening in a ceiling or top of a tight
room has . been chosen as an absorption unit. The specific absorption per
square foot of all materials is expressed decimally as compared with one
absorption unit ; thick walls of polished stone have the most reflective sur
faces known, and the most absorbent surface is that of a wall built up
of layers of felt separated by dead air spaces of from two to six inches.
The depth of these air spaces have a particular and definite relation to
the pitch of the sound to be absorbed.
Sound is reflected from every surface upon which it is thrown in an
inverse proportion to the specific absorbing value of the material of the
surface. If a sound were thrown upon a surface having a specific absorp
tion of ,02 it would be reflected with a diminished intensity equal to 100
(100X 02) or 98% of its original intensity, if reflected again from a
similar surface ,02 or 98% is absorbed, and the intensity of the reflected
sound is .9604 of the original and so on. In this way a sound may suffer
over two hundred impacts upon a highly reflecting surface before it is
reduced to inaudibility from absorption alone.
The law governing the reflection of sound is identical with that of
heat or light or any other form of energy, namely, that "the angle of
incidence is equal to the angle of reflection." Whatever can be accom
plished with light in the way of reflections, the direction or focusing of
rays, may also be done with sound, and by the same instruments. It
will be noticed, therefore, that in the reflecting of a cone of rays from a
plane surface that the degree of divergence, that is, the angle between
the axis and the elements, is maintained constant throughout the reflected
path regardless of the number of impacts. This very important point
should be constantly borne in mind in the consideration of diagrams rep
resenting only the axes of cones because it explains how a very small
surface receiving the initial impact may effect an entire auditorium and
also enable us to analyze the phenomena of reverberation.
The Echo
The word "echo" is rather loosely used to designate a reflected sound.
A true echo is rarely distinguishable within a room for the reason
that it is usually "interfered" with by the overlapping of numerous lesser
echoes and is blurred into a condition known by another name and more
fully described under reverberation. However, the fact that an interior echo
is rarely distinguishable does not mean that it may be neglected in the analysis
of the problem of architectural acoustics ; on the contrary, it might be con
sidered as the primary element with which we deal in considering most other
difficulties and a complete understanding of interference and reverberation de
pends entirely upon the understanding of the echo and all the accompanying
conditions of the phenomena.
The true echo occurs in the open air in the neighborhood of shear cliffs
of the walls of buildings. A simple direct echo is one in which the speaker
may hear his own voice thrown back to him after a single reflection. A simple
indirect echo is one in which the voice of the speaker after a single reflection
is heard not by himself by a listener situated at some distance from him. The
path of sound in this case makes an angle at the reflecting surface of less than
180 degrees and greater than the angle of divergence of the cone whose base
is the reflecting surface. A multiple echo is one in which the sound comes in
contact with more than one reflecting surface before it is thrown to the listener.
It may be cither direct or indirect according as to whether or not the speaker
73
is able to hear the reflection of his own voice. Two or more simple echoes may
be heard from separate reflecting surfaces either simultaneously or in succes
sion. Such an echo might be called a compound echo and it is obvious that it
might be either direct or indirect. Two or more multiple echoes may in the
same way be compounded either simultaneously or successfully and may be
direct or indirect according to whether or not they are audible to the speaker.
The Single Echo
Let us now consider the conditions of a single echo, the element into which
all others may be resolved and for convenience let us consider it as direct.
From our law of reflection, we see that in order to enable the speaker to hear
a simple reflection of his own voice he must be located on a line which is per
pendicular to the planes of the reflecting surface ; further, he must be at such
a distance from the reflecting surface as to allow the subsidence of the original
sensation in his ear before the reflected sound has time to reach him. The
period of duration of sensation in the human ear is about one-fifteenth of a
second and during this time a sound wave, which advances at the rate of about
eleven hundred feet per second, has traveled a distance of approximately 72
feet. Since the sound travels the same path twice and in opposite directions it
is evident that the shortest distance from the speaker to the reflector for the
production of an echo would be 72/2 feet, or 36 feet. Such an echo would
be very short and quick and for that reason barely perceptible, although of
ample intensity. As the distance is increased the echo becomes more distinct
ly separated from the original sound and a greater number of syllables will be
repeated by it; the intensity, however, is diminished by the principle of the
divergency of the cone.
This echo has been considered as existing in the open air for the reason that
we wished to consider only that part of the total sound sphere included in the
cone of rays which had the reflecting surface for its base. The remainder of
the sound sphere in this case has passed away or been converted into heat by
doing work on whatever came in its path. Had we chosen to consider in
stead of a simple direct echo one of a more complex nature, for instance a
successive, compound, multiple, direct echo, we would have been obliged to
deal with more than one cone of rays, each cone would have suffered more
than one reflection and the paths traveled by each cone would have been varied
in length. This would lead to a very complicated problem even out of doors
where that part of the sound sphere not attended to would be dissipated by the
atmosphere ; conceiving these conditions as existing within a room we would
be overwhelmed by the complication, for in this case we would be compelled
to deal with the total surface of the sphere. That is, as the sound
sphere swelled outward from the speaker in every direction it would come
in contact with every window, moulding, pilaster and cornice of the several
walls, with every chair, piece of furniture and fixture on the floor, and every
beam and modification of surface of the ceiling.
Each of these objects
would in its several parts present different planes of reflection at all different
angles, and each of these surfaces would become the base of a cone of rays.
Each one of this almost infinite number of cones continue as we have seen to
diverge as multiple reflections goes on and each is consequently broken up in
finitely at each successive impact. We have seen that a single sound may be
reflected as many as 200 times before it is reduced to inaudibility, so that what
appeared as a successive compound echo out of doors becomes in a room a con
dition so complicated as to defy conception. The number of cones is infinite,
the number of times each diverging cone is broken up approaches infinity,
74
the variety in the length of path traveled is infinite, and the only approximate
known quantity we have is the number of reflections which is probably less
than 200.
Reverberation
In this condition, known as reverberation, the sound energy permeates
every corner and part of the room so completely that Professor Sabine found
by experiment that reverberation was reduced by absorbent materials in the
room regardless of their location. While this statement has never been dis
puted it has led to some very erroneous ideas regarding the correct placing of
absorbing material among those who have not considered the fact that rever
beration originates in a condition possessing either part or all of the qualities
of an echo. If we consider as simultaneous any two sounds which reach the
ear within the same one-fifteenth or a second, we may say that simultaneous
sounds mutually reinforce each other. In this way either an echo or a rever
beration may be very desirable, or in a large room, even indispensable. It is
evident, therefore, that the utmost care should be exercised in sorting the first
reflections of echo conditions, killing off by absorption those which would
otherwise develop into objectionable reverberations and preserving to the last
degree all those that can be classed as simultaneous.
The term interference seems to have been very loosely applied to two dis
tinct phenomena. Strictly speaking, it refers to a headon collision of two
sounds of equal wave length which having equal momentum completely neu
tralize and destroy each other. This condition is not met with to my
knowledge in architectural acoustics and since sounds of different wave
lengths pass freely through each other we have little to do, as far as we know
now, with interference in its strictest sense.
The interference which concerns us is the imposition of the echo of a pre
ceding sound upon the sound which should properly be heard at the instant.
This condition obtains at a point in an audience which receives either a simple
or multiple echo whose path exceeds by 72 feet that of the direct path to the
speaker. The reason for the limit of 72 feet has been discussed in its relation
to the velocity of sound, and a reference to the successive compound echo will
make clear the condition of the overlapping of sounds sometimes known as
interference.
Resonance
As a physical phenomenon, resonance is fairly well understood but in the
as yet undeveloped science of architectural acoustics it has been given little
attention by scientific men. Musicians and intuitive writers on the subject
often give to resonance the most important position in their discussions and
attribute to its presence or absence all good or bad acoustic conditions. This
is easily explained by the fact that the scientific man has never traced the cause
of a defective room to either the presence or absence of resonance and as
most of his investigations have been in the nature of corrections, he has given
the matter little time and attention ; on the other hand every musicial instru
ment used by man depends upon resonance for the quality and intensity of
its tone and the users of such instruments have in an intuitive way conceived
the room in which they play to be an accessory to their instruments. There is
little doubt but that a scientific relation actually exists but as yet it is little
understood.
Resonance is the effect of "sympathetic vibrations." It is that quality
possessed by a body (surface, material, volume or mass) of first absorb
ing and then emitting sound energy. The absorption in this case should
not be confused with the absorption wherein the form of energy is changed
75
to heat. In the present case the absorption is purely mechanical and

depends upon the elasticity of the absorbing body and the resistance it
offers to the initial sound wave. As a homely illustration let us con
sider a mason's hod supported on a crotched board in position to be
filled with mortar ; let us suppose that the crotched board were rigidly
secured at the ground, but had no braces or other support, and that the
board were unusually long and flexible. If now the hod carrier should
throw a shovel full of mortar into the hod from a distance the hod and
board would be swung violently backward, the elasticity of the board
would bring it forward again, and a vibration to and fro would be set
up which at each forward swing would throw off a few drops of mortar:
this action would be kept up until the hod were emptied or the energy
imparted to it by the initial impact had been expended. In a similar
manner when a sound wave strikes a resonating body the sound energy
is transformed into motion, and that motion produces sound energy.
The physical principle is that of the "reversal of cause and effect."
In the first instance, the throwing of mortar into the hod caused a motion
which effected the throwing of the mortar out of the hod; in the second
instance the energy of the sound wave caused the vibration of the
resonating body, and the vibration of that body effected the emission of
sound waves.
Rate of Vibration
Every body possesses a definite rate of vibration according to its mass,
tension or elasticity and dimensions, just as the string of a musical in
strument possesses a definite rate of vibration according to its tension,
size and length. This period of vibration represents for each body a
state of stable equilibrium, and the body is sensitive to the slightest im
pulse to vibrate when acted upon by an influence of its own period, but
is insensitive to impulses of any other period. This susceptibility of a
body to be thrown into vibration by the action of a body with which it
"is in tune" is the sympathetic vibration referred to in the above defini
tion.
It will be seen that every pew back or seat, every wood panel, every
board and beam in the ceiling, the plaster on the wall, and the columns
of air between the studs of a room is possessed of a definite period of
vibration. If it happens that a sound is produced in the room having a
period of vibration corresponding to a particular wood panel, that wood
panel is set in sympathetic vibration and emits its tone until it has con
sumed the energy given to it by the original impact.
Since the sound emitted by a resonant body is an inarticulate tone
its effect in overlapping or interfering with spoken words is not detri
mental but adds "quality" to the speaker's voice. This quality while
desirable is by no means indispensable to a good room for speaking. It
is, however, highly desirable for music, but in this case it may be replaced
insofar as we know by reverberation, for since music consists of inarticu
late tones and since its reverberation must also be inarticulate there seems
to be no real difference between reverberation and resonated tone.
Subject of Acoustics Is Broad
As a discussion of the fundamental principles of acoustics this brings
us to a logical stopping point, bearing in mind, however, that the fore
going is the briefest statement consistent with clearness. The subject is
in reality a broad one. and only a starting has as yet been made upon it
in a scientific way. Professor Sabine has spent twenty years in his ex
76
periments and has outlined enough more to occupy twenty more men for
the same length of time, and perhaps even then we would only be the
wiser of our deficiencies.
The practical application of these principles to architecture is well
covered in a series of articles by Hugh Tallant in the Brickbuilder of 1910.
These articles are scientific and sufficiently accurate in all details to
warrant their implicit acceptance, but, as will be realized as one works
further into the subject, each room is a problem in itself, and broad gen
eral statements and rules of procedure are dangerous and misleading.
Perhaps the most that can safely be said on this part of the problem
is that in general we should ftrst provide a sufficiency of sound by prop
erly directing it into the audience. When such direction is accomplished
by artificial reflection it should be by the shortest possible path, and when
ever a reflected ray exceeds a direct ray to the same listener by more than
72 feet it should be eliminated. In the same way all rays which might
otherwise wander at will through the room should be arrested at the
earliest opportunity.
A Modern Terminal Railroad Station

HE new $2,000,000 Great Northern Railway Station in Minneapolis,
I
Minnesota, which was opened for service early this year, is the final
word in modern terminal railway construction. It stands on the
river front, facing Hennepin avenue. The station is built according to
the following general arrangement:
Main building with entrance on street level; waiting room, 62x155 feet
and concourse 252x50 feet, on street level, with stairways and elevators
leading to train platforms.
Twelve through tracks served by six platforms with "butterfly" type
train sheds.
Overhead trucking gallery for handling baggage, mail and express, with
elevators leading to all platforms at far end of station, so that baggage
trucks are never in the way of passengers. These baggage trucks are
driven by electric power, and they are rubber tired, which will make the
handling of baggage almost noiseless.
Mail and express building' on site of old station (across street from
station), the two connected by trucking galleries. This makes a terminal
a quarter of a mile in length, the tracks extending under Hennepin avenue.
Power house at north end of the station yard and connected to the
main buildings by an overhead ''pipe gallery."
The mail and express building is now being built on the site of the
old station, razing of which was begun the moment the new station went
into service. This new building will be 300 feet in length, facing on High
street and Hennepin avenue.
Six roads use the new Great Northern station : The Great Northern,
Northern Pacific, Great Western, Chicago, l!urlington & Ouincy, Chicago
& Northwestern and the Chicago, Minneapolis. St. Paul & Omaha.
The exterior of the new station is of tooled Kettle river sandstone from
the quarries in Sandstone, Minn. The trucking galleries and stairs to the
train platforms are of reinforced concrete. The power house and stack
exterior are of brick. The only wood used in construction is in the doors
and narrow casings. Entrance and inner vestibule floors are of art marble
tile. The walls are wainscoted with Tennessee marble. The door
frames and booths around the waiting room are of ornamental
77
THE NEW GREAT NORTHERN RAILWAY STATION, MINNEAPOLIS, MINN.

cast iron. The women's retiring room has an art marble floor, with
wainscoting of mottled gray Vermont marble. The
smoking
room has De Smet marble cement floor tile, with Tennessee marble wains
coting, and the dining room (on second floor) has a marble tile floor and
Vermont marble wainscoting. On the second floor are the offices of the
chief train dispatcher, his assistants, division superintendent and station
officials. The third floor is to be used for storage purposes.
A novelty in the new Great Northern station is the ventilation of the
big building. Water-washed air is poured into the waiting room by means
of enormous fans, while at the same time the vitiated air is removed by
exhaust fans, and the temperature is kept even. During the summer the
air will be cooled to a refreshing temperature by ice and pumped into the
station at the rate of 35,000 feet a minute.
The main waiting room and train concourse are lighted by large orna
mental chandeliers with tungsten units. In the new depot Minneapolis
people are given their first sight of recessed lights at the base of all stair
way landings, minimizing mis-steps in going down these stairways.
The electrical equipment of this new Great Northern station is the
finest in the northwest, as well as the most expensive. More than eleven
miles of galvanized iron conduit was used, and more than 25 miles of
rubber-covered wire. All of the wire used in this installation is of a
quality better than the standard adopted by the National Board of Under
writers, the insulation being 30% pure para rubber.
More than 500 switches are used for controlling the various lighting
circuits, in addition to which there are a number of remote control switches
for controlling groups of lights from various remote locations in the sta
tion. All of the remote control points have small lamps back of a bullseye lense to indicate if the lights located at a remote point are burning
or are cut off.
The power house, for furnishing the light, heat and power to the sta
tion, is located approximately 1,000 feet north of the building, the wires
for supplying light and power and the steam for operating pumps and for
heating purposes being carried through an aerial passageway connecting
the two buildings.
A CALIFORNIA BUNGALOW
Ernest L. Norbcrg, Architect
T-irst "pj-oon ~puvs
79
Fig. l.GENERAL PLAN OF OAKLAND AUDITORIUM, SHOWING DEI'ELOPMENT

OF CIVIC CENTER
J. J. Donovan, Supervising Architect
Municipal Auditorium for the City of Oakland

By 0. P. SHELLEY, Assoe. Mem. Am. Soc. C. E.
THE controversy over Oakland's new Auditorium, which .has been
waged back and forth in the press and elsewhere, has rather tended
to obscure the really comprehensive character of the general plans
for the development of Oakland's Civic Center and the dignified complete
ness of the Auditorium itself. It is not within the province of this article to
enter into this controversy, but the facts as to the Auditorium itself have
been so distorted that a few words regarding the building since its incep
tion will lead to a clearer understanding of the structure itself.
Early in 1912 the City of Oakland first felt the imperative need of a
public Auditorium, and bonds to the extent of $500,000 were voted for this
purpose, J. J. Donovan, supervising architect for the City of Oakland,
being directed to design the structure. The original scheme called pri
marily for a convention hall which would have satisfied the present require
ments, but it soon became apparent that a general plan for Oakland's Civic
Center must be adopted, and that the convention hall then in mind would
not meet the needs of the Oakland of the future with its assured growth,
80
Fig. 2.FlRST AND SECOND FLOOR PLANS, OAKLAND AUDITORIUM

due to the Panama Canal and the extensive plans for the development of
her own harbor.
Improvement Clubs and Civic Organizations came to the front with
demands for an adequate structure and resulted in the final design of a
monumental building of the highest type, containing an Arena or Conven
tion Hall to seat 10,000 people, a complete Theater to seat 3,000, and also
containing a Ballroom 39 by 81 feet, an Art Gallery 39 by 110 feet, reception
rooms, etc., in addition to all the service and other rooms which would
usually accompany an Arena and Theater.
It was only to be expected that the finished cost of this large structure
would overrun the original bond issue, and failure to understand the above
reasons led to much unjust criticism regarding the building itself. It is
noteworthy and only fair to mention that both Thomas Cox, a Consulting
Engineer appointed to report on the Auditorium by the Tax Association of
Alameda County, and later, Walter J. Matthews, a well-known Architect
appointed by the City of Oakland as supervisor of actual construction,
reported that the structural design could not be improved on, while to
cheapen the architectural features would render the Auditorium out of
keeping with the dignity of a city the size of Oakland.
Fig. 3.PERSPECTIVE VIEW, .WORTH ELEVATION, OAKLAND AUDITORIUM
82
It is noteworthy that Air. Donovan called in to collaborate with him on

the design of the Civic Center and the Auditorium itself an Architect of
national reputation, Henry Hornbostel of New York City, who won recog
nition as a member of the firm of Palmer & Hornbostel, the successful
Architects in the national competition for the design of Oakland's new City
Hall. For the structural design Maurice C. Couchot was selected as Con
sulting Engineer. Mr. Couchot has been Consulting Engineer for most of
the school buildings that have been erected in Oakland, including the
group of buildings for the Polytechnic High School, which forms possibly
the finest Polytechnic High School in the W est, this also being erected
under the design and superviston of Mr. Donovan. In passing it may be
stated that Mr. Couchot was also selected as consulting structural engineer
on the Fine Arts building, the only fireproof structure being erected at the
Panama-Pacific Exposition. The heating, ventilating, electrical work, etc.,
for the Auditorium was turned over for design to Mr. Hudson of Hunter
& Hudson, mechanical engineers, and Romaine Meyers, electrical engineer
of Oakland. Messrs. Hunter & Hudson are well known as the engi
neers of the mechanical equipment of the Palace Hotel in San Francisco.
Only recently they were selected by Architect Charles Peter Weeks as
Consulting Engineers for the heating and ventilating equipment of the mil
lion dollar Infirmary in Alameda County.
What will be Oakland's Civic Center in the future is situated in Peralta
Park, which is that part of Lake Merritt lying south of Twelfth street,
and which was "filled in" some years ago. The arrangement of this Civic
Center will be very clearly seen from the accompanying Fig. 1, in which
the Auditorium is shown overlooking Lake Merritt toward the north and
flanked on the east side by the future Museum and on the west by the
future Library, while to the rear lies the Playground and Athletic Field.
The plan calls for adequate parking space to develop the architectural fea
tures of the buildings to the utmost ; in fact, the three buildings will be visi
ble from the lake shore for several miles. This plan properly links Lake
Merritt as forming a part of the Civic Center, for on the shore to the north
of the Auditorium at the head of Thirteenth street (though not shown in
Fig. No. 1) is already located the Municipal Signal and Fire Alarm Station,
while still further along the lake shore is located the Pumping Station and
the new Municipal Boat House, which latter has just been finished, the
boulevard around the lake shores tending to unify the whole scheme.
The Auditorium itself is 400 feet long by 200 feet wide, and, as we have
mentioned, is divided into two separate parts containing an Arena 180 feet
wide by 265 feet in length over all ; the Arena floor dimensions being about
100 feet long by 225 feet, this room having a seating capacity of 10,000
people. The other end of the Auditorium is taken up by the Theater,
which, as we have mentioned, will seat 3,000 people and is about 100 feet
square, Fig. 2 showing the floor plans very clearly. A decidedly novel
feature of the Auditorium is the use of a common stage for both the Arena
and the Theater, making it possible to use this stage for either hall as
desired ; or in fact the stage could be lowered and the two halls thrown into
one immense convention hall. Another feature is the extremely liberal use
of skylights over the Arena, turning this vast room almost into an open-air
amphitheater.
The entire exterior of the Auditorium lends itself toward dignity and
simplicity; this being apparent not only in Fig. 3, showing the prospective
view of the north elevation, but also in the elevation (Fig. 4), showing the
Auditorium in conjunction with the future Library and Museum. The chief
Fig. 5.DETAILS OF XICHBS, OAKLAND AUDITORIUM
83
Fig. 8.A CLOSE VIEW OF STRUCTURAL STEEL WORK
85
*
II
Ftj. 9-SHOWING STRUCTURAL STEEL WORK

architectural features of the elevation of the Auditorium are the niches, the
fine character of these being clearly shown in Fig. 5, giving the details of
this design.
The massive character of the building is perhaps nowhere better shown
than in Fig. 6, which illustrates the steel frame after erection. In the
Arena the steel framing is of especial importance, as, of course, it is left
exposed as regards the main trusses, and Fig. 7 shows the pleasing outlines
of the "three-hinged" trusses and the accompanying steel details developed
by Mr. Couchot. It is notable that these trusses do not give the heavy,
cumbersome appearance usually associated with long-span trusses of this
character. The cantilever balconies of both the Arena and the Theater are
also of interest and are shown in Figs. 8 and 9, these giving a very positive
idea of the main layout of the two parts of the building. It will be readily
noted in Fig. 8 that the first floor of the arena is at some distance above
the ground, the concrete piers for the floor columns already being shown
in the picture. The light appearance of the steel work in purlins, trusses
and columns over both the arena and the theater is largely helped by the
use of a thin "Self-Sentering" roof. This, while saving in the first cost and
giving more than the requisite strength reiptired, cuts down very largely
on the dead load, and therefore lightens the steel work appreciably. This
lightening of the structural steel frame, through the use of a "Self-Scntering" roof, is one which could be adopted with advantage by many engineers.
Another novel feature which Mr. Donovan has worked out for the Audi
torium is the entire absence of stairways, easy inclined planes being used
throughout and affording very easy access to all parts of the structure.
86
These, while more massive and taking more room than stairways, will
certainly be appreciated, especially by the women ; for to climb the tortuous
steps of the average theater or hall is certainly wearisome in the extreme.
The foundations for the Auditorium were put in by the Foster & Vogt
Company of San Francisco, while the steel frame was furnished and
erected by Dyer Bros. Christenson Bros, of Oakland have just started
work on the fireproofing contract, having been awarded this on their bid
of $196,360, and it is interesting to note that there was only a few hundred
dollars difference between their bid and that of the second lowest bidder.
Bids are now being called for the stone work for the exterior walls, and it
is planned to rush the building towards completion to be ready for the
conventions which are coming to Oakland in 1915.
*
*
A Subway Scheme to Relieve Traffic Congestion

MR. GUY QUINTIN DOANE of 1827^ Addison street, Berkeley, has
developed a rather unique and in many respects practical plan for
relieving the traffic congestion at the foot of Market street, San
Francisco. The accompanying design has been worked out with the idea
of making the structure permanent, yet economical to build. The erection
of unsightly additions to the present Ferry building will not be necessary
if Mr. Doane's plan is followed. There are four pedestrians' subways and
one car subway, the latter eight feet in the clear, which allows three feet
on either side of the standard width car track. The subway walls are to be
of solid concrete construction.
Describing his plans, Mr. Doane writes :
"The pedestrians' subway entrances at the Ferry building are nine feet
six inches high and fifteen feet wide, allowing a six-inch railing in the middle,
sub-dividing the fifteen feet into two companionways, one for going and
one for coming, as shown in the cross section. The height from the floor
of these subways to the street level is eleven feet six inches, allowing two
feet for the thickness of the street bed. The use of four subways for the
pedestrians, two on either side, affords advantages as to traffic congestions
that would not be possible with only one subway. The convenience and
practicability of the plan are apparent when one considers that there are
four bodies of people, two on eilher side, going in opposite directions almost
continuously. People going and coming from the eastern side of the bay will
use the east side subways, while those residing in San Rafael and other
Marin county towns will take the south subway. The entrances to the
pedestrians' subway, running out to the sidewalk ends, are to be housed
in a pavilion constructed at the ends of the sidewalk proper, allowing eight
feet of the sidewalk and enough more of the street to give the required
depth needed for the drop of eleven feet six inches to the subway floor
below.
"The car subway requires a greater depth than do the pedestrian sub
ways, being fifteen feet high. The entrance at the Ferry building, there
fore, is carried down fifteen steps to the car subway levels.
"In regard to the material to be used, the construction need not be
wholly of concrete. The frame of the arch could be of structural sheet
iron with a concrete base and buttresses to receive the stress of the arch."
SUGGESTION FOR SUBWAY AT FOOT OF MARKET STREET, SAN FRANCISCO

Guy Quintin Doane, Designer
87
FIRST FLOOR PLAN, OAK PARK SCHOOL, SACRAMENTO

John J. Donovan, Architect
SECOND FLOOR PLAN, OAK PARK SCHOOL. SACRAMENTO

Joint J. Donovan, Architect
89
90
The Oak Park Grammar School, Sacramento

PLANS by Architect John J. Donovan of Oakland have been accepted
and contracts will soon be awarded for the construction of the
Oak Park grammar school in Sacramento. This structure, when
completed, will be a splendid example of the school building whose class
rooms can be converted into open-air rooms because the corridors are
arcades and the class rooms have transoms opening into these arcades.
It will be noticed from the plan that the experimental gardens are in
the fore-court and the smaller boys' and girls' play grounds are in the in
terior court, divided by an arcade. The larger boys' playground is to the
east and the larger girls' playground is to the west of the building.
The orientation of this school is particularly well adapted for the cli
mate of Sacramento. The windows of the rooms face the north and east,
the corridors opening onto the south and west.
A very important feature is the two open-air play grounds, or play
spaces, on the second floor towards the north. These play spaces will ex
tend the entire length of the building and are 35x162 feet in area. They
will be entirely open towards the north, with windows on the south, which
are to be closed only during' rainy weather. These play grounds will be
well illuminated so that they may be used freely at night under the juris
diction and control of the playground department of the city.
The building is 272x396 feet, which includes courts and experimental
gardens and arcades. The architecture of the building is of the Italian
type and will be constructed of reinforced concrete. The exterior will be
trimmed with brick, concrete panels and a red mission tile roof.
As regards the open-air class room feature, the windows occupy fivesixths of the lighting wall space and extend from two feet above the floor
to the ceiling. Each window will be divided into thirds, and a type of
window will be used which can open horizontally, thus having the entire
room open on the lighting side. In conjunction with this will be the tran
soms on the opposite side of the room, thus making each class room as
nearly open-air as possible without abandoning' windows.
A feature which the Board of Education of Sacramento has adopted is
that of having two wardrobes to each class room, one for boys and one for
girls. The girls' is at the rear and the boys' at the front of the room, and
in each wardrobe is a watercloset and lavatory. This has been thought out
by the Board of Education and adopted by them after very careful consid
eration on their part.
The experiment gardens are intended to be not only flower gardens,
but gardens where the children can be taught botany and the history and
growth of plants and flowers.
It is interesting to note the paved terrace around the entrance to the
library and enclosing the kindergarten so that the kindergarten children
have a playground entirely their own and separated from the larger
children. This paved terrace will be enclosed with a hedge for further pro
tection tq the little ones.
The building will be electrically equipped so that evening classes may
be held.
The heating and ventilating system will be the dual systemdirect
heat from the radiators under the windows, and the indirect, heated air
forced into the rooms.
The plumbing will be of vitreous china for the fixtures, each fixture
vented into a utility chamber.
91
The Thrall of the Axis!

By F. W. FITZPATRICK
NOWHERE does the average and, in
deed, even many of the exceptional
ly brilliant in our profession show
the almost exclusively academic, theoretic
and altogether impractical training we re
ceive than in our abject subjection to the
thrall of the axis, the paper attractiveness
of our projects, the unyielding insistence
we place upon an imaginary, a drawn
"balance" that in reality generally means
absolutely nothing.
Thts was particularly impressed upon
me by the plans recently submitted to me
for a great city by a great architect. The
what I call "fatal defects" in his plan,
however, obtain in pretty nearly every
thing that has been devised in the line of
city betterments, civic centers and such
projects in recent years, beginning with
the Art Commission's plan of reformed Washington ten years ago.
In these plans I have before me the "balance" is carried to a ridiculous
extreme. Of course there is a central avenue, a monumental affair, an
axis. Well over on one side of that axis is an athletic field and gymnasium
for men. The natural and reasonable thing to have done would have been
to make a larger; gymnasium and used it for men and women, some rooms
and apparatus and the field in common or on alternate days, and all under
one executive management. But no! That would not have balanced on
the "Axis," so, equally distant from that axis, on the other side, is planned
a similar field and building for the women, a mile away from the men, a
senseless duplication of halls and apparatus and stadium, and all just to
preserve a fictitious balance that would never be appreciated or even per
ceived save on paper or possibly dimly so from an aeroplane traveling very
low and very slowly.
In another city recently revamped, a "Civic Center" affair, there was
planned a central axis, an avenue starting from a central, civic building.
To the left, from the same radius, branched off a diagonal street of some
importance. The architect wanted a balancing street to the right. At lit
tle cost and trouble one could have been arranged by using existing streets,
alleys and short sections of private property, but such a street would have
been at a slightly different angle than that to the left. Only on paper
would that have been noticed, and the reasons perfectly evident, and be
sides, any practical man would have applauded the architect for his in
genuousness in preserving an apparent balance under adverse conditions.
Do you suppose he did it? No; his plan proposes such a street exactly the
same reverse angle as that of its left, and cut through private property its
entire length, which will cost hundreds of thousands of dollars; and why,
just to satisfy the architect's senseless, purely theoretic longing for a
pretty paper arrangement. It's sinful, wasteful and calculated but to in
crease the contempt already too often expressed and always felt by the
business, practical men of affairs for our utter disregard for the cost (to
others) of our hobbies and whims.
92
77/t' Architect and Engineer
And we carry the same absurd relics of our faulty schooling into our
lesser endeavors than city-planning. If we design a library or other more
or less monumental building the whole thing must be abjectly subservient
to the most exacting of masters, the great Axis. We establish that sacred
and imaginary line. Then plan-exigencies decree that on the right of it we
have a monumental stairway. Immediately we slap another stairway, to
balance it, on the left. No matter if that stairway serves no practical pur
pose, or if it would be infinitely more useful in some other part of the build
ing, it must go right there, nowhere else ; the beauty and even balance of
the plan must be sacredly preserved. If we plan a lot of rooms one side of
a corridor and the purposes of the building make a row of shorter rooms
on the other side desirable we'll tear our shirts and spend many simoleons
of our client's money to keep those rooms exactly the same depth each
side of the fetish axis of that corridor. What matters the practical require
ments of the building or the fact that no one will ever notice the difference
unless he sees the plan? The aeroplane possibility is nil owing to the in
tervention of the roof. So it must be to preserve the inviolability of the
sanctified axis on the plans in his store room that the architect will resort
to such trouble and expense in the pursuit of that perfect symmetry that
passeth our understanding!
Why, I'm amazed that the ultra-altruistic, the real Beaux-Arts product
should let the unbalanced door knob or bell button get by him. I fully
expect to see, ere long, a door knob on either hand of the central axis of
the door, a bell button on either jamb of the door and face butts on both
edges to preserve the perfect balance, the symmetry so dear to our artistic
souls.
Are there none among us who are brave enough to get from under the
thrall of the axis? Must our schools always dally with theories and frills
and instill nothing but the purely academic flub-dub into our young? No,
I am not clamoring for an inartistic solution of our practical problems, but
I do vociferously pray and beseech my fellows to throw away their fetiches,
break up their golden calf and false gods, the Axis, the Great Temple, the
Antique, the abject worship of All that Has Been. We have new prob
lemsthe ancients never dreamed of them and our teachers got but little
of themwe have new materials, we have novel and complex conditions
to cope with, commercial, domestic, religious; let us face them like men;
let us give the client what he really needs (not merely what will please our
eye on paper), what will produce the very best results in facilitating his
business operations, or in producing the greatest profit. Doing that we will
prove our claim to efficiency. Then let us build well and sanely and pro
ceed to decorate the simple and truthful structure in a dignified, consistent
and really artistic manner. Then, and then only, will we be real architects
and will have graduated from the class of mere copyists of antiquity,
jumblers of our problems, hack workmen, worshippers of the fraved-out
theories and of the overworked axis.
93
A Symposium on Heating and Ventilation and Some

Mechanical Errors of Installation*
By THOMAS MORRIX, M. E.
HERE is, perhaps, no branch of engineering which comes within the
I
scope of the architect's responsibilities that has been so much
abused, hampered and trifled with as that of heating in its various
forms of radiation, ventilation and domestic hot water; at the same time
there is none that is so simple and assured of satisfactory results as this
particular portion of a structure when properly designed and installed.
There is absolutely no mystery, superstition or difficulty about the whole
problem if one would consider for a moment the natural laws of gravity
and the effect of heat.
Heat or heat losses are the cause of action in all heat radiating ap
paratus, be the medium steam, water or air. If this heat action is com
bated or thwarted by an apparatus that is designed contrary to, or pre
venting the natural effect of the laws of gravitation, without the assistance
of some mechanical device to overcome this defect, there will be trouble,
and unsatisfactory results will occur.
You will hear people, who are not correctly informed in these princi
ples, talk of forcing the circulation of hot water or air in this way or that
way; such remarks, belief and suggestions are ridiculously wrong. There
is no such thing as forcing the circulation of any of these elements, in any
direction, in a piping system that is arranged contrary to the laws of
gravity unless, as I said before, it is assisted by some mechanical device
in the way of a pump, fan, air, steam or water blast, or similar arrange
ment that will have to be maintained by power, especially brought in or
connected for the purpose.
As steam at low pressure is the most common agent, and as direct
radiating systems are the most popular for heating purposes, we will take
that branch up first as a matter of discussion.
Steam at low pressure requires piping of a large size (note steam
table ) and so arranged that the condensed water and steam may travel in
the same direction, as far as possible and practical, and the mains so ar
ranged that they will be comparatively dry at all times, and of such dimen
sions that the difference in pressure between the source of supply and
the point of return will be so small that a water head of a few inches will
overcome it; that is, this condition is absolutely necessary for a successful
gravity return system such as is commonly used in dwellings, apartments,
small hotels and kindred buildings that do not have a complete steam
power plant using high pressure steam.
The velocities through the mains should not exceed 20 feet, and at the
outside 25 feet per second for the steam, and for water a maximum of
6 to 8 feet per second will give satisfactory results. If these conditions
are changed and the velocities increased by the use of smaller pipes, you
may expect trouble, and the trouble will be with you as long as you live.
There is no escaping the result in a conflict with the law of gravity, no
more than there is in a conflict with other laws of nature. New discover
ies are being made every day, new schemes devised, new apparatus in
vented, promoted and foisted upon the people as a cure-all and the last
word in all these troubles. If you purchase the arrangement you are
assured that you will be forever freed from the annoyances of a noisy
*.\ paper delivered before the San Francisco Chapt..T, American Institute of Architects, March 19th,
1914.
94
heating system and the constant nagging of dissatisfied clients because of

the unsatisfactory condition of the piping.
By adopting some of these modern mechanical schemes of improved
valves, etc., some relief may result, and it often does, but not any more
from the adoption of the improved apparatus than from the opportunity
this change affords a good practical heating engineer or steam fitter to
change the system in general, so that results would very often be as satis
factory without the improvement as with it ; but such opportunity would
never have occurred had not the change been imposed by the placing of
the improved apparatus that receives a credit to which it only is indirectly
entitled. So much for steam.
In the matter of hot water for radiation or for a domestic hot water
sanitary service, the circulation is usually controlled by the difference of
density due to the heat infused into the water by conduction, convection
or radiation. The source of heat matters little as long as the temperatures
are acquired. The circulation through a system, unless accelerated by
mechanical means, depends entirely upon the law of gravitation, and the
velocity of motion is determined by the law of falling bodies, counteracted
by the friction in the piping, bends, valves, angles, etc.
Now, it may surprise some of you to know that the small difference by
expansion between the heights of a column of water at, we will say, 180
degrees and at 160 degrees Fahrenheit, a difference of 20 degrees, is the
sole and only influence that causes hot water to circulate in a gravity
system. You will realize, therefore, the importance of having the piping
of such a size and arranged in such a manner as to minimize the resist
ance to the flow of water under these influences so that you may reap the
full benefit of the coal or other fuel used for generating the heat. If the
circulation is affected because hot water, like steam, is constantly either
taking on or radiating heat, it is never at rest. It is not like unwarned
air or normal gases that do not change their temperature. It must be very
plain to you that it is a mistake to presume that you can get as good re
sults from small or contracted pipes as you can from full-sized ones from
a fuel efficiency point of view.
Heating systems and the distribution of steam and hot water for heat
ing purposes in general have so far escaped the rigid rules laid down by
the local law makers for sanitary systems, because the failure of the former
does not so materially affect the public health as does the latter, but I have
often felt that it would be wise on the part of the community, as a pro
tection to the owner and to the renting population, to prescribe that es
tablished rules for the placing of a heating apparatus should be as carefully
protected by a simple law as are the sanitary rules that we are now work
ing under, and that said law should be enacted controlling the installation
of ventilating equipments similar to that of the Massachusetts law for
public institutions now in force in many of the states throughout the
Union ; and the architects should be the people to demand and to see that
such a law is passed in every state, because they, themselves, are often
duped by unscrupulous, incompetent and selfish engineers and contractors
to whom they entrust the design and installation of these plants.
When a faulty svstem is once installed and the building enclosed and
finished, it is a hard problem to change or to rectify the defects without a
serious disturbance to the structure and occupants of the building, and a
great additional cost to the owner. These difficulties have brought about
a serious state of affairs since the institution of street service, as I know
from personal experience, having been called in on several occasions to
95
rectify these difficulties, that, in the imagination of the owner, are brought
about by connecting steam with the street; and while the street service has
its shortcomings, yet it often is unjustly condemned because of inherent
defects in the heating systems and in the general arrangement of the plant
before the street connections are made. These annoyances have been the
cause of a great deal of dissatisfaction and bickering between the street
service corporations and the property owners in many instances.
Architects, as a rule, are prone to conceal piping, very often to the
detriment of the system, not that it is necessary to expose piping if suffi
cient space is allowed for the pipe and the necessary insulation to prevent
unnecessary radiation and comply with the underwriters' rules.
Again, others are not satisfied unless a forest of pipes and risers are
installed in a system, for no useful purpose whatever, except of causing an
excessive fuel consumption and corresponding overhead loss to the owner
for all time. They seem to lose sight of the fact that these conditions
remain forever, that there is absolutely no relief except a complete remod
eling of the whole system, which very often is next to impossible.
Ventilation
The distribution of air in buildings, particularly in wooden structures,
brings about, as a rule, a warm contest between the architect and the
engineer, because of the difference between the size of ducts necessary for
efficient service, and the size existing in the imagination of people who
do not go into the merits of the system in the proper form or frame of
mind. An architect would not think of reducing the size of a sanitary
main or of a water pipe for a certain specified service, yet he will wrangle
with you for an hour to get a few inches off a hot-air duct or spread it out
in pancake form, which makes it next to impossible to get any air through
it at all, to say nothing of the generous volume that is actually required
for a satisfactory ventilation or indirect heating.
It is a well-known fact that a square chimney is only useful to the
extent of the largest circle that may be inscribed within the
square ; the corners are useless owing to the excess friction, but
the peculiar condition of our construction of brick and mortar, the square
or rectangular chimney is more conveniently constructed and conforms
better to architectural lines than the circle where the chimney is built into
the wall and made part of the structure; yet we are compelled sometimes
to make ventilating ducts of a square or rectangular form that increases
the skin friction to such an extent that, although of the same sectional area,
they are practically useless for chimneys or air ducts, and the purpose for
which they are originally intended is completely lost sight of or destroyed.
If it is necessary to pass 1.500 cubic feet of air through a duct per
minute at a velocity of not to exceed 1,500 feet (which should be the
maximum for any air circulating scheme), that duct should be circular and
of one square foot in area or square, or perhaps rectangular, but the least
width should never be less than two-thirds the side of the square neces
sary for the area required, because as soon as you begin to increase the
width and diminish the depth you are increasing the skin friction of the
duct to an injurious and sometimes prohibitive extent. Who has not seen
an 8-inch diameter duct flattened out and squeezed into a 2j/j-inch thick
by 22-inch space in a framed partition, and the contractor condemned be
cause he could not deliver the maximum amount of heat and air through
the register connected to a duct distorted in this manner?
96
I am not calling your attention to these facts in a spirit of fault-finding

or of egotism on the part of the engineer; I am simply mentioning them
to expose an objectionable and ill-founded practice, and to emphasize the
point that in the correct make up of a building the heating and ventilating
portion of the equipment stands on a par in importance with its other
details. It is time for the architect and for the engineer to realize that
truth and to exercise a mutual regard for each other's participation towards
the common goal of the successful accomplishment of good work. This
will never fail to appeal to the man who pays the fuel bill, and who is the
party to be considered first, last and at ail times. His satisfaction will
work to the mutual benefit of those who have procured it, and their har
monious co-operation should not be considered as involving the profes
sional pride of either, but merely as an intelligent realization of their com
mon interest.
*
*
*
An Inexpensive Small Farmhouse
THE Department of Agriculture has made public the first of a series of
plans for farm houses to be prepared bv its specialists with a view
to enabling farmers to construct inexpensive and better homes. The
basis of the inquiry is the belief that the farm house is the most important
building on the farm, and money judiciously expended in its planning and
construction is well invested. The objects sought in the plans are to
provide structures reasonable in cost and of good material, and so arranged
as to give the maximum in health, comfort and happiness to the family,
and added convenience to the housewife in her domestic operations.
The plans are for the construction of an inexpensive farm tenant house,
although the house contains many valuable suggestions for owners with
small families. The provision of proper tenant houses on farms, it is be
lieved, is of increasing importance to farm management because of the in
creasing number of rented farms, the growing demand of tenants for mod
ern houses, and a better understanding of the influences of the home upon
farm labor and field efficiency. The census report of 1910 shows an in
crease during the previous ten years of more than 324,000 rented farms.
The cost of these houses commonly is inconsistent with the value of the
farms, and the lack of improvements in them too often is in striking con
trast with the outbuildings, farming machinery and field equipment.
The important principles of planning, applicable to all buildings, which
effect saving in construction and in the performance of indoor work have
been carefullv considered in these plans. Endeavor has been made to pro
vide good lines and pleasing proportions which are essential to genuine
beauty in all structures, and are the production of skillful designing rather
than of additional material and labor.
The architects' studies seem to make it clear that many homes in towns
as well as in the country could have been greatly improved and at the
same time built at less expense if they had been studiously planned to meet
the family needs, skillfully designed, and carefully constructed.
The tenant house, perspective drawing and plans of which are shown, is
a simple, four-cornered structure, without bay windows, gables and dor
mers, or any projection save the cornice, which overhangs and protects the
walls and window openings. The house is planned for the smallest dimen
sions and the most inexpensive arrangement consistent with the needs and
the convenience of a small family. It has but one chimney and but one
outside entrance.
GROUND AND FLOOR PLAN FOR AN INEXPENSIVE FARMHOUSE
97
98
The Highways of California

Second Paper
By NATHANIEL ELLERY, C. E.
WITH the State Highways Act and with four counties improving their
roads under the Savage Act, California came into prominence in
the vital public work of road making. Eighteen million dollars
for state highways sounds big, but it really pales before the fact that we
had spent about sixty million dollars on our roads before the present activ
ity, and that the state of New York is spending one hundred million dollars
for a system of state roads.
Our state, with its much greater area but smaller road mileage, sought
to make a beginning and perhaps eventually complete a skeleton system of
state roads which, with laterals and feeders and county systems, might
bring our good road mileage and improvement to a worthy position among
the states.
The construction of our highways by the state is proceeding under a
plan by the so-called California Highway Commission to give our people
2,700 miles of improved roads for the bond issue of $18,000,000. The pre
vailing impression abroad seems to be that such mileage is essential to
meet the demands of the statute and comply with the intent of that law.
Where in the State Highways Act is there specified or stipulated any road
mileage? Presumably the answer will be the route or routes imply the
mileage, but as a matter of fact such is partially discretionary with the
State Department of Engineering.
Let us examine the intent of the law and ascertain as nearly as we can
from this source an answer to this vexed question of mileage. As many
of my readers know, much of the statutory law is made up in fact from
original acts not cenceived or framed by the legislators themselves, but by
outside persons interested in the different matters. The California high
way scheme was conceived by Governor J. N. Gillett, and the bill was
handed members of the legislature for introduction and passage. This
is a known fact. Personally I appeared before the Senate road committee
in connection with this measure and held several conferences with Gover
nor Gillett on the purport of this law. He remarked to me that the two
main roads traversing the state from north to south, one along the coast
and the other through the Sacramento and San Joaquin valleys, should
form the basis of a system, and then laterals to the county seats could be
attached. But in all events, he said, let the money be used to build the
two main north and south roads and then the laterals as far as the bond
issue would permit.
In my previous article mention was made of the associate bill to the
State Highways Act appropriating $70,000 for investigation of routes, cost
data, etc., but which was killed at its inception. Under this law the State
Department of Engineering would have determined the route or routes,
mileage, etc., and then the bonds would have definitely covered certain
matters. But the thought that some towns or counties would be left out
of the plan seemed by legislators too much of a burden for any referendum
measure. Mr. Reader, if it were to be largely discretionary with the
Department of Engineering under this law, surely the same intent applies
under the main act, for they were of unquestioned harmony of purpose.
Mr. Fletcher, the present state highway engineer, during the early part
of 1911 came to me and desired information on the intent of the State High
ways Act, as did also Governor Johnson later at an advisory board meeting
in his office. My version and understanding of it was given them.

Let me quote the At
torney General in an
opinion to the Governor
dated August 22, 1912:
"I consider that the
main purpose of the stat
ute was to create a state
highway system, run
ning north and south
through the state as a
means of communica
tion for the entire state,
in order that the people
of the north might be in
touch with the people of
the south and the deni
zens of all the country
between be brought in
contact, and, for this
reason, I consider that
portion of the statute
which provides for the
construction of such
highways in such man
ner as to 'constitute a
continuous and
con
nected state highway
system running north
99
STATE ROAD NEAR HEALDSBURG

Concrete base not surfaced. Shrinkage crack breaking away
OILED MACADAM STATE ROAD SOUTH OF MARYSV1LLE

Showing where team pulled off road and stuck
and south through the

state, traversing the Sac
ramento and San Joa
quin valleys and along
the Pacific Coast by the
most direct and practic
able routes,' as the por
tion of the statute which
we are to treat as man
datory, and for the pur
pose of effecting the ob
ject displayed we must
treat the balance of the
statute as subordinate
thereto."
The system selected
by the officials was
within their power, but
it is not mandatory to
construct 2,700 miles.
Take, for instance, the
roads on either side of
the Sacramento river.
One extends from near
Red Bluff to Sacramento
on the east side of the
100
river, and the other ex
tends from near Red
Bluff to Woodland and
through Solano county
on the west side of the
same river.
Where,
under the statute, do
you find this require
ment or where do you
find both of those roads
contemplated? Again,
the road through Lake
county and Napa
county to Vallejo par
allels for about one
hundred miles the coast
state highway. Where
in the fine points of law
do you find this con
templated? If Califor
nia is to build these
branches why not build
to all county seats of
the state and take in all
the eastern tier of coun
ties? We know the
amount of money avail-
Tf
STATE ROAD NEAR SAN JOSE

Shrinkage crack
STATE ROAD NEAR LINCOLN

Flood waters caused destruction
able is insufficient for

such a layout and prop
erly give improved road
service, and we know by
stretching the mileage
we must reduce the qual
ity of road. It is not
necessary to accuse the
State Highways Act of
demanding too much
mileage. Certainly each
county seat wants a
state highway if it can
get it. but is it good road
business to extend the
system to the detriment
of the work?
The cry in California
has been for good per
manent construction
build well as far as the
money goes. How little
attention has been given
to the maintenance of
our improved roads is
known to everyone who

has given the matter
any thought. Roads can
not be built and left to
the elements and traffic
without a system of up
keep to maintain them.
No matter how well
built, without proper at
tention the investment
becomes of little value.
The construction of
our improved roads is of
deep concern to all who
use and pay for the work.
In the first place, a
knowledge and study of
the state is essential to a
good road plan, and the
more intimate this is, the
more likely a good solu
tion of the problem. The
topographic features
must be known and the
location of materials for
construction must be de
termined. The study of
the traffic and future
traffic so far as prac-
101
OILED MACADAM ROAD NEAR MARYSVILLE

Surface breaking away
STATE ROAD NEAR HEAEDSRURG

Foundation unsurfaced, giving away under traffic
ticable should be given

profound thought. Grades
and alignment should re
ceive careful attention,
and in our state the win
ter overflow of many sec
tions needs be gone into
in detail. Soils and their
character have a strong
bearing on this work.
The older roads of Cali
fornia were located with
out much thought of
grade, alignment or soils.
They usually followed the
contour of the ground and
had no surfacing of any
consequence. In some lo
calities good gravel roads
were made, but deterio
rated through lack of
care. Oiled roads came to
us through the effort to
lay the dust, and several
million dollars were spent
by the counties in the en-
102
deavor to create good

oiled roads. Oils were
applied indiscriminate
lyno test for asphalt
no proper material
for mixture with it. It
was heralded as the
panacea for road ills,
and the struggle and
hurry to make use of it
overcame the good
judgment of the users.
Those who traveled
these roads found how
abominable they were
when uncared for.
Finally many neglected
oil roads were evidence
of the fact that one of
the greatest wastes of
road money our state
had ever experienced
occurred through this
work. To be sure,
everybody was making
roads or knew how. It
was a slow and tedious
process to make road
builders of untrained men who were certain they had the right idea and
knew thoroughly the' business of road construction. The roads we had
surely aired the views of the many builders.
These roads were made to accommodate horse-drawn traffic, and when
the motor-driven vehicle came into greater and greater use the demand for
road improvements became intensified. New conditions had arisen. Roads
now must undergo a change in construction to offset a new destructive
agency. At this time each of the four counties previously mentioned under
took a system of main county roads within its bounds. And now after all
this strife in road affairs, the state emerges with a system of 2,700 miles of
state highway for consideration. Since 1911 it has adopted the types of
road, has located much of the lines and has contracted for and is construct
ing various units into which the work has been divided. In the law this
system called for roads permanent in character and finished with oil or
macadam or a combination of both, or of such other materials as the State
Department of Engineering shall consider most suitable to the locality.
In fact, the officials of this department may use their own judgment in the
matter of construction.
Let us now examine the requirements to be heeded and some of the con
struction already completed or partially completed and note, if we can, the
importance of various features. The speed of the horse-drawn vehicle was
limited to about eight or ten miles per hour for light rigs and much less for
heavier teams and wagons. The steel tires of the wagons and buggies cut
into the surface or ground the surface materials, while the horses with toe
clips and caulks (aids to their foothold) cut into the surface. With the
motor vehicle the suction created by the tires tears out a road in accordance
103
with the speed and the

tractive force also helps
tear away the surface
beneath the tire. Un
doubtedly both classes
of vehicles will be used
on our highways, and
we may further look for
freight hauls by motor
trucks over our im
proved roads.
There
seems but little question
about the haulage of
farm products by motors
when the highways are
improved to permit of
uninterrupted service.
So far as practicable,
grades should be a mini
mum, curves made easy
and crossings with car
tracks obviated where
possible. In the lower
lands, subject to over
flow, grades should be
STATE ROAD NEAR HEALDSBURG
raised above the flood
Concrete torn up for about yoo feettoo thin.
plane, and above all a
Photo taken March I, 1914
complete and sufficient
drainage plan devised in order to give permanency. The foundation of the
road should be well laid and protected, while the finish or top should be
smooth, resistant to wear and not slippery. The road crown should be
slight when the best constructive materials are used, and the width should
be sufficient to allow of passage of vehicles without too much travel on the
berm or shoulder of the road. The edge of the main part of the road
must receive close attention or else it may be gradually eaten away by the
travel.
Generally writing, the state has adopted the Portland cement concrete
foundation for the main thoroughfares with a minimum thickness of four
inches with allowable increase in places. This material for foundation use,
when properly protected, gives splendid service and is the best foundation
material we now have for roads. The views presented herewith of the
cement concrete foundation work on incomplete roads show distinctly the
shrinkage cracks of concrete subjected to air during part or all of the time
of curing. Where the travel has used this concrete, evidence of wear is
shown, and in places such as the road between Healdsburg and Santa Rosa
the worn condition is sufficient to cause trouble. Patching set concrete in
air is one of the difficult problems we have to contend with, and where thin
slabs unreinforced with metal are used it becomes extremely difficult. The
samples of the concrete taken from this work appear of good, sound quality,
but when travel is allowed to cross the shrinkage cracks of cement concrete
it naturally breaks the edges away. Although much has been said and
written of the Wayne County (Michigan) roads of concrete base and wear
ing surface, I cannot consider this brittle material for a wearing surface.
It is out of place in this position. It has practically no resiliency and will
104
dust with earthy materials blown or otherwise deposited on the surface,

and it will wear under the impact of the travel.
Again, the state has adopted the thin bituminized surface on the con
crete base in many instances. Although this is recommended by the
National Cement Users' Association, I cannot but condemn its use. A layer
of about three-eighths inch thick of heavy asphaltic oil and sand or rock
chips cannot cushion the base sufficiently and will wear rapidly under heavy
motor trucks. The view shown of the state road north of San Jose and
taken in the early part of 1914 by the writer clearly shows the insufficiency
of this top or wearing surface. The concrete should receive a better protec
tion than this if it is to perform its best service. The argument for its
cheapness of first cost and ease and cheapness of replacement is scarcely
correct when it wears out so soon that travel will be everlastingly hindered
by replacements, and if the base be narrow the inconvenience to the public
and possible damage to the slab foundation will warrant more permanent
work.
The type "A" adopted by the state seems more nearly to fill the require
ments of a high-class country road. It is 24 feet wide, concrete 5 inches
thick and \y2 inches of asphalt or asphaltic concrete.
If cement concrete is to be used for a base it should be of sufficient
width that there need be no additional width made at some later date.
To place an addition to a slab of thin concrete at the shoulder of the road
is next to impossible and get a good job. How are we to knit the con
cretes together? I saw where some of the concrete base had been wrecked
on the state road below the town of Lincoln and carefully noted the patch
of the slab. It was cracked loose from the body of the road slab. Fifteen
feet in width of cement concrete is too narrow, as it never can be widened
satisfactorily, and in winter how can two large teams or fast-moving auto
mobiles pass on this width?
Take, for instance, motor trucks, some of which are 8 feet outside
to outside of wheel hubstwo make 16 feet in width. Surely they
cannot pass on a roadway 15 feet wide. Another item of concern is these
15-ton trucks running close to the edge of a 4-inch concrete slab. When
the subsoil is soft they would certainly damage it, for they have 5-inch tires
upon which the load rests and is transmitted to the road. If the State is
going into the cement concrete road construction the part of wisdom seems
to demand a 6-inch concrete base not less than 20 feet wide and topped with
at least ly2 inches of good covering. At the time this spring I made the
examination of the 15-feet wide oiled macadam road south of Marysville,
built by the state, the shoulders were saturated with water and many
teams and wagons had pulled off the edge in passage and torn it down. The
accompanying view shows one spot on this highway where a team was
stuck on the shoulder of the road and was pried out.
The views presented with this article were taken by the writer this year
and truly represent the conditions at various points. In the succeeding
articles the subject of construction and maintenance will be discussed.
105
Vacuum Cleaners
San Francisco and Oakland architects and property owners have been having
some very trying experiences with vacuum cleaning plants. It is a well-known
fact that there are a lot of machines on the market that are little better than
toysnot worth the powder to blow them upas one architect put it. And there
are some that ivould cat up the income of a Rockefeller to operate. On the
other hand, there are cleaners that answer every purpose and accomplish results
in a most satisfactory manner These machines are easily installed and more
easily operated, and the first cost may be said to be practically the last cost. .
It is not the purpose of this and succeeding articles to go into any extended
criticism of the various types of machines on the market, but an effort will be
made to acquaint the reader with those cleaners that have proved the most prac
tical and economical. The architect, the engineer, the contractor and finally the
owner, are entitled to have these facts, for to install a poor machine and then
to be obliged to tear it out and replace it with another type is as great an injury
to the architect's reputation as it is a drain upon the owner's pocketbook.Editor.
THE GIANT SUCTION MACHINE
By FREDERICK JENNINGS
THE Giant Suction Cleaner is a home product. That fact, in itself,
should at least enlist the attention of the local building fraternity.
I don't mean to infer that home-made goods shall be given
preference to foreign products when they are an inferior article. Not by
any means. The point is that if a machine is made right here in California
it is entitled to at least as much consideration as the machine manufactured
in the East.
The main factory of the Giant Cleaner is at Third and Jefferson streets,
Oakland. It is a two-story brick building filled with enough high-class
machinery to turn out hundreds of vacuum cleaners annually. The officers
of the company are N. Alper, president; A. Alper, vtce-president, and S. H.
Rowland, secretary-treasurer. E. L. B. Zimmer is general manager.
The Giant Cleaner will do the work of ten hand sweepers, while the time
it saves as compared to other suction cleaners is at least two to one. The
suction is stronger and the width of the cleaning tools are much wider
than those used by other cleaners, and, being much lighter, can be handled
more expeditiously. It saves in the amount of electrical energy required
to operate it, and it saves in dollars and cents, because it is the simplest
suction cleaner now on the market.
In sympathy with the modern idea of hygienics, the application of the
principles embodied in the suction cleaner are now recognized throughout
the world, not only by the medical fraternity and men of scientific research,
but all people possessing common sense and reasonable understanding.
The old method of cleaning was simply to displace or remove dirt from one
object to another; or, in other words, to stir up the dust in the carpet only
to find it again settled upon the furniture. But one result can be obtained
from an operation of that charactermore dirt. It is stoutly proclaimed
by men of understanding that more disease germs enter the human system
through inhalation than by any other means. Hence it follows that the
more completely we can eradicate and destroy these germs of disease the
more sanitary become the conditions in which we move and live.
Now, the logic of the Giant Cleaner is found in this principal factit
cleans. It does not stir up the dirt and dust in its operation, simply to
allow it to settle elsewhere, but tt consumes it through the air tube, and
all of the dirt, disease germs, fleas and other small insects with which the
cleaning tool comes in contact are drawn into the automatic self-cleaner.
All of this substance immediately drops to the bottom of the machine and
the air is carried away through the exhaust into the chimney or out into
the open air. Thus the object is cleaned, the dirt and dust is removed and
the air which we breathe is made sanitary and wholesome.
<
HOTEL OAKLAND, OAKLAND, CAL.

Bliss & FovUle, Architects
It would seem that the long-looked-for problem has been solved, com
bining the three elements in one machine, i. e., medium, low and high
vacuum, which can be positively obtained in the new Giant Model "A."
The government specifications for the United States Sub-Treasury
building in San Francisco call for 6 inches of mercury, or practically 80
inches of water, which cannot be obtained by a rotary fan type machine ;
and for a high-vacuum machine not to exceed 12 inches of mercury, or 172
inches of water. Either more or less vacuum can be had by the Model "A"
air-cleaning device.
The machine is absolutely noiseless, traveling in an inexpensive nonrusting compound, which lasts for years, and sprays itself automatically
from muffler back to pump without any energy on the part of the pro
pellers.
H. C. CAPWELL DEPARTMENT STORE BUILDING. OAKLAND

C. W. Dickey, Architect
57'. REGIS HOTEL, SAN FRANCISCO
Washington Miller, Architect
The machine can be had motor direct connected or belt driven. The
latter being preferred by most users, as the motor can be converted and
used to drive laundry machinery, water pumps, or such other machinery
as one wishes to operate.
The machine can be converted into a compressor, which can be used to
a great advantage in cleaning automobiles, dynamos, elevator lattice work
and such other parts too numerous to mention.
Among the important installations of Giant Cleaners recently made are
the following: A three-horsepower two-sweeper plant in the Capwell
department store building in place of a Rotrex machine of six and onehalf horsepower. The Giant plant is operated by what is termed the dry
systemthe cost of operation being merely the expense of a three-horse
power current consumption and about a teaspoonful of oil every hour. In
the new Hotel Oakland a Rotrex plant has been replaced with a six-sweeper,
fifteen-horsepower machine of the Model 'A" type. Other installations
include the St. Regis Hotel, Fourth and Mission streets, San Francisco;
the Emerson schoolone of the best vacuum cleaning equipments in the
city of Oakland, by the way ; also the high and grammar schools of Centerville, the College avenue school, Oakland; the Hester school, San Jose,
and the new Union high school at Lodi.
108
BU1LDING FOR VINCEXT ASTOR, NEW YORK CITY

HERMAN LEE MEADER,
ARCHITECT
109
Vincent Astor's New Building*

THE Waldorf building is at the very heart of that marvelous half-square
mile between the Metropolitan Tower and Times Square, wherein is
crowded New York City's most important hotels, theaters and
stores. Macy's, Sak's, Gimbel's, McCreery's, Altman's Gorman's, Best's,
Lord & Taylor's, Vantine's and Tiffany's are within two hundred yards.
The Hotel McAlpin, the Imperial, the Martinique, the Grand, the Breslin,
the Vanderbilt, the Park Avenue and the Holland House are within one
hundred and fifty yards.
The Waldorf building is directly across the street from the WaldorfAstoria, which, regardless of competition by more recently built hotels, is
still the rendezvous for the smartest people in New York and a mecca for
the most exclusive visitors from out of town. The Waldorf-Astoria is
more than a hotel ; it is an institution about which social New York pivots
and the Waldorf building maintains the same prestige among uptown busi
ness buildings. It will contain shops on the ground floor, and these are so
planned as to cater to the most exclusive patronage. Each shop will have
a basement for storage, and a well-lighted mezzanine balcony for office pur
poses and a rear entrance for general service. With all goods received and
delivered at the rear, wagons will not interfere with carriages and automo
biles and the sidewalk will be as attractive to shoppers as it is along the
Rue de Rivoli.
Show rooms of various sizes will be provided on the second and third
floors, the entire fronts of which are plate glass. The fourth, fifth and
sixth floors will provide lofts approximately 20,000 square feet in area,
which will be subdivided to suit tenants. The upper floors are divided into
offices, having unobstructed light on all sides and a view far over the city
and out onto Long Island.
The Waldorf building presents an unique exterior appearance. Except
for the end piers, which are of richly sculptured stone, the structural sup
ports through the lower three stores are masked by a veneer of mirrors per
mitting a facade of plate glass for its entire 200 feet of length and 40 feet
in height, broken only by slender mullions and narrow panels of ornamental
iron. This great field of glass will be illuminated with tungsten lamps
and mirrored reflectors at night, affording an opportunity to display mer
chandise, which for extent and artistic effect has not been equaled.
Under the contract between the owner and the Astor estate the Waldorf
building cannot be sold, and therefore is not a speculative building opera
tion, but an investment proposition, and every provision has been made for
the comfort and safety of its occupants.. There are four continuous lines
of stairways leading to exits on two streets. The building is served by
seven elevators, four high-speed passenger cars and three heavy service
freight cars. There are two men's and two women's toilets on each floor.
The building is so favorably rated by the board of fire underwriters that
an exceedingly low rate of insurance is available for the tenants.
By agreement with the Astor estate this building will permit no manu
facturing on the premises and will enforce the most rigid restrictions
against any sort of objectionable occupancy. In every way it will be
maintained as the building de luxe of uptown New York.
The Waldorf building was designed by Herman Lee Meader, architect.
*Full-page illustration by courtesy of the Real Estate Magazine.
110
MERR1AM APARTMENTS, SACRAMENTO

Faced with cream-colored brick manufactured by Sacramento Sandstone Brick Co.
Cuff & Diggs, Architects
Salt Water Said to Preserve Wood Piles
|N REPLACING a railroad trestle recently burned along the north shore
1 of Great Salt Lake, engineers have just found that the piles are still
perfectly sound after 43 years of service. Looking for the cause, since
these were only of local pine and fir, they found the timbers impregnated
throughout with salt from the lake.
At another point on the lake, 18-inch piles, set 29 years, are similarly
preserved with salt, which has penetrated to their very center. Timbers
in the Southern Pacific trestles across Salt Lake, placed in 1902, appeared
to be as good as on the day when the piles were driven. They have been
preserved well above the water line by the salt dashed onto them by the
waves, a fact apparently anticipated by the engineers who built the trestles.
It is pointed out that the reason why the waters of Salt Lake act as a
strong preservative, as dtstinguished from ocean waters, is because the
lake water is so much more saltybeing practically a saturate solution.
Preservation with salt is of no use in ocean piling against the attacks of
teredoes and other marine borers.
Experts in the forest service who have been investigating the preserva
tive treatment of timber offer the suggestion that ties and poles which
have been immersed for some time in the waters of the lake ought to be
impervious to decay if the salt is not leached out by the action of the ele
ments. It has been suggested that this can be guarded against, for ex
ample, by painting the butt of the pole with a coat of creosote which will
keep out the moisture and keep in the salt.
111
More Anent Grooved Redwood Boards

Editor The Architect and Engineer: My attention has been drawn to an
article which appeared in the January issue of your publication condemning in
a very vigorous way the use of grooved redwood boards for cement plaster work.
I do not know where your informant got his facts, but our company has in
the last three or four years furnished a great deal of material for this purpose,
and we never yet have seen an instance where the conditions existed about which
you speak. It is possible that in some isolated case where a wall was green, with
the roof not yet completed and was exposed to such heavy rains as we have had
recently, such a condition might come about as you describe. From an extensive
observation, however, this condition we know is a most unusual one, and we
think it only fair to ask you to make inquiry and retract the statements made
in the article to which we refer.
Yours truly,
LITTLE REDWOOD LUMBER CO.,
H. W. COLE.
Our complaint was based upon personal experience over in Berkeley.
We would like to show Mr. Cole and any other doubting Thomas
what happened to some of our plastered homes across the bay. We
want to say right here that redwood is a mighty good material for some
thingswe have in mind a shingle roof and background for white enamel
finishbut as a substitute for metal lathnever again.The Editor.
*
Big Engineering Feats of 1913.
UNDER modern conditions the perpetual cry of all who handle tools
is power, more power. The year of 1913 will be famous in the annals
of engineering history as witnessing the practical completion of the
Panama Canal, but two other engineering feats must not be forgotten in
the glamor of this great enterprise. The year has seen the completion of
two of the greatest power plants in the world. The Mississippi and the
Tennessee rivers have been harnessed and will in future supply light, heat
and power to thousands of people. A bridle has been put on the Missis
sippi at Keokuk, and at Hale's Bar the Tennessee river feels for the first
time the restraining hand of the dam. The Tennessee power station is
a mere baby compared with the vast project of supplying St. Louis with
231,000 kw. of power from the great Keokuk dam. A work second only
to the Nile dam at Assouan, but the finishing of both projects this year
is noteworthy. The question must strike everyone, how long will it be
before every river has its power station, every town its cheap power and
light.American Machinist.
*
*
*
Ballad of the Bungalow
This is a song of the bungalow, with a buffet built in the wall and a
disappearing bed beneath that won't disappear at all ; a song of the fold
ing Morris chair that never will fold until you plant your weary carcass
there and sprawl in a sudden spill ; the song of the dinky writing desk
that hangs from a sliding door which sends you kiting galley west, until
you write no more; the song of the pretty porcelain tub, with a flour bin
below, and a leak that springs on the bread-to-be while on the floor runs
liquid dough ; a song of the handy kitchenette that is almost two feet
square and all undefiled by the sordid job of cooking dinner there : a song
of the lidded window seat, where no one could ever sit, and of plate racks
that come crashing down, and of shelves no books will fit ; a song of
pantry and bureau drawers that will never go in, or outoh, a song for
all "built-in features" that we read so much about. Kind friend, if you
capture a bungalow, keep it, and your soul, unmarred, by taking a kit and
a sleeping bag and living right out in the yard.
112
THE
Arrlitfert mh fcngtnwr
OP CALIFORNIA
Bustness Offtce and Edttortal Rooms
(Includtng
all parts
of the; toUntted
Statespoults
f1.50
per annum ;postage)
to Canadato 50c
addtttonal
all Foretgn
Vol. XXXVI.
April, 1914
No. 3.
ASSOCIATE EDITORS
Concrete
Fredertck Thompson
S Inspectton
Wm. B. Gfstfr.
I and Tests
Loren E. Hunt, C. E.
W. W. Brette. C. E. I
Structural Steel
H.J. Brunnter
1
A;thr?LrK.^^ I Brick. Tile and Terra
W. E. Dfnntson t
Cotta
Howard Frost. '
Artificial Stone
rrD.SSACKF^tE : \ô/s and Roofing
Fred M. Woods. Jr.. ' Rock and Gravel
C. Walter Tozkr - - Interior Decoration
Wtlbur Davtd Cook, LandscapeArchitccture
T. C. Kterulff
Legal Points
Paul C. Butte . F.lectrical Construct1on
Nathantel Ellery. C. E. - Building Construction
ARCHITECTURAL
Fred H. Meyer
F. D. Hudson
A uk ,tst G. Headman Sumner P. Hunt
C. Sumner Greene
Edward T. Foulkes
E. H. Hildebrand
Maxwell G. Bugbee
KennethMacDonald.Jr. Clayton D. Wilson
Almeric Coxhead
Houghton Sawyer
John G. Howard
Harrison Albright
Arthur Brown, Jr.
John Parkinson
T. J. Welsh
W. J. Cuthbertson
A. W. Smith
Chas. P. Weeks
William H. Weeks
Octavius Morgan
Chas. W. Dickey
H. Alban Reeves
Henry C. Smith
J. C. Austin
CONTRIBUTORS
Wm. A. Newman
J. T. Walsh. C. E.
Smith O'Brien
Jas. W. Reid
Albert Pissis
H. F. Starbuck
J. Harry Blohme
Nathaniel Blaisdell
Herman Barth
W. T. Bliss
Arthur O. Johnson
William Mooscr
Herbert E. Law
Robert Morgeneier
Hon. Jas. D. Phelan
B. J. S. Cahill
John Galen Howard / F. A. I. A.
Louis C. Mullgardt \
E. M. C. Whttney
Fredertck W. Jones
Manager
Managing Editor
Among the stories illustrating the

temperamental peculiarities of cer
tain
well - known
DO ARCHITECTS members of the pro
OF TASTE
fession is one in
CROSS THE
which the sardonic
ALLEQHENYS? humor of one archi
tect is as great as the other's selfesteem. Said one to his brother
professional : "Mr. Blank, I have
been trying to decide who are the
three greatest architects in the Uni
ted States, and would like your opin
ion." The accommodating architect
took a pad and wrote his own name
at the top of the sheet. Then after
ruminating mentally (and physical
ly on the pencil end) for a few min
utes, threw down the pencil and
shoved the pad across the desk. He
could not decide upon the other two.
This little anecdote, says Western
Architect, is culled from the unwrit
ten folklore of the profession be
cause it is a good story and also be
cause it bears a strong similarity to
a recent attempt to name the pub
lic buildings that represent the "best
architectural work in this country."
In this laudable endeavor the Amer
ican Federation of Arts sent a circu
lar ballot to members of the Feder
ation and also to "prominent super
visors and teachers of drawing, art
ists, sculptors and others having a
reputation for taste." In answer
seventy (count them, seventy) re
sponded, and as we are informed,
these included "some of the best in
formed people in the United States."
Twenty buildings were included in
this selection, only one, the Capitol
of Minnesota, being located west of
New York and Washington. One
is curious to know how these sev
enty persons "of taste" learned of
the architectural excellencies of the
Minnesota capitol. Of such archi
tectural achievements the Year Book
of the Encyclopaedia Britannica
says in part :
The public and monumental archi
tecture of the United States increasingly
tends to become a mere reflection of the
official architecture of France. This
tendency has been produced by the in
creasing number of Americans who have
made their professional studies at the
"FIRE A
CRIME"
METAL DOORSTin. Kalamein, Composite, Hollow Steel and Bronze,Swinging,
Rolling Doors.
and Steel Sash.
g^- See the SIMPLEX METAL WINDOW.

Of California
Single Copies.
SI .50 per Year
50 Cents
Issued monthly In the Interests of Archttects. Structural Engtneers, Contractors and the Allted Trades of the Pactftc Coast.
Entered at San Franctsco Post Offtce as Second Class Matter.
Contents for May

ELEVATION SUCCESSFUL DESIGN FOR SAN FRANCISCO
page
PUBLIC LIBRARY BUILDING
Frontispiece
George W. Kelham, Architect
THE SAN FRANCISCO PUBLIC LIBRARY COMPETITION 47
B. J. S. Cahill, Architect
Drawings by Geo. W. Kelham, Ward & Blohme, Reid Bros.,
Albert Pissis, Edgar A. Mathews, Geo. A. Lansburgh.
CREDITABLE WORK OF A STOCKTON ARCHITECT 65
Ralph P. Morrell
HUMORING THE ARCHITECT
72
THE STRENGTH OF BRICKWOBK
73
THE DESIGN OF STEEL AND REINFORCED CONCRETE PILLARS 76
Oscar Faber, C. E.
THE MUCH ABUSED, LITTLE APPRECIATED AND UNDER
ESTIMATED CONTRACTOR
80
Henry A. Hoyt
THE FINKLE ARMS HOTEL
82
Illustrated
THE PROBLEM OF THE FOUR CORNERS
83
George A. Damon
THE SKYSCRAPERS' BATH -------86
W. Douglas Meng
JUST A KICK
87
F. W. Fitzpatrick, Consulting Architect
UNIQUE LIGHTING PLAN OF SANTA CLARA GRAMMAR SCHOOL 90
Illustrated
THE CALIFORNIA STATE NORMAL SCHOOL AT LOS ANGELES
93
Illustrated
EDITORIAL
-----112
WITH THE ARCHITECTS AND ENGINEERS
114
118
MUNICIPAL ENGINEERING 121
BY THE WAY
126
1 Index to Advertisements Pnge 8]
For
May,
1914.
The
Architect
and
Engineer
of
California
"
Frontispiece
-**
*
-
FIRST
CHORCE
SAN
FRANCISCO
PUBLIC
LIBRARY
COMPETITIO
N
GEO.
KELHAM,
W.
ARCHITECT
Es:
Elevatico
on
competit
ion.
For
sArt
Francis
Pystic
ref
ARY
-
THE
Architect
and
Engineer
Of California
Vol. XXXVII.
MAY, 1914.
No. 1.
SOUTH ELEVATION
Geo. W. Kelham, Architect
The San Francisco Public Library Competition

By B. J. S. CAHILL, A. I. A.
FROM the standpoint of the majority of the competitors, the San Fran
cisco Public Library competition, just concluded, was an unqualified
success. Although five out of six had to lose, one may venture that
even these were unanimous in approval of the verdict rendered. No more
severe test is possible. The credit of this lies with the committee which
handled the competition and with the competitors themselves, who de
veloped on the whole a high standard of work and who stood by the verdict
with gameness and even generosity. I know that those who ran closest to
the winner admit with fine frankness that they were fairly beaten.
From the standpoint of the profession at large the competition lacked
catholicity. There seems to be no particular reason why a certain six firms
of architects should be chosen and paid to compete and others, equally
competent, not chosen. This objection rather gains in validity when it is
realized that the library is a public enterprise and that the Library Trustees,
as such, represent the whole, community. Are we to suppose that exactly
the same six would have been selected by another board of trustees? A
public building calls for a public competition. It rests with the American
Institute of Architects to devise some means of conducting a competition
that will be free for all, that will attract the competent and select the best,
that will preclude over-elaboration of unworthy projects, or over compensa
tion of mere ideas unallied with experience or adequate organization.
However, from the viewpoint of the general public, who will enjoy the
sight and use of the library for many years to come, the selection of the design
here shown as number one is wholly satisfactory. If all the architects of
the Coast had competed it is doubtful whether anything better could have
been chosen, and so from this broad standpoint the end thoroughly justifies
the means.
Photos by Walter Scott, San Francisco.
48
i i
50
Two very interesting features of the competition deserve special com

ment. The framers of the program were wholly excluded from the jury,
and the majority of the jury were architects of high repute, brought from
afar, and therefore unfamiliar with the handiwork of any of the competitors.
Regarding the first of these, I have known cases where draftsmen em
ployed by the professional adviser have been afterward eagerly sought out
for employ by competitors, of course for very obvious reasons. When the
adviser is also one of the jury it is a psychological impossibility for him not
to reach out sympathetically to a solution with which he is already familiar.
His mind has traveled the same road, and instinctively returns to it in
accordance with well-established laws. Moreover, it is well known that
men become slaves of their own ideas. If a professional adviser has hit
upon a sound parti, well and good, but if a much better one can be found, it
stands a poor chance of making any appeal to a mind already saturated
with a preconceived idea. Hence the value of what Lord Roseberry calls
"the open mind," and the perils of what French psychologists call idees fixes.
The second feature of the competition, the employment of judges unfa
miliar with the competitions, is also sound in principle. One's designing is
as unmistakable as one's handwriting, and if a juryman can identify even
one out of a dozen competitors, an absolutely impartial verdict cannot be
rendered.
The eyes of justice must be firmly bandaged. She must not
even peek through a pinhole.
The jury was surely an ideal one. Two out of three were architects.
One has attained highest honors in the theory of architecture ; the other has
reached the pinnacle of fame in practice. The third juryman, representing
the Library Trustees, had the wisdom to resolve and the fine tact to tell us
that he would leave the work of selection wholly in the hands of his
colleagues.
Mr. Paul Philippe Cret is a graduate of the Ecole des Beaux Arts of
Lyons, his native town, and of Paris, an architccte diplome of the French
government, and now professor of design in the University of Pennsylvania,
He has won numerous medals and prizes and was the; architect of the PanAmerican Union at Washington and the Valley Forge Memorial Arch.
Mr. Cass Gilbert received his training at the Boston "Tech."
Among
the many buildings he has designed may be mentioned the new capitol, St.
Paul, Minn. ; Essex County court house, Newark, N. J. ; the Agricultural
building at the Omaha Exposition : the Brazer building. Boston ; the Broad
way-Chambers building, New York; the New York custom house; the Art
building and Festival Hall of the St. Louis Exposition ; the Central Public
Library of St. Louis; the Detroit Public Library; the plans of the University of
Minnesota and the University of Texas ; the completion of the Arkansas
capitol, Little Rock, etc.
This is a wonderful list for a man in the prime of life, and I have not yet
mentioned two buildings that in importance and magnitude far transcend
all the rest put together. The West Street building in New York City is
an extraordinary architectural triumph along lines that at the time were
entirely new, although perfectly logical, and in my own opinion (expressed
in print fourteen years ago, before either of these buildings were thought
of) absolutely inevitable sooner or later. I allude, of course, to the use of
Gothic forms and motives wherewith to clothe the soaring steel work of a
modern skyscraper. With the West Street building as a standing vindica
tion of a theory that school men with their college conceit fresh upon
them always frowned at, Mr. Gilbert proceeded to the realization in Gothic
lines of the most stupendous structure for human occupation ever placed
upon this planetthe Woolworth building, New York.
FIRST FLOOR PLAN SAN FRANCISCO PUBLIC LIBRARY

Geo. W. Kclham, Architect
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SECOND FLOOR PLAN SAN FRANCISCO PUBLIC LIBRARY

Geo. W. Kclham, Architect
52
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THIRD FLOOR PLAN SAN FRANCISCO PUBLIC LIBRARY

Geo. W. Kclham. Architect
With such a record of achievement, it sounds rather tame to add that
Mr. Gilbert has been honored by Presidents Roosevelt and Taft, placed
upon important art commissions, and that he has been loaded with honors
and recognition both at home and abroad, not the least of these being the
presidency of the American Institute of Architects.
Mr. James D. Phelan, twice mayor of San Francisco, and the best mayor
we ever had, is too well known to need introduction.
He has
long been a Library Trustee, and in matters of civic betterment and patron
age of art and architecture stands foremost among our citizens. Mr.
Phelan inaugurated the Adornment Society, which financed the Burnham
plan and did fine work familiarizing the people with the idea of a Civic
Center, so that when the reality was finally presented to them "the way
had been made straight" and achievement was easy.
And this brings us to the Civic Center arid the Library. Undoubtedly
this building, whose actual present needs are rather too small for the
block, should at least be made to show completed fronts at the long avenue
of approach to the plaza, as well as at the end of the plaza itself, leaving the
opposite sides incomplete for the present. The completion of the Civic
Center from its interior is of prime importance. More than this, for it
soon becomes evident that one must choose between an incomplete long
facade and a complete building, or an incomplete building, but a complete
facade. Four of the competitors took the latter view ; two took the former.
The minority, by so doing, unfortunately put themselves hors dc combat
at the outset. From the librarian's point of view concentration is an ad
vantage, and Mr. Edgar Mathews' lay-out with the stack room equidistant
from the reading room and the reference room and right behind the delivery
was a solution leaving nothing to be desired. The exterior design of this
plan showed refinement of a rare type and was rendered with delicacy and
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SECTION SAN FRANCISCO PUBLIC LIBRARY

Ward & Blohtne, Architects
charm and little touches of distinction that lifted it above the plane of
excellence that is obvious and accepted.
Of the four schemes with the long facade completed, that of Mr. G. Albert
Lansburgh showed much ingenuity in the economy of cubage by putting
his delivery room at a lower level than the reading rooms. From the
librarian's viewpoint, however, this defect is fatal. The continuous trans
portation of books in armloads and on trucks from one room to another
cannot be conveniently done up and down flights of steps. So while this
plan had many meritorious points of design, it lost out on what its designer
probably thought at the time was its winning feature. Such is the force of
a "fixed idea" before alluded to when once it obtains root. We have all of
us suffered its tyranny at some time or another.
SECOND FLOOR PLAN

Ward cr Blohmc Architects
55
56
SECTION SAN FRANCISCO PbBLIC LIBRARY

G. A. Lansburgh, Architect
SECOND FLOOR PLAN

G. A. Lansburgh, Architect
Of the remaining plans that of Ward & Blohme was unique in that the
main entrance was conceived from the long facade and on the minor axis.
In consequence of a rather short "going" the book-seeking public must climb
forty steps without a single stop. With good calves and sound aorta this
should not prove much of a hardship to a hill communitv such as ours, and
of course these stairs can be changed. But the object of a competition is
57
WEST ELEVATION AND SECTIONS

Edgar A. Mathews, Architect
to find a working scheme in a given time which does not have to be
changed. This plan showed a decidedly interesting exterior of unques
tioned dignity and strength. But the wide spacing of the bays, yielding
more wall than window, is surely a defect in a building devoted mainly to
the purpose of reading. The entire plan showed an unusual, and. I am
sure, quite unnecessary amount of wall, not only in length, but in thickness.
Indeed the plans seemed to be drawn to the scale of one-eighth rather than
one-sixteenth.
58

Edgar A. Mathews, Architect
The two remaining schemes were based on an almost identical parti.
The plan submitted by Reid l!ros. came very close to that submitted by
Mr. Geo. W. Kelham, the winner. It contained, however, an extra feature
in the form of an art exhibit in the middle of the building, right opposite
the entry. This idea was also submitted by Mr. Mathews, with the differ
ence that the latter's was featured on the second floor with abundance of
light, whereas in this plan the exhibition room calls for artificial lighting.
It also rather spoils the circulation of the first floor and has led the de
signer to insert a redundant corridor at the rear of the wing allotted to the
newspaper room and children's department. Then again the Reid Bros,
plan shows the stairs on the side and the return over the center, whereas
the Kelham plan more wisely places the stairs in the open and returns on
FULTON STREET ELEVATIOX

Reid Bros.. Architects
SECTIOXS SAN FRANCISCO LIBRARY COMPETITION

RciJ Bros., Architects
59
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61
WEST ELEVATION. SAN FRANCISCO PUBLIC LIBRARY

Albert Pissis, Architect
flanking arcades. In spite of many excellences and some interior rooms
splendidly designed and stunningly rendered there are obvious weaknesses
in this plan, not in detail, but in mass. The workmanship of the different
parts was not surpassed by any of the drawings submitted, but the parts
were not well integrated. The first floor plan was marred by a redundant
hallway : the second floor did not "read" harmoniously ; the stair, hall and
the delivery room competed with one another, the two rectangles creating
a sort of discord in the pochet that the sensitive eye felt instantly. Then
the long rooms in front and at the side cried aloud for some cross lines to
mitigate their monotony.
The elevations accentuated this defect.
A
facade already long was made tiresomely longer by a too close columniation
which does not even desist at the end pavilions, but goes right on and only
stops because it has to. It is clear that the author of this design did not
take time to stand off from his work for half an hour and calmly size it
up. It would surely be a good practice for every one in control of a com
petition to take an afternoon off just when he has everything settled, go
for a long walk, take a swim or play golfand then come back to his office,
light a good cigar, and size up his plans in a calm, judicial and dispassion
ate way.
If his judgment is normal and the plan does not look right, he ought to
be able to say to himself "this won't do; it will never win"and start over
again.
It takes some pluck to do thisto shake oneself loose from that terrible
tyrantthe fixed idea.
In fact, this is precisely what Mr. Kelham, the winner in this competi
tion, did. Within ten days of the finish, he calmly surveyed what he
had done, rejected most of it, and began all over again. The result is
evidenced in the design. The parti is right, there are no weak spots, good
proportion ties all the parts together, the bays on the long facade are
neither nine in number as in one plan, nor twenty-three as in another, but
just fifteen, a happy medium.

ALBERT PISSIS,
ARCHITECT
63
SECTION SAN FRANCISCO PUBLIC LIBRARY

Albert Pissis, Architect
The result is a clean-cut plan, perfectly balanced and admirably ar
ranged, of course capable of minor improvements, but without any obvious
defects such as we have seen in all the others. The fronts are marvels of
fine draftsmanship, both in felicity of design and elegance of rendering.
Executed in white granite, San Francisco will at last have a library
building which, seen from the trees and water of the great plaza, and
superbly placed with the City Hall, the Auditorium, a State building, and
an Art Museum, will rival in its setting any other group of civic palaces
to be found in the world.
*
May Meeting of Los Angeles Chapter, A. I. A.
A FEATURE of the May meeting of Los Angeles Chapter, A. I. A., held on Tuesday
evening, May 12th, was an address on "The Fire Hazard of Electricity" by Professor
Montgomery of the University of Southern California. The speaker gave a brief
history of the discovery and use of electricity and outlined the rapid development made in the
last few years in its application to practical purposes and the fire hazard of its improper use
for light and power purposes. Of all fires, the causes of which are known, possibly eight
per cent can be attributed to electricity, and seventy-five per cent of these could be pre
vented by the use of good material and proper installation. The lecture was illustrated with
stereopticon views showing examples of proper and improper methods of electrical
installation.
Following the address a number of important questions were considered and discussed,
among them the desirability of adopting the Quantity Survey system in figuring contracts
and Messrs. Octavius Morgan, Jr., S. B. Marston and T. Franklin Power were
appointed a committee to act in conjunction with the Institute committee on this
subject.
An effort is to be made to get more of the Chapter members to become members of
the national body of the American Institute of Architects, and a committee consisting of
Messrs. A. M. Edelman, J. C. Hillman and H. M. Patterson was appointed to encourage
the non-institute members along this line.
To insure the selection of Los Angeles as the convention city for the annual meeting
of the Institute in 1915 the sjcretary was instructed to send a nipht lettergram to Mr.
Octavius Morgan, one of the members of the Board of Directors of the Institute, who is
now on his way back from Europe, to use his efforts to secure favorable consideration for
this question at the directors' meeting to be held in Washington.
Mr. John P. Krempel. chairman of the entertainment committee, announced that Mr.
A. M. Edelman would deliver an illustrated lecture on Egypt at the next meeting, which
will be held in June. This will be the last meeting before the summer vacation.
DESIGX FOR A BANK AND OFFICE BUILDIXG.

RALPH P. MORRELL,
ARCHITECT
65
CEMENT SUN-DIAL
Executed by the Western Sculptors, San Francisco
Creditable Work of a Stockton Architect
SOME of the recent work of Architect Ralph P. Morrell, of Stockton, is
shown in this issue. Mr. Morrell has departed somewhat from the custom
of most architects and has rendered his perspectives in pen and ink instead
of water colors. His residence and garage sketches are dignified and show
an artistic temperament that doubtless has contributed very materially to his
success. The pictures are selected at random from a generous list of buildings
covering varied classes and types of construction, from the modest home to the
pretentious office building. Mr. Morrell has also designed a number of school
houses, one of whichan open-air structureis shown herein, and because of
its unique character, has been reproduced in newspapers and magazines
throughout the country. Mr. Morrell was recently granted a certificate by the
California State Board of Architecture.
The Architect and Engincer
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ELEVATION FOR STOCKTON RESIDENCE

Ralph P. Morrcll, Architect
AN ATTRACTIVE STOCKTON HOME

67
The Architect and E ngineer
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THE LINDEN GARAGE, MAl.LETT & TUCKER. PROPS., STOCKTON, CAL.

Ralflt P. Morrell, Architect
Humoring the Architect

AN ARCHITECT or an engineer who is handling a large job has to
settle many questions regarding details which are not made ex
plicit in the specifications. It is in his power to make things run
smoothly and with a minimum of expense, if he so wills it. He may,
on the other hand, by lack of good judgment, so impede the smooth com
pletion of the work as to cause serious loss to the contractor who has taken
the job on a lump sum basis, or corresponding loss to the building owner
where the contract is upon the cost-plus-percentage or cost-plus-fixedprofit basis.
In the course of a paper read before the Boston Society of Civil En
gineers, Mr. Leonard C. Wason remarked : "In one case where a number
of local firms bid on a large building for an architect who was known
always to rule in favor of his client irrespective of the merits of the
case, the successful bidder, after figuring full measure on all quantities,
added this item : 'Humor architect.' This item was ten per cent of the
contract. It is safe to presume that other bidders placed this contingency
at a higher figure." True, the architect in this instance was a Bostonian.
It is, however, not unreasonable to infer that the same thing has happened
elsewhere. Contractors are quick to discern any little personal or pro
fessional weaknesses in members of the architectural fraternity with
whom they do business. The personal equation enters more extensively,
in fact, into the relation between architect and builder than either of the
parties to those relations would care, perhaps, to admit. Idiosyncrasies,
whether of temperament or practice, are so grasped that the average wide
awake builder knows to the shadow of a certainty just what to expect
from the men with whom he is doing business in any given contingency.
And, as in other walks of life,the consumer pays. The client who is
humored by his architect pays for his humoring. In the case quoted,
we have Air. Wason's word that the humoring added just ten per cent to
the cost of the building.
73
The Strength of Brickwork

T IS ONLY natural that when a brick manufacturer has had the crush
ing strength of his bricks tested, he should be pleased to show to all
likely customers a certificate to indicate the superiority of his bricks
in this respect. It is equally right that architects engaged in the design
of buildings intended to carry heavy loads, such as factories and some
public buildings, should lay considerable stress on the necessity for the
bricks showing a certain resistance to crushing. But of what real value
are these tests? asks The Brickbuilder.
Most machine-made bricks will have a crushing strength of 2,800
pounds per square inch, and if reasonable care has been taken in their
manufacture, a much higher strength is not uncommon. Engineering
bricks may easily double this figure, and in some works the average
crushing strength of the bricks is no less than 4,000 pounds per square
inch.
When the bricks are built up into masonry, however, the structure
will not safely stand a load of more than 100 pounds per square inch, and
only with the best building bricks is a load of 210 pounds per square
inch considered safe. This is due to the fact that the mortar used in laying
the bricks is, in itself, far weaker than the bricks, and it only gains
strength as it hardens. Yet various investigations of ancient buildings
show that lime mortar seldom, if ever hardens completely in the interior
of the joints, so that the weakness of brickwork is not due to the bricks,
but to the imperfectly hardened mortar.
This drawback can be overcome by using cement and sand in
place of lime and sand for the mortar, and, provided that the joints are
kept thin, and the correct proportions of cement are used, this cement
mortar will not prove more expensive than ordinary mortar. On the
other hand, the strength of the brickwork will be increased many times,
and a crushing strength of 3,800 pounds per square inchcorresponding
to a safe load of 380 pounds per square inchis not difficult to attain.
The use of cement mortar, therefore, provides the manufacturer of
bricks with a means of showing how enormously strong structures may
be made at prices to compete with the rivalry of concrete. If the matter
is worked out carefully, it will be found that bricks at 27s. per thousand
can be reinforced and laid in cement mortar at a cost which is well below
that of concrete, provided that the building is one which will really give
both materials a fair chance. Moreover, the brick building will have an
admittedly better appearance than the concrete structure, and the chances
of failure by electrolysis and other adventitious causes are much less.
Hitherto most brick manufacturers have been content to accept the state
ments of other people that concrete is stronger than brickwork. As re
gards bricks laid in imperfectly hardening lime mortar this is undoubtedly
the case, but there is no reason why bricks should be laid in an inferior
mortar now that so superior a one as a mixture of sand and cement is
available at similar prices.
One fact must be observed in the use of cement : It is very liable to
form scum or whitewash unless the mortar is properly made, and this
would disfigure the building, though even then it would not be worse in
appearance than many of the concrete buildings now in existence. This
scum may, however, be avoided by mixing some dust made by crushing
soft, red bricks with the mortar, as this brick-dust combines with the
74
lime set free from the cement, and not only increases the strength of the
mortar, but also prevents any whitewash being formed. This method was
known to the ancient Romans and Greeks, and was used by them in
many of their most important buildings. They probably obtained it from
the East, as broken tiles are still used in Asia Minor at the present time
as a means of strengthening mortar.
There is much to be done in the way of reinforced brickwork. The
pity of it is that many brickmakers are content to see trade going into
the hands of the concrete makers, whereas if they only took the pains to
enlighten their local builders and architects as to the advantages of re
inforced brickwork over concrete in most localities, there would soon be
an increased demand for bricks. The present dull season is a good time
for thinking over this matter, and for getting together the necessary in
formation on the subject.
*
*
*
Why Brick Houses Are Cheaper
AN INDIANAPOLIS architect, who was recently asked by a pros
pective home builder why so large a number of small houses were
being constructed with brick exteriors, instead of frame, as in the
past, and questioning the economy of brick construction, made the follow
ing statement, reported by Brick and Clay Record :
"There is a belief in the minds of a great many people that brick con
struction costs from 40 to 50 per cent more than frame construction. Ex
perience and investigation, however, have shown this belief to be a fallacy.
The large number of brick residences that have been built during the last
year have done much to establish the fact that brick is really the best
material for the economical builder to use.
"An investigation of the costs of building materials with the aid of
an architect will prove both interesting and instructive, especially when the
brick construction is compared to the cost of frame construction. In frame
construction, labor is employed in seven different instances, namely: (1)
The studding, which forms the frame of the building; (2) the sheathing;
(3) the building paper; (4) the weather boarding; (5) the lathing; (6)
the plastering, and (7) the painting, which requires three coats to get
good results. In brick construction, but two processes are necessary :
(1) The brick work, and (2) the plastering.
"Carefully compiled statistics show that the actual cost of brick walls
over frame varies from 15 to 40 per cent, depending largely on the price of
the face brick selected. As the walls of any building cost only about
10 per cent of the total, brick construction would add only from 2 to 4
per cent to the total first cost of the building. As it is necessary to repaint
a frame dwelling every few years, it will readily be seen that brick con
struction, besides being the best, is the cheapest. A building constructed
of brick is much easier heated than a frame one, and the saving in fuel is
an item to be considered. Also, it must not be forgotten that with the
faces and shades of brick now being manufactured it is possible to build
a handsomer building of brick than from any other material."
The day is fast waning when architects will tell clients that it is im
possible to build in brick unless an expenditure of a large amount is con
templated ; experience has proven a costly teacher, but the lesson is well
taught and the knowledge widely spread.
EXTERIOR WITH
OAKLAND,
CHURCH,
METHODIST
FIRST
BRICK. ARCHITECT
STONE
SAND
SACRAMENTO
MARSH,
F.
NORMAN
FACED
76
The Design of Steel and Reinforced Concrete Pillars

OLLOWING is a summary of a paper read before the London Concrete
Institute at the fortieth ordinary general meeting on April 16, 1914, by Mr.
Oscar Faber, B. Sc., Assoc. M. Inst. C. E., entitled "The Design of
Steel and Reinforced Concrete Pillars, with Special Reference to Secondary
and Accidental Stress."
Mr. Faber divided his paper into two sections. He first dealt with
jointed construction, such as structural steel, and secondly with monolithic
construction, such as reinforced concrete. He first dealt with the case of
a girder resting on the end of a steel stanchion and stated that in several
drawing offices he knew as a fact that the construction in such a case
would be treated as centrally loaded. He proceeded to argue that such
was not the case, because when a load was applied to the beam it would
deflect and the end originally horizontal would assume a certain slope and
therefore one of two things would happen, namely : (a) The end of the
girder would lift, in which case the whole load would be carried on one
flange, so causing eccentric loading, or, (b) The column must be con
strained to adapt itself to the slope of the girder, in which case a bending
moment would be introduced into the stanchion by such constraint.
In this way he showed that increases in strains of 140 and 480 per cent,
respectively were obtainable.
Mr. Faber took secondly for consideration the case of a, girder resting
on an angle bracket. He argued that if an ordinary bracket were used the
action would not be very far from the face of the leg of the angle, since the
horizontal leg of the angle would not be strong enough to resist the bending
moment which would be produced in it. It followed therefore that although
the horizontal leg of the angle served a useful purpose in connecting the
girder to the stanchion, it must not be thought capable of supporting it.
In effect the construction became dangerous if the clearing between the
face of the stanchion and the edge of the girder exceeded the thickness of
the angle.
The author of the paper supposed there were few engineers present
who would assert that this limiting clearance was never exceeded in prac
tice, and an engineer had to carefully consider whether it was desirable
to employ this type of bracket except for quite small reactions. He next
considered a stiffened bracket.
Confining attention to cases where the workmanship was good, he
assumed that the stiffening angles had been machined or forged to fit the
angle bracket perfectly and that the bracket was initially horizontal. It
followed that when the girder deflected there was a tendency for it to rest
on the outer edge of the bracket, and for verv small loads there was no
doubt that this actually happened. As the load increased the outer edge
of the stiffeners yielded appreciably, and a greater area supported the load,
the reaction graduallv approaching the face of the column. The author's
practice was to make the web of the stiffeners sufficient in area to carry
the reaction under a uniform stress of 7j/> tons /in-.
In calculating the resistance he ignored a large area of steel in the flange
of the stiffeners, and in the vertical leg of the angle bracket because,
(a) The clearance between the face of the stanchion and the end of
the girder might be sufficient to prevent bearing on this steel ;
(b) Even if it was not, this material could not be stressed appreciably
until the stiffener webs are greatly overstressed.
77
In any case the difference in cost between good and bad brackets was
an extremely small percentage of thei cost of the steelwork, and a smaller
one of the cost of the building, and he declined to endanger the "ship" for
what in this case might be fairly described as a "ha'porth of tar."
It has long been recognized in good practice that the machining of the
ends of stanchions was of the first importance. Yet there were at least two
constructional works in London which, with a view to economy, omitted this
item of workmanship, and were erecting considerable tonnages of
stanchions with the ends left sq that the upper tier had contact with the
lower tier over the width of one plate only, the remainder of the section
having varying clearances often amounting to yi in. The stress was still
gaily calculated as uniformly distributed, and it had been explained to the
author that "steel is a ductile material which would yield and flow" and
perform other convenient antics, "until the stress was uniformly dis
tributed." The effect of loading such a stanchion was. to cause the plates
to slide past one another, and to partly shear through the rivets. Even
where stanchions are machined a careful engineer must satisfy himself that
they were machined truly square. Architects should bear in mind also that
apart from the danger involved in these practices, the yielding of stanchions
and brackets before they obtain their bearing involved unknown and unin
tended stresses on the stonework, and to the author's knowledge many a
beautiful and costly facade and interior decorative work had been badly
cracked by bad steelwork details and workmanship.
From the consideration of Case I, it would appear to follow that it was
desirable to make these joints somewhat flexible, and occasionally this was
so. If buildings were braced with diagonal braces he should say without
question that stiffness of connections should be avoided.
Unfortunately, such bracing had obvious objections, and the whole
stiffness of practical buildings against wind lied in the stiffness between
beams and stanchions..
There was, therefore, no alternative, but to make the joints stiff and
to make the necessary allowance for these secondary stresses in the design
of stanchions.
,
This might be onerous, both in requiring extra labor and an increase
in material, but a conscientious engineer would grudge neither the one nor
the other.
Mr. Faber then dealt with the design on cleats. A common method of
calculating the safe reaction of a cleat was to take it as the sum of the
resistances of the rivets, the effect being to neglect the very appreciable
stresses due to bending.
Dealing with the bracing of pillars, Mr. Faber said that it was well
known that pillars failed by buckling and that their stress was to be deter
mined with reference to their 1/g. This phenomenon was fairly well un
derstood and there are sufficient experimental data available to make the
design of pillars, with reference to what he might call primary buckling a
comparatively simple matter. The phenomenon to which he referred was
that of secondary buckling, in which the pillars instead of buckling as a
whole, fails by the individual buckling of its component members. On this
subject there appeared to be practically no experimental data and practi
cally no formulae or rules for the guidance of a designer. The importance
of this problem might be gathered from the fact that bad design in the
matter of bracing in pillars was certainly responsible for the two greatest
failures in recent yearsthe Quebec bridge of 1907 and the gas holder in
Hamburg.
78
Mr. Faber then proceeded to the second portion of his paper treating
of monolithic construction and the eccentricity of beam reacttons on pillars
therein. Whereas in steel construction the eccentricity was very definite
and easily calculated with most common types of brackets, with reinforced
concrete the eccentricity could only be calculated from considerations of elastic
flexure, and the problem was a much more difficult one.
There was, however, no longer any excuse for claiming ambiguity, since
the problem had been analyzed very completely in "Retnforced Concrete
Design" and numerical examples fully worked out.
The author took as an example the case of the outside column of the
building, working it out in detail, showing very great increases in stress
over the values as ordinarily calculated. If thoughts of eccentricity were
banished either from ignorance or under stress of competition, the actual
maximum stress would have been 1,300 lb. / in.2.
It is interesting to note that thq outside pillar in good design did not
suffer much reduction in size up through the last three tiers. This was in
accordance with the best practice in steel-frame buildings.
In conclusion Mr. Faber said that without suggesting for a moment that
the engineering staffs of several constructional firms were not fully as
efficient as many consulting engineers, he did feel that the system of com
petitive designs and lump prices penalized good designing by such firms,
and secured the work to those responsible for the most risky design. The
only correct system, in his opinion, was for the architect to entrust the
design to an engineer who had his confidence and to invite tenders on the
design which he prepared. The architect and building owner were then
likely to obtain a sound construction, and if they used their discretion in
the choice of the engineer the work would not cost more than the minimum
consistent with safetly.
The best constructional firms would be protected by being protected
from competition with weak design and bad workmanship, and he might
state that in considering tenders, he considered that an engineer should
give preference to those firms whose detailing and workmanship he knew
he could rely upon. He urged this in the interest of the building owner,
knowing as he did the importance of good details and good workmanship.
The only man to suffer was the man who would take great risks and
do shoddier work in order to secure a contract, and he could not say that
he had much sympathy with him.
79
80
The Much Abused, Little Appreciated and UnderEstimated Contractor

By HENRY A. HOYT
HERE are few commercial enterprises that entail as much red tape or
I
restrictions of a legal character as the building industry. Erecting a
building, under contract, is simply a mercantile transaction; the owner
buys a house for a certain sum of money, the cost being determined by a set of
drawings and a more or less complete set of specifications. Buying a suit of
clothes or an automobile is a very similar transaction, yet how vastly different
after all ! Your tailor requires a deposit before the cloth is cut, the auto agent
usually takes a little of your coin from you before the order is wired East.
What a joke it would be if a building contractor required a deposit from the
owner before he would cut the lumber or "pour" the concrete.
Under the very strict legal requirements of the building industry as prac
ticed in California, the poor contractor must furnish a bond for fifty per cent
of the presumed ( ?) value of your house, and then leave another twenty-five
per cent with the owner thirty-five days after the kind owner has said, through
his architect, that he liked and approved of the size and color and fit of the new
residence made for him. Seventy-five cents of every dollar is the amount of
actual protection the owner legally receives from his builder. Then another
important phase enters into the transaction ; the owner employs an architect.
This person is the expert, the referee, the umpireand his powers are usually
supreme and above the "recall and referendum."
When all three of the parties to our building operation are fair and honest,
and the plans and specifications complete and fully adequate, then there is no
reason why all should not be brought to a pleasing consummation, with a happy
owner, a proud architect and a satisfied builder. However, when any one or
two of the three parties involved are unreasonable or unfair, (we will not say
dishonest), then many are the complications, troubles and often legal entangle
ments that surround the simple act of ''selling" a house from builder to owner.
The writer has no real remedy to offer to the conditions as they exist.
The industry will probably continue on indefinitely just as it is without
any material changes. Those interested can take the facts herein huddled
together and make a mosaic of them that will give a right picture of con
ditions as they actually exist.
Incidentally, however, the industry is seemingly enhanced with more
restrictions each year. Mention need only be made of legislative occur
rences of a few years and months back,increase of bond from twenty-five
to fifty per cent,recently, the enactment of compulsory workmen's com
pensation. One is inclined in a retrospective view to wonder what next
will be added to the already overburdened builder.
Using the rule and not the exception as an argument, builders as a class
deserve more credit and recognition than they receive. They seem to be
brave as well as foolhardy. All of them are gamblers, no matter how much
care and study is given the all important item of costs.
If a builder with real "gray matter" gives you a close price on a build
ing, let us sav in strong competition, he takes a chance, and the wise
builder knows it. Did you ever meet or know a builder of much experience
who would not admit of losses as well as gains? The causing of losses by
ignorance, error, or shall we say, "bull headedness," are not considered.
How many owners would build should they be called upon to take the
builders' chances? Or to go a step farther and ask, how many conservative
SI
bankers would loan money to improve real estate were they not surrounded
by the strong legal safeguards that place all the elements of chance or risk
on the builder and his bond?
The builder would undoubtedly be happier in his chosen field of trouble
and chance if he received more recognition in general, and credit for the
final results derived from his enterprise and sagacity.
Publicity organizations seem to fall over each other to get factories and
industrial plants located in their community. Special meetings are held(
free sites are offered, sometimes a coin bonus is raised as a special induce
ment. How startled a builder would be if he were "approached" by a public
committee and offered an "inducement'' to locate in some community. He
usually has to induce himself to so locate.
A federal building was erected in a California city, and as it happened
by local contractors. During a period of eight months thirty thousand
dollars was expended locally, directly and indirectly for labor only. It
would have to be quite a fair factory to have even a like payroll in the same
time, and the money certainly went to more people than through the fac
tory. In this case, the local press, "took occasion to remark," on the public
spirit of the local congressman and others who "boosted," but the grit
and ability of the contractors who finally saw it all through, and took all the
chances was entirely overlooked.
Frequently permanent enterprises result from the impetus received from
some good sized building operation. A county hospital contract was let a
few years ago in one of California's then new counties. A trunk line rail
road was just beginning to open up the county to its possibilities. The con
tractor made his first trip into the county in the caboose of a freight train,
taking a whole day for the forty-mile trip with the frequent stops. A few
months later he came out, when the job was completed in a Pullman sleeper.
Facilities concerning availabilitv of building materials were certainly prob
lematical. A good road was built to get sand and gravel and it is still used
for that purpose. The site selected on the railroad siding for unloading
materials has since become the freight depot. The contractor bought
wisely in car lots, lime, cement, brick, shingles, etc. Naturally much ma
terial was left over. This was left with the one-horse dealer and sold on
consignment. The small stock of materials opened the eyes of the local
people to further building possibilities, and the result, aided by the rail
road, is a large and very flourishing building material business. The con
tractor did his own plumbing, and the young plumbing foreman "imported"
for the job somehow "stuck" and is now a full-fledged local plumber doing
a nice business and incidentally married to a local daughter.
Builders are not expecting much reward in the way of public praise and
recognition and they certainly do not get it. The business of a builder is
an independent one and has many compensating features to offset the
many obstacles.
Perhaps, when the builders have all ( ?) gone to the realm where St.
Peter is at the head of the l!oard of Public Works, some of the ideals will
be realized. All architects will be fair and reasonable, owners will not
think extras are "hold-ups." bonds, lien laws and thirty-five day payments
will have been forgotten, roofs won't leak, no waterproofing problems, and
finally a price for the work commensurate with the element of chance
encountered and undertaken.
The Finkle Arms Hotel

TO HOBNOB with the
clouds and contem
plate the city in hird's-eye
view while eating break
fast will be one of the
novelties offered hotel
guests in San Francisco
with the construction of
the Finkle Arms Hotel,
the magnificent twentythree-story edifice which
is about to be erected on
the northwest corner of
Pine and Stockton streets
by Frederick C. Finkle, a
Los Angeles capitalist and
consulting engineer, after
*i - us drawn by Architects
Rousseau and Rousseau,
of San Francisco. Two
hundred guest rooms are
provided in the plans. The
ground is 57 feet 6 inches
by 59 feet 6 inches.
The dining room will be
on the twenty-ftrst floor,
surrounded by a balcony
of artistic design. Ad
joining it on the same
floor will be the roof gar
den, and the floor above
it will contain an observa
tion tower from which a
view may be obtained that
will excel any other in the
city. Reverting to the din
ing room and descending
from it one story, to the
twentieth floor, we reach
the scene of the "dansant,"
and below that will be the
regular ball room. The
interior arrangements and
decorations of all these
rooms will represent an
exquisite combination of
luxuriant splendor and es
thetic taste.
Guest rooms with private
baths and large closets, all
equipped with the best that
can be procured in furni
ture and ftxtures, will occu
py the eighteen floors com
prising the main body of
the building. Besides the
single rooms, many of the
floors will have elegant
suites of two or more
rooms. A spacious and
beautiful lobby will be on
the ground floor, and card
rooms and ladies' rooms
will be features of the mez
zanine floor.
FIXKLE ARMS HOTEL, SAN FRANCISCO
With its summit piercing
Rousseau & Rous
'chitects
the clouds at an elevation of
345 feet from the Stockton street level, the Finkle Arms Hotel will be the tallest hotel
building west of Chicago and the highest structure in San Francisco, exceeding the pres
ent tallest building in the city by forty-live feet.
83
The Problem of the "Four Corners'

By GEORGE A. DAMON
HE prototype of the modern American city was the four corners of the
I
country community. Here was the church, the school house, tho
blacksmith shop, the postoffice, and the general store with its crackerbox conventions. Many a city grew from such an "origin"oftentimes in a
haphazard way, but as the community developed and life became more com
plex, there was always a tendency to crystallize about separate centers,
for retail trade, for wholesale business, for education, for recreation, and for
culture. The time comes in most cities when the desire for a civic center
for public buildings finds expression and a need is felt for a comprehensive
transit system which will conveniently unite all centers with the home.
A complete system of urban transportation with its "radial" and "circuit"
lines will naturally locate, at intervals throughout the city, a number of subcenters which, in a way, resemble the "four corners" of our boyhood days.
Unless there is some thought put into the control of these corners, the develop
ment will be about as crude as can be found in any provincial community. First
comes a little tax-payer shack with perhaps a fruit-stand or a real estate office.
Then follows a cheap grocery, and as soon as the struggling proprietor shows
signs of making a small living, he has a competitor and we have two inefficient
stores in a district which should be served by but one good trading center.
A shoe repair shopthen a feed store, perhaps a garage, and a collection of
packing boxes combine to make the finest kind of an arrangement for not
only holding down realty values at the corner, but for depreciating resi
dence property in all four directions.
Now why not get our heads together and do things in a more intelligent,
efficient and artistic manner? We already know the value of "restrictions"
in city building. Suppose we form a restricted district and agree to develop
all four corners along the line of a preconceived plan of some architectural
harmony.
Let one corner be devoted to a trading center with a limited number of
stores, a market for fresh produce direct from the gardens, a branch postoffice, an express sub-station, office for real estate and insurance, a shop for
a modiste, and such other business conveniences as the neighborhood de
mands. It even might be possible, by eliminating useless show windows,
and by avoiding the usual "cubist" style of architecture, to make the com
mercial corner as attractive as the other corners.
In spite of the fact that some people do not believe in them, apartment
houses appeal to a certain percentage of our population. But why not
build them upon sites where the land values are low enough so that some
space can be used to furnish a setting of lawn and shrubbery? Let us say
that one of our corners should be used for homelike apartments set a little
way back from the street, and furnished with all the unique features of
buildings of this class.
A "community club house" suggests itself for the third corner. I have
in mind a house of this kind built in Winnetka. Illinois, where sixty-three sep
arate organizations hold their gatherings in one common building. The boy
scouts, the girls' sewing society, the ladies" aid, the men's club, and many
other local enterprises find here their home. Moving pictures three times a
week, amateur theatricals, billiard and bowling tournaments, suppers, and
socials make this building the social center of the community. A neighbor* Abstract of a lecture on "Ctty Planning," by the Dean of Engineering, Throop College of
Technology, Pasadena.
84
hood church should find a home in this congenial atmospherefor Wednes

day prayer meetings, Sunday school, and Sunday services, perhaps con
ducted on an interdenominational plan, could be very handsomely provided
for in a building contiguous to the community house. Why not have a
branch of the public library with a fine magazine room and a juvenile de
partment convenient for both the church and the club house?
The last corner can well be dedicated to play,not as a playground for
the children, as it is too near the street car tracks, but for the older folks.
In Pasadena we have what are known as "Tourist Clubs" where our visitors
and retired residents meet for pitching horseshoes and matching their skill
at chess and checkers. A favorite game called "roque" has reduced croquet
to a science, while tennis can be played nearly every day in the year. We
need permanent arrangements for these well established amusements, with
rest rooms and lounging nooks where one can find shade or sunshine as he
desires.
If "city planning is a good business proposition," then this smallest unit
in a city can be made to pay. I have in mind a certain "four corners." An
acre of vacant land can be secured at each corner for from twelve to fifteen
thousand dollars an acre, but prices are likely to advance rapidly. The
community surrounding the corners needs all of the social, educational,
recreational, cultural, religious and commercial advantages I have outlined.
It certainly would contribute to the lower cost of living to do a little think
ing, and secure the land before the influence of the ever working "unearned
increment" makes a comprehensive development of the "four corners" im
practicable. A little foresight now will have a marked influence on the
happiness and prosperity of the entire surrounding district for all time to
come.
[Along lines suggested by Mr. Damon, an architectural competition is to
be conducted in accordance with the rules of the American Institute of Archi
tects. Following is the program : 1
Object of Competition: It is the object of this competition to awaken interest and
to extend information concerning the most intelligent, effective and artistic arrangement
of the smallest unit of the city-plan problem. To accomplish this purpose, the competi
tive drawings are to be given the widest publicity. It is hoped that some of the ideas
brought <nit may be actually adopted in developing several "Four Corners" in Los
Angeles and Pasadena.
The Problem: The lots on each of the four corners are 200'x200'. The streets are
70' wide between property lines with double car tracks running each way. The grade
of the streets is level, and the lots have an elevation of not more than one foot above
sidewalks. The value of the vacant lot on each corner may be assumed at about $12.5<)U,
and where buildings are proposed, the cost of the improvement should range from
$30,000 to $50,000. It is suggested that buildings be of Class "C" type of construction.
Drawings: Designs to be on one sheet of Whatman's cold pressed paper. Antiquarian
size 31"x52", mounted on extra heavy cardboard, with strong border lines, giving a space
inside the lines of 47"x26". The drawings shall include.
A block plan of the entire group of buildings and all improvements.
A bird's-eye perspective.
A sufficient number of exterior details drawn at a scale of one-half inch to the foot,
to till the entire sheet.
Color Scheme^to be indicated either by key or series of notes printed on the sheet.
All drawings are to be in black ink without wash or color ; except that the walls on
the plans and sections may be blacked in or cross hatched. Graphic scales are to be shown.
Each drawing is to be signed by a nom dc plume or device and is to be accompanied
by a sealed envelope with the nom de plume on the outside, and cointaining the true
name and address of the contestant lettered upon a slip or paster which, after the
awards are made, can be attached to the drawing in a space left on the design for that
purpose.
85
Delivery of Drawings: All drawings shall be delivered to George A. Damon, Dean

of Engineering, Throop College of Technology, Pasadena, Cal., not later than 12 m., Sep
tember 1, 1914.
Award: Judgment is to be rendered by a jury of three chosen from the membership
of the Southern California Chapter of the American Institute of Architects. The award
will be announced on or before September 10, 1914.
The jury will make the awards before opening the envelopes which contain the names
of the competitors.
Three prizes will be awarded; the first of $200.00, the second of $100.00, and the third
of $50.00, and honorable mention may be made as determined by the jury.
Inquiries: Inquiries for further information should be addressed in writing to "Four
Corners Competition,'' Throop College of Technology, Pasadena, Cal. The answers will
be in writing and will be forwarded, with the questions, to all known competitors who
register for this purpose.
Haste in Building
HE modern tendency toward haste in building construction appears
to have reached its consummation in the recently reported feat of
erecting a two-and-one-half-story residence, from the cellar excava
tion to the final plaster coat, within twenty-four hours. From three to
four hundred men were employed on the premises simultaneously and
every time-saving device known to the builder's trade was utilized. In
accomplishing this unusual enterprise the contractors must have had very
much the same sensations that an architect feels in attempting to perfect
designs for a prospective building within the time allowed by an eager
client.
When an experienced business man urges that building operations be
started, by contract, on a large apartment house within three weeks from
the making of the first sketches, there is good opportunity for the architect
to do some much-needed educational work. To tell his client the truth
at the outset rather than entirely evade the issue will forestall much ulti
mate disappointment on the part of the owner and relieve the architect of
the odium that attaches to supposed tardiness. To take an inexperienced
client "behind the scenes" and give him some idea of the amount of time
needed for perfecting the details of his commission is missionary work
worthy of a busy architect's consideration, for it may dispel the popular
idea that the work is principally pictorial and may be readily done by a
clever draftsman in a few hours.
Very few things worthy of perpetuity in art or architecture have been
accomplished when speed was the controlling factor. Doubtless the ceil
ing of the Sistine Chapel could have been decorated within six months, but
Michael Angelo would not have cared to sign it as his own. The artist's
or architect's function is creative, and such creativeness generally cannot
be hurried if the best results are to be gained. The use of mechanical
contrivances for lessening the labor of building operations, and the render
ing of skill in the drafting room more efficient by wise organization, are
legitimate and generally desirable, but to allow too short a time for creating
the design or directing the work is to render uncertain results which might
otherwise be thoroughly satisfactory When the exigencies of the case
demand, as in the recent erection of a notable bank building in New York,
architects have frequently shown a spirit of accommodation in accelerating
the work that was equaled only by the excellence of its performance. It
is unreasonable, however, for a client to ask an architect to do every day
that which is justified only in emergencies. American Architect.
86
The Skyscrapers' Bath

By W. DOUGLAS MENG
Cleaning Down the Exterior of a Building is no Easy Matter and on Large
Structures the Cost Runs Up Into the Thousands.
KYSCRAPERS involve one item of expense for the owner, which is not
dreamed of by the general observer. Buildings soon become dirty and displeasing to the eye, exposed as they are to the winds and currents which
sweep through the canyon-like streets, which carry with them all manner of
filth and refuse from the thoroughfares, depositing much of it on their expansive
surfaces.
No high structure can be expected to remain clean and presentable for long
in the maelstrom of city life. In a few years, at most, it must be cleaned, if it
is to be kept in proper condition, which is the desire of both owner and tenants,
of the former because filth is one of the most powerful forces of deterioration,
and of the latter because cleanliness is one of the things which they pay for in
their rents.
Of course, the ratio of dirt which accumulates on the outer surface of the
skyscraper differs according to the location of the building. Cleanliness will be
preserved longer in San Francisco, where the building is not subjected to the
action of excessive smoke, than in a city like Pittsburgh, Chicago, or Cincinnati,
where the busy factories are pouring out volumes of smoke, caused by the
burning of soft coal. In these latter cities, the work of cleaning must be oftener,
and the labor required in its prosecution more wearisome.
It is stated on good authority that the smoke nuisance in the United States
costs the American people nearly $50,000,000 annually. This, of course, in
cludes losses of all kinds due to the smoke, but the deterioration of materials
is undoubtedly the largest item. The owners of buildings are forced to pay
the annual cleaning bill, and it is not a small one, by any means.
The work of cleaning the outside surfaces of buildings must, of necessity, all
be done by hand. A scaffold is swung from the cornice of the building to be
treated, which is under the control of the men who do the cleaning, and is lifted
or dropped, as necessity demands. The work is begun at the top, a strip of
from twelve to sixteen feet being cleaned down the face of the building to the
bottom. The scaffold is then raised again, and another strip added to the
cleaned portion, and so the work is continued until every inch of the surface
has been scraped and made presentable again to the eye.
Soap and water will not remove all the dirt and grime which has accumu
lated, and an acid is used to cut the mixture of smoke, slime, and soot. If a
building is faced with glazed terra cotta, a mixture of hydro-chloric acid, half
and half water, will remove the dirt rapidly, and the cost of the cleaning will
run anywhere from $500 to $2,000.
In a building faced with granite, the process is more complicated, and more
expensive, as the dirt has a tendency to sink into the pores of the granite, and
stubbornly resists removal. Such buildings are sometimes cleaned by being
brushed over every inch of their surface with fine steel wire brushes. On others
a microscopic layer of stone has been removed by a sand blast. The cost by
either process, swells to thousands of dollars, in the case of large buildings.
The big Ingalls building, the first reinforced concrete skyscraper built in Cin
cinnati, had not been washed off since its erection more than ten years ago, and
having been submitted to Cincinnati's smoky atmosphere for so long a period,
the necessity for its cleaning was apparent. At first it was believed that a sand
blast would do the work satisfactorily, but it was soon found that the dirt gave
way more readily to a good old-fashioned shampoo of soapsuds and water, sup
87
plemented with a muriatic acid bath. The latter was spread on first, to cut the
dirt, and then the shampoo of soapsuds and water was applied with sponges.
This revealed the snow-white surface of the building, which had been long
obscured. It is estimated that if all the dirt removed from the building were
in solid form, it would completely fill several wagons.
*
Just a Kick
By F. W. FITZPATRICK, Consulting Architect.
CRITICISM is a bully thing. I do a stack of it and, incidentally, get prob
ably more of it than any other man in the profession. Everyone likes to
take a whack at "old Fitz." It's enjoyable, though it seldom convinces
any one albeit it does do a heap of good. But it is the privilege of the criti
cized to talk back and that's what I'm doing now.
When pleasing lines have been determined, then comes the question of decora
tion. In many instances this is carried to extremes, and we find exquisite examples
of stone carving and cornice work being placed at the top of an eighteen or twentystory office building, which no one can see or appreciate except a possible few located
in the offices upon the opposite side of the street.
This may be said of the Chicago postoffice, with the exception that here the entire
structure has been injudiciously placed. It is well recognized that a structure of this
kind occupies a maximum ground area with a minimum return in Moor space and light
area. This building was a large undertaking from an engineering standpoint, but
whether or not it is an architectural success, few may judge because of the impossi
bility of viewing the entire building at one time. Of the same type is the capitol
at Washington, but so judiciously has it been placed that a full view may be obtained
from all sides without obstruction. In the open, or upon the crest of a hill, the
Chicago postoffice, even though inefficient in design, would be architecturally
beautiful.
There is an old maxim to the effect tint the designer should ornament his con
struction and not construct his ornamentation. This is an admirable saying, but
should be subordinated to another rule, that he should ornament his structure only
if he lacked the skill to make it beautiful in itself. A structure of any kind that is
intended to serve a useful end, should have the beauty of appropriateness for the
purpose it is to serve. It should tell the truth, and if the character were such that
it can be permitted to tell the whole truth, so much he better. I should preferably
be beautiful and not beautified.
Thus sententiously spake Messrs. Boynton and Libberton in a paper before
the Western Society of Engineers, which was reprinted in the Architect and
Engineer's April issue.
That postoffice was placed where the Government had a lot worth several
millions of dollars, the centre of the city and where the people insisted it should
be. Of course we might have planted it in the middle of a twenty-acre field,
in the prairies somewhere, or placed it on a foot-hill of the Rockies, and it
might have better pleased the gentlemen's artistic eye. So the designer had
nothing whatever to do with the injudicious placing of the building.
The structure had to occupy the whole lot, but making it a cross shape above
the main floor gave it precisely what they said it did not, "the maximum return
in floor area and the best light any building could have. The cross form gives
the offices not only the width of the streets but the depth of the great external
angle courts for light and the plan contains more and better lighted rooms than
any other shape that could have been devised. Besides it does enable one to get
a view of the composition as a whole and of the central crowning feature, the
dome, something no other form would have done.
There isn't a particle of ornament placed where the eye cannot take it in
advantageously. Indeed, the little ornament there is is so judiciously placed
that it impresses one as a very ornate building, which it is not. Besides people
88
point to the admirable example of simply and logically decorated construction

and so simple and dignified in its lines as to serve as a worthy model for all big
monumental buildings.
And as to the design being inefficient those two gentlemen seem to stand
pretty much alone. A contrary opinion has been expressed by Mr. McKin, Mr.
Burnham and a number of domestic and European critics who have seen and
commented upon this building. Recently M. de St. Leger a renowned French
critic, went into raptures over it and declared that considering the commercial
necessities, the trying local and climatic conditions and all the various diffi
culties that confronted the designer that building was ideal. Furthermore, even
if we were not aware of all the obstacles in the way of that designer he be
lieved it to be one of the four most perfect classic and beautiful modern monu
mental structures.
And I'd blame sight rather go by what M. de St. Leger says (being per
fectly impartial and disinterested, you know) than to accept the dictum of
Messrs. Boynton and Libberton, however worthy and weighty critics they may
be. There now.
Architects Should Design My Lady's Gowns*
By GLEX L. SAXTON, Architect
DOMESTIC discord and the divorce court would vanish, moving day
would go with them, the world would be happy, and America would
set the fashions for the nations, if American architects would become
designers of women's wearing apparel and jewelry as well as of houses and fur
niture. Everything in the house, but the woman, should be designed by an
architect; not a French modiste. Of course I leave the man out of considera
tion, for he was not endowed with artistic qualities except as they exist in his
mind, while woman in herself is a creation of art. (The thought of a carefully
designed and furnished house occupied by a woman whose gowns, shoes, hats,
jewelry and slippers do not harmonize with the general architecture and fur
nishings, produces much the same effect on Mr. Saxton as would a blast of fish
horns on the ear of a composer.) A hobble skirt and a Circassian walnut beam
won't harmonize, that's all. Neither will filagree jewelry harmonize with
simple, massive interior finish. Ts it any wonder that men leave home when the
house is hideously designed in the first place and the woman clad in impossible
creations? The woman should have room in her gown for she enjovs such room
just as she does lots of room in a house. That's where harmony comes in.
Why, if the architects will carry out this plan, get into the game and do
their rightful work of designing women's clothes, there would be no domestic
troubles. The harmony of a beautiful house and a beautiful woman beautifully
and simply gowned would banish dissension and a man couldn't be driven to his
club or lodge. Even the kitchen utensils should harmonize with the dress of the
woman of the house, and I have designed kitchens with every modern con
venience that will permit a woman gowned in style to do her work without hav
ing to don a gingham dress. A high oven, if designed to harmonize with the
straight front corset, doors and chutes that work with the feet make the word
drudgery a misnomer. If a woman is uncomfortable she is ungraceful and
inartistic. If a house is uncomfortable the same result follows. Make them
both typical of comfort, harmonize their decorations as to color and lines and
you have the perfect result. You can't make woman prettier, but you can make
her look prettier by making good clothes for her. American modistes spend
$23,000,000 annually to get the Parisian styles when more competent designers
are in the architect's offices in this country. The French modistes never appre
ciated the beauty of women and they have mighty near spoiled them."
*Editor's NoteMr. Saxton's comments should not be taken loo seriously. From the stand
point of humor, they afford a pleasing relaxation, and that's about all we can say for them.
89
Effect of Salts on Strength of Concrete

TESTS to determine the effect of sodium chloride and calcium chloride,
separately and together, upon 1 :2 :4 concrete were made at the Uni
versity of Wisconsin during the winter and spring of 1912 by
Messrs. H. E. Pulver and S. E. Johnson, instructors in mechanics. The
test pieces were cured at temperatures of from 60 to 70 degrees Fahren
heit and below freezing. The results have been published in the Wis
consin Engineer by Mr. Pulver.
All mix was by volume and the salts were dissolved in the mixing
water. The test pieces were 4-inch cubes, and those cured at a tempera
ture below freezing were broken after 14 and 60 days, while those cured
at normal room temperatures were broken after 14, 60 and 360 days.
Four pieces were tested at each age for each batch of concrete. Atlas
Portland cement was used, and to prevent variation in the quality it was
mixed thoroughly in the beginning and a sufficient quantity stored in air
tight cans.
The test curves show that as the percentage of NaCl is increased there
is a nearly straight-line decrease in the strength of the concrete cured
under normal conditions. The effect of NaCl alone, when added to con
crete cured at low temperature, is probably to reduce the freezing tem
perature, and hence retard the freezing of the concrete, thus permitting of
its setting and hardening. The curves show an increase in strength
for the addition of NaCl up to 12 per cent, after which there is a decrease.
It may be that beyond 12 per cent the weakening of the concrete due to
the excess of NaCl more than offsets the strengthening due to the reduc
tion of the freezing temperature.
When CaCl, alone is added to the concrete, cured either at normal or
low temperatures, the effect is to increase the strength up to about 4 per
cent CaCU, at which point the maximum strength seems to be obtained.
This increase in the strength of the concrete may be due to the accelera
tion of the setting of the cement by the CaCL. Serious disintregation
was observed on the surfaces of the cubes cured at low temperatures with
6, 8 and 10 per cent of the CaCL,. This disintregation did not appear on
any of the cubes cured at normal temperature or where NaCl was used.
With concrete at low temperatures, the best effect seems to be ob
tained by using both NaCl and CaCk in the mixing water. It was notes'
that a 2 per cent CaCl2 and 9 per cent NaCl mixture appears to give the
most satisfactory results. For concrete cured at low temperatures this
mixture gives about as much strength as any of the mixtures tried, and
for the concrete cured normally there was not a very great reduction in
strength due to the addition of the salts in those percentages.
All tests were made with only one brand of cement. It is probable
that there would be some variation in the results with other brands, but
it is not thought that this variation would be great enough to affect the
general conclusions. It is also possible that some brands of common salt
might contain a sufficiently high percentage of calcium sulphate to affect
the results to some extent.
90
CLOISTER AND CAMPANILE. SANTA CLARA GRAMMAR SCHOOL

William Binder, Architect
Unique Lighting Plan of Santa Clara Grammar School
CALIFORNIA has many beautiful and artistic school buildings, and nearly
all of them combine utility with their beauty to a greater or lesser degree.
None seem to be more in harmony with the surroundings and the history
of the State than those erected along the lines of the old missions.
A splendid example of this type of architecture is found in the new gram
mar school building at Santa Clara, designed by Architect William Binder of
San Jose. It is a grammar school of eighteen class rooms, all of the usual size,
together with a large assembly hall. The structure is of heavy, in fact, extra
heavy frame construction, covered with natural gray cement stucco, over oneinch "chicken wire." The floor is of concrete, inlaid with screeds, dampproofed, and covered with maple flooring.
The most unusual feature of the building is the lighting system. This is a
purely "overhead" arrangement and is a radical departure from the estab
lished methods of educational lighting. No room uses or depends on side
windows, though some are provided for the sake of appearances. All light
penetrates from the north, made possible by skylights deflected to a studied
angle to get the best results without sunlight. The light is tempered by corru
gated, or ribbed wire glass. The lighting has been in operation sufficiently
long to be carefully tested, and the results are highly satisfactory. The black
boards have no reflections, the light being so distributed as to show no par
tiality, even the left-handed pupil having an equal chance. The proportion of
lighting area to the floor space was evidently given much study.
The building is excellently heated and ventilated by a mechanical system,
using low-pressure steam with oil-burner and a full automatic temperature
regulation. No heating or ventilating ducts or pipes show anywhere, all being
ingeniously hidden in the construction. The plumbing is solid porcelain, and
the four toilet rooms are finished in white encaustic tile.
91
STUDY ROOM, SANTA CLARA GRAMMAR SCHOOL, SHOWING OVERHEAD LIGHTING

The building cost complete $60,000, of which amount $7,300 was expended
for heating and ventilating. Exactly $35 worth of extras were found necessary,
a point that speaks for itself. The walls of the building could have been
erected of reinforced concrete for a little more than $6,000 additional.
FIRST FLOOR PLAN, SANTA CLARA GRAMMAR SCHOOL
92
Using an average of fifty pupils to a room, the building houses nine hun
dred pupils, at a cost for the building of a little over $66 each, which is a re
markably low average. Statistics show where schools in Boston, Chicago, and
St. Louis have cost from two to three times that much.
An Architectural Collision
WISCONSIN'S commendable efforts to give its architects a chance to
compete for the plans of the W isconsin building at the PanamaPacific Exposition in San Francisco next year have developed
trouble, says the Improvement Bulletin. The commission having the
building in charge and the Wisconsin chapter of the American Institute
of Architects have not agreed on the manner of conducting the competition
for the plans. It appears that the Wisconsin chapter in trying to apply
the institute rules to the competition ran against the authority and deter
mination of the commission to be sole judges of the manner of receiving
plans.
"The rules of the American Institute are based on experience," said George B.
Ferry, a prominent Milwaukee architect, a member of Wisconsin chapter. "For ten
years all the work of the U. S. government has been done under them, and as a
result American public buildings generally are among the most artistic modern
structures in the world. Men who are called upon to act as judges in a contest
should be familiar with the subject involved. A shoemaker would not lte called in
to decide a contest involving medical matters. And I do not think that politicians are
qualified to pass on architecture. When the name of the competitor is not written
on the plans, so that the judge does not know whose work he is passing on, he
is more likely to give an impartial decision than when the name is written on."
A. W. Prehn, member of the commission, announced that the commis
sion would brook no dictation from any institute or society. The law makes
the members the sole judges of the plans and leaves them no power to
delegate the task to any other person or persons.
*
*
Plastering Concrete Walls

"/ have ahiHtys been building concrete culverts and cellar walls and have had
trouble with plastering surfaces. Sometimes I plaster the walls green and some
times dry. Sometimes the plaster on the green wulls checks and cracks and some
times the plaster on the dry mtlls cracks. What is this due to and how can I
remedy it?"
A solution to the above problem is offered by Concrete-Cement Age as
follows :
While cracking of mortar-plaster may be due to the mortar being too rich
in cement, the dryness of the wall plastered, or to the sun and wind removing
moisture from the mortar surface, it has always seemed to us that the best
means to prevent cracking of cement mortar applied to concrete surfaces is
not to plaster. Better, neater and less expensive results can be obtained by
building the forms neatly, by proportioning aggregates correctly, and by spading
the concrete next to -the forms so as to produce a mortar surface on parts
visible. Facing boards likewise can be used for the same purpose. After the
forms are removed, slight irregularities can be removed by rubbing with a car
borundum stone or a cement brick. Then there is no checking of the surface.
93
The California State Normal School at Los Angele s

IN DESIGNING the group of ten buildings for
I the California State Normal School at Los
Angeles, a rather unusual treatment has been
followed by the architects, Messrs. Allison and
Allison of that city. The scheme shows a pleas
ing example of brick architecture reminiscent of
the Lombardy period in Northern Italy. The
architects have laid out a splendid block plan for
the buildings and grounds, the style of archi
tecture fitting admirably the complete scheme.
The site covers twenty-five acres. In planning
and building the group, Messrs. Allison and Alli
son had the co-operation of State Engineer
Wilbur F. McClure and Dr. Jesse F. Millspaugh,
I 'resident of the school.
Upon completion next August, the buildings will have cost the State of
California something like $541,000. It is the largest educational group in
Southern California and one of the most pretentious on the Pacific coast. The
buildings are constructed of dark red ruffled brick, clay tile roofs and artificial
stone trimmings. All halls and corridors and all stairways are constructed of
fireproof materials. Some idea of the immense size of the grounds may be had
from the statement that the Vermont avenue frontage is 1,254 feet, with a like
west frontage on Heliotrope Drive, a south frontage of 800 feet on Monroe
avenue, and a like north frontage on Willowbrook avenue.
The accompanying illustrations show the buildings grouped together and by
themselves, together with the floor plans and some of the decorations.
The Administration building. 260 feet by 202 feet in dimensions, contains
office and class rooms for the officers of administration and faculty, and includes
rest rooms for teachers and students. Opposite the main entrance, in the cen
tral portion of the building, is the auditorium with seating capacity of 1.650 and
with completely equipped stage and dressing rooms. The following depart
ments will be housed in this building: Child Study, Psychology, Pedagogy,
History of Education, School Law, Reading, History, Mathematics, English,
Modern Languages, Geography, etc.; and. in addition, a departmental library
and health examiner's room. Rooms for Women's club are arranged on the
third floor with kitchen attached.
The Library building. 136 feet by 107 feet, contains general reading room,
accommodating 350, and a children's department. There is stack room for fifty
thousand volumes. There are also a librarian's room, children's room, a special
reception room, class rooms, and magazine rooms. The building also includes
a students' book store, printing office, store rooms, etc.
The Domestic Science building is 172 feet by 65 feet. It has room space for
the following departments : Leather and Bookbinding, Clay and Concrete,
Drawing, Weaving and Textile, Cardboard Work, Sewing, Millinery, and
Cooking. It is equipped with a model apartment for instruction in housekeep
ing, also with lecture rooms, rest rooms, and all modern conveniences.
The Fine Arts building is 131 feet by 81 feet. The first floor provides class
rooms for music, an auditorium and stage for musical productions, together
with offices, library, mimeograph printing room, etc. The second floor has
several art studios, work and supply rooms, offices, and a large exhibition
gallery.
94
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96
FIRST FLOOR PLAN, ADMINISTRATION BUILDING

Allison & Allis'u Architects
97
The Gymnasium building is 131 feet by 81 feet, and contains main gym
nasium hall, with locker, shower, and dressing rooms, as well as rooms for
physical instruction, class rooms, a trophy room, and room for visiting athletic
teams. This building also contains a complete living apartment for the care
taker and a central heating plant for the entire group.
The Science building is 172 feet by 65 feet. It contains laboratories for
Biology, Physiology, Agriculture, Chemistry, Physics, Nature Study, etc.. and
is provided with four lecture rooms, a departmental library, rest rooms, storage
museum, dark room, apparatus and reagents rooms, sink rooms, offices, etc.
The Training School building is 298 feet by 176 feet. It contains depart
ments for grade work, first to ninth grades, inclusive; also sewing and cooking
departments, room for observation classes. Supervisors' offices ; music, child
study, coaching, and ungraded rooms, together with teachers' and students'
rest rooms, Principal's office, and emergency room. The building will have a
complete gymnasium for boys and girls, with lockers, shower baths, and dress
ing rooms attached ; also a department for manual training and a library.
The Kindergarten building is 95 feet by 57 feet. It contains a large circle
room, fully equipped with book cases and seats, and it has a large open fire
place ; also class rooms, screen porches, alumnae room, cloak and store rooms,
as well as open terraces and porches.
The Cafeteria building is 114 feet by 92 feet, with large dining hall and
with complete kitchen and serving facilities.
The Manual Arts building is 226 feet by 86 feet. It contains fully equipped
departments for cabinet work, pattern making, mill work, a glue room, finishing
room, lumber room, forge room, machine shop, foundry for work in iron and
brass, mechanical drawing room, lecture room, with lockers and wash rooms
attached.
The heating will be by steam, generated in the central plant and piped to the
various buildings through underground tunnels. The plenum or fan rooms will
be located in each of the respective buildings. All departments will be supplied
with fresh air, which is first drawn through mechanical air washers and humidi
fied. The temperature will be regulated automatically by thermostats in each
room.
FLOOR PLAN, MANUAL ARTS BUILDING
98
|
:
FIRST FLOOR PLAN, LIBRARY BUILDING

Allison & Allison, Architects
||
cu. A 5-> . R-oo
27- - 75.
Pl-i-Am
R-M
BASEMENT PLAN. LIBRARY BUILDING

100
The latest modern electric program clock system for all buildings will be
provided, also a complete system of intercommunicating telephones for all de
partments, connecting each with the Administrative offices. An efficient vacuum
cleaning system is to be installed in each building. Both buildings and grounds
will be furnished with sanitary drinking fountains. The plumbing and sanitary
arrangements are first class and represent in all respects the approved conclu
sions of modern hygienic science.
101
BIRDSEYE PERSPECTIVE OF CALIFORNIA

STATE NORMAL SCHOOL GROUP, LOS ANGELES
ALLISON & ALLISON,
ARCHITECTS
The athletic field will have a quarter-mile running track, a regulation foot
ball field and baseball diamond, and also a grand stand. Ample tennis courts
and playground apparatus will be constructed on other parts of the grounds.
At the northerly end of the propertv is located a small artificial lake, fed by a
permanent spring. Agricultural gardens, containing between four and five
acres, will be laid out on the northwest portion of the property. Horticultural
gardens are also included in the plans and a formal sunken-garden treatment
will be given the quadrangle between the buildings and Vermont avenue.
102
SECOND FLOOR PLAN. DOMESTIC SCIENCE BUILDING
lfl-4FIRST FLOOR PLAN. DOMESTIC SCIENCE BV1LDIXG
mix t3J)ttf3rA dUD JJJUlSUTJ
asooas nooia 'xvid axta smv oxtmtna
isxu hooij xvu 3xu sxnV oxtait.ia
SOI
106
SECOND FLOOR PLAN, GYMNASIUM BUILDING

FIRST FLOOR PLAN, GYMNASIUM BUILDING

107
I he Architect and Engineer
601
cixodss noou 'tivid sosatDS DNtanna
FIRST FLOOR PLAN, TRAINING SCHOOL BUILDING

111
112
THE
Arrlytfrrt anl. lEngttmr
OP CALIFORNIA
Published Monthly in the Interests of the
Telephone Doug-las 1828
TERMS oF SUBSCRIPTION
(Includtng
all parts
of the; toUntted
Statespotnts
11.SO
per
annum ;postage)
to Canadato 50c
addtttonal
all Foretgn
SI addtttonal.
Vol. XXXVII. May, 1914
No. 1.
ASSOCIATE EDITORS
Wm. B. Gkstrr.
J Inspect1on
I and Tests
Loren E. Hunt, C. E
O. P. Shelley. C.E. j Fireproof Construct1on
F. W. FlTZPATrICK. S
W. VV. Brette. C. E. I
Structural Steel
H. J. Brunnter
1
AThOL
McBf.AN \DrtcK) or;,b Tile and Terra
W.
E. Denntson
Cotta
Howard Frost. )
Artificial Stone
G. B. Ashcroft. C. E.
Harry Larktn
[ Roofs and Roofing
j.Fred
R. D.M.Mackenzte
Woods. Jr.. Rock and Gravel
C. Walter Tozer - " Interior Decoration
T. C. Kterulff
Legal Points
Paul C. Buttf. . Electrical Constructton
ARCHITECTURAL
Fred H. Meyer
F. D. Hudson
Edward T. Foulkes
C. Sumner Greene
.G. Albert Lansburgh Norman F. Marsh
E. H. Hildebrand
Maxwell G. Bugbee
KennethMacDonald.Jr. Clayton D. Wilson
Almeric Coxhead
Houghton Sawyer
John G. Howard
Harrison Albright
Arthur Brown. Jr.
John Parkinson
T. J. Welsh
W. J. Cuthbertson
A. W. Smith
Chas. P. Weeks
Octavius Morgan
William H. Weeks
Chas. W. Dickey
H. Alban Reeves
Henry C. Smith
J. C. Austin
CONTRIBUTORS
Wm. A. Newman
J. T. Walsh. C. E.
Smith O'Brien
Jas. W. Reid
Albert Pissis
H. F. Starbuck
j. Harry Blohme
Nathaniel Blaisdell
W. T. Bliss
Herman Barth
William Mooscr
Arthur O. Johnson
Robert Morgencier
Herbert E. Law
B. J. S. Cahill
Hon. Jas. D. Phelan
John Galen Howard . F. A. I. A.
Louis C. Mullgardt '
E. M. C. Whttney
Fredertck W. Jones
Manager
Managing Editor
This is a tale, of the honorable architect

and thewell, business like, client who,
by the way, was a
THE
banker. The same
OWNERSHIP
old story, but par
ticularly pertinent
OF AN IDEA
because of the dis
tinctive character of the architect's
work and the "within the law"
complexion of the banker's perform
ance. The architect was not Sullivan,
Wright or Cass Gilbert, but his work has
a distinctive character known to laymen
as well as the profession. The bank people
were just plain businesslike men and as
such not in business for their health. The
architect was called to a town at some
distance to consult with this banker regard
ing a new building.
The banker was
vouched for to the architect by a client
and mutual friend. Studies were made, the
plan developed and the possibilities dis
cussed as the architect is wont to do when
"consulted" by a client whom he supposes
to be guided by the same sense of honor,
and morality as himself. The architect
left his ideas in the form of sketches, etc.,
and went home. He was soon notifted
that they had concluded not to employ
him. His request that his sketches be
returned was complied with after a delay
of a number of weeks previous to which
time another architect had been engaged.
Upon completion of the building a delega
tion from the architect's city, including
architects and newspaper men, as well as
bankers, were invited to the opening. Here
an art critic congratulated the bank people
upon the success of the design even to the
ornamental terra cotta and the lighting
fixtures. On his return he congratulated
the architect upon the success of his work,
the unmistakable authorship of which he
had recognized in the design. A promi
nent architect also repeated the congratula
tion. Both were surprised to learn that
the designer was not the architect of the
bank. Subsequently the fixture and terra
cotta contractors both apologized for erect
ing the work, saying that they were com
pelled, to get the job, to copy some designs
previously worked out in model from the
designs of the architect for other buildings.
The moral of this special rendering of a
too common tale is easily read: * *
The bankers took a chance in their ob
ject of getting something for nothing.
The hold-up man takes the same chance
and if his gun is big enough he gets
away with it.Western Architect.
The above is one of a dozen simi
lar casessome worse, others not
quite so "raw," that we could cite
right here on the Pacific Coast.
True, the clients were not all bank
ers, but there are other men besides
"FIRE - A
CRIME"
Sliding, Folding, Elevator, Van Karfhel Revolving Doors, and Wilson's Steel
Rolling Doors.
and Steel Sash.
gj&- See the SIMPLEX , METAL WINDOW.

Of C3lifOtTli3
Single Copies,
SI .50 per Year
25 Cents
Issued monthly in the Interests of Archttects. Structural Engtneers. Contractors and the Allted Trades ot the Pactfic Coast.
Contents for June

Douglas Tilden, Sculptor
CALIFORNIA'S WONDERFUL BUILDING AT THE PANAMAPACIFIC EXPOSITION
Todd Carson
ARCHITECTURE AND ARCHITECTURAL ENGINEERING AT THE
PANAMA-PACIFIC INTERNATIONAL EXPOSITION THE WORK OF E. P. ANTONOVICH, ARCHITECT
...
Harvey E. Harris
COMPETITION FOR CUBAN CAPITOL
THE RESIDENCE OF Z. P. SMITH, BERKELEY, CALIFORNIA Samuel Arnold, Architect
MEANS OF EGRESSTHE VITAL PROBLEM IN BUILDING
CONSTRUCTION
William W. Johnston
ARTISTIC GARDEN DECORATIONS IN CONCRETE ...
ATTITUDE OF THE PUBLIC TOWARD THE ARCHITECT
Wilfrid Beach
SOME FEATURES OF CHINESE ARCHITECTURE --R. I. Geare
THE RHYME AND CRIME OF THE BUNGALOW
...
Francis W. Reid, Architect
THE ARCHITECT AND THE STRUCTURAL ENGINEER WHAT IS AN ARCHITECT?
Joseph Losekann, Architect
AN ECONOMICAL HARDWOOD FLOORING
C. H. White
A PERFECT SPECIFICATION
SUGGESTIONS FOR A SMALL FIREPROOF GARAGE
Dr. Leonard K. Hirshberg
EDITORIAL
BY THE WAY
[Index to Advertisements Page 8]
47
51
53
66
67
70
77
82
87
92
93
97
101
104
107
112
114
118
124
-:
.
.
-
:". s
.-
Frontispiece
The Architect and Engineer of California
For June, 1914.
--*
T H E B E A R
H U N T E R S"
DESIGNED BY DOUGLAS TILDEN
THE
Architect
and
Engineer
Of California
Vol. XXXVII.
JUNE, 1914.
No. 2.
FINE EXAMPLE OF THE OLD CALIFORNIA MISSION

California's Wonderful Building at the PanamaPacific Exposition
By TODD CARSON
THE California building at the Panama- Pacific International Exposition, for
which ground was broken May 7, 1914, will be a huge mission-like struc
ture grouped around the California Forecourta plaza filled with arboral
wonders. The most expositional feature of this building, which was designed
by Thomas H. F. Burditt, a brilliant young architect employed in the architec
tural department of the Exposition, is the grouping within its walls of the
several divisions which must collaborate in order to make this international ex
hibition a success. There are six divisions, which, in previous expositions have
been housed in different buildings more or less disconnected, that will be
grouped together around a magnificent breathing space.
In the great wings that mother the Forecourt are the divisions of the build
ing. In the east wing, the Administrative Division, where will be the adminis
trative offices of the entire exposition ; on the north the Social Division, con
taining rooms for the entertainment of the 1915 visitors. The Woman's Board
Division will be in the stately tower which rises over the entrance Foyer. At
the northeast will be the entrance to the Display Division, where California
counties will show their superior products to the world, and on the east near
the driveway entrance is the Women's Club Division, designed especially for the
convenience of visiting club women.
48
49
ELEVATION SHOWING CAMPANILES, CALIFORNIA BUILDING, P.-P. I. E.

The Administrative Division will be entered through an elliptical stair hall,
one of the show features of the building, from which spacious corridors lead
to the offices on the first and second stories.
The President's quarters are to be at the northern end of the main corridor
and will consist of offices, reception rooms, and dining room for the entertain
ment of official guests. These official reception rooms will be served from a
great kitchen on the first floor by stairs and elevator.
The Social Division, where California will be hostess to the worldhostess,
because the women of California are donating the funds with which to furnish
and maintain this division with true western hospitality. The size of the rooms
of this section will exceed in size the rooms of the largest hotels and are so
inter-related through great arches that vast assemblages can be entertained.
The Foyer, sixty feet square, in the base of the main tower, is the chief dis
tributing point to all rooms in the Social Division. The effect of the old Cali
fornia adobe is attained in this room by the doorways and arches which are cut
PRELIMINARY STUDY, CALIFORNIA BUILDING, P. P. I. E.

through walls eight feet in thickness. These doorways lead, on the west to the
main reception room, on the north, to the ball room through the ball room foyer,
where the dressing rooms are situated.
In architectural character the social rooms have been designed with no
attempt to follow any existing style, for the Mission architecture of which the
exterior is reminiscent, provides no prototype for rooms of such splendid space ;
however, they have been designed by Mr. Burditt with the idea of maintaining
the harmonious relation and spirit between the exterior and interior. The orna
mentation of the ball room expresses in every possible way the characteristic
qualities of the State. The caryatides supporting the gallery promenade of the
ball room will be of Indian figures. Statuary bas-reliefs in the niches around
this gallery promenade will represent Spanish life, in the days of the Missions,
and their dances.
Much of the ornament throughout the building is designed to show the agri
cultural products of the State. The grape vine is used in profusion to decorate
the shafts of columns along with festoons of the bright colored fruits of
California.
California Building will boast one of the largest fireplaces ever constructed.
This massive fixture, situated in the Administrative Division in the reception
room, will burn logs eight feet in length.
One of the most attractive features of the building will be the roof garden,
which is over the reception room, nestled between the thick walls of the rooms
on the second floor of the main tower, which protect it from the winds. The
south end of this garden is formed by an open arched wall of the Forecourt, in
the arches of which will be hung a series of Mission bells of varying sizes. The
fountain to the south of the center will play a continual stream of water into
the basin, which will be partly surrounded by comfortable semicircular seats.
Atlantes with masked faces and bearing fruits upon their heads will make a
pleasing contrast between the hedges and flowers which will turn the roof
garden into a garden spot.
51
Mr. Burditt has not forgotten to honor Father Junipero Serra, beloved of all
Californians ; he has planned a niche for his statue in the center of the main
facade of the highest tower, which rises one hundred and twenty feet.
*
*
*
Architecture
>
and
Architectural
Engineering at the
Panama-Pacific International Exposition.

OF ALL CLASSES of craftsmen who will visit the Panama-Pacific
International Exposition in 1915, there will be none whose delight
will be keener or whose interest more general than the architect
and the architectural engineer.
The exposition itself will be a huge and superb exhibit of the genius
of architects. From the Palace of Machinery, which is the largest wooden
structure in the world, to the Palace of Fine Arts, which will be con
structed to conform with every modern demand for "class A" fireproof
structures, the grounds will be constant challenge to the attention and in
terest of the architect. The reclamation of the exposition site will be
likely to engross the attention of the architectural engineer who is
acquainted even superficially with the problems of pre-exposition prepara
tion when much of the 635 acres of exposition domain was marsh and
tide land, submerged in the. waters of San Francisco bay, or the abode
of the long-legged water bird and the clam.
But, supplementing the architectural display represented by the ex
position itself, there will be found in the Palace of Liberal Arts, a splen
didly comprehensive exhibit of data, drawings, models and photographs
related to architecture ; there will be also an equally comprehensive dis
play in the exhibit of architectural engineering. Here will be shown the
models and working plans of public and commercial buildings, large and
small dwelling houses, flats, apartment houses, models, detail drawings
and specifications for foundation walls, partitions, floors, roofs, stairways
and wood and metal framing, while there will be great general interest in
the safety contrivances provided against the terrors of panic and danger
by fire, as well as in novel means of convenience provided by such media
as moving stairways, elevators, etc.
The displays of drawings and models of public buildings will be par
ticularly effective and comprehensive, showing to what extent the various
needs of complicated metropolitan life have been cared for by the de
signer of modern structures, hospital buildings, court houses, hotels, bank
buildings, libraries, boat houses, tennis courts, gymnasiums, riding
academies, stables, stations, lodge buildings, churches and finally, the
most important of all, homes.
These models and designs of ideal homes will range through all de
grees of elegance, and will not only include dwellings in their entirety
but special designs of particular rooms, such as dining and bed rooms,
library and drawing rooms, model kitchens and even model pantries, so
that the visitor who contemplates building a home of his own will here
find a thousand hints to be utilized to his lasting advantage.
Architects who have specialized in various lines of their splendid pro
fession will here provide the world with a view of the latest developments
of their art and there will not be a problem which the builder encounters
but will be covered by the displays which the greatest architects of the
world will disclose in the Palace of Liberal Arts. The assurance of the
complete character of the exhibit is direct from the host of proposed par
ticipants themselves and from those whose earnest inquiries indicate
their intended participation.
"
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DRUIDS TEMPLE, SAN FRANCISCO

ARCHITECT
E. P. ANTONOVICH,
Golden Gate Cement Used
53
The Work of E. P. Antonovieh, A. I. A.

By HARVEY E. HARRIS.
RCHITECTURE in the West has gained much in excellence from the con/-^ tributions of young men. San Francisco is no exception to this general
statement, but it is significant to note that the progressive spirit in the de
signs of her best-conceived buildings come from those who have made them
selves familiar with the best thought and expression in all architecture. The
work of Mr. Antonovieh embodies much of this quality ; the constructive units
of his designs show a full acquaintance with the best examples of the old and
new world.
An earnest student of the architecture of others, his own efforts reflect skill,
imagination and taste. Like many men who come in contact with the archi
tecture in and about New York City, where Mr. Antonovieh spent two years in
the offices of some of the foremost architects of the East, his work follows gen
erally the modern tendency towards expression in the Renaissance and shows
a scholarly handling of this style.
An excellent contribution to this type is his recently completed Druids
Temple in San Francisco. The facade is singularly expressive of the internal
uses and is a dignified example of the semi-public fraternal building. The care
fully studied interior plan is fully consonant with the exterior architectural
divisions, is convenient in point of arrangement and developed, far more than
usual, in the manner of (axial) balance. The architectural decoration of the
large ball room is by means of boldly projecting wall pilasters which aid con
spicuously in developing an elaborate ceiling entablature decoration of beam
and crossbeam. The entire interior wall surface is fittingly developed in a
simple and effective color scheme.
The Shasta hotel, on the corner of Kearny and Bush streets, San Francisco,
is a more simple though not less pleasing design. The most effective feature
of the whole of this facade lies in the delicately repressed balconies at the
seventh story level, which half hide the circ1dar headed mullion windows. This
detail suggests the street architecture of Florence or Rome in addition to the
feeling that the architect intimately knew Letarouilly. Both fronts seen from
a diagonally opposite point present a stately, reposeful effect, heightened by the
soft texture of the faintly hued cement finish.
Much might be said of the automobile building in Fulton street, but build
ings of this type restrict their architectural virtues to the street fronts ; and
their uses have not been sufficiently long established to secure for themselves
a dignified style or mode of treatment. This garage building of Mr. Antono
vieh shows a very creditable handling of this new and difficult kind of problem ;
it rejoices in the fulness and splendor of abundant light. Constructively it con
tains some concrete girders of forty feet span, which support the heavy upper
floor loads of auto-trucks.
Two very sensible-looking warehouses are shown ; it is an uncommon skill
that can pass suavely from the design of hotel and civic buildings to that of less
conspicuous warehouse and factory. Here it is done ; well and honestly done
with care and restraint, but without conceit.
Passing to other work of the same architect, most of it shows a fitness to
fulfill the best architectural precepts of today. The residence work strives to
develop the limitations of the restricted and narrow city lota very difficult
problem. We praise his versatility of house exteriors ; by remembering the
caution to the harpist of over-straining the patience of one string, notwith
standing the delight of the tone heard once or twice. How often do we see the
same architectural elements in the work of one man done to death !
54
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BALL ROOM, DRUIDS' TEMPLE, SAN FRANCISCO
WAREHOUSE FOR PACIFIC COAST SYRUP CO., SAN FRANCISCO

E. P. Antonoi-ich, Architect
BUILDING FOR LOCOMOBILE COMPANY, SAN FRANCISCO

Showing Heavy Concrete Beam and Girder Construction
57
58
#
SAN FRANCISCO
SHASTA HOTEL,
ARCHITECT
E. P. ANTONOVICH,
Blurome Company, Concrete Construction
MOVING PICTURE THEATER, PANAMA-PACIFIC EXPOSITION

E. P. Antonovich, Architect
59
HOSMER WAREHOUSE FOR THE SIMMONS MANUFACTURING CO.. SAN FRANCISCO

APARTMENT HOUSE FOR DR. HENRY J. KREUTZMAN

E. P. ANTONOVICH,
ARCHITECT
RESIDENCE FOR MR. PHILLIP WEINMANN, SAN FRANC/SCO

E. P. ANTONOVICH,
ARCHITECT
A ROW OF CONCRETE HOMES

64
77 *.
RESIDENCE FLATS FOR MR. WALTER E. TREFTS

FRONT ELEVATION AND FLOOR PLAN
E. P. ANTONOVICH,
ARCHITECT
65
to
BUNGALOW FOR MR. J. M. SOUSA, MERCED, CALIFORNIA

E. P. AntoHovieh, Architect
FLOOR PLAN, BUXGALOW FOR MR. J. M. SOUSA. MERCED
66
DESIGX FOR SECOND CHURCH OF CHRIST, SCIENTIST

Competition for a Cuban Capitol

A CAPITOL building at a projected cost of a million dollars is proposed
by the Cuban government to be located at Havana. Of course this new
est of Western Republics follows the oldest in desiring to secure archi
tectural services by competition, says the Western Architect. But there the
imitation stops, or rather goes back to those that thirty or forty years ago gave
to the United States the worst designed public buildings in the world. This
competition, which is announced by Director Barrett, of the Pan-American
Union, will be conducted under the direction of the Cuban Department of
Public .Works, in conjunction with a committee consisting of the President of
the Senate ; the Speaker of the House of Representatives ; the Secretary of the
Senate ; the Secretary of the House, and the Secretary of Public Wrorks. The
committee will select three of the preliminary designs and then grant a further
extension of time, not to exceed ten months, for the development of the de
tailed descriptions and plans. From these three latter plans the committee will
67
choose one which contains a majority of desirable features. All things being
equal, plans of Cuban architects, residing in Cuba, will receive preference over
foreign entries. The "job" goes with the selected design and the second and
third choice "will each receive $3,000 and their designs will become the prop
erty of the government." While not for a moment allowing that this program
has not most of the defects that are found to be fatal to the securing of good
design and honest execution, we are inclined to make it an exception to the
rule. Cuba has probably few architectural experts and these will wish to com
pete. The government would be reluctant to place the selection of an architect
in the hands of foreigners, and its intention is, as ours used to be before we
learned better, to secure a plan and design. A logical, though narrow view
makes those supposed to be most conversant with the requirements, the arbiters
of the competition instead of its advisors. It is a question whether the rules of
the Institute would permit its members to enter an improper foreign competi
tion, but there are many young men who might "take a chance" in this "Havana
Lottery," which in spite of its irregularity from a code standpoint, under the
control of the chief executive of the Cuban Republic, should be at least fairly
conducted.
*
The Residence of Z. P. Smith, Berkeley, California

Bv SAMUEL ARNOLD, Architect.
IN THE lea of the beautiful undulating hills of Cragmont, on Keith avenue,
I Berkeley, is to be erected an unusual residence for Mr. and Mrs. Z. P. Smith.
Mrs. Smith is one of California's foremost artists, and Mr. Smith is presi
dent of Berkeley's efficient business college. They will embody in their new
home an art gallery which will be known as the Cragmont Art Gallery.
The site is unexcelled, overlooking cities, sea and bay from Tamalpais to
San Jose. The sloping hillside is to be cut to form terrace, lawn and garden
on lines just formal enough to preserve . the beauty of their natural contours.
Gentle inclines and easy flights of steps through pergolas with seats for rest
will form the approach from Keith avenue to the main terrace, from which with
unobstructed view we may watch the busy traffic of the cities' streets, the trend
of commerce by rail and sea, the passing of ships to and from foreign lands
through the Golden Gate, or the ever changing panorama from the mist
shrouded hills of Marin to the sunny slopes of Alameda.
From the terrace you enter the reception hall and living room, which forms
an atrium or salon to the art gallery. The dining room, breakfast room, kitchen
and accessories are to the right; the bedrooms, bath room, linen room, toilets
and lavatories to the left, the sleeping porch and studio in the roof space over.
The art gallery is to be 24 x 47 x 13 feet, raised five steps above the main
floor, with an open vestibule between, a niche at each side for statuary. The
gallery is to be used as a ball room for dancing on occasion. A wide plinth
at side and ends will serve for seating. The illumination will be by overhead art
glass ceiling lights.
The exterior will be. finished with Atlas white cement and terra cotta tile
roof. The interior will be in Eastern red oak and California redwood, natural
finish throughout. The lighting, heating and ventilating will be by the latest
approved electric system.
There will be a garage of reinforced concrete at the street level built into the
hillside, like a rock-cut temple in the Egyptian order.
The cost, including grounds and garden furniture, is estimated at $12,500.
- -

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RESIDENCE FOR MR. Z. P. SMITH, BERKELEY

SAMUEL ARNOLD,
ARCHITECT
70

Means of Egress The Vital Problem in Building
Construction!
By WILLIAM WALTER JOHNSTON
Supervising Expert, Pennsylvania State Building Code Commission, Lebanon, Pa.
OUT ! Let us out ! At first a frightened cry. Out ! Out ! The cry rises
to a scream, an agonized, despairing scream issuing out of the depths of
masses of black smoke which enwrap the building. Smoke darkens the
heavens ; it pours into hallways and passageways ; it travels up and down stairs
with the speed of a giant athlete ; it routs out the occupants of rooms and drives
them choking and gasping to the windows for air.
Inside there is a mad rush hither and thither ; first to windows looking down
from a height of many stories ; then to the single stairway where red tongues
of flame are already lighting up the dense smoke ; then to the fire escape en
shrouded in smoke and flame. Out ! For God's sake, help us out!
Within is frenzied terror, with death in a most horrible form clutching at
human throats. In the street below we hear the screams of despair. They
mingle with the hoarse cries of the firemen rapidly arriving on the scene and
the rumble and roar of engines and trucks.
The lurid red of the flames now leaping up around the doomed building
adds color to our imagination ; the screams of the helpless victims rend us to
the soul. In a fever of excitement we cry out in voices strained with emotion,
"Raise a ladder!" "Get a rope!" "Do something; can't you do something?"
But nothing can be done. No one can live in that smoke and flame. Approach
to the building is impossible. A few weak streams of water are thrown on the
fire and are licked up gleefully by the flames.
A face appears at a window, then another and another. Poor souls! they
are white with fear; no more cries are heard. One jumps and is broken to
pieces on the pavement. Another attempts to leap and falls unconscious on the
window sill where the flames burn the body past recognition. As a prologue,
the blackened remnants of humanity are carted to a morgue and solemnly laid
in a row for identification.
Out ! Out ! Oh ! God, out ! The cry comes to us in our dreams. It comes
to us from the charred lips of those martyrs, martyrs to human stupidity. It
rises from the tomb where the earthly remains of those who were near and dear
to us were laid with many tears. Oh, that God had given us understanding!
Oh, that the curse of stupidity had been removed from us! We might still
have our loved ones with us. We might again live in their loving embraces.
Life again would be a joy and not a burden. He knew this terrible tragedy
might happen. Our eyes had been opened many, many times to the danger.
Thousands of other people in past years had met death in the same horrible
way that we might live and learn. But we took a chance. It had happened
elsewhere, to be sure, but it might not happen here. We staked our all on one
throw and lost.
Why didn't we put in just one more stairway? Even a door that couldn't
be locked might have saved them. Why didn't the law compel an approved fire
escape to be put on the building? Alas, these are fruitless ravings. We might
have done this or that. We can see now what should have been done. But one
thing we know and the knowledge staggers us with the recollection of the
heavy fragrance of the fresh "'raves upon us. Our loved ones are gone. They
might have been saved. It would not have cost much money, but money was
worth more than lives. Judgment and reason had been ensnared in the greed
for gold. So the old story was told all over again. The fire department was
t Prepared for the Architect and Engineer of California.
71
criticized ; the building department was excoriated ; everybody blamed every

body else ; and the scene is laid for a fresh catastrophe.
I have not attempted to tell the story of any particular event. I have merely
described what any fire might be and which many have been. Have I overdrawn
the picture ? You know better than that. I could not. Words cannot paint the
picture as it stands out against the background of the blue sky of heaven. Have
I overdrawn it? Ask those who with bitter weeping laid to rest all that the
fire had left of their husband, sister, brother, wife; ask those who passed
through the inferno of smoke and flames, and who lay for weeks hovering at
death's door!
No, the picture is not overdrawn and, furthermore, it depicts a condition
which we face every day of our lives. Every day we walk into a fire trap and
never think to give thanks that the angel of death did not appear while we
were there. Every week we attend theaters, churches, lodge meetings where,
of the cry of "fire" were raised, the ensuing catastrophe would be recorded in the
annals of great disasters. But we must remember that every so often the wheel
stops at the fateful number and it will be our turn to pay the fiddler.
Are these great tragedies to pass on into history without leaving some lesson
for us? Are all those sufferings to have been in vain? No, there is a lesson,
a lesson that grows and grows in importance as each new calamity takes its
toll. It is a lesson that overshadows every other, and there are many others,
too. It is expressed in the one word "Egress," or, better yet, "Out." "Out,"
that is it. As living human beings our first thought is to preserve our lives; to
get out of the building; to get out where there is air and life.
Isn't this simple? Standing in the shadow of a great calamity like the Iro
quois Theater fire in Chicago or the Missouri Athletic Club fire in St. Louis, it
is even absurd ; it is almost enough to make a child laugh. And yet we go right
on putting up buildings of combustible construction without providing proper
means of egress. As an example,within three months after the school house
fire at Collinwood, Ohio, in which one hundred and sixty little children lost their
lives, a plan for an exact duplicate of the building was submitted for approval.*
This is only an instance of what every building inspector knows is repeated
every day. Worse still, every effort to require more and adequate means of
egress is fought bitterly. The Boatmen's building, St. Louis, Mo., in which the
Missouri Athletic Club was situated, was condemned long before the fire which
was pronounced the worst in the history of St. Louis. The Building Commis
sioner, having been notified of the dangerous conditions in the building, made
an inspection and ordered two fire stairways to be put in. This was objected to
and a court proceeding was commenced. After interminable wrangling on the
part of the club owners a compromise ruling was obtained ; but the original
orders of the Building Commissioner, designed for the protection of the club
members themselves, were never enforced. f Yea, verily, the lesson is for chil
dren,adults seem not to be able to see past the ends of their noses.
Why can't we have adequate means of egress from our buildings? Is it a
question of cost? Rarely. Is it a question of inconvenience? Occasionally.
Is it a question of architectural taste? It need not be. In my humble opinion
it is principally a question of indifference, of ignorance. The probable chance
of disaster is weighed against cost, convenience and taste. The builder judges
from events within the range of his own experience; and, as his experience is
necessarily limited and of narrow proportion, and as the other matters seem to
be of immediate importance he tips the scale in favor of cost, convenience and
taste, and trusts to luck. Isn't this true in almost every instance? But how
* This statement is made on authority of Fred W. Elliott, formerly Assistant Chief Inspector of
Workshops and Factories in Ohio. (See Safety Engineering, September, 1913.)
tSee St. Louis Post-Dispatch, March 10, 1914, page 4.
72
foolish it seems when confronted with the dire consequences. It is at this point
that the sovereign authority of the State should be exercised and adequate
means of egress required on every building.
In considering the question of egress, what is the fundamental principle ?
I say it is this : With one or two minor exceptions every building should have
at least two effective means of egress located as far apart as practicable and
opening onto a public thoroughfare or onto an unobstructed space leading to a
public thoroughfare. And these should be required regardless of the type of
construction. I venture the assertion that if there had been two such means
of egress on any of the buildings in which there has been great loss of life by
fire and by panic, that not over one in ten of those who were killed, would have
lost their lives. This is only an assertion, but I believe it is abundantly sup
ported by the evidence. The able general always tries to leave two lines of re
treat open ; the wise banker never risks the fortunes of the bank on one invest
ment. And when it comes to human lives we should always play the game safe ;
we should give ourselves at least two chances.
There are, of course, subsidiary principles in the matter of egress. The
number and size of all means of egress should be increased as the standard of
construction is lowered, the number of occupants increased, or the occupancy
changed to one of a more hazardous nature. As to standard of construction,
we might say that the number of ways of egress should increase inversely as
the standard of construction. As the probabilities of danger increase the means
of escape should increase. The building is the least consideration. Get the
people out and let it burn.
It is obvious that a building designed for occupancy by a large number of
people should have more ways of egress than one designed for a smaller number
of people. A theater, for instance, should have many more means of egress
than an office building of the same type of construction. Of course, in the case
of a theater the reason is as much the hazardous nature of the occupancy as it is
the disparity in numbers of occupants, but the rule holds good just the same.
The principle as to the hazardous nature of the occupancy is exactly the same.
The means of egress should in every case be increased where the nature of the
occupancy becomes more hazardous.
So much for the number of means of egress. How about the cost? I will
admit that in some cases to put in an adequate number of means of egress may
increase the cost of construction. This, of course, depends on the particular
means of egress employed. A mere exit opening in the auditorium wall of a
theater is less expensive than a solid wall. On the other hand, a tower fire
escape is perhaps more costly than an ordinary stairway. I think the principal
element of cost is the room or space taken up by the means of egress. This
room or space is valuable and in many cases can be made to yield a revenue.
However, in by far the majority of cases there is enough unoccupied space on
the lot to allow for the construction of additional means of egress ; and, on the
same principle that we insist that a certain percentage of the lot occupied by a
tenement house be left vacant, we have a right to insist that a certain percentage
of the lot on which a building stands that is occupied by a large number of
people, should be used in providing adequate and effective means of egress.
While every person should be secure in the enjoyment of property and in the in
come derived therefrom, they certainly have no right to stake human lives
against a few additional dollars of revenue.
The question of convenience is perhaps a larger question than it seems at
first. In dwelling houses, for instance, two independent means of egress might
constitute a decided inconvenience to the owner or occupant, and yet where
dwelling houses are of frame construction and three stories in height the neces
73
sity for two means of egress is just as imperative as it is in any other class of
buildings. We must remember that while buildings may be designed principally
for a certain class of occupancy, they may at times be used for different pur
poses. For instance, a short time ago it came to the writer's attention that one
hundred people were congregated in a small dwelling. In this case the dwelling
really became an assembly hall, and as such it certainly should have had two
means of egress. Convenience is also a serious consideration in the case of
buildings which are difficult to patrol, such as large tenement houses, office
buildings, factories, etc. Every means of egress constitutes a means of ingress,
and exposes the property to the depredations of thieves and "second-story men."
However, I think this objection can be obviated with a little extra care by the
owner or occupant.
The question of architectural taste is not trifling by any means. The writer
recently saw a picture of a pretentious hospital building which was completely
disfigured by two immense, very unbeautiful, iron fire escapes extending across
the facade. We all know many other cases where the architectural beauty of
the building is ruined by external means of egress ; and in some cases the
architectural arrangement is hampered in caring for internal means of egress.
But after all beauty should be subordinate to safety, and the architect should
be required to work out the problem of beauty combined with safety.
So far I have purposely avoided mentioning any particular means of egress.
Of course, any door, stairway, or passageway leading to an opening in the
building may be termed a means of egress. What we mean, however, by the
expression, "means of egress," is a safe means of egress. What is a safe means
of egress varies under different conditions. It may depend largely on the type
of construction and the nature of the occupancy of the building. Generally
speaking all means of egress should be protected by enclosures built entirely of
fire-resisting materials ; that is to say, materials that are not combustible. This
includes walls, stairways, doors and trimmings.
Without considering the ordinary means of egress from a building, I wish
to compare the few means of egress designed especially for emergency exit.
These are the outside fire escape, the tower fire escape, the horizontal exit
through fire walls and the enclosed stairway. There are objections to all of
these particular means of egress. The outside fire escape has been much
abused. It really ought to be a very safe means of egress. An outside fire
escape constructed as a stairway with a pitch not exceeding forty-five (45) de
grees, amply supported, hooded, with sheet metal treads or treads of non-slip
ping material, and opening onto a public thoroughfare or onto an unoccupied
space leading to a public thoroughfare, and without passing across windows or
other openings ought to be an ideal means of exit. The ladder fire escape
should never under any circumstances be permitted. It never was intended as
a fire escape. It was first intended as a means of irtgress for firemen in entering
the building in case of fire. The trouble is that outside stairway fire escapes are
constructed as cheaply as possible with the view of complying with the letter
of the law, and not with the view of really providing a safe means of egress.
The value of the fire tower as a safe means of egress, is, in the writer's
opinion, still subject to demonstration. The objection to the fire tower is the
cost of construction, which certainly restricts the number of them in any one
building and,, as a corollary thereto, the difficulty of access to the tower. If
access to a fire tower could be had directly from every floor area not over a
certain size, and if enough towers could be orovided to relieve conjection in
moments of emergency, I believe that the fire tower would be superior to other
emergency means of egress. But there is the difficulty. Access to a fire tower
is more or less easy in a fireproof building ; but in a building of combustible
construction^ access to a tower might be very difficult. In fact, in many cases it
74
is impossible. Another serious objection to the tower fire escape is the infrequency of its use. Being enclosed it is necessarily dark, at least in places, and
consequently is not much used. It becomes a store room for all kinds of mis
cellaneous apparatus and rubbish appurtenant to the building, and the occupants
hesitate to explore its cavernous depths in times of emergency. Other in
genious, although futile, means of egress, such as sliding or chute fire escapes
which are sometimes constructed in the form of a tower, should absolutely be
prohibited. The horizontal exit through a fire wall,* in some respects affords
the safest and quickest means of egress from a burning building. It is, of
course, based on the theory that a fire does not start in a building at more than
one place at a time. If fire walls extended from the foundation to the roof of
a building it is safe to assume that some portion of the building would be free
from fire. . Consequently a horizontal exit through a fire wall to another section
of the building provided with means of egress to the street, would afford a
quick and safe means of egress from the building. In recognition of this fact,
the Industrial Commission of Wisconsin have provided in their code for a hori
zontal exit to an adjoining building. This means of egress is perfect in theory
and in practice ; but it is difficult in many cases, to construct a building with this
means of egress. In the first place, it contemplates a large building and a large
number of occupants; otherwise, the cost would be prohibitive. It also con
templates a safe and adequate means of egress from each section of the building.
I have purposely discussed the other means of egress before considering the
enclosed stairway. I believe that the enclosed stairway is the most practical
and the most efficient safe means of egress from a building. It has most of the
advantages of the outside stairway fire escape, practically all the advantages of
the fire tower and all the advantages of the horizontal exit. In addition it is the
regular means of ingress and egress used by the occupants. This last is a con
sideration of the greatest importance, as we well know that people invariably
seek to leave by the same means by which they enter. Its cost is little ; it affords
a means of horizontal exit on every floor ; it is available from every section of
the building, for each section of the building should have at least one stairway ;
if provided with self-closing fire doors it is practically smoke proof, at least in
the early stages of the fire, and it leads directly to a public thoroughfare. The
only serious objection to the enclosed stairway is the matter of doors and door
openings, and the question of draft. No stairway should be continuous from
the top to the bottom of the building ; but each flight should be accessible to suc
ceeding flights through enclosed spaces at floor levels. These enclosed spaces
should be provided with self-closing fire doors, and there should be a severe
penalty for locking or propping these doors open.
Different classes of buildings each present different problems as to means
of egress to be employed. In theaters and places where large numbers of people
assemble the most imminent danger is the panic danger. The panic risk calls
for many means of egress, easy and quick of access. The standard of construc
tion of building of this type is today very high. The danger, therefore, is less
of fire than of panic. At Calumet, Mich., last December, when seventy-two
women and children lost their lives in a panic in an assembly hall there was no
fire at all,but there was only one means of egress. The panic fear seems to
increase geometrically as the means of egress is impeded, and conversely it sub
sides geometrically as egress is accelerated.
In buildings of other classes, such as factory buildings, the danger is a fire
danger ; and consequently, more importance should be attached to the fireproof
character of the means of egress. And so on with other classes of buildings ;
* We are indebted to Mr. H. F. L. Porter of New York City for his earnest espousal of the value
of this means of egress. His views are worthy of the greatest consideration, although they have not
been adopted by all authorities.
75
but I contend that the vital problem is always one of adquate means of egress,
and that every other consideration should be sacrificed to this one all important
consideration. It is only in this way that we can prevent a repetition of the
numerous holocausts which shock us. and which really arc a disgrace, and a re
flection on our intelligence and on our ability.
Steel Corporation Will Have Instructive Display at

Panama-Pacific Exposition
THE Iron and Steel Industry will be given a prominent place among the
various attractions at the coming Panama- Pacific International Exposition
in San Francisco by the comprehensive exhibit of the United States Steel
Corporation and subsidiary companies.
A general committee headed by A. T. De Forest of the United States Steel
Products Company, of San Francisco, has been directing the work, and H. V.
Jamison, advertising manager of the American Sheet & Tin Plate Company of
Pittsburgh has just been appointed Director of Exhibits for the entire corpora
tion and at present is busily engaged in mapping out plans for the exhibits of
the various companies.
Among the features which will be shown will be the process of manufactur
ing iron and steel products, from the mines where the ore is taken out of the
ground to the production of the hundreds of products of the corporation. It is
intended to show how the ore is transported both by rail and water, the dock
operations, the production of coal, coke and pig-iron and thence to the special
ized lines of manufacture. The exhibit will even go so far as to show how the
by-products are produced and will show many of the products in practical use.
A motion picture show will be part of the exhibit and through this medium
will be portrayed the operations of the corporation throughout all its depart
ments. In the pictures will also be shown the great benefit to the social world
brought about by the United States Steel Corporation, as no other institution
does more to further the social welfare of its employees. The corporation's
many devices for insuring safety of employees will be exhibited and data will
be given as to the enormous amounts expended for this purpose.
This is the first time in the history of the steel industry that the United
States Steel Corporation has planned a comprehensive exhibit or display of any
kind embracing all of the subsidiary companies. It is certain that this feature
of the coming Exposition will make a strong appeal to visitors at San Francisco
in 1915.
*
*
*
Why Hollow Tile is Popular
THE popularity of hollow tile is due principally to the fact that the clay
which is used is more carefully prepared, harder burned, and used
where it will do the most good, and in the manner in which it will
do the most good. Since these walls and webs of well manufactured
clay perform all necessary functions in carrying loads and resisting strains,
the balance of the wall may as well be void. The voids are cheap. They
require no clay. It costs nothing to dry and burn them. The railroad
and cartage men transport them for nothing. They do not tire the hod
carrier or brick mason. No steel is required to support them in the wall,
and they are very good non-conductors of heat, cold and moisture. It is
this economy from the clay pit to the finished wall that makes hollow tile
popular.
76
ELECTROLIER FOR ORPHEUM THEATER

SALT LAKE CITY.
UTAH
G. A. LAXSBURGH,
ARCHITECT
77
FOUNTAIN FLOWER POT FOR WICKHAM HAVENS. OAKLAND

Finn H. Frolich, Modeler
Artistic Garden Decorations in Concrete

THE accompanying illustrations give some idea of the possibilities of cement
work for garden embellishment. Vases, window boxes, settees, flower
stands, sun-dials, bowls, etc., executed in concrete make a pleasing contrast
to the green foliage and bright blooms and add very materially to the charm
of the home surroundings. The work shown was executed by the Western
Sculptors, a San Francisco firm of which Mr. Finn H. Frolich is manager.
ANOTHER VIEW OF SAME COURT. SHOWING FLOWER POTS IN NICHES
A BURBANK FLOWER BOX FOR L.A WN DECORATION
FRIEZE, KING ARTHUR PERIOD
80
OLD ENGLISH FLOI! ER POT
FRIEZE FOR GRA V E MONUMENT
81
82
Attitude of the Public Toward the Architect

Bv WILFRID BEACH, in the Architectural Record.
HE architectural profession is composed of four rather distinct types of
practitioners
First, the experienced ethical man.
Second, the novice of proper education and training, lacking only experience.
Third, the "architect."
Fourth, the shyster.
We will arbitrarily allude to the first only as architect, calling the others for
convenience by their more descriptive titles.
It does not appear difficult on the face of the matter for the public to dis
criminate between the different types, if it would; but there is just the trouble:
it won't.
A prospective builder seeking his first experience does not, ofttimes, appear
to care who makes his drawings, just so he obtains them cheaply.
Having no particular respect for the building he is about to erect, he has
even less for the architect who appears to be a necessary evil in the affair. The
architect himself, if he be of the first class, is probably not lacking in self-esteem
and is far from relishing the patronizing attitude of the prospective client. He
neither kotows nor cringes ; and the man with money to spend is too likely to
resent what he considers "high and mightiness" in one who is only a servant
after all.
And, if the client be a woman with a house to build, the kind of woman who
has already made her own plans and only needs an architect "to kind o' put on
the finishing touches." ("You know, if I were a man, I should just love to be
an architect, it's such nice, clean work. And everybody says Fm so artistic.
You know Fve studied china painting. Fm sure I could succeed at this without
half trying. Of course, these are only rough sketches and my husband says
they are not to scale, whatever that is. But I planned a real model house once
for our settlement work club and all the other ladies thought, etc., etc.") If she
be that kind of woman, she will be very easily offended by any lack of tact on
the part of the architect.
You can hear her a year or so later saying: "I know the house isn't just
what it should be, although I had it all worked out exactly as we wanted it ;
but the architect just simply spoiled it; and I had it designed so artisticallv,
too."
"I always wondered why you didn't go to Mr. Blank. He has built some
beautiful homes out on the Drive."
"Well, I did go to see him first. But he was so horrid and dictatorial, I
simply couldn't stand him. I just felt like a little child when he talked to me.
He said he wouldn't do this and I couldn't have that, and anyway it would cost
a lot more than we had figured on. I just made up my mind I wouldn't have
any house at all if I had to have him plan it. So I went to Mr. Brown. I know
he is only a carpenter, really, but he could at least do as he was told, though he
deceived me dreadfully about the cost."
"Oh, they all do that. It's proverbial that you never can depend on an
architect's estimates, you know."
"Of course, you can't. We found that out to our sorrow. But we feel
worse about the outside. We only told Mr. Brown what we wanted in a gen
eral way and gave him a kodak of the Smith house to follow and he simply
butchered it."
"Yes. I know the Smith house. Mr. Blank planned that, didn't he? But I
didn't suppose yours was modeled after it."
83
"Of course, you'd never suspect it. The next time we build, we're going to
send away for plans for one of those perfectly charming bungalows you see so
many pictures of in the magazines nowadays ; one with a 'patcho' in the center,
real Spanish you know, like the Grays have down in Florida."
It is thus greatly to be feared that the dignity of the real architect does not
command the respect of the uninformed and careless public.
The building supply trade constitutes a considerable factor of that public
which architects desire to see enlightened. The attitude of these people toward
the architect is of great importance because of its reflexive influence. If a large
portion of the material men of the country believe that architects in general are
"looking for something on the side," they probably believe also that those who
will not accept it are either supremely foolish or are getting it elsewhere. This
opinion of architects is easily passed on into too credulous ears. We know that
there still exists in the business world a large number of financially successful
men who believe that "every man has his price." Perhaps they also know that
if it were less true, they themselves would not have arrived. Such men will not
hesitate to impute improper motives to the most upright character, and it would
be an exceptional reputation that would be absolutely impregnable to such
slander.
Thus we have heard that this architect owns stock in factories from which
he insists upon contractors making purchases of material for use in his build
ings ; another is said to furnish a very limited number of blue prints to con
tractors and charge many times the value of others that are found necessary ;
or we are told that still another habitually favors certain manufacturers who
have done much for himtheir competitors cannot even get a hearing with him.
And the traducer will add, "But I don't really blame the architect. I'd get all
I could in his place, and so would you. See how the owner cuts him down
when he gives him a jobmakes him take the work for almost nothing."
In such manner is the whole profession besmirched by the remissness of the
quacks and those who profit by their machinations. The evils are plainly the
direct fault of the public, because the public does not attempt to discriminate
between the ethical architect and the charlatan. It would appear that it really
prefers to be humbugged.
We find this indifference sometimes so marked as to be well nigh incon
ceivable.
The common council of a small city met to select an architect for their pro
posed city hall. They had taken no trouble to advertise the matter and had only
six candidates, one of whom, a member of the Institute, happened to be in the
town on other business. Hearing of the work to be assigned, he called upon
the mayor, who assured him that, there being no local practitioner, all comers
would be treated alike. At the solicitation of the architect, the mayor requested
the city attorney to wire certain parties for information as to the professional
standing of this particular candidate. Nine such telegrams were sent (at the
expense of the architect). The town council met in the evening and listened to
each applicant in turn, asking but few questions, and these briefly touching
upon the fee to be charged. When the stranger appeared before them without
pictures or other paraphernalia of his "trade," he found himself at a consider
able disadvantage. He requested the attorney to read the answers to the tele
grams, which were accordingly produced, but, before they could be read, the
mayor interposed, saying: "Never mind the telegrams. We are quite willing
to assume that you are all right. What we would like is for you to show us
what kind of a city hall you could build for us."
The telegrams remained unread and the work was given to the lowest
bidder, an "architect" who boasted that he had been a "practical man" until he
was forty years old and then took up architecture because he knew building
so much better than these "fancy fellows" who had never in their lives worked
84
at a bench. His charge was two hundred and fifty dollars (one per cent.) for
full services.
Owners continue to employ these shysters, even when they know them to be
such, but thinking to take advantage of their low rates and deeming themselves
clever enough, forsooth, to beat them at their own game. Fatuous fallacy !
Such owners only connive at the evils and help them along.
The business section of a small town burned. The business men got together
and agreed to build their new stores much better, even going so far in the right
direction as to adopt a building code with certain fire preventive restrictions.
Then some one suggested that, having gotten together, they might save con
siderable money by agreeing to employ an architect jointly and getting a com
bination rate. A man was found who had "ARCHITECT" printed on his
stationery and who was willing to sell them plans and specifications for twentyfive dollars per building. The offer was accepted, in spite of the protest of a
real architect who attempted to show them that buildings could not be properly
designed that way.
Strange as it may seem, although they wanted fairly good buildings, as was
evidenced by their previous action, yet they all went into the deal.
Their "plans" came by express, C. O. D. The buildings were started under
hastily prepared contracts. The contractors never told that they were able to
do about as they pleased from start to finish, that the details did not fit the plans
nor the plans fit the elevations, and that the sub-contractors furnished their
own drawings and could also do as they pleased. The owners had saved a lot
of money (they supposed) by refraining from employing an "expensive" archi
tect and by not wasting good cash in having a useless superintendent on the
work. It would have been hard to convince them that they spent their savings
several times over in paying for things they didn't get.
The real extravagance was in not employing an "expensive" architect and
paying him to supervise as well as to design the work.
*
Fire Retardent Paints for Shingles
ONE of the many interesting papers read at the twenty-sixth annual con
vention of the Master Painters and Decorators' Association of Pennsyl
vania recently held in Pittsburgh., was that on the above subject by Henrv
A. Gardner of the Institute of Industrial Research. Washington. D. C. The
paper was of considerable length and dealt with many phases of the subject,
including a description of a series of laboratory tests to determine the heat
deflecting properties of various types of roofing materials. Miniature houses
were roofed with bare shingles, painted shingles, tin and stone. These houses
were placed in an oven heated to 150 degrees Centigrade. At the end of 15
minutes thermometric readings were taken and the interior of the houses
roofed with stone and tin showed a much higher temperature than those roofed
with shingles. The house with the roof covered with painted shingles showed
the lowest temperature. On account of the heat deflecting properties of
shingles thev will probably always find a wide application in warm climates,
and the point was also made that shingled dwellings are much cooler in sum
mer than ironclad or stone roofed dwellings.
A summary of the conclusions reached were given as follows :
The shingled roof is highly desirable on account of its durability, light weight, low
cost and non-conducting properties.
Shingled roofs are subject to conflagration when they become dry. Hot cinders from
chimneys are glowing sparks carried by the wind from nearby fires are common causes
of roof fires.
The use of high-grade mineral paints upon shingled roofs eliminates such ftre danger.
Shingled structures of all types, when properly painted, are not only fire resistant but
they are moisture proof and highly ornamental.
The painter shingle dwelling constitutes one of the most desirable types of modern
suburban homes.
The Correct Color Tone

HE importance of color in any scheme of decoration is paramount,
says the Journal of Decorative Art of London. Bad or indifferent
forms well colored may easily pass muster, but, no matter how good
the designs may be, if the color is faulty, then the result is poor; but, be
yond the application of color where pattern is concerned, there is an im
mense field where no pattern is involved, and where the problem is to
color only a plain surface. It may appear to some that it is attaching too
much importance to a simple thing to describe this as a problem, but if
anyone thinks so he is falling into grievous error. We have recently seen
an instance of this, where an important public building is altered in its
aspect entirely by a mistake of this kind. There are three divisions where
the color has gone wrong. First, the staircase. This is always an im
portant part in any place, but in the building under notice it is a feature.
The woodwork is of polished pine, and age has turned it to a nice' brown
color. The walls have a paneled dado of the same wood, and the space
between the dado and the ceiling is painted. This time it has been done
a tone of blue.
This description may convey something or nothing, but the color in
the actual work is a flagrant instance of hitting the wrong shade. It
dulls the staircase, and makes it look somber and devoid of interest. It
hangs heavy on the sense as one traverses it up and down, and yet it is
not much that is required to make it a success. A little more white and a
little more yellow in it, and we should have had a tone that would have
softened into the woodwork and illuminated the place. So fine, in a word,
is the line that separates the work from what is successful to what is a
failure.
The dining room in the same building is a very fine, spacious apart
ment, with a pitch-pine ceiling, stained and varnished, and aged to a deep
brown. A paneled dado goes some five feet up the walls, and then follows
a large field of wall space that at one time has been megilped and combed,
and afterwards painted and stenciled upon. Above this is a frieze some
six feet deep, broken up by dwarf shafts springing from the corbels which
break the frieze into long panels.
Here were the conditions : A rich brown pine roof, a framed frieze
and a rich paneled pine dado.
The frieze was painted a warm olive shade of green, full in tone,
and decorated with a good bold flowing scroll painted in tones of lighter
and darker green inclosing a shield painted with a device. This was very
well colored, and had a harmonizing effect with the ceiling. So far so
good. The important feature in the room, the coloring of the walls, still
had to be determined, because whatever color was placed there dominated
the entire room, and made of it a success or otherwise.
Unhappily, the decorators or the committee determined upon a laky
red, where a terra or orange red would have been best. The result is an
unhappy conjunction which does not really harmonize with either the
frieze or the dado, and, though the field was powdered with a large, open
pattern, it failed to give the harmonizing quality required.
Here there was a fine opportunity missed by the use of the wrong
tone of color. A very little alteration of tone would have made it right,
and have insured a success where it cannot now be said to exist. The
margin between success and failure, or non-success, is slighta little will
turn it either waybut that little is of immense importance; and any
master painter who wants to become a decorator should make a point of
mastering these subtleties of color. He will find it time well spent to
do so.
86
7 he Architect and Engineer
PACIFIC TELEPHONE COMPANY'S ORIENTAL EXCHANGE

IN CHINATOWN,
SAN FRANCISCO
ENGINEERING DEPARTMENT,
ARCHITECTS
87
GATEWAY AT THE TEMPLE OF HEAVEN. LOOKING EAST FROM ONE OF THE

MAIN ALTARS
Some Features of Chinese Architecture
By R. I. GEARE
THAT the straight line suggests death and demons and pertains to
Hades is a firmly fixed belief in the Chinese mind. It is, therefore,
an abomination to them, and they have steadily avoided its use in
the construction of their houses and temples, which, on the contrary, are
characterized by curves and peaked roofs, ornamented with fantastic pat
terns. Indeed, the Chinese may be said to have idealized the curve and
zigzag; and conspicuously so in their national emblem, the dragon.
The most sacred portion of a Chinese dwelling is the hall, to which'
the other parts are merely accessories. The receiving of guests is one
of their most important duties; in fact it has been idealized into fine art.
The guest's room is adorned with specimens of the artist's skill. These
are usually done with the pen, as Chinese artists are wont to scorn the
use of color, as shown by manv of their most approved landscape pic
tures. It has been claimed, indeed, that this peculiarity is a survival of
the early days when the ancients are said to have been at least partly
color-blind, and this theory of accounting for the lack of color in Chinese
art work seems to gain support from the fact that the five elements of
the Chinese spectrum are black, red, ts'in (which is a neutral tint and
stands for "the color of life, the color of olives, the color of bambooskins, the deeper color of the rocks," etc.), white and yellow.
Viewed from the city wall, the first impression of any Chinese city is
decidedly monotonous, the result of the predominance of a single type of
architecture, known as the t'ing. Even when new models were intro
duced, the lines have been gradually toned down to harmonize with the
general standard.
88
A GOOD EXAMPLE OF THE CHINESE PAGODA

The large majority of Chinese buildings are furnished with a massive
roof with turned-up edges resting on short columns, and this feature is
supposed to be a survival from the days of the tent-dwellers, who used
to hang the angles of their canvas partitions on spears. Indeed, the roof
is the predominating feature of most Chinese buildings, imparting to the
whole either grandeur or simplicity, strength or grace. The stability of
the structure depends principally on the wooden frame-work; for the
walls, as in our modern buildings, are not intended to act as supports, but
are filled in afterwards with blocks of stone or brickwork. The ridge
poles and corners of the sagging roofs are covered with finial dragons and
THE YELLOW TEMPLE
90
A CA LIFORNIA EXAMPLE OF CHINESE COMMERCIAL ARCHITECTURE

Ross & Burgren, Architects
long rows of fantastic animals, arranged after a symbolism known only to

the initiated. The eaves are underlaid with elaborately carved wood
work brilliantly lacquered, while the walls are outlined with bands of
terra-cotta reliefs molded with figures and floral sprays.
Chinese buildings, usually consisting of only one story, are developed
horizontally. The main buildings and wings, the side buildings, avenues,
court-yards, pavilions, motives of decorationand all the details in fact
are planned symmetrically. Only in the case of gardens and summer
residences does the Chinese architect depart from this rule, and these are
designed in the most capricious fashion, with pagodas and kiosks elevated
at random, detached edifices of irregular fashion, rustic cottages and one
winged pavilions dotted down in the midst of surroundings of the most
complicated and artificial nature, composed of rockeries, lakes, water-falls,
and running streams spanned by fantastic bridges.
Perhaps the most interesting architectural feature of Peking is the
Temple of Heaven, which is within the Southern or Chinese City. It is
surrounded by beautiful cypress trees in the midst of a walled park.
Most sacred of all Chinese religious structures is the Great Altar of
Heaven (T'ien T'an), consisting of three circular terraces with marble
balustrades and triple stair-cases at the four cardinal points. These as
91
TEA HOUSE USED BY THE LATE EMPRESS DOWAGER
cend to the upper terrace, which is 90 feet wide, with a base .210 feet
across. The platform is laid with marble stones in nine concentric cir
cles, and everything is arranged in multiples of "9."
North of the "Great Altar" is a three-tiered marble altar (Ch'i Ku
T'an) or "altar of prayer for grain," which is dominated by an imposing
triple-roofed temple, covered with tiles of deep cobalt blue.
The plan of a Buddhist temple, which, in a general way, resembles
that of a private residence, consists of a series of rectangular courts with
the principal edifice in the center, the less important buildings
being placed on the sides.
A pair of carved stone lions usually
guards the entrance, and this is flanked by lofty twin columns of wood,
which on festival occasions are mounted with banners and lanterns. The
ponderous gateway is roofed so as to form a vestibule in which are
ranged, on either side, huge figures of the four Kings of the devas, while
in the middle are enshrined small images of the Buddhist Messiah, and
the State God of War, Kuanti, who is represented as a mailed figure,
garbed in the costume of the Han period and seated in a chair.
On either side of the first court, inside the vestibule, is a pair of square
pavilions containing a bronze bell and a huge wooden drum. In front is
the main hall of the temple. The surrounding walls are commonly stud
ded with small figures of celestial Bodhisats. molded in gilden bronze or
clay. The wing buildings are devoted to the deceased inmates of the
monastery, while the side cloisters, which in large temples are two-storied,
contain the treasures of the monastery, the library, blocks for printing
books, etc.
92
The Rhyme and Crime of the Bungalow
By FRANCIS
There are a lot of brainless freaks
W. KEID, Architect
Who add to human woes
Planning or building crazy shacks
Which they call Bungalows.
The joists and rafters are too light.
The studs scarce hold the lath,
And out of space for single room
They get four rooms and bath !
They cut barge boards and rafters
Till the wood shrieks out in pain :
The walls are thin like pasteboard.
The roof won't shed the rain.
There's little space inside a room
For furniture to set,
And everything's in the worst place
It's possible to get.
The boiler's next the "cooler"
And heats it like a torch ;
You can't squeeze into the "breakfast room,"
Or stretch out on the "sleeping porch."
The inside is an awful mix
Of the worst horrors known ;
The outside mingles shingles, bricks,
Shakes, plaster, cobblestone !
And when the loathsome job is done
They laud it to the skies,
Their language mixed with ignorance
And slush and gush and lies.
When fool enough to send for plans
They cost at least a ten,
For changes you must wait a month
And may not get them then.
And when you try to build the thing
In bankruptcy you're lost,
Because expenses far exceed
The estimated cost !
Then why not hire an architect
And some refinement show
By leaving all the bungles out
When you build your Bungalow?
93
The Architect and the Structural Engineer

THE following is a summary of a paper read at the forty-ninth ordinary
general meeting of the Concrete Institute at Westminster, S. W., April 23,
1914, by Mr. William E. A. Brown, A. R. I. A. B., M. C. I. :
An architect is necessarily a structural engineer, with the addition of the
artistic sense and skill to clothe the structural forms with beauty of line and
contour, and to so arrange mass and void into one harmonious whole, studying
the great lessons of the past, and carrying on the architectural traditions of
Ancient Greece and Rome, down through the Middle Ages, and on through
the Renaissance. The architects of such buildings as the Church of Santa
Sophia at Constantinople ; St. Peter's at Rome ; the Pantheon, Rome ; the
Duomo of Florence; and to come down to more recent time. Sir Christopher
Wren's masterpiece in London, and Bentley's last great work of Westminster
Cathedral, were structural engineers.
Were not all our cathedrals, which were the delight of artists and lovers of
the beautiful, wonderful examples of architects' engineering skill?majestic
buildings with vaulted roofs poised on slender pillars, and held in position by
flying buttresses, each thrust met by a counter-thrust, all combined so as to
keep the whole structure in a stable condition.
Structural engineering included not only steelwork used in buildings, but
also all forms of construction, whether in brick, stone, timber or concrete, and
in designing buildings, and other structures the architect was called upon, not
only to exercise his artistic ability, but also so to plan and arrange the various
materials to carry safely, in addition to their own great weight, all superim
posed loads and external forces, so that the whole might remain perfectly stable.
No doubt the Council of this Institute had this in mind when it was decided
to enlarge the scope of the Institute by adding structural engineering, and not
to confine itself to one branch only, i. e., concrete and reinforced concrete. The
wisdom of this, he thought, was manifest by the large increase in the member
ship as well as by the greater attendance at the meetings.
It was the architect and the architect alone, who should determine the posi
tion of all main girders, stanchions and supports. In many buildings it was
impossible to proceed with the design until these positions were determined.
In some cases it was the run from north to south or east to west. In others it
would be such a feature as a dome; for example, how could Wren have planned
St. Paul's, unless he knew beforehand how he was going to support that great
and glorious crowning feature of his design? That building could not have
been erected had Wren simply made a drawing and handed over the structural
work to someone else to deal with ; or had that course been adopted, the re
sulting design would have been different to that made by the architect.
There was no doubt that tradesmen and others who did not realize the im
portance of having a properly qualified professional man to advise them. They
were led to believe and fondly imagined that they were saving a large sum in
fees, until they found by experience that their folly had cost them more. It
was not his intention or wish to belittle in any way the status of the consulting
engineer, as he occupied a very important position in the building world. But
what he did wish to emphasize was that it was the architect's duty to determine
the position of all girders and supports in the building he designed. He should
also be able to make the necessary calculations for the steelwork in, at any rate,
the smaller buildings under his control. Architects often did employ consult
ing engineers to do the calculations for the steelworkfirst for lack of time
to do so themselves, and often because in some modern buildings, the steel
work was of so complicated a character that it was advisable and necessary to
94
do so; but that did not alter the question of the position of the architect in the
matter.
A good deal of stress has been laid upon the question of whether the steel
work should be designed, and quantities taken out by the consulting engineer
before being sent to the constructional firms for estimates, or whether these
firms should be allowed to do the calculations themselves. For contracts in
volving a large amount of steelwork of a complicated character, the author
agreed that a consulting engineer should be appointed by the architect, but
there were many smaller works where this was not necessary, nor would the
outlay on the building work warrant the expense incurred. It was quite satis
factory, given certain conditions, laid down, for the architect to send the draw
ings to several firms of engineers, and let them make their own calculations
and quantities ; but to enable the various contractors to estimate on the same
basis, the following information must be given to each :
1. Plans of all floors showing the lines of all main girders and the positions
of stanchions and columns; also a section or sections and outline elevations
must be given.
2. The loads that each floor had to carry and whether live or total loads.
3. Whether British or foreign steel was to be used, and whether the L. C.
C. Regulations under the General Powers Act, 1909, were to be complied with.
If not, the stresses should be specified that were to be worked to.
4. Whether price was to include for hoisting and fixing, or only for steel
work delivered to site.
5. If it was to be delivered unpainted, painted, or oiled, and if painted with
what materials, and that all scale and rust must first be removed.
6. Workmanship, whether connections were to be riveted or bolted and if
the latter whether ordinary bolts would be allowed.
7. Whether the price was to include 10 per cent, profit for the builders or
only 2y2 per cent, cash discount.
The author's practice was to state the latter.
There was a diversity of opinion as to whether dead loads and superloads
on a floor should be kept separate in making the calculations, or whether a load
to include the dead weight of the floor itself, should be taken. The author's
practice was to work to the latter, as the calculations were much simpler and
the liability of error was materially reduced.
One must, of course, take into consideration the point loads which often
occurred from partitions, etc. This was often neglected by competing firms of
engineers, but some of the concrete partition blocks on the market weighed a
considerable amount, and one was often surprised when the weight was calcu
lated out.
Another matter that he sometimes had to argue with the steel contractors
was the central loading on girders carrying walls with openings and narrow
piers between. Some assumed that the loads were evenly distributed over the
span through the brickwork below the window sills. If the sills are very high
up, this may be so, but in many cases the sills are only 12 in. or 18 in. above
the girder, and, in his opinion, the loading in such a case should be considered
as a point load, or as a distributed load over a length of the girder equal to the
width of the pier.
In calculating the loads on stanchions, etc., he did not take advantage of
the reductions allowed by the 1909 Act. He did not think it advisable, as build
ings were often loaded to a greater extent than was allowed for. How often
was an architect told that the floors will never have to carry more than a cer
tain weight, and on going over the premises, when occupied, he is surprised to
find these loads greatly exceeded.
95
When the various estimates and plans showing the steelwork were received
the architect should carefully go through each set. and compare the sections
of the girders, etc.. and make rough calculations to check the sizes, and ascer
tain if the allowable stresses had been adhered to. It was also necessary to
check the depths of the joists in relation to the span, otherwise undue deflection
might occur.
After the plans had been gone through, the architect was in a position to
determine which estimate he would accept, and when giving the general con
tractor instructions to accept the estimate it was important to state that all
dimensions were to be taken from the site, and that the whole of the work was
to be carried out to the architect's satisfaction, detail drawings of all parts to be
submitted to him for approval. The steel contractor must take his own ditnensions from the site, arranging, of course, for the general foreman which por
tions of the steelwork were to be delivered first, and the order of delivery of the
remaining consignments. When the cleared site had been measured with steel
tapes and all angles carefully triangulated, it should be possible for engineers
to set out and scale off the lengths of the various parts. The connections and
workmanship were, in the author's opinion, very important matters to be con
sidered and as far as his experience went they did not always receive the atten
tion that should be given them. Of what use was it to have a strong joist or
stanchion if the cleats under the joist, or the joists under the stanchion were
not properly designed, or if the design is correct the connections themselves
were badly made. It was a regular practice to use ordinary bolts to take shear,
such as the ordinary j4-inch bolt in a 13/16-inch hole, the shank being threaded
to within Y% inch of the head. He has examined connections made in this way,
and often out of five bolts in the connection four of them could be taken out
with the fingers when the nut was removed. What amount of bearing area
did one get on the threaded end of the bolt, supposing that the bolt was bearing
on the plates. The bearing surface consists only of a series of knife edges. If
bolts must be used in shear then the holes must be carefully drilled concentric
through all the plates without the usual amount of clearance, and bolts with
plain shanks long enough to pass right through all of the plates should be
driven in. In order to make sure of having no portion of the threaded end
bearing on the outer plate a J^-inch washer should be placed under the nut. I
am aware that the 1909 Act says that rivets should be used in all cases where
reasonably practicable, but there were a very large number of buildings to
which this Act did not apply. He thought that all steelwork should be designed
in accordance with the provisions of the 1909 Act, but that the conditions for
bolted work should be amplified in the Act, the only requirement now being
that the bolt should extend through the nut and the latter be secured so as to
avoid risk of becoming loose. Another important point, and one that was not
always attended to, was that all holes through two or more thicknesses of metal
should exactly coincide. If they did not coincide, how could the rivets or bolts
take a proper bearing and transmit the loads from one to the other?
Filler joists in concrete floors should be bolted or cleated at least every
third joist to the main beams. He had seen cases in which this was not done,
but the fillers simply rested on short cleats on beams connected to stanchions
running through three floors, next the street, and with no other tie than that
afforded by two 24-inch bolts at each floor level ; the end stanchion, built on the
face of the party wall with only 4^4-inch brick casing around it, was not tied
in at all. He believed it was becoming a common practice to place the smaller
filler joists on a concrete haunching resting on the bottom flange of the main
girder and not tied in any way to the girder. In his opinion this method of
construction should be condemned. The area of the stanchion bases should be
96
chocked to see of the concrete was not loaded more than 12 tons to the square
foot. Large gusset plates should not be allowed unless properly stiffened to
prevent buckling. It was a good practice to encase the whole of the stanchion
base right up to the floor line with concrete. This prevented rusting, and also
held the floor of the stanchion firmly in position. He did not advocate the
putting of stone templates under stanchions. There was no difficulty in bedding
both the template and stanchion and if the latter had to be grouted in the stone
it might as well be absent. Girders supporting walls as well as main floor
girders if they are formed of two or more plain I-beams side by side should
have plates riveted on top and bottom. To simply bolt them together is, in his
opinion, not sufficient, as the load from the main floor girders was not trans
ferred to the outer joists, though some engineers think it is.
Caution must be observed in casting girders and stanchions with patent plas
ters, especially those that are stated to adhere without the intervention of any
lathing. He had one in mind that corroded the steel to an alarming extent in
a short time.
Stanchions and girders are best encased with fine Portland cement concrete,
the steelwork having J^-inch wire wound round same, spaced about 12 inches
apart. This held the concrete firmly in position and it was not easily damaged
even by motors.
When he told them that he had seen specialist firms' own men sawing up
timber for centering and the sawdust and shavings and small pieces of wood all
left and mixed up with the concrete, he thought one's faith in trusting to such
people was rudely shaken. One required a good clerk of works, well up in re
inforced concrete construction, with several smart assistants under him, to look
after the work.
In calculating the sizes of steel joists embedded in concrete the author's
practice was to let the steel carry the load as an independent beam, but taking
the depth of the beam anything up to 1/36 of the span, limiting the stress to
7l/i tons per square inch. This was quite enough, and he often found that
these small joists, such as 3 inchs by 1% inches and 4^4 inches by 1^4 inches
were of foreign make.
He had also a preference for joists with 3-inch flanges over those with \l/2inch and lj^-inch flanges, for the reason that the concrete had a much better
bearing on the joist. He then uttered a warning against using breeze for floors.
There was a great danger of expansion and he knew of several cases where
this had occurred and pushed walls several inches out of upright, and even
when the wall was rebuilt it happened again. There was also a corrosive action
between the concrete and steel which in time might endanger the stability of the
floor. The modern architect had to be a man of many parts, a jack-of-alltradesa bricklayer, mason, carpenter, joiner, plumber and painteralways
an artist, often a lawyer and last, but not least, a structural engineer.
*
*
*
Hollow Tile as Structural Material
The use of hollow tile as a structural building material has been given a
great impetus by the recognition by the United States Government of this
type of construction. Notable instances of this fact may be found in the
new Post Office building to be erected at Grass Valley. California, and in a
new dormitory building to be erected for the Phoenix Industrial school for
Indians at Phoenix, Arizona. In both of these cases, hollow tile are speci
fied for the construction of exterior load bearing walls.
97
What is an Architect?*
By JOSEPH LOSEKANN, Architect
O BEGIN with, an architect is a man, or woman for that matter, who
has made a thorough study of all branches of the construction of build
ings and has had the practical experience as well. He should have
studied architectural design through all its evolutions from long before the
Christian era and before Egypt itself, through the different periods to the
present day, and should embody in his design of a building that which is
essential for its present needs and style, having learned from what has been
done in the past and erect a building that should stand as a monument for
the future. It should be modern in appearance as well as in material in
order to meet the present-day requirements.
An architect must thoroughly understand building constructiona
most vital pointas a building poorly put together is little better than no
building at all. He should understand the weight and strength of materials,
in order to properly apply them and make the building he is constructing a
complete whole.
He should understand the planning of a building, which requires thor
ough training and experience, without which no building can be succesful
unless its arrangement of plan is simple and economical. The successful
plan, therefore, is the one that meets all requirements as to beauty of design
and good construction with the least expenditure.
The architect should understand and know of all the different materials
that enter into the construction of a building and should specify and see
that only the best are put in for the money. He should keep in touch with
the newest materials through their many agents and by reading the adver
tisements, and should always be abreast of the times as to what is the very
best and latest on the market.
He should be an impartial superintendent and work for the best inter
ests of the owner, though with proper regard for the contractor as well. It
is to the architect that all difficulties that may arise and the proper inter
pretation of the plans and specifications are left and it is the satisfactory
handling of these things that determine the architect's real competency.
Judgment should be rendered impartially and a firm stand taken to effect
a speedy completion of all matters. The inability to decide quickly and
finally on many small things is often the cause of unnecessary delay, and
could be avoided by quick action on the part of the superintendent.
Finally, I would ask: Why should you go to an architect to have your
plans drawn for a building when there are many contractors, carpenters
and others that will make them for you without cost? By way of com
parison let me ask, why do some people, when they are sick and in pain, go
to a drug store for advice and medicine instead of seeking the professional
services of a physician ? To save the doctor's fee, of course. The druggist,
except in exceptional cases, is not a doctor and does not understand the
planning and arrangement of the human body. The wise person is the one
that goes directly to a good physician at the start and pays a reasonable fee for
professional advice. The doctor furnishes the prescription as the architect
supplies the plans; the druggist fills the prescription as the contractor
would construct the building, and the result is, the patient (owner) has a
body (building) when properly attended to that is left in the best condi
tion possible for the skill and money expended and in that he more than
saves the doctor's (architect's) fee. Everything has been done by the right
person in the right way and naturally is bound to bring the right results.
Abstract of an Informal Talk before the Stockton (Cal.) Rotary Club.
98
Quantities and Quantity Estimating

A Bit of Satire Touching Some Pet Hobbies Which Broad-Minded
Architects Cannot Fail to Appreciate.
By LE ROY E. KERX, Architect.*
^ / ITH feelings of surprise, horror and shame, I read the article by
Sullivan \Y. Jones, which appeared under the above title in the
December issue of The Building Age. (Mr. Jones' article also
appeared in the Architect and Engineer.Ed.) The surprise was at the
article being published ; the horror was at the thought of what would
happen to us architects if the public should begin to require us to show
and specify neither more nor less than we meant for the low bidder to
furnish the shame was that a member of our most honorable profession
should cast aspersions on its most sacred, revered and time-honored tra
ditions.
Had the article been written by some practically unknown architect
we could have treated it with silent contempt. This, however, was not the
case. It was written by a member of one of the leading architectural
firms in the country, and might possibly be read by some of our clients.
If it is, then we are ruined forever.
It would not have been nearly so bad if he had merely hinted in gen
eral terms something to the effect that there might possiblv be some
slight chance for a little improvement or rather change in some of the
details of the way that in some places the building game was being con
ducted. No one then would have paid a particle of attention to it; we
could have said to ourselves that it does not apply to us personally and
would have regretted that there was no way to rid the profession of those
incompetent members.
He, however, not only states that our drawings are unintelligible and
lacking in pertinent information, but (shades of our forefathers, what are
we coming to?) that our specifications are rubbish.
In its fundamentals this specification is the same in all architects' of
fices. It has been handed down from office to office and from father to son
for untold generations. Personally I believe forever. It has been copied
millions upon millions of times, but never written. Some one, though,
must have written the first one, unless "in the beginning" it was created.
Trade unions have come into existence, new materials have been put
on the market, new methods of construction have been advanced, but in
spite of all this we have been able to preserve our specification in prac
tically its original form. Should anything in the world be held in more
veneration? Why, even to hint that it might be changed a little should
be regarded as worse than any known criminal offense. What, then, shall
we do to one of our own profession and one who ought to know what he
is talking about when he says that our specifications are rubbish?
What difference does it make to us that the courts of law do not up
hold our General Conditions? Some day some archaeologist will dig up
the original signed contract copy of the specifications for the oldest pyra
mid. It will be well for him, however, to have his find witnessed by
several disinterested parties of unquestionable veracity, for otherwise he
will most assuredly be accused of having translated into Egyptian the
greater part of a modern specification.
*Formerly specification writer in the office of Bruce, Price &. De Sibour, architects, New York and
Washington.
99
When this find is made it will be indisputable proof that all buildings
that ever had any specifications had the same general conditions, standard
clauses, and said the same nasty things about what they were going to do to
the contractor in case he made an error or failed to correct all the archi
tect's errors. With this original document to back us up we ought to be
able to have the laws changed to fit our specifications.
In place of the contractor being pessimistic about any change it seems
to me that his position is about the same as that of the blacksmith who
when asked why he allowed his wife to beat him replied that it did not
hurt him and it amused her.
The only pleasure that the architect has in life is reading his general
conditions and blanket clauses to his new client. The contractor, if pres
ent at this reading, never raises his eyes and appears to be suffering some
great mental anguish. He does not really feel that way. He knows that
the architect does not mean a word of it. That is the way he is expected
to look, and it would spoil the effect of the whole thing if he did not look
that way.
In the subject matter proper of the average specification there have
been some changes made from year to year. To what extent these are
due to inaccurate copying I am unable to say. I am convinced, however,
that this is not the reason for them all. Some have been made in an
honest effort to show the bidder that the architect really thought he
wanted this or that particular thing done this or that way. I have heard
that in some instances this has been found to be a help to the bidder.
However, I am afraid that they have often prevented his being awarded
the work by raising the question of doubt in his mind as to the other
requirements.
As for the change to the quantity estimator as suggested by Mr. Jones,
I am not sufficiently well posted to express an opinion, but on the face of
things it looks as though it would be a vast improvement, especially for
the smaller offices. Of one thing, however, I am certain, and that is that
it could not possibly be any worse.
*
Los Angeles Chapter Postpones Action on
Quantity Survey System
The Southern California Chapter of the American Institute of Architects,
held its last meeting until fall Tuesday evening, June 10th. It was expected
that Mr. A. M. Edelman would address the meeting with a stereopticon lecture
on Egypt, but on account of illness Mr. Edelman could not be present. His
address will probably be given at the next regular meeting in September.
The committee appointed to consider the advisability of adopting the Quan
tity Survey System of estimating reported that they were unable to present a
unanimous report. All members of the committee recognized the merits of
the system but some of them felt that it would not be practicable to introduce
the system at this time. After a lengthy discussion by the members, the matter
was postponed for future consideration.
As the meeting adjourned, President A. C. Martin announced that arrange
ments would probably be made for an informal meeting during the summer in
the nature of an outing.
100
The Architect, His Competition and Competitors

[San Francisco Call.]
AWEEK ago there was published on this page a quiet comment to this
effect : "The board of award has now chosen plans for the new city
library. Who is the first defeated architect who will break into print on
the subject?"
The lines were written with no more pride of prophecy than would be at
tached to the assertion : "It is raining ; the street will soon be very wet." It is
inevitable that dampness follows rain and that incrimination follows an archi
tectural competition.
All trades and professions have their peculiarities. Most of the professions
are bands of defenders mutually protecting one another against the assaults
and insinuations of the layman. A doctor will defend another doctor in public
and insist that the surgeon did right when he took out the patient's left lung,
though within the masonic sanctity of the clinic he will denounce the man as a
murderer. The lawyer will stand on the high hilltop and summon the higher
heavens to witness before the world that the judge on the bench is the most
immaculate combination of wisdom and learning that ever honored the ermine,
though in the mystic retreat of his office he will tear the reputation of the judge
into scattering fragments. But the architect takes the world into his confidence
when he finds something amiss in his profession. He is a frank fighter.
There has come a squabble over the plans of the San Francisco library, a
competing architect asserting that the plans chosen by the committee were
plagiarized.
Whatever truth there may be in that claimand we do not pretend to pass
judgment on the controversywe must admit that the art of the architect is
the art of plagiarism. There has been little new in architecture in the last hun
dreds of yearsthat is, in monumental architecture. There are several general
typesclassic, with its ramifications expressed by variations in the columns of
Doric, Ionic, Corinthian ; Gothic, of which we do not see a great deal of here
about ; the several types of renaissance.
It is high praise for an architect to say that his work is a true sample of
the Doric, for instance. Yet it would not be high praise to say of a poet that he
had faithfully copied "Hamlet" in writing a play ; that the only difference be
tween his drama and the original was that the deaths are due to automatic
revolvers and bichloride of mercury rather than to daggers and the subtle
poisons of the dark ages.
The tower of the San Francisco Ferry building is a very close copy of a
tower in Seville, but that does not detract from the reputation of the architect
who designed the graceful elevation. A section of the Children's hospital in
California street is practically a replica of a corresponding portion of a famous
Italian buildingin Florence, if our memory servesbut that is not an indict
ment against the architects.
It would be a very remarkable fact if the new city library were not like
some other building.
Variety is desired in architecture, as in every other art, and the architects
give it, showing their ingenuity by taking ideas and designs from here and
thereAthens, Rome, Florence, Seville, Paris, Cologne, New Yorksome say
from Detroitblend those suggestions together and produce a structure that
represents their individualities.
If a building were entirely unlike anything ever erected before, it would
doubtless be a monstrosity, for the standards of beauty have always existed and
were adapted from nature by the first wonderful Greeks and the brilliant
enthusiasts of the renaissance, and have rarely been improved upon.
101
An Economical Hardwood Flooring

By C. H. WHITE.
THE standard thicknesses in hardwood flooring are and have been for a long
time past, thirteen-sixteenths, which is made out of one-inch lumber;
three-eighths, which is made from half-inch lumber ; and five-sixteenths
square edge, which is made by resawing one-inch lumber into two pieces.
When thin flooring is required to lay over an old floor or where the greatest
economy has to be exercised, a three-eighths tongued and grooved or fivesixteenths square edge floor has been laid. Where a better job and a more last
ing floor is required the custom has been to use thirteen-sixteenths tongued and
grooved either in plain or quarter-sawed oak.
There has, however, lately been introduced a flooring, the finished size of
which is half-inch. This is taken out of five-eighths oak and has many ad
vantages over both the thinner and the thicker flooring. Its advantages over
the three-eighths tongued and grooved and the five-sixteenths square edge
strips are, of course, its durability and stiffness. Where the half-inch floor, how
ever, shows up to its best is in comparison with the thirteen-sixteenths by two
and a quarter face, ordinarily known as one by three inch plain or quarter
sawed oak flooring. The face of the half inch is two inches wide and the
flooring is measured as two and a half inches, whereas the thirteen-sixteenths
has a two and a quarter-inch face and is measured as three inches. It is thus
seen that the half-inch flooring wastes only 25 per cent in laying, whereas the
thirteen-sixteenths wastes 33% per cent. In other words, when you use
thirteen-sixteenths flooring and you wish to estimate the number of feet re
quired, you must add one-third to your floor space, whereas, in using the onehalf-inch flooring you only add one-quarter to the floor space. The half-inch,
therefore, has one-quarter less waste than the thirteen-sixteenths, or in other
words there is a saving of 8% per cent in the total quantity required to cover
any given floor space. Added to this saving in quantity, the price of half-inch
flooring is from
per cent to 20 per cent less than the thirteen-sixteenths.
The following table shows the cost in both thicknesses of sufficient material to
cover 1,000 feet of floor space:
1000 Ft. Floor Space.
Clear Plain Oak T. & G.
13/16" requires 1333 ft. (9. $86.50 M
$115.30
]/2"
"
1250 ft. @ 74.00 M
92.50
Saving effected 22.80 M ft. = 18-8/10%
Clear Quartered Oak T. & G.
13/16" requires 1333 ft. & $120.00 M
$159.60
y2"
"
1250 ft. @ 96.00 M
120.00
Saving effected 39.60 M ft. = 24-8/10%
Some architects may urge that thirteen-sixteenths flooring is much more
durable than the half-inch. As a matter of fact, it would take a very great
number of years under ordinary conditions for any kind of an oak floor to
wear out and while, theoretically, the thirteen-sixteenths, being a little thicker
than the half inch, should wear longer ; as a matter of fact, and in actual prac
tice, the life of a half-inch floor is as long as the life of a thirteen-sixteenths.
The half-inch has all the advantages of the thirteen-sixteenths in that it can be
laid over a rough sub-floor of pine boards or even directly over the joists when
these are close enough. In other words, it can be used in all cases where a
thirteen-sixteenths floor has heretofore been thought necessary, and, through
its economy in measurement and lower price, effects a saving of practically 19
per cent to 25 per cent on a hardwood floor, and in these strenuous times of
retrenchment and enforced economy this is a great item.
102
Vacuum Cleaning Again

MUCH has been written about vacuum cleaning, some of it good, some of
it bad and a great deal of it misleading. The fact is, however, that
vacuum cleaning, a wonderful application of an old principle, has come
to stay, is becoming daily a greater factor in the economy of the home, the
public building, the modern store, church, etc., and the subject is being stripped
of the fallacies that have heretofore been so multitudinous and complex that
the ordinary laymen felt as lost as a "cat in a strange garret," says Geo. O.
Kretsinger, in the Pacific Builder and Engineer.
Cyclones and windstorms are phenomena of nature which are not only very
destructive, but display a force for cleaning (if it were possible to confine it
and direct it ) that is unparalleled, as is evidenced by places swept bare of trees
and buildings following in their wake. In other words, high winds, consisting
of large volumes of air moving at great velocity leave in their wake open spaces,
where the remaining air is so thin, or so wholly exhausted that we term it a
"vacuum."
This natural phenomenon then, produced, no matter by what mechanical
means, and confined and directed so that its value as a cleaning agent may be
utilized, is what we call "vacuum cleaning."
The problem that confronts the prospective buyer, his*architect or engineer,
is, therefore, the simple one of establishing a fixed requirement at the cleaning
point, of a certain volume of air, moving at a constant speed and maintaining
a constant vacuum, and experience has shown that if 80 cubic feet of air is
displaced per minute, while at the same time one inch of vacuum is maintained
inside of the orifice of the tool on the floor, efficient results are obtained.
Given this fixed requirement, the prospective buyer can then easily de
termine the system of vacuum cleaning which will give him the best results,
there being but two remaining factors to consider, i. e., first, cost of installation,
and second, necessary care and cost of upkeep.
The necessary care and cost of upkeep is so important, almost as important
as the question of "cost of installation," that an intelligent investigation should
be made, in order to ascertain which system offers the greatest simplicity of
construction combined with sound mechanical principles, it being easily under
stood that simplicity of construction, few bearing surfaces, and direct operation,
mean efficient service at all times, without mechanical care and attention, which
requires a technical knowledge of machinery.
To sum up, when one is investigating vacuum cleaning machinery, there are
three features to be considered: First, efficiency at the cleaning point (80 cu.
feet of air displaced per minute while maintaining one inch of vacuum, within
the orifice of the tool on the floor) ; second, cost of installation complete; and
third, simplicity of construction and consequent freedom from mechanical
trouble, requiring expert attention.
Having these points well fixed in one's mind, a true comparison must then
be drawn, between portable and stationary systems, bearing in mind not only
the difference in original cost, which is decidedly in favor of the portable type,
but also, the efficiency, long life, and lack of care and upkeep, which is de
cidedly in favor of a rightly chosen stationary type.
A stationary vacuum cleaning system is an investment, that properly chosen
pays better dividends to the home owner or building owner, than any other
feature that enters into the construction of the home or building, dividends
that are paid daily, in removing all dust and dirt, germs, etc., with the least
effort, and thus lightening the load of the busy housewife, where the home is
under consideration, or reducing the pay roll and annual bills for redecoration
and upkeep, in the case of the public building or apartment house.
103
Washington's Survey Gets Government Indorsement

GOVERNMENT surveyors, who have just been checking up some of
the lines reputed to have been run by George Washington in his
days of chain and compass work, have found them good.
About 1751, according to tradition, George Washington, then 19 years
old, ran out for Lord Thomas Fairfax the line between what was then to
be Augusta and Frederick counties, Virginia, this being only a part of a
great deal of surveying which he is said to have been engaged upon at that
time. These two counties were separated from what was then Orange
county, and the grant to Lord Fairfax was supposed to extend westward
to the Pacific ocean. Subsequently these large tracts were further sub
divided, so that the "Fairfax line," as it is generally known, runs now
between Rockingham and Shenandoah counties, with the original Augusta
and Frederick counties to the south and north respectively.
In the organic act for the formation of the two counties, or "parishes"
as they were then called, it was required that the line should be a straight
one from the head spring of Hedgman river, one of the sources of the
Rappahannock, to the head spring of the Potomac.
Since it was required that the line should be straight, it was first
necessary to get the approximate course by building large bonfires on
the intervening high points. Then starting from the top of the Massanutten mountains, the line was run straight away over intervening moun
tains and rivers toward the northwest.
The Fairfax Stone
Away off across a part of what is now West Virginia there is a large
rock known today as the Fairfax Stone. It is the monument which
marks the southwest corner of Garret county, Maryland, the southeast
corner of Preston county, West Virginia, and prominent points in the
boundaries of two other West Virginia counties. A line from Orange
court house, coinciding with the Shenandoah and Rockingham county
line, passes through this Fairfax Stone, which gives the name to a nearby
station, Fairfax, on the Western Maryland Railroad. It has been as
sumed that, in running this line, a high peak northwest of Orange court
house was the starting point, and that from here it was possible to see a
distant peak in the north mountain range over the top of the intervening
Massanutten mountains.
Washington, of course, used a simple compass, and his line could not
be expected to check absolutely with that obtained by the government
surveyors who have retraced his survey, using high-power transits and all
the refined and accurate methods which modern instruments allow.
Nevertheless, the line was run so carefully in the first place that but little
variation has been found in it. Even without instruments it is possible
to distinguish the course of the line with surprising distinctness. From
the top of Middle mountain in the Massanutten range, the ShenandoahRockingham, or Fairfax, line, can be readily followed by means of the
boundary fences dating from earliest days, and by the blocks of timber, alter
nately cleared away or left standing, which come up from either county
and stop at the line, like squares in a checkerboard. Then if one turns to
the southeast the same demarkations are plain across the valley of the
south fork of the Shenandoah, cutting straight through the present Page
county, which is made of land formerly in Shenandoah county, belonging
1
104
to the Fairfax grant, and partly from land formerly in Rockingham.

Thus, as far as the eye can see in either direction, this old line shows
plainly.
The Washington compass, now to be seen at the U. S. National Mu
seum in the city named for its owner, is presumed to be the same one
used in running this line more than 160 years ago.
Washington's Survey Marks
The Fairfax Stone stands as a permanent monument. In addition,
there are, throughout that section of the country, various other records
of these Washington surveys. For example, a large white oak which
stands at the corner of a farm about one and one-half miles from Lost
City, Hardy county, West Virginia, was, according to a persistent story of
that section of the country, marked by Washington.
Survey blazes cut into trees, and since grown over, have been cut away,
and a count of the annual layers of growth over the old wounds shows
them to have been made at the time Washington was surveying. One
strange thing about these blazes is that they are several feet higher than
those put on trees by woodsmen of today. This fact has given rise to
a sort of superstition that Washington, known to have been very tall,
was actually a giant. Other authorities have said that Washington did
much of his work on horseback, and made his blazes with a long-handled
ax from the saddle.
The town of Whitepost, Clarke county, Virginia, takes its name from
a post presumed to have been set by Washington as one of his survey
marks. The post, formerly exposed, is now covered by a protecting case
which shelters it from the weather and from the despoiling hand of the
vandal tourist.
Why the Line Is Retraced
The reason that this old Washington survey line is being retraced is
because the federal government is purchasing lands in this neighborhood,
in connection with the new Appalachian forests which are being ac
quired at the headwaters of navigable streams, under the terms of the
Weeks law, designed to protect these watersheds from the evils of de
forestation. The government requires a clear title before the land can
be paid for. In making sure of the titles it is necessary, in many cases,
to go back to original royal grants, or to colonial records, and to have
recourse to resurveys before the facts of ownership can be indisputably
established.
*
*
The Perfect Specification
THAT there is a lawsuit in every building contract (at the pleasure of the
parties concerned) is an accepted axiom ; hence, the contract is a docu
ment that is usually drawn up with considerable care and legal minds are
not infrequently requisitioned in its preparation. When it comes to the specifi
cation, however, laxity is more honored in the observance than in the breach.
The classes are strung together one below the other, with but little regard to
what has gone before or what is to follow. Repetition and tautology become
wcarisone, while an infinity of unnecessary detail prolongs the length of the
document beyond the bounds of necessity. The fact is only too often over
looked that the specification is as much a legal document as the contract ;
indeed it forms, with the plansand for the matter of that with the correspond-
105
ence that ensuesa part of the contract, and the two must stand or fall to
gether. Specification writing must be regarded as an important branch of the
work of the engineer and the architect, and it is difficult to understand how
the lamely-worded, halting, ungrammatical documents that one only too often
sees can come from the pens of men whose calling presupposes the receipt of a
fairly advanced education.
Clearness, brevity and consistency are the three things to aim at in writing
a specification. Lengthy sentences of necessity become involved, and the snappiness of modern journalism may .be followed with advantage. Reiteration of
descriptions of similar work and materials does not, as is commonly thought,
add strength to the document ; and, too, there is ever the danger of dissimilar
clauses on similar matters creeping in, to the confusion of all parties concerned.
Tautology is to be avoided if possible, but true literary excellence is not to be
attained and an expressive word or phrase had better be used over and over
again if to ring the changes on it would mean any danger of confusion of ideas.
A general clause to the effect that everything shall be done in the best and most
workmanlike manner will save an infinity of that needless description of work
ing processes which, to use the words of an authority on the subject, is often
carried "to the verge of absurdity." Words such as "proper" and "sufficient"
have practically no meaning at all, and the writer should avoid them by stating
clearly and concisely what is proper and sufficient. Small detail sketches may
be introduced in the margin with advantage, not necessarily as saving descrip
tion but as helping to elucidate it ; but even these may be overdone and "carried
to the verge of absurdity" unless the writer places due restraint upon himself.
"The description in specifications of workmanship and material of the highest
class in positions which any practical builder knows to be unreasonable and
unlikely to be insisted on," says the authority already quoted, "leads to a gen
eral system of discounting the written requirements by the experienced esti
mator, who tenders accordingly, and at a much lower rate than his deluded
competitors, who weakly suppose that the specification means what it says."
To sum the matter up : If the specification drafter clearly understands what he
is writing about, says exactly what he means and not a word more, clearness,
brevity and consistency will have been attained.
Many books have been published giving complete specifications or specimen
specification clauses for both building and engineering works. Used with judg
ment such books may prove of the greatest service; but there is ever the
danger of irresponsible consultation and the extraction of clauses which may,
when strung together and read as a single document, have all the bad features
that have been referred to above. Stock clauses to fit the requirements of every
class of work cannot be drafted, and the architect or engineer who dabbles in
such things may court serious trouble with his clients. Every clause must have
precision of application, for incertitude is fatal. The wide tendering of which
so much is heard is due largely to the atmosphere of uncertainty which attaches
to many specifications. Two men may read a badly framed clause in two dif
ferent ways, three men in three different ways. Make the specifications posi
tive, avoid the "or equal" as far as possible, for who is to be the judge of the
quality of the "equal to" article?
*
Couldn't See the Smile
Mr. Jones had recently become the father of twins. The minister stopped
him on the street to congratulate him.
"Well, Jones," he said, "I hear that the Lord has smiled on you."
"Smiled on me?" repeated Jones. "He laughed out loud."Ohio Farmer.
CLASSIC COLUMNS, IDAHO STATE CAPITOL BUILDING

BUILT
OF
BOISE
SANDSTONE
107
Suggestions for a Small, Fireproof Garage

By DR. LEONARD KEEXE HIRSHBERG, A. B., M. A, M. D. (Johns Hopkins).
"O KEEP an automobile safely and in the most efficient order and to pre| serve its appearance there should be provided a permanent, fireproof
garage. Concrete is a suitable material for this purpose, making a build
ing warm in winter and cool in summer, and its fireproof qualities are selfevident. The garage should not be planned of too small dimensions. It is
desirable to provide space for a work bench fitted with a good machinist's vise
and rack for tools, and allowance made for room to store oil, gasoline, extra
tires, and other supplies. For a single car a size of eighteen feet long by four
teen feet wide by nine feet high, inside measurements, will be found ample.
The foundations for a little garage of this type should be twelve inches
wide by three feet deep and should extend five inches above ground level to
provide for a concrete floor of this thickness. The concrete for the foundation
should be made in the proportion of one part of cement to two and one-half
parts sand to five parts screened gravel or crushed rock. Upon the foundations
the six-inch wall will be placed, made in the proportion of one to two to four.
The walls should be reinforced with three-eighth of an inch round steel rods,
spaced fourteen inches apart, and running both horizontally and vertically.
The forms for the walls can be built the full height, or movable forms of a
height of about three feet can be used. Forms are made of one-inch siding, well
supported by lumber to prevent bulging when concrete is placed. The movable
forms are filled and raised each day until the entire nine feet is completed. In
order that the car can be easily run in and out of the garage it is well to leave
the entire entrance side open and fitted with large swinging doors. In the
sides of the doorway imbed bolts with heads in the concrete. These bolts will
be used later for fastening the wooden door jamb, which carries the hinges for
the doors. Provide a good-sized window in each of the three walls, so that
there will be plenty of light on the car when it is to be repaired or washed.
The concrete floor, five inches thick, rests directly on the ground. It should
be of the same proportions as the foundations. The ground should be scraped
and well rolled or tamped to secure a good foundation for the floor, which is
laid after the walls are finished. Where the car will stand the floor should be
sloped to a drain at the centre to carry off the water used in washing. If run
ning water is obtainable the pipes should be laid before the foundation and
floor are started. It is a good plan to provide for an underground gasoline
storage tank with a pump extending up through the concrete floor.
The roof can be made either peaked or flat. The flat form is much easier
for the average person to build. Such a roof should be constructed with a
slope of about four inches toward the back of the building to drain off water.
Make the roof six inches thick of one to two to four concrete, and reinforced
with three-eighths of an inch round steel rods spaced five inches apart for the
short lengths and nine inches for the long lengths. These rods are located one
inch from the bottom of the roof. Where the rods cross wire them together to
prevent shifting when the concrete is placed. Over the doorway, where there is
no wall to support the roof, the weight is carried by a concrete beam 5 inches
wide by 14 inches deep, including the thickness of the roof. Both beam and
roof are built at the same time. Two inches from the bottom of the beam place
two one-half-inch square twisted steel rods. The form for the roof consists of
a flat platform of one-inch boards on joists supported by upright studding. Be
sure that the forms are strongly made and well supported, so as to safely hold
the weight of the wet material. This form should remain in place for a week
or two after it has been placed.
108
Make provision through the roof for a chimney or sheet-iron smoke pipe
for a small coal or gas stove. The garage should be heated in winter to pre
vent freezing of the water in the cylinders and radiator of the car. For a
garage of the size given there will be required thirty-eight and one-half barrels
of cement, twelve cubic yards sand, and twenty-four cubic yards stone or
gravel.
*
*
*
World's Heaviest Office Building
THE Equitable building, now under construction in New York City, from its
great area presents an interesting problem in heavy erection. It will be
the heaviest office building in the world when finished. The steel erection
was made especially difficult by extensive cross-lot timber bracing, which holds
the basement retaining wall until sufficient steelwork has been installed to take
the load. It was necessary to set the derricks and with them erect the steelwork
for the three stories below ground, all without damage to the cross-lot bracing.
The new building will be about 160x312 feet in plan and about 500 feet
above the street and 65 feet below at lowest point. It is considered a 36-story
building, but there will be intermediate floors at the third and thirty-fourthfloor levels, making thirty-eight floor levels.
The elevators, stairways, lavatories, smoke-stack, etc., will be placed in the
center or core of the building. All offices will have an exterior exposure.
The steelwork was erected to the second floor by six steel guy derricks, with
76-foot masts and 65-foot booms. The heaviest column weighed 32 tons. Above
the second floor the heaviest piece to be handled weighs about 16 tons, and 15ton derricks with 90-foot masts and 85-foot booms replaced the original six.
The longer reach of these lighter derricks rendered them much more useful in
handling material from the street.
After the steelwork west of wall columns 7 and 125 was erected, derricks
proceeded to erect the basement steelwork eastward, moving forward along the
basement steel, erecting steelwork ahead, similar to the moving of a traveler.
In this way, liability of accident to the cross-lot bracing was reduced, and the
expense of building bents for supporting the derricks was eliminated.
The total steel aggregates 33,000 tons. It is shipped to Greenville, N. J.,
lightered over to New York City in the vicinity of the Battery, and trucked to
the job. Each derrick handles the steel from the street for its particular section.
Engineering News.
*
*
*
Cracking in Concrete Roads
PROBABLY more criticism of concrete pavements is centered on the cracks
which occur than upon any other features of this kind of construction. A.
N. Johnson, state highway engineer of Illinois, in a paper before the
American Road Congress attributed the formation of cracks to unequal settle
ments of the subgrade, supplemented by external stress due to the passage of
heavy traffic or to the movement of the slab under temperature changes. In
commenting upon this, Henry S. Spackman refers to experiments conducted by
him which showed that when concrete is mixed as wet as it generally is in mod
ern road work it shrinks during the first twenty-four hours and then expands
during the next three or four months, the shrinkage being undoubtedly due to
a draining out of the water and the expansion to the continuation of the chemi
cal action, which continues for months and even for years in a continually
lessening degree. In view of this shrinking which begins almost as soon as the
concrete is laid, it seemed impossible to prevent the cracking of the pavements
unless the exudation could be prevented. Mr. Spackman has experimented
109
COXCRETE AND FUSTIC HOME, BERKELEY, CALIFORNIA

Hughson & Donnelly, Builders
with the addition of hydrated lime for this purpose, and compared 18 test pieces
to which hydrated lime had been added to the extent of 10 per cent, of the
amount of cement in some instances and 20 per cent, in others, and 9 test pieces
containing no lime. During the first twenty-four hours the average contraction
for those containing hydrated lime was ,007 per cent., as against ,015 per cent,
for the pieces containing no hydrated lime. At his suggestion also the Office
of Public Roads laid a short stretch of road at Chevy Chase, Washington,
D. C, using hydrated lime, and another was laid near Salisbury. Md. These
experiments all lead him to believe that the addition of 10 to 15 per cent, of
hydrated lime will be found beneficial not only in reducing cracks, but also in
eltminating the formation of holes and soft spots. Such addition, he says, not
only causes the mortar to hold the water, but the more plastic and viscous
mortar eliminates the segregation of the cement from the sand and secures a
more homogeneous mixture, lessening the liability of pockets of material de
ficient in cement.
Women's Athletic Club Building

Architects Righetti & Headman, of San Francisco, are preparing plans for
a women's club building to be erected on Sutter street, between Mason and
Taylor, in San Francisco, for the Women's Athletic Club, which has a charter
membership of one thousand. The building is to be four stories high with
steel frame, reinforced concrete walls and pressed brick and terra cotta ex
terior. It will have the same equipment found in the best athletic clubs of the
country, including a salt water swimming pool. Turkish baths, gymnasium,
tennis and handball courts, library, reading room, assembly hall, etc. Among
those active in the club is Mrs. James Ellis Tucker, of 2030 Broadway. The esti
mated cost of the building is $250,000.
110
111
112

We often
hear
contractors
com
The
plain that architects' plans and speci
Arrhitert
anth Engineer
OF CALIFORNIA

Business Offic E AND Editorial. Roo Ms

QUANTITY SYSTEM fications are con

INSURES RELIABLE tradictory, ambig
ESTIMATING
uous, incomplete,
and a number of others things. The
architect is blamed, even by those of
his own profession. To this cause is at
tributed many of the evils from which
Terms of subscripTion
the building industry suffers. Few

persons, however, admitting that some
(Including postage) to all parts of the United States $1.50

per annum; to Canada 50c additional; to all Foreign points
of this is true, ever stop to consider
$1 additional.
the reason why such conditions exist.

We are inclined to think it very sel
dom arises from downright profes
sional incompetence. Some of it
comes, probably, through negligence,
some through accepting work at a fee
which makes it unprofitable for the
architect to go to the trouble of mak
ing proper contract documents. The
Vol. XXXVII. June, 1914
ASSOCIATE
EDITORS
W.M. B. GFSTER.
LoREN E. HUNT. C.
O. P. ShellEY. C. E. "
J Inspectron
and Tests
A'treproof Construction
F. W. FitzPATRick
W. W. BREITE. C. E.
H. J. BRUNNiER
No. 2.
Structural Steel
{*
# a rena
Athol McBFAN
W. E. DENNISON
otta
HowARD FROST.
G. B. AshcroFT. C. E.
Artificial Stone
HARRY LARK1N
and Roofing
J. R. D. MACKENzi E Rock and Gravel
FRED M. WOODS. J.R.,
- Interior Decoration
C. WALTER TozER WiLBUR DAvid Cook, Landscape Architecture
T. C. KierULFF
Zegal Points
PAUL C. BUTTE
Electrical Construction
NAthANIEL ELLERY, C. E.
* Roofs
Bilding Construction
owners, of course, suffer for this, but

it would be a farce to extend to them
the least sympathy. They may have

sought to get their work done at a low
fee, too low for their own good, or for
the good of anyone concerned. Most
of these alleged defects arise through
the undue speed which so many own
ers seem to insist upon.
Now an estimate of the cost of a
ARCHITECTURAL
Fred H. Meyer
August G. Headman
Edward T. Foulkes
Alfred F. Rosenheim
G. Albert Lansburgh
E. H. Hildebrand
Kenneth MacDonald, Jr.
Houghton Sawyer
John G. Howard
Arthur Brown, Jr.
Chas. P. Weeks
Benj. G. McDougall
Octavius Morgan
H. Alban Reeves
J. C. Austin
F. D. Hudson
Sumner P. Hunt
C. Sumner Greene
Ralph W. Hart
Norman F. Marsh
Maxwell G. Bugbee
Clayton D. Wilson
Almeric Coxhead
Harrison Albright
John Parkinson
W. J. Cuthbertson
A. W. Smith
T. Patterson Ross
William H. Weeks
Chas. W. Dickey
1 Ienry C. Smith
CONTRIBUTORS
Wm. A. Newman
Jas. W. Reid
Albert Pissis
J. Harry Blohme
Herman Barth
Arthur O. Johnson
J. T. Walsh, C. E.
Smith O'Brien
H. F. Starbuck
Nathaniel Blaisdell
W. T. Bliss
William Mooser
Robert
M'ier
Herbert E. Law
Hon. Jas. D. Phelan

John Galen Howard
Louis C. Mullgardt
B. J. S. Cahi
E. M. C. WhitNEY
FREDERick W. Jones
building cannot be accurate without

accurate quantities. That much must
be admitted. Accurate quantities on
the other hand cannot be prepared
from inaccurate or doubtful plans and
specifications. It stands to reason,
therefore, that among the many ad
vantages which the quantity system
has over our present practices, the
greatest perhaps are the great saving
of time, greater accuracy in figuring,
and last, but by no means least, the
undeniable fact that the drawings and
specifications must be complete and
entirely free from the before men
tioned alleged objections. No com
petent professional quantity surveyor
would risk his reputation and his liv
ing, by winking at or overlooking in
completeness and uncertainty such as
contractors often have to contend with
F. A. I. A.
now, when figuring. With plans,

specifications and details as perfect as
Manager
A/anaging Editor
the
human
brain
can
make
them,
many, if not all the pernicious condi

tions existing now, will disappear.
"FIRE A
CRIME"
METAL DOORSTin, Kalamein, Composite, Hollow Steel and Bronze,Swtnging,
Rolling Doors.
and Steel Sash.
iw See the SIMPLEX METAL WINDOW.
S2S Market St., San Francisco

Of California
Single Copies.
$1.50 per Year
25 Cents
Issued monthly tn the Interests of Archttects. Structural Engtneers, Contractors and the Allted Trades of the Pactfic Coast.
Contents for July

PAGE
THE WOOLWOETH BUILDING
Frontispiece
Cass Gilbert, Architect
BEAUTY OF THE AMERICAN SKYSCRAPER
47
Twells Brex
WHY THE SKYSCRAPER?
........
51
Frederick W. Jones
THE MOVEMENT OF TALL BUILDINGS
G4
MY HOLLOW TILE HOUSE
68
SOME LATE EXAMPLES OF GOOD DESIGN IN ARCHITECTURAL
TERRA COTTA
71
ARCHITECTURAL TERRA COTTA
76
LOS ANGELES WOEFULLY LACKING IN BEAUTIFUL MUNIC
IPAL BUILDINGS
78
Alfred F. Rosenheim, A. I. A.
COMPETITION PROGRAM FOR PLANS OF A NEIGHBORHOOD
CENTER IN CHICAGO
79
HE WHO WOULD BE AN ARCHITECTREAD
82
WEB-BRICKS
83
B. J. S. Cahill, Architect
ALBERT PISSIS, F. A. I. A. 94
CONTRACTOR'S EQUIPMENT AT THE PANAMA-PACIFIC EXPO
SITION
97
A CHURCH IN THE BUNGALOW STYLE
98
Jos. W. Plachek, Architect
AN INTERESTING OIL BURNER CONTEST
101
DECORATIVE POSSIBILITIES OF HAND-HAMMERED BRONZE
AND COPPER
108
EDITORIAL
112
- 114
118
MUNICIPAL ENGINEERING
124
BY THE WAY 128
llndex to Advertisements Pnfre 8]
Frontispiece
of California
July, 1914
THE WOOLWORTH BUILDING, NEW YORK

THE TALLEST BUILDING IN THE WORLD
CASS GILBERT,
ARCHITECT
THE
Architect
and
Engineer
Of California
Vol. XXXVII.
JULY, 1914.
No. 3.
Beauty of the American Skyscraper

With Special Reference to the Woolworth Building
By TWELLS BREX, in the London Daily Telegraph
kNE assumes that the chief objection to the sky
Oi
scraper is not so much against itself as against its
incongruity with lowlier neighbors. Perhaps any
skyscraperunless it be such an inspiration as New
York's Woolworth Toweris unlovely if it stands alone
in an undergrowth of five-story buildings. But when an
old building comes down on the priceless space of Lower
Manhattan a mammoth building goes up as a matter of
I course- The steel and stone giants are no longer nakedly
I alone. They cluster in kingly groups and line whole
streets like halls of the Nibelungs. No one who has
seen themlike a serrated coast itselffrom his apbjz-m / s" j
proaching Atlantic liner, wandered under their amazing
K~fl i(
waUs' or traveled by a lift to their aerial summits will
call this hyperbolic.
No single unit of man's audacity and skill, the levia
than ship, the Nile dam, the Simplon tunnel, is more
triumphantly self-complete and self-justified than that
beautiful Woolworth Tower, with its flying buttresses,
its gilt-touched roof, its spire of crocketed gold, its
white uplift by day, and its sky beacon by night. It cap
tures your imagination when you see it from afar, it
draws you again and again while you remain. It is your
abiding memory and symbol of New York.
The Woolworth Tower has been likened to a com
mercial cathedral. I see no irreverence in the compari
son, nor any reasonapart from the sheer exigency of
having to soar from spacewhy New York should not
exalt, embellish, and worship these arks of the energy,
spirit, and rivalry that have made her what she is. Just as Cologne raised of old
her then incredible spire to the new impetus of spiritualism, New York has
raised this monument to the new world impetus of human efficiency.
The conception of a New York skyscraper is often of a stark rectangular
rearing up in unbroken lines, almost showing its geometrical steel ribs under a
lean flesh of unrelieved stone. There are enough of such buildings in New
York, but they are only the raw beginnings out of which have been evolved the
Metropolitan Tower, the astounding massivity of the Plaza Hotel, the giant
horseshoe of the new civic buildings, the Bankers' Trust building with its air
borne pilasters and pyramidal roof, the Candler building, rocketing above
Times Square at night in lines and cornices of fire, the cloud-aspiring Singer
building, andlast of all, until the next daringthis Woolworth Tower, the
highest inhabited building in the world, seven hundred and eighty feet in all.
whose summit I have known literally hidden in October storm-scud.
CLAVS SPRECKELS BUILDING

REID BROS.,
ARCHITECTS
Until the Hobart building was designed, this was
considered the tallest structure in San Francisco.
f
49
BUILDING FOR THE HOBART ESTATE

WILLIS POLK & CO.,
ARCHITECTS
The designer of San Francisco's newest skyscraper says it is taller by twenty feet than the Spreckels
building. It has twenty-one stories and measures jI8 feet 6 inches from street level to the top of the
Hag pole.
50
And they are towns in themselves, these New York office buildings, housing
two, five, and ten thousand people under one roof. Their vast height is often
based on a whole city block. They have within them the organization of a
municipality, their own electric light, water, and power plants, and a fire-fight
ing equipment that is almost supererogation, because they are as nearly fire
proof as the wit of man can devise. In the whole of the Woolworth building,
there is no woodwork. The doors and partitions are of steel, terra cotta, and
wire glass. The frame of the building is a gigantic and homogeneous steel cage,
the beautiful walls and ornaments are laid on as a skin. Beams and ceiling
arches are of steel, floors are concrete, stairways are stone or metal. The
fiercest .blizzard of New York's harsh winter would not shake the skyscraper
by a tremor, for it has been built to withstand the impossible pressure of .a wind
of two hundred and fifty miles an hour.
Whatever you may think of their external artistry you cannot fail to be con
quered by the internal complexity, efficiency and completeness of these com
mercial palaces of New York. It has been truly vaunted that a tenant need not
go from under his roof for almost any civilized want. He has, of course, the
enviably competent telephone service of New York, and he can mail his letters
in a chute on his floor. He has a post and telegraph office, a restaurant, a bank,
an insurance office, a safe deposit, and even his own uniformed police. He can
visit his physician, lawyer, broker, tailor, tobacconist, barber, and shoeblack.
He can buy papers, books, stationery, theater tickets, hosiery, hats, fruit,
flowers, and candies without passing his main entrance.
Some of these vast buildings are open day and night, the cost of maintenance
alone reaching $100,000 a year, and the one item of water supply $5,000. The
Woolworth building has 40 acres of floor space, 3,000 exterior windows, 80,000
electric lights, and 28 lifts. Twenty-four thousand tons of steel went into the
construction, 17,000,000 bricks, 87 miles of electric wiring, and 43 miles of
piping.
These are but figures, and no figures can so touch the imagination as an
ascent to the top of New York's latest and greatest skyscraper. It is infinitely
more suggestive than the ascent of the slightly higher Eiffel Tower. The
Parisian wonder is an engineering curiosity, a mighty skeleton reared for the
sightseer, tenantless except by tourists and meteorologists. This tower of New
York holds thousands of citizens who pass their work-a-day hours in all its fiftyfive storiespeople who sit at their desks and unheed by familiarity the most
astonishing city view of the world. The stranger pays fifty cents and steps into
the express elevator. Nothing here of the tedium and change of lift of the
Eiffel Tower ; the flash to the summit takes exactly one minute. It is one of the
cheapest and most exhilirating two shillingsworth imaginable. The fifty-five
floors fall past you like cards dropping from the hand of a juggler, streaks of
alternate light and shade.
And the view from the high-borne eyrieall the amazing citythe encom
passing riversthe busiest harbor in the worldthe Olympic dwarfed to a
channel steamerthe narrows beyondand then the wide roll of the Atlantic
it hangs forever afterwards in the memory like a great picture in a gallery.
*
Labor unions are strong in the West and especially strong in a city where, on Hal
lowe'en, the boys pulled a lot of pickets off the fence belonging to a house in which a
union barber lived and made a bonfire of them.
The barber bought some new pickets and nailed them on his fence himself. Where
upon he was promptly fined fifty dollars by the council for doing carpenter work which
should have been done by a union carpenter.
The barber thought over this for some time. Then he presented the Carpenters'
Union with a bill for thirteen hundred and seventy-five dollars.
"What's this for?" asked the chief of the Carpenters' Union.
"Why," the barber replied, "that's what's due the barbers because the carpenters shave
themselves." His fine was remitted.Saturday Evening Post.
51
Why The Skyscraper?
: IS SM.K E IB B s a
[CCnKlMGI S B 313
a ra eb raw atm
:.. ... :.. n. gi SB.
i
.a si El n te ts
= ESHKi cu aw
w. m ss . ... ,;, ... .
mm,
Height Restriction Should be Governed

by Population and Land ValuesThe
Small City Does Not Require Tall
BuildingsCass Gilbert, Designer of
the Famous Woolworth Building, Says:
/ do not wish to be the advocate of excessively tall buildings.
While the building of one hundred stories or ei'en more is pos
sible, I do not think it desirable for a number of reasons.
In America I think that wc have gone to an extreme in the
height of our buildings. There are exceptional cases, as in New
York, where the excessively high i>alue of land makes tall build'
ings necessary, but on general principles I am opposed to them.
Excessivcly tall buildings arc a disadvantage because they are
likely to produce congestion of traffic on the streets. When the
occupants of a loo-story office building come forth at the close
of the day's work, streets in the vicinity would inevitably be
crowded.
The excessively high building draws business from other
properties to the general disadvantage of the city.
By FREDERICK W. JONES
HE tall building is a positive indication of a

city's growth." How often we hear this
T assertion, but it's not based wholly upon
facts. There are exceptions and you will find
them not so much in the big cities as in the am
L. C. SMITH BUILDING
bitious towns that want to emulate the larger
Seattle, Washington
cities. A six or seven-story building is high
Gaggin & Gaggin, Architects
The tallest building on the Pacific enough for the ordinarv needs of a city of from
Coast
50,000 to 100,000 inhabitants, but if you look
around you will find these modest communities erecting ten and even twelvestory hotels and office buildings. I know of one town of 30,000 inhabitants
bragging about its skyscrapers, of which it has twoboth ten-story bank build
ings, and now a third bank wants to outdo the others by erecting the "tallest of
them all."
And right here is the real explanation for the skyscraper craze in the small
community. A bank will build for the advertising, or a wealthy citizen, who
wants his name perpetuated, will spend a small fortune just to gratify his per
sonal vanity.
Los Angeles and Sacramento each have adopted a height limit, and
considering the rapid growth of the former city, the restriction would seem
to throttle legitimate metropolitan advancement. Los Angeles will soon have
reached an end to its downtown business area, and then must surely come a
demand for higher structures. Just now the restrictions compel the architect to
keep his aerial aspirations inside the twelve-story scope.
Each year since the fire has found San Francisco putting up higher buildings.
For a time the Spreckels or Call building enjoyed the distinction of being the
highest structure in the city. But now the Hobart building, twenty-two stories,
is in line for the honors, and soon the Finkle Arms hotela structure 350 feet
from curb to roof, will tower above them all.
Seattle lays claim to the tallest skyscraper west of Chicagothe L. C. Smith
building of thirty-five stories.
52
BUILDING FOR JOHN D. SPRECKELS, SAN FRANCISCO

REW BROS.,
ARCHITECTS
The architects expect to proceed with the construction of this, the greatest of all San Francisco sky
scrapers, within a very short time.
53
HUMBOLDT BANK BUILDING, SAN FRANCISCO

MEYER & O'BRIEN,
ARCHITECTS
For a long time this was the second highest office

building in San Francisco.
> --- . . .
of the best
examples of
terra cott a
acific Coast.
It is one
54
F1NKLE ARMS HOTEL, SAN FRANCISCO

ROUSSEAU & ROUSSEAU, ARCHITECTS
The design calls ftor twenty-three stories, and a height of 34$ feet from the Stockton street level to the
top of the tower.
BUILDING FOR THE BURNETT

ESTATE,
SAN FRANCISCO
An artistic bit of architecture that would add not a little
to the beauty of San Francisco's sky-line
55
56
LOS ANGELES INVESTMENT BUILDING

ERNEST UcCOXXELL,
ARCHITECT
The tallest building in the Angel City, being one story higher than the present twelve-story
height limit.
A good example of one of the later types of office building construction.
58
I I I I I I I
THE NEW CITY HALL, OAKLAND

PALMER & HORNBOSTEL, ARCHITECTS
OAKLAND'S TALLEST BUILDING
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YEON BUILDING, PORTLAND, OREGON
REID BROS.,
ARCHITECTS
The tallest building in the Northwest, with one exceptionthe L. C. Smith building in Seattle, Wash.
61
We think if there is to be building height restrictions the same should be

regulated in accordance with population. For cities under 100,000 it would be
a good thing to keep the height down to at least ten stories ; for cities of from
250,000 to 500,000 population, the limit might be fifteen stories, with no limita
tion for cities in excess of a half-million inhabitants. One very strong argument
against building skyscrapers in small towns is the fact that the communities
are not properly equipped to protect these buildings in case of fire, let alone
prevent loss of life should the occupants be cut off in the upper stories. The
average city of 25,000 or 30,000 inhabitants is without water tower or aerial
ladder, both of which appliances are considered indispensable by a metropoli
tan community in fighting fire above the fifth or sixth floors.
Congestion of the business section is an argument for tall buildings that
cannot be overlooked, especially in cities where land costs money and realty
expansion is limited. You cannot change the main artery of a great city any
more than you can change the working center of the human body. And if this
business center is all built up and you cannot push it farther north, south, east
or west, you have but a single alternative leftbuild higher.
And so it is we have the skyscrapera noble product of American genius !
While we are on this subject of skyscrapers, it is interesting to note its
wonderful developmenttoday a city in itself, one might say without excessive
exaggeration. In it are to be found Gog and Magog, doctor, lawyer, merchant,
chief, builder, banker, barber and the disciple of the beaux arts.
What one cannot get or do in one of our modern office buildings can hardly
be imagined. To be sure, he can't keep chickens or raise turnips, but he can
almost build a railroad without leaving the premises. He can buy the right of
way, hire counsel to settle adverse claims, get his money from bond brokers and
be well started on construction before he has to cross the street or use the tele
graph. And if he wants a bungalow and garden on the roof (like Herbert Law
contemplates on the top of the Monadnock building) he can have it.
Some of these "cities" are rather exclusive. They have to be. Those which
claim to be great "business centers" are loath to harbor doctors and dentists, and
so special buildings for men of these professions are being erected.
When a doctor's patient screams in agony, others on his floor or "street" can
have no cause for complaint, because who knows but that his own next visitor
may howl even louder? When a man boards the elevator with his eye in a sling
or the perfume of antiseptic rising strongly, other people on the car have no
complaint, because they may be on crutches or have swollen jaws.
And so, even as the building-city is evolving, the era of specialization already
begins and we now have a law building, medical building and homes of music.
One building is now being erected for the exclusive use of lawyers, so when
fair divorcees or victims of the trust's oppression come to seek relief, they may
not brush elbows with rising young prima donnas or bebandaged second best
heroes of a dance hall melee. Another building for doctors and dentists ex
clusively will care for the groaning rheumatism sufferer and the agonized man
with the hollow molar.
And so, the- average mortal, watching the great steel beams dangling,
with a man astride, before it settles to place in the giant skeleton of one of the
many "cities" now being built, must be imaginative indeed if he can construct a
picture of the industry that comes to that quarter acre or half acre when the
workmen have left the job and the tenants have moved in. The Biblical truth
that "a city builded on a hill cannot be hid" is moderated in these days of sky
scrapers where the office building city is the hill itself. For when the incoming
traveler is yet afar off. he gazes from his Pullman window upon the glittering
peaks of these mighty cliffs where all phases of metropolitan life are now finding
centers.
62
HOTEL FOR J. SOCKOLOV, SAN FRANCISCO

ROUSSEAU & ROUSSEAU,
ARCHITECTS
Structural Steel by Central Iron Works
BUILDING FOR THE STOCKTON SAVINGS BANK

L. B. DUTTON.
ARCHITECT
STONE & WRIGHT, ASSOCIATE ARCHITECTS
Stockton's tallest building.
63
64
The Movement of Tall Buildings

"T" HE recerit statement of the Superintendent of Buildings of Chicago that
|
virtually all of the immense buildings and sky-scrapers of the towntown
district are out of plumb, calls attention to a peculiarity of tall buildings
little realized and still less understood outside of the architectural and engineer
ing professions. The common impression is that all heavy and massive
structures are rigid, firm, and immovable ; yet, in Chicago, according to the
'. /. HOLLIXGSWORTH BUILDING, LOS ANGELES

MORGAN. H ALLS & MORGAN,
ARCHITECTS
Faced until Los Angeles Pressed Brick Company's Enamel Brick.
Department of Buildings, they have not one but scores of buildings like the lean
ing tower of Pisa, only they do not lean so much, thirty inches being the most
that any of them are out of plumb.
So far from being perfectly firm and rigid, all tall buildings are subject to
two distinct movements, and all heavy buildings erected on anything but bed
rock have three distinct movements to their credit.
65
The City of Chicago, built as it is on sub-strata of clay, says Building Prog

ress, furnishes the most interesting study of the movement of buildings, and
the greatest number and variety of examples. All of the early sky-scrapers of
that city were carried on floating foundations or on piles driven deep into the
clay. These buildings without exception settled into the soil due to their
weight, the distances they settled varying from three to over five inches. Many
of these buildings, notably the Great Northern Hotel are partially carried on
UNION OIL BUILDING LOS ANGELES

Parkinson & Bergstrom, Architects
jacks and periodically levelled up as settlements occur, then, after all subsidence
has taken place, and the buildings have finally come to rest, the jacks are
removed and the foundation walls filled in with masonry.
That is one of the movements of buildings, then, settlement ; but settle
ment takes place only in those buildings erected on floating foundations. When
the footings are extended down to bed rock, as all footings for present day
buildings in Chicago are, the amount of settlement that takes place is nil and
may be disregarded.
66
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ADAM GRANT BUILDING, SAN FRANCISCO

JOHN GALEN HOWARD,
ARCHITECT
One of the tallest buildings of heavy type construction in the wholesale district.
67
But even buildings with their footings carried to bed rock lean or are racked
out of plumb, and the taller the buildings the more they are likely to lean,
although the amount they are out of plumb is seldom enough to endanger the
structure.
Recently the Building Commissioners of Chicago ordered the
Unity Building straightened as it was "unsafe but not dangerous," being thirty
inches out of plumb. In an interview they said : "It is impossible to prevent
the big buildings here from leaning. Some of them are not straight when
they are finished, but that does not impair their safety. It is probably safe to
NEW DAVENPORT HOTEL, SPOKANE, WASHINGTON

The First Two Stories of Boise Sandstone.
say that every building in the city leans more or less. If they are on floating
foundations they also settle gradually." But there is still another movement of
buildings, and the most interesting of them all to consider. According to an
exchange, "The Eiffel Tower swings perceptibly in the wind, and even stone
shafts like those of the Bunker Hill and Washington monuments move several
inches at the top. In these cases the cause of the action is not only the wind, but
the heat of the sun. The side that is towards the sun expands during the day
more than the side in shadow. An interesting device has been employed to show
68
the movement of the dome of the Capitol at Washington. A wire was hung
from the middle of the dome inside the building down to the floor of the rotunda,
and on the lower end of the wire was hung a 25-pound plumb bob. In the lower
point of the weight was inserted a lead pencil, the point of which just touched
the floor. A large sheet of paper was spread out beneath it. As the dome
moved, it dragged the pencil over the paper every day. The mark made was in
the form of an ellipse six inches long. The dome would start moving in the
morning as soon as -the rays of the sun began to act upon it ; and slowly, as the
day advanced, the pencil would be dragged in a curve across the paper until
sundown, when a reaction would take place and the pencil would move back
again to its starting point. But it would not go back over its own pencil track,
for the cool air of night would cause the dome to contract as much on the one
side as the sun had made it expand on the other, and so the pencil would form
the other half of the ellipse, getting back to the original point all ready to start
out again at sunrise."
In the three movements affecting tall and heavy buildings we have, then,
particularly in the expansion and contraction movement which is of daily occur
rence, and which affect sky-scraper buildings as well as all other tall structures,
a condition which must be taken into consideration when planning the buildings.
Lines of steam pipes, stacks of drainage pipes, lengths of water pipes, vacuum
cleaning pipes, refrigeration system pipes, electric wire conduits and the various
networks of tubing which cross and criss cross inside of a building will naturally
be more or less affected by the movements of the building; and if long life is
expected of these various systems of piping, they must be so installed that they
can "give" under the movements of the building without damage to the piping,
and sufficient to compensate for the change of position.
Besides pointing out the necessity for flexibility for the piping systems in
tall buildings, the movement of buildings shows how desirable it is to have solid
foundations the footings of which extend down to bed rock. Floating founda
tions are all right for some kinds of buildings, but for the sky-scraper type there
is nothing so good as the solid rock of old Mother Earth.
*
My Hollow Tile House
THE editor of the Kansas City Star writes as follows in the August 1913,
number of the "Interlocker" :
Did the advantage of living in an ice chest ever appeal to you ? Aside
from rather cramped quarters. I have often envied the tomato, its ice chest
apartment. Who is a tomato, that it should be cool, while I swelter? I ask.
I am answering that question this month by beginning to build a house along
what I conceive to be the ice chest idea, the nearly air tight compartment within
the outer walls. The reason for this comparison is that the temperature within
the ice chest stays for a long time the pitch at which it is put, and advantage is
in the extremes of winter or summer.
I am going to build my house of Denison Hollow Tile, made at a plant in
Coffeyville, Kansas. This will be faced on the outside with stucco, having the
appearance of any stucco-covered house.
The outside walls of the house will be fireproof, dampproof, heatproof, coldproof, windproof, vermin-proof.
They will be built of hollow tile from the bottom of the basement up to the
roof, making the basement as warm and as dampproof as any part of the house.
Along with the idea of building this kind of a house, came two surprises.
] was at first amazed to think that these advantages, which appeared so apparent
69
to me, had not long ago appeared with equal force to others. So I said, I will
be doing some pioneering.
The second surprise came when I found I was not a pioneer at all. . I am
finding the use of hollow tile for residences to be a practice years old in Europe.
Yesterday a man whose younger years were spent in his native Austria was
telling me that even at the time he left Europe, manv of the better houses in
the outlined district of Austrian cities were of hollow tile construction.
That is a condition that should not be. The ocean should not separate us
from knowledge. If Europe has long recognized hollow tile as a competitor of
wood, brick and stone, we, who build homes in this Central West, should have
bad the same choice. Great corporations who see millions in the saving of a
penny, have the world for its schoolroom, but the individual lacking co-operative
facilities learns slowly that which may be much to his benefit, and which may be
well known to another people than his immediate neighbors.
At the beginning of my investigation, I was led to believe that the construc
tion I was after was very expensive. I have proven to myself in figures from
actual bids on the entire work in the house, that anyone able to have a house
built can afford fireproof tile, for the cost is not much more than frame and
stucco construction. I have built other houses of the customary material, and
have not been satisfied. They have been hot in the summer, and cold in the
winter. I wanted a house that would be as pleasant in temperature 110 in the
shade as when the thermometer is 20 degrees below zero, either of which is
reached sometimes in Kansas City.
For a long time I believed that concrete walls would be the answer, but I
discarded this idea after investigation because I believed the construction too
heavy for a medium size residence, because the construction does not lend itself
readily to proper lines, and for other reasons.
One day I met a man who had been an engineer in many of the countries
of Europe. He told me how hollow tile had been used for a long time in gov
ernment buildings, and higher class residences in Russia, Austria. Italy, and
many other countries. He told me also of the rapid spread of this construction
in this country.
I had seen the queer-looking blocks being used in walls of office buildings
and public garages. I began to watch the construction and ask questions of the
men putting up the tile. It was so simple and easy.
I learned the reason for the use of the material.
The hollow tile has been proved to be an absolute non-conductor of heat,
cold or dampness. This has been done before proper experts. In a recent
hollow tile show in Chicago, it was demonstrated to representatives of a packing
company how hollow tile was a good material to use in walls of their refriger
ator cooler.
I am satisfied because of the thoroughness of my investigation that these
representations are true.
I read in books concerning hollow tile, then I interviewed architects and
builders concerning it. After that I went to see a representative of the Denison
Clay Company.
They told me of the water test ; how water at a tremendous pressure had
been held for many hours against a hollow tile wall without dampness penetrat
ing the first hollow of the tile, an intense heat was placed against the same
wall, and on the other side there was no change in temperature. I learned the
strength of the material and was satisfied.
And the beauty of it all is that the price is within the means of almost any
one who can afford a popular-priced home.
70
Thc Architect and Engineer
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DETAIL OF ENTRANCE, DENMAN SCHOOL BUILDING, SAN FRANCISCO

Some Late Examples of Good Design in
Architectural Terra Cotta
REFERRING to the new Denman School building, designed by the Depart
ment of Architecture of the city of San Francisco, the National Terra
Cotta Society, in its June Brochure, prints the following extract of a
well-known architectural writer :
"It seems hardly extravagant to characterize the Denman Schoolhouse as
one of the finest in the country. Besides being an ideal expression of its plan
and material, it is a choice adaptation from a style that prevailed centuries ago,
to a requirement that has asserted itself only within the last few years. Nor
is it in the least sense a servile adaptation, for the end treatment and much of
the detail is refreshingly new.
"By means of well studied brickwork and charmingly executed terra cotta,
great interest and dignity have been imparted to the blank walls. Indeed,
throughout, all architectural terra cotta embellishment is in excellent taste and
true to the spirit of the material. The wealth of refined moulding found in the
cornice recalls how the North Italian architects gave infinite variety to the
shadows on their beautiful terra cotta cornices. An excellent idea of the deli
cacy of all the ornamentation is conveyed by a study of the doorway. The
modeling is a pleasing improvement over the harsh, crisp style frequently
employed.
"The interior arrangement can be immediately grasped without the aid of
a plan. The doorways, with windows above, at once signify the bisecting cor
ridors that divide each floor into four units of two class rooms each."
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73
GIRLS' HIGH SCHOOL, SAN FRANCISCOENTRANCE DETAIL

DESIGXED BY CONSULTING BOARD OF ARCHITECTS
Basement floor plan
First floor plan
Second floor plan
75
CROWS LANDING SCHOOL

TERRA COTTA DETAILS
76
ENTRANCE DETAIL
CROW'S LANDING SCHOOL
WILLIAM H. WEEKS.
ARCHITECT
The walls are of red pressed brick
and most of the light colored trim
shown in the illustration is matt
enameled architectural terra cotta,
having a slight cream tint. The
round disks in spandrel over arch
are green marble,verde antique.
'The small windows in the wing are
glased wtth richly colored opal
escent glass, which lends a touch of
color that gives a very pleasing
effect. Architectural terra cotta
polychromeis often employed in
facade decoration to obtain similar
results.
Architectural Terra Cotta

ALTHOUGH there is no older manufactured material known to man, it is
only in comparatively recent years that burned clay, in the perfected form
of architectural terra cotta. has come into great prominence as a building
material. The favor which it now finds among architects and builders is due in
part to certain remarkable qualities which were long latent and undiscovered
and which the demands of modern construction have brought to light; and in
part to new qualities which have been added as a result of scientific investiga
tion and experimentation with terra cotta in an effort to develop its full possi
bilities. Because of these unusual natural and acquired qualities and attributes,
there is at present available to architects no material which merits more careful
attention and consideration than architectural terra cotta. It is without doubt
the ideal building material of the twentieth century.
Architectural terra cotta deserves the market! recognition which it is now
receiving, first of all, because it is durable. The figurines of Tanagra and the
water-jars of Egypt are in practically as good condition today as they were
when made, thousands of years ago. Architectural terra cotta never wears out.
There is, in fact, nothing about it that can wear out. It is as permanent as earth
because it is earth. To the two forces that work most potently for the destruc
tion of a building material, that is, fire and water, architectural terra cotta
offers the most stubborn and successful resistance. It is manufactured under a
terrific heat, more terrific than that of any conflagration. The appalling disas
ters at Baltimore and Sun Francisco proved that those buildings in which the
77
structural materials are protected by architectural terra cotta and brick can
most successfully withstand the ravages of fire. By water, the other of the two
foes of permanence in a building material, architectural terra cotta is totally
unaffected. In the case of many materials, water finds its way through the
surface, freezes, causes expansion and ultimate disintegration. In the case of
architectural terra cotta, this destructive process cannot even begin, because
the first step, the penetration of water beneath the surface, is impossible, inas
much as architectural terra cotta is impervious to moisture.
Architectural terra cotta is further excellently adapted to modern building
construction because it is at once strong and light. Ordinarily, these two
qualities are inconsistent : the material that is strong is heavy ; and that which is
light is weak and of uncertain resistance. The modern skyscraper demands a
material so strong that it can be used with safety under the most exacting re
quirements, and so light that the cost of foundations, superstructure, and instal
lation may be reduced to a minimum. Architectural terra cotta is just such a
material, and its use for the entire facing of the largest business buildings in
the world is an evidence that wide recognition is being given to its unique^
qualities.
Every architect today is alive to the demands of beauty and attractiveness.
Even in buildings designed for the most utilitarian purposesin factories, for
examplethere is a strong demand that the aesthetic sense be satisfied. Archi
tectural terra cotta, because of its infinite possibilities as regards form, may be
modeled to express the most delicate beauty and charm. It can be made in
many tints and colors and in limitless combinations of colors. And, what is
equally important, it retains all of its original qualities. Dirt, smoke and soot
do not permanently discolor its surface ; they do no damage that cannot be
easily undone by the application to the terra cotta of ordinary soap and water.
Architectural terra cotta, while it possesses these remarkable qualities, offers
unusual opportunity for economy. This material makes it possible for the finest
ornament to be used in buildings intended for the most practical purposes, at a
most reasonable cost. For years, fine ornament was divorced from modern utili
tarian architecture because it could be secured only by the slow process of indi
vidual hand carving. By fine ornament is not meant the disgusting amount of
cheap, machine-made ornaments that disfigure rather than embellish, but those
legitimate forms that have had the endorsement of all ages. When the cost of
hand carving became prohibitive, these had to be abandoned. Now by the use
of architectural terra cotta,by making a plaster mold of one piece and
pressing many pieces from the same mold,the sculptor's model for cornice,
pediment, or frieze can be duplicated at relatively low cost. This process of
repetition is such a decided saving that it makes feasible the employment of the
best available talent for the creation of the original model. As a result, the
most pleasing effects can be introduced ' without waste and with the utmost
economy.
Consider the practical advantages that result from the use of a material with
these extraordinary qualities. Because of its lightness of weight, it is easilv
and inexpensively handled and put in place : and because of this same lightness,
it makes possible a substantial saving in connection with the entire structure.
Once placed in position, it is durable for all time. It cannot melt, disintegrate,
or decay. It can, moreover, in the first instance, be made unusually attractive
and beautiful by the use of a great variety of surface finishes or of one or more
colors, and this original beauty is permanently retained. It is fire-proof, water
proof, dirt-proof and time-proof. It is, in short, all that could be demanded by
the most exacting and discriminating in the wav of an ideal material tor.,use
in -fh^ 'bujidinW brm^mMMm^ôtkv Ttf&XMrS&lfe'*
Brochure.
" rf ___
78

Los Angeles Woefully Lacking in Beautiful
Municipal Buildings*
By ALFRED F. ROSENHEIM, A. I. A.
SIN every calling so in ours, there are architects, good, bad and indifferent,
commercial and others, but a bad architect is about the worst kind of an
individual that can be inflicted upon a community, and especially a com
munity that is growing and developing as rapidly as Los Angeles, for his crea
tions are always a blot on the neighborhood in which he happens to be operating,
and from which it will suffer until they are removed by some enterprising or
disgusted citizen.
Now what have the architects done for Los Angeles?continually referred
to as a "beautiful city," but is it such in fact ? A beautiful city is made up pri
marily of beautiful buildings, of well-paved and well-kept streets, ornamented
with shade trees. Can you point to a really beautiful street? Can you point to a
really beautiful building? Nearly every building or building project that is pub
lished, whether for public, religious, commercial or domestic purposes, is charac
terized by the local newspapers as the most beautiful of its kind ever erected
anywhere. Of course this is absurd. While it is laudable to boost for one's
home city, so far as its architecture is concerned there should be better reason
for boosting than we have in our case.
Whatever of beauty we can lay claim to, the individual himself is entitled to
credit for ; it may be found in the construction of his home and the embellish
ment of its surroundings by means of artistic landscaping and gardening. As a
municipality, however, we do not possess today a single building that can be
pointed to with pride and admiration either by our own citizens or by the visitor
coming within our gates. Have we a city hall, a public library, an art museum,
a convention hall, a music hall, a lecture hall worthy the name ? With very few
exceptions, we have no school that would not disgrace any one of our neighbors
within a radius of fifty miles. The present board of education, however, is going
to make a decided change in this respect. What have we in the way of boule
vards and parks, and where, within the city limits, can you take a friend for a
really interesting and enjoyable drive ? Where can you place statuary or foun
tains or a monumental arch, should some public-spirited citizen happen to be
queath or donate money for their construction? It must be evident to you that
"public spirit" and "civic pride" are sadly lacking in this community, and it is
due mainly to the fact that the authorities are either indifferent or not alive to
our needs and that everybody else is too busy chasing the almighty dollar.
The action taken by the city council, about two years ago, regarding the con
struction of a new city hall on the Temple block site, purchased a year previous
to that time, was responsible for the resolution passed by the convention of the
Architectural League of the Pacific Coast, held here in April, 1912:
"The Architectural League of the Pacific Coast, in convention assembled, notes with
interest the fact that city planning has become a recognized duty of municipal authorities
in nearly every important city in this country and abroad; and whereas the city of Los
Angeles has within the last decade developed more rapidly than any other city in the
world, and is now certain to continue in its growth, so that its destiny as a great and
powerful metropolis is assured, and that such future growth would result in the building
of a city famous for its beauty if at this time a 'comprehensive general plan' along practical
and economical lines could be adopted ;
"Therefore, be it resolved, That this league strongly urges upon his honor the Mayor
and the City Council the importance of securing such a plan, and that, pending such
action, no steps be taken toward the location or construction of a new city hall, a public
library, or other public building, park or boulevard."
The societies that have been organized for the purpose of fostering and
assisting in beautifying the city in one direction or another receive little encourAbstract of a paper read before the members of the Jorvian Electrical Lcngue of Los Angeles.
79
agement or support ; yet they continue to exist in the hope that ultimately, as the
public becomes more interested and better educated, through the medium of
travel and observation, they vyill accomplish some genuine good.
In offering an opinion as to the relative merits of general construction in Los
Angeles and in the East, I have no hesitancy in saying that we have by no means
reached its standard, notwithstanding the statements you frequently see in the
papers that the work done here is as good or better than that done elsewhere.
It seems to be the sole idea of the capitalist, and of many others who build for
revenue, to make the biggest show for the least money, and with little thought
as to how well he is building. In other words, they want "quantity" without
regard to "quality," and consequently we are not building the city as substan
tially as we should. In a few notable instances, however, individuals have either
set a high standard of their own or permitted their architects to set a standard
for them, and in such cases there have really been produced buildings that com
pare favorably with the best elsewhere and are therefore a lasting credit to the
city as well as to their owners.
*
Competition Program for Plans of a Neighborhood
Center in Chicago
HERE is a growing feeling that our cities are today suffering grave harm
from the lack of neighborhood organization and action. The object of
this competition is to show the desirability and possibility of developing
Chicago, more than is now being done, as a federation of neighborhoods, each
having its own well-designed cultural, or business and cultural center. It is not
suggested that these centers would or should suffice for all institutional needs
of the people, nor that a reversion to village isolation is desirableeven if it
were possible. All great cities are, and seem likely to continue, developing their
central functions more and more highly. The proportion of a great modern
community, however, which actively participates in these functions is not large.
The vast majority of the population does and must find its life chiefly within
neighborhood limitations, and this life could be greatly aided by a better han
dling than now obtains of the physical factors upon which that life, in its insti
tutional expression, depends. A thoughtful survey of our cities would probably
deepen the feeling that, not only in politics, but in those features which underlie
political expression, they lack the healthy and efficient neighborhood life which
they should have, due in part, at least, to the lack of strong unifying nuclei of
local life, and that actual developments plainly point to the need of such nuclei.
For reasons of community efficiency, as well as for architectural effect,
people generally approve of creating carefully planned civic centers, combining
with or near the city's chief business activities certain public or semi-public
institutions serving the city as a whole. The same reasons make it desirable to
have a well-designed grouping alsowith or without local business activities,
as may seem bestof the similar institutions serving particular localities or
neighborhoods in a great city.
Although the following program is drawn with special reference to Chicago,
the problem concerns cities generally, both large and small, as well as suburbs,
and the competition is desired to be correspondingly inclusive. Plans will
accordingly be admissible for a neighborhood center for any city other than
Chicago, and for main centers of cities and towns not large enough to justify
important neighborhood centers. Plans may also deal with actual or assumed
conditions, and those of dense or sparse occupation. It is only desired that the
description should sufficiently set forth these conditions, so as to show the merits
and appropriateness of the plan.
80
THE PROBLEM
The problem in this competition is based upon the idea (1) that certain institutions,
through which urban life expresses itself, tend to associate themselves together, in a small
city at a single and central point, and in a large city at various district or neighborhood
points also; and (2) that the people of Chicagoas of our cities generallywould be
benefited in many direct and indirect ways by a higher development of their neighborhood
institutions, and thus of their neighborhood life.
The problem is, accordingly, to produce plans for a typical or ideal instance in Chicago,
or, in other cities, of grouped neighborhood institutions.
A solution would involve a decision as to
(1) The sorts and sizes of institutions to be includedand especially whether com
mercial as well as social,
(2) The sizewhich would perhaps vary with the density of populationof the district
or neighborhood to be served,
(3) The most efficient inter-relationship to be secured among the institutions to be
thus associated, and thus the size and shape of the composition,
(4) The proper adjustment of the composition to the general framework of the city,
especially to the street system and perhaps other means of communication, and
(5) The landscape and architectural treatment of the composition in its various parts
and as a whole.
THE PROGRAM
Preliminary competition open to all.The competition will be held in two parts, the
preliminary and the final. Any individual, group of individuals, firm or combination
between any of these, may participate in the preliminary competition.
Jury to select in preliminary competition.As soon as practicable after the date for the
submission of plans in the preliminary competition, a jury of five members, to be chosen
by a joint committee of the City Club and the Illinois Chapter of the American Institute
of Architects, will select from the plans submitted not less than eight nor more than six
teen which they deem to be the best.
Final competition open to selected number.The authors of the plans thus selected
shall be eligible to participate in the final competition.
Jury aicard in final competition.As soon as practicable after the date for submitting
plans in the final competition, the jury will award First, Second and Third Honors to
the three plans submitted which it deems the best. The jury may also award honors to
more plans than three, if in its judgment special circumstances demand such action.
Cash honoraria.The jury will select the eight plans which it deems the best among
those submitted in the final competition, and the sum of $600 will be divided equally
among the authors of those eight plans to cover in part the expense of preparing drawings.
Drawings in preliminary competition.
In the preliminary competition, participants will submit only one drawinga general
plan, on the scale of SO ft. to the inch. If, however, a participant desires to showl the
geographical relation of his proposed center to its less immediate surroundings or to the
whole community, he may for that purpose combine a key plan on a smaller scale with
the main plan of the center, or may submit such key plan separately. The drawings may
be rendered in monotone wash, and must be suitable for reproduction. The various build
ings and other features on the plan should be designated by numerals, which will refer
to a key to be placed below the bottom border-line of the drawings in a separate panel.
The numerals must be of such a size that when the drawing is reduced for reproduction
to 6 inches by 9 inches, or an equivalent area, they will be plainly legible.
A suitable north point, and a graphic scale in solid black-and-white 100-feet divisions,
on which the numerals are large enough to be plainly legible when reduced as above
specified, must be placed on the plan.
Thesis.
In addition to the plan, each participant shall submit in the preliminary competition a
thesis fully describing his scheme and the conditions it is to meet, setting forth its advan
tages, practical, social, and esthetic. This thesis shall be type-written, and shall not exceed
2.000 words in length.
Drawings in final competition.
In the final competition, participants will submit at least three perspective views of the
whole or a part of the buildings and grounds of the proposed composition, at a scale of
1/16 of an inch at the nearest building corner. If one of these perspective views is a
bird's-eye view, it may be at a scale of 1/32 of an inch to the foot at the nearest corner,
and but one other perspective need be submitted. In preparing the perspective views, the
plan submitted in the preliminary competition must be substantially adhered to, and the
competitor should retain a copy of his plan for use in preparing the drawings for the final
81
competition. Other drawings in addition to those specified may be submitted in the final
competition, if desired, and the rendering of final drawings may be of any desired character.
A thesis of any given length may be submitted with the drawings, or not, as desired.
Date and manner of submission of drawings.The drawings in the preliminary com
petition are to be delivered at the office of the City Club, 315 Plymouth Court, Chicago,
at or before noon of Monday, October 26, 1914, addressed to the "Neighborhood Center
Competition," City Club of Chicago. The drawings in the final competition are to be
delivered, in like manner, on or before Monday, January 3, 1915.
To each set of drawings there must be attached a plain, opaque, sealed envelope, con
taining a card bearing the name of the author or authors.
Exhibition and publication of drawings.The preliminary plans will not be made public
until the final plans have been submitted. All the drawings submitted will then be shown
in the special neighborhood Center exhibition, to be opened at the City Club, January 9,
1915. The City Club also reserves the right to publish subsequently, in pamphlet or book
form, the drawings and theses submitted.
Notice by participants.All persons or groups of persons desiring to enter the pre
liminary competition will please notify the Civic Secretary of the City Club at once. All
persons gtving such notice will be invited to attend a series of meetings at the City Club,
the first of which will be held early in June, at which experts on the subject of the
competition will speak and matters connected with the competition will be discussed.
Written reports of these meetings will be sent to competitors outside of Chicago.
LITERATURE
As a convenience and aid to those who shall take part in the competition, the City Club
will place at their disposal in the club library such literature dealing with the subject of
Neighborhood Centers as is available, and will send references to this literature to competi
tors outside of Chicago.
INQUIRIES
Inquiries for further information should be addressed in writing to "Neighborhood
Center Competition," City Club, 315 Plymouth Court, Chicago. The answers will be in
writing, and will be forwarded, with the questions, to all known competitors.
George E. Hooker, Civic Secretary.
Cheer Up!
By FRANK A. MITCHELL, in Rock Products
I.
What's the use of being blue ?
No one's got it in for you.
Why, darn it, man! you're lucky just to be alive and well.
Of course you have your worries,
But they're only little flurries
Just square your jaw and grit your teeth, forget 'em for a spell.
II.
The world has trouble in it,
You can find it any minute
If you're looking, but the other fellow has it just the same;
So just look your carcass over
Why, old scout, you're right in clover
If you're present and accounted for and ain't blind, halt or lame.
III.
So take this here prescription,
Never mind my faulty diction,
And keep your features smiling, don't forget that you're a man ;
For the world will treat you fairly,
If you'll only meet it squarely
Take a brace, cheer up your face, and be a courage fan.
82

He Who Would Be An Architect-Read
By WILLIAM HOLABIRD*
HE field of architecture is not overcrowded. In fact, the contrary obtains.
|
Today the young man who wishes to become an architect has splendid
opportunities, far better than those which faced him a decade ago.
To become a successful architect, however, he must qualify in many things.
He must have good habits, a steady nerve, be industrious, and have mastered the
rudiments of the profession. Above all these, he must have integrity, because
he is compelled to handle constantly funds that belong to other people.
In selecting a vocation, he must have a fondness for it. If he chooses a pro
fession for which he has no liking, his success will be greatly handicapped. No
man, to my knowledge, ever has attained high honors in a calling for which he
has a natural aversion. I think that is one of the great dangers which parents
and advisers are too prone to overlook. They indiscriminately choose a young
man's business for him and as a consequence, caring little for it, his progress
suffers. All sorts and conditions of men are to be found today who complain
about the unattractiveness of their calling and who wish they had made a more
fitting selection of their life's pursuit.
Of course, to be an architect and a successful one, a young man must be an
architect in all that the term implies. He cannot enter the profession half
heartedly. He must be enthusiastic and work untiringly ; faithfully. I would
venture to declare that 80 per cent of the young men following the various pro
fessions of today, do their work mechanically and without full knowledge of
details. They have not mastered their chosen calling.
The young man who determines upon architecture as a means of earning a
livelihood, must be pretty thoroughly educated. He must know mathematics in
order to learn construction. He must be able to draw both mechanically and
free hand ; have a conception of coloring, and be able to do water color and oil
work to a minor degree.
It is possible for him to educate himself by working during the day and
studying at night. We have had instances of young men entering an architect's
office, boarding themselves, and supporting families, and finally saving enough
money with which to take a course in European colleges.
Architecture is not difficult to learn if the young man is willing to work and
acquire knowledge. He must start at the bottom. There is no short cut to suc
cess, and none of the men who have reached the top ever found a quick route.
They all succeeded in the same wayby plodding, conscientious effort.
The remuneration received by successful architects is only fair. We have
not increased special charges and rates as thev should be increased. The archi
tect, however, earns as much, as a general rule, and perhaps a trifle more, than
do those who follow similar professions. He gets good fees, of course, but
when he has paid his draftsmen and the various kinds of engineers he must
employ, the major portion of those fees go to his employees. But they are an
independent lot, are these successful architects, who never are out of employ
ment.
I would advise any young man who has a yearning to become an architect to
enter the profession without fear of the future. His success will depend upon
his ability to grasp the essential and minor details that spell "fitness." He can
not be a shirker. He must stick to his work and study it incessantly. Even the
most successful architect does not know it all. New and greater things are
being done every dav. He must keep abreast of his profession.
*Senior member of architectural firm of HolabirrI & Koche. Chicago.
83
Fig. t.This new wall construction combines the mechanical advantages of concrete and the insulating
properties of hollow tile, with the surface qualities of the best brickwork
Web-Bricks
An Account of a Remarkable Innovation in Wall Building*
I.
SOME inventions when once seen, are instantly recognized as abso
lutely inevitable. The whole mind jumps at them as though they were
predestined to be and to flourish from the beginning. Some few weeks'
ago the writer received by mail an illustrated account of a new type of brick,
a compound brick shaped like the section of a "Z" bar. Although occupied with
other matters and in no mood to investigate novelties, his eye was arrested by the
first illustration which revealed the whole story in a flash. (Fig. 1.) He read the
pamphlet through, not so much to learn what it had to say, because he knew it
already, but to tab off the various points as they came up. It was not a process
of acquiring one by one the advantages of the new form brick, as much as recog
nizing and making welcome what seemed always to have been necessary, if one
could only have thought of it ! This quality of instantaneous recognition, and
the word is used very advisedly, is surely the best test of the timeliness of any
invention which is really destined to be an innovation.
Few things in this material world are so firmly established, so apparently
perfected and unchangeable as building bricks. Vet we know that nothing
* Written for the Architect and Engineer of California.
84
whatever under the sun is absolutely permanent. But as recent years have
brought the innovations wrought by structural steel, other changes may well
be looked for. Indeed, it is safe to say that the new style brick owes its develop
ment to the modern use of steel and concrete, and their combinations one with
the other.
Although the new web-brick has other uses to be specified later on, and this
includes a brand new system of construction all its own, it is primarily con
sidered here as a wall material to fill in and clothe the frame of a class "A"
building, whether of steel or reinforced concrete.
Curtain or filler walls of concrete have the drawbacks of deficient fireproof
quality on the outside, and deficient damp-proof quality on the inside. More
over, the need of wood forms to make them, including the necessary bracing,
takes a large amount of space for a long interval of time, much to the em
barrassment of all other trades. The material, the labor, and the time to do
all this, is a dead loss. When finally poured, a concrete wall cannot be cemented,
tiled or finished on the exterior in any way that is satisfactory, permanent, or
artistic. A brick veneer applied to a set concrete wall is even more unscien
tific, besides being false in principle and bad architecture. On the other hand,
common brick curtain walls must be unnecessarily thick and heavy. If built in
damp climates, with hollow space front or rear, still further waste is necessary,
and if built solid there is always the need of furring. Such walls, moreover,
cannot be incorporated with the columns between which they are built. Hollow
terra cotta tile walls, excepting for inside partitions, lack strength unless faced
with brick, into which, unfortunately, they cannot be bonded.
A wall built with the new web-bricks has the following properties. It is :
1. Fireproof on the exterior.
2. Damp-proof on the interior.
3. Perfectly bonded clear through.
Fig. 6.As a curtain wall for steel structures, this wall excels. It is light, strong and is proof against,
hre, heat and moisture. .Vo furring or lathing is necessary.
85
"Each Thermos brick bonds with three bricks in the alternate course."
4. A permanent form of protection for reinforced concrete, and following
upon, and as a part of these basic advantages, a web-brick wall
5. Dispenses with the need of exterior facing.
6. Does away with the need of interior furring.
7. Does away with the need of forms and bracing.
8. Does away with the need of wiring, metal clips, ties, anchors, and other
rustable and flimsy devices so often used to tie an exterior veneer of brick work
a concrete wall.
9. Provides at any point throughout its length ready-made vertical cavities,
flues, or chases, for ducts, pipes, or conduits.
10. Can be braced by steel rods horizontally to form a trussed wall over a
void, or diagonally to resist the racking motion of wind or earthquake as well
as vertically in columns, or all three combined.
11. Can be rough on one or both sides for plastering or cementing, with
raked joints for key, or the exposed face of each brick, whether inside or out,
can be finished in every conceivable style, color, or texture, from the roughest
of clinkers, to the smoothest of glazes ; or from the palest shades of enamel to
the softest tones of tapestry.
12. Finally, a web-brick wall, both inside and out, reveals the honest prin
ciples of real brick work with all the varieties of bonds and jointing developed
in the burnt clay work of all the famous historic styles of architecture invented
in Babylonia, Persia, Holland, Italy, and England, down to the present time.
It is not to be supposed that all of the above properties can be developed or
utilized in the same section of wall at the same time, but an amazing number
of combinations is possible, as one can gather from a study of the cuts towards
the end of the article.
It should also be made clear that the twin brick, the tied brick, the web brick,
or by whatever name you choose to call it, can be made either of burnt clay, or
of sand and lime under steam pressure, or of the closest concrete aggregate, as
may be required.
86
II.
Since the year 1625 A. D. common bricks have been roughly standardized,
the accepted dimensions being 9 x 4^ x 3 inches, which is a ratio of six, three,
and two for length, breadth, and height. In up-to-date usage these dimensions
have been shaved from the bricks and thrown into the joints. Previous to
that time bricks were made in all sizes, and not uncommonly many kinds were
used in one wall. I remember standing with a friend and counting nine differ
ent sized bricks in a patch of wall in the base of the tower of the church of
Saint Sauveur in the old Flemish town of Bruges, where, by the way, can be
seen some of the most interesting brick work in the world. But conditions
belonging to the romantic age of building are impossible in these industrial
times. So in spite of the fascinations of medieval brickwork, uniformity is now
for many reasons absolutely necessary.
Having established the dimensions of the brick unit, we next note that like
the chemist's conception of an atom, a brick is only effective in relation to other
bricks. Thus a simple arrangement of three bricks can be made to express all
the principles developed in a brick wall just as effectively as three dozen or three
thousand.
For the sake of simplicity let us assume a nine-inch wall. Two bricks laid
en echelon will represent the stretchers on each face and a third brick laid
across them expresses the tie or bond. The rest of the wall, be it of any thick
ness, size, or shape, is simply a repetition variously modified of the principles
here expressed by three bricks touching each other for one-half their length
two bricks in one Horizontal plane running in the same direction of the wall and
one Over brick uniting them transversely. If we conceive these bricks as atoms
of different chemical elements according to their positions, then this group of
three can be compared to what scientists call a molecule. Thus two atoms of
hydrogen chemically combined with one atom of oxygen, represents a molecule
of waterH20. So also two bricks similarly set in a Horizontal plane and one
Over brick uniting them form the molecular basis of a wallH20, as it were.
This arrangement is expressed graphically by the diagram (Fig. 2).
Now the basic principle of -the new web-brick consists in a remarkable
modification by which these three atoms or common bricks become still more
intimately combined and developed by a series of metamorphoses that can only
be compared to the changes of chemistry or the growth of organic and cellular
tissues.
First of all the overbrick or header is sunk down or merged, as it were, into
the two lower ones. What was before three bricks is now welded into one twin
brick with the bulk of two, plus the thickness of the joint originally connecting
the lower bricks to half of each other's sides. We have now a twin stretcher
brick with an invisible header holding them together at their alternate ends.
Such a brick is difficult to take hold of. It is over twice the weight of an
ordinary brick and will absorb twice as much water. (Fig. 3.)
Fig. 2
Fig. 3
87
Now a common brick with a crushing resistance of about a ton to the inch
is highly porous. Its constituent particles are not closely packed. Under a
microscope its texture would reveal a mass of small cavities. These we shall
indicate in plan (Fig. 4) by a number of lines of black to represent the incom
pressible material of a brick enclosing spots of white to represent the cavities or
voids.
Let us take the compound bricks of Fig. 3, and compress them towards the
surfaces of the wall so that the cavities are almost entirely squeezed out
and the total thickness of the brick units reduced in the process by a third. We
now have (Fig. 5) as a result of this compressing process one large useful void
three inches wide in place of an infinity of small harmful voids. In this process
we do not forget the original tie-brick which now comes into view as a web
uniting the two stretcher bricks. This is compressed also towards its long axis
io that the plane of each of its sides is shrunk in from alignment with the ends
of the other bricks. We now have a compound webbed "Z"-shaped brick, com
bining four functions in each unit. It forms (1 ) an inside stretcher, (2) an out
side stretcher, (3) an invisible "header" or inside tie, and (4) an interior cavity.
It does the work of three common bricks with the bulk of two and the weight
of one, assuming this one to have been saturated in water. Some idea of the
FIG 4
FIG 5
many ways that the new brick can be used will be gathered from the illustra
tions throughout this article.
Most important inventions are arrived at by a roundabout route.* The
genesis of the "Z" brick as sketched above is a scientific short-cut rather than
an historical account of its origin. It began in a desire to make a brick for the
special purpose of building hollow walls for factories. The first bricks made
and used were U-shaped. The final form adopted was not reasoned out, but
was the residuum of a series of experiments in brick making and brick setting.
No invention that is worked out theoretically on paper has much chance of being
valuable until tested by actual use. It was discovered that in laying a web-brick
as it was originally shaped, the mason was unable to set the brick on its bed in
the wall without using both hands. This defect could be overcome by sliding
the web to the center as in the letter "H," but this arrangement would not allow
a continuous vertical void and at the same time permit the joints to be broken.
The problem was finally solved by shifting the outside bricks to face each other
for half their length only. When grasped by the web the stretchers offset in
opposite directions exactly balance one another, one web-brick can be laid so as
to bond three others and the vertical voids are preserved throughout the entire
height of the wall.
It may appear that undue stress has been laid on the abstract qualities of the
web brick unit. But this seems of great importance at this stage. We are apt
* The basic patents of this brick begin in 1905.
88
to forget the enormous amount of mathematical attention bestowed on every

detail and curve of structural steel sections now in common use. The abso
lutely correct section for angles, tees, beams, and channels, once established
and standardized, the endless combinations that can be built up from these units
is only a matter of time or of the particular needs of each framing problem as it
comes up.
There is an interesting analogy between
the new brick form as against the old, with
the modern method of steel framing as
against older methods of construction. The
very shapes of the new web bricks are
almost identical with the shapes of rolled
steel. Thus we have web bricks like "Ts,"
"Zs," "Ls," and flats or common fillers.
It has always seemed to the writer that
the plain brick wall relying for its value on
mere mass and dead weight, was rather an
antiquated survival in a modern steel
framed structure. Now the evolution of
man-made inorganic structures can be
profitably compared with the evolution of
Nature's organic structures. Progress is
marked in both cases by a lessening mass
and increasing efficiency. Old Egyptian
and Cyclopean remains show that stability
was secured by weight and quantity. Later
structures show more and more how mere
matter in the mass gives way to matter in
fused with mind, as when the Romans in
vented the arch and the Franks developed
the vault. All along construction becomes
more articulated and specialized, more func
tional and cellular, until at last we arrive at
the highest type both of organism and archi
tecture, the vertebrate type, with the thin,
hard skeleton protected, covered and in
visible.
When Robert Stephenson. the famous en
gineer, built the celebrated Britannia tubular
bridge over the Menai straits to the Isle of
Anglesea he revolutionized all our ideas of
construction. While nothing seems more
obvious to this generation, in those days the
novelty was so remarkable that the maga
zines of the period were never tired of
pointing out the ingenuity of the engineers
in using tubes of sheet iron instead of solid
beams. People used to make after-dinner
experiments with straws laid between wine
/ beam
glasses to show how easily lightness could
Thermos brick
be combined with strength. But Stephen
Z bar
son did no more than Mother Nature does
in the stalk of every flower and the quill of every feather. In his iron work he
used design in its true sense. He added brains and cut out bulk. This new
type of brick, by giving life to "dead" walls, is a distinct advance in construc
tion where at this moment it is most of all needed.
89
Fig. 8-Staggered web wall cut open to show continuous air-space and vertical or diagonal reinforcement.
90
IH.
Having briefly summarized the new bricks' usefulness in general and gone
into the detail of the brick in particular, it remains to indicate some of the
applications of the "Z"-shaped brick that may not occur to the reader offhand.
We spoke of the new brick as a covering for steel columns and a curtain
wall all in one. The fact that the web brick is a header with a hooked exten
sion tied onto it makes it very valuable in building round a "Z" bar, a Bethle
hem, or any form of built-up column. Web-bricks enclosing wall columns have
the advantage of uniting column, concrete curtain wall, and exterior brick finish
in a homogeneous "weld" not possible in any other form of construction. See
Fig. 6.
Figures 7 and 8 show possibilities along lines of construction that are quite
novel, and which will demand from experts new formulae. Although small in
cross section at least half the brick shell can be computed as forming an integral
part of the column, especially if the brick has a cement basis. The reinforcing
columns can be spaced to suit requirements just as the voids can be used where
needed. The diagonally open cavity for purposes of isolation suggests many
uses, while the same reinforced and filled solid with a good wet mix would com
bine the maximum advantage of brick and concrete in one perfect wall wherein
the Capulets of clay and the Montagues of concrete were at last happily wedded.
Construction on these lines combining the charm and honesty of legitimate
brick with the strength of concrete could be used for school houses and homes
with the most promising results.
Our school architecture sadly needs to be developed along lines of Tudor or
Flemish brickwork. A classic school house nine times out of ten is an uninvit
Fig. p.In a double wall, one row of voids may be reinforced and the other left open for insulatioyd.
Excellent for Class "C" structures.
91
Fig. 10.Thermos construction "solves one of the hardest problems of the day, which is to supply the
forms and the finish for concrete in one simple operation."
ing makeshift. Often enough it is full of promise in the plan, but when the
necessary cuts have been made the result in execution looks little better than a
warehouse. The structural use of web-bricks with due regard to texture, bond,
and jointing, combined with up-to-date use of concrete for bearing parts, yields
an ideal solution of the whole problem.
We, who are accustomed to live in frame buildings, the makeshift of the
pioneer, have little perception of the fire risks we run. A generation hence the
idea will be unthinkable. The notion of a "home" with nothing in it but what
can be replaced out of the insurance money is about the surest sign of a raw
and crude community that I know of. With thin, light, fireproof and artistic
walls made easy by the new form brick, I see far more promise in the line of a
small fireproof house worth living in and looking at than in Mr. Edison's muchtalked-of proposal.
So far we have shown the web-brick in its smallest dimensions. Figure 9
shows that a double cellular wall with staggered openings elongated by filler
bricks has multiplex possibilities for concealing columns, supplying ventilation,
and all manner of ducts and conduits. Another form of web-brick yields a 13inch wall with much larger voids and this brings us to consider the regular*
construction of reinforced concrete.
Figure 10 shows in a generic way how web bricks combined with common
bricks can be built up at once into the "forms" and the finish of any kind or type
of building. When the bricks have been set in cement mortar around the rein
forcing a perfect "form" is ready for pouring at the full height of one story.
The pressure of the wet concrete forces the aggregate into every joint. The
adhesion upon the cement setting is perfect and the surrounding wall, which is
also the "form" becomes an integral part of the column with its core of rein
forcing.
92
0anM Frame
Figs. II and 12.To indicate how simply the new brick adapts itself to door and window openings.
It is unnecessary to show more details except to indicate how simply the
new brick adapts itself to door and window openings as shown in figures 11
and 12.
Regarding the question of exterior finish and the use of historic bonds, the
new brick lends itself to the possibilities of all those found in old work, includ
ing surface patterns and diaper designs of endless variety.
Fig. 1j."An interesting version of an old wcll balanced Flemish bond." Can be laid twice as fast as
ordinary Flemish walls.
.^ltu.ui
93
In figure 13 an example is shown of a specially designed brick with a front

stretcher webbed to a header of one-third the area. The result is an interesting
version of an old, well balanced, Flemish bond. There is no limit to the varia
tions and developments possible in the hands of a designer familiar with the
best examples of historical brick work.
To sum up, this new wall construction combines the mechanical advantages
of concrete, and the insulating properties of hollow tile, with the surface quali
ties of the best brickwork. It reconciles the conflicting claims of clay and
cement. It is a highly ingenuous and well-developed conception of much more
than ordinary scope and flexibility. It saves time, space, labor, and material.
"It saves time, space, labor and material.

It solves one of the hardest problems of the day, which is to supply the "forms"
and the finish for concrete in one simple operation. It makes a special appeal
to the architect for all these reasons and because it comes just at the time when
the true meaning and beauty of brick work is receiving the recognition that is
its due. For now more than ever, our most intelligent designers are drawing
inspiration from the splendid traditions of England, Italy, and the Netherlands,
whose craftsmen of old were masters of tones and textures only possible in
the beautiful art of brickwork.
*
Ralph Adams Cram Joins Tech Department of

Architecture
President Maclaurin, of the Massachusetts Institute of Technology, an
nounces the resignation of Professor James Knox Taylor of the Department of
Architecture. Professor Taylor's resignation has been made the occasion of a
change of the organization as well as of the personnel of the department. Pro
fessor Taylor's place as Senior Professor of Architecture has been filled by the
appointment of the distinguished architect, Ralph Adams Cram. Mr. Cram will
continue the active practice of his profession and his presence in so important
a position on the faculty will ensure that the school is kept in close touch with
the problems of the day and the needs of the profession. Professor William H.
Lawrence, a graduate of the Institute, who has for many years been Professor
of Architectural Engineering in the Department, will assume the position of
Chairman of the Department of Architecture and will be responsible for the
administrative routine.
94
ALBERT
PISSIS, F. A. I. A.
ALBERT PISSIS, one of the best known architects on the Pacific

Coast, died of pneumonia at the St. Francis hotel in San Francisco
on the night of July 5th, after an illness of less than a week. His
death was a great shock to his friends and associates, he having been at
his office but a few days previous. He is survived by a widow and daugh
ter, Miss Ethel Pissis; a sister, Mrs. Eugene Gallois, and two brothers,
Eugene and Emile Pissis, all of San Francisco.
Mr. Pissis ranked with the first in his profession. He was probably
best known because of his partiality for the classic, a style that he followed
almost exclusively, and which is now being adopted by many architects as
the most suitable for modern use.
The Emporium and Flood buildings were his two largest commissions.
The original Emporium was built some eighteen years ago, and looks to
day, as far as external appearance is concerned, the same as when first
erected. Although the interior was gutted in the big fire, the Market
street facade remained intact and is the same now as before the conflagra
tion. It is interesting to note in this connection that after the fire an
attempt was made to pull down the front walls, but without success. In
designing the Emporium, Mr. Pissis successfully provided ample glass
show space, and at the same time preserved the monumental solidity of the
facade.
The Flood building, covering practically two 50 vara lots, is the largest
office structure in San Francisco. It is built along classical lines. Both
the Emporium and the Flood buildings are of stone, with which material
Mr. Pissis was probably more familiar than any other California architect,
his first experience with it dating back to the construction of the old
Hibernia Bank building at Jones and McAllister streets. Here granite
was used for the entire building. More recent examples of stone con
struction are the Mechanics' Institute building on Post street, the Anglo
and London Paris National Bank, the Mercantile Trust, and the Antoine
Borel bank buildings, all of granite; the Lane Medical Library and the
Sherith Israel Synagogue, of sandstone, and numerous smaller structures.
In terra cotta Mr. Pissis designed the White House, which cost close
to $1,000,000; the Roos Bros, building and the Bank of Eureka, California.
In residence work Mr. Pissis designed President Wheeler's house at
the University of California, Dr. Barkan's house on Laguna street, San
Francisco and the Posadas residence in Sacramento street, San Francisco,
all three of stone.
While Mr. Pissis participated in a number of competitions, he was not
particularly enthusiastic about them, and consented to enter them only
when personally requested to do so. He won the Hibernia Bank, Anglo
and London Paris bank and Mercantile Trust commissions by competition,
and while his plan for the Pacific Union Club was the first choice of the
judges, the building as erected is not according to his design.
Mr. Pissis was one of the five architects appointed by the PanamaPacific Exposition directors to prepare a scheme for the selection of archi
tects to design the principal world's fair buildings. He was also honored
by appointment on a commission to report upon the advisability of restor
ing the old San Francisco City Hall. The commission advocated tearing
down the structure, which recommendation was eventually followed. He
ALBERT PISSIS
served as president of San Francisco Chapter of the American Institute of
Architects, and was a Fellow of the Institute. He was also a member of
the San Francisco Society of Architects, the Bohemian and the Pacific
Union clubs.
Mr. Pissis was born in Guaymas, Mexico, in 1852, and was the son of
Dr. J. E. Pissis. He was but six years old when his family removed to
San Francisco. He studied in the Ecole des Beaux Arts in Paris under
Gaudet, and upon his return entered the San Francisco office of William
Mooser, Sr.
Mr. Pissis commenced the practice of architecture for himself some
forty years ago, his first large commission being the brick warehouse, now
standing at the foot of Van Ness avenue.
Mr. Pissis was a man of dominating will power ; a man whose charac
ter and personality were very strongly impressed upon his associates. He
was naturally reserved, even with his closest friends, but was frank to
express his opinion when occasion demanded, even to the extent of criti
cising his own work.
Mr. Pissis' success as an architect is attested by the fact that he is
reported to have been the wealthiest member of the profession in San
Francisco. Just what disposition will be made of his business has not been
determined, but for the present the office will be retained in charge of
Morris M. Bruce, who was associated with the deceased for more than
fifteen years.
95
96
P. P. I. E.
Copyright,
PALACE OF HORTICULTURE, PANAMA-PACIFIC

INTERNATIONAL EXPOSITION, SAN FRANCISCO
BAKEWELL & BROWN,
ARCHITECTS
This is the largest hemispherical glass dome existing. It is 186 feet in height and I$2 feet in
diameter. The diameter of the Pantheon at Rome was 142; that of the Duomo of sta Marie del
Fiore at Florence /1p; United States capitol, Washington, D. C, 135^; while the famous dome
of St. Peter's in Rome is tjy feet in diameter. The Palace of Horticulture itself is /xm feet long
and jqj feet wide and in its architecture resembles the famous Mosque of the Sultan Ahmed I.
97
PptUMtMARY Plan - row fie^RRoTT-if-Co- . Panama*Pacjfk -H'xFQjmoN

Saw PRAwctico . JPJ5 -
Contractors' Equipment at the Panama-Pacific

Exposition
THE above diagram shows what one enterprising San Francisco contractor's equipment
house is going to do at the Panama-Pacific Exposition next year. It is really a
remarkable lay-out and one that will probably go on record as without precedent. Eight
great enterprises of the East and two from California will join with their San Francisco
representativesParrott & Co., in making this exhibition possible. Each concern will
have enough equipment and machinery on the ground to show just what can be done with
their respective lines. A practical demonstration will be given in each case. The space
alloted to Parrott & Company will be at the extreme end of the great machinery hall
some 5,500 surface feet. The exhibitors will be as follows :
T. L. Smith Company, Milwaukee, Wis., concrete mixing machinery.
Owen Bucket Company, Cleveland, Ohio, clam shell buckets.
Clyde Iron Works, Duluth, Minn., hoisting engines and derricks.
Ceresit Waterproofing Co., Chicago. 111., waterproofing compound.
Russell Grader Mfg. Co., Minneapolis, Minn., grading and road machinery.
C. H. & E. Mfg. Company, Milwaukee, Wis., portable saws, pump hoists, etc.,
and general contractors' equipment.
American Safety Device Co., New York, patented safety scaffolds.
St. Louis Steel Foundry, St. Louis, Mo., manganese track special work.
Concrete Appliances Co., Los Angeles, Cal., patented concrete distributing
system.
Collins Studding Co., San Francisco, Cal., interlocking studding and suspended
ceilings.
The Concrete Appliances Company will have its towers and gravity system in actual
operation, showing just how the concrete is conveyed by gravity from the mixer to the
forms.
The Collins Studding Company will show its fireproof metal studding as it is erected
for partition work in Class A buildingsa studding that has given splendid results wher
ever used.
98
The American Safety Device Company will exhibit its patented safety scaffolds erected
just as they were used in the construction of such buildings as the L. C. Smith structure
in Seattle and the Hobart building in San Francisco.
A water temple will be featured by the Cement Waterproofing Company. This will
be constructed of concrete, eighteen feet high and an accessible drinking fountain will be
sure to attract the crowds.
Specially interesting exhibits will be worked out by all the other firms.
It is a matter of considerable interest to draw attention to the wonderful growth of
the Parrott contractors' equipment department. In four years the business has been
developed from practically nothing to a volume that this year bids fair to exceed the
$100,000 mark. The equipment line is in charge of Mr. L. E. Boyle, whose work is highly
praised by President R. H. Menzies.
NORTH CONGREGATIONAL CHURCH, BERKELEY, CALIFORNIA

James W. Plachek, Architect
A Church in the Bungalow Style

A RADICAL departure in church architecture has been taken by Architect
James W. Plachek of Berkeley in his design of an edifice for the North
Congregational church in the University City. The plan is unique in
that the architect has endeavored to follow the low, sweeping lines of the
bungalowthe predominating type of residence architecture in Berkeley. The
church fits in admirably with its surroundings. The exterior is of cement plas
ter on metal lath, and the interior is finished in redwood and plaster. The
auditorium will seat 500 persons. The church cost complete with pews and
furnishings $15,000.
INTERIOR NORTH CONGREGATIONAL CHURCH, BERKELEY

99
100
GARAGE FOR MR. E. H. MICHAELS, MILL VALLEY

FALCH & KNOLL,
ARCHITECTS
First of a number of plans of inexpensive private garages that will appear in tttjs magazine.
101
An Interesting Oil Burner Contest

ARCHITECT E. C. HEMMINGS of Sacramento, in writing the specifica
tions for the Vocational High School building of Sacramento, specified
"Fess System Centrifugal Rotary Crude Oil Burner or Equal" oil burner.
It was proposed to install Simplex centrifugal rotary crude oil burners,
claiming same to be not only equal, but superior, to the Fess. The Fess people
challenged this statement and invited a comparative test, the loser to forfeit
$100 to the School Board, and pay all costs of the test. The following agree
ment was entered into :
E. C. HEMMINGS,
Architect.
I
Sacramento. 1203 J St., April 17, 1914.
To the High School Board of the Sacramento City High School District:
We hereby agree to make a test of oil hunters at the new Vocational High School
building. Said tests to be made as follows and as soon as possible :
A committee of three persons to be appointed ; one person to be appointed by the
president of the Board of Education.
One person by the Fess System Co.
One person by the American Heat & Power Company. These three persons
to act as a committee to hold an efficiency test of the oil burners.
Also to test out the general construction of the burners and their parts.
The Fess Company is to make the ftrst test. The American Heat & Power Com
pany is to make the second test.
In making these tests the general construction of the burner and its parts to be
taken into consideration, as well as efficiency.
These tests are to be a contest to determine the best oil burner to install in the
Vocational High School.
The loser of this contest agrees to pay all expenses of the test
The Fess Burner Co., and the American Heat & Power Co. each agree to deposit
a certified check for $100 made out to the order of the Board of Education.
The loser of the contest is to forfeit his check to the Board of Education, to be
used by the Board as it may see fit.
(Signed) Fess System Co.,
By H. L. Delancy.
Amer1can Heat & Power Co.,
Accepted :
By J- G- Weigand.
Htgh School Board of Sacramento Ctty Htgh School Dtstrtct.
By E. C. Hemmings, for E. J. Carraghar, President.
Under this agreement the High School Board appointed Albert Givan, City
Engineer of the City of Sacramento; the Fess System Co. selected W. E.
Leland, of Leland & Haley, consulting engineers ; the American Heat & Power
Co. selected W. D. Scovill, heating contractor.
This committee of three each selected an assistant to check the figures on
the test.
The boiler used in the tests was an S-36-6 Sectional Ideal American radiator
boiler, which has a rating capacity of 2625 sq. ft. steam radiation, installed in
the new Vocational high school, Sacramento; said building having an actual
steam radiation of about 2100 sq. ft.
We give the reports of W. E. Leland and W. D. Scovill, also that of City
Engineer Givan. It is apparent that the engineers appointed by the oil burner
companies construed their duty as that of advocates rather than judges, and it
was therefore left to City Engineer Givan to assume the responsibility of the
real judicial decision.
The following is a summary of the findings of W. E. Leland. appointed by
the Fess System Co.. to which is appended any exceptions taken by W. D.
Scovill, for the American Heat & Power Co.
FirstThe Fess burner was tested first and was operated all told, including
the test, for about three and one-half days. The Simplex burner was tested
102
after the completion of the first test and was operated all told for about nine
days. It is to be noted that in the case of the Fess burner the boiler and cover
ing were green and had to be dried out during the preliminary runs and the
requirements as to load and operation were not known in advance of the test.
In the case of the Simplex burner the covering was all absolutely dry and all the
test conditions were known and could be accurately met.
Simplex's exception to above:
The Simplex Burner, which was regulated entirely by means of the automatic
regulating valve, came within 28 sq. ft. of the boiler rating on medium fire, while the
minimum fire was adjusted so as to give quite an appreciable range below either the
boiler or building rating.
Concerning length of preliminary tests and order of tests : The order of tests
had been determined by lot.
The covering of boiler was dry long before the final tests of the Fess burner
were made.
SecondThe Simplex burner showed soft carbon all around the furnace at
the end of the run at average load and a ring of hard carbon one-quarter inch
thick had formed around the entire crcumference of the fire box, above the bot
tom of same.
The Simplex burner did not show "soft carbon all around the furnace" at the
end of average load, as stated; a very small amount of carbon was found on circle
wall at end of the average run.
ThirdDuring the tests of the Fess burner there was no undue noise, either
in the operation of the machine or in the combustion of the oil in the fire box.
In the case of the Simplex burner there was a decided intermittent concus
sion in the furnace during the test at average load, and this increased to an
almost constant roar during the maximum test. During the tests the check
draft damper at the rear of the boiler was held in place with a 10-inch Stilson
wrench clamped on to the damper catch. It was also noticed that the shaft
was not running true.
Simplex's exception to above :
Regarding noise of combustion, there is very little difference between the Fess
and the Simplex burner. A slight rattle developed in the ring oiler of the Simplex
motor during the maximum test.
Fess' statement that "it was also noticed that the shaft was not running true" is
incorrect. Every Simplex machine is tested several days for alignment and general
operation under working conditions before it leaves the factory.
FourthAt the completion of the set of tests on the Fess burner, the entire
machine and burner were dismantled and entirely removed from the boiler in
an interval of 17 minutes and within 27 minutes from the time the fire was
extinguished at the end of the test. This was done without, in any way, injur
ing the furnace lining.
This could not be done in the case of the Simplex burner, as it was impos
sible to remove the head without getting into the furnace, and the gear box
could not be removed without entirely destroying the fire brick lining and
furnace.
The Simplex burner has no head. The burner can be easily dismantled by taking
off cup, collar, fan, and fan casings, through the fire box, and it is only necessary to
disturb a little of the high heat cement adjoining the collar. The rest of the machine
is pulled out through the ash pit door. The fire brick lining of the furnace is not
disturbed or injured.
FifthAn examination of the curves shows that the Fess burner is of larger
capacity than the Simplex burner, its point of greatest efficiency being about
103
17 per cent greater in load than the Simplex burner. It also shows that the
efficiency of the Fess burner rises slowly as the load increases and drops off
slowly as the load increases beyond the maximum efficiency point of the burner.
While the point of greatest efficiency of the Simplex burner was 17%, or more
correctly 19.27% below that of the Fess burner, it must be borne in mind that the
efficiency of the Simplex burner was still 1.07% above the boiler rating, or 26.33%
above the building rating, against Fess burner, 20.34% above boiler rating, or 50.43%
above building rating.
SixthIn comparing the curves it must not be forgotten that the Fess burner
operated free from smoke and carbon and that the Simplex burner showed
smoke and decided carbon at its maximum test, indicating that at this point it
was considerably above its proper capacity.
Simplex's exception to above:"
The Simplex burner showed a maximum evaporation of 14.315 lbs. at medium
fire; 1.07% above boiler rating against Fess 14.186 lbs. at medium fire, 20.34% above
boiler rating.
SeventhIn considering the question of stack temperatures, it will be seen
that the stack temperature rises proportionately to the increase of load on the
boiler and all of the six points plotted are almost exactly on the line of the
curve; showing that the stack temperature is a condition determined by the
boiler alone and has no relation whatever to these burners.
With reference to stack temperature, the Simplex burner showed a much lower
stack temperature at a higher equivalent evaporation, and a somewhat higher room
temperature, and therefore higher temperature outside.
To the above report W. E. Leland attaches the following letter from the
Fess System Co., also the appended tabular report of findings :
San Franctsco, May 19, 1914.
Messrs. Leland & Haley.
,
Gentlemen :For your information beg to say that we have installed 906 of our
Fess System Rotary Crude Oil Burners on the Pacific Coast, of which 744 are
installed in the State of California.
Very truly yours,
Fess System Company,
By Delaney, H. L. (Signed)
TABULAR REPORT OI. W. E. LELAND
Rating
of
boiler,
2625
sq.
ft.
Low fire2-hour test.
tESS
Stmplex
Total oil used
78 lbs
56
Total water used
113 gals.
76
Temperature of feed
59
66
Temperature of boiler room
78
84
Temperature of stack
490
440
Developed load in square feet .
2186
1460
Per cent, of rated load
83
55.5
Equivalent evaporation
14.010
13.034
Carbon in furnace
Trace
None
Smoke at top of stack
None
None
Noise of combustion
None
None
Medium fire3-hour test.
Total oil used
167 lbs.
139
Total water used
245 gals.
207
Temperature of feed
59
65
81
87
580
525
Developed load in square feet
3159
2653
120
101
14.288
14.316
Carbon in furnace
Trace
Soft and hard
None
Trace
Noise of combustion
None
Very noticeable
104
Heavy fire3-hour test.

Total Oil used
184 lbs.
173
Total water used
269 gals.
252
Temperature of feed
60
64
83
90
630
590
Developed load in square feet
3465
3233
132
123
14.123
14.017
Carbon in furnace
None
Very bad
None
Thin blue
Noise of combustion
None
Very heavy
Maximum range of burners in sq. ft
1279
1773
Maximum range of burners in sq. ft., without smoke or carbon
1279
1193 apnrox.
The findings of W. D. Scovill, appointed by the American Heat & Power
Co., ("Simplex" System) to which are appended any exceptions taken by Mr.
Leland, are as follows :
FirstThat the actual steam radiation of said building is about 2100 sq. ft.
Fess' exception to above :
The amount of radiation in the building, namely 2100 sq. ft., is immaterial in this
connection and has no bearing whatsoever on the tests made or the results thereof.
In numerous places throughout this report this fact is referred to and given weight
in various ways. All of these references should be disregarded entirely.
SecondThat the heating engineers and architect have installed an S-36-6
Sectional American Radiator Co. boiler, which has a rating capacity of 2625
square feet.
ThirdThat the Fess System Co. designated as best adapted for said boiler,
their Fess burner No. 5^4, with a claimed steam rating of automatic adjustment
of 2000 to 3000 sq. ft. of radiation.
FourthThat the eight-hour test held on April 29. 1914, showed that said
Fess burner had a capacity adjustment of 2186 to 3465 sq. ft. of radiation by
means of hand-controlled valve,the scope of automatic valve not being shown.
In all these paragraphs automatic regulation is claimed. This is not a fact and
no automatic control was used whatever in any of the tests and the capacity of each
burner was determined by hand and not by means of automatic regulating valve.
FifthThat the American Heat & Power Co. designated as best adapted to
said boiler, their Simplex centrifugal rotary burner No. 7, with a claimed steam
rating of possible adjustment of 800 to 6793 sq. ft. of steam radiation.
The test showed a rating between 1459 and 3233 sq. ft., the lower limit being
nearly 100% above and the higher limit being nearly 50% below the estimated rating.
In the case of the Fess burner referred to in Paragraph IV the test showed a range
slightly exceeding the stated rating.
SixthThat the eight-hour test held on May 13, 1914, proved that said
Simplex centrifugal rotary burner had a capacity adjustment of 1460 to 3233
sq. ft. of radiation, by means of its automatic regulation valve.
SeventhThat said test showed at minimum fire :
Fess, 14,008 lbs. of water from and at 212 deg. F. per lb. of oil.
Simplex, 13,034 lbs. of water from and at 212 deg. F. per lb. of oil, or an
evaporation in favor of the Fess System of .974 lbs. of water from and at 212
deg. F. per lb. of oil. Minimum of Simplex being 726 sq. ft. of radiation below
Fess.
Paragraph VHGives comparative data at the nominal boiler rating of 2625 sq.
ft. No tests were made at this load and data in connection with this load is purely
theoretical and should have no consideration with the results obtained. Throughout
the report this fact is referred to several times and in every case it has no bearing
on the matter and should be disregarded.
105
i
||
|
~
-
106
The Architect arid Engineer
EighthThat said test showed at medium fire :

Fess, 14.186 lbs. of water from and at 212 deg. F. per lb. of oil.
evaporation in favor of the Simplex of .129 lbs.
NinthThat said test showed at maximum fire :
Fess, 14.124 lbs. of water from and at 212 deg. F. per lb. of oil.
evaporation in favor of Fess of .108 lbs.
TenthThat at full rated capacity of said boiler, viz., 2625 sq. ft., said test
showed from curves :
Fess evaporated approximately 14.17 lbs. of water from and at 212 deg. F.
per lb. of oil.
Simplex evaporated approximately 14.31 lbs. of water from and at 212 deg.
F. per lb. of oil, showing an evaporation in favor of Simplex .14 lbs. of water
per lb. of oil.
EleventhThat said test showed maximum over load on boiler above boiler
rating :
Fess, 32%.
Simplex, 23.16%.
TwelfthThat said tests showed adjustment below boiler rating:
Fess, 16.72% (hand valve).
Simplex, 44.387o (through automatic valve).
Paragraph XIIThe revised figures show an evaporation of .129 in favor of the
Simplex burner at the medium fire and not .143, as stated therein.
ThirteenthThat said test showed a wider range of adjustment below rated
boiler capacity in favor of Simplex of 27.66%.
FourteenthThat said test showed Fess burner only reached a minimum
of 2186 sq. ft. of radiation, which is above the 2100 sq. ft. of radiation, the
actual radiation on building, and Simplex reached a minimum of 1460 sq. ft. of
radiation and had a range of adjustment of 30.48% below the actual radiation
of building.
FifteenthThat said test showed a stack temperature in favor of Simplex :
50 deg. cooler on minimum fire.
55 deg. cooler on medium fire.
40 deg. cooler on maximum fire.
Paragraph XVStates that the stack temperatures showed in favor of the Simplex
System. This is not the case, as the stack temperatures are a boiler function only
and have absolutely nothing to do with the burners. Reference to the stack tem
perature curve and our original report clearly shows this fact.
SixteenthThat the general construction as to simplicity, durability, power
required to operate, and quality of material generally, is all in favor of the
Simplex.
This statement is far too broad to be given any consideration in this report, and
it simply states the writer's private opinion.
107
REPORT OF CITY ENGINEER ALBERT GIVAN

Sacramento, June 26, 1914.
After carefully going over the reports submitted, I have arrived at the following
conclusions :
The two burners tested were of the centrifugal type. As a matter of explanation
before proceeding further, I might explain that the reason that centrifugal types of
burners are manufactured is primarily on account of their economy of operation, for
instance, the operation of steam-driven oil burners which are more readily adapted
to ordinary furnaces, require a great deal more power to operate them. In steam
plants, this runs from 3z/i to 5% of the total boiler capacity. The cost of operating
the burners of the centrifugal type, runs from l'/i to V/2%. Therefore in adopting
any burner of the centrifugal type, it is necessary to take into consideration economy
of operation.
From the evaporating test as shown, the difference in economy of the two plants
over the range which they were tested, is very little, but slightly in favor of the
Simplex under one load, and slightly in favor of the Fess at another load. It is my
understanding that this test was a test for this particular furnace and from the
curves as enclosed in a report from the Fess Company, dated May 19, and June 4,
1914, it is shown that the Simplex oil burner has a much wider range in capacity than
the Fess oil burner. As a matter of fact, the Fess oil burner tested for this plant, on
account of the range in capacity, would not be a desirable installation. In moderate
weather we would have a heavy intermittent fire to take care of the building, instead
of a constant low fire.
I am submitting reports together with curves handed to me by these people.
As regards the general construction of the machines, they both have very desir
able features and there is little choice between them.
The Simplex burner is more compactly and rigidly constructed. The general de
tails of the machines and the quality of material in the two apparatus are very
similar.
There is no question but that it requires less power to operate the Simplex oil
burner than the Fess oil burner, but as no record was kept of the power used during
this test exact figures for comparison cannot be herewith transmitted to you.
A test on this point (in case there is any argument on this phase of the question),
should be taken up and settled.
In consideration of the fact that this test was primarily for the installation of an
oil burner for this particular furnace, and for this particular high school, I recom
mend that the Simplex oil burner be installed.
Yours very truly,
Albert G1van, City Engineer.
The reports of the three experts, together with various tables, charts, etc.,
were received by the Sacramento Board of Education and referred to the Presi
dent of the Board for final action.
*
*
i .
Buildings of the Future to be Made of Glass?

The architecture of the future will be interpreted, not in wood, stone or con
crete, but through the medium of glass with the result that the world will be
inhabited by a uniformly happy race living under the good influence of light.
This is the opinion of the well-known writer, Paul Scheerbart of Berlin, who
prophesies as follows :
"The houses will be of glass, with all wood eliminated. The furniture will
be of wrought iron, and the framework of the buildings will be of iron, rust
proof, while the walls will be of double glass, to insure warmth, and of many
colors, in order to baffle inquisitive persons. The buildings will be heated by
electricity and the walls decorated in Tiffany majolica effects. There will be
glass garden houses where one may live in the sunshine by day and the starlight
by night." Herr Scheerbart draws a fascinating word picture of a city, with
stores, churches and public buildings of glass, all brilliantly lighted in many
colors. Bruno Tarut, the architect, built a palace along these lines at the
Cologne exposition.
108
Decorative Possibilities of Hand-hammered

Bronze and Copper
THE art of hammering images, busts, designs,

etc., out of metal, was well known to the
Egyptians, Greeks and Romans of classic
, times, and the work of the old masters of those days,
when Repousse Work was considerably used for
decorative purposes, is now greatly admired and
valued by collectors of antiques, who frequently pay
large sums for the more cherished specimens, most
of which are now found in the museums of Europe as well as in this
country.
Recently there has been an enthusiastic revival of this work and its great
value is now fully recognized as an artistic and lasting decoration for the
interiors of churches and
other public buildings,
and the residences and
apartments of the most
exclusive and wealthy
people.
For the interiors of
the best clubs nothing
could be more appropriate than a hand-hammered bronze or copper
bust or bas-relief of its
founder or of a design
representative of the
club which could be
placed in a prominent
position in the library
or reception room,
Copper or bronze ornaments, b ri c-a-b rac,
etc, outlast the owner
and can be passed along
from generation to generation, and for a wedding or anniversary
present nothing is more
pleasing than a piece of
hand-hammered bronze
or copper, being especially unique and valuable
as every piece represents
an original.
The accompanying
plates show some of the
repousse work executed
in the local studios of
the San Francisco Metal
""'
Stamping & Corrugating
Co. These excellent examples give only a faint idea of the possibilities of
this class of work for decorative purposes. It is the only studio of its kind in
the West, and the work is not surpassed by even the great artists of Paris and
Berlin. Mr. Hans Jauchen, former instructor in the Art Metal Department of
the University of California, is associated with Mr. Theophile Lahaye in the
conduct of the hammered bronze department.
URN
Hand Hammered in Copper
Antique Bronze Patina
109
110
HIGHLY DECORATED DOOR

Light
DOOR
Hand Hammered in Heavy Copper

Dark Brown Patina.
From Architect's Design
Hand Hammered in Heavy Copper

Bronze Patina. From Architect's Design
111
112
THE
Arrhitrrt anil Ennttwr
OF' OAUPORNIA
Published Monthly In the interest* of the
(Includtng
all parts
of the; toUntted
Statespotnts
$1.50
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annum ;postage)
to Canadato 50c
addtttonal
all Foretgn
51 addtttonal.
Vol. XXXVII. July, 1914
No. 3.
ASSOCIATE EDITORS
S Inspectton
Wm. B. Gf.stf.r. I and Tests
Lokf.n E. Hunt, C. E.
^"fVt^cI ! Fireproof Construcuon
f?:j.WB,SC,tf
Structural Steel
AthOL
McBKAN
)
d
-.i
tv/a*
7V*r*
W.E. Denntson [Brtck- rt!?'ut Terra
Howard Frost. 1
Lorta
G. B. Ashcroft. C. E. * Artificial Stone
Harry Mackenzte
Larktn - -. I^ô/s
jc**/* j
J.K.D.
and Roofing
Fred M. Woods. Jr.. . Rock and Gravel
C. Walter Tozer - - Interior Decoratton
Wtlbur Davtd Cook. LandscapeArchitecture
T. C. Kterulff Legal Points
Paul C. Butte
Electrical Constructton
ARCHITECTURAL
Fnd H. Meyer
F. D. Hudson
Edward T. Foulkes
C. Sumner Greene
.Alfred F. Rosenheim Ralph W. Hart
E. H. Hildebrand
Maxwell G. Bugbee
Kenneth MacDonald.Jr. Clayton D. Wilson
Houghton Sawyer
Almeric Coxhead
John G. Howard
Harrison Albright
Arthur Brown. Jr.
John Parkinson
W. J. Cuthbertson
T. J. Welsh
Chas. P. Weeks
A. W. Smith
Octavius Morgan
William H. Weeks
H. Alban Reeves
Chas. W Dickey
J. C. .Austin
Henry C. Smith
CONTRIBUTORS
Wm. A. Newman
Smith O'Brien
Jas. W. Reid
H. F. Starbuck
J. Harry Blohme
Nathaniel Blaisdell
Herman Barth
W. T. Bliss
William Mooscr
Arthur O. Johnson
Robert Morgeneier
Herbert E. Law
B. J. S. Cahill
Hon. Jas. D. Phelan
John Galen Howard , F. A. I. A.
Louis C. Mullgardt
E. M. C. Whttney .
Fredertck W. Jones
Manager
Managing Editor
Down in Southern California (in

Tulare county, to be explicit) there is
a contractor posSHOULD CON
sessed of a very
TRACTORS PAY A pronounced
DEPOSIT FOR USE grouch. His name
OF PLANS?
is Oscar Parlier
and he is probably the best known and
most reliable builder in that section
of the State. His complaint is against
the Supervisors and some of the
county surveyors whose policy of re
quiring a cash deposit for the use of
plans and specifications when bidding
on work, is considered by Mr. Parlier
to be entirely uncalled for and little
short of "extortion."
To quote the contractor :
I know of two counties that advertised for bids
on highway bridges, and when the contractor
applied for a set of plans and specifications he
was charged $20.00 for the plans. In other
words, the contractor is required to pay $20.00
for the privilege of bidding on a public job. Of
course the plans are of no use to him unless he
gets the job. In fact, he would not be permitted
to use the plans on another job if it was his de
sire to do so.
You may look at this system from any angle
and it borders very near to graft. In some cases
the Supervisors will tell the contractor that this
charge is made in order to pay their county sur
veyor, as the county does not pay him for his
engineering services, and he must be paid by
some one.
Now I want to say that any county that is
able to build highway bridges by the dozen is
able to pay their surveyor for his services instead
of resorting to this kind of pettiness.
I will call attention to one recent case in
Madera county. The Supervisors called for bids
on a number of bridges, and there were 25 con
tractors from all over the State who applied for
plans. Each of these 25 contractors was charged
$20.00, with no refund, to be allowed to take a
set of plans to his office. Tins would make a
total sum of $500.00 which was extracted from
the contractors at large, to pay Madera county
engineering fees, or pay something else that the
contractors should not have to pay.
This thing of charging the contractor for plans
is all wrong. It is putting a county's expense
where it does not rightfully belong. A contractor
has enough risk ana expense when he figures a
job of this kind without being charged for the
chance to figure. One of the answers you could
expect to receive from clerk of the Board of
Supervisors, if you should dare question their
system, would be that there is a set of the plans
in the county clerk's office and a contractor can
go there and figure them. But this set of plans
is merely an excuse, as no contractor is going to
make his headquarters in the county clerk's office
long enough to figure 8 or 10 sets of bridge
plans, and should a contractor attempt such a
thing I will venture to say that he would be
invited to leave the office after the first day.
Then they might say that a contractor does
not have to buy the plans and figure the job if
he does not want to. Verv true, hr does no*, but
they know he will, so this excuse should not
relieve the conscience of an honorable board.
The contractor of today works alone, he has
no organization, as he should have, to look to for
protection. When his equipment is laying idle
and he is in need of work he would pay even
more than $20.00 for an opportunity to get a job.
I will venture to say that more money is being
lost today in the contracting game than is being
made, and this latest system of taking the money
away from the contractor before he is awarded
the contact is deplorable.

Of California
Single Copies.
$1.50 per Year
25 Cents
Issued monthly tn the Interests of Archttects, Structural Enelneers. Contractors and the Allted Trades of the Pactftc Coast.
Entered at San Franctsco Post Otfice as Second Class Matter.
Contents for August

PAGE
ENTRANCE, SANTA EOSA HIGH SCHOOL
Frontispiece
William H. Weeks, Architect
SCHOOL ARCHITECTURE IN CALIFORNIA
47
With Abstracts of a Special Report by C. H. Cheney
THE ONE STORY SCHOOL HOUSE
69
PRESENT-DAY TENDENCIES IN SCHOOL ARCHITECTURE
71
Normand S. Fatton, Architect
ARTIFICIAL CAEN STONE IN THE OAKLAND CITY HALL
81
George Frederic Ashley
HOW CAN AN ARCHITECT GET NEW BUSINESS?
87
Charles E. White
ENAMELED BRICK POPULAR FOR FACING LARGE BUILDINGS
91
MORE ANENT THE CALIFORNIA STATE HIGHWAYS
96
Nathaniel Ellery, C. E.
THE MODERN ARCHITECT
100
THE STEEL AND IRON INDUSTRY OF THE PACIFIC COAST . 103
SOMETHING ABOUT TERRAZZO FLOORS
108
Charles R. Marsh
IN MEMORIAMALBERT PISSIS
Ill
W. Garden Mitchell
EDITORIAL
112
114
- 118
THE EDITOR'S MAIL
120
MUNICIPAL ENGINEERING
124
BY THE WAY 128
REVIEWS OF RECENT BOOKS
134
C. H. Cheney
CURRENT PRICES OF BUILDING MATERIAL
.... 136
[Index to Advertisements Pape 8]
Frontispiece
of California
August, 1914
ENTRANCE, SANTA ROSA HIGH SCHOOL

SANTA ROSA, CALIFORNIA
WILLIAM H. WEEKS,
ARCHITECT
THE
Architect
and
Engineer
Of California
Vol. XXXVIII.
'
AUGUST, 1914.
No. 1.
School Architecture in California

Never before has school architecture received so much careful thought as
the present day. School boards no longer rely upon the versatility or incompe
tency, as the case may be, of the carpenter-architect. Time was when an attractive
perspective in ivater colors and a glib tongue of an enthusiastic designer were
sufficient to win a commission. But things are done differently today. The
school trustees study the situation closely, visit other schools for ideas and then
select an architect whose reputation in school ivork is recognised. Some school
boards conduct competitions, but this method is not popular, cither with the
authorities or the competitors, except in rare instances. In the succeeding pages
will be found examples of California schoolsall of them built within the last
half dozen yearsand they represent the best that money and talent can provide
fireproof, many of them, well ventilated, splendidly lighted, sanitary. The examples
range from the modest open-air frame country school house to the pretentious,
Class A 20-room and auditorium city building.
' HERE has been a great deal written about school archi
tecturesome of it by writers competent to give their
T views, but most of it supplied by educators who know
little and care less, about design and building construction.
Their ideas, like some of President Wilson's, are all right
theoretically, but all wrong from a practical viewpoint.
In a recent number of the National Terra Cotta Society's
Brochure, Mr. Fletcher B. Dresslar speaks of the Influence
of Schoolhouse Architecture upon the Community, and goes
on to say that this is the age of schools and schoolhouses, as
characteristically as the latter part of the Middle Ages was the period of
churches and great church buildings. In each case the faith and fervor of the
people can be read and fairly understood through a critical study of these ob
jective results and the ideals for which they stand. It will not miss the mark
very far to say that the ideals and feelings which we associate with the notion
of popular education, are becoming suffused with a glow and zeal heretofore
only found associated directly or indirectly with religious faith and religious
propaganda. And something of the same spirit that once wrought to build a
tabernacle or a cathedral, worthy of a dwelling place of the Most High, is seek
ing expression in furnishing to the youth of our land nobler temples in which
their hearts, minds, and bodies may better adjust themselves to the demands of a
practical civic brotherhood.
The problem, then, of building a schoolhouse today is in no small sense com
plicated by the growing tendency to use schoolhouses for worthy social work
of all kinds. This tendency operates to bring school work into more vital touch
with the real life of the world ; and vice versa, it is bringing the American com
munity into a more vital relation with the teachers and those who are responsible
for schools and school organization. Schoolhouses, especially in the large cities,
INTERIOROPEN-AIR CLASS ROOM. PASADENA

Elmer Grey. Architect
49
> CLASS ROOM

>
i
SCWTH
j3
ELtVATlOM
VV V
CLASS ROOM
SEXTION THRV CLASS ROOM
LOOKING NORTH
0Vrovt
SE-CTlOn THRV COVRT

LOOMNG NORTH
V V v
CLASS ROOM
PART OF WE.ST E.LLVATIGM

POLYTLCHM1C E.LE.r-1 LNTARY 5C*00!
OVT OF DOOR CLAS5 ROOH
FA3ADLMA CALIFORNIA
OLD BVILDING
5
OPEN-AIR CLASS ROOMS, PASADENA

Elmer Grey, Architect
have come to be used night and day, summer and winter ; vacation schools have
been established, in which unusual programs of work and play have been intro
duced. For their successful consummation, such programs often demand equip
ment and accommodations not needed in the regular day schools. In planning
even a country schoolhouse or village high school building, one must therefore
think not only of the present requirements but also of the possible future needs
of the community and enlarge his theories of the scope and purpose of public
school education.
The planning, designing, and building of schoolhouses is a highly specialized
business, and cannot be safely left in the hands of men who know nothing about
it. The sane and economical thing to do, even if only a one-story school building
is to be erected, is to engage the services of a capable and conscientious architect,
FRONTGRANT AND JEFFERSON SCHOOL, SAN DIEGO

Theo. C. Kistncr, Architect
PLANGRANT AND JEFFERSON SCHOOL, SAN DIEGO

Theo. C. Kistncr, Architect
PLAX OF GRAMMAR SCHOOL. SANTA PAULA

H'ithey & Davis, Architects
ARTESIA GRAMMAR SCHOOL

Withey & Davis, Architects
53
PLANARTESIA GRAMMAR SCHOOL

ll'ithey & Davis, Architects
and with him work out every detail before the plan is finally accepted. Propor
tion in such buildings is almost everything, and to secure it. plans and elevations
ought to be studied and carefully drawn, and specifications devised so explicitly
that no mistake can be made. No amount of interior decoration will offset the
bad effect of exterior ugliness. Real beauty is not expensive. The best things
are in reach of us all. Log cabins can be built as satisfying to the artistic sense
as palaces, indeed frequently more so. The planning of a one-story, one-room
country schoolhouse ought to demand, and will demand from the scholarly, well
trained, and efficient architect who is commissioned to design the building, as
painstaking consideration as a large city school.
* * *
The plates which accompany this article are taken from an illustrated book
let recently published by the State of California, Department of Public Instruc
tion. These cuts are of buildings which a special jury of architects, deemed the
best examples of California school architecture. The jury was comprised of Lewis
P. Hobart, Charles S. Kaiser and C. H. Cheney, architects of San Francisco;
John W. Woollett. then state architect of Sacramento, and John J. Donovan
of Oakland. Some four hundred photographs, drawings and blue-prints were
exhibited and from this number the committee made a selection of about thir
ty-five. In this excellent attempt to raise the standard of school architecture
in California, two things are to be regretted, which were not the fault of the
jury, nor of Superintendent Hyatt. First, -San Francisco and Los Angeles
failed to respond to the invitation to submit photos and drawings to the jury,
and second, the State Roard of Control refused to permit the architect's name
to be published under the reproduction of the building which he designed.
It must be admitted, therefore, that while the illustrations may represent
the best of the work that was offered to the jury, there are probably many
buildings that were not submitted for judgment, equal in excellence of design,
to those reproduced herein.
The following excerpts from the report of the jury, prepared by Secretary
Charles H. Cheney, will be found interesting:
When in 1909 the Superintendent of Public Instruction sent out a re
quest to the city and county superintendents throughout California for
examples of the best school architecture in their districts, there was a
prompt and hearty response, productive of a very large number of school
54
building drawings and schemes. These were later published under the title
of ''School Architecture in California, 1909."
However, while there was a great demand for this pamphlet and the
buildings embodied therein certainly did much to stimulate a further inter
est in school building, it was obvious that in getting out a new volume there
might be a great opportunity to improve the standards and character of
school architecture, if the architects of the State would co-operate in advis
ing what were the best schools to be published and thus draw only good
examples to the attention of boards of trustees, architects and school people
generally.
An advisory committee of architects was therefore appointed from dif
ferent parts of the State to act as a jury to pass on all designs and plans
submitted to the superintendent.
The Basis of Judgment
During the school year of 1912-13 there was set aside and expended in this
state for new buildings the sum of $7,372,215.18. This was distributed over
kindergartens, elementary schools, high schools and normal schools. Hence,
the importance to the state of obtaining not alone the highest practical results,
but also the best designs and architecture.
If so many buildings at such great cost are set up annually as an object
lesson to all the younger generation, is it not absolutely essential that they
should advance the highest and noblest ideas possible, that they should form
a nucleus for the patriotic sentiments of their respective communities? Should
they not help to attract the incoming population which most of this state is
anxious to have ?
LINCOLN GRAMMAR SCHOOL, MADERA

McDougall Bros., Architects
Golden Gate cement used exclusively on this building.
PLANLINCOLN GRAMMAR SCHOOL. MADERA

McDougall Bros., Architects
55
56
WILMINGTON HIGH SCHOOL

Allison & Allison. Architects
57
Place Good Buildings Where They Can Be Seen

The placing of fine schools or other public buildings to block the end of
a street receives much attention in other countries. America is just beginning
to take cognizance of this idea, owing to the checkerboard plan with which
our cities are generally afflicted.
Good architecture is one of the strongest of favorable impressions that any
municipality can make on its visitors, and if buildings can be so placed as to
call attention to the fact that the taxpayers' money is well spent, the prestige
and civic pride of the city can be greatly enhanced. The featuring of fine
schools or other public buildings stopping the vistas of long streets forms
a distinct relief to the monotony of the checkerboard street plan.
Good Architecture a Matter of Evolution
Is it right for local boards to work for anything but the highest results in
buildings which are to determine the future efficiency and health of the
generation? Should they not have at their command the best sources of
information possible and be cognizant of the latest development in school
architecture? Should public money be spent for anything but the finest
buildings possible? Good results in architecture are largely a matter of
evolution, of study, with a knowledge of the previous forward steps in
design.
It is evident that if the foremost examples of each type of school build
ing in these United States could be distributed to each member of every
board of trustees in California, they could then go on improving and making
over until we had built up a school of architecture founded upon the best
that is in existence.
The School Site
The first problem, the size of the site, is a matter which is undergoing
a tremendous change for the better in this state at the present time. The
great value of organized play and the increasing interest in the opening
of school buildings to the larger community for use after school hours, has
led to the now generally adopted idea that every school should have ten
or twelve acres of ground if possible. While the congested conditions in
some cities make this impracticable in many cases, it is still significant to
see municipalities as large as Los Angeles and Oakland purchasing such
sites.
The orientation of placing of school buildings with relation to the points
of the compass is an exceedingly important matter. A site where the gen
eral directions of enclosing streets are at an angle with the north and south
is greatly preferable in that it admits the sunlight at some time of the day
to most of the rooms of the building. The beneficent effect of sunshine as
a germ destroyer cannot be denied and must be sought wherever possible.
High ground, that is ground sloping off from the building site, is equally
important from the sanitation standpoint.
Special Rooms Other Than Classrooms.
The determination of the special rooms required, other than classrooms,
is a matter now provoking much important discussion. The assembly room
with its moving picture apparatus and other fittings is being included in
most of the new buildings in Oakland and Los Angeles, and it is generally
considered by educators a necessary and very useful adjunct to every school
building. Placed where it can be cut off from the rest of the building for use
in the evening, it can be of great service to the community both for educa
tional and entertainment purposes.
ENTRANCEWILMINGTON HIGH SCHOOL

ALLISON & ALLISON,
ARCHITECTS
|
|
-
----
[l
ENTRANCE-SANTA MONICA
ALLISON & ALLISON,
HIGH SCHOOL
ARCHITECTS
60
OPEN-AIR AUDITORIUM. MONROVIA HIGH SCHOOL

PLANMONROVIA HIGH SCHOOL

61
62
SECOXD FLOOR PLAN OF MONROVIA POLYTECHXIC HIGH SCHOOL

A community club room to be used also as a branch public library or
a possible voting booth, is another recent improvement widely accepted.
Principals' and teachers' rooms and the arrangement of gymnasia for boys
and girls, preferably in adjoining wings, form the basis for many neat ad
justments in making a good plan. Toilets must be conveniently placed with
respect to each group of classrooms and the classrooms arranged with cor
ridors on the side opposite the lighting and in such a way as to make a
short and convenient communication between the different parts.
63
ELEVATION OF LOCKWOOD SCHOOL, OAKLAND

Lewis P. Hobart, Architect
COMPLETE PLAN OF LOCKWOOD SCHOOL, OAKLAND

Reinforced Concrete Frame With Walls of Terra Cotta Blocks. Note the Open Cloister Effect.
An example of the Unit Plan10 Rooms to be Built at Pncsent, on a 17-Acrc Site
Lewis P. Hobart, Architect
The Buildings Selected For Publication.
The above outline of building requirements was briefly the basis upon
which the architects of the jury acted in considering the buildings to be
offered as examples of the best school architecture in the state. While
there is no question that a splendid lot of buildings were selected, many
of them fell short in one particular or other. However, the jury was much
delighted at the sum total of really good buildings that have already been
constructed in California and unanimously expressed the opinion that this
state has a decidedly beautiful, practical and advanced trend in its school
architecture.
In consxlering the different classes of buildings the jury was immediately
impressed by the very small number of country schools of any kind sub
mitted, although by actual count the district schools of the state greatly
exceed all others in number.
Recommendations of the Jury
There is no use overlooking the fact that there is little effective guidance
of school trustees and school people generally to secure the acceptance of
64
GRAND TOWER OF SAN JOSE STATE NORMAL SCHOOL

Slate Architect
good designs only. With this idea there was passed at the last session
of the legislature a concurrent resolution appointing a committee of archi
tects and hold-over senators and assemblymen to draft an effective and
comprehensive law, providing for the establishment of a State Art Commis
sion, to be reported to the next legislature in 1915 for action. Such a com
mission now exists in several eastern states and in the city of New York,
where it has been a great success in raising the standard of public buildings
generally.
It is proposed that a commission of architects and others versed in mat
ters of art be established to act without pay, to pass upon all school build
ings and as far as possible upon state, county and municipal buildings,
with the sole purpose of preventing by veto power the erection of unsightly
and poorly designed structures.
A State Art Commission to Pass on School Buildings
While somewhat of a new idea in California this certainly is the most
effective method yet found to insure an expert check upon the designs of
our school buildings. Undoubtedly such a commission could do a great
deal of good and would meet with the wholesome respect of the community.
If men of the highest type in other states agree to give a small part of their
"time each month, as they are now doing in New York and elsewhere, to
the good of their commonwealth, there is reason to believe they will prove
equally public spirited in California.
While some opposition will undoubtedly be met until the value of such
a commission has been demonstrated,, it must be remembered that this
is not in any sense a new idea in America and that California is no longer
a pioneer state. It now stands, particularly in its school system, as nearly
the highest exponent of culture and learning in the United States. Our
school buildings must needs live up to our school teaching standards and
become typical of the greatest advance in school building and school archi
tecture in America, instead of being sadly unsuccessful in design, as in so
many cases.
65
MAIN COURT OF LOS ANGELES STATE NORMAL SCHOOL

Allison &r Allison, Architects
There is every reason why California with its unusual climatic condi
tions should develop an architecture of as cultivated and distinguished
a type as any old world country. Such a development must be a steady
progress in designthe sifting and holding up to public notice of the best
buildings, and the discouragement and elimination of poor ones.
It is sincerely to be hoped that the next legislature will provide for such
a state art commission and that capable men be appointed to it with ample
powers and tact to make its judgments secure a real advance in the stan
dards of school architecture.
,
In closing, the jury unanimously expressed the conviction that such an
inspection of the progress in school building as has been attempted herein,
if repeated annually for the next decade, might be productive of a con-
EMERSON SCHOOL, OAKLAND

John Galen Howard, Architect
Golden Gate Cement used exclusively.
PLANEMERSON SCHOOL, OAKLAND

PLANLAKEV1EW SCHOOL, OAKLAND

J. J. Donovan, Architect
COLLEGE AVENUE SCHOOL, OAKLAND

J, J. Donovan, Architect
68
DURANT SCHOOL, OAKLAND

J J. Donovan, Supervising Architect
centration of thought in the state along the right lines, until California
had indeed developed a demand for real architecture, and would not permit
the perpetration of any thing else.
It may be well next year, and in the succeeding years, to select and
publish, first, plans of the best new buildings of the year, and secondly,
plans of the best of the old buildings which the progress of the year still
holds worthy to be taken as examples, adding thereto such buildings
as had been overlooked in previous reports and eliminating those displaced
in standard by the new buildings. There would then be a sort of pro
gressive competition leading to a definite indication of the progress made.
As soon as the community as a whole begins to know and distinguish,
there is bound to be a sharp advance in both the demands of school trus
tees and in the knowledge and the character of design offered by archi
tects themselves.
The report also contains a most interesting summary of the problems
handled in the $2,000,000 worth of new school buildings in Oakland, by
J. J. Donovan, supervising architect. In this connection illustrations of
many of the buildings have been shown, some of which are reproduced
herewith. There is also an appendix on Open Air Schools, prepared by the
State Superintendent of Public Instruction, Edward Hyatt.
DEWEY SCHOOL, OAKLAND

J. J, Donovan, Architect
69
PRINCETON HIGH SCHOOL

Waiter Parker & Co., Architects
The One-Story School House
THE Improvement Bulletin says: "It was reported recently that the
Minneapolis Board of Education was considering the erection of a
one-story school building. The statement was unusually interesting
from the fact that several cities, notably Oakland, Cal., had tried out
the idea. The news from the Minneapolis school board was one of many
incidents which we had noted as indicating that 2-story or higher build
ings for public schools were growing out of favor.
"It appears from inquiries, here and elsewhere, that the one-story
structure has not gained in favor so much as to establish itself as decid
edly the best to build under any or all circumstances. In fact the twostory plan still is the most popular for general use.
"Portable schools are one-story and, in Minneapolis at least, they have
been a success. Many advantages are mentioned by a member of the
board and he admits that being all on the ground floor is one of them.
On the enthusiastic reports from' the portable school was based, no doubt,
the sudden popularity of the idea of building all schools in a similar
manner. In this climate there are winter expenses to consider, as well
as the ordinary outlays for construction. Heating a number of one-story
structures would cost considerably more than the same room space in
two-story buildings. First cost of buildings would be less. The twostory school undoubtedly will continue to be standard in Minneapolis.
"Climate conditions reasonably might be expected to favor one-story
structures in California: and they do, according to our information. But
still the authorities refuse to adopt that style for the future. John T.
Donavan, supervising architect of the city of Oakland, says:
As a matter of fact it is an unsettled question as to whether such school buildings shall
he one story or two stories.
While the one-story buildings have been a tremendous success in the way of accessi
bility to and from class rooms, at the same time my own experience leads me to believe
that there is no set or ftxed rule regarding the construction of school buildings, which
unfortunately has been the case in the past. The vertical height of the school building
should be determined entirely by the location, surroundings and vistas. In many places
the two-story building is very superior to the one-story and as for economy, I believe it is
somewhat cheaper.
An unfortunate feature connected with the school architecture in America seems to be
that the designing and building of schools is parallel to measuring cloth with a yard stick,
while it should be considered as a work for study, meditation and good architectural
training.
70
COMBINATION IXDOOR AND OUTDOOR SCHOOL, SANTA CLARA COUNTY, CALIFORNIA

Wolfe & Wolfe, Architects
71
Present Day Tendencies in School Architecture

By NORMAND S. PATTOX, Architect, Chicago, 111.
CHOOL buildings are planned through the co-operation of educators,
architects and school boards. A knowledge of the tendencies of these
three groups would enable one to forecast the school architecture of
the near future with a fair degree of accuracy. If I were addressing the
general public, I would describe those changes in our educational system that
call for new types of buildings ; but coming as an architect among educators,
it is to learn rather than teach this branch of the subject.
Our educators must be the leaders in developing our system of educa
tion, and architects must adapt school buildings to the educational program.
In searching for the present tendencies of architects, there lies on the
surface the fact that architects are coming under the influence of the educa
tional system. The route to the architect's office lies no longer through
the carpenter shop, but through the college and the technical school. Rais
ing the standard of education among architects means better buildings of
all classes, including schools.
The public school boards of today show a disposition to erect better
buildings than formerly, and to provide more money for both building
operations and for the services of the best architects. This liberality is due
mainly to the general interest in all that promotes the welfare of children, and
is an expession of the desire of the public.
This advance in the quality of school buildings is keeping step with
the general advance in the architecture of all classes of buildings. It is a
part of the higher scale of living and the demand of an educated and well-todo public.
There is a marked tendency towards architectural display in high school
buildings more than in the grade schools, due rather to local pride, than to
any greater care for the older pupils. There is but one high school to many
grade buildings, and it is natural to select this structure as one of the public
monuments of the town.
The result of all these forces is that we are now in a time of active
evolution and improvement in the construction and design of our schools.
The public makes a liberal supply of funds ; the best architects find it worth
their while to study the school problem, and our monthly magazines find, in
school architecture, interesting matter for illustration.
To come now from the general to the particular, what are the special
improvements in the modern school buildings?
First, better construction, especially in resistance to fire and better pro
vision for exits. City and state building laws aid this advance. Our larger
cities require all schools to be of fireproof construction. The example of
these buildings leads architects to approximate, at least, fireproof construction
in other communities. The approximations consist in more numerous brick
walls; making the stairs and corridors fireproof; the substitution of metal
for wood lath ; or the use of tile partitions : the making of the main floor
fireproof, even though the upper floors and roof be combustible. The object
to be sought in the construction of a school is to make a building in which the
escape of the pupils cannot be cut off by fire or smoke. A fire in the roof space
might ultimately spread downward and destroy the building, but there would
be ample time for the pupils to escape before the fire or smoke could reach
them ; lmt a fire in the basement would travel upward rapidly and the smoke
would fill the corridors. Hence the value of a fireproof floor above the
basement.
73
If a school is reasonably well planned and built, there is little danger of
actual contact with fire. The greatest danger is from panic and the result
ing crushing on the stairways. The conspicuous avoidance of all combustible
materials in the corridors and stairs will do much to allay groundless fear
and thus avoid panic. If, from daily use of fireproof exits, both teachers and
pupils gain the impression that their escape cannot be cut off by fire, they are
not likely to lose self control in time of actual alarm.
Another improvement is in the line of better sanitation. The heating and
ventilating system is a most vital part of a modern school. Steam heat is
supplanting hot-air furnaces. Ventilation by natural draft can be made fairly
efficient for grade schools of not more than eight rooms, but for larger build
ings, and all high schools, mechanical ventilation is now considered a necessity.
Automatic temperature regulation is no longer an experiment, but an essential
part of a ventilating system for schools.
The limits of this paper will not permit a discussion of the details of
heating and ventilation. Architects and engineers are in substantial agree
ment as to the methods to be employed. However, the experiment of
open-air school rooms being tried in certain Chicago schools is worthy of
serious consideration. It seems to be demonstrated that by introducing
sufficient moisture into the air of the school, room, the winter temperature
can be reduced to sixty degrees, or even less, with a marked benefit to the
health of the pupils.
Since modern plumbing has become almost universal in the homes of
the pupils, there is a tendency to make the fixtures in the school correspond
to those with which the pupils are familiar at home; and to locate the
toilet rooms on the various class-room floors in place of concentrating the
same in the basement. In such sanitary reforms as the abolition of the

public drinking cup, our schools are abreast of the times.
The ratio of window surface to the floor area is controlled by law in
many states and there is little danger of insufficient windows in the school
rooms of today. There is danger, however, of cutting off the light by an
improper use of window shades.
The object of shades in a school room
is not to make the room dark, but to screen it from the direct rays of the
sun. Therefore opaque shades should never be used. The best material
is Holland cloth of a light buff color. The sun shining upon this material
transmits a soft, mellow light.
The darkest part of a room, of course, is
the side remote from the window. The light for this side must come from
the top of the window.
Therefore window shades should never be hung
at the top of a school room window. The best method of placing shades
is to hang two shades to each window, both rollers being placed at the
meeting rail of the sash, one shade to pull down and the other to pull up.
There have been great improvements in artificial lighting within the
past few years. But, as school work is conducted mostly in the day time,
the question of artificial lighting is not important, except in special cases.
The greater specialization of present methods of teaching and the
addition of laboratory work in the schools, have led to the provision of
special rooms. High schools, especially, have developed into complex
structures. A well equipped high school will include an assembly hall, a
library, and perhaps a museum, a gymnasium and laboratories for chemistry,
physics and biology; shops for manual training; a kitchen for domestic
science, with a model dining room; perhaps a room for sewing; a commercial
room; drawing rooms for mechanical and free hand drawing; modeling
rooms, with perhaps a kiln for burning pottery. One recent high school
SIDE VIEW OF OPEN-AIR SCHOOL, COLLEGE PARK, SANTA CLARA COUNTY
GRAMMAR SCHOOL, TURLOCK

1ltos. B. Wiseman, Architect
75
76
GRAMMAR SCHOOL. OAKLAND

Stone & Smith, Architects
PLANBOYS' BOARDING SCHOOL

H. L. Shay. University of Pennsylvania
77
78
has an elementary science room, and special rooms for the study of the
classic languages and English. The "Classic Room" designed and furnished
in the Roman style, and the "English Room" in the English style, with a red
quarry tile floor, brick fireplace, oak beamed ceiling and stained glass
windows. A large sliding partition between the rooms permits uniting the
two into a club room for the use of student societies. The intention of these
rooms is to stimulate interest in these special studies by appropriate sur
roundings, and thus compete with the highly specialized science equipments.
Gymnasiums which were formerly placed only in large city high schools,
are now becoming an essential part of every complete high school, and are
being extended to the grade schools.
No one, who has observed school buildings of recent years, can have
failed to notice an improvement in the character of the designs. This im
provement is due partly to general advance in the quality of American arch
itecture, but perhaps still more to the improvement in the quality of school
boards, and their appreciation of good architecture. This leads to the selection
of a higher grade of architects. Another tendency that makes for the improve
ment of school building, is the abandonment of the evil practice of having
architects submit designs in competition. This practice has almost passed
away, and architects are selected as a superintendent of schools would select
his teachers, on the basis of their record in work already completed.
An examination of recent designs of school buildings, by many architects,
and in all parts of the country, shows a tendency to greater individuality of
design and a following of no particular architectural style. The best school
design is that which follows no historical style of architecture, but is develop
ed rationally from the conditions of the problem. For example, the large
window area necessary in a classroom necessitates the use of very narrow
piers between the windows. There is thus developed the idea of making the
windows of each classroom into a group. If such window grouping is adopted,
a style of design must be used that will lend itself to such treatment.
What is true of schools, holds good for all buildings. Every new type of
building requires the development of a new style of architecture, or at least
the modification of some old style. The breaking away from historic styles
of architecture, and the evolution of new forms of design to meet new con
ditions in school buildings is one of the hopeful signs in present work.
The past ten years have seen rapid changes in building materials. Arch
itectural design is affected not only by the purpose of the building, but by
the material used. It is an axiom of architecture that no material should be
used in imitation of another, but each material should be treated in accordance
with its nature. Therefore the introduction of new materials, differing in
nature from those formerly used, calls for new forms of design.
Exterior plastering in Portland cement has largely taken the place of
wood as a covering for wood construction. Such a construction of wood
frame, covered with plaster, is appropriate only for very small schools. At
the present time, a construction is developing of hollow tile for walls, with a
ribbed surface to receive plaster directly on the tile, both exterior and interior.
Exterior plastering has been introduced by architects as something better
than wood siding or shingles, and, as a rule, this material has been handled
in a truthful and artistic manner, in accordance with its nature. It is used as
plaster, not in imitation of any other material.
In contrast to this, cement blocks have been invented as something cheap
er than stone, and are usually made in imitation of stone. As. an imitation,
they are a fraud, and are not good art. Cement blocks can be made in a truth
79
ful and artistic manner, but their large and uniform size makes them a poor
material from the point of view of design.
Concrete, poured in place, can have a satisfactory treatment of the surface,
but such treatment is expensive and this material is better adapted to con
structive than decorative forms.
Of all new materials, vitrified brick seems the best adapted for general
use in school building. This material has brought about such a complete
revolution in our ideas of what brick should be, that I venture to expand
somewhat in description of the new idea in brick. The old idea was mechan
ical perfection. The attention was concentrated on the individual brick rather
than on the wall. We sought brick, with smooth surfaces, straight edges and
uniform color. They were laid with fine joints. When the utmost perfection
was attained in this direction, what did we have? A wall without force or
character. The best brick wall seemed inferior to the meanest stone wall. We
never escaped from the pettiness of the material. The soot of our cities stained
the surface and the alkali came out of the wall whenever the water penetrated
the porous brick.
Now we no longer think of bricks, but of brickwork. We seek a wall
surface of varied colors, and a marked texture. We want a material that will
appear as solid as stone and will be washed clean by every rain. We prefer
large joints that bespeak strength rather than fine joints, whose noblest
quality is neatness. We think of a wall of a building, as we look upon the
walls of the Rocky Mountain canyons. The rocks were built up by nature,
layer by layer, and the marks of stratification are apparent ; but we do not
dwell upon the smallness of the layers, but upon the massiveness of the rock.
So with our wall of brick, it is built course by course. But when made of
materials, vitrified by fire, and bound into one mass by cement, we lose sight
of the individual bricks and see the wall which rivals stone in durability and
massiveness and exceeds it in its capacity for color.
The latest improvement in the manufacture of brick is to roughen the
surface of the stiff mud, as it comes from the machine, by cutting with wira
thus producing a variety of beautiful textures, according to the nature of the
clay.
Vitrified brick is so different in character from the smooth and porous
pressed brick that it is leading to the development of new styles of archi
tectural treatment.
One of the most important movements in architectural circles has not as
yet affected school buildings as it should.
I refer to the grouping of buildings and the treatment of the grounds as
an integral part of architectural design. It is not often that public school
buildings are built in groups, but even in the case of a single building, the
location should be considered in reference to surrounding buildings, and all
schools that have open grounds around them should have those grounds
designed with as much care as is bestowed upon the building itself. Some
architects have given study to this subject and can make designs for land
scape accessories, but in most cases it is better to employ a landscape archi
tect, who should be selected by the architect of the building and work in
consultation with him.
In conclusion, T offer a suggestion to any one contemplating building,
that if you would get the best services from your architect, call him into con
sultation at the very beginning of your building enterprise, even before the
site has been selected, or the bonds voted.
so
81
Artificial Caen Stone in the Oakland City Hall

By GEORGE FREDERIC ASHLEY.*
ARTIFICIAL caen stone as used in the main vestibule, rotunda, coun
cil chamber and adjoining corridors of the Oakland City Hall is the
result of the local development of a New York specification. The
original intention of the architects was that the material should be im
ported, ready mixed, and applied by eastern workmen experienced in its
use. Before proceeding on this basis, however, the contractor obtained
permission to submit samples of his own manufacture, and the finished
result of the experiments is an imitation stone quite equal, if not superior,
to the product originally specified. New refinements in tooling and vary
ing the shade of the stone make the work in the Oakland city hall probably
the best example of artificial caen stone work on a large scale, ever exe
cuted. In consequence, the architectural profession of the Pacific coast
is now richer in possibilities for the expression of their ideas without
overburdening their clients financially.
The most successful foundation for the stone proved to be a scratch
and brown coat of good hard-wall plaster. The brown coat should con
sist of equal parts of clean sand and well fibred hard-wall, and should
be rodded or run accurately to within a quarter inch of the finished stone
surface. The brown coat should be dry before applying the stone.
The artificial caen stone as used in the Oakland city hall consists of:
5 parts plastering Keene's cement; 5 parts Manti Utah stone; 3 parts
"yellow" stone; 1 to 2 parts of a mixture of white and gray Portland
cement.
The Manti stone and yellow stone are ground to pass a mesh 20 to the
inch. The yellow stone might be described as yellow limestone, and is
obtained in southern California. Its purpose is to counteract the whiteness
of the Keene's cement. The Portland cement should not exceed three
parts to thirteen parts of the other material, otherwise the finished stone
is too hard to tool. The mixture of white and gray Portland cement was
varied to produce three shades of finished stone, contrasting very slightly
in tone. The materials were mixed dry in a machine to produce an abso
lutely uniform product.
In applying the stone the joints were first laid out accurately in chalk
and about thirty per cent of the "stones" marked for varying shades, half
of these being of the lightest shade and half of the medium. The darkest
shade was used as the general or ground color. The realism of the final
effect depends in a great measure on the combinations of the varying
stones. These were determined by a careful study of existing buildings
and plotted on a scale detail. After a few weeks' work, the journeyman
who did the laying out was able to take care of the variations success
fully without specific instructions.
In applying the quarter-inch finishing coat either the light or medium
color went on first. The brown coat must be thoroughly wet down to
eliminate any possibility of accumulated dust hurting the bond of the
finished coat, which should be vigorously worked and floated. When
the first shade in the section being finished was all on, the edges of the
* Mr. Ashley is Superintendent of Construction of the Oakland City Hall and is the personal repre
sentative of the architects, Messrs. Palmer, Hornbostel and Jones, of New York City. Owing to the
signal success of the use of artificial caen stone in this building, and the many inquiries received regard
ing the composition and use of the material, Mr. Ashley was invited to contribute an article on the
subject. The work was executed by Mr. A. Knowles of San Francisco.Edttor.
ENTRANCE TO COUNCIL CHAMBER

CITY HALL. OAKLAND, CALIFORNIA
Palmer, Hornbostel <5r Jones,
Architects
The Architect and lingincer
DETAIL OF CEILING. COUNCIL CHAMBER

CITY HALL.
OAKLAND. CALIFORNIA
PALMER. HORNBOSTEL & JONES. ARCHITECTS
83
NORTH CORRIDOR, CITY HALL, OAKLAND, CALIFORNIA

PALMER, HORNBOSTEL & JONES,
ARCHITECTS
ENTRANCE TO MAYOR'S SUITE

CITY HALL, OAKLAND, CALIFORNIA
Palmer, Hornbostel & Jones, Architects
85
86
work were trimmed up and the second shade applied in the same way.
This was followed by the ground color. Care must be taken to preserve
marks to indicate the locations of joints for later reference. It was found
most successful to work the men in pairs and to apply the work in sections
no larger than could be finish coated in half a day.
When the work was bone dry the whole surface was "dragged" over
with a coarse hack saw blade, or similar tool mounted on a handle. This
tool removes the float skin and provides the ground effect of the stone
work. The tooling should be done with long, vertical strokes, each stroke
going from joint to joint of a "stone course". In general the coarser this
tooling is the more interesting will be the final texture of the stone, also
the more difficult will be the operation of tooling. After the stone was
dragged, it was slightly sanded with No. 00 paper. This was followed
by scraping a recessed "margin draught" seven-eighths of an inch on
either side of the joints. The margin draft is a plain surface produced
with a scraper, guided by a rod. It is sunk below the deepest tool marks
of the saw blade. This was followed by cutting the joints, three-six
teenths inch wide, clear through the finish to the brown coat, with an
imported caen stone jointing tool. The joints were pointed with a mortar
which dried a light cement gray, contrasting with the varying shades
of buff of the stone.
It is not practicable to vary the colors, of a run moulding so that the
medium shade of stone was chosen for this work. The play of light
produced by the mouldings makes a variation of shade unnecessary. Orna
mental work was cast exactly as cement plaster is cast, in painted glue
moulds. The same composition of stone was used here as for plain work.
After setting the ornament, it was lightly tooled and sanded to remove
the casting skin and liven up the surface. Where the ornament was so
intricate and fine as to make tooling impracticable, a wash of stone com
position was brushed on. As casting tends to produce light shades, a
dark mixture was used for this work.
It will be noted that no coloring matter was used other than the
natural stones and cements. Effects are surest by following this method
of controlling color. It is possible to use some colors in powdered form,
but in using them there is always the danger of cloudiness on account
of the irregular way in which powdered colors float up, producing the
effect of piaster instead of stone.
The finished product, made as described above, with careful atten
tion to all the details, will well repay the effort it takes. It is an abso
lute fact that contractors and stone masons used to dealing with caen
stone and lime stone have taken the work in the Oakland city hall to be
cut stone. In durability it is superior to Manti and similar soft building
stones. In case of accidents to arrisses and sharp mouldings repairs are
easily made and are invisible when finished.
Regardless of cost, in a country subject to earthquakes, artificial stone
like this is preferable to quarry stone, even considering the ethics of art
involved in the use of an imitation material. In regard to the cost of
artificial caen stone, naturally, it will vary greatly in proportion to the
percentages of stones differing from the ground color in shade, amount
of ornament and run mouldings, proportion of curved surfaces, difficulty
in laying out stereotomy, number of joints, etc. As a rough guide, an
estimator would be justified in figuring work like that in the Oakland city hall
at from thirty to fifty cents a square foot.
87
How Can an Architect Get New Business?

By CHARLES E. WHITE, in Building Progress
NO MATTER how well trained an architect may be; no matter how clever,
how energetic or how efficient he is. he will not get very far without oppor
tunities. A man's brains may teem with ideas. He may be saturated with
knowledge which would be of utmost value to his clients but his skill avails him
nothing if he has no chance to put it into practicein other words if he has
no "jobs."
An architect may begin his practice with suburban houses and end it with
public buildings. His work might 'grow from a small beginning, rapidly evolv
ing into something tremendous until finally it is nation-wide in scope, but every
step in the link of evolution represents a "job." If the architect had lacked his
first commission, or if his first commission had not brought him others his
career would have been nipped in the bud and no amount of higher education,
skill or general fitness for his profession could have brought him success.
"Success" of course, is capable of many different interpretations. Success
as an artist is not contingent upon huge building operations. An architect can
just as well show his mettle and prove his right to be termed "artist" by design
ing a $2000 cottage as he can by designing a public building. If a man is a
true artist the artist touch can be discerned in his smaller as well as larger work.
But the world has come to set a certain value on success which carries with it
recognition for big things. Comparing two architects, he who has executed
important work ranks (in the eyes of his fellow citizens, at any rate) higher
than he whose practice has been confined to smaller buildings, and those but few.
And it isn't merely the architect's executed work that helps to make or
unmake his reputation. The appearance of his office, the efficiency of his drafts
men, yes, even the looks of his desk have their effect. A slackly kept desk with
papers disarranged helter-skelter makes an unfavorable impression upon busi
ness men, most of whom believe in order in all things.
A painter can win recognition by merely exhibiting his canvases upon the
walls of a gallery. The poor, struggling architect, however, must actually build
his designs before he can hope to win that place in his profession to which (he
believes) education and skill entitle him. No matter how fine his drawings may
be he will be judged by his executed work.
So to get right down to plain, every-day English, our young practitioner
must have clientshe must get "jobs."
Now job getting is very repugnant to most architects, modest fellows many
of them, entirely unfitted by education or inclination to go out after work in
the same commercial way that a traveling salesman sells goods. Architecture
is a profession. Doctors don't go out after business. Lawyers, we are told,
consider it unethical to ask for jobs. Are Medical and Law professions requir
ing greater dignity in their disciples than Architecture?
To find the happy medium in trying to attract opportunities to oneself is
quite a problem. Shall one sit quietly by and wait for opportunities to arrive
or shall one energetically try to hasten and multiply them? This is the question
to wait or not to wait.
On all sides you will find successful architects whose business methods are
diametrically opposed. Some wait for business and some don't. Some have
received recognition and have been given more and more opportunities without
having made any job-getting efforts. Others have been out in the cold world
and have dragged their opportunities in.
Some young architects who were born with more than the average share of
lliis world's goods keep draftsmen busy by entering competitions. Many an
88
architect has won his first chance in this way, capturing a cash prize or, better
yet, securing the designing of some important public building, the execution of
which brought him lasting fame. Most, however, cannot afford to maintain a
crew of draftsmen for competition work. They require immediate earnings;
their ideas must bring immediate returns. They must have real jobs.
Interviewed on the subject of job getting a short time ago an architect of
world-wide reputation said to me, "I would like to tell young architects how
proper I believe it to be for them to try every legitimate way possible to increase
the number of their clients. Entirely aside from financial responsibility to him
self and his family every architect has certain duties to perform. Therefore, he
is in duty bound to increase (within the limits of good sense and refined taste,
of course) the extent of his practice."
"What means do you consider in good taste?'' I asked.
"Several years ago," replied the big fellow, "I adopted a custom of keeping
track of every proposed building project that came to my attention. At first
there were few of them that fell to my notice. Most buildings were commis
sioned and building operations actually started before I knew anything about
them, but gradually, as my circle of friends increased, I found that I learned
about many building improvements well in advance.
"This building information, call it 'building gossip' if you like (for of course
much of it was inaccurate), I carefully noted in a little book which I carried in
my pocket. Here it is," (and he exhibited a small leather covered pocket note
book).
"Even to this day," he went on, "I note down every job I hear about. My
partners carry similar books and we certainly consider this proper and in good
taste.
"In the early days," he went on, "I personally investigated every bit of gossip
that came to my ears. For instance, when I heard that Jones was talking about
improving the corner of State and Washington streets I inquired until I found
out all about Joneswho he was and where he lived. Then I sought out a
mutual friend and got him to present me to Jones. It wasn't usually necessary
for me to ask Jones for the job. Every business man knows when an architect
is introduced to him that he (the architect) hopes to increase the number of his
clients. But meeting Jones, well introduced by a substantial, mutual friend (for
such I always endeavor to find) put me right in Jones' class. Then, usually,
there were other meetings and frequently Jones, himself, with no prompting on
the part of anyone, would talk his new building project over with me.
"Of course I couldn't always land the job," the architect went on. "More
often, at first, I didn't, but my practice slowly increased. After a while it got
so I usually made a hit. That's the way it usually works," he said, energetically,
"the young man who is a live wire impresses everyone with whom he comes
in contact. Work is actually thrust upon him. To get jobs it is only necessary
for him to bump up against the right peoplethat's allbump up against the
right people," and he nodded his head vigorously.
The architect swung around in his chair and looked off over the city studded
with skyscrapers, scores of which (in plain view from his window7) had been
designed by his firm. He went on, "When we hear of a new building project,
now, some member of my firm keeps tabs on it. As soon as we learn that an
architect has the commission, or if for some reason the project has been aban
doned, we cross it off. Until the job has been settled one way or the other,
however, we endeavor to keep track of it."
Many architects get after new work by means of letters. Friends, for
instance, recommend such and such firm of architects to a prospective owner.
Then the firm, having been tipped off, writes to the man who is about to build.
89
This may all be accomplished in a perfectly dignified way, but it is doubtful if

letters are as satisfactory as a personal interview at which the architect can
bring to bear his personality.
There is another factor in job getting, the importance of which will be
vouched for by many successful architects, and that is what might be termed
making good. No architect can succeed in building up a good practice unless
he gives his clients good service. He may land jobs for a few years but eventu
ally his practice is bound to dwindle down unless his reputation for efficiency is
first class.
Along this line I asked an architect not long ago, "What made your practice
grow ?"
"I remember my first job very well," he replied. "For a year or twoever
since I left college1 had been employed as draughtsman in one of the old time
offices. One day a friend of the family came to me and said, 'young man, I am
going to build a flat building and you can have the job.' Of course I was very
much elated. At first, I didn't throw up my situation but worked evenings on
the plans for my new client. Never was a building more carefully designed
than that one. Every inch of the plans I went over again and again until it was
ready for contractors. At first I found supervision very difficult to accomplish
without interfering with my position, so finally I figured that my fees would give
me enough capital to live on for a few months and I resigned.
"Then," said he, "I found a little room over on C
street which I think
cost me $12 or $15 a month. There 1 drew all my details, spending several
hours a day on the job and giving it the most vigorous supervision.
"When the job was done," went on the architect, "it was a splendidly built
piece of work and the owner was delighted. He went around blowing my
trumpet. Pretty soon another job came in (entirely through the efforts of my
first client). This I handled efficiently and it brought another.
"The reason I have a big practice today, I believe," said he, "is because so
far as I know I haven't a single dissatisfied client. No matter how unreason
able any client is I endeavor to please him. When the job is done I try to have
him realize that he has the utmost worth of his money. During the progress of
the job I literally run my legs off to save him unnecessary annoyance."
Careful supervision of work is of utmost importance to the owner. He is
usually appreciative of the architect's efforts in this direction.
Said another architect, recently, discussing this point, "The most important
thing, I think, is careful supervision. Owners don't know much about design
but most every owner knows a good job when he sees it. He is bound to respect
an architect who gets good work out of the contractors. There is nothing, I
believe, that makes such a hit with an owner as a first class, well built job, and
it is directly on account of our reputation for vigilant supervision of work that
I think our practice has grown so large."
Volumes might be written about the qualities essential to win success. The
very temperament of an architect may drive away clients. Some men you in
stinctively like. Others you dislike. One architect I know, so far as efficiency
goes should have a larger practice, yet he barely scrapes along, rarely getting
a job that is profitable. I think his trouble lies in his lack of good feeling. He
frightens his clients to death by the lofty manner in which he goes through life.
His dignity is so great that most people cannot get anywhere near him.
The relation between architect and client is a very personal one. There
should be a bond of sympathy between them. If a client has certain ideas which
he believes should be incorporated in the new building the architect ought to
sympathetically consider the owner's wishes. Nothing leads more swiftly and
90
surely toward strained relations between architect and client than to have an
architect "pooh-pooh" every suggestion made by the latter.
One of the greatest chances the architect has to make a hit is in the matter
of cost of the building. Recently two architects at a down-town club were dis
cussing this point.
Said one, "My practice has grown in the last three or four years so that it
now embraces three separate branchesschool houses, factories and office build
ings. There is generally apt to be something doing in one or more of these
lines the year round."
"That's mighty fine for you," said the younger man, enviously, "how did
you build up such a fine practice ?"
"Just by general efficiency," replied his older confrere. "My organization
is built on efficiency lines. Some one in my office is skilled in every branch of
the work. We have our own engineers, our own heating and plumbing experts,
our own designers. The result is we work as a unit, make plans promptly and
get excellent results on the job.
"Cost," continued the architect, "is where we usually make a hit. Take, for
instance, the warehouse we are now building for the estate you and I were
speaking of. Three years ago this estate had a certain architect design a build
ing which cost to build 15 cents per cubic foot. There was considerable trouble
during building operationsowner was annoyed and contractor had difficulty,
owing to incomplete plans. When this new warehouse project came up the
owner consulted me. 1 showed him where I could build a first class building for
13 cents per cubic footand I'm making good. We are actually building a
better building at 13 cents than they formerly paid 15 cents for, in spite of the
fact that prices are higher than they were three years ago.
"Can you guess who will probably get the balance of the work for that
estate?" asked the architect, with a chuckle.
You have got to make good to succeeed. Business life seems to be all hustle
and bustle with but little attention paid, apparently, to whither it tends. But
there is a backbone and business acumen under the rush and worry. Business
men are a keen let. Competition is fierce for poor men struggling to keep
above water. Attacks on rich men to get a slice of their money are intense.
Nobody wants to spend money injudiciously. Everybody wants to get the
utmost for the least cost.
The architect who wishes to succeed must imbibe the spirit of the age. He
must maintain the open-door policyopen to all that pertains to his clients'
interests. He must cut off all waste. He must pile on increased efficiency. He
must reduce cost. He must increase quality, and all this in the face of a sharp
yearly advance in cost of labor and materials. .
If one architect is not able to do all this there will be others who are. He
(the non-conformant) will be passed and outstripped by his fellows. They
will get the big jobs and the bigger jobs. Theirs will be the growing business,
his the declining. Good work brings more good work. Business efficiency
brings more business. Satisfied clients bring more clients. Every successful
architect has found this to be true.
The Usual Trouble

Visitor"Are you having any trouble to find work for the unemployed
here ?"
Uncle Eben"Nope. Our trouble here is to get work out of the unem
ployed."Judge.
91
EDWARD D. SILENT BUILDING. LOS ANGELES

Hunt & Burns, Architects
Enameled Brick Popular for Facing Large Buildings
THE use of enameled brick for the exterior treatment of pretentious build
ings has become so general in Southern California, that one would
not be exaggerating conditions by stating that practically every third
building of any size put up in Los Angeles the last two or three years has
enamel brick in it. One of the first structures in the southern city to be
faced with this material is the Central Building, illustrated herewith. Ap
proximately one-quarter million cream transparent glazed brick are re
quired for the two street facades and light court. The brick were manu
factured by the Los Angeles Pressed Brick company and since this initial
order the company has increased the capacity of its enameling department
to 3,500,000 bricks annuallv, which is the best possible evidence of the
increasing popularity of this material. Architects find the enamel brick
a splendid veneer for concrete wallsclean, light and possessing a pleasing
color tone. All of the accompanying illustrations are of buildings having
enameled brick facing.
92
A7.VG GEORGE HOTEL. OCEAN PARK. CALIFORNIA

Thornton Fitchugh, Architect
ELKS' TEMPLE. EUGENE, OREGON

E. E. McClaran, Architect
93
HODGDON BUILDING, HOQUIAM, WASHINGTON

Robert H. Burrows, Architect
VERMONT SQUARE BRANCH LIBRARY, LOS ANGELES

Hunt & Burns. Architects
STATE BANK BUILDING, SAN PEDRO

Edcliman & Barnett, Architects
05
96

More Anent the California State Highways
By NATHANIEL ELLERY, C. E.
Third Paper.
FEW people of California realize what a road system for the state means.
Each different locality strives to obtain a state highway through its
immediate vicinity and when this has been accomplished, the advocates
fall back to allow official matters to take the accustomed course. A gen
eral system serving the whole state is the desire, or should be the desire,
of those in whose hands is entrusted this public duty. Extending that sys
tem beyond what can well and permanently be accomplished in construc
tion is beyond doubt not good sound business.
California needs highways well constructed, highways adapted to the
conditions obtaining in the different sections, but to cheapen the work for
the sake of extending mileage is extremely questionable. Keep the roads
away from politics, direct or indirect, and construct and maintain them
along efficient business lines.
Let us investigate our present road status and look squarely at many
of the questions involved. There was placed upon the statute books in
1913 a State Aid Road Law which grants aid to the counties. The assist
ance in this matter of state aided highways in construction cost apportioned
two-thirds to the county and one-third to the state, and in maintenance
cost, one-half each to the county and the state. The work is to be done
under the supervision of the county surveyor and the state department of
engineering. There were, however, no funds provided by the state to
carry into effect this law and therefore it is inoperative at present. We
note the $18,000,000 bond issue law is carrying the burden for state roads
and we note that through the generosity of the several counties through
which the state roads pass, the rights of way and the construction of bridges
over twenty feet in length are provided by county funds.
This good will certainly augurs well for the co-operation of the road
building divisions of the state and has allowed the state roads to be ex
tended beyond the bond issue's intended mark. Now we see the remarkable
extension of this co-operation in the purchase of state road bonds by the
counties in order to allow them to participate in the conveniences of im
proved roads. And these bonds bought and sold at a loss to the counties.
Knowing the counties must pay the interest on the money invested
within their bounds from the bond sale, it partially indicates to what extent
interest in roads has been roused. This generosity with the counties' money
has been a source of some wonder and much comment. Perhaps it is figured
the generally enhanced values obtaining through the influence of such public
improvement is worth the price.
Surely under these circumstances the expenditures should be made as
effective in road results as possible. The organization of the highway de
partment of the state seems too highly bureaucratic to be very effective.
There is such a thing as overdoing the system, burdening the expenditures
with red tape sufficiently to create inefficiency. Examine the following fact
with me and draw your own conclusion.
Jt has been asserted by officials of the state that the overhead expense
attached to the state highway work will be ten per cent, i. e., about $1,636,000. Over one and a half million dollars for engineering, inspection and
administrative expenses for this project, when one million dollars should
97
suffice. An expenditure of this magnitude should be thoroughly engineered

on a six per cent basis, for so much of the work is of marked similarity and
much of the surveying along established road routes. This expensive po
litical system established by the state does not indicate wise and economical
road business. As a private engineer, familiar with state affiairs, I am
thoroughly convinced by experience that a firm of engineers could give
as effective and good service as now obtaining in the state on a six per cent
basis and make a splendid profit in the operation. The system of inspection
now practised by the state seems highly ineffective and expensive. Appar
ently this service is fearful of consequences to the point of extreme timidity.
Good, wholesome work is not accomplished under a plan of such subjection
and creates a loss in proportion to the lack of courage to command respect.
So intimately tied together are all matters concerning the public road
question one cannot deal with the different phases without regarding the
whole subject. The actual construction of roads is only one dominant
feature of the problem and to give the reader a clear conception many of
the influencing points must be given without stint. State highway con
struction has now reached a point calling for the introduction of real main
tenance and in this we will find our expenditures small or large in accord
ance with a proper location and construction.
Some time ago there was sent to the press of the state a written state
ment by the Highway Department of the state to the effect that the cracks
in the concrete base were an economical feature calculated to save in
construction cost by obviating the use of metal at made joints. This rather
ingenious conclusion is designed for public consumption and not for those
understanding concrete and concrete roads. That the facts may prevail, let
me quote: "These cracks, according to the Highway engineer, are not only
desirable, but they are economical as well. They take the place of metal
expansion joints sometimes used in concrete highway building, and when
the concrete is covered with the bituminous surface, the cracks serve a
useful and necessary purpose but are not apparent to the traveler. The
ability to do without metal expansion joints in California effects a large
saving in construction which is put' into additional mileage."
It is a fact metal protection is used for the edges of expansion joints in
concrete wearing surface but not in concrete used as the base of a road.
California- state roads are supplied with concrete base and if a bitumen is
used as a surface, then why this question of metal protected points? It is
poor engineering not to provide for expansion or shrinkage joints in the
concrete base when a thin cover of bitumen is used, and to allow the shrink
age cracks to occur promiscously in the base is inadvisable. These cracks
certainly occur along the weak lines and therefore more readily break
down with traffic. If plain joints are made in the concrete base and then
a bituminized surface is placed upon it, also filling the joints, there is
absolutely no need for metal protection. How about the lack of proper
joints in the concrete roads near Turlock which recently expanded and
buckled or bulged up, causing a breaking up of the concrete and necessary
mending? Had proper joints been used this would not have occurred.
While we are dealing with this matter allow me to draw your attention
to some more pertinent points that mav assist to throw light on our high
way situation. In my former article I showed a view of the state highway
near Healdsburg that was torn up for about 700 feet. The photograph was
taken March 1, 1914. On February 28, 1914, or the day prior there was
issued and published a statement by the state calling the attention of the
98
residents of that section to the fact the road had been torn up on account
of defective work and had been replaced. See the photograph of the fol
lowing day showing the road torn up but not replaced.
In connection with the location and grading of the state roads there
were many places not raised high enough to properly drain the soil. Even
in places such as the section north of Turlock where earth is filled about
two feet thick over the concrete to avoid a water hole, a point south of Healdsburg where the winter waters covered the road in a sag and at Rock Creek,
south of Lincoln, water covered the road base of concrete during a time
in the winter. Again, the oiled macadam road south of Marysville is not
sufficiently graded up to keep the base ordinarily dry in winter. A fairly
dry road base during the wet season is essential for good road construction
and a minimum maintenance. This fact should have received special atten
tion as it is of paramount importance to the life of the road. We all know
how necessary it is to drain our ordinary unimproved roads if we are to
use them in winter with any degree of satisfaction. Many thousands of
dollars have been spent in California temporarily turning the surface water
from the roads and. in the mountainous districts it is of the utmost necessity
to divert /the water from the road bed. We will have earth roads in many
places of the state for a long time to come and they should be treated in a
manner to give the best service. Plenty culverts should carry water across
the line of road and on flat ground the road should be well graded up while
on hill or mountain side it should be well ditched with water runs not too
long before diversion under the road. The temporary makeshifts of hum
mocks directly or diagonally across the road for water diversion are anti
quated but when used should certainly be torn out at the beginning of
travel in the spring of the year. There seems to prevail the notion that
we must endeavor to get all our roads improved by the latest fad or fancy
but from years of study and experience this idea is seen to be erroneous.
Have not you traveled some splendid gravel roadsroadways crowned,
smooth and hard, standing the strain of heavy traffic? Good judgment
and sense in the application of gravel to many of our secondary roads will
give excellent results. Where they are sprinkled, slight indents in the
surface retain the water and the wheels and hoofs of travel deepen this
softened spot. This fact is easily ascertainable upon a little investigation
and may be remedied by careful attention. Many of the creeks of California
furnish a cheap road material for an extensive mileage of roads of secondary
importance.
The use of oils for roads has practically received its death knell in our
state because of neglect, inattention and lack of knowledge of the material.
A few years ago anybody could oil a road, but I saw but very few who
knew the first rudiments of the subject. Largely on account of no sys
tematic experimentation and the lack of thorough knowledge, failure- upon
failure occurred until today we see but the remnants of oiled roads both
in place and alongside the present traveled way. The heavy asphaltic oils,
material of splendid road value, are now being used principally for a bitu
minous road cover. It is now a general knowledge that we require some sort
of bituminous or tough material for resiliency and resistant to shocks caused .
by the travel.
The expense of construction should be carefully weighed in order to
make the upkeep cost as reasonable as we can. If we build concrete base
roads too narrow or too thin how can we at a future date widen or thicken
them with reasonable cost? It cannot be done. If you will look at the
many efforts to patch the concrete in the various structure's where it is
yy
used, certainly the lack of joining will immediately tell the tale. On the
state road, near Lincoln, several points were washed out under the con
crete and were replaced. At a future time these will show in a lack of
proper performance of its work. Upon examination of the state roads I
came upon one feature worth discussion and one easily remedied.
The state highway paralleled the railroad and was perhaps sixty or
seventy feet from it. W here a culvert was installed in the railroad fill the
state placed one opposite in the highway. The waters flowing through the
culvert under the railroad struck the head of the highway culvert with
much force and partially washed the fill away causing considerable damage.
Had the engineers provided an even section of paved ditch from the exit
of the one culvert to the intake of the other this trouble would have been
avoided.
On the shoulders of the road much trouble will be encountered in the
endeavor to make the two different materials stand the traffic together. The
concrete base is rigid and the adjoining shoulder is of vastly different
density. Where the sands of the San Joaquin Valley are traversed this
difficulty will be greatly enhanced. Surely it would have been the part
of wisdom to have increased the width of the concrete base here to twenty
or twenty-two feet and avoided much of this expensive shoulder work.
Again, where the concrete base terminates in sharp edges, as it has in
the state work, it will certainly spall away. Here particularly should be
a rounded and heavy edge. W herever the travel has been at all extensive
the surface of the concrete not yet bituminized has shown the decided effect
of wear.
There is one remarkable example of wheel tracking to be seen on the
concrete pavement in the San Joaquin Valley state road. Upon examination
the evidence of wear was distinct and defined in this case. Certainly it is
essential that the traffic be distributed over the entire surface or nearly
as practicable in order to create a more even wearing. This is a vital point
where horse drawn vehicles are much used. Go on those roads where
heavy teaming with horses has been the practice and the wheel ruts prac
tically constitute the mountain road while in the level districts they follow
a distinct line of wheel tracking. Surely the road would last much longer
had this wheel cutting and grinding been distributed more evenly. The
bituminized surface used as a top by the state demands the traffic be not
confined to narrow limits.
As yet, the matter of brick pavement has received little attention in
California, most likely for the reason of our great production of asphalt
and asphaltic oil and also the higher cost of such work. Paving brick,
however, make a splendid wearing surface when properly made and laid.
The bricks should be of a very tough, hard nature that they can resist wear
and shock. In laying them the greatest care should be exercised in order
to have a smooth unwavy surface. A good concrete base, a sand cushion
and grouted cement joints will give excellent results and give a pavement
fully capable of resisting present day traffic.
In hot climates, where the summer heat softens the asphalt pavement,
brick is far superior for traction as no softening occurs and consequently
there is no wavy action of the surface.
It is not so easily cleaned as asphalt surfaces, but is cheaper in repair
and maintenance. In some of the middle western states brick has played
an important part in road and street pavements giving remarkable satis
faction. In our state brick pavements should be given a trial in competition
100
with other materials for we shall soon be demanding a high-class main

tenance on our state roads and definite information on a section of state
road subjected to the more severe traffic would be extremely valuable.
In the last and succeeding article the subject matter will deal princi
pally with the maintenance of our county and state roads.
*
The Modern Architect
THE Engineering Record, in a recent issue, discussing the complex
duties of the practice of architecture today, states editorially:
"Before passing hasty judgment upon the architect of our own
times, think a moment of the evil days upon which he has fallen.
In the medieval times he must perforce know only the technique of
masonrythe rest was his art. If he were building a church the fine
stimulus of the Gothic was his inspiration and his medium was craftsman
ship in stone. Today he must know masonry and concrete, structural
steel and sanitary plumbing, lighting and heating, electric wiring and
acoustics.
"His predecessor did not have to plan for buying his stone from one
source ; his steel from another and his woodwork from a third ; he was
not hounded by agents of patented devices nor pestered by circulars of
supplies offering him 'the usual architect's commission of
per cent.'
All these things the architect of today has to endure, besides being called
a slavish copyist if he turns to the best in antiquity and a commonplace
innovator if he does not.
"His chief hope is in suiting himself as best he may to new conditions,
calling in technical advisers on the details which he cannot in the nature
of things have time to master, even if he has the ability, standing the
more firmly by the interests of his client as he comforts a regiment of
sub-contractors, and remembering that he must be artist before being
engineer or contractor. Originality and resourcefulness are much more
difficult to find than technical or constructional skill, and if the architect
is to be more than a master mason or boss concrete mixer it must be by
the possession of these attributes. Art did not die with the Gothic nor
perish with the Romanesque. The times have changed and the architect
must change with them.
*
*
*
Steel Frame Hangars
Structural steel frames of very considerable size and complication of
design are being used in Europe- as hangars for large dirigible balloons.
In general, these sheds consist of a series of simple arch frames, similar
in design to the usual armory roof in this country but of much lighter
material because of the very light roofing. They are usually rectangular
in plan, providing room for one airship with exit or entrance at either end,
but some of the newer sheds are wide enough for two airships, side by side,
and proposals have been made to build them in triangular or in starshape
plan, so as to provide entrance in the direction best favored by the pre
vailing wind. To accomplish this latter end, at least one shed has been
built, 443 x 85 feet in plan, mounted on a turntable so that it may be turned
to meet any wind condition.
101
BRONZE SIGN P O S T
JOHN REID, JR., ARCHITECT
103
BALCONY RAIL, MALCOLM APARTMENTS. SAN FRANCISCO

Dunn & Kearns, Architects
VI. THE C. J. HILLARD CO., INC.
THE manufacture of metals into what we term "ornamental iron" is a most
interesting process. An architect's embellishment of his building is not
confined to any one material, but there is probably no one type of orna
mentation that contributes more to an attractive exterior than cast iron and
metal work. Wood, plaster, clay products, cement and -stone all have their
place, but they do not give the substantial, showy effect that is possible with
ornamental iron. The very stubbornness of metal composition tends to reward
the metal worker for his art and persistence. A piece of finely wrought metal
work, cleverly designed and artistically proportioned is a lasting and permanent
tribute to man's industry and ingenuity. The workman of earlier days left
many fine examples of hand-wrought metal work, but what changes the pre
cision and accuracy of modern machinery have brought about! What once
took a workman weeks and months to execute is now done in a few hours with
the aid of modern devices.
The Western coast is very fortunate in the establishments devoted to the
working of metals, both structural and ornamental. Some of these are in their
present condition of prosperity by reason of slow growth over long periods of
years. The shops of the C. J. Hillard Co., Inc.. were only started a few years
ago; to be exact, in June, 1910, and the purpose of Mr. Hillard was both de
liberate and intentional ; to establish a plant on this coast to produce scientific
ally and economically metal products for ornamental architectural purposes.
106
ELEVATOR FRONT AND BRONZE STAIRWAY, RIALTO BUILDING, SAN FRANCISCO

Bliss & Favillc, Architects
The company has an ideal site in what might be called San Francisco's
"steel belt," at Nineteenth and Minnesota streets, near to transportation both
by water and rail, upon which is built a roomy, well lighted factory and office
building with more than twenty thousand square feet of floor space, equipped
with modern machinery, carefully selected and properly located for rapid and
economical production.
That Mr. Hillard's efforts are not confined locally to San Francisco is well
noted by what follows,really, the success of any institution is what they have
done and what they are doing.
The Hillard shops are getting out and installing ornamental iron work now
in the Los Angeles State Armory, some twenty thousand dollars worth; the
Franklin School at Bakersfield ; the Gottschalk building and Odd Fellows hall
at Fresno ; the Phoenix Mills at Sacramento ; the Grand Theatre at Winnemucca. Nev. ; the Eureka High School at Eureka, and in San Francisco:
the Academy of Sciences at Golden Gate Park; the Wilson and Martin apart
ments at Powell and California streets; the Lachman Brothers building at Six
teenth and Mission streets, and the apartments on Pacific avenue, this
latter building being elaborately trimmed with ornamental iron, both interior
and exterior. Some beautiful examples of the French Renaissance are to be
executed in gates, grilles, and balcony fronts, together with stair wells and
rails.
The annual volume of business is over one hundred and fifty thousand
dollars, and constantly increasing. Business depression, so-called, Mr. Hillard
does not seem to recognize or even acknowledge in the industry of his estab
lishment.
107
In reviewing some of the creditable work of the past few years the follow
ing contracts should be mentioned,the Reno, Nevada, Courthouse ; the Rialto
building; the Native Sons' hall; the Glenn hotel; the Hihn Estate building; the
Druids' hall; the Red Cross Hospital at San Mateo; the Row ell building at
Fresno, and many others.
Mr. Ilillard has had work intrusted to his shops by a large and constantly
increasing group of well-known architects, among whom might be mentioned,
Bliss & Faville, Lewis P. Hobart, W. H. Weeks, C. A. Meussdorffer, Righetti
& Headman, E. P. Antonovich, Dunn & Kearns, Fabre & Bearwald, F. J.
DeLongchamps, Orville C. Clark, P. J. Herold, and others.
No attempt has been made to specialize in any one line of ornamental iron
work, but much success has been achieved in the manufacture of metal stairways
entirely of steel without any cast iron features.
Some typical work of the C. J. Hillard Co.. Inc., is shown in the accom
panying illustrations.
*
Troubles of the Contractor

WORD comes from St. Paul, says the Improvement Bulletin, that a
contractor there may lose $1,000 because he thought a zero was a dot.
He bid on some sewer work and read "660" feet, 66 feet. A clerk in
the engineer's office, it is said, makes a funny cyphervery peculiar, no
doubt, in the opinion of the contractor who may have to pay $1,000 for dis
covering the peculiar habit. It seems fair that the city should cause its em
ploye in this instance, to use a differentthe regulationmodel for his
zeros, and give the contractor another chance.
* * *
Another unfortunate contractor was hurrying to a place of letting with
his bid when his automobile broke down. Before he c6uld get it fixed, or
reach the place otherwise, it was too late. Naturally he found that his
bid would have been low. We have noted a commendable fair-play spirit
among officials lately in accommodating bidders who are unavoidably de
tained, or victimized by their own pardonable mistakes.
* * *
A contractor who had carefully estimated a job placed the bid in his
pocket and started on his way to submit it. He loitered too long and filed
about twenty minutes too late. It was discovered that he was low ; but
his' bid was rejected on account of his failure to watch the clock. Most
business men will agree that this gentleman of leisure got a square deal.
In another instance, an Iowa contractor was low but he had not itemized
as required and the council did not accept his bid. In this case the treat
ment was not only fair but liberal. The council decided to advertise again.
Three times the council has attempted to dispose of this question. The
first time it was found there was a technical error in the proceedings, suffi
cient notice not having been given. The next attempt found the bids too
high and the third resulted in postponement because the lowest bidder
did not itemize his estimates. Here is a big, broad spirit that would give every
body a chance.
108
Something About Terrazzo Floors*

By CHARLES R. MARSH.
ERRAZZO is defined by Russell Sturgis, in his "Dictionary of Archi
tecture and Building" as :"An expensive concrete pavement used for
floors in the province of Venetia, even in houses of some pretensions to
elegance. Lime mortar made unusually dry is the principal material ; in it are
inlaid small pieces of marble, usually not too large to pass through a ring an
inch and a half in diameter. The whole is beaten hard, rubbed down and pol
ished. Fine examples are given, full size, in Gruner's "Specimens of Ori
ental Art."
I have been unable to find anything further than the above, regarding
the subject. Because of the very limited literature pertaining to terrazzo,
and because of the great difference in the appearance of it and the vary
ing ideas held as to how such work should be done, the writer was
prompted, in March, 1912, to address the members of the society regarding
certain vital details of this subject. The generous response to that postal
card inquiry contained many, varying and conflicting opinions. This shows
that the subject was an interesting one to most of us. This, in turn,
prompted me to go further into the subject, and as a result individual letters
were addressed to about ten contractors for terrazzo work ; to about fifteen
firms of architects and. to five professors of architecture in the leading uni
versities having courses in architecture.
The replies from professors of architecture were disappointing as they
contained absolutely nothing of value to a better understanding of the
subject.
By ascertaining the ideas and opinions of the best architects and con
tractors for any class of work and supplementing that data by the opinions
of superintendents who have seen and noted the results obtained by various
methods and designs, we can decide on what is best both from a structural
and an economic standpoint.
Superintendents for the most part seem to be biased in their opinions
in favor of the methods specified for the work they have in hand and have
apparently given little thought as to how methods or design may be
improved.
Superintendents all agree that it is necessary to have the floor slab
well cleaned and washed before the base for the terrazzo is placed. Mention
is made by very few to one of the most important items, that is, the
aggregate. One supervising superintendent states: "Never use cinders,
as good cinders are hard to get and expansion in most cinders causes the
work to lift. Use stone, gravel, terra cotta and brick provided they are free
from coal, lime or magnesia." Contrast tlrs with the varying opinion of a
superintendent who states: "I think the best way to lay terrazzo on a
fireproof floor is to use a fill, where necessary, of cinder concrete."
The Venetian Tile & Marble Co. of Detroit, write : "We do not think
it really necessary to lay the finish coat of terrazzo before the base has set,
but the base should not be left for more than twenty-four hours. "A
second Boston firm thinks that it is best to lay the finish the day after the
base is placed, and a third Boston contractor is of the opinion that it is
best to lay the finish after the base has set, but not more than twelve
hours later.
All contractors agree that it is best to mix the chips and cement dry
and then add the water. The Fishbach Co., state that they do not approve
* Extracts from a paper read before the Society of Contractors of Federal Ttuildings.
109
of the old and inefficient method of spreading a sand coat, and on this
sprinkling marble and rolling it. When the proportions of chips to cement
are mentioned it is usually one cement to two and one-half chips ; one
contractor thinks that it is best not to specify the proportions of cement,
but that enough be added to fill the interstices. This latter method is the
requirement in late office specifications. None of the contractors state
the exact method of applying the marble chips.
Architects in writing specifications for terrazzo vary in the length and
minuteness, but on the whole they require stricter methods than con
tractors propose.
McKim, Mead & White specify that the wearing surface shall be placed
before the base has set, and that only enough cement be added to the
chips to "firmly unite the pieces."
Peabody & Stearns in their specifications for the new Boston custom
house call for terrazzo one inch thick, and "to be rolled and then to have
more chips strewn over the surface and rolled again."
F. M. Andrews requires in the specifications for the new Hotel McAlpine,
New York, that there shall be a cinder concrete base, and that the terrazzo
shall be placed two days after the laying of the same, or to quote fully
from the specifications :
"The top finish shall be laid within two days of the placing of the base,
preferably as closely following as possible. A thin film of 1 :2 mortar
is to be drawn over the cinder concrete base in advance of the main bulk,
and this is to be thoroughly troweled into the base and then brought to
within one-half inch of the top of the borders. Level this and while still
soft cover the same with a bed of clear Portland cement paste and marble
chips, in equal quantities by bulk. Note that all terrazzo is to seveneighths inch to one inch thick. The marble chips shall be of such size as will
pass through a three-eighths inch mesh. Such of the chips as will not pass
through a five-eighths inch mesh are to be used for sprinkling on top of
mixture of cement paste and marble chips after same has been leveled,
and are to be rolled in."
The specifications for the new Field Museum at Chicago, written in
the office of D. H. Bufnham & Co. in part as follows:
"Filling under terrazzo shall be composed of one cement, two sand, and
four brick. Before concrete filling commences to set spread a three-fourths
inch wearing surface composed of marble 'chips with only enough neat Portland
cement to firmly unite the pieces. Trowel and roll, and after the mortar
has set, the terrazzo to a smooth, even surface and wash clean.
For all marble tile and terrazzo floors concrete bedding will be brought
to within two inches of the finished floor surface by the masonry contractor,
the marble contractor shall take the work from this point. Before depos
iting the bedding mortar on the concrete, the entire surface shall be well
saturated with water to prevent the too rapid absorption of the water from
the bedding mortar.
Deposit upon the concrete a bed of cement mortar
of two parts non-staining Portland cement, and three parts clean, white
sand. Mortar shall be spread evenly over required surface to established
floor level."
Carrere & Hastings in their general specifications for terrazzo re
quire :
Concrete ground work shall be thoroughly swept and washed and lightly
sprinkled with dry Portland cement immediately before terrazzo floor
mixture is placed in position. Terrazzo shall be composed of hard white
110
marble chips and just sufficient mortar of one part white Portland cement and
one and one-half parts white sand to fill the voids. This mixture shall
be laid not less than one inch thick and marble chips shall be laid over
the surface and rammed in."
Cass Gilbert, quoting from the specifications for the new National State
Bank Building, Newark, New Jersey ; specifies for terrazzo, which is all
to be placed in corridors, as follows :
"All terrazzo is to be laid in the best manner, consisting of topping and
bed; the topping being made of white Italian chips with best White Atlas
cement and to be not less than one inch in thickness. The bed to be one
inch thick composed of one part Portland cement, three parts coarse sand,
and five parts clean gravel. On top of bed and laid coincident with same
lay the terrazzo topping."
Shepley, Rutan & Coolidge write as follows: "We do not specify the
composition of terrazzo floors, and we might add that the terrazzo is
always placed on a concrete fill, all conduits and etc., being kept well
below the top of the fill, otherwise we find cracks are apt to appear in
the finish terrazzo."
Warren & Wetmore, architects for the new Grand Central station, New
York, remark that they usually have the surfacing put on before the bed
is thoroughly set.
In reference to terrazzo on wood floors, a superintendent writes: "I
do not think it necessary to reinforce the base on a fireproof floor, and
not on a wooden floor if laid properly in blocks." Another superintendent
says that he has come to the conclusion "that good work cannot be assured
when terrazzo is laid on wood base."
Contractors also vary in their opinions as to the necessity of reinforcing
the base.
jDavid Fishach & Co. of Baltimore, "recommend the use' of BB lath
27 gauge, and placing the same between the base and the cushion coat,
the only detriment in reinforcing the base is the expense it incurs."
The Levis Mosaic Co. of Boston do not consider it necessary to use
reinforcement when the work is to be on a floor of fireproof construction.
Perhaps the most interesting reply to my inquiries is one from Waldo
Brothers of Boston, who write as follows : "We do not think it necessary
to use reinforcement in the following instances: 1. In small places (75
feet or less) ; 2. In old buildings where settlement has occurred a long
time previous ; 3. In places where there is a very thick concrete floor
slab. We do think its use is necessary in the following cases: 1. In
places where there is constant vibration: 2. In new buildings where there
is sure to be settlement ; 3. Where the concrete floor slab is not very thick ;
4. Where terrazzo is to be laid over wooden construction."
In regard to the largest area that may be laid without expansion joints
most superintendents favor the size as specified in the present office speci
fications, 4x4, 5x5, and in some instances 6x6. One superintendent states
that an area 20x20 has been laid by him, and can be laid without danger
of cracking; this opinion is also held by superintendents who have had large
experience in this class of work. Instances of panels 16x16, and another
20x30, are cited with remarks that they have not cracked after three or
four years' wear. Personally I know of two panels more than 200 feet
in area, put in without joints of any kind, and without reinforcement, that
have been subject to a great amount of traffic in a hotel lobby, that were
put in nine years ago, and which show no signs of failure today.
111
3.n 12tmoriam
Albert Pissis
From out the starry interworld
He came a gleam of mellow light
To shine upon the path he trod
And build his spirit into stone
To man and God.
And resting all his hopes above

In steel and stone he interwove
Some fragment of the heart's desire

Some cords from out a tuneful lyre
And still his soul shall with us stay
In sombre stone or ambient clay
And in that place of rest and light
For us shall gleam a spirit bright.
Stretching his rule across the sky
In heights and depths that have no ending
And ever from unmeasured depths
To heights unmeasured still ascending
Gleaming and streaming with the light
That hath not length nor breadth nor height
Foundations that have never been
And heights no mortal eye hath seen

The master builder shall at last
Build Heaven and earth and ocean vast
And all the planets of the sky

And his own soul eternally.
W. G. MITCHELL,
BANKERS INVESTMENT BLDG.
San Francisco
14 July, 1914
[...]
112
THE
Arrettert anil Engtnwr
OP CALIFORNIA
Published Monthly in the Interests of the
(Includtng
all parts
of the; toUntted
Statespotnts
11.50
per annum ;postage)
to Canadato 50c
addtttonal
all Foretgn
SI addtttonal.
Vol. XXXVIII. August, 1914
No. 1.
ASSOCIATE EDITORS
j Inspectton
Wm. B. Gfster.
Loren E. Hunt. C. E. . . I and Tests
ft Vv'i^TR^ I Reproof Constructton
KR!^K C K f
Structural S.l
.(vELDENrN
rtttad Terr"
Howard Frost. 1
' ""'
g. b. ashcroft. c. e. . Artificial Stone
Harry Larktn ' ' J Hoofs and Roofing
J. K. D. Mackenzte Rock and Gravel
Fred M. Woods. Jr..
Intertor Decoration
C. Walter Tozek Wtlbur Davtd Cook, LandscapcArchitccture
T. C. Ktf.rulff
Legal Points
Paul C. Buttf - Electrical Constructton
ARCHITECTURAL
F. D. Hudson
Fred H. Meyer
Aunust G. Headman Sumner P. Hunl
C. Sumner Greene
Edward T. Foulkes
G. Albert Lansburtrh Norman F. Marsh
Maxwell G. Bugbee
E. H. Hildebrand
KenncthMacDonald.Jt . Clayton D. Wilson
Almcric Coxhead
Houuhton Sawyer
Harrison Albright
John G. Howard
John Parkinson
Arthur Brown. Jr.
W. J. Cuthbertson
T. J. Welsh
A. W. Smith
Chas. P. Weeks
Benj. G. McDouyall T. Patterson Ross
William H. Weeks
Octavius Morgan
Chas. W Dickey
H. Alban Reeves
Henry C. Smith
J. C. Austin
CONTRIBUTORS
Wm. A. Newman
Smith O'Brien
H. F. Starbuck
Jas. W. Reid
Nathaniel Blaisdell
J. Harry Blohme
W. T. Bliss
Herman Barth
William Mooser
Arthur O. Johnson
Robert Moryeneier
Herbert E Law
B. J. S. Cahill
Hon. Jas. D. Phelan
John Galen Howard K. A. I. A.
Louis C. Mullgardt
E. M. C. Whttney
Fredertck W. Jones
Manager
Managing Editor
Eastern trade publications antagon

istic to the clay products industry, have
been publishing
ARCHITECTURAL some very serious
TERRA COTTA
accusations about
the alleged failure of
architectural terra cotta, particularly
where used for cornice work. Doubt
less the failures, if failures they really
were, resulted from incompetent work
manship, just as concrete has been
known to fail through improper mix
ture or absence of capable supervision.
As to the behavior of good archi
tectural terra cotta under most ex
treme conditions, one need only turn
back to the reports of engineers and
other competent authorities, who in
vestigated the conditions of the larger
San Francisco buildings after the
earthquake and fire of 1906. Refer
ring to these conditions Mr. W. E.
Dennison, President of the Steiger
Terra Cotta & Pottery Works, writes
us as follows :
If there is a single instance of terra
cotta falling out of any of the heavy cor
nices of buildings then standing, I have
yet to hear of it. I can say of my own
knowledge, that there was not a single
piece or cornice or heavy projecting courses
.in the Rialto Building, Monadnock Build
ing and Grant Building that was displaced.
I believe that such was the experience
of all terra cotta manufacturers in this
section. Should a piece of terra cotta fall
out of any course of a building it would
not be the fault of the terra cotta, but
of the construction observed, which is al
ways up to the architect, as he is the
one who designs and specifies same. If
terra cotta is not properly anchored and
backed up, according to the laws of grav
itation it will fall, the same as any other
object will fall when released by reason
of improper fastening.
The tendency of the times is to use
terra cotta more fully and completely in
building construction than ever before. The
National Terra Cotta Society in its forth
coming textbook will show the architects
and engineers of this country and the world
the most approved methods of anchoring
this material in the highest type of build
ing construction known to modern engi
neers, and you, and all of you in your pro
fession who are seeking to learn the rep
resentative merits of the best building
materials can take due notice from such
structures as the Woolworth building in
"FIRE-A
CRIME"
Rolling Doors.
and Steel Sash.

Of California
Single Copies.
$1.50 per Year
25 Cents
Issued monthly tn the Interests of Archttects, Structural Engtneers, Contractors and the Allted Trades of the Pactfic Coast.
Contents for September

PAGE
COUNTRY VILLA OF HON. JAS. D. PHELAN Frontispiece
William Curlett & Son and C. E. Gottschalk, Architects
THE COUNTRY HOME OF HON. JAS. D. PHELAN
47
B. J. S. OaMU, A. L A.
THE DEVELOPMENT OF THE MODERN HOME ....
61
ARCHITECTURAL FEATURES OF THE NEW STATION AND
OFFICE BUILDING. OF THE MICHIGAN CENTRAL RAIL
ROAD
90
F. A. Pruitt
BRONZE
98
William A. Newman, Architect
MARBLE AS A DIFFUSER OF LIGHT
101
BUSINESS INTEGRITY AND HIGHER IDEALS
102
F. H. Glidden
WORKING HOURS IN THE ARCHITECT'S OFFICE
105
WHY IT TAKES SO LONG TO PREPARE PLANS FOR FEDERAL
106
EFFICIENT WATERPROOFING OF CEMENT SURFACES
108
G. H. Cresser
THE PALACE OF LIBERAL ARTS AT THE PANAMA-PACIFIC
109
EXPOSITION
111
VARIED USES OF CEMENT
CODE OF ETHICS OF THE AMERICAN SOCIETY OF CIVIL
111
ENGINEERS
112
EDITORIAL
.... 114
118
120
THE EDITOR'S MAIL
STATE, COUNTY AND MUNICIPAL ENGINEERING
124
128
BY THE WAY
CURRENT PRICES OF BUILDING MATERIAL
.... 136
[Index to Advertisements Page 8]
*
..
-
#:
.7.
*
&
S
ON,
CURLETT
WILLIAM
California
of
GOTTSCHALK,
E.
C.
1914
September,
ARCHITECTS
PHELAN
D.
J.AMES
HON.
THE
Frontispiece
OF
VILLA
COUNTRY
N
R
IF
L
,C
S
O
T
A
G
E
Engineer
and
Architect
The
THE
Architect
and
Engineer
Of California
Vol. XXXVIII.
SEPTEMBER, 1914
No. 2.
The Country Home of Hon. James D. Phelan

Some Random Notes
FROM pleasant recollections of many fine homes in various parts of the world
I find myself coming to a conclusion, not, perhaps, quite loyal to the archi
tects' profession. In perfect candor one must admit, and the reader on
reflection will surely concur, that the most attractive features about some new
and lovely country places are often as not something in which the architect has
had no hand. And the criticism that comes to mind in so many elaborate and
expensive houses that are yet unsatisfactory and without charm, is summed up
in one phrase, "too much architecture" !
To avoid the danger of hasty generalizing, perhaps the truth can be squarely
stated by considering just how an elaborate and highly organized country home
comes into being in a prosperous and growing community such as our own here
in California.
A fine home presupposes fine fortune, but men do not all build magnificently
for the same motives. With many it is done as a sort of duty, or because others
in their class have done the same. In most cases, especially in cis-Atlantic
longitudes, it is wholly a woman's enterprise where the home becomes a field of
social activities, made possible, though hardly supported by the male end of the
menage. Again there is the house which is wholly the hobby of the man who
builds it. It becomes the outward expression of his inmost dreams and desires.
It is the end and object of his existence to which all other efforts are tributary.
The architect called in to give expression to these varying phases of home
building ambitionand of course we mean on a scale of conspicuous rather than
average opulenceis likely himself to conceive of a home in several quite differ
ent terms.
However commercially successful or academically trained he may be, his
efforts in this venture will be of small avail if he is without social experience
or out of sympathy with a mode of life whose chief expression he is called upon
to provide for in a large and liberal way as well as minutely and in detail. To
put the case into concrete form. What sort of success would the latest winner
of the Grand Prix make of a commission to design an English country house?
Without first-hand knowledge of English country life, or without direct copying,
his efforts would be ludicrous. All of which leads back to the main reason why
the real charm of a successful country home is so often due to the owner rather
than to the designer, and why so many palatial places are offensive because
they are laden with "too much architecture."
Conspicuous among the successful homes in the San Mateo County end of
the peninsula is Mr. Jas. D. Phelan's villa near Saratoga, Santa Clara county.
The architects in this instance have shown fine sympathy in first surrendering to
the impress of the owner's will and then giving off a plastic interpretation of a
48
home which admirably expresses the owner's fine culture and relish of the
antique, and this is done without a trace of that formality, and coldness which
too often mars our modern efforts at the classic. The architect, when left to
himself, is too prone to remember only the naked lines and blank surfaces of the
Five Orders. He remembers them as mere outlines of archaeologyabstrac
tions of form in bare cold masonry, stripped by time and the elements of their
original vestures of color and texture that made them human and habitable.
And, after all, the real beauty of a home lies finally in the furnishings and manyhued fabrics that line the interior and in the ever-changing floral setting of the
exterior. Not long ago in visiting just such another
"Ample villa bosomed deep in vines,"
the owner pointed out a pergola bordered and festooned in a bewildering wealth
of living greenery. He said, "My architect had all these edges paved with solid
brick and concrete, but I had these strips of mold placed here instead and my
gardener planted them as you see."
The effect was magical and the moral was not to be forgotten either. Per
haps this accounts for the fact that one of the most successful of modern home
designers (Mr. Piatt of New York) did not begin life as an architect at all, but
as an artist and a landscape gardener.
Mr. Phelan's prominence in political life, his career as Mayor of San Fran
cisco and his incessant activities as a public-spirited citizen have combined to
obscure the fact that he is essentially an artist. Fate has decreed that he should
not practice any particular handicraft, though it may surprise some to know that
as an amateur modeller in clay he has a good deal of experience and dexterity.
Among the Greeks oratory was counted the greatest of all the arts, and in this
particular Mr. Phelan is a past master in the very front rank of the public
speakers of this country. In spite of the great handicap which versatility im
poses, Mr. Phelan has left the impress of his talent on the architecture of the
town in a manner worthy of more than a passing mention. He originated the
famous Adornment Society, which in turn financed the Burnham plan for the
city of San Francisco. This, on account of the great fire of 1906, finally resolved
itself into the Civic Center campaign. And although the bond issue to realize
this feature of the Burnham plan failed to carry in 1909, Mr. Phelan's enthu
siasm and activity, and the enormous publicity and discussion provoked un
doubtedly culminated in the success of the plan finally adopted. Mr. Phelan's
particular efforts may have missed fire, and his work may have seemed futile
and thankless, but in the light of subsequent events it was clearly a part, and an
essential part, in the chain of events leading finally to the great Civic Center
scheme now magnificently nearing completion.
II.
The gist of the foregoing remarks is of course to the effect that the splendid
villa illustrated in these pages is very much the direct creation of Mr. Phelan,
Messrs. Curlett & Son, followed by Mr. Gottschalk acting as architectural inter
preters. And this undoubtedly is the correct way to plan for an owner of classic
training, wide travel, artistic instincts and conspicuous talent. Nor is this in the
slightest to the architect's discredit. On the contrary, it is his correct function
not to impose his own ideas on his client, but to interpret his client's ideas to
himself. It is only when the client has no ideas, or is prepossessed of silly,
childish or paltry ones, which is not unusual, that it is the architect's duty to
"boss" the whole enterprise.
*
*
*
The climate around San Francisco partakes of so many qualities that almost
any architectural style for a home would seem proper at some time or another.
FACADE. COUXTRY HOUSE OF HON. JAS. D. PHELAN

William Curlett & Son and C. E. Gottschalk. Architects
Golden Gate cement used exclusively
4')
50
TILED PORCH, COUNTRY HOUSE OF HON. J.A.S. D. PHELAN

SUN PORCH, COUNTRY HOUSE OF HON. J.A.S. D. PHELAN

COURT AND FOUNTAIN, COUNTRY HOUSE OF HON. J.A.S. D. PHELAN

ANOTHER INTERESTING VIEW OF COURT, HOUSE OF HON. J.A.S. D. PHELAN

52
| \:
**:
*
THE POOL. COUNTRY HOUSE OF HON. J.A.S. D. PHELAN

--
PERGOLAS AND PATIO, COUNTRY HOUSE OF HON. J.A.S. D. PHELAN


-
|-
- -
"
TEA ROOM, COUNTRY HOUSE OF HON. J.A.S. D. PHELAN

LIBRARY, COUNTRY HOUSE OF HON. J.A.S. D. PHELAN

54
COUNTRY HOUSE OF HON. J.A.S. D. PHELAN

SANTA
CLARA
COUNTY.
C.4 LIFORNIA
| | | | | | | | | | I]."
55
"III, IITITIII
S. E. C. O N D
F L O O R
P L A N.
COUNTRY HOUSE OF HON. J.A.S. D. PHELAN
56
OLD SPANISH DOOR PURCHASED BY

MR. PHELAN IN GRANADA, SPAIN'
57
MUSIC ROOM, COUNTRY HOUSE OF HON. JAS. D. PHELAN

William Curlett & Son and C. E. Gottschalk. Architects
One of the odd features of much of our home planning is that we assume gentle
zephyrs and radiant sun and build porches and pergolas to match, while the fog
horn is blowing on the bay and our hills are smothered in mist.
This accounts for the fact that in an hour's ride from San Francisco you can
find one great home perched on the hills of Alameda County of the exact form
and contour of the lamasaries of Bhotan and Thibet where, perched on the crags
of the Pamir plateau you can contract sunstroke in the head and frostbite in the
toes at the same instant. The Taylor house in Claremont, designed by Mr.
Mullgardt, is wholly Thibetan in style, with huge battered basement walls sur
mounted high up by a long iterated band of fenestration with big overhanging
roof and boulders on it to hold down the shingles in high winds !
A few miles southwest of this Howard & White have planned a stately Tudor
manse for Mr. Frederick Kohlsuch a house with huge antlered hall, stained
glass, organ, and private oratory, as you can see in various parts of the British
Isles, all in red brick, slate roofed, gabled and edged with grey stone.
And a few miles away from this is the Phelan Villa, all classic and white,
with vivid tiles, great terraces and loggias, pergolas and patios, piazzas and
swimming poolall from the shores of the Mediterranean !
What is the answer? Does our climate call for Tudor Gothic or Italian clas
sic, or has Mr. Mullgardt given us the most subtle answer of all?
*
*
*
Marion, who had been taught to report her misdeeds promptly, came to her
mother one day, sobbing penitently.
"Mother. IIbroke a brick in the fireplace."
"Well, that is not very hard to remedy. But how on earth did vou do it,
child?"
"I pounded it with father's watch."Success.
58
59
ft)
te ">m o... <ooa: a, ^
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"2Tb
OXu
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2 X >-J JB
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S 03 3
60
RESIDENCE OF MR. J. T. LINDLEY

AZUSA. SOUTHERN CALIFORNIA
R. D. FARQVHAR,
ARCHITECT
61
THE splendid examples of modern homes illustrated in this number have for
their prototype the cottage. All the elements in their make-up now so
carefully composed with the eye of the artist are fundamentally the plain
est forms of village construction, the result of the simplest expedient of the
country carpenter, the simplest shifts of unlettered artisans who build quite un
conscious of effect and with no other thought than to build durably against the
weather with the materials nearest to hand so as to enclose the most space with
the least expense. All forms of gables, gambrils. penthouse effects and dormers,
added one to another as the original cottage unit for the family developed to a
farm house or an inn, form the elements of composition of our most artistic
modern homes. From these elements are composed the charming skyline, the
variety and the surprises of that type of residence that appeals most strongly to
modern cultivated taste. Yet all the elements of these delightful homes are of
humble origin. The brick garden wall to keep out animals, the brick steps and
walk laid herring-bone style, the low beamed ceiling to save plastering, the deep
window embrasures in walls that were thick, the huge beam over these openings,
the small window panes, since glass in large sheets is expensive, the crude brick
fireplace with wide hood and chimney corner, the half timbered exterior, the
overhanging upper story and the steep roof for bedroom space, the hand made
furniture and wood work with tool marks showing, and rude thumb latch made
at the village smithy of hammered iron, the iron kettle crane and dogs, the front
door hung in two halves, and the general random and haphazard lay-out of the
whole rambling structureall these and many others are the elements from
which the most quaint, homelike and charming results have been developed in
modern house building.
But if a cheap and vulgar version of magnificent architecture is to be de
plored in our homes something in turn of absurdity attaches to the expensive
and forced version of rustic simplicity. Artificial adze marks on brand new
cedar, clumsy brass door latches made at enormous expense, ceilings too low
and windows too tiny, ridge poles that are bent on purpose to simulate pic-
62
The
63
The Architect and En gineer

*
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F I R S T
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F L O O R
P L A N S.
HOUSE OF MRS. H. F. ALLEN, PALO ALTO, CALIFORNIA

SMITH
O'BRIEN,
ARCHITECT
HOUSE OF MR. C. B. DEIVEES, SACRAMENTO

Clarence C. Cuff, Architect
HOUSE FOR DR. JOHN R. HAYNES

R. D. Farquhar, Architect
68
RESIDENCE FOR MR. R. A. ROWAN, PASADENA, CALIFORNIA

R. D. Farquhar, Architect
RESIDENCE OF MR. A. C. HERSHEY. BEVERLEY HILLS, CALIFORNIA

Arthur R. Kelly, Architect
70
WATER COLOR. WILLIAM HE SPELER RESIDENCE, PASA DENA, CA LIFORNIA
Sylvanus B. Marston, Architect
RESIDENCE OF MR. C. L. NELSON, WOODLAND, YOLO COUNTY, CALIFORNIA

Clarence C. Cuff, Architect
----------
RESIDENCE, OAKLAND. CALIFORNIA

Sidney B. Newsom, Architect
71
72
73
74
HOUSE FOR MR. THOMAS A. CUTHILL, BERKELEY

FUtST FLOOR PLAN, RESIDENCE FOR MR. THOMAS A. CUTHILL, BERKELEY

James H\ Plachek, Architect
75
76
HOUSE OF MR. HUGH M. LA RUE, JR.. SACRAMENTO

Seadler & Hoen. Architects
INTERIOR. HOUSE OF MR. HUGH M. LA RUE, JR., SACRAMENTO

Seadler & Hoen, Architects
FIRST AND SECOND FLOOR PLANS, HOUSE OF MR. HUGH M. LA RUE, JR., SACRAMENTO
Scadler & Hoen, Architects
78
RESIDENCE. SACRAMENTO. CALIFORNIA

HOUSE OF MR. H. G. MACMASTERS. SACRAMENTO

FIRST AND SECOND FLOOR PLANS, HOUSE OF MRS. J. EBNER, SACRAMENTO

Scadlcr & Hoen, Architects
80
ENTRANCE COURT, RESIDENCE OF

DR. J. B. CROWLEY, SAN FRANCISCO
RIGHETTI & HEADMAN, ARCHITECTS
81
---
RESIDENCE OF MR. S. L. NAPTHALY. SAN FRANCISCO

Willis Polk & Co., Architects
enoro - 2
date. M--2,5-la
- NAR-Awalls polar a co, ARCMITECT*
a woulx, PwC To earl FRANCISCO, cal
COURT OF NAPTHALY RESIDENCE, SAN FRANCISCO

ARCHITECTS
WILLIS POLK & CO.,
83
84
SUBURBAN HOME, SKETCHED FROM A PHOTOGRAPH
RESIDENCE OF R. A. HEROLD, SACRAMENTO, CALIFORNIA

R. A. Herold, Architect
85
86
AN ATTRACTIVE STUCCO HOUSE WITH WIDE CORNICE

i.
RUSSELL TAYLOR RESIDENCE, BERKELEY SQUARE, LOS ANGELES, CALIFORNIA

Myron Hunt, Architect
87
88
turesque decay, and clean wood burned to imitate ageall these are devices that
may easily develop into vices, although fortunately the examples here presented
are remarkably free from these defects.
Apropos of the preceding considerations in general it may be laid down as a
universal law that any interior features whatever that can be called decorative
in construction, are either debased remnants of palace architecture or exalted
developments of cottage construction, or both combined in various degrees.
All columniated schemes, all moulded work, all polished, shiny, and painted or
plastic effects belong in general to the former class, while all plain surfaces of
natural material, flat coloring, square joinery without mouldings, rough
masonry, rough plaster, sackcloth falls, and dull finish of wood, belongs to the
latter. High ceilings and symmetrical rooms invariably betoken the palace or
igin ; low ceilings and irregular plan the cottage origin. Any architect on looking
around a room can instantly pick out the features that are in the descending
as distinguished from those that are in the ascending group
Thus the so-called Colonial style is really a diluted Baronial, a peculiar mix
ture of cottage conditions and castle aspirations. The heavy stone porticos that
make a Georgian manor house so imposing, when transplanted to a pioneer
community and thinly rendered in painted pine, while not devoid of a historic
interest, must always seem a little prim, a little cold for comfort, for cosiness
we demand in a home. However, as an expression of the Puritan spirit, it is
perfect. As architecture it is not democratic, and in that sense it is not an
American style. Its very name is enough proof of that. It is really palace
architecture grafted onto farm house conditions. However, when shingles
were substituted for painted clapboards and the classic orders gradually fell
into disuse, the cottage character began to assert itself and with the abandon
ment of formality we can trace the beginnings of comfort and homelike sim
plicity.
Judged by some standards the planning of homes is the most thankless
branch of an architect's profession. It demands the maximum of effort and
talent and the minimum of reward, if rewards be measured by dollars and cents.
There is no type of building on which one must lavish so much study and atten
tion, as a moderate-sized residence such a one that ranges in cost from five
to fifteen thousand dollars. Every room is a problem in design, each wall and
each ceiling is a separate study. The four or more aspects of the exterior de
mand equal attention. Be it understood that by homes we mean characteristic,
interesting, or artistic dwellings of the best type that the age has developed.
These are not. we submit, the mansions of the very wealthy, however interesting
these exotics may sometimes be, nor the commonplace houses of the many, but
the homes of men and women who shun the pretensions of "high life," yet
would add grace and beauty to that simplicity of living which is the basis of
ôod citizenship.
The architecture which best expresses this wholesome, this sturdy ideal is,
as we have pointed out, developed mainly from what might be called the cottage
craftsmanship of the plain people, as distinguished from the degenerate ele
gancies and the diluted and grandiloquence of styles invented long ago and far
away for the palaces of sovereigns.
*
It Caused Her to Think
"I say, mamma," said little Willie, son of a prominent Milwaukee architect,
"is it true that when you first met pop you had fallen into the water and he
jumped in and saved you?-'
"Quite true, my dear." replied mamma, smilingly.
"Then I wonder if that's why dad won't allow me to learn how to swim!"
89
DOME OF SAN FRANCISCO CITY HALL

Bakewell & Brown, Architects
Steel for the entire building furnished by U. S. Steel Products Company [American Bridge Co. DtvJ}
SKETCH FOR BUNGALOW WITH FLOOR PLANS

Samuel Arnold, Architect
90
Architectural Features of the New

Station and
Office
Building
of
the Michigan Central Railroad

F. A. PRUITT, in Engineering and Contracting.
>
T
1'
. t
f
i?^/? ELEVATION MICHIGAN CENTRAL RAILROAD

Showing Office Building and Train Shed
THE Michigan Central Railroad Co. has recently completed, at a cost of

about $2,500,000, its new station and office building at Detroit, Mich.,
this improvement being the last step in the extensive plan worked out
by this company. The entire project includes the tunnels under the De
troit River, the train sheds, yards and equipment, grade separation and
bridges, coach yards, service building, warming building, hump yard,
custom house, inspection sheds, wheel pit, signal towers, yard electrifi
cation, team tracks, etc. With this work completed the company now has
at this point one of the most complete and fully equipped plants for the
handling of freight and passengers to be found in this country.
To avoid the shuttle movement of all trains which was necessary when
entering and leaving the old station the new terminal was located on the
main line about one-half mile northwest of the tunnel portal. With this
location and with the cross-overs in the train shed in use about thirty
minutes can be saved in making up the trains and getting them across the
river, from that required to operate to and from the Third Street station.
The general scheme is that of a through station layout with ten pas
senger tracks and one express track under the cover of the train shed.
There are seven through freight tracks in the open south of the train
shed and parallel to it at the same elevation. All of the tracks are sup
ported on a steel substructure for a distance of about 640 feet, the usable
space under the right-of-way being occupied by the United States mail
service and by baggage and express companies, etc.
In designing each part of the terminal provision has been made for
a considerable increase in traffic above that now required by the Michigan
Central, in order that other roads in the city may be accommodated as
tenants at any time they so desire. There is a possibility that the Grand
Trunk and Lake Shore may later use this station. The Michigan Central
alone handles, on an average, 5,000 passengers daily, with an estimated
maximum of 9,000 on special occasions. The old station accommodated
seventy-five trains, with a total dailv capacity of 544 cars.
Location.The station is located a little more than one and one-half
miles west of the city hall and about the same distance from the old
Third Street station. It is about 800 feet south of Michigan Avenue, be
tween Fifteenth and Seventeenth Streets, on Depot Esplanade, a new
street and parkway, which was opened by the separation of grades.
91

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92
FRONT ELEVATION OF MICHIGAN CENTRAL RAILROAD STATION AND OFFICE

BUILDING, DETROIT, MICHIGAN
Reed tS* Stem and Warren & Wetmore, Architects
Approaches.All of the approaches have been designed and the grades
separated so as to give the most efficient and easy access to the station
and train shed, both for the public and for the tenants using the rooms
under the tracks.
At the east end of the station there is a driveway about forty feet wide,
sloping from Fifteenth Street downward on a five per cent grade under
the covered bridge which connects the station and the car shelter. This
driveway gives access to the basement entrances leading to the basement
elevator hall and to the machinery room which is directly under the main
concourse floor. The driveway and a similar approach, which is perpen
dicular to and just south of the car shelter, merge into a large court about
78 feet wide and 240 feet long. This gives ready access to the mail de
partment, which occupies the space under the tracks adjacent to this
court.
93
Just north of the station and its surrounding sidewalk there is a curved
driveway about twenty-five feet wide leading from Fifteenth Street around
the granite balustrade to Sixteenth Street. Between this driveway and
the Depot Esplanade there is an ornamental grass plot with blue flag
stone landing and granite balustrade and benches.
On the west side and parallel to the station there is a forty-foot drive
way leading up to the carriage entrance which is under a low roof out
side of the main office building. West of this driveway and separated
from it by a granite balustrade is a driveway on about a three per cent
down grade, which opens into a large court similar to the one on the
opposite side of the building. This court is used by the baggage wagons,
the baggage room being directly opposite under the tracks. Further west
the Depot Esplanade and Seventeenth Street merge into a public subway
leading under the tracks and connecting with Seventeenth and Newark
Streets on the south side of the train shed. Just east of this public subway
and parallel to it there is a forty-foot private driveway along the west
end of the baggage and express rooms, which is used by baggage and
express exclusively.
South of the train shed and parallel to it there is a driveway under the
express companies' offices, which is used entirely by the latter.
The lower story of the main building, which includes all of the station
facilities, has a frontage of 345 feet and a depth of 266 feet. These dimen
sions are maintained up to the top of the waiting room and concourse
roofs. Above this level the office building, which is in the shape of the
letter "I", rises to a height of approximately 240 feet from the curb to
the top of the penthouses.
From a structural standpoint the building may be described as con
sisting of three separate parts. Along the Depot Esplanade the general
waiting room, with its adjoining women's room, reading room and tea
room, has a depth of 104 feet and a height of about 63 feet to the Guastavino arch ceiling. Directly to the south of the waiting room the building
rises fifteen stories above the high arches of the arcade ceiling. The
"stem" of this part of the building is 54 feet wide by 241 feet long. At
each end of this narrow stem there is a bay fifty-two feet wide by 106 feet
long which completes the I-shaped outline of the office portion.
The concourse with its entrance for pedestrians on the east end and
cab entrance on the west is located south of and parallel with the office
portion. This room is 78 feet wide, with a flat copper ceiling about 41
feet above the street level. Leading south from this concourse there is
a 76-foot ramp, which grades down on a seven-per cent slope into the
passenger subway under the tracks of the train shed.
The high portion of the building at the pipe loft and storage floor
levels is separated from the waiting room and concourse by 13-foot courts
with hip-and-valley tile floors. These courts provide light for all offices
on these levels, which would otherwise be shut off by the concourse and
waiting room roofs.
Type of Construction.The entire building is of fireproof construction,
the steel skeleton framework being covered with stone, brick, terra cotta
or concrete.
The foundation is one of the first of its kind ever attempted for a
building of this magnitude, a reinforced concrete mat being used under
the entire building. The original design provided for caissons, but the
experience of the Detroit River Co. in the construction of its tunnels
94
VIEW OF EAST PORTION OF MAIN WAITING ROOM, MICHIGAN CENTRAL

RAILWAY STATION
Reed & Stem and Warren & Wettnorc, Architects
showed that the blue clay had a tendency to flow under heavy pressure,
and the borings showed that the average distance to rock was 110 feet.
These conditions, together with the fact that there was a possibility of
striking a sulphur vein, such as was found in constructing the Ford build
ing, lead to a very exhaustive series of tests on the bearing power of clay
and of several types of concrete piles. This series of tests indicated that
piles were inadequate, and a reinforced concrete mat was decided upon.
This mat has a thickness of 42 inches under the high office portion and
30 inches under the waiting room and concourse. As the type of foun
dation was changed after some of the columns were fabricated it was
necessary to build up piers from the mat for some of the columns.
From the street grade up to the sills of the large waiting room windows
which conform to grade the outside walls are of pink granite. From this
elevation to the window sills of the first office floor the walls are of dark
blue Bedford limestone; and from this level up to the twelfth office floor
a light-colored pressed brick, which harmonizes with the stone, was used.
At the twelfth office floor the building sets in about two feet, thus
providing space for the columns and festoon spandrels which are con
structed of light gray terra cotta. The terra cotta construction continues
up to and includes the massive overhanging cornice. The entire main
roof of the office building, as well as that of the reading room, tea room,
women's room and the flat roof over the offices of the low building, has
95
a pitch-and-gravel roofing. A copper roofing with standing seams is used

for the waiting room, concourse, cab stand and car shelter.
The car shelter at the east end of the building is reached from the
main arcade or the vestibule at the east end of the concourse by means
of a covered bridge which is 21 ft. 9 in. wide and which extends over
the inclined driveway along the east side of the building. This shelter
is adjacent to the trolley car loop, it is 17 ft. 9 in. wide and about 300
ft. long, and is built on a radius of sixty feet. The framework of the
shelter is of ornamental steel with the street side entirely enclosed with
metal sash windows. A wood floor was placed in this shelter temporarily
until the back fill settles to its final position, at which time it is intended
to replace it with reinforced concrete slab construction.
The terminal building contains 7000 tons of structural steel, 125,000
cubic feet of stone; 1,500,000 face brick and 7,000,000 common brick. The
foundations and side walls required about 20,000 cubic yards of concrete
and about 500 tons of reinforcing bars. The concrete fireproofing and
the reinforced concrete floors required about 5,000 cubic yards, in addition
to that used in the train shed and other outlying buildings. The train
shed superstructure required 3,500 tons and the substructure about 9,000
tons of structural steel. The" station proper has a volume of about 11,000,000
cubic feet.
The entire ground floor of the building is used for station purposes.
There are three entrances, the one on the north side will accommodate
those who come in private cars ; the one at the west end of the concourse
is for those arriving in taxicabs ; and the one at the east end of the build
ing will be used by people arriving in street cars. It is estimated that
fully seventy-five per cent of the public will use this entrance, which
directs them down the arcade, past the ticket lobby to the ticket windows.
The high building, which rises above the center of the station, is 345
feet long and 240 feet high, the central portion being 54 feet wide and the
wings at each end 108 feet wide.
The first floor above the ground floor is the mezzanine, which includes
the rooms west of the concourse and the paymaster's telegraph and tele
phone rooms, etc., to the east of the concourse.
The next floor above this is a storage floor, with a few offices at the
east end. At the west end of this floor and directly over the restaurant
there is an employees' lunch room which is operated on the self-serve
plan.
The next floor is the pipe loft, which will be used for the distribution
of the heating and plumbing systems, etc., as well as for a store room.
Above this are thirteen office floors, each having an area of about 24,000
square feet. The story height /or each is 12 ft. 6 in., and the arrangement
of offices is similar. A 12-ft. corridor runs along the central axis of each
of these stories.
The mechanical plant for all the buildings and yards is controlled from
the basement of the main building where the boiler plant and the machin
ery room are located. The boiler room is directly under the cab entrance
at the southwest corner of the high building and is equipped with five
450-horsepower "Toledo-Flanders" water tube boilers, with provisions
for the future installation of another boiler of the same capacity.
The coal for the plant is delivered into a reinforced concrete hopper
located at the south end of the service building. The top of the hopper
is at the elevation of the rail, and the coal cars switch over the hopper
and dump by gravity. The capacity of the hopper is about ten cars. From
96
v.
97
the bottom of the hopper the coal passes through the coal crusher onto
a motor-driven belt conveyor, which delivers it through the large concrete
coal and ash tunnel to the electric-driven bucket conveyor. These con
veyors work in unison. The bucket conveyor distributes the coal over
the continuous coal bunker in front of the boilers, where it is fed to the
stoker grates by means of hand chain movable chutes.
The ashes are loaded into the ash cars directly under the boilers. These
cars are operated by hand through the tunnel on a narrow-gage track, and
are dumped into the ash pit just south of the coal crusher, where the ashes
are loaded and are conveyed to the cars on the yard tracks above.
The machinery room is equipped with the most efficient type of pumps,
compressors, incinerator plant, refrigerating system, etc.
The large house and fire tanks are located in the west penthouses of
the office building. The surge tank elevator tank, pneumatic tube tanks, etc.,
are located in the machinery room. The heating system for the entire office
building, from the pipe loft up, is of the down-feed type ; while the ground
and mezzanine floors are supplied by the up-feed system. Each office floor
has 72 radiators, the total radiation for the whole building being about
125,000 square feet. The vacuum return is used for the station as well as
all the outlying buildings and yards. The station proper is operated under
the "Johnson" system of thermostatic control, while the train sheds and other
buildings are under hand control.
The building is equipped with a complete fire alarm and protection
system, a cold water drinking equipment, pneumatic tubes and a dictaphone
system.
The piping and wiring have been completed for a watchman's clock
system, a vacuum cleaning plant, a train announcing device and telautograph
system.
The electric power is 4,600-volt, three-phase alternate current. In
order to eliminate as nearly as possible the chances of failure of supply,
three independent main feed cables were installed. Two of these come
from the Commonwealth-Edison generating plants, and are brought in
from opposite sides of the building. The third line is run from the com
pany's sub-station located near the foot of Tenth Street and the river.
The current first passes through hand controlled switches, down through
the transformers and then to the main switchboard or motor generators.
Direct lighting is used throughout the terminal, with the exception of the
barber shop, where indirect fixtures have been installed.
In wiring the offices provision was made for easy maintenance by use
of a removable base mold, back of which the wires are placed. On the
floors occupied by the auditor's departments dictagraph plugs have been
installed under the desks, and numerous plugs have been installed through
out the building for fans, drop lights, etc.
An automatic telephone system has been installed throughout the var
ious offices.
The terminal building was designed by Reed & Stem and Warren &
Wetmore, architects, under the direction of Mr. George H. Webb, chief
engineer, Michigan Central R. R. and the Detroit River Tunnel Co. The
steelwork for the terminal building was designed by Balcom & Darrow,
engineers. The train shed and the outlying buildings were designed and
the construction work directed by the railroad's architect, Mr. Edward
W. Smith. Mr. W. B. Goddard, Jr., was engineer in charge of the inspec
tion, being assisted by the writer.
08
Bronze*
By WILLIAM A. NEWMAN, A. LA.
IT IS but a few years comparatively since bronze
was practically unknown in the general prac
tice of architecture in this country, and in most
modern architectural text books the subject is
scarcely mentioned, or not at all.
But a short time ago exterior and interior
fittings and trim for costly public and private
buildings were of wood, sometimes handsomely
carved, but as we now see it, heavy and cumber
some. Today a lighter and more cheery aspect
has taken its place, through the use of bronze,
which we now look up to, not only as minimizing
the fire hazard, but with pride, satisfaction and
public appreciation.
In the early ages of the world's history bronze
work was separated into two broad classes, cast
and hammered, but in recent years have come
many other processes together with bronzecovered work. The origin of the age of bronze is lost in remote antiquity, but
in no essential did the earliest known methods of molding and casting differ
from those of the present time.
The introduction of labor saving devices and improved methods of con
struction have been potent factors in reducing the former high cost, and bring
ing this work into more general use, as well as the low cost of maintenance
and absence of depreciation.
Many manufacturers take pride in their products. Castings, clean and
smooth with ornamental detail, are executed with a crisp and sharp distinct
iveness, and in their modeling departments employ the most skillful modelers
and wax workers.
Of recent years the best American shops have been training mechanics
especially for this class of work, and so far has the standard advanced that
the American product at its best is in no way inferior to that of the European
craftsmen.
A recent visit to one of the largest bronze works near New York City, the
writer found most interesting.
There are many kinds of bronzediffering in their proportions and con
stituents, according to the purposes for which they are to be used, but we are
interested more especially in those entering into building construction and
equipment, and the following are therefore mentioned:
Phosphor Bronze
The main feature of this bronze is its remarkable hardness and resistance
to wear, and where this quality is required there is no alloy to surpass it.
When lead is added it may be used for bearings and pivots.
A standard formula for phosphor bronze for boiler fittings, pumps, etc., is
79.7 per cent copper, 10 per cent tin, 9.5 per cent lead, .8 per cent phosphorus.
Manganese Bronzes
Their principal feature being their strength at high temperatures. The
addition of manganese does not materially harden the copper, but raises its
tensile strength. Some of these compositions, cold rolled, have an ultimate
tensile strength of 50 tons per square inch, and would be composed of about
84 per cent copper, 10 per cent tin, 6 per cent ferro-manganese. With the
* Paper written for the Society o Constructors of Federal Buildings, Mr. Newman is Chairman of
the Committee on Building Laws, S. F. Chapter. American Institute of Architects.
99
addition of aluminum the alloy shows a remarkable property of resistance to the

action of corrosive liquids.
Aluminum Bronze
Applied to alloys of copper and aluminum containing from 2 to 10 per cent
of aluminum,gives a beautiful color very closely resembling pure gold, used
largely in art castings and cheap jewelry.
A good bronze mixture, as used in modern ornamental work, contains about
89 per cent copper and 1 1 per cent tin.
We are all more or less familiar with most beautiful specimens of highly
wrought bronze. The metal being softer than iron is much easier to shape and
the results depend upon the art of the worker.
The methods of making bronze castings do not differ in principle from
those for making iron castings of the same dimensions.
The ordinary type of furnace for bronze casting is sunk under the floor
level. The crucibles are of graphite.
Success in casting depends not only on the skill and care of the mechanics,
but on correct and well made patterns, which are usually of wood, although
metal patterns are made when many castings are required. The thickness of
the metal may be reduced to the minimum, by using a false core or drawback.
The pattern must be made larger than the casting required to allow for shrink
age which is usually about one-quarter of an inch to the foot, and ample for
the finishing of the casting later.
Rounded edges are easier to cast than sharp edges and angles, which do
not leave the sand as readily without causing defects. Wood patterns are
shellacked to protect them from the moist sand and allow the pattern to leave
the sand freely.
Special sand is procured for fine cast work and loam mixed with it. When
an opening is to be left in the casting a core of baked sand of the exact size
and shape of the opening required is placed in the mold, and the molten metal
runs around it.
A few of the most common defects in castings may be mentioned. Minute
holes showing on an even surface are caused through carelessness in making
the molds or in handling them after they are madeloose sand being allowed
to fall into the pattern prints. When the metal is poured in the sand and metal
become mixed. This can be avoided to some extent if a bellows is used to
clean out the molds before being put together. Blow holes are not generally
noted until after the casting has been cleaned. They are due to moisture in
the molds which generates steam, and if there are no vents, these defects occur.
Clogging is when a casting instead of coming clear has lumps of metal in the
ridges, etc., and is the fault of the pattern. Misshapen castings may be caused
through the molds not having been screwed up tight enough.
From the foundry the castings are cleaned of the sand, and then comes the
fine and careful chasing. Castings, in the eyes of the uninitiated utterly ruined,
and apparently fit for the scrap pile, bent out of shape, with flutings of columns
warped, and ornament otherwise full of voids and defects, when finished and
hand-chased are found to be as beautiful and sound, apparently, as the most
perfect casting. In this condition they reach the assembling room. Bronze
castings are generally in small sections. In the case of a ten-foot long entabla
ture for a bay in the P. O. lobby, this would be cast in three or four sections
and soldered together so that the joints can hardly be seen on the closest in
spection. In the assembling room the work is fitted and put together in such
sections as can be easily shipped. It then goes to the plating department where
it receives the approved finish, and may be treated by special processes to
represent any age.
It is often desirable to produce certain artificial effects of color or tone to
render the work attractive. These effects are produced by several well known
100
means. Modifications are constantly sought for with a view of giving variety.
Many finishes are put on by secret processes.
It is essential that cleanliness be observed in the preparation of the bronze
to receive the deposit, as the merest speck of tarnish, oxide or grease, such as
may result from merely fingering it, suffices to prevent the adhesion of the
coating metal at the points affected. The metal is first dipped into a cleaning
solution of potash, nitrous acid or sulphuric acid and water, which restores its
natural brilliancy.
The electro-plating solution to be deposited on the bronze varies according
to the finish desired. Almost any shade from brown to red can be obtained
by timing the immersion in a solution of nitrate of iron and hyposulphite of
soda, afterwards washing in water and drying in sawdust. To bring out the
finishes mechanical treatment is given, such as scouring with sand and pumice,
using various types of brushes and polishing with a lathe and dolly.
For a green or antique bronze, a solution may be used composed of acetic
acid, carbonate of ammonia, or sal-ammoniac and common salt, cream of tartar
and acetate of copper. At the end of 36 hours the bronze will be found to be
entirely covered with verdigris which presents various tints. The prominent
parts may then be brushed with a waxed brush. The relief parts may be set
off with hematite or other suitable colors. Light touches with ammonia impart
a blue shade to the green parts.
Bronze may also be tinted with fumes from chloride of lime over which a
little hydrochloric acid has been poured.
Lacquer which is a solution of shellac in alcohol, or spirits of wine when
applied for inside work, protects the finished tones and color.
Bronze-Covered Work
The cores for this work are constructed of white pine, Cyprus or oak, the
latter used for doors, and before covering are given a bath in linseed oil.
Generally the sheet bronze covering varies from No. 16 gauge to 24 gauge.
Where the sections are small they are run through a steel die which draws the
metal firmly about the core.
For sections too large to pass through dies the covering is drawn under
heavy pressure around the wood, eliminating buckles and loose work.
Invisible butt joints are produced by brazing to a bronze plate directly
under the joints.
Panels are built up of two sheets of heavy sheet bronze with a sheet of
asbestos board between, cemented together under hydraulic pressure.
In the combination of bronze-covered and cast work there is offered a re
duction in cost approximating 25 per cent of the cost of cast bronze.
Extrusion Process
Bronze moldings, cornices, rails, and pilasters, constant in section, may be
manufactured by this process.
A billet is cast of a convenient size, reheated until it is of plastic consistency
and then placed within a cylinder, at the end of which is the die.
Hydraulic pressure is applied and the plastic metal forced through the die
issuing in a long bar of the cross section required.
The very high pressure, frequently 30 tons to the square inch, to which the
semi-plastic metal is subjected, renders it perfectly homogeneous and free from
possible casting defects. Shapes which cannot be rolled or drawn can be made
readily by this process, which gives uniformity and clean cut architectural
lines throughout.
By patent processes ornamental castings in healthy metal can be produced
having undercut sections at practically the price of flat ornament, offering the
designer possibilities that have heretofore been prohibitive.
The cost of bronze varies considerably in different sections of the country,
especially where transported long distances.
101
At the San Francisco Post Office (1903) five pair of ornamental bronze
exterior doors, with trim, etc., erected complete, cost $15,000, or $47.00 per
square foot.
Twelve 10 foot bronze lamps erected complete, cost $950,00 each.
Fourteen bronze lanterns, about 2'0"x8'0" cost $600,00 apiece.
At the San Francisco Custom House (1911) three pair of ornamental
bronze doors, with trim, etc., erected complete, cost $11,200,00, or $41,00 per
square foot.
The following prices are quoted from the Supervising Architect's letter
contained in the recent report of the Public Buildings Commission.
One bay {10 to 12 feet) of post office screen:
In bronze
$1,000
In cast iron
335
In wood
250
For bronze desk
550
For cast iron desk
180
For wood desk
125
The cost of lamp standards would vary according to the type ; bronze costs
about three times as much as cast iron. A fair estimate of the cost of a bronze
lamp standard would be $600 apiece, and for cast iron $200.
Bronze doors and frames would cost about $1,200; the same in wood would
cost approximately $250.
*
Marble as a Diffuser of Light
THE Electrical World calls attention in the following article to the possi
bilities of marble as a diffuser of light in interiors.
"In the so-called 'marble light,' a recent production, translucent marble
plates are employed as the diffusing substance instead of the usual white glass
in illumination fittings. Marble plates of one-eighth inch to 25.32 inch thickness
can be made translucent by a special grinding and impregnating process so that
they are superior in translucency to white-glass plates of normal thickness.
Colored marble plates of this thickness give beautiful light effects which can
not be imitated at all by means of colored glass. On some of the German trans
atlantic steamers skylights are used consisting of colored marble plate illumin
ated by electric incandescent lamps. A pure white light is obtained while any
irritating effect is avoided. No difference could be found between marble and
white glass as to translucency for ultra-violet rays. The only difference
between marble and white glass is that if the two media permit the same
amount of light to pass through, marble absorbs the dark heat rays to a much
greater degree than any other medium, and it is thought that this fact explains
the beneficial physiological effect.
"Ever since the system of indirect lighting has been held in such favor, use
has been made of suspended basins of alabaster, glass or porcelain, sheltering
groups of incandescent electric bulbs. The employment of alabaster for this
purpose was suggested by its natural translucence. In describing the English
work we said that marble could be used for these indirect-light basins and
would give a better effect than alabaster, because of greater beauty in color and
marking. Of course all marble is not fitted for this purpose, because some of
it is so dense and fine-grained as to be practically opaque, unless it can be so
treated as to increase its translucence. Nearly all of the coarse-grained marbles
are extremely translucent, and some of them are semi-transparent. Marble
is much stronger than alabaster and there would be little difficulty in turning
it down sufficiently thin to permit the passage of light."
102
TJte Architect and Engineer

Business Integrity and Higher Ideals
By F. H. GLIDDEN, founder of The Glidden Varnish Company.
|N RETIRING from the presidency of The GlidI den Varnish Company, after forty-eight years'
experience, I have been asked by Mr. E. M.
C. Whitney, Manager of The Architect and En
gineer, if 1 would not write an article for publica
tion, giving some of my viewsgathered from my
vocation and years of observation. At first thought
I passed the matter by, as by no means do I con
sider myself possessed of literary consequence.
However, upon second thought I concluded that
courtesy should be extended to a request coming
from the manager of a journal of such a standard
and devoted to the upbuilding of great cities, and I
concluded to make the effort and so informed my
friend in response to his request. In so doing I
shall ask to be spared the semblance of egotism on
my part, as I will find it necessary to narrate some
of the incidents of life which led up to my business
career.
*
|N THE fall of 1858 I was induced to go from my home in Maine to Alabama

I to engage in steamboating, as clerk and purser of a steamer. The following
year there were murmurings of the civil war. which later developed into
serious reality. When it came I found myself isolated with my little family
from all my relatives for a period of four years until peace was declared. On
one of my last trips up the Tombigbee River our steamer, the "Admiral," was
seized by the Confederate government to carry stores to Mobile "with all pos
sible haste." The boat was quickly loaded and we were ordered to proceed
without delay. The following morning the pilot called to the captain saying
there was a large encampment at "Lewis' Ferry." We were halted at that
point by command of General Polk and ordered to land. A pontoon bridge was
constructed across the river and the army of thirteen thousand crossed over.
A few days later General Polk was killed by a six-pound shot from a federal
battery. His army was being pursued by General Sherman.
*
AFTER the war I returned to my old home in Maine, broken in health and
as poor as the proverbial "Church Mouse," my only asset being a beloved
wife and three children to provide for. I accepted one of the first posi
tions offered, which came through a friend who had recommended me to the
old and popular varnish house of William Tilden and nephew of New York,
for whom I worked ten years, then resigned to go into the varnish manufactur
ing business which was established in April. 1875, under the firm name of
Glidden, Brackett and Company. Later on the present The Glidden Varnish
Company was incorporated.
The policy I adopted was first to establish a reputation for quality of goods
and integrity in dealing, always instructing salesmen never to speak disparag
ingly of a competitor or his products and to remember always to be respectful
and patient in soliciting business.
103
I WAS a salesman for fifteen years and believe there is no occupation requiring
more tact and study of human nature. Gain all the knowledge possible per
taining to your business and be careful not to intrude upon those you call
upon in soliciting business. I remember once of calling upon a merchant who
was busy at the time and I waited a while before presenting my proposition.
He finally came to me and asked what he could do for me. I then presented my
card, which he abruptly handed back saying, "I have no time to talk to you,"
and left me unceremoniously. I was deeply chagrined by his abrupt manner
and waited for his return from the rear of the store. When he again ap
proached me saying, "Didn't I tell you I wanted nothing and had no time to
talk to you?" With feeling akin to subdued anger I politely said, "Mr
I
will wait until you can spare a few moments." He peevishly said, "What have
you got?" A brief explanation brought me an order and I left feeling I had
mastered myself and gained a victory which was a valuable lesson as a sales
man, and which served me well in after years. I sought to know my customers'
requirements and to gain their confidence, and business friendship if possible.
The growth of our business has been largely due to the following of this
policy. We started out with a modest plant in 1875, consisting of a quarter
acre of land and a small factory building having but two fires, one for melting
gums and one for preparing oils, etc. The increase in business gradually
developed until it became necessary from time to time to acquire more land and
buildings until we reached the limit in space, when a disastrous fire occurred
and made it necessary to seek other quarters and erect a new plant, which cul
minated in our purchasing seventeen acres of land upon which we expended
a half million dollars in erecting twenty-five steel and concrete buildings of the
most modern type.
*
I ALWAYS sought to employ the best help obtainable, and in this regard
we have been successful, now having an organization of men who have been
with us in various capacities ranging from five to thirty-seven years. Many
of these men have grown up in the business and are stockholders to quite an
extent and their loyalty and capability together with that of my four sons is
the sequel to the upbuilding of one of the most prosperous varnish houses
in the world, whose business not only covers our own country but reaches to
various ones on this continent and Europe as well. Our South and Central
American business, which has been established for four years, we expect will
naturally be enhanced by the opening of the Panama Canal.
Francis H. Gudden.
Cleveland O., July 27, 1914.
*
*
*
It's a Good Letter, After All
Some one has advanced the opinion that the letter "e" is the most unfor
tunate letter in the English alphabet, because it is always out of cash, forever
in debt, never out of danger, and in hell all the time. For some reason, he
overlooked the fortunates of the letter, so we call his attention to the fact that
"e" is never in war and always in peace. It is the beginning of existence, the
commencement of ease and the end of trouble. Without it there would be no
meat, no life and no heaven. It is the center of honesty, makes love perfect,
nnd without it there could be no editors, devils nor news. Fourth Estate.
104
$
#
2.
A.
2.
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|-||
-
|:
STEEL FRAME, ST. PATRICK'S CHURCH, SAN FRANCISCO

SHEA & LOFQUIST,
ARCHITECTS
Fabricated and erected by Mortensen Construction Company
105
Working Hours in the Architect's Office

BELIEVING that uniform practice in various architects' offices is desirable
for all concerned, the Chicago Architects' Business Association recom
mends that the following conditions prevail in architects' offices of the
State of Illinois :
1. That employees be classed as regular and special.
2. Employees classified as "regular" will be those continually engaged for a period of
not less than one year, on a weekly salary basis ; it is expected that such employees will
assume greater responsibilities to their employers and be granted special privileges, in
consideration of faithful service.
3. Employees classified as "special" will be those engaged temporarily. It is deemed
proper that such employees be paid by the hour for actual services rendered, making no
allowance for vacation or holidays, it being considered fair under these circumstances to
allow these draughtsmen a slightly higher rate per hour than regular employees who
enjoy privileges of vacations and holidays.
Office Hours
1. It is understood that draughtsmen are expected to be in their respective offices
ready to begin actual work at the hours stated, and that they will continue in service at
least until hours fixed for cessation of work.
2. The regular opening time of offices shall be 8.30 A. M. throughout the year.
3. Period of service for Monday. Tuesday, Wednesday, Thursday and Friday, in the
morning, shall be four hours, extending to 12.30 P. M. ; that the lunch hour shall be one
hour extending from 12.30 P. M. to 1.30 P. M. ; that the afternoon period shall be four
hours, extending from 1.30 to 5.30 P. M.
4. That the Saturday period of service shall consist of four and one-half hours, extend
ing from 8.30 A. M., continuously to 1 P. M.
Units of Service
1. One week's service will consist of 44'/2 hours.
2. One year's service will consist of 2,180^ hours.
Pay-Day
1. That pay-day shall be on Monday of every week.
2. That each pay-day draughtsmen be paid up to Saturday night preceding.
Holiday and ! acatwns
1. We recommend that regular draughtsmen be given the following holidays on full
pay : New Years, Decoration Day, July 4, Labor Day, Thanksgiving and Christmas.
2. That all regular draughtsmen having been in the employ of an architect for more
than one year be given two weeks' vacation on full pay, at time most convenient for
employer.
3. It should be understood that "regular" draughtsmen quitting the employer's service
of their own volition, preceding the completion of any year's service, shall not be entitled
to a vacation.
4. "Regular" employees terminating service at the request of their employer shall be
entitled to an allowance in cash proportionate to two weeks' salary allowed for vacation
in the same ratio as period of service bears to one year.
5. Vacations and holidays are understood to be granted to employees for rest and re
cuperation, the employee being understood to be in the service of the employer during
vacation and holiday time to the same extent as when regularly engaged in the office.
6. It is recognized that an average of 44j^ hours per week's service is the maximum
efficient service that can be continuously rendered without detriment to health or efficiency
of the employee, and that where the employee engages in outside architectural service of
any sort for others, he does so at the expense of his employer, and his employer should be
credited for corresponding loss of time. The practice of employees of one employer
working nights or holidays for another is condemned as detrimental to the best interests
of both employer and employee.
7. In the case of emergencies of short duration, regular employees are cxpectcd to
work over-time for the employer without extra remuneration other than a reasonable
allowance for the expense of taking meals away from regular lodging place. In such
cases, however, the employees will be credited with off time on account of sickness or
otherwise, equivalent to the amount of over-time service rendered in cases of emergency.
8. Draughtsmen arc encouraged, however, to make use of a portion of their time off
for educational improvement.
106

Why it Takes So Long to Prepare Plans for
Federal Buildings
OWENDEROTH, the Supervising Architect of the Treasury Depart
ment, has issued the following statement, which throws light upon the
* seemingly slow progress which this department makes in the prepara
tion of plans for new Federal buildings :
Many requests are received for the immediate preparation of plans, etc.,
for particular Federal buildings which have been authorized by existing legis
lation, irrespective of the date of such authorization. The following statement
of the present status of public building work is issued for the information of all
concerned.
Beginning with 1902 it has been the policy of Congress to authorize public
buildings by what are known as "Omnibus" acts, each act including a great
many separate projects. In addition, special acts are passed from time to time,
providing for individual projects, increases in the limits of costs of projects
previously authorized, etc. The "Omnibus" Act of 1902 was followed by
similar acts in 1903, 1906, 1908, 1910 and 1913.
It is the present policy to place under contract for construction all build
ings, or extensions to buildings, authorized in any one "Omnibus" act before
beginning plans for projects authorized by a subsequent act. It is also the
present practice to prepare the plans for all buildings, or projects, authorized
in any given act in the order of the dates upon which the titles to the sites
therefor were vested in the United States.
To determine the precise order in which the plans for the various buildings
shall receive attention the following procedure is followed : The buildings
authorized in any one act are first divided into groups according to the priority
of the acts in which their sites were authorized. All buildings in each such actgroup are further arranged in the order of the dates of the acquisition of their
sites, the earliest date first. For instance, the 1913 act authorizes buildings
upon sites which had been authorized in the act of 1908, in the act of 1910, and
in the act of 1913. It is intended that the buildings so authorized in 1913 to be
erected upon sites authorized in 1908 shall first be placed under contract. These
will be followed by buildings authorized in 1913 to be constructed upon sites
authorized in 1910. Then the buildings, authorized in 1913 to be built upon
sites also authorized in 1913 will take their respective turns for attention.
Extensions are usually authorized to be erected upon land already owned
by the United States. While extension projects are included with the buildings
authorized in a particular act, discretion is exercised in determining the order
in which extensions shall be placed under contract for construction, depending
upon the urgency of the need for the improvement.
The output of plans by the Supervising Architect's Office is governed by
the extent of the technical force ( designers, draftsmen, computers, superin
tendents, etc.) which the appropriations given by Congress permit the Depart
ment to employ.
At this date the Offtce of the Supervising Architect has on its books, wait
ing to be placed under contract, approximately $38,500,000 worth of authoriza
tions for new buildings and extensions in the act of 1913. This office is placing
buildings and extensions under contract at the rate of about seven million
dollars annually, so that at the present rate of progress the last of the buildings
authorized in the act of 1913 will not have been placed, under contract until
about the beginning of the calendar year 1920. It will not be until after the
latter date that it will be possible for the Supervising Architect to place under
contract any buildings contained in any act, or acts, which may be passed in
the meantime.
107
The current program, made up of the remaining projects which were

authorized prior to the 1913 act, includes about one year's work from this date.
Work upon the plans for buildings authorized in the act of 1913 will therefore
not commence until about July 1. 1915. The 1913 act contains the following
authorizations :
New buildings
Extensions to existing buildings
Total projects
304
23
327
The program of work contained in the act of 1913 has not been laid out
as yet. Therefore it is impossible to state even approximately the time when
any building authorized in that act will be either advertised for bids or placed
under contract.
If a subsequent act increases the limit of cost, or otherwise modifies prior
legislation for a building or extension, before that project is reached in turn,
the position of the project in the program of work is not affected thereby. If
a project is set aside when its turn is reached in order to await action upon a
proposed increase in the limit of cost, or for any other reason, it is taken up,
whenever "released," in as near its original position as the condition of the
work, generally, may render possible.
No consideration can be given to suggestions that any one project is entitled
to any more consideration than another, and requests that buildings be advanced
out of their order must be uniformly declined.
For the information of those not familiar with legislative terminology, it may be stated
that an "authorization" is, as it implies, merely authority to acquire a site, erect a building,
etc., within the limit of cost stated, and is not an actual "appropriation" of money out of
the Treasury. Appropriations are made by Congress on the basis of estimates submitted
by the Secretary of the Treasury. These appropriations are carried in one or the other
of the annual supply acts arid are intended to be only sufficient to carry forward the
building program for the fiscal year to which the acts apply. "Appropriations" are made
on account of the limits of cost fixed by the "authorizations" and are not extensions of
these limits. All appropriations for sites, buildings, extensions, etc., are available until
expended, unless repealed by act of Congress, and are not automatically returned to the
Treasury if not expended before the expiration of the fiscal year.
The Public Buildings Act of 1913 authorized the Treasury Department to acquire sites,
erect buildings, construct extensions, etc., aggregating a total cost of nearly $42,000,000,
hut did not actually appropriate one cent toward the consummation of any of these
projects.
*
*
Follow These Rules and You'll Be Happy, Maybe!
Eat lessBreathe more.
Clothe lessBathe more.
Talk lessThink more.
Worry lessWork more.
Ride lessWalk more.
Waste less.Give more.
Preach lessPractice more.
*
*
*
One Way to Get a Job
Heating Engineer.Aren't you the boy who was in here a week ago?
Bright ApplicantYes, sir.
Engineer I thought so. And didn't I tell von then that I wanted an older
boy?
ApplicantYes. sir; that's why I'm here now.
108
Efficient Waterproofing of Cement Surfaces*

By G. H. CRESSER.
HIS problem is of great interest to the architect, engineer, building con
tractor and owner, as it is only recently that cement and concrete have
been used extensively in the construction of the modern building. With
all the advantages that cement has over other materials as to economy and
strength, great care must be exercised in mixing and applying it to the finished
surface, to get it uniform in color. It has been proved that hollow blocks
absorb moisture 4 to 5 per cent of their own weight and retain this moisture
for some time. Damp walls, as we all know well, are a detriment to health,
and this factor is appreciated to such an extent that it has actually retarded the
use of concrete in some instances.
An argument against cement surfaces is that we do not get a uniform,
pleasing color, but get varied shades of dull gray, very uninviting, that do not
compare with the rich colors we find in terra cotta, granite, brick and decorated
wood surfaces. There is no comparison, as cement surfaces, undecorated, give
us a dreary, sometimes dirty, color that does not reflect the light, but absorbs it,
and does not please the eye or appeal to the artistic temperament.
This little talk is not intended to condemn cement as a building material,
but to advocate its use more than ever by improving upon what is done in
that line today. If we can add to its strength, economy and fireproofing feat
ures a decorative rich color, and at the same operation make it moisture and
strictly waterproof, we certainly will have a building material that cannot be
duplicated the world over.
But, you will say, we have it now to a certain degree. Some makers of
cement add color while making the cement. Some engineers and architects
specify waterproof powder or liquid to be added to the cement while mixing.
This has not been proved a success, as anything of that nature added to cement
decreases its tensile strength to such an extent that it is almost unsafe. It also
affects the metal used for reinforcements. You cannot get the added color on
waterproofing compounds mixed uniformly, and still have your different
shades, and this very often deteriorates the concrete body and leaves a bad
surface for any kind of painting in the future.
The question now arises: "What is the proper way to treat cement surfaces
so as to get them decorated and waterproof?" Washes, brushed on the finished
surface of cement, made from waxes, gums, paraffin, etc., have been tried, but
without complete success. It was now up to the paint manufacturer and painter
to come to the rescue and make cement more popular and practical than ever
as a material for building.
The paint maker and painter received very little encouragement from the
engineer and cement maker when they first started on this problem, but finally,
after years of experimenting upon all the different forms of concrete construc
tion and under all conditions, and after a strenuous campaign of education and
putting on sample jobs at enormous expense the "big ones" in the cement busi
ness and "big builders" began to sit up and take notice. They now look upon
the paint makers and master painters as their best friends, as they have helped
them out of many difficulties.
The first method used with paint was to first give the cement a washing
with zinc sulphate and finish over this wash with a white lead and linseed oil
paint, but the paint does not hold up, and it is now conceded that linseed oil
paint is a failure for cement surfaces, as the alkaline salts in the cement attack
and disintegrate it.
The last and most successful method and material used today, and conceded
by chemists, engineers and concrete men to properly decorate and waterproof
cement, is a specially prepared paint, in any shade, to be brushed on by
Edttor's Note.Waterproofing experts will undoubtedly differ with Mr. Cresser in some of his
statements. For instance, he says it has been proved that hollow blocks absorb moisture 4 to 5 per cent
of their own weight and retain this moisture for some time. As a matter of fact the absorption would
be nearer 15 to 20 per cent. Where the author quotes a cost estimate of 35 to 40 cents per square
yard of surface painted, the figures undoubtedly apply to Eastern quotations, as the rate here does not
exceed from 20 to 25 cents.
109
competent painters. The material contains no linseed oil or white lead and
firmly adheres to the surface, filling small cracks and voids. Such a material
is made by different manufacturers under various proprietary names, and re
quires two or three coats, which can be put on damp surfaces, but should be
put on dry surfaces, and does not cover more than 200 square feet to the
gallon, one coat. This material gives the dead flat finish of cement, and adds
to the cost of your contract between 35 and 40 cents per square yard of surface
painted. The smooth or rough surface of the cement finish ltas all to do with
the cost of labor and material, as the stucco and rough cast surface requires
more material and more brushing than the smooth trowelled surface.
Up to this point 1 have touched upon cement surfaces of the outside of
buildings only. But we have inside walls and floors which must be decorated
and made damp-proof, and floors must be made so the cement does not dust off.
Inside cement walls are either in the damp or dry class. Damp walls, especi
ally where there is a water pressure, such as along rivers and walls that get
soaked with water after heavy rains, are a problem and should, if possible, be
coated on the inside and outside with a paint made from asphaltum products
and decorated afterward with regular cement coating. Inside cement walls
that appear dry are not such a difficult problem and can be treated the same
as ordinary walls.
In connection with the damp class of walls 1 will say that there are on the
market today several paints recommended and made to apply on damp walls.
Another class of surfaces are cement floors. We all know that when put
to heavy wear they soon show defects, get slippery or throw off dust, especially
where rich in cement and trowelled to a granolithic surface. Giving the floor
a cement wash will not answer for factories, shipping rooms or engine rooms.
The acids in the lubricating oils attack the cement and destroy its bond. The
texture of cement floors and the finish vary so much that we cannot make the
same specifications for all of them. They must be tested with specially pre
pared paint and put on by some one who has made a special study of dampproofing and decorating cement surfaces.
*
*
*
The Palace of Liberal Arts at the Panama-Pacific
International Exposition
THE purpose of the Panama-Pacific International Exposition is to assemble
the nations of the world in a universal celebration of the completion of
the Panama Canal.
The achievement commemorated is conceded to be the greatest triumph
yet registered by man over unfriendly forces of nature.
As is but natural, in celebrating such an event, the Department of Liberal
Arts will be given a splendid representation because it is one of the "liberal
arts" that the division of human energy devoted to civil engineering is sched
uled in the exposition's book of classiftcations.
Taking the United States census of figures relating to liberal arts for the
year of 1909, approximately two billion dollars was the valuation of the gross
product in liberal arts, and in but a single division of the enterprises listed as
liberal artsthe graphic art section, including "typography," "books and pub
lications" and "maps and apparatus for geography"is involved the products
of 32,414 establishments in the United States, employing 416,073 persons,
earning $289,629,000 and producing an output valued at $783,477,000. The
invested capital amounted to $632,590,000.
The Palace of Liberal Arts is one of the most beautiful of the eight com
prising the main central group at the exposition, being one of the four sur
rounding the great central Court of the Universe, its south facades bordering
on the wonderful avenue of palms which forms the north boundary of the
110
Alameda. The Palace of Education, lying to the west is separated from the
Palace of Liberal Arts by the Court of Palms and the Court of the Four Sea
sons, and directly east is the Palace of Manufactures, between them rises the
great Tower of Jewels, which reaches a height of 435 feet. The tower and
adjacent palaces are to be outlined with imitation jewelsrubies, sapphires,
emeralds, topazes and diamondsgleaming by day in the light of the California
sunshine and by night flashing in the rays of a battery of searchlights which will
be played from Moro Castle, built on the outer arm of the yacht harbor. The
construction material is the imitation Travertine Marble of which all palaces
are constructed, and the main entrance and lesser doorways of this facade are
of unusual beauty.
Within this palace the floor space of 241,603 square feet is devoted, onehalf to American and one-half to foreign products, the exhibits being divided
into fifteen groups, as follows :
1. Typographyvarious printing processes,
2. Books and publicationsbook binding,
3. Maps and apparatus for geography, cosmography, and topography,
4. Manufacture of paper,
5. Photography,
6. Instruments of precision, philosophical apparatus, coins and medals,
7. Medicine and surgery,
8. Chemical and pharmacal arts,
9. Musical instruments,
10. Theatrical appliances and equipment,
11. Electrical methods of communication,
12. Civil and military engineering,
13. Models, plans, designs for public works,
14. Architecture,
15. Architectural engineering.
In all there are 121 classes included in the fifteen groups.
Some unusual experiments are promised at this exposition. In the depart
ment devoted to instruments of precision and philosophical apparatus there
will be, it is expected, from France, as well as other nations, a comprehensive
display of extraordinary interest. In the American section, balances employed
by butcher, baker and grocer to determine how much merchandise for a certain
sum of money, to instruments susceptible to the touch of a hair, every kind of
apparatus known to this age will be seen in its highest state of perfection.
The photographic art encroaches so closely upon the domain of Fine Arts
that there was for some time discussion of whether the greatest photographers
should not be placed in the Palace of Fine Arts.
It was decided to follow the plan of classification that obtains throughout
the exposition, and to display the product along with the means of producing it.
As cameras and the paraphernalia preliminary to the completed photograph
belong in the department of Liberal Arts, and not in the Fine Arts, so the
photographs should also be placed with Liberal Arts, thus bringing the pro
cesses and the product into proximity and proper relationship for study and
comparison.
There will be set aside in the Palace of Liberal Arts a large section which
will be devoted exclusively to the processes and products of photography, to
gether with all of the equipment from which the finished picture to the com
mercial photographer who aims at accuracy, to the finished portrait of the art
photographer who aims at beauty or self expression will be revealed.
And so in every branch of the department of Liberal Arts, of which Mr.
Theodore Hardee is the chief, this account of the activities might be indefinitely
extended ; but the fact can be assumed succinctly and accurately in the state
ment that the Panama-Pacific International Exposition in its department of
Liberal Arts, as in all of its other activities, promises to be the climax in the
history of expositions and altogether worthy of the epochal event it will com
memorate.
111
Varied Uses of Cement

CEMENT is now being used in practically every kind of construction work
carried on, says a writer in a Chicago newspaper. Last fall a sub-com
mittee of the Chicago Association of Commerce submitted a report show
ing that its investigation had disclosed the fact that cement was used in 453
articles and types of construction. Every kind of building, from a chicken coop
to the modern skyscraper, is now made of cement.
A large percentage of the output is now being used in the rural districts.
It has been found to be an excellent paving for roads. Farmers are using it
to construct dairy buildings and silos. It has replaced wood as a material for
the little rural bridges which span small streams. Drain tile also are made
from it.
For purposes of ornamentation it is used for garden furniture, statues,
lamp posts and fancy coping, balustrades and pergolas. Its lasting quality for
structures under water has been demonstrated in the building of canals, docks
and even buoys.
Chicago was a pioneer city in the use of cement. It is now one of the
greatest consuming centers of the article in the country, and manufactures
8,500,000 barrels of cement each year, or more than the whole country produced
in 1900. This figure probably will be surpassed in 1914. In comparison with
the production of the entire country, Chicago makes 10 per cent of the whole
output, which amounts to 90 000,000 barrels.
The first cement show in the country was held in Chicago. This brought
thousands of builders and users of cement from all over the country, and has
helped to make the Windy City the great central market for this universal
building material.
New methods of using cement in reinforced concrete work are being dis
covered almost every day. The old method of using wooden forms to set the
material is still being used, but other methods of using steel pipe and wire have
been employed with success.
Code of Ethics of American Society Civil Engineers
THE following is the proposed code of ethics approved at the last annual
convention of the American Society of Civil Engineers and submitted for
letter ballot ; it is thought the membership will adopt the code, it seem
ingly having met with general approval :
It shall be considered unprofessional and inconsistent with honorable and dignifted
bearing for any member of the American Society of Civil Engineers:
1. To act for his clients in professional matters otherwise than as a faithful agent
or trustee, or to accept any remuneration other than his stated charges for services rendered
his clients.
2. To attempt to injure falsely or maliciously, directly or indirectly, the professional
reputation, prospects, or business, of another engineer.
3. To attempt to supplant another engineer after definite steps have been taken toward
his employment.
4. To compete with another engineer for employment on the basis of professional
charges, by reducing his usual charges and in this manner attempting to underbid after
being informed of the charges named by another.
5. To review the work of another engineer for the same client, except with the knowl
edge or consent of such engineer, or unless the connection of such engineer with the work
has been terminated.
6. To advertise in self-laudatory language, or in any other manner derogatory to the
dignity of the profession.
As previously commented upon, this code carries with it no machinery for
its enforcement or penalties for its violation, and is hence more in the nature
of a "good resolution,'- but one which, backed by the already strong sentiment
for these principles, will carry with it great moral force which alone will in
large measure make it effective.
112
THE
Arrljttrrt ani iEngtnwr
OP CALIFORNIA
617-619 Monadnock Bulldlng. San Francisco
Telephone Douglas I8Z8
(Includtng
all parts
of the; toUntted
Statespotnts
J1.50
per annum ;postage)
to Canadato 50c
addtttonal
all Forettpt
St addtttonal.
Vol. XXXVIII.
914 Nt
ASSOCIATE EDITORS
1 Inspectton
Wm. B. Gester,
\ and Tests
Loren E. Hunt. C. E.
F.' WSKtr,ck: ! Fireproof Construct,
W. W. Bhktte. C. E. I
Structural Steel
H. J. Brunntek
I
Athol
McBran tr') D-,i Tile and Terra
\V.
E. Denntson
Cotta
Howard Frost. )
G. B. Ashcroft. C. E.
Artificial Stone
H. M. T.OWENthAL
J Roofs and Roofing
J. R. D. Mackenzte
Rock artd Gravel
Fred M. Woods. Jr.
C. Walter Tozer Interior Decoration
T. C. Kterulff
- Legal Points
Paul C. Butte - F.lectrical Constructton
Louts F. Mauer - - Waterproofing
ARCHITECTURAL
Fred H. Meyer
William O. Raignel
August G. Headman F. U. Hudson
Edward T. Foulkes
Sumner P.. Hunt
Alfred F. Rosenheim C. Sumner Greene
Houghton Sawyer
Clayton D. Wilson
John G. Howard
Almeric Coxhead
Arthur Brown. Jr.
Harrison Albright
Chas. P. Weeks
John Parkinson
Benj. G. McDougall A. W. Smith
Octavius Morgan
T. Patterson Koss
J. C. Austin
William H. Weeks
Jas. W. Plachek
Chas. W Dickey
Chas. Henry Cheney Henry C. Smith
CONTRIBUTORS
Wm. A. Newman
Smith O'Brien
Jas. W. Reid
H. F. Starbuck
J. Harry Blohme
Nathaniel Blaisdell
Herman Barth
W. T. Bliss
Arthur O. Johnson
William Mooser
Herbert E. Law
Robert Morgeneier
B. J. S. Cahill
Hon. Jas. D. Phelan
John Galen Howard , \ A. I. A.
Louis C. Mullgardt -
E. M. C. Whttney
A. I. Whttney
Fredertck W. Jones
XIanager
Treasurer
Managing Editor
The fire-resisting qualities of rein

forced concrete were demonstrated at
the Salem, Mass.,
CONCRETE
fire on June 25. The
STOREHOUSE
burned area was
STANDS SEVERE something more
HEAT TEST
than 250 acres and
the total loss was $14,000,000. Prac
tically everything in the path of the
fire was swept away except a four
story reinforced concrete storehouse,
the property of the Naumkeag Steam
Cotton Company. This building, to
day as good as the day it was built,
presents a striking example of the fireresisting qualities of a well built con
crete building with wire-glass win
dows in metal frames, reinforced on
the inside by tin-clad shutters dropped
by automatic fusible links and
equipped throughout with automatic
sprinklers.
So severely were the wire-glass win
dows exposed to the fire that some of
the glass fused and sagged out of the
frames, the exposure being 5' distant,
directly in the path of the fire. The
protection afforded by the concrete
walls and fire shutters sufficed to hold
the fire back, so that the heat in the
building was not intense enough at any
time to open any of the sprinklers, set
to melt at 166 F., although some of
them were within 3' of the windows.
Neither was the white paint, with
which the interior walls are covered,
blistered. In the building were stored
finished goods worth at least $200,000.
Spalling of the concrete from the heat
was not noticeable except in two or
three very small patches.
The American Institute of Archi
tects, through its standing committee,
presented a report
BASIC BUILDING on this subject preC0DE
pared by a sub-com
mittee to the Board
of Directors. This report shows the
importance of the preparation of a
basic building code, under the direc
tion of the A. I. A., and the co-opera
tion of the following organizations :
The American Society of Civil Engi
neers, American Society of Mechani
cal Engineers, American Institute of
Electrical Engineers, American Soci-
"FIRE A
CRIME"
Rolling Doors.
.
and Steel Sash.
gjj- See the SIMPLEX METAL WINDOW.

Of California
Single Copies.
$1.50 per Year
25 Cents
Issued monthly In the Interests of Archttects. Structural Engtneers. Contractors and the Allted Trades ot the Pactfic Coast.
Contents for October

PAGE
RESIDENCE OF SENATOR A. H. BREED, PIEDMONT, CALI
FORNIA
Frontispiece
W. H. Ratcliff, Jr., Architect
SOME RECENT RESIDENCES AND OTHER WORK BY WALTER
H. RATCLIFF, JR.
47
Frederick Jennings
WINNERS IN THE "FOUR CORNERS" COMPETITION
70
Geo. A. Damon
FOR A GREATER UNIVERSITY OF CALIFORNIA
- 74
TOO MUCH CLASSIC . 75
F. W. Fitzpatrick
THE SERVICE RENDERED BY THE ARCHITECT
78
Howard Hammitt
THE LOWEST BIDDER AND THE LOWEST RESPONSIBLE
BIDDER
81
REINFORCED CONCRETE APARTMENT HOUSE -83
PRACTICAL IDEAS FOR PRACTICAL ARCHITECTS
87
J. E. Tourtelotte, Architect
ILLUMINATION FROM CONCEALED SOURCES
89
Richard E. Smith
BUILDING TRADE SITUATION AND OUTLOOK
93
EXAMINATION OF CONCRETE FAILURES FOR THEIR DE
TERMINING CAUSES
... 94
PAINT ON CEMENT OR CONCRETE SURFACES
- 95
THE FUN OF BUILDING A HOUSE ON PAPER
97
L. Clare Davis
WAR AND ARCHITECTURE
99
SHOULD SPECIFICATIONS SPECIFY?
100
Lee Ullery
THE CASE OF HERRINGTON VS. MURRAY
103
STEEL AND IRON INDUSTRY OF THE PACIFIC COAST
- 107
EDITORIAL
112
114
118
THE EDITOR'S MAIL
120
BOOK REVIEWS
122
STATE, COUNTY AND MUNICIPAL ENGINEERING
- 124
BY THE WAY
128
[.Index to Advertisements Page 81
JR.,
RATCLIFF,
H.
W.
BREED P
H.
A.
SENATOR
OF
RESIDENCE
R ARCHITECT
F
L
A
C
,
T
N
O
M
D
E
I
Engineer
and
Architect
The
Frontispiece
California
of
1914
October,
for
THE
Architect
and
Engineer
Of California
Vol. XXXVIII.
OCTOBER, 1914
No. 3.
HOUSE OF MR. T. M. SHEARMAN. BERKELEY

W. H. Ratcliff. Jr., Architect
Some Recent Residences and Other Work by
Walter H. Ratcliff, Jr.
ASK ten architects who have achieved fame as designers of homes if
they specialize in domestic architecture and nine of them will tell you
they do not. The tenth one may admit he has built a few nice houses,
but he doesn't care to be classed as a "specialist," and he will tell you so
frankly.
As much as some architects would like to keep their residence work in
the background, it is an admitted fact that the fellow who plans houses and
plans them well, no matter how many commercial structures, churches or
theaters he may build, is bound to be recognized by the profession, and
the public just naturally turns to him for advice. The public, by the way,
is not slow to discover a man's ability, especially along the lines of resi
dence work. The average home builder with means wants the best plan he
can get and the most competent service obtainable. And so the architect
who would avoid the distinctionhonor, some call itof being an expert,
just naturally becomes a specialist, whether he wishes to or not.
"The country house in California is a young and tender plant," writes
Herbert D. Croly, but young as it may be, its numbers are greater in pro
portion to population than anywhere else in the country. By country
house we mean the suburban home, the house away from commercial life.
Pasadena, in Southern California is a city of country homes, and when
you mention Pasadena, you just naturally call to mind a Green & Green
housegenerally a long, low restful structure, possessing the true bunga
low feeling. Redwood shakes or cedar shingles are invariably to be found
in houses designed by this firm. Wide cornice roofs with either brick or
48
DETAIL
OF
COURT
RESIDENCE OF SENATOR A. H. BREED
PIEDMONT. CALIFORNIA
W. H. RATCLIFF, JR.,
ARCHITECT
DETAIL
OF
LOGGIA
RESIDENCE OF SENATOR A. H. BREED
PIEDMONT, CALIFORNIA
50
INTERIOR VIEW AND FIRST FLOOR PLAN

RESIDEXCE OF SENATOR A. H. BREED, PIEDMONT
ARCHITECT
51
RESIDENCE OF SENATOR A. H. BREED, PIEDMONT

W. H. Ratcliff, Jt., Architect
cobblestone chimneys add snap to the Green house that in most other
homes, give the effect of over-embellishment. In Los Angeles, the names
of Hunt & Burns, Myron Hunt, Elmer Grey, and Robert D. Farquahar
are familiar alike to country house builders and members of the profession.
San Diego has Irving J. Gill, an architect who has done wonders in straight
line stucco workreturning, as it were, to architectural first principles
the line, square and circle. In domestic architecture around San Fran
cisco, the work of Louis C. Mullgardt stands in a class by itself. Others
who are famed for their residence work, whether they admit it or not, are
Albert Farr, Louis P. Hobart, Edgar Mathews, William Knowles and
Bernard Maybeck. In Berkeley you will hear about W. H. Ratcliff, Jr.,
but Mr. Ratcliff, like some of the other men whose names I have just
mentioned, does not enthuse when you speak to him about his tendency
towards domestic architecture.
"It's bread and butter with me," is his rather frank way of expressing,
or rather excusing himself. To this he adds a consoling paragraph :
"You can't design a million-dollar office building or a monumental
bank structure if you don't get the commission, can you?"
We think Mr. Ratcliff could design either or bothbetter, possibly,
than some who have been commissioned to build such structures, but in
the absence of any examples, we turn to what has actually been accom
plished by him, and the results are gratifying, to say the least.
Passing by, for the present, extended reference to the Elks Club build
ing, which really is one of Mr. Ratcliff's best efforts, also his numerous
apartment houses, it would be doing him an injustice to overlook his Com
mercial Club, now in course of construction on the top floor of the Mer
chants Exchange building in San Francisco. No better arranged club
52
STAIRCASE, RESIDENCE OF SEXATOR A. H. BREED, PIEDMONT, CALIFORNIA

rooms will be found on the Coast, practicallv two entire floors of this great
building having been taken over for the club's exclusive use. The interior
finish will be of oak, the entire scheme being worked out in English
Tudor. Access to the fourteenth floor will be by means of a grand
staircase, the elevator stopping at the entrance to the club on the
thirteenth floor. Large view windows, from which may be seen the entire
city and bay, will be features of the dining and reading rooms. The ac
companying plates give only a general idea of the scope of this $120,000
undertaking.
Referring to Mr. Ratcliff's residence work, the few examples given show
a true appreciation of home lifepractical floor plans, ideally arranged for
comfort and convenience. The architecture, in most cases, smacks of the
COTTAGE FOR MISS HEAD, BERKELEY

53
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COURT, RESIDENCE FOR MR. T. M. SHE.A.R.M.1N, BERKELEY

li. H. Ratcliff, Jr., Architect

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Plum:bing by George Stoddard.
LIVING ROOM, RESIDENCE OF MR. T. M. S.HEARMAN, BERKELEY

--
DETAIL OF DINING ROOM, RESIDENCE OF MR. T. M. S.H.E.A.R.M.A.N. BERKELEY

58
STAIRCASE, RESIDENCE OF MR. T. M. SHEARMAN, BERKELEY

true English feeling, while apparently as much care is given to the garden
and landscape effects as to the house itself. And this is as strong a char
acteristic of Mr. Ratcliff s residence work as it is a failing with some of
his brother architects.
Mr. Ratcliff studied in the School of Architecture at the University of
California, and later attended the British School in Rome. He also worked
under John Galen Howard and when Architect Henry A. Schulze was in
active practice, Mr. Ratcliff was a member of his working staff, and later
he became associated with Architect Alfred Henry Jacobs of San Francisco.
Mr. Ratcliff is a member of San Francisco Chapter, American Institute
of Architects.
FIRST FLOOR PLAN, RESIDENCE OF MR. E. A. NICKERSON, BERKELEY

lV. H. Ratcliff, Jr., Architect
59
60
GLEX GARRY APARTMENTS, BERKELEY

CHANNING APARTMENTS, BERKELEY. CALIFORNIA

62
FRONT ELEVATION SACRAMENTO SCHOOL. AWARDED THIRD PRIZE IN COMPETITION

W. H. Ratcliff, Jr., Architect, and H. G. Simpson, Associate
FIRST FLOOR PLAN SACRAMENTO SCHOOL
REAR ELEVATION SACRAMENTO SCHOOL
PERSPECTIVE, ELKS' CLUB BUILDING, BERKELEY

Heating and Ventilating by George Stoddard, Berkeley
ELKS' CLUB BUILDING, BERKELEY

Milheork, Sash and Ltoors furnished by Burnltam, Standeford Co., Oakland
63
BASEMENT AND FIRST FLOOR PLANS

ARCHITECT
SECOXD AND THIRD FLOOR PLANS

W. H. RATCL1FF, JR.,
ARCHITECT
FIRE HOUSE .V 0. 1, BERKELEY

W. H. RATCLIFF, JR., CITY ARCHITECT
FIRE HOUSE NO. 8. BERKELEY

W. H. RATCLIFF, JR., CITY ARCHITECT
68
The Archttect and Engineer
INTERIOR DETAILS, COMMERCIAL CLUB, SAN FRANCISCO

W. H. Ratclitf, Jr., Architect
69
70
WEST END OF LOBBY, COMMERCIAL CLUB, SAN FRANCISCO
Prize Winners of the "Four Corners" Competition

By GEO. A. DAMON*
AN EVENT of more than ordinary interest to all who are interested
in city-planning, and especially in that phase of it having to do with
the ideal development of residential districts, was the recent award
ing of prizes in connection with the "Four Corners Competition," held
under the auspices of Throop College of Technology, of Pasadena,
California.
The competition, which was participated in hy a number of architects,
landscape architects and artists of ability both in Southern California and
elsewhere, was the outgrowth of a study of actual conditions in Pasadena.
Some time ago an unsightly shack was erected upon one of the prominent
corners in a fine Crown City residence district and rented to a fruit vendor.
A little later another owner built a hardly more prepossessing store for
a groceryman on an opposite corner. The residents of the district took
alarm and began an agitation to save the other two corners. Out of that
agitation grew the Throop competition.
The prizes were offered with the idea of securing in graphic under
standable form inspirations for something better in neighborhoodcenter developments. The problem taken up was just such a problem as
had been brought home to the Pasadena neighborhood mentioned and the
competitors were asked to draw up plans for the ideal treatment of
the "four corner" centers that inevitably spring up in every extensive
residence area. It was hoped that in this way interest might be awakened
in the question of the intelligent, effective and artistic arrangement of
these, the smallest units in the great city plan.
The competitors were asked to assume that the value per acre of the
land on each corner of their community centers on paper was $12,500, and
* Dean of Engineering. Throop College of Technology, Pasadena, California.
71
to consider the limit of expenditure allowed for improvements at from

$35,000 to $55,000 per corner. Otherwise they were given full latitude to
their inventiveness and originality of taste.
The committee of award, comprising Architects John C. Austin, Elmer
Grey and Albert R. Walker of Los Angeles, gave the first prize of $200 to
Paul R. Williams, No. 1530 Twenty-first Street, Los Angeles. The second
prize of $100 went to the Cook-Rankin-Wyckoff Company, landscape
architects, 915 Marsh-Strong building.
Porter W. Dorr and Alex J.
Scholtes of Boston were given the third prize of $50. The judges, in
announcing their award, stated that the margin of choice between the first
two sketches was slight.
The design winning the first prize, and reproduced herein, shows one
corner devoted to a trading center, but with stores set back from the street
and entrances grouped in an open arcade, making it possible to secure
display space without using the sidewalks, or unnecessarily calling at
tention to the commercial character of the building. Delivery wagons
are relegated to the rear through two driveways, and provision is made
for an automobile garage and market stalls on the back of the lot.
On the corner directly opposite, an apartment is shown of the same
general type of architecture. The pleasing feature of this part of the design
is the "homelike'' appearance of the building, with its front lawn and ample
space for playgrounds and flower garden in the rear. The "neighborhood
church" and "community house" upon a third corner suggests pos
sibilities of co-operation in religion and recreation, which might well be
considered in every neighborhood, particularly in the outlying districts.
Upon the fourth corner, the design shows a combination of a small
park and an automobile fire-engine house. Such an arrangement, it is
explained, would allow the firemen to spend their surplus time, pleasantly
and profitably in maintaining the flowers and lawn in the park.
The second prize design shows the "four corners" provided with a
neighborhood park, a community building for lodges, library and moving
pictures, an apartment house, and a group of stores about a municipal
market. The features of this design are plenty of "open-air" space around
all of the buildings, the convenience of the apartment arrangements, and
the possibility of building stores on the "unit" principle, so that the trading
center can be developed as the surrounding district builds up.
Modern Requirements
THE Real Estate Man was showing apartments to the Young Married
Couple. "There are," he said, "seven rooms and two baths ; large,
spacious kitchen; hot and cold water; southern exposure; elevator
service; steam heat; gas; electricity and no charge for janitor's jobs. The
price is especially lowonly fifteen hundred a year. We will do all the
papering necessary, repair floors and ceilings and make any alterations
you desire."
The Young Bride turned to the Young Husband.
"James," she said coldly, "it won't do at all. The place is simply
barbarous. I've studied the plans very carefullyand I don't see one single
room where we could take up the rugs and dance!" N. Y. Evening Sun.

72
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74
PHOEBE A. HEARST PLAN, UNIVERSITY OF CALIFORNIA

Showing Sather Campanile, North Hall and University Library
For a Greater University of California
THE Alumni Association of the University of California, by initiative peti
tion, has placed on the November ballot a bond issue of $1,800,000 to be
used for the erection of permanent buildings for the University of
California.
For years the University has been steadily growing in attendance more
rapidly than it has been possible to provide adequate permanent accommoda
tions, and this year the overcrowding of the buildings makes it imperative that
something be done at once to alleviate the conditions.
The University has this year over 5,200 students at Berkeley and a total
registration of almost 8,000. This registration is growing at about the rate of
14 per cent each year. The present classroom accommodations are so meager
that classes are being held in Harmon Gymnasium, in laboratories, offices and
even out of doors in the Greek Theater.
There are only five permanent fireproof buildings on the campus, and but
two of these have been built by the State, the others having been erected from
private donations. These a"t buildings are of the highest type of modern con
struction in plan, but the fire menace from the old buildings and the wooden
'"shack" buildings increases each year. The damage, the certain loss of an
immense quantity of valuable records and the possible loss of life from a lire
in any one of the frame buildings is an appalling thing to consider and would
be a lasting disgrace to the State of California if it should occur.
If the bond issue is authorized by the voters of the State, it is proposed to
increase the accommodations of the Department of Agriculture, build part of
the permanent Chemistry Building, complete the University Library and replace
the present North Hall, which has been in a dangerous condition for years.
The University Alumni is convinced of the justice and reasonableness of
its request and believes that the bonds will pass if the voters realize the needs
of the University and know that in the last ten years the State has given only
half a million dollars for permanent buildings and that the only way of secur
ing buildings now is by this bond issue.
75
Too Much Classic

Some Sharp Criticism of an Overworked Style of Architecture
By F. W. FITZPATRICK
IS IT that there's something radically
wrong with me internally, that I have
not the right artistic appreciation, or
lack the proper cultivation, or why is it
that I've gotten to the point that it makes
me sick to see a "Classic" building? And
pretty nearly every new one that goes up
is a "classic'' effort, so my illness is vir
tually a chronic one.
We Americans are apt to run good
things into the ground. There's a cer
tain paucity of Architectural and other
expressions with us ; we dearly love to
follow a leader and we do it so thoroughly
that we soon wear a rut, deep and wide,
that everyone just naturally falls into.
The Chicago Exposition was a bold
departure from the depressing and gen
erally hideous architecture of that period;
it was a beautiful Renaissance of the Classic in Art, it was a dream and
naturally it had a wonderful influence throughout the whole country. We
vied with one another as to who could reproduce the purest forms of Greek
antiquity and we applied them, rather inappropriately I admit, to every
thing we had to build. It was all very fine at first, a relief from the crude
attempts so many had made at following Richardson, attempts that pro
duced mostly devilishly abortive freaks, original ( !) conceptions in "free':
and other Romanesques that made our buildings the jest of all Europe
as well as mighty uncomfortable and unsightly things to live in.
But enough is as good as a feast. We've gone crazy on Classic, worked
it to a frazzle. We build Greek Capitols. Roman Court Houses, Renais
sance office buildings and then repeat the whole gamut in our stores, our
houses, factories, stables and dog-kennels. It's a surfeit of Classicism,
Greek Art ad nauseam, a "school" influence gone mad. Small wonder that
it has made me sick and drives me almost crazy. I fight it, but the op
position is more than I can overcome. I have to "design (?) a great many
buildings in a year, particularly big monumental chaps, and the demand
is invariably "Make it Classic, Fitz, plenty of columns and imposing pedi
ments, and don't forget the quadrigal" One can talk himself blue in the
face trying to shift this insistence, but it's columns and entablatures or
give up the job.
Look at our Capitols, for instance. Take the last half dozen built and
don't they show a most startingly wonderful similarity in treatment? Can
you tell one from the other? What the dickens is the use of specially
designing each. Why not keep a lot of columns and quadrigas and things
in stock and when a State decides upon a new Capitol just slap the stock
affairs together and there you are? The results would be almost exactly
as satisfactory, I am sure, and perchance the cost could be kept to the
million and a half Capitols always start on, though they invariably end at
from five to seventeen millions.
76
Seriously, isn't the whole scheme of "Designing" more or less farcical,

but a thin excuse for adding unnecessary cost to buildings and a tickling
of themselves by the architects? Here a while ago there was a very sane
suggestion made that the Government could greatly expedite its buildings
and lessen their cost by duplicating them. That is, here's one building in
such or such a small city, perfectly satisfactory and attractive; why not
change the color of the brick, if desired, but duplicate the building
exactly in some other city requiring a Post Office, not in the vicinity of the
first, but where the conditions, the lot, the climate, etc., are similar, instead
of waiting a year for plans and special details of every feature that, when
assembled, will look a good deal like the first anyway, or differ only in
such non-essentials as would never be noticed by a layman?
The howl of opposition that went up from the horrified architects made
Congress turn pale and very successfully side-tracked that suggestion.
It were sacrilege, blasphemy, lese-majeste and a lot of other unpardonable
sins to do anything so sensible, the sacred usual and customary must be
observed. Handsome stock doors are made but llo architect will use them,
every door must be specially designed, detailed and made though the
result may be less satisfactory than the stock affair. It would cost a good
deal less to make a dozen windows alike than all different, but no, every
blessed one must be specially detailed and made, there may be but a variation
of half an inch in the size of the glass or the shape of but one molding
changed, but there has to be a difference, however little it can ever be
noticed and however much it may cost. One of the silly and expensive
sins of our profession, a lack of breadth of appreciation, of efficiency, of
real economy.
Chicago first and California next started the insurgency against and
threw off the thrall of the beautiful but overdone Classicism of our time.
And California is to be congratulated upon thus showing more real sense
of propriety, more snap and go, more true progressiveness than the East
from which all Art blessings are supposed to flow. Perhaps the Mission
influence of the earlier buildings had something to do with this insurgency,
but I think the climate, a more beneficent out-of-doors, contributed more
than anything else to the most wise and timely departure from the rut.
After all. nature is the thing. Here's a thought suggested by Mr. Varon
(and of New York at that) in a letter to me of recent date :
Is the source of Art a geographical situation or docs it lie within principle? I am
inclined to believe that if the Orientals are a source of inspiration it may be because they
live nearer to Nature. To apply to our ways of living and to our climate the Oriental
forms might for some time be an agreeable change. But don't you think that if we here
lived closer to Nature, observing it more and more, becoming more familiar with our great
natural scenery in the Far West, doing away with much of our artificiality, paying greater
tribute to natural attractions, that this would help evolve other and more appropriate
combinations in Art?
*
*
*
The small banks are using their surplus coin these days building new
homes for themselves, and talking or writing about banks makes me think
of a couple of cases recently that further illustrate the folly of archi
tectural competitions, their unfairness and the unbusinesslike lack of prin
ciple that permits or prompts architects to go into them.
Four months ago there was a competition for a bank. One of the com
petitors came to me and because of a rush of work in his office, or for what
ever reason or excuse is immaterial, he gave me the data and told me to
go ahead as if it were for myself. I did. It was, I claim, a reasonably fair
design. For some reason or other all the designs were rejected and a
new competition started.
77
My first architect, disgusted, stayed out of it. Another one came to

me virtually in the same way and I made another design, as unlike the
first as I could, but yetit had to be classic of coursethe same old
columns, quadriga et al. That competition, too, was called off. Then,
here, a few weeks ago they gave the job outright, without further com
petition, to one who had entered neither of them and in time he came to
me and I designed his building. Not a bit better nor for that matter much
different from Nos. 1 or 2. Indeed, none of the designs submitted varied
to a marked degree, the location and wants called for the perfectly obvious
solution we all arrived at. Any design of the bunch (the architects invited
were all fairly clever fellows) was just about as good as any other. It,
therefore, was a competition of persons, not design, the design part was
a trimming, a farce.
The other case was as amusing and illustrative of the futility of com
petition. It, too, was a bank, a big competition. In the same way a
competitor turned the whole thing over to me (this one frankly admitted
the problem seemed a bit involved for him). In due time that competition
was declared unsatisfactory, three of the fellows were given a few hundred
dollars and that ended it. Later, a young architect, who had not competed,
a relation of the President of the bank, came to me, quite innocent of any
connection I had had with the matter, and producing a photo of my design,
told me that was what the bank intended to build and had instructed him
to carry out, but he wanted me to make such slight changes, while
keeping the thing intact in the main, as would absolve him from the charge
of copying it exactly !
If architects must "compete" why not line up and have their prospective
clients pick them out according to the color of their eyes, their hair, their
facial expression, the number and importance of their relatives, the church
or club they attend, rather than go to all the trouble and expense of
producing a lot of drawings that, after all. in even the best managed com
petitions, cut such blamed little figure? The everlasting Classic stuff
makes me sick and so do competitions. Guess I'd better hie me to a
hospital cot. But come now, you architects, away down deepthough
you won't say it out louddon't you feel just the same way about the same
things? Of course you do and. paradoxical as it may seem, I contend it's
the healthiest sign there is about us. There now!
An Attractive Country Home

ONE of the largest and best finished residences in Palo Alto is now being
built for Mrs. Henry F. Allen on her property on the northwesterly
corner of Kingsley and Cowper streets, after the design of Architect
Smith O'Brien of San Francisco.
The residence is placed on a slightly raised terrace, and is set 84 feet back
from Kingsley street, and 91}/> feet from Cowper street, and surrounded as it
is by fine old oak trees will have a very charming setting.
The design is in the interesting English half-timbered style and will har
monize perfectly with the surroundings. The residence will have a frontage of
91 feet and a depth of 50 feet.
The interior arrangement is exceptionally convenient and comfortable and
the ground floor opens up in a most attractive manner ; interesting features too
are the large brick-paved porches on which the dining and living rooms open.
In the rear of the property is being built a pretty shingled garage which will
contain space for two automobiles and two bedrooms and a bathroom.
The cost of the residence and garage will be approximately $25,000.
78

The Service Rendered by the Architect*
By HOWARD HAMMITT
There seems to be a I'aguc idea in the minds of many people as to the real
functions of the architect, and exactly what sen"ice he renders in return for his fee.
What he does in connection with the designing of a building is generally under
stood. It is common knowledge that in his preparation for the profession he trains
his artistic talent to a htgh appreciation of form and proportion, makes an ex
haustive study of the architecture of the ages and masters the technique of
mechanical drawing; that it is his duty to translate into the design of the building
his best appreciation of the individuality of the owner and cause it to represent
truly in form the purpose for which it is to be used. But few people without build
ing experience realize the nature and extent of the work aside from the matter of
design that the architect undertakes in connection with the administration and
supervision of the building operation and how it is possible for him to effect an
actual saving of his client's funds if his work in this department is successful.
IN HIS initial interviews with prospective clients the architect often

encounters some exceedingly interesting' situations and is obliged
to correct many strange misconceptions in regard to his work and
methods. For example, the proprietor of a public garage in a thriving
New York suburb who is contemplating an addition to his building to
double its capacity says : "The new building will be nothing more than
four walls and a roof, and I would hardly need an architect for that." A
young matron about to establish her homestead says : "I could have my
house built from this plan I cut out of the magazine. It is almost exactly
what I want and I would not bother with an architect ; but I want some
changes in the rooms and I do not quite like the exterior." A leading
Fifth avenue tailor, who has decided to build a home in a suburb, says: "I
know all about building. No contractor can get the better of me. All I
want is a set of plans and specifications and I can take care of the rest.
Now show me the best house I can build for $12,000." Cases like these
come every day to the architect dealing with prospective builders, and their
frequence would seem to justify a brief explanation of architectural service
in accordance with customary practice.
In the ordinary job there are three distinct divisions of the architect's
work. These are: (1) the design, (2) the working drawings, specifications
and details, and (3) the administration and supervision of construction.
The design is embodied in what are usually termed "preliminary
sketches," which show the general plan of the interior and the form of the
exterior. These are drawn to scale, but are not made in sufficient detail
and with the accuracy necessary in actual working drawings. In these
sketches the architect works out in definite form his solution of the
problem based on the suggestions and requirements of the client. They
constitute the medium through which a definite understanding is obtained
of the size, design and cost of the proposed building. Here his artistic
talent is brought into play and his ability as a designer is determined.
Ilefore attempting this work he studies all those characteristics of his
client that he can discover having a bearing on the client's home life. In
this he must consider the whole family as a unit rather than the individual,
if the house is to be equally successful for all. In the preliminary inter
views he is ever alert for indications of taste and preference for special
features. He will go over carefully with the client plans of a number of
houses he has built and discuss the relative cost and desirability of various
building materials. He is glad to see photographs of other houses that
* Reprinted from "House and Garden" by special permission from the publishers.
79
strike the client's fancy, as these assist him in determining just what is
desired. A study of the proposed site is also necessary in order to design
the building to harmonize with its surroundings.
If the preliminary sketches as submitted are not entirely satisfactory
they are changed or redrawn until they represent exactly what the client
wants and are acceptable in every respect. When these sketches are ap
proved the first step is completed.
The next step is to prepare the working drawings, or plans, and write
the specifications. The plans show the form and size of every part of the
building. They require very careful and accurate work and are usually
made by draftsmen under the direct supervision of the architect. Every
detail is worked out precisely to scale and leaves no feature to the discretion
of a workman. All questions of engineering, such as bearing strength of
beams and columns, the relation between roof pitch and the roofing, light
ing and structural ventilation, must be considered and wisely cared for.
The specifications designate the exact kind and quality of every material
to be Used and cover all details relative to the method of construction and
progress of the work. They constitute the most important part of the
contract with the builder. The judgment and experience of the architect
is tested to the fullest extent in writing the specifications. In this alone
he can often save the client many times the amount of his fee. The most
appropriate material must be selected in each case, not so good as to cause
needless extravagance or so poor as to bring after regrets that too great
economy was exercised. The specifications must be complete to the last
detail and cover every feature of the work, for two important reasons. The
first is that the builder is thus enabled to figure very precisely the actual
cost of the wOrk. Nothing is left to his judgment or imagination and he is
not obliged to allow a margin for contingencies. He can. therefore, esti
mate closely and make the lowest possible bid for the work. The second
reason is that complete specifications which anticipate and fully cover every
feature of the construction work entirely eliminate all extra charges. This
enables the owner to place a definite limit on the cost, plan up to this limit
and be assured that the amount of the contractor's bid will cover his entire
expenditure. To accomplish this requires most painstaking work on the
part of the architect, but the result is sure to be of financial benefit to the
client and save him much annoyance.
With the plans and specifications completed the architect takes up the
third feature of his work, the administration and supervision of construc
tion. He proceeds to obtain from builders bids for the work. He supplies
blue prints of the plans and copies of the specifications for this purpose
and his office is used as headquarters. His judgment and experience are
again of value to the client in selecting the contractor to whom the work
is to be entrusted. The integrity, financial responsibility, methods,
promptness, efficiency and general reputation of the various bidders are
known to the architect and his advice in this matter is sure to be of value.
It is frequently wise to give the job on a higher bid than the lowest when
the qualifications of the bidders are considered.
When the successful bidder is determined the architect acts as counsel
for the owner and draws up all contracts between the owner and the
builder. He is familiar with all points of law that apply to such con
tracts and no further legal advice is necessary for the owner to enjoy full
protection of his interests.
Before excavation is begun it is customary for the architect to stake
out the exact site of the building, taking advantage of the most favorable
80
situation, with full consideration of the natural grades, so that best land
scape effect will be secured and the least possible amount of special grading
will be necessary. In country and suburban residence work this is usually
a problem of considerable importance and one in which the experience and
technical knowledge of the architect should always be consulted.
During the progress of construction the architect or his expert super
intendent visits the job from time to time to see that all materials used
are of the quality specified and every part is properly constructed. As
the contract with the builder provides that no part of the work will be
paid for until the architect has certified that it is O. K., it will be seen that
the architect's judgment is final and his authority absolute. Since his own
reputation as well as the interests of the client is at stake he will not
hesitate to reject any work that is not fully up to standard.
The advantage of this system for the protection of the client will be
at once apparent. The builder must not only produce work that will
satisfy his own judgment but every part must be finished up to a standard
that will be satisfactory to the architect, who has full technical knowledge
as to what it should be and also a double incentive to reject it if it is,
inferior in any respect.
To conclude, the following incident will afford a sidelight on the effect
of experience on a home-builder who was fortunately able to test the
truth of the bromidium "One must build a house or two before one knows
just what one really wants."
This home-builder recently came to an architect and said, "I want you
to build me a house. I like the lines of the one you built for Mr. Blank
and he tells me that you know your business. Now I want you to know
at the outset that I am going to be an ideal client. I built a house a few
years ago and for me it was a very serious proposition. I lived very near
the job and watched every nail and screw that were driven. I inspected
every board that was used and saw to it that every stroke of work was
properly done. To say that I was popular with the contractor and the
workmen would hardly be stating the facts and I really do not know how
I managed to remain friends with the architect. He did not consider
that it was necessary for him to give the work his usual close supervision
because I was 'on the job' so much myself and the results of his absence
have been apparent many times since in important parts of the house
that proved I did not know about it at all."
The Lowest Bidder and the Lowest Responsible
Bidder
AN EDITORIAL published in Engineering and Contracting recently,
called attention to the fact that the lowest bidder and the lowest
responsible bidder on a piece of work are often different contractors.
An illustration was given in which the mayor of a small town insisted
that a certain contract be awarded to the lowest bidder, although the
engineer in charge suggested that the bid be rejected because it was
obviously and very much too low. The mayor carried his point, the low
bidder was awarded the contract and, owing to the lack of the requisite
experience and working capital, soon abandoned his contract. The bonds
men, relatives of the contractor, refused to take up the work and suit had
to be brought to compel them to do so. This, of course, meant a long
delay in completing the work and heavy court costs. After the contractor
abandoned his contract it was learned that he was an undertaker who,
81
during a dull season in his business, decided to take up contracting as a

side line. The editorial mentioned concluded that: "If some municipal
officials would give less thought to the possible saving of a few dollars
in the contract price and would devote more consideration to ascertaining
if the bidder had sufficient capital, experience, ability and plant to carry
out the work, there would be fewer 'undertakers' taking up contracting as
a side line."
The foregoing rather extreme case serves well to illustrate one of the
greatest faults in the application of the contract system of doing public
work, namely, the awardtng of contracts to lowest bidders who are not
properly qualified to carry their contracts to successful completion. This
evil is becoming better recognized and there is a growing tendency to
award contracts to the lowest responsible bidder rather than to the lowest
bidder. Theoretically this has always been the case, but actually the vast
majority of contracts for the building of public works have been awarded
to the bidders submitting the lowest bids regardless of their other quali
fications. This practice has been by no means limited to small towns or
even to municipal works; in fact the practice has been all too general.
The two quotations which follow indicate the growing disapproval
among engineers of the practice here condemned. In discussing a paper
on the state supervision of dams and reservoirs, presented before the New
England Water Works Association, Mr. M. O. Leighton, chief hydrographer of the United States Geological Survey, in part said:
Consider the contractor. It is undoubtedly true that many dam failures have been
caused by poor work on his part. You know the predicament of a contractor who is losing
money on his job, and how easy it is to consider the fact that he is losing money and
therefore to allow a little indulgence here and there. To secure a good piece of work
under such conditions, eternal vigilance is usually necessary, and few of us measure up
to eternal vigilance. One of the best ways to obviate such a difficulty is to abolish that
absurd and antiquated regulation which prevails, especially in public work, that the contract
shall be awarded to the lowest bidder regardless of the cost and the difficulties and regard
less of the real responsibility of the man. In 90 per cent of the cases, and probably more,
the expense, trouble and delay caused by a defaulting contractor who is awarded a job at
a too low price, more than exceeds the difference between the successful bid and the
rational one.
Plans and specifications insure good construction, as a rule, only under
rigid inspection. Mr. Leighton 's comments bring out a point which should
be more generally appreciated by those who award contracts, that is, the
human element must be considered in its relation to the rigidity of in
spection when a contractor is losing considerable sums of money. The
responsible contractor is one who will do good work even though at con
siderable financial loss to himself, but this type of contractor seldom bids
too low in these days of basing bids upon carefully prepared contractor's
cost estimates.
In his latest annual report. Air. Charles A. Finley, superintendent of
the Pittsburgh bureau of water, comments as follows upon the folly of
awarding contracts to the lowest bidder, regardless of other considerations :
The unfortunate and unwarranted delay in some of our new work calls attention to the
necessity of more rigid determination of the ability of bidders to execute the terms of
contracts. These delays have arisen from lack of management. The provision in our
specifications, that the bidder shall have the necessary organization, capital, experience,
etc., to execute the terms of the contract, should be made to mean just what it says. The
fact that a bidder is the lowest bidder should not secure for him any consideration unless
he had demonstrated the ability to execute such a contract.
A competent contracting organization is just as essential to satisfactory results as is
the engineering organization which designs and supervises the work.
82
Golden Gate cement used exclusively.
A P A R T M E N T HO U S E FOR
MESSRS. A. lf. WlLSON AND J. MARTIN
S A N F R A .V C 1 SC O. CALIFORNIA
C. A. MEUSSDORFFER,
ARCHITECT
Reinforced Concrete Apartment House

THE apartment house shown in the accompanying pages was designed
by Architect C. A. Meussdorffer of San Francisco, who has endeavored
to provide the comforts
of home for the busy city man who
hasn't the time or wherewithal to live in a house of his own in the
country. The building occupies a marine view site on the East slope of
Nob Hill, and is seven stories high, with a street frontage of 68 feet and
a depth of \2>7lA feet. It is within a stone's throw of the Fairmont Hotel.
Construction is of reinforced concrete and steel frame. The floors are
wood. The style of architecture is French renaissance, with an exterior
embellishment of white cement stucco, blocked off to imitate stone,
and ornamental iron balconies at the windows and across the entire top
floor, a feature familiar to all Parisian apartment dwellers. Over the
main entrance will be an ornate hammered iron and copper marquise,
giving approach to a Caen stone vestibule and lobby, the latter finished
in mahogany, with art glass ceiling lights.
The design is somewhat away from the ordinary in that the main living
rooms are in the rear of the building, instead of the front, this plan being
followed so as to provide an unobstructed view of the Bay and surrounding
country. Annexed to the dining room in each apartment, and separated
by French doors, is an open-air dining porch or breakfast room.
There are fifteen apartments in the building, arranged as follows:
Two apartments of five nxmis and one of seven rooms on the first floor,
and two apartments of eight rooms each on the six upper floors. Each
84
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If 'ORKING
PLANS,
APARTMENT
HOUSE
For
MESSRS. If ILSON AND MARTIN, SAN FRANCISCO

C. A. MEUSSDORFFER,
ARCHITECT
TYPICAL FLOOR PLAN, APARTMENT HOUSE FOR

MESSRS. WILSON AND MARTIN, SAN FRANCISCO
C. A. MEUSSDORFFliR,
ARCHITECT
85
S6
apartment has from one to three private baths, finished in white enamel,
with tile floors and wainscot and equipped with recessed tubs, automatic
showers and pedestal lavatories.
Modern conveniences will include electric elevator service, vacuum
cleaning, refrigerators, hardwood floors, dumb waiters, dressing tables,
steam heat, fireplaces and private telephone service. The interior finish
will be in keeping with the general architecture of the building, the French
renaissance style being followed out in the decorations and furnishings.
All woodwork will be either mahogany or white china gloss.
The kitchen will have patent coolers and a system of ventilation op
erated by an exhaust fan, so that no odors can escape into the building.
Space has been provided for thirty servants' rooms.
The main passenger elevator will be operated from the sub-basement
to the roof. The former will contain a large garage, reached by means
of a direct entrance from the street. There is also a ballroom in the
basement.
The building is owned by A. \V. W ilson and J. Martin and will cost,
complete, $180,000.
*
Building Concrete Houses without "Forms"

As showing the possibility of making concrete serve as its own form
by erecting the work by stages the following description furnished by John
J. Smith, architect and concrete engineer, Boston, Mass., may not be
without interest:
The foundation wall was of reinforced concrete built without wood
forms. Expanded metal rib studs were set up 14 in. apart and a still metal
lath wired to both sides of studs (which are made 6 in. apart) gave a form
for the wall and also provided reinforcement set up in place. The out
side of these walls was given a heavy coat of cement mortar containing a
little lime and hair. This when set made a rigid hollow wall which was
then filled solid with concrete mixed in the usual way (but not too wet)
in proportion 1 :2:4. The walls, both inside and out, were floated to a sand
finish with a wooden trowel. This made a very strong substantial wall
built without wooden forms and only required a single bracing for the metal
studs, using a piece of 2x4 as a straightedge and bracing either inside or
outside, as most convenient, by driving stakes in the ground.
The walls of the house were made by setting up 2x4 studding similar
to the balloon frame, but omitting the corner and other posts, also the
girts and substituting in the place of these solid concrete posts and girts
reinforced with two pieces of the metal rib studs, which for the girts were
bent in the form of a truss. Metal strips were nailed to the studding on
which were applied metal lath ; this was then coated with cement mortar,
using lime and hair sufficient to make it trowel readily. The metal lath
was backed up on the inside with a cement mortar, so as to bury the metal
at least 1 inch. The outside was then given a second coat of cement mortar
made three of clean, sharp sand and one of cement. This is mixed with a
waterproofing compound and stippled, while the wall is green, with a mix
ture of one of sand and one of cement well beaten to the consistency of a
thick cream and applied with a kind of brush made by tying together a
bunch of light twigs.
87
Practical Ideas for Practical Architects

Value of Maximum Results at a Minimum Cost as Compared With
Architectural Creations.
By J. E. TOURTELOTTE*
~>OMMON SENSE is the current coin in life, and unless a work of art
or architecture can stand the test of this touchstone it is questionable
to my mind if it has a right to existence. In ancient times a thousand
men would work for several generations to construct a building to honor
the name of some individual or family, or to the honor of some nation or
ruler's god. That was possible where one man had control over the lives
of thousands of other men. It is not possible today under modern con
ditions, and looking at it from an economic standpoint few thoughtful
men would consider it to be right to sink the production of a large per
cent of a community's efforts for a hundred years, or any length of time,
to the honor of anyone.
A person who is a member of any profession is very liable to get a
narrow view and to think that the whole world should pivot on his partic
ular line of work. Instead of practicing his profession that he may serve
the community in which he lives for the benefit of the common good, he
is very apt to talk in a bombastic way about educating the public up to
his ideals, so as to get the public in an attitude of mind where they will
serve him instead of being served by him.
I think it is as much of an honor for an architect to take a little money
and by using ingenuity in devising and scheming out methods of getting
maximum results at a minimum cost, and by the use of judgment to select
inexpensive yet durable materials to enter into the construction of a
building, as it is for another man to take a million dollars from a common
wealth and construct a creditable architectural monument, and is not
capable of doing the former. The latter man in his high and mighty con
descending way rather is inclined to look down upon his more humble
brothers, considering them of mediocre ability compared to himself, in
that they have never had an opportunity to show what they could do, and
if our high and mighty friend has the misfortune to have a client call upon
him who desires to get one hundred cents' value for every dollar he puts
into a building he rather feels inclined to be insulted and talks to his fellow
architect of the mean and penurious state of mind in which our modern
business man grovels. I consider a man who can do the first kind of work
deserving of much greater credit than the one who doesn't.
I have at times been afflicted with this disease myself, but have always
striven to overcome it, as I consider it one of the most dangerous states
of mind and attitude which the individual or the profession at large can
get into, concerning the public, whom they are expected to serve in an
architectural capacity.
There is an old saying which runs something like this, that the man
who can make two blades of grass grow where only one blade grew before
is of much greater value to a community than a whole race of politicians
combined.
I would be one of the last to cry out in the interests of inferior work,
but I do believe in the eternal fitness of things, and I am ever attempting
to be broad-minded enough to see a building project, or any other kind of
a project, from all points of view, and if my financial client sees nothing
but the profit and loss side of the project. I am at least somewhat in
* Architect, RothchiM lUtiltling. Portland, Ore.
88
sympathy with him and can work sympathetically and harmoniously with
him in developing his ideals and in guiding him in a manner so that I can
inject some of my ideals into the architectural composition which we are
attempting to create in brick and stone.
I think there is nothing which the public resents to so great an extent
in the architectural profession as this attitude of an architect towards them.
They go around to an architect and desire something which is reasonable
in cost, and sometimes perhaps they are unreasonable, expecting a great
deal more than they can get for a certain amount of money, but in a great
many cases they are not at fault, and we, as their architectural advisers,
after we have worked up their scheme, see where we could better it by
adding this here and the other thing there and putting on touches over in
the other place and have suggested these various things to them, until they
have reached the point where they think themselves, it would spoil the
building should they leave any of them off, and as a result at the day of
the letting the building runs from 25 to 50 per cent in cost above the amount
that they desired to expend, and as a result there is something doing.
They claim that we told them that they could add these things at no extra
cost, and we claim that when we suggested these things to them they
agreed to them and desired them. By our suggestion we have awakened
within them a desire for that which they are unable to pay for, and as a
result, unless they can get that building which we have, unintentionally
perhaps, worked them up to, they will never be satisfied.
As in most cases, the client when he confided in us gave us the limit
of the amount which he would put into his building, the amount being
in a great many cases the maximum amount of money which he could
raise, or which he is satisfied at least to raise, and as a result he either
gives up the project or cuts down the building to what it should have been
in the first place, and is forever dissatisfied with the building and the
architect ^who designed it. He goes out in the community in which he
lives, telling his neighbors and friends to beware of the architect, as an
individual and as a professional man, as he is a deceit and a snare. The
architect has lost a great deal of good business and to a certain extent has
lost the confidence of the public in him, more perhaps due to his lack of
tact and judgment in seeing and appreciating the eternal fitness of things
and governing himself accordingly than all other things combined.
In the interests of the great profession of which we are representatives,
and in the interests of the common goodthe great public whom we are
here to servelet us attempt to correct this thing by cutting down the
building and getting the ideals of our client thinned down to about the
size of his purse before we start in to make his drawings, or put his plans
and specifications at least, out to bidders for their proposals.
I have known artists who, with a few cheap tools and with a dearth of
materials, have produced a beautiful work of art, a work with more merit
than that of other artists who were unlimited as to tools and materials.
I have known of girls who were young, healthy and of an artistic temper
ament, take S7.50, and go to the country store and make a few purchases
of inexpensive materials, and by the use of skill and gumption produce an
outfit which, with themselves as a part of it, surpass in beauty other young
ladies who expended $750,00 and had a fashionable dressmaker to assist
them, and yet when done and they became a part of said outfit they did
not rank ace high with the former ones. Of course, I do not expect you
or I can equal the young ladies who were their own dressmakers, but at
least we can best serve our clients by approximating them.
89
Illumination from Concealed Sources*

By RICHARD E. SMITH
SOME LIGHTING THOUGHTS SUMMARIZED
In stores, lighting ltas been abused because merchants have sought an adver
tising value in glaring lights.
Brilliant lights take the customer's attention from the merchandise that is
offered for sale.
In drafting rooms indirect lighting is ideal, and here we meet the same condi
tions occurring in the general office.
Indirect lighting meets every need in an auditorium. Everyone has had the
experience of sitting in a gallery and trying to see a speaker through a glittering
chandelier. The indirect light wiIl remedy this fault.
For residence lighting nothing is so effective as the indirect system. Once
introduced into a home it never will be removed.
THE matter of lighting seems to have been
shoved into the background by the archi
tect, not intentionally, to be sure, but rather
because, in his struggle to keep up with the
progress in all the lines that affect his business,
lighting has seemed to be of minor importance,
lint now the development of lighting appliances
has reached the point where the architect must
lend his assistance.
Lighting is of wonderful importance in any
modern building. It determines between effic
iency and waste, as in an office ; safety and
danger, as in a factory ; eye-comfort and eye
strain, as in a school.
Indirect lighting is essentially scientific. It
requires careful planning and the results can be
pre-determined just as accurately as in any other
branch of engineering. W hile the theory of il
lumination is complex, the practical features have
been reduced to simple tables and the calculation
of lighting problems is now comparatively simple.
Good lighting involves the following conditions:there must be suf
ficient light for the room in questionto use more is unnecessary and waste
ful; the light must be uniform and have good color values; glare must be
eliminated; the fixture must be of suitable design; and the cost for in
stallation and up-keep must be reasonable. Indirect lighting, properly in
stalled, meets all these conditions.
It is characteristic of indirect lighting that there are no sharp shadows.
This is on account of the large area of the light source. Another char
acteristic is the entire absence of glare on account of the diffusion in the
reflectors as well as from the surface of the ceiling. These two character
istics explain most of the advantages of indirect lighting. It is of prime
importance that the proper reflector be used in each fixture or much of the
advantage will be lost. The opinion that indirect lighting is not efficient
is not well founded. In the case of direct lighting, shades are used to
lessen the glare and these shades necessarily absorb much of the light,
* Synopsis of an address delivered to the San Francisco Chapter of the American Institute of
Architects, and revised for the readers of this magazine.
90
whereas, in the case of indirect lighting, powerful reflectors direct all the
rays to the ceiling from which they are distributed as useful illumination.
Let us consider several typical installations. The first is a restaurant.
The motif in a cafe should be comfortsoft decorations, good music, careful
service, good food. Why is all this spoiled in so many instances by poor
lighting? Principally because people do not think about illuminationit has to be brought to their attention. There is a certain charm about
innumerable glittering lights out-of-doors. We all admire Coney Island
and the Great White Way, but we do not want it in our homes or places
of business, where we wish to center our attention on serious affairs.
In stores, lighting has been abused because merchants have sought an
advertising value in glaring lights. The result is just the opposite from
what they want. Krilliant lights take the customer's attention from the
merchandise that is offered for sale. On the other hand there is some
thing attractive about a good installation of indirect lighting that holds
a customer in the storehe appreciates the light, just as he appreciates
heat or ventilation, without realizing it. Another point of interest is
the increased efficiency of the clerks due to the absence of glare and the
consequent eye-strain.
The next installation to consider is a typical office. Such lighting
must be perfect. Here again the efficiency of the worker should be con
sidered for it is evident that one cannot do his best work unless he is com
fortable. The absence of shadows increases the useful working space
and the fact that local fixtures are not necessary allows the furniture to be
re-arranged at will without altering Hie lighting appliances.
In drafting rooms indirect lighting is ideal and here we meet the same
conditions occuring in the general office with the additional fact that this
work is more confining and the need of perfect lighting is even greater
than in the ordinary office.
Xow we come to auditoriums. Everyone has had the experience of
sitting in a gallery and trying to see the speaker through a glittering
chandelier. Many a fine church has been spoiled by poor lighting and the
effect of many a service is lost on those whose eyes are sensitive. Indirect
lighting meets every need in an auditorium. Here the architect can help
with his skill in design, and any scheme of architecture can be carried
out in the fixture bowls. It matters not what the bowl may be, so long
as correctly designed equipment is used inside the bowl.
In theaters indirect lighting has become almost universal. Tt gives
that soft, comfortable illumination that all admire, it brings out architect
ural details, and it can be controlled for any intensity of light, giving a
brilliant effect between the acts and a low. soft light during the perform
ance. Indirect lighting increases the apparent ceiling height of a room,
another fact that means much to the architect and which he can use to
good advantage in lighting the lobbies and foyers of theaters.
The lighting of schools, particularly evening schools, has been notor
iously bad. Gas arcs have been a sort of standard and they have made
business for the oculist. The students at night school are entitled to
every consideration. They come to study after a hard day's work under
conditions far from ideal : they attempt to do in a few hours, work that is
ordinarily allotted to an entire day. Good lighting, as well as heating,
ventilation and comfortable furniture will go a long way towards making
this work successful.
Residence lighting presents many problems to the architect because
here the personal equation is encountered. It requires considerable per
91
suasion to give people what they need instead of what they want. But if
indirect lighting is once introduced into a home it will never be removed.
It means comfort and comfort is inseparable from HOME. We recommend
indirect lighting for every room in the house. If some direct lighting is
used it is only a question of time until it will be displaced by the indirect
method.
For residence lighting, nothing is so effective as the indirect system
adapted to a portable. This does away with ceiling fixtures which are
objectionable in some cases and as the portable lends itself to any scheme
of decoration many pleasing effects can be obtained.
Fixtures are not essential to an indirect lighting system. Cornices
can be used to conceal reflectors, as well as pedestals, urns, wall pockets,
etc. Such special work of course requires special treatment but accurate
data is now available whereby the architect can handle all ordinary
problems.
Bare lamps hung in glass bowls do not make indirect lighting. While
they reduce the glare in a measure, the bowl is still the lightest thing in
the room and if a large lamp is used, there is still the brilliant light source
that we seek to avoid. Still we meet conditions where an illuminated
bowl is desired. Many people like to see the light source, just as they
want an open fireplace, while the real heat in the room comes from a
radiator. This condition can be fulfilled by using the regular indirect
equipment with a small supplementary lamp which serves merely to light
the bowl. The latter may be made of glass, silk, or any materials com
monly used in the manufacture of fixtures. In no case should the bowl
be more brilliant than the ceiling. By such an arrangement we get the
artistic effect of the bowl without losing the effectiveness of the indirect
lighting.
There are numerous cases where indirect lighting is not practical.
These occur principally in factories, although there are instances " where
indirect lighting is not feasible in a finished building, as in a Gothic church
where the ceiling is finished in dark woods. For such purposes there has
been designed a series of reflectors which so thoroughly enclose the lamps
and give such excellent diffusion that a brilliant illumination can be se
cured without the usual annoying glare. A photograph of such an in
stallation shows no halation about the fixtures.
Safety and efficiency are the principal points to be considered in designing
the lighting equipment for industrial plants. With the advent of Em
ployers' Liability laws which force the employer to take a financial re
sponsibility when his men are injured, a great deal of attention is now
being turned to the question of safety. Naturally, good lighting means
greater safety and it is now receiving the attention that it deserves.
A very interesting field of illumination from concealed sources is that
of show window lighting. Engineers and laymen agree that the lamps
in a show window should be concealed and the light concentrated on the
display, giving the same effect that comes from the foot-lights on a stage.
"Light on the object and not in the eye" is the rule.
Windows may be divided into half a dozen classes as to size and shape
and each of these requires a reflector which gives a uniform light on the
display as it will be arranged in that particular window. Some manufac
turers make a single reflector and try to use it in every style window with
the result that only an occasional window is satisfactory. Here, as in
other branches of illumination, accurate data is at hand whereby the ar
chitect can easily select a reflector for his particular need.
92
Reflectors which are designed primarily for show windows can be used
to good advantage in special schemes, such as the lighting of bulletin
boards, rug display racks, bowling alleys, etc. It is simply a matter of
selecting the right appliance for the case at hand.
To sum up: Good lighting is simply a matter of carefully considering the
desired* results in a specific case, and then selecting the appliance that most
nearly fulfills these requirements. These requirements generally include prac
tical, esthetic, and hygienic considerations, and should be settled by the
architect rather than the client.
*
Proportioning Aggregates for Portland Cement

Concrete
Albert Mover recently read an interesting paper before the American
Society for Testing Materials on "Proportioning Aggregates for Portland
Cement Concrete." The object of the investigations into the proper pro
portioning of aggregates for Portland-cement concrete is to obtain max
imum density which, other things being equal, the author considers gives
maximum strength.
One of the principal results obtained in these investigations was that
arbitrary specifications without previous knowledge of the character of
the aggregates that are to be used are wrong, and that such stated pro
portions as 1 : 2 : 4 or 1 : 3 : 6, etc., are meaningless.
It was found that 94 lb. per cu. ft., or 3.8 cu. ft. per barrel, as a unit
of measurement is incorrect. Investigations prove that it takes 110 lb. of
Portland cement to make 1 cu. ft. of paste. The author finds that, opposed
to the old plan of filling the voids in sand with cement, these voids must
necessarily be filled with paste (cement and water), and that the study of
the proportioning of aggregates must be based on the proper proportions
of cement, water and sand to make a sufficiently rich mortar to bind to
gether the larger aggregates. The cement must be measured by weight,
using 110 lb. as equivalent to 1 cu. ft. of paste. If a 94-lb. bag is used as
a unit for measurement, the proportions must be figured so that the same
proportion of cement to sand is obtained as when based on 110 lb. of
cement per cubic foot of paste.
For the purpose of economy, various sizes of stone should be used
and investigation made to see which sizes will produce the least
percentage of voids, so that less mortar may be used and more strength
obtained, for the reason that mortar is not as strong under compression
as mortar and crushed stone or pebbles mixed together in the form of
what we term concrete.
The paper gives various methods of carrying on investigations, so that
with a given sand and a given stone or gravel, proportions can be stated
by the engineer which will make a concrete of maximum density and max
imum strength.
93
Building Trade Situation and Outlook

Table showing conditions of Building Trades and future probabilities, based
upon statements made by members of the National Association
of Manufacturers. These reports are on file at
the offices of the Association.
INDUSTRY
PERCENTAGE OF REPLIES SHOWING

Improvement Improvement
in Sales, in Collections,
Prospects of
Jan. 1 to June Jan. 1 to June
Present
Industry
30, 1914, com 30, 1914, com Condition of
for the
pared with
Industry Current
pared with
Year
Jan. 1 to June Jan. 1 to June
30, 1913
30, 1913
Excel ent
Excel ent
Marked
Marked,
Slight
None Slight Fair
None
Poor Fair Good
Poor Fair Good
Fair
Lumber and Manufactures

(a) Boxes, Barrels, etc
(b) Lumber for Building
(c) Miscellaneous Uses
%
76
63
62
%
12
20
15
%
12
10
12
Of
/o
0
7
11
%
69
67
70
%
10
16
13
/c ',C
% % % % % % % Of
/o Of
21 0 43 37 16 4 36 48 16 0
14 3 36 41 18 5 32 42 20 6
13 4 32 45 16 7 32 42 20 6
Machinery
(a) Boilers and Engines
(b) Electrical
(c) Iron Working
(d) Milling
(e) Mining, Excavating, etc
(f) Textile
(g) Woodworking
69
70
80
74
79
84
92
13 9
6 3
11 5
18 0
13 8
4 8
0 8
9
21
4
8
0
4
0
68
61
87
82
61
74
80
17
13
6
5
13
17
0
11 4 38 33 20 9 37 38
20 6 39 30 17 14 35 38
6 1 54 36 7 3 55 32
10 3 38 47 10 5 46 40
26 0 54 33 13 0 52 35
3 6 47 36 14 3 48 35
20 0 47 37 16 0 47 47
Tools and Hardware

(a) Bolts, Nuts, etc
(b) Builders' Hardware
(c) Mechanics' Tools
(d) Miscellaneous Hardware
66 6 17 11
72 7 7 14
90 0 3 7
72 7 10 11
53 12 29
58 21 21
79 13 3
80 8 11
62
80
64
50
58
90
74
30
Cement and Clay Products

(a) Builders' Material
(c) Crockery and Pottery
(d) Paving Material, etc
16 9 13
13 7 0
9 18 9
12 25 13
20
5
0
30
6
0
5
1
33
38
48
36
40
38
46
46
16
12
9
11
9
14
6
9
15
4
3
4
3
0
16 11 37 38 0 25
12 12 20 60 7 13
3 3 38 49 10 3
12 6 28 49 16 7
17 5 34 41 17 7
5 0 41 59 0 0
17 9 36 44 12 8
10 0 13 25 50 12
45
47
30
14
28
37
52
14
18
16
9
29
9
0
9
43
Chemicals, Oils, Acids, etc.

53 7 27 13 56 19 19
(b) Paints, Varnishes and Dyes. . . 58 20 13 8 57 14 27
6 29 35 24 12 31 44 19 6
2 27 46 20 7 25 48 20 7
Glass and Products

(a) Bottles and Glassware
40 32 16 12 58 15 15 12 27 39 19 15 24 40 20 16
(b) Mirrors, Plate and Window. . . 87 13 0 0 82 12 6 0 40 53 0 7 44 44 12 0
Iron and Steel
(a) Bridge Construction
(b) Building Construction
56 28 11
65 19 7
Lighting and Heating

(a) Illuminating
(b) Heating
56 11 28 5 70 18 12
74 14 8 4 67 14 14
5 65 12 23
9 78 8 12
0 27 55 18
2 46 42 8
0 48 40 12 0
4 46 33 16 5
0 28 50 22 0 >H 48 19 5
5 38 36 18 8 19 51 26 4
94

Examination of Concrete Failures for Their
Determining Causes
THE cement and concrete session of the 17th annual meeting of the
American Society for Testing Materials at Atlantic City, was one of
the most interesting of the meetings. Instead of the time being
taken up largely with committee reports, it was devoted to the reading of
papers. All previous records were broken in attendance, there being a
total of 490. This society is widely recognized in the United States as the final
authority for the preparation of standard specifications for the various
materials of construction.
R. S. Greenman, in a paper on "The Examination of Concrete Failures
for Their Determining Causes," states that concrete is said to be its own
best inspector, and it is a well known fact that defects in concrete will
sooner or later make their presence known.
The reasons for poor concrete have been proportioned as being 90%
due to poor workmanship, 8% due to poor aggregates, and 2% due to poor
cement. These reasons and the additional one of the influence of the
water used, are responsible for most of the failures in concrete. These
failures are more frequent in smaller than in larger work and the resulting
losses are proportionately greater.
To find a reason one must examine all possible causes and must follow
up all clues that tend toward disclosing the reason. The design, the
quality and proportions of the materials used, the mixing and placing and
the care of the ftnished concrete must all be considered In making an ex
amination, each case must be treated entirely upon its own individuality:
and the right clue will not be found unless the investigator knows good
and poor concrete and knows why certain things produce certain results
in concrete.
In trying to 'solve a problem of poor concrete the elements to be in
vestigated are cement, aggregates, workmanshipand water. The com
mon tendency is first to place the blame upon the cement, but if it is
found that, in accordance with good and generally common practice, the
cement has been tested and has met the standard requirements, the cement
then becomes a negligible factor; but if it has not been tested, it must be
considered as a possible cause, and it mav become a large item in the study.
It must be admitted that since so much stress has been laid upon the
value of having cement tested before use, and since it must indeed be a
small work on which it has not been so tested, the percentage of failures, due
to poor cement has been reduced to a very small amount.
The strong and the weak points in both the course and fine aggregates
have been too often neglected. The coarse aggregates can usually be
judged by easy inspections, but sand or other fine aggregates need very
careful examination. The characteristicssuch as the grain, the grading,
the cleanness and freedom from organic impurities and excess of loam
are items of knowledge which are obtainable mainly in the laboratory-, but
which are very essential for the correct diagnosis of a concrete failure.
The effect of workmanship is by far the largest factor and in it all
others are included, for a poor workman can destroy the value of the best
materials. Under the head of workmanship must be considered such
items as design, proportions, placing, and actions resulting from heat,
frnst, electrolysis, etc., which should have been taken care of in the process
of making, hardening and preservation.
95
As another element of importance, it must always be kept in mind that

the water which is used in making the concrete, or which may come in
contact with it, may prove to be a very influential factor for harmful results.
To illustrate the possibilities of various influences, specific cases are
cited showing effects of certain elements upon water, sand and stone and
the resulting effects upon the concrete. The effects of poor workmanship
are seen in various conditions found in concrete. To find these effects
it is also necessary that the investigator shall know how to grasp and to
follow up the first indications of there having been anything wrong.
Some external influences also cause concrete to fail and the possible
relation of these to concrete failures must be considered. For many years
all the failures of concrete were considered as being due to the formation
of certain chemical relations ; but as it is commonly acknowledged at
present that an impermeable concrete will stand in sea water as well as
elsewhere, although subjected frequently to more severe actions than
other concrete, its failures are due frequently to the same causes as those
of other concretes and therefore the same examinations should give the
same results. Similarly, since electrolysis is considered as a cause for the
breaking down of concrete, the liability of concrete being affected by its
influence will depend upon whether or not the concrete comes under the
influence of an electric current. If it does, then its influence needs to be
examined. If it does not, then the examination should also follow the
usual method.
The value of laboratory tests and analyses should not be overlooked.
While perhaps not giving such definite information as a field inspection,
they should be used to the fullest extent to help establish the strength
or weakness of a reasonable theory for the cause of failure. Where time
will permit, laboratory tests of concrete made of the aggregates under
as nearly as possible the same conditions, will give results that should aid
in determining the fault in the original. Test specimens so made and
treated should give practically the same results, and when compared with
test specimens made under ideal conditions or with standard materials,
should give the investigator the reasons for the failure.
All means possible should be used by an investigator in making his
examination, and his conclusions must be drawn only after he has con
sidered the failure from every probable cause, with reason and fairness.
The object of the examination is either to place responsibility or to
guard against future failures, and right conclusions are the only ones that
should be drawn if justice to either objective is to be given.
*
Paint on Cement or Concrete Surfaces
A PAPER on "Paint Protection for Portland Cement Surfaces," by
II. A. Gardner of Washington, D. C. was read recently before the
American Society for Testing Materials.
In April, 1912, Mr. Gardner instituted in Washington a series of tests
to determine the durability of various types of paint upon Portland cement
surfaces exposed to the weather. The panels for the tests were prepared
by constructing a long board wall to which was fastened expanded metal.
A mixture of 1 part of Portland cement and 2 parts of clean Potomac
River sand was made and applied to the expanded metal, forming a cement
wall 3 inches in depth. The wall was divided into 35 sections or panels,
each 30 inches wide and 40 inches high. Three coats of paint were applied
to each panel by a practical journeyman painter. In order to make the
96
test more severe, nearly all of the paints were applied in white. (Tinted
paints are known to be much more durable than white paints.) A strip
of chrome green, 6 inches wide, was placed over the top of the third coat
of paint, in order to determine whether or not the lime which might be
present on the surface of the cement would have any effect upon the paint
coating. Fading of the green to a yellow would indicate such action.
A priming coat of 25% zinc sulphate solution was applied to the panels, to
neutralize any free lime, but this is held to be unnecessary if the surface
is dry when painted and will not be exposed to the weather.
The general results of the tests at the end of a 2-year period, together
with an outline of the composition of the paints tested, is given as follows:
Class No. 1Single-pigment paints, made with white lead or zinc oxide ground in pure
linseed oil. (These paints are in very good condition throughout.)
Class No. 2Combination-pigment paints made of mixtures of white lead, zinc oxide
or similar pigments ground in pure linseed oil. (These paints are in generally excellent
condition.)
Class No. 3Combination-pigment paints ground with mixtures of raw and heavybodied linseed oil or with treated Chinese wood oil. The viscosity of these oils requires
the use of considerable turpentine or other thinner in the manufacture of such paints, in
order to make them of the right viscosity for application. Semi-flat surfaces are therefore
produced during the drying. (Most of these paints are in excellent condition.)
Class Xo. 4Single- and combination-pigments ground in oil varnishes containing acid
resins. (These paints are checking and scaling in many spots. Such varnish paints are
apparently not suited to exterior exposure.)
Class Xo. 5Paints containing resins dissolved in volatile spirits (spirit varnishes)
with or without pigments. (These paints are not giving very satisfactory service, the clear
varnishes having entirely decayed in some cases. Those to which pigment has been added
are in somewhat better condition.)
Class No. 6Paints made with single- and combination-pigments ground in a water
medium containing glue or casein as a binder. (These paints are chalking rapidly and are
not moisture-prooring the cement. The pigment binder has been destroyed by the weather.)
The tests showed that the amount of free lime in fairly dry cement sur
faces does not adversely affect high-grade otl paints. The tests also
showed that zinc sulphate mav be used with excellent results as a primer
to neutralize free lime in damp cement surfaces which are to be painted.
Opaque white pigments, such as basic-sulphate white lead, basic-car
bonate white lead, zinc oxide, and lithopone, were present in the paints
which pave the best results. In some of these paints there was present a
percentage of inert pigments, such as barytes, asbestine, whiting, china
clay, gypsum and silica. The scaling of varnish paints, which developed
in several tests, apparently showed that resinous paints are not well suited
for cement surfaces.
The oil paint is not attacked by the dry cement, and holds both texture
and color. Ecpially satisfactory results were obtained with boiled linseed
oil, mixtures of raw and boiled oil, and mixtures with Chinese wood oil.
Such simple paint coatings were also found to be excellent for concrete
floors, being durable, wear-resisting, and dust-preventive.
The results of these tests are quite in line with the results obtained by
Ware and Schott in a series of paint exposure tests made upon exterior
concrete surfaces. They also agree with previous lonp-time exposure
tests made by the author.
*
*
*
Why We Do It
Advertise and the world buys of you ;
Renig, and you need a loan.
If you never tell what you have to sell.
You'll have troubles all your own.
Los Angeles Evening Herald.
97
The Fun of Building a House on Paper

A NEWSPAPER YARN BY L. CLARE DAVIS
Architects doubtless will take exception to some things which this writer has
to say about the profession. For exampleto infer that an architect lacks imagin
ation is virtually to admit he has no originality, and the designer who cannot serve
his client "villi something a little out of the ordinary these dayssomething
originalhad best retire from the game.
This article was written by a womanit sounds like one, tooand we are print
ing it because it throws a ray of light upon the troubles of the architect whose lot
it is to plan or assist in planning a homeusually with a woman's "assistance."
THE excavating has been done for my friend's new house and she says
it is the most interesting hole-in-the-ground she ever saw.
This is the stage of the house-building game when you get a
second crop of enthusiasm. The first lot has usually been exhausted on
the plans. Such a lot of thought, energy, interest and enthusiasm as goes
into plans ! But what a lot of fun can be extracted from building houses
on paper. In fact, that is where most of the fun comes in, for you can
have most anything you want if the sheet of drawing paper is big enough,
your imagination is in good trim and your pencil holds out.
It is only when the home-made plans are submitted to the cold, cal
culating eye of an architect or builder that the grim facts of life become
apparent. You can't have six feet of windows in a space that is only four
feet two inches wide, he says. On paper it looked as if you could. You
can't have hardwood floors all over the house and have enough money
left to build a nice big open fireplace. If you built the fireplace you couldn't
buy coal enough to keep it warm. You can't have a nice convenient
family stairway that parts its hair in the middle and from one convenient
landing allows you to glide gracefully down into the reception hall if you
are dressed for company, or to slip hastily up from the kitchen to take
down your curl papers and dab on a little powder, when some one is
waiting downstairs, without giving up half of the hall and half of the
dining room to three or four dinky steps, or building an addition somewhere
to let the steps back in out of the way.
Say what you like, an architect lacks imagination. He is always
holding one down to inches and feet and such stuff as that. How can one
be bothered to leave spaces in the right places for doors after using all
one's gray matter trying to decide whether the hand rail of the stairs shall
be mahogany finish or ebony?
.
Building a house is a matter of several intermittent attacks. It breaks
out with a rosy rash of enthusiasm, that rises into a high fever over
plans, runs its course for six weeks or so, then subsides, only to come on
as a relapse after many days.
The first week of bending over plans and laying out attractive little
nooks and recesses and window seats it seems as if you would simply have
to begin building tomorrow afternoon at 3 o'clock. By the end of the
fifth week there is a slump. Oh, shucks, building is too expensive ! We
don't want to build. Renting is cheaper. The plans are flung into a
drawer. There is a decided nausea whenever sleeping porches, flues,
plumbing, furnaces and so on are mentioned.
After a time the temperature rises again higher than ever. In the
meantime every house within a radius of 750 miles has been glanced at
or inspected for possible ideas or suggestions. Books with such attractive
titles as, "Beautiful Homes for $5000," "Bungalows That Can Be Built
98
for $3,000, Why Pay Rent When You Can Own Your Own Home,
Beautiful Interiors and Artistic Exteriors, form the most fascinating litera
ture there is.
Other people with the same disease running its course are the most
interesting folks in the world to talk with. You almost hug them because
they have run up against some of the wild snags that you have met. You
fairly love them and yearn over them as they tell how they scrapped over
whether the dining room should have French doors and white woodwork
or dark woodwork and just doors.
You hang on their utterances and break in with delighted exclamations
of sympathetic misery as they tell how they had to give up nearly every
thing they had set their heads on in a house because it was going to cost
too much. So they just moved and that was nearly as exciting and devilish
and nerve-racking as building a house. Ah, well, it is far better to have
planned and not builded than never to have planned at all. With a lot, a
set of plans and a dollar to start with, there is always a chance for the
disease to break out again and get you to the hole-in-the-ground stage.
>k
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The Tenth International Congress of Architects in 1915

ESPITE the unsettled conditions abroad, plans are being made
for the Tenth International Congress of Architects, which will take
place at St. Petersburg on the 18th to the 24th of May, 1915. The
Congress will be held under the patronage of His Majesty, Emperor
Nicholas II, with Her Highness the Grand Duchess Marie Pawlowna,
President of the Imperial Academy of Beaux-Arts, as Honorary President.
The last Congress, held in Rome in 1911, decided that the Tenth Con
gress should take place in 1914, but, for various reasons, it was finally
set for the date above given. All of the sections of the Permanent Com
mittee of the International Congress are asked to at once undertake the
organization of their respective sections.
It is necessary to proceed with
some celerity, by reason of the fact that in addition to the excursions and
festivities which have been arranged, many serious sessions will be devoted
to the discussion of the various topics assigned for that purpose, together
with the reading of such reports as have been requested, or may later be
offered.
In connection with the National Exposition of Russian Architecture,

and the International Exhibition of Theater Architecture, which will be
open at that time, there will be conferences devoted to the subject of

Russian architecture, as well as to those plans, views and books related to
the development of the architecture of the theater in all countries during
the last fifty years, which exhibits will form a part of the last-named ex
position. The different sections of the Permanent Committee have been
asked to constitute themselves as juries of admission, to deal with such
exhibits of theater architecture as may be offered for the exposition.
This international exhibition will be inaugurated on the 1st of May,
1915 (American calendar), and will be held in the rooms of the Imperial
Academy of Beaux Arts. German confrres, having built many theaters dur
ing the last few years, will exhibit a number of plans, methodically classed,
according to the purpose for which they were builtopera, comedy or drama.
In connection with the subject of theater architecture, it has been
thought that the occasion would also be an auspicious one for devoting some
attention to motion-picture theaters. There is no reason why architects
should not evolve forms which are both artistic and perfectly adapted to
99
the production of motion-pictures, and it is certain that all offered solu

tions of this problem will be attentively studied.
As English has been admitted as one of the languages of the Congress,
and as qualified interpreters and stenographers will be found at St. Peters
burg, no English-speaking architect need fear any difficulty on that score,
and the committee sincerely hopes that many members of the American
Institute of Architects will come to St. Petersburg in 1915.
>k
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War and Architecture

IS not generally considered that war comes within the province of an
| Tarchitectural
publication, and yet, why not? asks the Institute Journal.
Save for the grim hand of ceaseless Time, what factor has contributed
more to the destruction of much of the best that architecture has given
toward the progress of mankind, than has war?
Architecture seeks to uplift and to ennoble. War seeks to destroy and
to degrade. The two are mortal enemies.
For centuries architecture has sought to translate the aspirations of
humanity into living records; to add the inspiration of beauty to the
struggle of man to emerge from barbarism. At every turn in the road,
war has risen to drench his path with blood and to barricade it with the
sickening obstacles of needless human suffering and wanton waste. And
now, when science has risen to her topmost heightswhen the world's
commerce and industry are so inextricably woven that all mankind must
sufferfive great powers are again plunged into the vortex of murder
and destruction |
How fortunate is the situation of the United States at the present

moment! What an opportunity presents itself! Not merely to profit
through broadening marketsnot merely to gain money through supplying
the demands of countries whose usual source of supply is suspendednot
ignobly and greedily to absorb the profits of another's misfortune, but to

prove to the world at large what irreparable disasters are today heaped
upon a country, which seeks to settle by war those questions which never
have been and never can be settled until blind passions are supplanted
by reason.
In the meantime, let us hold ourselves above all prejudice and partisan
ship, pitying all, and reserving our judgment until it has been matured
*
through a disclosure of all the mysterious forces which are not yet revealed
to the common citizen.
Let us look forward to the day when architecture
may be called to the supreme task of raising the emblem of the world
at peace.
In a circular issued by the R. I. B. A., announcing a recent meeting,

the suggestion is made that the authorities be requested to avail of the
services of architects with respect to military buildings erected during

the war.
Commenting on this circular, The Builder states, in part, as follows:

It is quite possible that if the authorities receive the aid of architects with respect to
military buildings during the war they may come to the conclusion afterwards that there
is some connection between efficiency and knowledge, and that, after all, buildings are
more efficiently designed and constructed under architects than under the royal engineers.
If so, we may reap in the future benefits from the services rendered in the present.
The suggestion that architects should look after the work of those members of the
profession who take their place on the firing line is also a good one, and will, we have
no doubt, meet with an adequate response. But we believe the greatest good would
come from carrying out the suggestion we have made that the local government board
should be approached with the view of obtaining the acceleration of schemes already
approved, and that they should give their sanction to new schemes of a utilitarian
character with greater readiness than in more normal times.
100

Should Specifications Specify?*
By LEE ULLERY.
SPECIFICATIONS should be explicit, and state exactly what is to be

done, so that bidders may know what to expect, and therefore they
will have no grounds for complaint if required to perform the work
accordingly.
If specifications are not definite, or not to be followed without deviation,
no bidder can form an estimate as to what may be exacted, and it will
be impossible to obtain bids from competent, reliable contractors. No
desirable contractor will bid on work, the extent of which is unknown,
and who must depend upon the notions and aesthetic fancy of the Super
intendent who may happen to be in charge of the work.
Contractors are unwilling to perform more work than is specifically
required, or to furnish better material than called for. We find many
instances of the efforts of contractors and material men trying to mis
construe the specifications, letters of acceptance, or the letters of approval
of samples, as well as the drawing requirements, so it is necessary to be
specific. Illustrating the point, I may cite a recent experience. Relative
to the approval of samples of flooring, where the specification required
same to be one and one-fourth inch thick, a sample one and one-eighth
inch thick was approved. The material men claimed the approval of the
sample created a modification of the requirement, but I pointed out that
the letter advising of the approval stated the approval was as to quality, .
and that the dimensions of the material furnished must comply with the
specification.
We cannot justly censure contractors and material men for trying to
evade items of expense that are not clearly called for, and where the
requirements are that the work shall be executed in accordance with the
drawings and specification, without deviation therefrom. We cannot
extend any favors to a contractor. How can we expect any gratuities
from him?
Contractors frequently tell us they cannot secure the kind of materials
called for and offer to substitute something else, which may be fully as
good, but we cannot permit the substitution under our instructions, and
it is not surprising that contractors refuse to furnish what is not specifically
called for, when we want a betterment.
I once called a draftsman's attention to the fact that his drawings did
not indicate what framing should be placed beneath a stair platform in a
building for which I was writing a specification, and I advised him to
indicate on the drawing the framing that would be required, but he told me
.it was not necessary to go into detail to that extent. He said, ''No con
tractor will construct the stains without placing suitable framing." But
we do not want to depend upon the contractor for substantial supports for
stairs, or other construction. True, the shop drawings would have to be
prepared by the contractor, and approved in the Supervising Architect's
Office, but should not the contractor and material men know before making
their bid what is required, approximately, at least, to meet the approval
of the structural engineers?
I know a contractor who submitted a proposal for fireproofing the
floors of a certain building after his original bid had been opened and found
to be the lowest received. He stated that he considered the beams and
girders already provided would not have to be made more than a small per
* Paper read before the Society of Constructors of Federal Buildings at Washington. D. C.
101
cent heavier, and that additional steel beams would be added to correspond
with construction of other fireproof floors. He complained continually
during the construction of the work that the increase had been unreason
able ; that the beams and girders substituted for those originally shown
were fully fifty per cent heavier, and that the new beams required were
much heavier than beams he had placed in similar floors in other buildings.
Such changes should not be made in that way, as expense is suffered that
was not contemplated by the contractor.
Some years ago a contractor failed to include in his original bid certain
items of work that were required. These items were clearly shown but
overlooked by him in preparing his bid. Afterward a proposal for an
additional item was accepted. The next day it was discovered that an
error had been made in considering the bid and an effort was made to
revoke the acceptance of the bid. The contractor stated that it was too
late to revoke the acceptance, as he had ordered his material. "But,"
said the official, "your bid was a thousand dollars too high." "Well," said
the contractor, "I am very sorry, but I am only sorry because it wasn't
ten thousand dollars too high."
This shows how some of the contractors feel about these matters.
They cannot receive any favors, but have to stand the loss due to their
own errors. They are of course not willing to refund when mistakes are
made by the other party to the contract. When the specification and
drawings are clear and explicit as to the requirements, it is for the con
tractor to inform himself, before he submits his bid, of all the conditions.
The opportunity should always be given him to so inform himself by
specific drawings and specifications.
*
Touch of Genius
SANDY MACTHERSON started to build a small house of bricks. After
the usual plan of bricklayers, he worked from the inside, and, as he had
the material close beside him, the walls were rising fast when noon
arrived, and with it his son Jock, who brought his father's dinner.
With honest pride in his eyes, Sandy looked at Jock over the wall on
which he was engaged, and asked:
"Hoo d'ye think I'm gettin' on?"
"Famous, fether; but hoo dae ye get out? You've forgot the door."
One glance around showed Sandy that his son was right ; but, looking
kindly at him, he said :
"Man, Jock, you've got a gran' heid on ye! Ye'll be an architect yet,
as sure's yer feyther's a builder."
How One Architectural Firm Meets the Slack Times
A WELL KNOWN San Francisco architect, whose office turns out
something more than a million dollars' worth of work annually, called
his staff together the other day and announced that on account of the
hard times and unsatisfactory state of the money market, he would cut all
salaries, from chief draftsman to office boy, 30 per cent.
"If there is anyone here who objects to this reduction," concluded the
architect, "he can have a week's pay and go."
It is needless to say none of them went.
How much better some such plan as this than the ruling practice of dis
missing a good man altogether.
102
"
The Skyscraper
By MADISON CAWF.IX
In The Smart Set
ENORMOUSLY it lifts
Its tower against the splendor of the west :
Like some bright dream that drifts
Before the mind, and, at the will's behest
Enchantment-based, gigantic steel and stone
Is given permanence ;
A concrete fact.
Complete, alone.
Glorious, immense.
Such as no nation here on earth has known :
Epitomizing all
That is American, that stands for youth
And strength and truth ;
That's individual
And beautiful and free,
Resistless strength and tireless energy.
Even as a cataract,
Its superb fact
Suggests vast forces Nature builds withJoy
And Power and Thought,
She to her aid has brought
For eons past, will bring for eons yet to be,
Shaping the world to her desire. The three
Her counselors constantly
Her architects, through whom her dreams come true
ITer workmen, bringing forth,
With toil that shall not cease,
Mountains and plains and seas,
That make the earth
The glory that it is ;
And, one with these,
Such works of man as this,
This building, towering into the blue,
The beacon, round which, like an ocean wide.
Circles and flows the restless human tide.
103
The Case of Herington vs. Murray

The following decision in the case of Herington vs. Murray by Judge Morri
son of Los Angeles is of special interest to architects and builders, because it deals
indirectly with the irresponsible contractorthe fellow who bids lower than he can
afford to for the sake of landing a job. then undertakes to "skin" the work at the
expense of the owner to save himself from bankruptcy.
AFTER several months' contention in court, the case of Contractor
John Herington against John E. Murray, owner, arising out of a
dispute over the erection of a brick apartment house at 1026 Orange
street, Los Angeles, has been decided in favor of the contractor, who had
sued for $25,860 claimed still due him upon the contract, and the further
sum of $2,500 as damages for the alleged failure of the owner and his
architect to furnish him proper detailed drawings. Judgment was given
the contractor by Judge Morrison in the sum of $17,028.91. from which
must be settled twenty-five lien claims amounting to $16,660.08.
This case has attracted wide interest among architects and contractors
as well as owners and others interested in building, involving as it did
many of the fundamental principles upon which are based the relations
between contractor, architect and owner.
The original contract provided for the completion of the building in
December, 1913, but an allowance was made of forty working days' exten
sion of time owing to changes and extra orders. The differences between
the contractor and owner, however, and the refusal of the contractor to
turn the building over until he had been paid what he claimed was due him,
held the building vacant and the owner's investment idle for some time,
for which the court allowed the owner three months' rental claim from
the contractor.
The original contract price was $46,282, which was increased $3,399.76
for extras furnished by the contractor on signed orders, and $18 for
two extra trusses put in without a signed order, making the total due on
the contract $49,699.76. Of this sum the owner had paid $26,/4o.4.2T leaving
a balance due of $22,954.34.
The owner, however, claimed that the completed building was not ac
cording to specifications and refused to pay the full amount claimed by
the contractor, in which he was sustained by the court, which allowed
deductions for defective work and loss of time occasioned by repairing
such defects after he obtained possession of the building, to the amount
of $7,342.81. W hile the court stated that Contractor Herington's mistakes
were in its opinion ones of judgment rather than arising from a desire to
take advantage of the owner. The court severely scored some of the sub
contractors on the charge of "skinning the job." and held that the general
contractor should have insisted that all of his sub-contractors comply
strictly with their contracts.
The court found that Contractor Herington had $15,611.53 due him on
the contract price, plus $2,121 for interest on this sum up to the time the
case was closed in court. It, however, allowed the owner $703.62 for
interest on the sum involved by the deductions for defects and loss of
rental, leaving $17,028.91 actually due the general contractor. It found
that lien claimants had $15,144.49 due them (after deductions from their
claims were determined) plus $1,486.94 for interest and $28.65 to cover
the cost of filing papers in the suit.
104
GARAGE FOR WARREN D. CLARK, ESQ., SAN FRANCISCO
-a
111
t I
k.I ,
I i
-A/;
Two Private Garages

Substa n ttally Built at
Moderate Cost.
Designed by
Architect Nathaniel Blaisdell
of San Francisco.
Other examples of this class
of work will appear in this
magazine from time to time.
105
GARAGE FOR DR. KASPAR PISCHEL, SAN FRANCISCO

Nathaniel Blaisdcll, Architect
FIRST FLOOR. Pi-AN
5ECQND FLOOf^PLAN
GARAGE FOR DR. KASPAR PISCHEL. SAN FRANCISCO '

Nathaniel Blaisdell. Architect
EXECUTIVE '.STAFF OF BKODE IROX WORKS
107
THE BROUE 1R0N II ORKS, SAN FRANCISCO

VI. The Brode Iron Works.
By BRUCE HARLAND.
IT IS not enough to buy your steel right in order to meet the requireI ments of building, but care must be exercised in selecting the shop
where the fabricating and framing is to be done. Any good iron works
will, of course, test the steel as it comes from the Eastern millsbut this
is only preliminary to the experienced and artistic fashioning which is
necessary for structural and ornamental uses. In straightening out the
steel, whether a "Rulldozer," lever or hammer is used, care must be
exercised. Then in "punching"to see that the dies are not too large ; and
in "assembling"to see that every piece is put into its proper place and
enough bolts used to securely hold same; and in "riveting"to drive
straight and perfect heads and lastly, in paintingto use surfacing that is
not adulterated and which will stand the wear of weather, usage and
time all these are factors which contribute to the success of the fin
ished job.
The Brode Iron Works has a record of more than a quarter of a
century to recommend them to those who wish to entrust their structural
and ornamental iron work to competent hands. The business was estab
lished in 1886 by Mr. R. J. Brode, and for a number of years was known
as Brode and Clark Iron Works, having their shop and works at 621-623
Howard street, San Francisco. They were incorporated July 7. 1913, as
the Brode Iron Works, with the following officers : President. W. R.
Brode; vice-president, R. J. Brode; secretary, Louis R. Holm. At this
same time they moved into their own shops and office at 31-37 Hawthorne
street, running through to Tehama street, being far superior to the old
location, with an entirely new equipment of the latest and most modern
machinery for handling structural steel work. The shop enjoys the con
venience of being in the heart of the city, being within two blocks of the
Palace Hotel.
108
EIGHT-STORY CLASS A HOTEL

POST AND TAYLOR STREETS, SAN FRANCISCO
PHILLIP SCHWERDT,
ARCHITECT
ROEDER BUILDING, SAN FRANCISCO

A. W. Burgren, Architect
110
- *** * * * * * *
--r
******rt-trict to
--
Baop E. Row works

saw raan-17-0 cm
STEEL FRAME SPRING VALLEY GRAMMAR SCHOOL, SAN FRANCISCO
|-
--
* f.
" -
.#
-
|
-
"
#:
-
==
*
-
DENMAN G. 1 RAGE, TAYLOR AND BUSH STREETS, SAN FRANCISCO
111
LOS ANGELES ARCHITECTURAL CLUB ATELIER WORKA FOUNTAIN

By Frank Rasche
Their special lines of work are fabricating and erecting all classes of
structural steel for class A and class C buildings, steel and iron bridges,
all classes of ornamental iron work, such as store fronts, fire escapes, orna
mental grilles for doors and windows, etc.
Among the recently erected buildings for which they have furnished
the structural steel may be mentioned the seven-story apartment house
at Post and Shannon streets, Frederick H. Meyer, architect; 8-story apart
ment house at Turk and Leavenworth streets, A. W. Burgren, architect;
class A steel frame garage. Bush and Larkin streets, for G. P. W. Jensen ;
class A Bishop Garage, at Jackson and Van Ness, O'Brien Bros, architects ;
8-story apartment house at. Post and Taylor streets, Philip Schwerdt,
architect ; Berkeley fire house ; Marconi wireless station at Bolinas ; Denman Garage at Bush and Taylor streets ; Mission high school ; Spring
Valley, John Swett, Glen Park, Marshall and Washington Irving public
schools. Also, they have contracts for about one hundred gasoline supply
station frames, to be located at different points throughout California.
They point with pride to the following among the many architects for
whom they have supplied steel, and this list reads almost like an archi
tectural blue book : A. W. Burgren, T. Paterson Ross, Mathew O'Brien,
Frederick H. Meyer, MacDonald & MacDonald, A. A. Cantin, Henry C.
Smith, Reid Bros., Herman Barth, N. Blaisdell, Wm. Mooser, Edgar A.
Mathews, Sylvain Schnaittacher, Albert Pissis, Henry Shermund. Rousseau
& Rousseau, Carl Werner, J. R. Miller, Wm. H. Crim, Jr., L. B. Dutton Co.,
lohn J. Folev, Chas. C. Frye, Carl Geilfuss, Havens & Toepke, B. J. Joseph,
O'Brien Bros.
The Brode Iron Works report a busy shop and a bright outlook for
Fall business, which is certainly a tribute to their high reputation and to
the energy of their executive force.
112
THE
Arrlittrrt ani. lEngitwr
OP CALIFORNIA
Bustness Offtcc and Edttortal rooms
617-619 Monadnock Building: , San Francisco
TERMS oF SUBSCRIPTION
(Includtng
postage)
to all parts of the Untted States f1.50
per
annum
:
to
|1 addtttonal. Canada 50c addtttonal ; to all Foretgn potnts
Vol. XXXVIII. Octob
914
No. 3.
ASSOCIATE EDITORS
VV'm. B. Gester
I Inspectton
I and Tests
^STrCtck: I Fireproof Construct1on
KB?S C'E1
Structural Steel
,ATfl?LT?,v,?r^ \ Brick. Tile and Terra
W.
E. UENN1SON
Cnltn
Howard
Frost. >)
^"a
G. B. Ashcroft. C. E. - Artificial Stone
jV.WaSte : \ôfs and Roofing
Fred
M. Woods.
Hock and
Gravel
C.
Walter
TozerJr..
- Interior
Decoration
Wtlbur
Davtd
Cook,
LandscapeArchitecture
T. C. Ktf.rulff
Legal Points
Paul C. Butte
Electrical Constructton
Louts F. Maukr - - Waterproofing
ARCHITECTURAL
Fred H. Meyer
William O. Kaignel
August G. Headman F. D. Hudson
Edward T. Foulkes
Sumner P. Hunt
Alfred F, Rosenheim C. Sumner Greene
Houghton Sawyer
Clayton D. Wilson
John G. Howard
Almeric Coxhead
Arthur Brown. Jr.
Harrison Albright
Chas. P. Weeks
John Parkinson
Octavius Morgan
T. Patterson Ross
J. C. Austin
William H. Weeks
Jas. W. Plachek
Chas. W Dickey
CONTRIBUTORS
Wm. A. Newman
Smith O'Brien
Jas. W. Reid
H. F. Starbuck
J. Harry Blohme
Nathaniel Blaisdell
Herman Barth
W. T. Bliss
Arthur O. Johnson
William Mooser
Herbert E. Law
Robert Morgeneier
B. J. S. Cahill
Hon. Jas. D. Phclan
John Galen Howard t F. A. I. A.
E. M. C. Whttney
A. I. Whttney
Fredertck W. Jones
Manager
Treasurer
Managing Editor
Yes, times are hard, there is no

mistaking the matter at all and col
lections are simply
IF EVERYBODY
horrible ; every
PAID, TIMES
body is hanging on
WOULDN'T BE
to every penny he
HALF BAD
can grab not knowing what may be ahead. If each
one would loosen up a bit and pay
at least some of what he owes, the
situation would quickly change and
we'd all be wondering what had hap
pened. The old illustration of the
single dollar's efficacy is a good
one. A owed B $2.00, B owed C
$2,00 and C owed A $1. All were
hard-up but A, realizing the silliness
of "hoarding," and having managed
to get $1,00, pays it on account to B,
B does the same and takes that dol
lar and pays it to C, on account; C,
with the same dollar, pays A in full,
with which A wipes out his indebt
edness to B, and B his to C, so that
that single dollar has cleaned up five
dollars of debts and still keeps
agoing. The thing is to have con
fidence in the future and pay out to
the last penny, keep things moving
and all will be well.
Discussing the prevailing dullness,
Mr. F. W. Fitzpatrick, the wellknown consulting architect of Wash
ington, D. C, writes this magazine
as follows :
One thing' that convinces ntc that times
are hard (if I were not absolutely certain
already) is the number of churches I have
to do. In 1907 and the several panic periods
about seven years apart, that preceded it
I was amazed at the number of churches
and Masonic Temples and charitable insti
tutions that were put up. Peculiar, isn't
it? One would think that in periods of de
pression subscriptions to churches and such
would be the first to be lopped off and I
can't offer any reason for it's not being so,
but the fact is there. In 1907 there were
few, mighty few, business structures or
State buildings or other big work going on,
but of churches there were legion.
Today it's the same story, churches and
more of them, but with the addition of
banks. More banks have passed through
my hands in the past few months than in as
many years before. There's a regular epi
demic of little banks, institutions that have
done business, a good business, for years
in old tumble-down shacks, suddenly perk
ing up and wanting to put on front in a
new, modern (and generally classicye
gods!) building on the best corner in town.
"FIRE A
CRIME"
METAL DOORSTin, Kalamein, Composite. Hollow Steel and Bronze,Swinging,
Rolling Doors.
and Steel Sash.

Of CalifOfTlia
Sinule Copies.
$1.50 per Year
25 Cents
Issued monthly In the tnterests of Archttects. Structural Engtneers, Contractors and the Allted Trades of the Pactftc Coast.
Contents for November

PAGE
IN A QUIET PATIO
Frontispiece
PERMANENT BUILDINGS OF EAEE AECHITECTUEAL BEAUTY
WILL MARK COMING EXPOSITION AT SAN DIEGO 47
Mark S. Watson
Illustrated
ARE THE ARCHITECTS AND ENGINEERS OF CALIFORNIA
READY TO DO CITY PLANNING?
59
Charles Henry Cheney
Illustrated
THE IMPROVEMENT OF THE FOOT OF MARKET STREET, SAN
FRANCISCO
65
Ernest Coxhead, Architect
Illustrated
ANNUAL MEETING OF ARCHITECTURAL LEAGUE OF THE
FACIFIC COAST 69
John Bakewell, Jr.
E. MATHEWSON, ARCHITECT-SPORTSMAN
71
Frederick Jennings
Illustrated
THE EFFECT OF THE ILLINOIS ARCHITECT'S LICENSE LAW
UNUSUAL ARCHITECTURAL TREATMENT OF LOS ANGELES
HOTEL
83
THE ENGINEER AND THE CONTRACTOR
85
CONCRETE POLES AND THE POSSIBLE MAXIMUM LOADS ON
POLE LINES
89
Walter H. Lienesch
TERRA COTTA IN BUILDING CONSTRUCTION ....
95
H. L. Fitzsimmons
THE SKILL REQUIRED OF AN ARCHITECT
100
THE TIME TO BUILD
115
A. C. Claussen, Architect
THE RELATIVE POSITIONS OF THE ENGINEER AND ARCHI
TECT
108
EDITORIAL
112
AMONG THE ARCHITECTS
-114
REVIEWS OF RECENT BOOKS
122
I Index to Advertisements Pape 81
Copyright 1914. Panama-California Exposition.
IN A QUIET PATIO
Frontispiece
of California
November, 1914
THE

Of California

VOL. XXXIX.
NOVEMBER, 1914
No. 1.
Permanent Buildings of Rare Architectural Beauty

Will Mark Coming Exposition at San Diego
By MARK S. WATSON.
ROBABLY no single feature of California

outside the majestic natural wonders of the
state, has attracted more interest than the
old Spanish missions which stretch all the way

from San Diega de Alcala to San Francisco de
Solano. Probably no other spirit of architecture

is so completely in harmony with the California
landscape.
Certainly none is associated more
definitely with the rare old Spanish traditions

which still live in California's life of the present
day, and yet there has been a singular neglect of
the Spanish-Colonial type of building in the
construction of new buildings along the coast.
This circumstance was fully realized by the man
agement of the San Diego Exposition five years

ago when plans were being made for the build
ings which should stand on top of the lofty mesa

which looks down over the sea and back over the
canyons to the mountains. The Exposition might

have gone ahead and erected buildings of Greek
or Roman type, or other conventional types
FRAY JUNIPERO SERRA
which have appeared at all world's fairs of the
past. Beyond a doubt the result would have been
beautiful, for all buildings are beautiful when they are set in the gorgeous
landscape which is possible in California as a whole, and in Southern Cali
fornia in particular. Beautiful the result might have been, but nothing would
have been created. Consequently the Exposition adopted a different plan,
and now offers to the world something which is not only wondrously beautiful,
but also is creative in that it has brought about a genuine renaissance of the
glories of Spanish art and architecture, and something which is productive of
a very great appeal to the romantic tendencies which linger in the most prosaic.
The impression of the architects who have seen the Exposition in the city at
-
the far Southwest, is that there has been revived an art which should have
been revived decades ago, but which, now, re-created, is destined to take on
new life and strength and to last for many years to come.
The visitor comes up to the edge of Balboa Park from the wharves or the
railway station, passing en route buildings typical of a busy twentieth century
48
FROM A BALCONY
LOOKING TOWARD THE SEA
Copyright 1914, Panama-California
Exposition.
49
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50
FRONTISPIECE AT ENTRANCE, CALIFORNIA STATE

BUILDING, PANAMA-CALIFORNIA EXPOSITION, SAN DIEGO
CRAM, GOODHUE & FERGUSON,
ARCHITECTS
Bertram Grosr.-cnor Goodhue, Advisory and Consulting Architect to
the Exposition.
51
tLLV^TtOH
OUTER AND INNER ELEVATION OF ENTRANCE GATEWAY CONNECTING PERMANENT

CALIFORNIA STATE AND FINE ARTS BUILDINGS, PANAMA-CALIFORNIA
EXPOSITION, SAN DIEGO
Cram, Goodhue & Ferguson, Architects
Bertram Grosvenor Goodhue, Advisory and Consulting Architect to Exposition
city ; the rattle of street cars and the hum of modern industry fills the way.
He bursts through a grove of palms and finds himself at the end of the quartermile Puente de Cabrillo, whose seven arches rise from the depths of a pool 135
feet below in the canyon. He crosses this impressive viaduct and comes to the
great stone gateway ; not spick and span as though it has been built especially
for this occasion, but softened by the sandblast and chipped here and there to
bring about the appearance of antiquity; it is just such a gate as might have
stood at the portal of a city in old Spain of two or three or four centuries ago.
He passes through the gateway and immediately the hum and bustle of the
twentieth century tidewater city die away. At one side is an impressive cathe
dral copied in many essential details from the magnificent cathedral at Oaxaca,
Mexico. At the other side is a plain old mission of the California type, and
right away is noticed one of the extraordinary features of this Spanish-Colonial
architecture, for the ornate cathedral faces squarely into the somber old mission
and yet there is no clashing and no discord. This probably is true of any other
school of architecture. Down El Prado the visitor walks between rows of
black acacia set in verdant lawns ; on each side beyond the lawns is a thick
hedge of poinsettia, its crimson flashing brilliantly against the green of the
coprosma and the other shrubs. Just beyond this hedge rise the long Spanish
52
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56
arches which line the arcade stretching from La Puerta del Oesta clear along
the Prado. Here is another old mission of the California type, and over across
the canyon a mission of the older New Mexico type, quite as much Indian as
Spanish. Down this way is a building of the pure municipal type seen today
in all Spanish-American cities. Here is a rustic residence, and there an urban
palace. A great building with colored cornice introduces its interesting Moor
ish feature. Another building at the end of the Isthmusthe name given to
San Diego's amusement street like the Pike and Midway of previous years
introduces the Moorish arabesque and minaret and other features which have
been adopted in some measure by Spanish-America itself. Everything is
Spanish-Colonial and yet there is variety sufficient to lend fresh charm to the
view. There are openings in the long arcades which lead into quiet patios
whose calm is broken only by the plashing of a fountain of Pan. There are
rose-covered gateways leading into pergolas which dot the broad lawns ad
joining the buildings and stretching back to the brink of the canyons. There
are curious exedras in the botanical gardens ; there are stone balconies looking
over the gulches which have been planted with a mighty variety of semi-tropical
plants. These canyons furnish a most important feature of the general land
scape. One reason for the extraordinary results which San Diego has brought
about with a limited amount of money, is that Balboa Park as it was when the
Exposition started, supplied a site which is quite incomparable in Exposition
work. The great mesa occupying the center of the 1400 acre park is cut by
deep ravines whose contour furnishes admirable opportunity for the develop
ment of most appealing treatments. The canyons to be sure, like the mesa, a
matter of four years ago, were of hard-baked adobe in which there grew noth
ing except cactus and sage and chapparal. By the liberal use of dynamite, by
plowing and harrowing and incessant watering these canyons have been made
to bloom into a succession of great gardens which probably have no peer any
where in the country.
The height of the bridge has been accentuated by the use of Italian and
Monterey cypress. Beyond the zone where these trees are used, is a wealth of
eucalyptus and acacia. Some of the trees are the varieties which bear the
brilliant crimson and golden blooms. The end of one canyon has been devoted
entirely to a variety of palms ; also there are palms used extensively elsewhere
in the canyon treatment. The brilliant canna and the soft grays of the acacia
Baileyana and some of the rarer grasses have been used to add further color.
Not only was San Diego endowed at the outset with this admirable site for
its exposition which could not have been bought for millions, but also it was
endowed with the quite invaluable gift of climate, a climate which is the same
the year around ; it knows no frost nor torrid heat, and it allows the most
amazing riot of hundreds of varieties of trees and shrubs and clambering vines
and small blooming plants. Over all the arcades sweeps this display of vines,
with the purple bougainvillea used extensively in the plaza, and the brick red
bougainvillea used dominantly along El Prado ; with roses used in this patio,
clematis in that, and jasmine and honeysuckle elsewhere. The effect of this
floral display is of great importance. Probably no other single feature at the
Exposition is of more importance. It must be remembered that the majority
of visitors to San Diego in 1915 will be Northerners and Easterners who have
no conception of the glories of Southern California's climate and the amazing
heights of beauty to which the California flora mount.
There is another point which impresses mightily the architect and engineer
who likes to see full value received. There has been little at previous world's
fairs more genuinely depressing than the sight on the day after the fair closed
when the tearing down of the buildings began. The structures at San Diego
57
have been built to staythat is, those structures which are entitled to per
manency. The smaller buildings along the Isthmus, being erected purely for
amusement, will be torn down immediately, but all the other buildings will
stand for many years to come. The great West quadrangle, for example,
dominated by the California State Building, is built entirely of steel and con
crete and will be used in years to come to house the museum exhibits which
have been donated to the Fxjxtsition with the definite understanding that they
would remain as long as the building itself stands. The wealth of rare flowers
in the Botanical building is assembled for permanent use, as that building, too,
is of steel and concrete. The administration building, the fire station, the
hospital and the other service buildings are for permanent park use. The great
music pavilion which stands at the lower end of the Plaza de Panama, is of
this same steel and concrete construction, and becomes the property of the city
immediately after the Exposition Company is terminated. All of the other
buildings are of staff and plaster, but these perishable materials are placed on a
firm backing of metal lath. Furthermore, the entire absence of frost and
sudden changes of temperature and gales and drenching rains from this par
ticular section of the San Diego valley makes certain a much greater degree
of permanency than would be possible anywhere else. The life of these build
ings is figured at from twenty to thirty years with proper treatment of the staff
each year. The great Puente de Cabrillo, which cost approximately $250,000,
is also, of course, of permanent construction and is of genuine interest from a
purely engineering standpoint as the first example of reinforced concrete con
struction of the cantilever unit type on a scale approximating anything of this
sort. It has attracted considerable interest from railway engineers, who find
in it a solution to the difficult problem of bridging streams which are seasonally
turbulent. It is recognized that this construction makes it possible for an
extra heavy downpour of water to carry away a single pier and leave the other
piers intact. This means that temporary tracks can be laid across the gap, and
train service can be continued whtle the reconstruction of the missing unit is in
progress.
With the exception of the West quadrangle, which was the work of the
architectural firm of Cram, Goodhue & Ferguson of New York and Boston,
the designing of the Exposition Beautiful was the work of Frank P. Allen, Jr.,
who figured importantly in the Seattle Exposition. The supplementary features
which have been introduced by the Exposition management to carry out the
Spanish ideas, are in a rare spirit of harmony. For example, not only are the
buildings purely Spanish, but the guards and attendants at the Exposition
throughout 1915 are attired as conquistadores and caballeros ; the bandsmen are
dressed in Spanish uniform ; the dancing girls who appear in the Plaza de
Panama and at different points along El Prado, are Spanish dancing girls in
the bright costumes of old Spain, presenting the dances of the Spanish capital
of two centuries ago. Some of the fiestas which will rank as special events,
are the fiestas of the Spanish-American countries. Thus in the field of special
events are the religious ceremonies of the Aztecs and Toltecs, and the other
ancient red races. These displays then figure as more than special events
because they are inseparably associated with the architecture itself. Very little
is left to the imagination of the visitor save the feat of transporting himself
backward three or four centuries and realizing that this magic city on the
mesa is the city which was dreamed of by Cabrillo four centuries ago, and by
the succession of conquistadores and padres who followed after.
It is an Exposition Beautiful in appearance and in spirit alike.
58
50
Are the Architects and Engineers of California

Ready to do City Planning?
By CHARLES HENRY CHENEY,
Secretary California Conference on City Planning.
THE CALIFORNIA CONFERENCE ON CITY PLANNING
The California Conference on City Planning, inaugurated on a permanent
basis during the League of California Municipalities Convention at Del Monte
October I2th to 15th, is of the greatest interest to architects and engineers. Its
purposes as outlined at the first conference are:
(1) To create the widest possible understanding of the need for city planning;
to show that it is practicable and sensible from the economic and social as well
as the testhctic standpoint ; and to unite all separate movements for city planning
in the various cities of the State into one strong central body;
(3) To secure the drafting of comprehensive laivs for the establishment of
permanent city planning commissions ;
(3) To assemble data, reports and general information concerning successful
city planning work in other states and in Europe for the benefit of California
communities ; to encourage the establishment of city planning commissions and
organizations and to help them as far as possible in their work;
(4) To publish the proceedings and papers of the conference recently held and
of future conferences.
The officers and Executive Committee elected for the first year are: President.
Percy i'. Long, City Attorney, San Francisco; Second Vice-President, Duncan
McDuffic. Berkeley City Planning Committee ; Secretary and Treasurer, Chas. II.
Cheney, Architect. San Francisco; Chas. A. Murdock, San Francisco; A. S.
Lavcnson, Oakland; W. H. Weilbyc, Oakland; George L. Dillman, Alameda; S.
E. Burum, Dinuba; Prof. I. W. Howerth, Berkeley; II. A. Mason, San Fran
cisco; H. C. Cutting, Richmond ; and members to be appointed from San Diego,
Riverside, Fresno and Sacramento.
The Conference will meet annually with the League of California Municipali
ties, which trill go to Oakland in 1915. The business of the Conference will be
handled by the Executive Committee, and a General Advisory Committee of fifty,
to be appointed from the principal cities and organizations of the State.
Membership is open to all those interested in city planning work in California,
at three dollars per year, which includes copies of the proceedings, published
papers, etc., and participation in the conferences.
HELD under the joint auspices of the League of California Municipalities
and the University of California Extension Division at Del Monte, Octo
ber 12th to 15th, the first California Conference on City Planning was a
distinct success and inaugurated a practical movement that is bound to start
something in most of the cities of the State. The attendance of nearly two
hundred, principally city officials, made the dominant note the question as to
what City Planning means, and how best to go about real City Planning workin the municipalities of California.
This brings the question squarely up to the architects and engineers of Cali
fornia, are they ready with facts, figures and knowledge of City Planning
design to tackle the great problems which the haphazard and unguided develop
ment of all our cities have brought about?
In other words! are they prepared to sift out from' the experience of the past
decade in this new municipal science, the best examples of the handling of
traffic arteries as well as park systems ; can they show the business men and
manufacturers that proper city planning pays as well by cutting down the over
head cost of hauling as in capitalizing the attractiveness of public buildings
by grouping them in a civic center?
60
NEW YORK CENTRAL RAILROAD BRIDGE

A DIGNIFIED AND INTERESTING RAILOVER STATE STREET, HARTFORD
ROAD BRIDGE IN PARIS
American and European methods of treating railway viaducts
Or can they produce convincing figures proving that over-congested housing
conditions are a menace to the health, comfort and convenience of the whole
community? Above all, can they show where and how housing problems have
been solved and that California of all places in the world need least suffer from
them if proper guidance and measures to encourage better housing be put into
execution ?
Unquestionably there is a large amount of city planning and housing study
for which the cities of California will need professional and expert advice
during the next decade. While some of the larger cities will probably seek out
and employ city planning experts, much of this work will be brought to the
architects and engineers of the State. Are they prepared, are they ready to'
do real city planning?
The civil engineers and surveyors of America had up to very recently left
to them practically all of the planning of streets, cutting of blocks and lots and
the general layout and re-plotting of cities. Guided almost entirely by real
estate speculators, they followed the traditional checkerboard plan which
William Penn so early laid out on the flats of Philadelphia. Try as they would,
they seem to have found it impossible to get away from the obsession of its
regularity.
No matter whether the engineers or their clients were to blame, the fact
remains that sufficient analysis was never made of the growth and development
of cities to furnish convincing proof that any other scheme was more economic
for the whole community, more productive of social or human health, comfort
and convenience, and more aesthetic in the attractiveness or harmony of building
groups which it produced.
Some fifteen years ago when the architects of America began to generally
appreciate the need for European study and travel, they started a movement
for the City Beautiful, which went rapidly over the whole country. The obvious
contrast between the orderly, restful and pleasing photographs of Paris, Vienna
or any of the European cities and our dreary, ungainly, haphazard buildings
and city streets, appealed to all cultured people of the United States and
Canada, where well informed architects could get a hearing. City Beautiful
movements sprang up like wild-fire and in some of the larger cities a great
deal of money was spent for architectural "projets" showing how beautiful
wide boulevards, civic centers and public buildings might be put into being at
an enormous cost and the city thus become the most attractive in the United
States.
While the architects of the country undoubtedly deserve great credit for
educating the public, it is unfortunate that they could not prove the economic
61
THE CONTRASTAN AMERICAN AND A EUROPEAN GORE CORNER

These things can be done here, if we wili but show that they are worth while
and social wisdom of their proposals. In almost every case the City Beautiful
movements have died a natural death without leaving constructive results
behind thenn. In the few cities where the city plans really were thought out
ui>on more than an aesthetic basis, either their proponents did not have the
common sense arguments that appeal to the business man, or they did not know
how to form a permanent organization to continuously keep up the long hard
fight and education of the community to put the city plan into execution.
Six years ago the National City Planning Conference was organized to
bring together landscape architects, engineers, architects, social workers and
city officials for mutual discussion and the better understanding of city plan
ning problems. The Proceedings published included papers showing what a
broad subject City Planning is and how the re-planning of our existing cities
can only be done by tackling the problem with wide understanding and careful
analysis.
It has been established that City Planning must be undertaken first, from an
economic standpoint ; second, from a social standpoint ; third, from an aesthetic
standpointnot in the reverse order as has been usually followed. It is the
science of knowing and profiting by other cities' experiments in civic develop
ment and of making the strongest local application possible.
City Planning pays because it prevents the costly business of correcting mis
takes ; it insures the orderly and unsightly development of the city, it handles
the traffic problem to save time and money in more rapid transit of goods and
people, it increases all property values by preventing the many evils of hap
hazard development in building, and it prevents stunted and diseased children
by providing playing and bathing places through adequate playgrounds and
parks. City Planning arouses and cultivates new civic thought and civic pride.
It stirs all classes of people.
During the past five years a great deal of careful data has been accumulated
on all the phases of City Planning. This data is contained in the proceedings
of the National City Planning Conference, of the National Housing Associa
tion, and it is being published more and more prolifically by the cities of the
country which are putting City Planning on a permanent basis. Lists of these
reports and much literature on the subject can now be found in most libraries
and is being collected for the benefit of the professions and all those interested
by the California City Planning Conference and similar organizations.
Obviously the replanning of our existing cities, the establishment of small
civic centers, the solution of bad housing problems or the rehabilitation of the
appearance of our streets is not a matter of the present. The putting into
execution of any such City Planning studies must take time and it must be
homebody's business to follow up and superintend the work.
62
RUE DE R1V0L1, PARIS

THE PANTHEON, PARIS
Arcadcd streets and public buildings at the ends of streets could be arranged, with a little forethought,
in America
Permanent City Planning Commissions are now being established in prac
tically all of the important cities of the country. Massachusetts has felt so
strongly the social need of City Planning that it has made compulsory upon
every city and town in the State to have such a commission. Several other
states have passed similar laws encouraging the establishment of City Planning
commissions. California with her young and rapidly growing cities certainly
has as much or more need of such a statute than Massachusetts with three
century old cities.
One of the principal sessions of the First California Conference on City
Planning was held jointly with the City Attorneys' Association, and there was
a lively debate over proposed necessary legislation. The Conference recom
mended to the next Legislature for passage, a law making mandatory, as in
Massachusetts, the establishment of City Planning commissions in all cities
and towns of the State ; an act for the establishment of a State City Planning
Commission similar to the Massachusetts Homestead Commission, to furnish
and assemble data, reports and general information concerning successful City
Planning work in other cities and in Europe for the benefit of California com
munities, to study housing conditions and the solution of the housing problem
and particularly to keep in touch with and stimulate the local City Planning
commissions.
A resolution was also passed commending the University of California for
its Municipal Reference Bureau and requesting the establishment of compre
hensive courses in City Planning and Housing.
The California Conference on City Planning was organized by delegates
from the City Planning Commissions of California, city councils, commercial
bodies, civic leagues and improvement clubs, real estate associations, housing,
industrial, immigration and harbor commissions, and from the societies of
engineers and architects. While the first year of its work will largely be taken
up with organization and legislative campaigns, both municipal and state, the
committees expect to give active support to all local social and community
programs.
No one in this country or in Europe knows too much about City Planning
or the solution of its problems. Climate and all other natural advantages of
this State make it an ideal one for the development of orderly, well planned
cities with greater attractiveness and greater convenience for living and doing
business, than can be found anywhere in America. The architects and
engineers of the State can prove an enormous power and influence for the
immediate betterment of exceedingly monotonous, ridiculous and senseless con
0.5
ditions in our cities, if they will keep themselves well informed as to the
latest methods of putting City Planning into execution. The California City
Planning Conference has been organized to work with them and will welcome
at all times suggestions and ideas for the better development of the cities of the
State.
#
*
*
Announcement of School of Architecture
THE announcement of the Department of Architecture of the University
of Michigan, Ann Arbor, Mich., has just been received, and seems to
present material not usually found in literature of this description. In
addition to a presentation of work by students of the Department, and a
synopsis of the requirements of the department, both for admission and for
graduation, there is published a general statement designed to give information
to prospective students and their parents regarding the profession of archi
tecture, the services performed by the architect, his training and the general
outlook for the profession. This statement indicates, in addition to enumerat
ing the functions of an architect, the methods and training properly employed
to prepare him to discharge those functions. It also points out, to some extent
parenthetically, many of his duties and obligations, which, it is feared, have
too often been overlooked in the general hustle and confusion incident to a pro
fessional career.
As to the outlook for the architect, it is stated that in no time of the history
of the United States has there been so much interest as is now manifested in
good architecture. Classes of buildings, which formerly were hardly con
sidered from an artistic point of viewsuch as factories, warehouses and the
likeare now being designed by architects. Many large corporations have
come to a realization of the value of buildings which are at once adequate,
attractive and interesting. The art development, of which architecture forms
but a part, has barely begun in this country. So long as this country continues
its marvelous growth, highly trained men will be needed to give form to build
ing projects of the most varied character.
Copy of the announcement may be had upon application.
*
*
*
Painting the Eiffel Tower
For the fifth time since its erection the Eiffel tower is receiving a new dress
of orange yellow. Sixty thousand pounds of paint is needed to adorn the
great tower and fiftv painters will be employed daily for three months. The
new robe costs $20,000.
64
PLAN SHOWING REARRANGEMENT OF BLOCKS AND WIDENING OF MARKET STREET

AND THE EMBARCADEKO, SAN FRANCISCO
Erncst Coxhead, Architect
65
The Improvement of the Foot of Market Street,

San Francisco
By ERNEST COXHEAD, Architect.
AT a recent meeting of the San Francisco Society of Architects at which
the discussion of the evening was the "Improvement of the Foot of
Market Street," the accompanying plan was presented, as noticed in the
October Architect and Engineer.
The plan is a detail of one prepared tentatively for the general improvement
of the Embarcadero at the time the Exposition site was under discussion some
three years ago.
During the past year interest has been reawakened upon this subject, not
only on account of the increasing congested conditions of traffic at the Ferry
and proximity of the opening of the Exposition, but also on account of the
fact that the foot of Market Street and the Embarcadero constitute, so to speak,
the front door, or vestibule of the city, and rightfully should command that
same comprehensive treatment accorded the laying out of the Civic Center.
The completion of the Civic Center in conformity with a beautiful and
well thought out plan, offering ample space to public buildings and wide vistas
and approaches to them, will by comparison emphasize and bring into sharp
contrast the ugliness of the approach to the Ferry and inconvenient traffic
arrangements which now prevail at the foot of Market Street, through lack of
foresight and errors of city planning in the laying out of streets in the early
days.
On the north side of Market street the streets are narrow and tend to
aggravate rather than ameliorate congestion. The fact that to the east of
Drumm street there is no outlet northward from Market until the Embarcadero
is reached, forces an additional burden upon the traffic zone of the Ferry.
On the south side of Market street, the blocks extending south are so long
that to a great extent similar conditions add to the congestion.
The many plans and suggestions which recently have been put forward for
the betterment of the transportation problem at the foot of Market street deal
mainly with the idea of temporary relief to traffic by means of bridges, loops,
subways, etc. That some such measures as these will ultimately be necessary
to aid in the convenient handling of the traffic is obvious, but the final word
can only be said as to the best solution of the transportation problem after a
reasonable plan for the widening of Market street in front of the Ferry has
been thoroughly digested and adopted together with a readjustment of the
adjacent avenues of circulation.
The widening of Market street at its intersection with the Embarcadero
would result immediately in lessening the traffic congestion at present existing
therethe increased space thus acquired on each side of the loop being reserved
for pedestrians and vehicular travel. The proposed new streetsone to the
north and one to the south of Market street would divert traffic to and from
the docks north and south of the Ferry building from the car lines.
The execution of such a plan of improvement as proposed, presents many
features similar to those which had to be dealt with in the matter of acquiring
property for the Civic Center, except that in regard to the ownership of the
streets affected by the proposed changes, the State as well as the city is an
interested party, having control of the Embarcadero.
The plan as proposed includes the following:
First: The widening of Market street between the Embarcadero and
Steuart street from its present width of 125 feet to that of 275 feet.
66
Second : The continuation of Steuart street northward and parallel to

Drumm to its intersection with the Embarcadero.
Third : A new street from the Embarcadero to Steuart street, parallel to
and between Mission and Market streets.
Fourth : The straightening of the west line of the Embarcadero imme
diately north of Market street, bringing the street to a uniform width of 200
feet. It is proposed to reserve the two blocks formed by these new streets for
public service buildings. While this is not an essential feature to the plan, it
would be well to control the architectural character of the buildings facing the
plaza in order to ensure a dignified and uniform treatment.
Fifth: The construction of an overhead viaduct or causeway in front of
the Ferry building to relieve the congestion caused by the Embarcadero traffic
going north and south crossing the transbay travel and car tracks concentrated
at this point. An alternative plan would be to construct a subway for this
purpose. The overhead structure, which would be approached by 4 per cent
ramp from the north and south, would provide an additional covered waiting
space for the surface car loops, thus bringing the car service into closer relation
ship with the ferry service.
In addition to the relief afforded by the viaduct or causeway, much of the
Market street vehicular traffic to and from the docks north and south of the
Ferry would be diverted before reaching the Ferry building by the opening
up of the proposed two new streets.
These measures for the relief of traffic at the Ferry building would at the
same time increase the efficiency of the car loops and the widening of Market
street would make it possible to install additional loops if necessary, thus in
creasing the capacity of the Market street lines.
It is difficult to estimate the transportation problems of the future beyond a
certain point. It may. however, be pointed out that the increased width of
Market street at the Ferry building offers ample opportunity for subway rapid
transit terminal loops and waiting stations which could be incorporated into a
sub-surface terminal system that could include the basements of the two public
service buildings.
In conclusion the problem for the improvement of the foot of Market street
calls for a solution and treatment not alone sufficient to meet the present
increasing demands, but one which will be comprehensive enough to take care
of all future developments.
The City Engineer's Plan
By HENRY H. HOYT.
The plan of San Francisco's City Engineer, M. M. O'Shaughnessy, herewith
illustrated, seems to be both practical and feasible in every respect. It has been
indorsed by the Board of Supervisors and various improvement bodies of
the city.
The scheme contemplates the acquisition of property for a new short street
91 feet 6 inches wide, and running from Spear street to the Embarcadero ; this
new street also being parallel to Market street. Various values have been
estimated for the cost of acquiring this strip of land and the appraisals vary
greatly, but the real estate valuation has been placed at $380,000.
Ferry bound traffic would be rerouted off Market street at Steuart street,
hence through the new street north to the Embarcadero, connecting with the
present Ferry Ia>op tracks as shown on the drawings.
The terminals of the Mission, Howard and Folsom street lines would be
shortened about one hundred feet. The Mission street traffic would also loop
and return on a single trackage via the new street and Steuart street to Mis
sion street.
67
After taking care of the congestion of car traffic as outlined above the
pedestrian traffic would be made safer and less complicated by the construction
of two reinforced concrete and structural steel foot bridges from the second
story of the Ferry building to the west side of the Emibarcadero in the general
line of and on either side of Market street, with necessary clearances, entrances,
exits, stairways and accommodations for the traveling public. Proper altera
tions would be made to the second floor of the Ferry building so that access
would be possible to the foot bridges.
The project is estimated to cost about a half million of dollars, segregated
in Mr. O'Shaughnessy's estimate as follows:
Estimated cost of property to be acquired
$380,000
Cost of street and railway work (chargeable to the street railways) . . . 56,000
Cost of North Foot Bridge
28,000
Cost of South Foot Bridge
31,000
Cost of changes to Ferry building
15,000
Total
$510,000
Cement Plastered Exteriors

Cement plastered exteriors are admittedly the most attractive and desirable
finish for the modern idea of domestic architecture. "The only trouble is that
it does not stay put," is repeated over and over again. The trouble is not with
the plaster nor with the man that puts it on, but it is wholly a matter of the
integrity of the surface that is covered with cement plaster. No wooden
structure is fit for such a purpose unless the studding is cross-bridged very
firmly. The studding should be no lighter than 2x6, full sheeted and all well
anchored to sills attached to concrete or masonry foundations. Tile masonry
walls are 100 per cent better than any wooden construction. In fact, they are
about perfection and cost no more than wood.Rock Products.
68
CHARLES PHTER WEEKS. ARCHITECT

E l.E C T E n PRE S 1 D E V T OF THE
ARCHITECTURAL LEAGUE OF THE
PACIFIC COAST
69
Annual Meeting at Seattle of Architectural League

of the Pacific Coast
By JOHX BAKEVVELL, JR.
HE Convention of the Architectural League of the Pacific Coast held in
the early part of October at Seattle was very successful in many respects.
The attendance was good, from forty to fifty architects being present at the
different meetings, though unfortunately there were no delegates present from
Los Angeles, and but three from San Francisco. There were about ten men
from Portland and a number from Tacoma and Victoria. This condition was
to be expected when we consider the expense and time involved in attendance,
but those who were fortunate in being able to attend were amply repaid.
The first day was devoted to business, while the second day was taken up
with a very enjoyable trip to Tacoma, the various committees meeting on the
boat. From Tacoma the members of the League were taken in automobiles to
see the Thome country residence, a beautiful example of English architecture
placed in a perfect setting.
The third day was devoted to business a few hours being given to a trip
around Seattle, a more extended trip being prevented by rain. It was just as
well from the point of view of the real business of the convention that we were
obliged to stick to business, as otherwise we would never have finished the work
in the scheduled time.
The last day was taken up by a trip to V ictoria and a glimpse of our
British neighbors, which was of great interest to the visitors. Advantage was
again taken of the long boat ride to hold committee meetings and to finish up
the business of the convention.
The entrance to the tower of Victoria from the Flarbor is very pleasing,
the slopes down to the quays being left open and covered with grass. However,
most of the architecture of Victoria is disappointingly banal and quite Ameri
can. The policemen, who are typical English Bobbies in both appearance and
dress, the soldiers and the people, all look . strangely out of place and one
regrets that the Victorians have not imported or developed more of their own
distinctively British architects to give them more sympathetic architectural
surroundings.
One of the most important subjects taken up by the convention was the
educational work. The report on this subject showed steady progress, par
ticularly in San Francisco ; but there was a general feeling that the San Fran
cisco Jury was losing touch with the ateliers in Los Angeles, Portland and
Seattle. Various recommendations were discussed for obviating this difficulty,
and it was decided to appoint a corresponding secretary to the San Francisco
Jury, whose duty it will be to make reports of each judgment to these cities
with photographs showing the best work done in each judgment. It was also
suggested that these ateliers form their own juries to criticise the work before
sending- it to San Francisco for final judgment.
Another point of great interest which was discussed, was the annual ex
hibit. It is to be hoped that these exhibits be held under the auspices of the
League, and be made circulating exhibits. The method of financing the exhibits
was discussed and upon the suggestion of Mr. Whittaker of the Institute
Journal it was recommended that they be financed by subscriptions under the
Patron system instead of by the method which has been in vogue, of supporting
them by advertising in the Year Book.
An informal discussion was held at the Tacoma dinner of the encroachment
of the contractor on the architect's work. This is a serious problem in the
70
Northern cities and is largely responsible for the great amount of inferior work
both architecturally and structurally, that is to be seen in Seattle and Portland.
It was decided to hold the next annual convention in San Francisco in June
of next year, and it is probable that a large number of Northern men will attend
this convention.
Officers were elected for the ensuing year as follows : Chas. Peter Weeks,
San Francisco, President; John Bakewell, Jr., San Francisco, Vice-President;
August Headman, San Francisco, Secretary-Treasurer.
To sum up, the principal objects of the League are to promote good fellow
ship among members of the profession and to carry on the educational work by
means of student work and exhibitions.
The first of these objects was certainly furthered by this convention. We,
who attended, have made many real friends among the architects whom we met,
and men who have lived in the same city for years have by means of the close
intercourse of these few days changed from casual acquaintances to friends,
who can meet upon the ground of mutual admiration and sympathy. Further
more, the educational work has been kept growing in a healthy manner and the
question of the circular exhibit has been brought more nearly to a satisfactory
solution, though as yet it is not quite solved.
Next year's convention should advance these objects much further, and we
who attended the convention felt that the League continues to justify its
existence.
*
*
*
An English Criticism of American Methods of Design
The Builder of London reproduces in a recent issue examples of domestic
architecture by Robert D. Farquhar of Los Angeles, and the Hotel Oakland by
Bliss & Faville of San Francisco. Some of the first and best pictures pub
lished of this hotel, were shown in the Bliss & Faville number of the Architect
and Engineer last January.
Referring to Mr. Farquhar's work, it is stated :
These very well illustrate the point of view of the American client, which is
in many ways alien to us. Like the French and other inhabitants of Continental
nations, the American is appealed to by symmetry and dignity, not only in public
but in private buildings. There is little attempt usually to give to a house a
homely character simply because it is placed in rural surroundings. During the
Georgian and post-Georgian periods we approximated in our ideas of architectural
planning to the Renaissance methods of design practiced elsewhere, but in the
last century ordered planning has become the exception rather than the rule as
applied to houses. Though the formal garden, with symmetrical methods of
planning, has latterly found many advocates here, such a house as that we illus
trate would appeal to few Englishmen, who are still obsessed by the recollection
of what found favor in mediaeval ages, which has resulted in a type of smaller
domestic buildings to which we may almost apply the designation of picturesque
dog-kennels. Why we should prefer low rooms, oak beams, inglenooks, and other
constituent parts of the picturesque house has never been very clear to us, while
we feel there arc distinct advantages in a more measured and dignifted type of
design. The views which we reproduce show great knowledge of the use of detail
and the value of proportion.
Referring to the Oakland hotel, the tenor of the criticism is equally com
mendatory :
In common with the best American work the skill of the designers is equal to
their modesty, and t'here is no attempt to attract attention by eccentricity of
detail or proportion. What has been good enough to satisfy the best architects
of the Renaissance is good enough for the American architect, and a craving for
new and wonderful forms is left to the effete continent of Europe.
71
ARCHITECT EUGENE MATHEWSON IN HIS ^-HORSEPOWER NATIONAL
E. Mathewson, Architect-Sportsman
JUST to illustrate that all minds do not run in the same channelif they did
this would be a monotonous old world, indeedthere is an architect in
Fresno, San Joaquin County, California, who is as proud of his 50-horsepower National automobile and prize-winning Boston bull, "Thunder," as the
most distinguished San Francisco architect is proud of his best piece of archi
tecture.
A rather queer comparison, you say, yet not so unusual when you consider
that both are practicing the profession of architecture with a considerable degree
of success. But in the case of the Fresno architecthis name is Eugene
Mathewson"Gene" he prefers to be calledhe is an architect only in business
hours, the time between he is a sportsman, and a good one, too ! His heart
and soul are wrapped in the enjoyment of motoring, hunting and fishing. ( )n
the other hand, we have the great architect who lives and breathes his pro
fession. Day and night his dreams are ever of things artistic, architecturally
beautiful. His work is first and last in his thoughts, and his daily routine is
shaped by his professional sentiments and ideals.
"I suppose I am different from most architects." Mr. Mathewson told me
one day as we bowled along the State Highway in his big car at a varying speed
of from thirty to sixty-five miles an hour, "and they probably say Ym crazy about
racing and hunting and all that, but I enjoy it, and my business is not neglected
as anybody knows that knows me. I've designed a great many buildings in this
74
FRESNO COUNTY ORPHANAGE. FRESNO, CALIFORNIA

Eugene Mathewson, Architect
76
FRESXO COUXTY ALMSHOUSE, FRESXO, CAL1F0RN1A

liugene Mathewson, Arcltitett
78
WHOLESALE WINE DEPOT FOR A. MATTEI, FRESNO, CALIFORNIA

Eugene Mathewson, Architect
valley and they are all standing and will be here when I am gone. They are
not what you would call monuments, but they are in keeping with modem
ideas and are designed to answer the requirements of the owners. I want to
say that I have no use for the architect who employs a graduate of some famous
school and gives him full leeway in handling his work. I know architects
who never draw a line, depending entirely upon their draftsman, the ear
marks of whose work may be found upon every plan turned out from that office.
The architect, of course, gets all the credit, but we of the profession, at least,
know that the draftsman was the actual designer; and so I say I'd rather be
classed as different. I design my own buildings in office hours, and when it's
5 o'clock I'm through for the day, and if there is good hunting or fishing, it's
me for the big car and out into the country."
Mr. Mathewson has been practicing fifteen years. He came to California
from Worcester, Mass., and has designed and personally superintended nearly
all of Fresno's municipal buildings, including the city hall, almshouse, four fire
houses, school houses, orphanage, county almshouse, county jail and court
house at Madera, county jail in Fresno, Tulare high school, Fowler grammar
school, buildings at the county fair grounds, several apartment houses, ware
houses and a number of the finest homes in San Joaquin Valley.
The man in the automobile shown on these pages is Mr. Mathewson, and the
dog seated beside him is "Thunder," whose father is a many times winner in
the New York bench shows. Mr. Mathewson's house is shown in the back
ground.
79
The Effect of the Illinois Architect's License Law

THE report of Francis M. Barton, secretary of the State Board of Examiners
of Architects, presented at the Illinois State Convention of Licensed
Architects, is an exceedingly interesting statement. Although the law
requiring that architects practicing in Illinois must be licensed has been in effect
for seventeen years, few attempts have been made to en fore rigidly its pro
visions until the present Board of Examiners assumed office. Before that time
there had been no Supreme Court decision touching upon the legality of the
act and the board, whose duty it is to enforce it. had no precedent to follow.
It is interesting to note that since the legality of the act has been established the
board proposes to enforce the provisions of the act on its broad interpretation.
In the report the general policy of the board is outlined, and the practical
effects of the architects' license law are noted. Some of the statements are of
special interest to engineersparticularly structural engineers. The full report,
not essentially changed as to tone or form, is herewith given :
It gives me great pleasure to have this opportunity to inform you of the work
of the present Board.
We have today 863 licensed architects; 410 architects who were admitted be
cause they were practicing when the law went into effect, and 453 architects who
passed examination by the Board. There have been given three regular class
examinations since the last biennial report was made, as follows: April 15, 16 and
17, 1913; October 14, 15 and 16, 1913; April 14, 15 and 16. 1914; and preparations
are now being made for the coming fall examination, which will take place October 20,
21 and 22, 1914, all at the University of Illinois, Urbana. There have also been held
four special examinations under the provisions of the "Board Rule No. 10" (adopted
May 10, 1907) and an exception to the same (adopted June 18, 1909). These special
examinations have been held at the Board rooms, in Chicago, at the following times :
April 7-8, 1913; September 25-26. 1913; March 25. 1914; and June 18, 1914 (also at
Urbana). A total of 236 candidates have taken the regular class and special examinations
(up to September 30. 1914). and of these 105 have passed and received certificates. Thirty
practicing architects of other states received certificates after examination before the
Board, by exhibits, and in some cases, after personal attendance. The following table
gives a summary of the licenses issued, revoked and in force :
Licenses in
Total
Total Total
force.
issued. revoked, in force.
Date.
*A.
tB.
744
December 1, 1898
744
43
701
797
140
December 1, 1900
657
574
83
828
564
December 1, 1901
159
667
103
858
173
685
555
130
875
683
19?
546
December 1, 1903
137
914
68*
226
162
526
December 1, 1904
7(14
942
238
517
187
December 1, 1905
967
7<4
December 1, 1906
263
484
223
288
4S4
995
December 1, 1907
707
223
326
1.029
467
703
236
1,067
.Ml
726
456
270
December 1. 1909
1.131
734
309
377
445
December 1, 1910
846
1.259
413
415
December 1, 1912
431
500
863
1,363
453
410
October 5, 1914
*Practicing before license law went into effect.
tPassed examination by the Board.
A total of 104 new licenses have been issued since the publication of our last biennial
report, December 1. 1912, and 87 licenses have been revoked. It will be observed that
there are only 17 more architects practicing now than two years ago.
The present Board is proud of the results it has obtained, and these results were pos
sible solely because of the harmony that existed among its members.
This Board agrees, as a unit, in a broad interpretation of the wording of the Act, and
in the strictest enforcement of the law. This Board proposes to enforce the Act on its
broad interpretation and will only narrow down its interpretation by the decision of the
Supreme Court.
80
The present Board holds that only a licensed architect can practice in this State, or
from this State, and that his license is not transferable or negotiable. Any combination
formed for the practice of architecture, except between licensed architects, is illegal and
any licensed architect who assists others to practice, who have no license, is guilty of
dishonesty, as provided in the Act, and should have his license revoked.
The Illinois State Board of Examiners of Architects has been in existence for seven
teen years, but there was no Supreme Court decision until the present Board assumed
office, and practically no court action of any importance that would give to this Board a
precedent to follow. For the past seventeen years we have read a great many legal opinions
from eminent lawyers and there has been much argument among lawyers and among archi
tects and the public as to the meaning of the wording of the Act. This wrangle has ex
isted for seventeen years. The Act was never broadly enforced, but complaints were
mostly settled on a compromise which still left the meaning in doubt.
This Board proposes that at least eight cases of different forms of violation of the
Act shall reach the Supreme Court inside of the next year, at which time the courts will
definitely settle forever any question as to the proper interpretation of the wording of the
Act, that is, the rights of the architect and the rights of the public ; and when this has
been accomolished, then the enforcement of the Act will be a more simple matter. Most
of these eight cases are in preparation and some are in court at present. However, it must
l>c borne in mind that the cases selected are cases where the violation is speciftc of its kind
and not complicated by various other elements, so that when a decision is rendered in
the Supreme Court it will be clean cut and will apply only to that particular form of viola
tion. In other words, where a decision is made in a case where there are many points at
issue the decision is of little value, except as applied to that specific case, but if the decision
is based on a simple issue it will apply to all similar cases and will be of great value to the
Board.
There have been attempts made by men and bodies of men, both inside and outside
the profession, to dominate this Board. The members hold that their position is a
judicial one and must be free from such influence. Any complaint received by this Board,
either from an individual or a body of men, will receive the same consideration, and no
architect will be cited before this Board without first having had an opportunity to appear
informally before it.
It must be borne in mind that under the decision of the Appellate Court in the "Kaeseberg " case, this Board cannot revoke a license unless two cases of violation arc proven ;
hence, a great many single complaints are filed that never come up formally before the
Board. This leads the public and the architects of the State to feel that a great many
cases presented to the Board are never pushed through to a proper finish. Each single com
plaint is filed, if the indications are that it contains a violation. When information of
violations of the law is received from any reliable source, while the personnel of this
Board remains unchanged, all architects may expect courteous treatment and a square
deal, whether they be black, white or yellow, and regardless of their creed.
A word regarding the "City Ordinance" being violated by any architect may be expe
dient at this time. This Board is a State board, and as different cities and towns have
different ordinances, the Board cannot revoke an architect's license because he violated
the city ordinance, when the same architect could have built the same structure in other
towns of the State without violating any ordinance. Therefore all matters pertaining to
of the candidate, and that when the candidate procures his license he must, in his practice.
This Board holds that the purpose of the examination is to ascertain the qualiftcations
of the candidate, and that when the candidate procures his license he must, in his practice,
keep near to the standard set by the Board. The Board, recognizing the existence of a
low standard of work turned out by some architects (drawings and specifications being
incomplete, either as to construction or materials or both, and often incomprehensible and
not in accordance with good engineering practice, and the buildings erected in accordance
therewith not only being a financial loss to the owner but a constant menace to the pub
lic) notice was served last June, that this Board will cite before it for trial any architect who
prepared drawings and specifications issued for use in this State which indicate gross
incompetency or recklessness.
The Board trusts that even' licensed architect will co-operate in assisting to eliminate
the preparation of drawings and specifications which indicate gross incompetency or reck
lessness.
This Board has found its greatest work to be the elimination from the architectural
field of various architectural firms, which operate under an alias, such as architectural
engineers, civil engineers, industrial engineers, engineers, designers, builders, etc. Most
of these violations are assisted by a licensed architect, who is either financially interested,
a partner, or who secures a salary. This Board has eliminated at least 20 such illegal
combinations in the last few months and expects to eliminate all others from the archi
tectural field in the near future. These combinations are to a great extent the result of
81
SECOND CHURCH OF CHRIST, SCIENTIST, OAKLAND

William Arthur Newman, Architect
lack of enforcement of the law or improper interpretation of the meaning of the
wording of the Act. Attention is called to the fact that all structural engineering
on buildings is part of the architect's work and cannot be performed by others, except
under the direction of a licensed architect; and that the architect is responsible for all
engineering data shown on his sealed plans, whether performed by him or not.
Tbe present members of the Board have thoroughly analyzed the wording of the Act
and all agree it is the best Act creating any of the Boards of the State of Illinois. We do
not say that the Act is perfect, but we do say that it is usual and customary not to modify
a law until, through the courts, its strong and weak parts have been found. Practically no
court decisions, interpreting the wording of the Act, have been had in seventeen years.
The present Board feels that no attempt should be made to make any changes in the
wording of the Act until such time as through the courts it is found inadequate. Any
attempt made by anyone at this time to have the Act changed will be considered inadvisable.
It takes but little study of the problem to find what is needed to give the architects and
public the results that the Act intended. No act is of any value or effect, unless enforced.
We have the best act on the statute book, but we have not the full power to enforce it
properly.
The Supreme Court has just held that the Act is constitutional, which is the only
litigation of any real value this Board has had in seventeen years, and any change in 'the
wording of the Act would render this decision worthless, as it would not apply to an
act which has been changed.
The architects and public must then wait until the new or changed act is held constitu
tional in order to enjoy the same security they now have.
The Legislature should look with favor on any legislation that will assist the State
Board in enforcing the law that has been. held constitutional and the Board wishes the
architects to assist it in procuring proper legislation thus giving the Board legal power to
stop all buildings that are started in this State without plans drawn by licensed architects
and all structures that are attempted to be supervised by others than a licensed architect,
or a superintendent under the control of a licensed architect, as provided by law.
If such an amendment is procured the Board will guarantee to the public and to the
licensed architects of the State the full benefit of the Act of which they have been deprived
for seventeen years.
The Archi
rchitect and Engi
ngineer
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83
UNIQUE COUNTER OF PARKER TILE, LOBBY OF STOWELL HOTEL

Frederick Noonan and William Richards, Architect and Engineer
Unusual Architectural Treatment of Los Angeles Hotel
IN THE design of the Stowell hotel, recently opened on Spring street, near
| Fourth, Los Angeles, the architects have succeeded in commendable manner
in solving the problem of financial success for the owner, and at the same time
have successfully developed a type of architecture unusual for this part of the
country.
The Stowell hotel is a twelve-story reinforced concrete building covering an
inside lot of 60 x 160 ft. area and containing 264 guest rooms. The street front
presents a facade which, by its originality in architectural embellishment and by
its pronounced contrasts in coloring, instantly attracts attention and refreshes
the eye. The first story, above the lobby entrance and store fronts is faced en
tirely with white terra cotta carved in leaf patterns with side panels of a har
monious but more conventional design. The second, third and fourth story
fronts are broken with balconies faced in white terra cotta following a similar
design, and white terra cotta ornaments set in the green enameled brick back
ground of the two side panels.
The next five stories are practically unbroken with ornament, the height and
dignity of the structure being emphasized by the wall of bright, shining green
enameled brick offset by panels of white terra cotta, the latter almost plain ex
cept for their upward sweeping lines. Above the tenth story with its balcony and
heavily overhanging cornice, the treatment with profusely carved terra cotta
ornamentation is even more marked. The design is highly original and follows
the growing tendency among Los Angeles architects to break into a new field,
aided by liberal use of coloringa tendency which may yet develop a distinctive
type of architecture for which America has been looking. The interior of the
hotel is equally unique in treatment.
84
STAIRCASE TO MEZZANINE FLOOR, REAR OF LOBBY, STOWELL HOTEL

Frederick Nootwn and William Richards, Architect and Engineer
Tile Work by Parker Tile & Mantel Co.
One Reason Why Owners Do Not Build
It was a few minutes after twelve o'clock on a Saturday. A truck loaded
with small steel beams backed up in front of a building in course of construction.
"Hey," said the driver to the contractor in charge, "I want to unload ; send
out a couple of ironworkers."
"Can't ; all gone home."
"That's bad," muttered the driver, picking up the reins.
"Wait a minute," said the contractor, "and we'll get you unloaded. Send
two men up here," he shouted to the foreman.
Two hodcarriers appeared, and the contractor took off his coat to lend a
hand. Just then a walking delegate happened around the corner.
"Are those men ironworkers?" he asked.
"No; can't you see they're hodcarriers?"
"Then they can't handle those beams," remarked the delegate with assur
ance.
"But I need the beams, and there ain't anv ironworkers here now."
"Can't help what you need," said the delegate jauntily; "hodcarriers ain't
allowed to handle ironwork."
The driver looked at the delegate and then at the contractor.
"Guess I'd better bring 'em back Monday,'' he said, and without another
word drove off.
The delegate lit a cigar and moved on. The contractor resumed his coat.
N. Y. Evening Post.
85
The Engineer and the Contractor Their Relation

on the Job
THE engineer or architect is able to plan great structures and large engineer
ing schemes, but when it comes to the erection of these structures or the
methods adopted in carrying these feats to successful conclusion, this work
usually devolves upon the contractor.
The contractor occupies a peculiar position in that, to be successful, he has
to be possessed of a temperament and faculties not required in the average
profession. In other words the successful contractor meets and has to contend
with more obstacles in his work than falls to the lot of the average business
man or merchant, and in addition he has to be able to manage and direct his
office affairs and the work of his employees in such a way that for every dollar
spent on his work he hopes to receive more than one hundred cents in return.
The engineer has a great many advantages in planning a great enterprise
over that enjoyed by the contractor; usuallv he is not limited in the time taken
in drawing his plans and specifications, and has ample opportunity to investigate
all conditions and make researches prior to the time when bids are called for,
but the time allotted to the contractor for preparation of this bid is
usually very short, and often a sufficient period is not allowed him for investiga
tion of conditions, etc., source of supply of labor and material, and other im
portant considerations which go to make up the bids prior to the opening of the
same.
It has been said, and truthfully so, that a successful contractor must have
three qualifications, first, Faith; second, Hope; and third, Nerve, and of these
three virtues (if they may be so termed), it seems to me the latter is the most
important.
First, contractors as a general rtde usually know the men at the head of all
large engineering schemes, upon which they bid and have faith in their judg
ment, and accept without question their plans and specifications as being correct,
and the result of months and probably years of study, and rely in a great
measure upon their judgment.
Second, they hope in event of securing a contract, to be favored with such
conditions when the work is under way, as will enable them to make money
legitimately, because you will find that the average contractor doing business
today, is honest, and he takes a certain amount of pride in his work (although
in this, as in all cases, there are exceptions to the general rule), and he hopes
when certain conditions and questions arise, during the progress of the work,
and the matter under discussion put up to the Chief Engineer or other official
in authority, that he will be big and broad enough to look at the situation from
the contractor's standpoint, as well as from the viewpoint of the municipality
or corporation by whom he is employed.
Third, to undertake large contract work requires considerable nerve, because
usually if conditions are favorable and the prices at which the contract has been
secured are reasonable, and the specifications liberally construed by fairminded
engineers the contractor sometimes makes money, but ofttimes when unfore
seen conditions arise during the progress of the work, materials and labor
advance, extremely rigid and arbitrarv interpretations are given to the specifi
cations, impractical and unreasonable inspectors placed on the work, and various
other obstructions put in the contractor's way (sometimes by those directly in
terested in the contract, and at other times by disinterested parties), it requires
considerable nerve on the part of any man to continue the business of contract
ing in order to make a living.
86
Practically all recent works of great magnitude have been let by contract,
with one exception, that being the Panama Canal, which was constructed by the
Government, under the supervision of army engineers who had practically an
unlimited amount of money at their disposal, and who were not hindered in
any way in the expenditure thereof ; their motto being, "Build the Canal, build
it well, and at any cost."
Great works like the increased water supply for New York City, the New
York Barge Canal, the reclaiming of millions of acres of land in the west, the
improvement of our rivers and harbors, and even down to our own local im
provement, such as the water supply, the building of our sewers, paving of the
streets, covering of the falls, building of the docks, extensions of parks, im
provement in terminal facilities of the various railroads leading into the city,
the improvement of our State highway system, erection of municipal buildings,
etc., have all been let by contract, for the reason, no doubt, that those in
authority recognize that where possible, it is much better to have the work
done by this method than under the day labor system.
The work is done as well under the contract system as if it is performed
by day's work, and ofttimes better, because on day labor work done by a State,
municipality or corporation, usually there are no rigid specifications in effect
and practically no inspections (except when the engineer happens to be on
the work) and many things are done, which would not be tolerated for a
moment if the work was being done under contract ; furthermore, the engineer
on contract work has less worry (this being shifted to the contractor's shoul
ders), and the last, but not least reason is that it is almost universally conceded
that work done by contract is done far cheaper than if performed by the day
labor method.
A prominent engineer once remarked that "specifications were only made
for rogues and thieves, that honest men did not need any specifications" ; he
meant this, however, to be interpreted in a broad way.
The clauses in a set of specifications as written by the average engineer
are not always clear and intelligible to the average contractor, and anyone
who engages in contracting work now, if he wants to be "up-to-date'' should
take a course in law also, so as to be able to reason out the intent of some
engineers who write specifications, because some specifications of today if liter
ally construed as written, could place an average contractor in receivers' hands
in a short time, unless he had an unlimited amount of money at his disposal.
Take the usual set of specifications as issued today for public work to
reputable attorneys and ask them to give you an unbiased opinion of its con
tents and ninety-nine out of one hundred will tell you that you would be
foolish to sign a contract with such clauses incorporated therein, because it is
so written to provide all the safeguards possible for the municipality and to
place the responsibility for evervthing that may happen, even including the acts
of Providence, upon the contractor.
In other words, they bind the contractor hand, foot, body and soul, because
some specifications have almost every possibility and condition between the
heaven and earth, and even into the depths of the same covered by a clause
which they can point out, which covers the disputed point when questions arise,
but contractors must live, and some in their eagerness to secure work would
sign any contract and specifications no matter how definite or unreasonable it
was.
In the opinion of the writer, it is a mistake to make specifications too lengthv,
but some engineers seem to think that it is absolutely necessary to have a large
volume of directions written for the contractors' guidance, even though the job
87
is a very small one. They write so much in fact, that their requirements over
lap, that is the clauses contradict themselves, and in one part of the book you
will find certain clauses, and by carefully reading subsequent paragraphs, you
will be left in doubt as to the real intent and meaning of the one who wrote
the specifications and as to how they will be enforced.
If the specifications were short and clear, that is, expressed in plain every
day language, which neither the engineer nor the contractor could take ad
vantage of (in other words, the avoidance of double meaning clauses), many
of the disputes which now constantly arise would be prevented.
When a dispute does arise on work, the interpretation of the particular
clause in question is usually put up to the engineer in charge of that particular
section or piece of work for decision, and this is where a young engineer should
be given some authority.
If enough confidence is placed in a man to select him as a pilot of a par
ticular piece of work, enough trust and authority should be placed in him to
construe disputed clauses liberally when the occasion arises, and he should be
given the right to settle minor questions that arise, and not be troubling his
chief with every little matter of detail, and only in case that he and the con
tractor cannot agree, should the question be carried to the Chief Engineer.
In ninety-nine cases out of one hundred minor disputes such as arise on
contract work can be reasonably and promptly settled if all parties will meet
with a feeling of friendliness and confidence, but the average young engineer,
knowing that he has the book of specifications to rely upon, and that they are
his doctrine, and the further fact that he is in authority in so far as that par
ticular piece of work is concerned, ofttimes looks at the clauses under discus
sion from a very narrow point of view, and if an appeal should be taken from
his decision and carried to the Chief Engineer, ofttimes he considers it a per
sonal reaction upon his professional ability, and although the decision of the
Chief Engineer may sustain him, there is always a feeling of coolness between
him and the contractor.
Whereas on the other hand if the decision of the Chief Engineer should
be adverse to the younger engineer and contrary to his views already reported
to his chief and in favor of the contractor, usuallv he feels that a personal
insult has been inflicted upon him and his professional ability questioned, and
I have heard of instances where the engineer resolved to "get even" and, hold
ing the master key he sometimes is in a position to take advantage of the other,
because co-operation is the key to success in all great works.
Engineers and contractors gain their experience from years of hard work ;
text books do not contain all the rudiments of any profession ; these are secured
by personal efforts, hard knocks and practical experience and a young engineer
at the completion of his required course in a university is not as fully qualified
to pass on all questions as one who has had years of experience, although the
technical education of the latter may be somewhat limited when compared with
that of the former.
Contractors usually get their experience by hard work, and ofttimes at
great expense, and some reliance should be put in their judgment also; in other
words, some little credit should be given a contractor who has had years of
experience, for knowing a little of the work he undertakes and the best method
of conducting it, because, as before stated, a contractor to be successful must
adapt himself to all conditions ; must have such a personality as will enable him
to please and work with the engineers and at the same time look out for him
self from a financial point of view, if he is to be successful.
It is sufficient to say, in conclusion, that an engineer should relv somewhat
on the contractor, "give him some credit for his experience, etc.," and the
88
same confidence should be put by the contractor in the engineer, and if they
are of such temperament that they can work in harmony, disputes will not
arise. When they do, they can be quickly and amicably adjusted and leave no
ill feeling at their conclusion, and success will be the result of their efforts.
Engineering News.
*

PRACTICALLY every failure and near failure in concrete has been due to
confidence on the part of somebody that concrete can surmount all man
ner of bad usage.
The fact is that there are plenty of good standards in concrete design and in
concrete construction, but that they are not observed by many of those engaged
in concrete building.
This neglect has a three-fold cause : ignorance, undue economy and overconfidenceand the first two could not exist were it not for the last. It is a
pretty poor concrete man who does not know that frozen concrete will not set
but there are plenty who will take a chance with ten-day concrete at 40 degrees
F. if they need the forms. Why? Primarily because thev want to save the
money that an additional set of forms would cost. But if there were not con
fidence that the concrete will stand up, the pocket-book would not govern
judgment.
Practically every designer of concrete buildings will admit that 850 pounds
per square inch is too high a stress in the concrete beams over the room where
his own family sits down to dinner, but he is not so worried about that stress
when it is in some one's garage. He feels confident that it will not fall down,
in spite of tests which show it to have a low safety factor.
Throughout the whole field this pernicious combination of ignorance and
complacency extends ; instances might be multiplied almost without end. It is
the duty of the societies such as the American Concrete Institute, which recently
convened in Chicago, to urge upon the workers in the industry a proper appre
ciation of the dangers of this over-confidence. Skinning of work is a species
of ignorance, for nothing is quite so evident as the fact that good work in
concrete construction pays. But the man who thinks he knows more than the
so-called authorities is the hardest to reach because he is clad in the nearly
impenetrable armor of conceit.
Every concrete failure means a slight betterment in methods, for a certain
number of hitherto unconvinced practical or commercial men are shown by that
most potent object lesson, a heap of ruins, just what concrete will not stand.
Engineering News.
*
Waterproofing Won't Offset a Bad Design
Some contractors seem to think that they can get out of trouble at the
eleventh hour by the use of a water-proofing application, or that they can do
poor construction work provided they have some water-proofing compound in
their mixture. Neither water-proofing ingredients nor water-proofing applica
tions after construction are going to help materially a bad design or careless
construction.
89
SHOWING CONCRETE POLES OF MUNICIPAL RAILWAY, VAN NESS AVE., SAN FRANCISCO
Concrete Poles and the Possible Maximum Loads

on Pole Lines
By WALTER H. LIENESCH, in Cement-Concrete Age
IT IS widely conceded among engineers who are confronted with the task of
providing a suitable substitute for the present timber pole that the concrete
product is the only practical solution of the problem. The two foremost
points in which the concrete pole is superior to that of wood are the facts that
a properly constructed concrete pole is practically everlasting, and that almost
all such poles can be designed so as to make them much stronger and far more
stable than the timber product. Aside from the actual strength of wires, the
stability of all supports, for electric conductors is the main factor which governs
the length of wire spans, and inasmuch as the stability of concrete poles can be
made greatly to exceed that of wooden poles, the fact is probably established
that extremely long wire spans will accompany the advent of concrete poles for
general use.
Many engineers have published figures representing the possible theoretical
loads on pole lines, the main factor in all such calculations being an assumed
violent wind pressure acting against ice-covered wires. In addition to this the
assumption is also made, that the above conditions may be accompanied with a
temperature of 10 degrees below zero, and that the consequent contraction of
the wires might cause them all to break in the same span. It is claimed in this
connection, under the above conditions, with the wind blowing in a direction
parallel to the wires, that the maximum load occurs in this direction on the pole
next adjacent to the broken span.
The foregoing conditions arc apparently very uncalled for assumptions ;
statistics have shown that such a simultaneous combination of the elements is
90
a very rare occurrence. No engineer attempts to figure any structure against

an earthquake or a cyclone; still such calamities may occur in any locality, at
any time and just as frequently as the foregoing combination of conditions.
Viewing the situation, from the standpoint of the purchaser who invests his
money in the construction of pole lines, one must realize the vast importance of
considering the interest on the increased capital which is necessary to make
such work proof against conditions which so rarely occur.
Owing to the peculiar action of the catenary curve in horizontally suspended
wires, a very slight movement of the wire at its point of attachment to the cross
arm, will materially affect the sag at the center of span, and it is unreasonable
to conceive of any suitable attachment between the wire and the insulator,
which will not allow such wire to slip, in case of breakage of wire, so that the
sag will touch the ground at the center of span and relieve the pole from about
50 per cent of the extreme load against which it is usually figured.
The stability of any pole is dependent upon the bearing value of the soil in
which it is embedded, and it seems reasonable to believa. therefore, that the
proper method in calculating the necessary strength of concrete poles is to
begin at the ground line, and having determined the bearing value of the soil,
it is an easy matter to design the poles accordingly and set them at such spans
as are consistent with their stability.
The vertical load on any support for electric conductors is of little conse
quence as compared with the possible side pull in a horizontal direction at right
angles to the wires. A properly designed concrete pole, therefore, should be
widest at the ground line and tapering both ways therefrom ; provided, how
ever, that the bases of such poles are designed with sufficient area so as to sup
port the combined weight of the pole and the weight of ice-covered wires. The
width of the pole at the ground line should be made so as to resist the horizontal
action of wind pressure blowing at the rate of 70 miles per hour, at right angles
to wires covered with one-half inch of ice.
Many high tension transmission lines have been constructed with spans up
to 1200 feet. Such long spans are made possible through the use of steel towers
with wide bases. There seems to be no authentic reason why trolley wires for
electric railways should not be hung on longer spans than are now being used
in connection with standard construction of such lines. The only apparent ob
jection to long spans for such service is the sag in trolley wires which must be
reduced to a minimum on account of the limited movement of the trolley pole.
Through the use of the well known catenary suspension in which the trolley
wire is supported from a messenger cable, the sag in trolley wires can be elim
inated entirely, and the length of spans in such lines is governed only by the
economical strength of the messenger cable. Owing to the possibility of crosscircuits being caused by the side sway in telegraph and telephone wires, the
use of long spans in this connection has been questioned. It seems reasonable
to believe, however, that this objection can be overcome through the use of
insulators staggered alternately above and below the cross-arm, and while we
believe that minimum increases in wire spans can be accomplished with tele
graph and telephone lines, still there is really no authentic reason against the
adoption of increased spans for all concrete pole lines which are erected for
the support of electric conductors.
The development of concrete poles and the improved method of setting
them result in extreme stability, greatly increased spans and a consequent re
duction in first cost per mile, through the elimination of many poles, crossarms, insulators, and labor. For example: An ordinary pole line using fifty
30-ft. cedar poles per mile, set up with cross-arms and insulators attached,
91
ready for wires, costs in this vicinity, about $650 per mile, with a probable life
of fifteen years and the possibility of renewing it entirely after every storm of
any consequence. Substituting good concrete poles for this same service, using
thirty 30-ft. poles per mile, set up with all attachments ready for wires, the cost
per mile will not exceed $600 and the line will last indefinitely.
In view of the above conditions, it does not require any great amount of
forethought on the part of. the conservative pole purchaser to realize that con
crete poles will eventually not only solve one and all of his present pole troubles,
but that, in the long run a saving of many thousands of dollars can be effected
through the elimination of constant maintenance, frequent renewals and un
necessary first cost of heavy construction.
*
The Genus Architect

OME day an architect will write his confessions. Then the layman will be
able to grasp what manner of man it is who can find a point in space and
say with certainty that yonder, where the birds circle and dip, shall men
walk; who can dissolve a chaos of stone and steel, of timber and cement, into
an habitation ; who can reduce visions to paper and yet know that those visions
will become reality. For it must be conceded that the architect is the lone son
of the arts whose feet are firmly rooted on earthyes, as firmly as are the
foundations he lays. With the nonchalence of an acrobat it would seem that
he juggles in one hand such mundane matters as stress and strain and water
proofing and grillage, while with the other he is crystallizing dreams into sky
lines and fashioning unbelievable cities. Were it not for these seeming contra
dictions, the genus architect could readily be understood.
The architectural profession, says a writer in an authoritative journal, is
composed of four rather distinct types of practitioners : the experienced, ethical
man ; the novice of proper education and training, lacking only experience ;
the "architect," and the shyster. And the contributor goes on to lamentand
justifiablythe public's lack of discrimination between the different types.
Unfortunately, as in other professions, there are those parading as masters of
the art, but whose work is only too obvious an example of the public being
duped by low prices. These, if the truth were but known, are not architects at
all, they are not creators, they would scarcely rank as builders, they are ghouls
of other men's work. The prospective housebuilder will find it wise to look
up his architect and see if he is accepted in one of the better known associations.
You can generally depend upon it that the shyster will be flying alone.
But here we would speak of the tried and approved architect. What is he?
What does he stand for? In some circles he would seem to be consumed with
the pedantry of an academician ; in others, he talks like a revolutionist. Viewed
as a whole and in homely simile, the architect is a chemist, analytical and syn
thetical, working with very tangible substances. He analyzes tine past and
synthesizes it into the present. At all times he is an experimenteror should
be, for a slavish following of the academic is no less deadly than the complete
disregard for it. He must draw on Greece and Rome, on France and England,
for ideas ; though his ultimate aim is ever to modernize the old, to adapt it to
present-day needs with the aid of latter-day devices and discoveries. And such
discoveries are tending not alone to the application of conveniences and in
ventions, but to finding the exact use for even,' kind of substance and applying
it where it will render the best service. In his art, as in anv other, only by
exercising eternally the principle of selection are beauty and efficiency attained.
92
Were Charles Lamb or one of the other nineteenth century assayists writing
on the genus architect, they undoubtedly would have considered them from
two characteristic viewpoints, and faltering in such steps we would try the
same : the architect in his office and the architect in his home.
That a man cannot always be judged by his clients is corroborated in another
passage from the writer quoted above, "A prospective builder seeking his first
experience does not, oftentimes, appear to care who makes his drawings, just
so he obtains them cheaply. Having no particular respect for the building he is
about to erect, he has even less respect for the architect, who appears to be a
necessary evil in the affair. The architect himself, if he be of the first class,
is probably not lacking in self-esteem and is far from relishing the patronizing
attitude of the prospective client. He neither kotows nor clinges ; and the man
with money to spend is too likely to resent what he considers 'high and mighti
ness' in one who is only a servant after all."
Truly, it is remarkable how some folks who summon the architect for
counsel fail to strike a medium of attitude toward him. Either they treat him as
they would the local carpenterdemanding the impossible and, often enough,
unwittingly, the inartistic; or look upon him as infallible until some misjudgment proves him human, whereupon he becomes clothed with all the weaknesses
of the earth-born.
In no profession does the client seem to feel it his province to exercise such
thraldom as in that of building houses; an attitude quite absurd when con
sidered from a logical point of view. No man would dictate to his doctor, and
even the lawyer cannot complain that his client arrogates unto himself the last
word in counsel ; yet the architect has often to tolerate and to handle with
creditable diplomacy unaccountable changes of taste from his client that utterly
destroy the beauty of his work.
When the architect comes to build his own house, he is as a bird released
from its cage. No longer is he held in thrall by the wishes or dictates of a
client. For years he has been saving up idteas of little treatments here and
there with the promise that some day, when he is to be his own master, he will
make use of them. He has seen a doorway in France and a chimney in Eng
land, from the South he has caught the idea for a stairs, and from Rome the
suggestion for a window. Then out from their dusty corners are dragged the
ideas. He spreads them before him. This is to be his own house, he says, and
he will make it a model of perfection and efficiency. Then gradually creeps
over him the realization that were all these ideas included in the one house it
would gain fame for being little less than a curio shop. House and Garden.
*
*
Says George B. Cortelyou:

* * * I do not think this is a time for despair, but rather for fresh efforts to
push ahead into new fields as well as for the development of old ones, that
we may rise to our opportunities and lay the foundations of an enduring pros
perity. Least of all do I think that this is a time for the abatement of
publicity efforts : indeed, these should be redoubled now, because if advertising
increases demand and stimulates production this is the time to advertise ; and the
merchant or manufacturer who keeps his product prominently before the public
now is not only proving his faith in the soundness and strength of American
industry, and thus setting a good example to his more timid brother, but is
certain to reap an ample reward in the material return that will come to him.
G.4 R.A.G.E WITH CHA UFFEUR'S A PARTMENT

HOH M / E SNER, SAN
Natha::iel Blaisdell,
-
A CLASS C PRI I.4 TE: G. R.4 (, E M ITH CH-1

-
ALHAMBRA APARTMENTS, SAN FRANCISCO

A Moorish Design lhat is away from the Common
place Apartment Horse Style
J. F. D:tnn, Architect
DETAIL. LOWER STORY, ALHAMBRA APARTMENTS

J. F. Dunn. Architect
95
Terra Cotta in Building Construction

By H. L. FITZSIMMONS, Prince Albert, Sask.
W. E. Dennison, President of the Stciger Terra Cotta & Pottery Works,
commenting on the below article, writes: "This is very good and quite accur
ate, which is unusual in such articles."
IN EUROPE there are numerous examples of architectural terra cotta which
have been exposed to the weather for three or four centuries and which are
still in good condition, while examples of stonework, subjected to the same
conditions, are more or less worn and decayed. There is at the Louvre, in Paris,
at the present time some glazed terra cotta, said to have been made by the
Assyrians in the sixth century, before the birth of Christ. In other museums
there are some vases and other ancient terra cottas from Egypt and Greece, as
well as some famous examples of work made in the Middle Ages, some of which
are as perfect as if recently made. All these ancient terra cottas tell the story of
durability and proclaim terra cotta to be a material worthy of the genius of those
artists of antiquity who wrought so beautifully in this medium.
The Surface of Terra Cotta
The body of all good terra cotta is very much the same, but there are several
ways of treating the surface, resulting in products which may be classified as
follows: Standard terra cotta, vitreous surface terra cotta, mat-glazed terra
cotta, full-glazed terra cotta and polychrome terra cotta. Standard terra cotta
has no surface given it, which affects its porosity, a drop of water placed upon it
being soon absorbed ; it will absorb, also, a great amount of dirt from the atmos
phere, and will become very much darker from continual exposure. On some
buildings this weathering down is not objectionable ; in fact it sometimes lends a
charm, producing an antique appearance, which is often very desirable from an
artistic point of view. Some one has said that "time is the greatest artist," and,
therefore, when it is desired to produce an aged effect, standard terra cotta
should be used. It is, consequently, a good material to use for rustic work in
connection with country houses, college buildings, gateways, and certain styles
of churches. This class of material is made in any color desired.
Vitreous surface terra cotta has a very thin spray of the surface which vitri
fies in the burning process, forming a thin glaze which sheds water. This terra
cotta will not absorb much dirt from the atmosphere, as the rain of each storm
washes it off. It therefore practically retains its original color. This class of
material is made in any color desired and is used more than any other kind
at the present time, as it seems to satisfy the greatest number of requirements.
In western cities where soft coal is used, and where, consequently, most
buildings are cleaned frequently, any material of a non-porous nature is very
desirable, and it has been found that glazed terra cotta ranks with the most
superior materials in this respect. On this account white glazed terra cotta is
used to a great extent in these cities. The lustre of the glaze is deadened for
artistic reasons, the glare of the sunlight on full glazed terra cotta being very
severe. This is now done in the process of burning, as it has been found that
sand blasting the material neutralizes the purpose of the glaze. This method
has, therefore, long been abandoned by the leading manufacturers. There are
many examples of buildings constructed of this material in the west and the
most notable example in the east is the Plaza Hotel, New York.
For light courts, loggias to office buildings, theatres, interiors of railway
stations, train sheds and power houses the full glazed terra cotta is preferable,
as it helps illumination and gives a more brilliant effect.
96
The full glazed terra cotta and mat-glazed terra cotta are made in any color
required, and when various colors are used on the same buildings, the material
is termed polychrome. The various colors may be applied to the same piece 1f
desired, or each separate color may be kept on a separate piece, if the design will
permit.
Color of Terra Cotta
Within the past twenty years a great impetus has been given to the produc
tion of special colors in architectural clay products. In 1885 fully four-fifths of
the terra cotta produced in the United States was red. Now there is less of red
used than of almost any other color. Buffs and greys of several shades, white
and cream-white are now the prevailing colors. By the use of ceramic colors
almost any required tone may be produced, and the effect obtained by using
glazed terra cotta of various colors in combination, such as blue, yellow, white,
purple, brown, old gold, green or red is often very beautiful. If any particular
shade of color not included in the manufacturer's standard samples is desired,
the architect should consult with the manufacturer, who will then experiment
until the required color is not only produced, but guaranteed to be permanent
and free from all tendency to crack. It is generally agreed that there is a great
field for this polychrome terra cotta, especially for theatres, restaurants, and
buildings of a similar nature, for interiors, loggias, fountains and department
stores.
Although the art of using colored terra cotta is very ancient, having been in
practice before the Christian era, it is, to some extent, an undeveloped field in
this country and offers alluring possibilities in architectural design and con
struction. It can be used in a very modest and sparing way as well as very
profusely ; and either in soft tints or in brilliant colors, as the taste of the archi
tect may dictate. Where a rich decorative treatment is required, as in the in
teriors of public buildings, like our great stations, hotels and theatres, poly
chrome terra cotta can be employed most effectively and economically. In
variety and beauty of tones, terra cotta has now reached a very high standard
of excellence, and may be used by the architect to express the highest type of
his art. The almost unlimited possibilities presented by the judicious applica
tion of colored glazes for exteriors as well as for' interiors, has awakened an
unusual interest in the use of polychrome terra cotta, a building material with
superior qualities of resistance against the deteriorating effects of time and of
the action of fire and frost.
Terra cotta is not imitation stone and should not be used as such. It is a
material having peculiar qualities which give a distinctive character, and there
fore, to be successfully used, it should not be employed in such a way that it will
appear as an imitation of, or as cheap substitute for some more expensive
material. This may be brought about in several ways. There may be used cer
tain forms and certain styles of ornament more characteristic of terra cotta than
of any other material.
One architect has evolved a certain style that he has applied to. many build
ings, and which is not suitable to any material other than terra cotta. This may
be said of both the form and ornamentation of his buildings. The architects of
the Flatiron building and of the Wanamaker building, in New York, have
successfully used this material for its own sake and not as an imitation. Another
firm of architects have used profusely modelled terra cotta to produce highly
ornamental effects not so easily obtainable in other materials, and their recent
use of colored terra cotta is typical of this material alone. In the West Street
building. New York, the architect has made a design distinctly expressive of the
material used. This is noticeable in the ornamentation, in the form of cornices
and molding, in the coloring and even in the plain shaft of the building. In the
97
Brooklyn Academy of Music the architects have accomplished this result by the
use of color.
In regard to the use of terra cotta, it has been said that it is by the use of
polychrome terra cotta that the material has its best opportunity for expressing
its individual character. It was so in antiquity, in the Middle Ages, and is so at
the present time, because polychrome terra cotta is a material complete in itself,
and used for its own sake. It cannot by any means be considered an imitation
of, nor a substitute for, something better.
Durability of Terra Cotta
The principal value of terra cotta lies in its durability. When made of the
right materials and properly burned it is impervious to water, or nearly so.
When glazed it is absolutely impervious, and hence not subject to the disin
tegrating action of frost, which is a powerful agent in the destruction of stone.
It does not "vegetate," as is the case with many stones. The ordinary acid gases
contained in the atmosphere of cities have no effect upon it. and the dust which
gathers on the moldings is washed away by every rainfall. Underburned terra
cotta does not possess these qualities to so high a degree, as it is more or less
absorbent. Another great advantage possessed by terra cotta is its resistance to
heat, which makes it a most desirable material for the trimmings and ornamental
work in the walls of fireproof buildings. Although terra cotta has been used in
this country for but a comparatively short time, it has thus far proved very
satisfactory, and the characteristics above indicated would point to its ranking
in common with the better qualities of bricks, with the most desirable of building
materials.
Inspection- and Methods of Setting
A sharp metallic, bell-like ring and a clean, close fracture are good proofs of
compactness and strength. Perfection of form is in the highest degree essential,
and can result only from a homogeneous material and a thorough and experi
enced knowledge of firing. No spalled, chipped or warped pieces of terra cotta
should be accepted, and the pieces should be so hard that they will resist the
scratching with the point of a knife. The blocks should be of uniform color
also, and all mouldings should come together perfectly at the joints. Terra
cotta with a vitreous surface and mat glazed terra cotta should be so nonabsorbent that water will lie in drops on its surface without being quickly ab
sorbed. Full glazed terra cotta should be so non-absorbent that ink will not
penetrate the surface, and may be entirely washed away with water.
Terra cotta should always be set in either natural cement or Portland cement,
mixed with sand, and in about the same way as stone is set. As soon as set, the
outside of the joints should be raked out to a depth of three-quarters of an
inch to allow for pointing and to prevent chipping. The terra cotta should be
built up in advance of the backing, one course at a time, and all voids, except
those projecting beyond the face of the wall, should be filled with grout or mor
tar, into which bricks should be forced to make the work as solid as possible.
All blocks not solidly built into the walls should be anchored with galvanized
iron clamps, the same as for stonework, and, as a rule, all projecting members
over 6 inches in height should be anchored in this way. After the walls are up
the joints should be pointed with Portland cement colored with a mineral pig
ment to correspond with the color of the terra cotta. The pointing is done in
the same way as in stone work, except that the horizontal joints in all sills and
washes of belt courses and cornices, unless covered with a roll, should be raked
out about two inches deep, calked with oakum for about one inch and then filled
with an elastic cement.
98
#TTTTTT,
MONTELLANA APARTMENTS, SAN FRANCISCO

J. F. D.U.N.N.,
ARCHITECT
99
Disadi'antages and Cost of Terra Cotta

One of the principal objections to the use of terra cotta is the time required
to obtain it, especially when the building is some distance from the factory.
About six weeks are required for the production of terra cotta of the ordinary
kind, and the architect should see that all the drawings from the terra cotta
work are completed and delivered to the maker at as early a stage in the work
as possible, so that he may have ample time to produce it. This will obviate any
delay if the architect's drawing and instructions are clear, distinct and complete,
as it takes longer to obtain the steel construction work than it does to make the
terra cotta. Most of the delay in obtaining terra cotta is really due to the fact
that prompt and careful attention is not always given to the preparation of the
terra cotta drawings and instructions. Small pieces of terra cotta may some
times be obtained within two weeks from the receipt of the order, when the
molds are already on hand. It is always more expensive, however, to attempt
to turn out work in such, short order, and inexpedient on account of the risks
in forcing the drying.
Terra cotta is generally less expensive than stone, and ornamental work
costs in stone about three times as much as it does in terra cotta. Being lighter
in weight, the freight charges are less. In large buildings the use of terra cotta
t educes the cost of the steel construction, because when it is used on the exterior
the steel may be about one-third smaller and lighter, thereby reducing the cost
proportionately. This saving is an important item in large structures. The cost
of erecting terra cotta is less than that of erecting stone, two stories of an all
terra cotta exterior being sometimes put in place in the same time that it takes
to set one story of stone. The advantage in point of cost in favor of terra cotta
is greatly increased if there is a large proportion of molded work, and especially
if the moldings are enriched. The use of terra cotta for trimmings, and
especially for heavy cornices, in place of stone, often reduces the cost of the
walls and foundations, as the weight of the terra cotta will be much less than
that of stone, and the walls and foundations may be made lighter in consequence.
Weight and Strength and Tests
The weight of terra cotta in solid blocks averages 122 pounds per cubic
foot. When made in hollow blocks 1}/1> inches thick, the weight varies from 65
to 85 pounds per cubic foot, the smaller pieces weighing the most. For pieces
12 by 18 inches or larger on the face, 70 pounds per cubic foot should be a fair
average. The crushing strength of terra cotta blocks in 2-inch cubes varies from
5.000 to 7,000 pounds per square inch. Hollow blocks of terra cotta, one foot
high, unfilled, have sustained 186 tons per square foot. From these and other
tests I would place the safe working strength of terra cotta blocks in the wall
at 5 tons per square foot when unfilled, and at 10 tons per square foot when
filled solid with brickwork or concrete. If it is desired to test the strength of
special pieces, two or three small pieces should be broken from the blocks and
ground to 1-inch cubes, and then tested in a machine. Should the average
results fall much below 6,000 pounds the material should be rejected.
*
*
*
Unusual Treatment of Two Apartment Houses
THE plates on pages 94 and 98 show two striking examples of a new style of
apartment house architecture that is increasing in favor. They satisfac
torily demonstrate what may be accomplished by a judicious combination
of cement work and clay products. In the Alhambra apartments we have a
Moorish designa background of plain white cement set off with the rich
coloring of polychrome terra cotta. The roof is of red clay tile. The other
building is French Renaissance -with an elaborately designed stucco and terra
cotta front and ornamental iron balconies on the second and third floors. Both
buildings were designed by Architect J. F. Dunn of San Francisco.
100

The Skill Required of an Architect
THE skill required of an architect in the preparation of plans and specifica

tions, and his liability for negligence in drawing them, constituted the
subject of a recent decision of the Iowa Supreme Court which is reported
in full on page 277, 145 Northwestern Reporter. Plaintiffs, a firm of architects,
sued to recover the amount of compensation which defendant agreed to pay
them for preparing plans and specifications for a business block embracing
storerooms and a theater. Defendant counterclaimed for damages declared to
have been sustained by him on the ground that the plans and specifications
were defective in that, as claimed, the plans for the theater were so defective
that occupants of boxes could not view the stage, that trusses over the stage
were so placed that valuable curtains were cut off, that an arch was so unskil
fully planned as to bulge the sustaining walls, that no proper means of ingress
and egress for certain rooms were provided, that ventilation for the storerooms
was not provided for adequately, and that details were so defectively prepared
that pillars under the balcony of the theater had to be cut off and the balcony
lowered.
On trial of the case, plaintiffs recovered the full amount claimed by them,
under an order given the jury by the Judge to find for plaintiffs. But, on de
fendant's appeal to the Supreme Court, the judgment was reversed and the
case sent back for a new trial on the ground that defendant had made out a
strong enough case to go to the jury on his counterclaim.
The Supreme Court said, in part : "As practicing architects, plaintiffs were
bound to furnish plans and specifications prepared with a reasonable degree of
technical skill, and such as would produce, if followed and adhered to, a build
ing of the kind called for, without marked defects in character, strength or
appearance." The court finds that the evidence offered on the trial by defend
ant to sustain his counterclaim was not wholly satisfactory, but that it was
sufficiently strong to go to the jury.
The measure of an owner's damages which he can recover against an archi
tect on establishing that the latter has been negligent in the preparation of plans
and specifications, is thus referred to by the Supreme Court : "It may well be
doubted whether the record calls for a statement by us of the true measure of
damages in such case, but it would seem to be the rule of reason, as we think it
is the rule of law, that where the defect complained of is of such character that
it may be corrected without unreasonable or disproportionate expense, such ex
pense will properly measure the damage so sustained ; but if the defect be so
intimately connected with the body of the structure, or so inheres in some per
manent part of such structure that it cannot be remedied at reasonable expense
or without tearing it down or rebuilding it. or some material part of it, then the
rule suggested by the trial court would be applicable." That rule is that the
damages are to be measured by the difference between the value of the building
as it is in its defective condition and its value as it would have been if built
upon correct plans and specifications.
The Kentucky Court of Appeals, having been called upon to determine the
degree of care required of architects in preparing plans for buildings and in
superintending construction, recently decided in the case of Kortz vs. Kimbcrlin,
15 Southwestern Reporter 654, that there is no duty to prepare perfect plans,
exercise of a reasonable degree of skill in their preparation being sufficient ; and
that an architect is not liable for a defect in construction, if he has used
ordinary care to see that the work is done properly.
In this case Mr. Kimberlin brought suit for compensation for drawing
plans for a dwelling house and for superintending its construction, and judg
ment having been awarded in his favor, defendant owners appealed from a dis
allowance of their counterclaim for damages declared to have been sustained by
101
UTAH STATE CAPITOL BUILDING. SALT LAKE CITY, UTAH

R. Kletting, Architect
them through defective performance of the service. In affirming the judgment,
the Court of Appeals said :
"While it is true that a public profession of an art is a representation or
undertaking to all the world that the professor possesses the requisite ability
and skill, and it therefore follows that an architect is presumed to possess the
skill and ability necessary to the practice of his profession, and is liable for
defective plans, * * * yet he does not undertake that his plans will be abso
lutely perfect, and is liable only for a failure to exercise reasonable skill in the
preparation of the plans. Furthermore, if he be employed to superintend the
building, he is not liable at all hazards for every defect in its construction, but
is only required to use reasonable care and diligence in seeing that the work is
properly done. The mere fact, therefore, that some of the material is defective,
or that some of the construction work is not done in a workmanlike manner,
is not sufficient to establish as a matter of law that he has not fully performed
his contract. Under such circumstances, the question whether or not he used
reasonable care and diligence in superintending the work is a question for the
jury. * * * Take, for instance, the stucco work, which is one of the largest
items of damage claimed. The defendants testify that they, who had been occu
pving the house, could not discover its defective condition until after the time
the amended answer was filed. It had only recently begun to peel off. While
it is doubtless true that an architect has better means of observation and detec
tion, yet it cannot be said that the evidence conclusively shows that plaintiff,
by the exercise of reasonable care and diligence, could have discovered the
defective condition of the stucco before it began to fall off. Notwithstanding
the proof as to its condition, it was for the jury to say. under all the circum
stances, whether or not plaintiff failed to exercise reasonable care and dili
gence."A. L. H. Street, in Building Age.
102
RESIDEXCE OF MR. H. C. KEYES, SACRAMEXTO

Seadler & Hocn, Architects
RESIDENCE OF MR. J. L. GILLIS, SACRAMENTO

Scadicr & Hoen, Architects
103
104
77ft' Architect and Engineer
105
The Time to Build*

A. C. CLAUSSEN, Architect
HE time of year in which the contracts for the building of a house are let
has considerable to do with the prices received. For example, a contract
can be let for about 10 per cent cheaper at the present time of the year,
the house to be built during the winter, than the prices one would get during
the rush of the building season next spring. If only the foundation is put in
now and the contract is let early in the year, enabling the contractors to get an
earlier start than would be possible if the foundation were put in then, there
would be a saving of from 6 to 8 per cent.
A great many people think that they can save money through being their
own contractor. They figure that they will save the contractor's profit of from
8 to 10 per cent by buying their own materials, hiring their own labor and super
intending the construction of the house themselves. In this they make a fatal
error. Few contractors figure much for the profit on labor, since this is really
an unknown quantity, on which they can merely make estimates in a general
way based upon their previous experience. Since the wages paid out for labor
amounts to almost half the cost of the house, it is very important that this item
should be handled in a systematic manner. A contractor through his experience
knows just how many men he can work to an advantage on a house of a certain
size ; how many common laborers he would need to supply his brick masons
with mortar and brick, just what quantities and at what time certain materials
are needed at the job, and knows how much work each man should turn out in
a day. enabling him to keep track of their work and discharge any slow or in
competent workman.
When a man attempts to take a contractor's place, lacking all the technical
knowledge and experience of the latter, his labor bill will usually amount to 25
or 30 per cent more through his not being able to carry on the work in a system
atic manner. The writer has observed houses where a whole crew of men had
to be laid off temporarily during the busy season of the year because the owner
did not order certain material far enough ahead of time to get it when needed.
Men do not stay idle during the busy season in the building line, and a crew
laid off in this manner will immediately look for other positions, thereby leaving
their former employer handicapped for the lack of labor when the work starts
again. The owner is often unable to get enough men together again to carry
on the work properly. Those whom he does hire under these circumstances
know nothing about the work that has been done and have to study into the
matter all over again, unless a competent foreman has been engaged with a
salary above the union scale, whose salary would go on whether the work was
going on or not. I have also noticed bricklayers mixing their own mortar and
carrying their own bricks when the home-builder should have had common
labor to do this work for him instead of paying a man $4.50 to do work that
could be done just as well by cheap labor. Also, the workmen on a house built
for the owner himself know that they will probably never have occasion to work
for this man again ; they know he is incapable of judging the amount of work
that should be done in a day and is not apt to discover minor imperfections in
the work. These facts have a demoralizing effect over the workmen which
means poorer work done in more time than when they are under the guidance
of a man whom they hope to work for throughout the year.
When it comes to the buying of materials, while a man may be able to get
some one or two things at low cost through having some friend or relative in
the business, taken as a whole the material throughout the house will cost the
* Pacific Builder and Engineer, Seattle, Washington.
106
homebuilder more than they would cost a contractor. For example, a contractor
of any importance will buy his cement, flooring, siding, shingles, dimension
lumber and other much-used materials by the carload, thereby receiving special
quotations on the prices of materials ordered. The materials that he does not
use on one house he can use on the next one. for he is in business for a lifetime.
The final conclusion is that it is cheaper to let the contract for the entire house,
except the heating and plumbing, which should be let separate, to one general
contractor, after having obtained his price through competition with other
contractors. He is "the man who knows." He has paid for his knowledge in
the school of experience and with a properly prepared set of plans is able to
carry on the work in a systematic manner. There is no line of business in
which this is more true than in the building business, where so many different
materials and so many different men are brought together under one man's
leadership, to accomplish the building of a home. "Put all your eggs in one
basket, but watch that basket."
There are other economies to be considered when the home is being planned
before the matter of letting it to the contractor is considered. If the house is of
frame construction or brick veneer the height of the stories should be made so
that full length studding of 16, 18 or 20 feet can be used without cutting, and
in laying out the floor plans care should be taken that the joists all run in one
direction bearing upon one or two partitions, according to the size of the house,
that extend through the center from the basement to the attic. Wherever
practical the partitions on the second floor should be placed directly over those
on the first floor, making the studding two stories high, thereby reducing the
settlement of the house through the shrinkage of the floor joist and making
it easier and cheaper to construct. Where practical the rooms should be made
an odd number of feet plus two inches in the direction that the joists run. For
example, a room 13 feet 2 inches wide can be spanned by 14-foot floor joist.
If the room were made 13 feet 6 inches wide, 16-foot floor joist would have to
be used, with nearly a foot and a half at the end of each joist going to waste,
for floor joist can only be obtained an even number of feet in length, except
where such length as 7 and 9 feet are required, which can be obtained by
cutting joist 14 feet. 18 feet, etc., in two. As few angles should be made in the
outside walls as possible, for turning corners costs money, especiallv in the
roof. While stone always looks better than cement, a saving can be made in
the sills, lintels, water table, etc., in a house of masonry construction by having
them made of cement cast in forms and reinforced with rods. If this is done
properly the difference can hardly be detected between the cement product and
Bedford sandstone, and the former is very durable when properly made.
Good effects can be had for interior finish on inexpensive woods if a careful
painter is obtained. Take, for example, clear birch, stained and grained to
imitate dark mahogany, and straight grained Washington fir to imitate mission
oak. They can hardly be distinguished from the genuine wood. It is poor
economy, and in fact not economy in the long run. to try and economize by
using little cement and more sand in the foundation, inferior grades of paint on
the outside, cheap varnish on the inside finish, pine floor instead of hardwood,
the cheapest heating plant in the market instead of a good hot air or hot water
system, the cheapest grade of plumbing, etc. While a great many minor
matters might be mentioned wherein a home-builder could economize while
having his plans and specifications prepared, the advice given in this entire
article might be summed up in one sentence : Engage the services of a com
petent architect. He makes a special study of these matters, since his repu
tation depends entirely upon the manner in which he serves his clients' interests.
It is his business to compare the size of a home with the amount a man desires
107
to invest and apply strict economy wherever practicable. An architect cannot,

however, entirely control the cost of a house. When a home-builder wants a
house of a certain style, with certain things on the inside and outside, he should
expect to pay for those things and not expect his home to cost no more than
a house one-third smaller and not finished as elaborate in detail as he would
have his own. System is the word. When constructing a home or building it
should be applied from the first to the last.
*
A New Director of Federal Architecture

THE committee recently appointed to standardize future Federal buildings
throughout the country appears to be proceeding in a manner that can
hardly inspire confidence in the wisdom of their course, says an exchange.
Since the repeal of the Tarsney Act the capacity of the bureau has been so
severely taxed that already it is said to be several years behind in its work, a
situation that is aggravated by the refusal of Congress to appropriate the neces
sary funds for increasing the drafting force.
As a means of remedying the present intolerable conditions the chairman
of this new committee is reported to have statednot that the drafting force
would be augmented by a sufficient number of competent men to successfully
cope with the situationbut that "there would soon be a good place paying
$8,000 a year for a first class business man who also knows architecture." Ac
cording to the report the holder of the "good place." who it is proposed shall be
a civilian, not under the civil service rules, will take precedence over the present
Supervising Architect of the Treasury, and will be responsible for all of the
public buildings hereafter erected just as the Supervising Architect is now re
sponsible. In other words, the proposed new official is expected to direct the
policies of the Bureau of Buildings, and the so-called "Supervising Architect"
is apparentlv to be relegated to the position of chief draftsman. The expediency
of such a shifting of title is not obvious from any legitimate viewpoint, and the
farce is unlikely to increase the respect of the public toward its perpetrators.
It would seem, moreover, that the "first class business man" who succeeds in
meeting the requirements of his position by actually standardizing government
buildings will give little evidence that he ''also knows architecture," for the
two conditions are contradictory. The proposal of the committee, as reported,
ts to formulate stock designs for government buildings to be located in cities
and towns of varying populationsthat is, the same design for future postoffices is to be used in a farming community of 10,000 people in northern Maine,
and in a town of the same size suburban to San Francisco.
Such an absurd proposition lacks that very practicality upon which the
sponsors of the new movement so pride themselves. Quite aside from any
effete considerations of appearance or of congruity of style with neighboring
buildings, there are matters of local convenience or necessity which are rarely
identical in any two cases. The very magnitude of the country, with its widely
divergent climates, presents an almost insurmountable obstacle in the way of
adopting even a general American style and to seriously propose that a single
stock design for a postofficefor exampleis appropriate for every section of
the country, is preposterous. The local availability of certain materials must
also affect any well-considered design and often be a great factor in its cost.
A regime of a few years under this policy of standardization induced by poli
ticians is likely to be an expensive experience to the country, not only in in
creased money outlay but in the decreased efficiency of future Federal buildings
and loss of artistic qualities in their architecture.
108
The Relative Positions of the Engineer and the Archi

tect in Designing Commercial Buildings
IT IS difficult to define the true functions of the engineer and the architect in
designing and constructing modern commercial buildings. Before the de
velopment of our high steel frame buildings, and before reinforced concrete
had attained prominence as a structural material, the problem of building
design was essentially an architectural one. If the engineer's services were
required at all it was only in connection with the foundations, and even then he
was consulted only where conditions made the design and construction exceed
ingly difficult. Due to the development of our steel frame and reinforced
concrete buildings, however, conditions have changed and the design of these
structures is becoming more and more an engineering problem. In such build
ings strength and durability are of greatest importance, and to insure these
qualities in building construction requires the services of engineers. It is only
natural, due to the gradual development of commercial buildings, that in present
building organizations the architect is supreme, while the engineer is placed in a
subordinate position. In the more prominent architectural firms there have
been established engineering departments, in charge of engineers who some
times are given the dignified title of "Chief Engineer." In most cases the build
ing is planned almost entirely by the architect, and the engineer must make his
steel or reinforced concrete design conform to the architectural design. In
some cases this has resulted in structural monstrosities and in exceedingly
expensive structural designs.
If the architect is sufficiently broad-minded, and if his training and experi
ence have been of the right kind, he will have felt the advisability of permitting
the engineer to assist materially in planning the building. However, as the
final decision lies with the architect the tendency is to over-emphasize the archi
tectural features to the detriment of the engineering design. In making this
statement it is realized that the architectural treatment of a building is of great
importance, but in most commercial buildings safety and permanence are essen
tial, while low cost is often absolutely necessary if the structure is to be financed.
The latter factors give increased emphasis to the engineering design. Most
architects have received their initial technical education in our universities, and
the present tendency of architectural schools is to give less emphasis than
formerly to mathematics and to those subjects which teach fundamental
engineering principlesand more emphasis to the aesthetic design.
We believe that the design of many classes of commercial buildings should
be in charge of engineers and that the architectural features of such buildings
can well be taken care of by architects in the employ of these engineers or by
engineers who have gained sufficient knowledge of architectural principles to
enable them to design structures in which aesthetics has been duly considered.
We also believe that engineers have not been sufficiently alert to their interests
in permitting conditions to come about such as now exist in the building field.
Furthermore, the engineer's position will not be improved unless he takes more
active steps than formerly to protect his interests. Due mainly to the organized
activity of architects, laws have been passed in some states which require that
all building designs must be in charge of and signed by licensed architects.
This has acted further to bar the engineers from activity in the building field.
It is, of course, true that engineers can qualify as licensed architects by passing
the required examinations. Under existing conditions, however, this is difficult,
as the board of examiners is composed of architectsmen who frame the
examination questions from an architect's viewpoint.
109
One serious phase of the question, from an engineer's standpoint, is that,

rnder existing conditions, contracts for building designs and superintendence
naturally come to architectural firms, the business dealings being between owner
and architect, the engineer getting a small share of the business from the archi
tectnot from the owner who furnishes the necessary capital. We believe
there is a legitimate field in building work for both the engineer and the archi
tect, but we are convinced that in designing certain classes of commercial build
ings the engineer should be supreme. The latter is certainly neglecting a
promising field when he does not exercise his right to negotiate directly with
the owner in obtaining contracts for building designs and superintendence.
Engineering and Contracting.
*
The Value of an Architect's Services
COMMENTING on the practice (unfortunately still prevalent to a limited
degree in certain quarters) of planning buildings of more or less import
ance without the assistance of an architect, who is, however, called in,
after the planning and general design of the building has been determined,
simply to "dress it up a bit," Mr. Electus D. Litchfield writes the Evening
Post, New York, as follows :
In the old days there were so many untrained and incompetent architects that it
can be understood how such a course might have been adopted. But, today, with
the multitude of well-trained practitioners, such a proceeding can only be explained
by complete ignorance of the architect's methods and capabilities. For the beneftt
of those who are unaware of it, let me say there is no building operation or feature
of a building operation upon which the architectand, of course, I mean a capable
and well-trained one. just as when one is advised to consult a lawyer, an immature
law student without balance or experience is not meantcan be consulted without
advantage to the owner. To thoroughly appreciate this, one must understand the
theory of modern architectural practice, the basic theory, which has been the great
contribution of the Ecole des Beaux-Arts in Paris to the architecture of this coun
tryand I may perhaps fairly say, to the architecture of the worldand that is
that the plan is the fundamental thing that predetermines the success or non-success
of any building or group of buildings. There may be buildings, commonplace or
even unpleasing in appearance, with successful plans, but a really successful building
in any particular is hardly possible with an unsuccessful plan. For that reason the
study of plan has become the great study of the modern architect. * * *
It is high time that those interested in buildings, for rental or for sale, be they
apartments, lofts or office buildings, recognize two facts: first, that the practical
planning of a building, together with an appropriate and pleasing facade, determine
in a great measure its real value; and second, that it pays much better to decorate
a building inside and out with brains, rather than gold leaf.
For too long have the operators been carried away with the idea that a lavish
display of solid bronze and expensive marbles produce the most effective corridors;
that a wealth in ornament, be it in white marble or terra cotta, will enable them to
obtain a pleasing and imposing facade. It is time that they realized that good
planning, well studied proportions and a modicum of appropriate and carefully de
signed ornament are the elements which produce successful buildings. It is also
time that they appreciate the fact that these can be obtained only at the hands of
an experienced and we'l-trained architect, and that an architect can, with the use
of the most modest priced materials, obtain a building more appropriate and with
more enduring charm than the untrained man with the htghest priced products of the
quarries and the mines.
The truth of Mr. Litchfield's statements, comments the American Archi
tect, has. of course, always been realized by members of the profession, and
indications are not lacking that a rapidly increasing number of operators and
investors are accepting it each year. The field of the architect's activities is
rapidly widening, until it now embracesto a limited degree perhaps in some
instancespractically every class of building or structure erected. All that is
110
necessary to make the employment of an architect the first step in any building
operation, is the education of the layman to a full appreciation of the architect's
methods and functions. To this work of education, Mr. Litchfield's article
forms a worthy contribution, and it is hoped that every architect will, as
opportunity offers, render a similar service.
*
*
*
Protest Against Destruction of Works of Art Abroad
GEORGE F. HAMMOND, an architect of Cleveland, Ohio, has started
a movement in this country to protest against the destruction of historical
buildings and works of art in the present conflict in Europe and has
addressed a letter to the architects of the United States courteously expressing '
his views and asking the co-operation of the profession. The letter is as
follows :
Dear Sir: I have taken it upon myself to get an expression of opinion from as
many members of the Institute as are willing to answer this letter in regard to the
destruction of works of art and historical buildings by contending nations in the
present conflict in Europe.
Owing to the fact that so many of the European countries are at war it seems
to remain for the architects of the United States to protest against the unnecessary
destruction of works of art and architecture.
While an expression of opinion will naturally be personal it should, as a whole,
and representing as it will the sentiment of individuals, have some weight, not alone
with foreign citizens in general, but with foreign officials to whose attention it will
undoubtedly be brought.
It is because what is everybody's business is nobody's business that I have seen
fit to take the initiative in this matter. I do not see that a protest of this kind can be
received except in the respectful spirit in which it is offered ; it is therefore couched
in moderate terms.
I am sending a copy of this letter and enclosure to each Fellow and Member of
the Institute.
Trusting you will sign and return the enclosure at your earliest convenience in
order that the matter may be brought to the attention of the president and acted
upon, I remain,
Very truly yours,
GEORGE F. HAMMOND,
Fellow of the American Institute of Architects.
Those who are in sympathy with the movement are asked to sign the
following letter and send it to the President:
To the President, Washington, D. C.
Sir: We, the undersigned, Fellows or members of the American Institute of
Architects, desire to call your attention to the reported destruction of works of art
and buildings of architecture or historical interest by the contending armies in the
present European war.
We request that you will take such action as in your judgment may be advisable
to bring to the notice of our ambassadors for proper presentation to the rulers of
all nations, this, our expression of opinion.
We believe that the works of art and architecture belong, in a sense, not ex
clusively to the nation holding them, but to the entire world.
We believe that the destruction of this class of property, which cannot be replaced,
is not
necessary
or justifiable
act. the provocation, other methods of obtaining
Wre a believe
that,
however great
redress may be used instead of depriving this and future generations of the benefit
of the study of works of art and architecture produced by those who have preceded
them.
We therefore request you to bring to the attention of the world in general our
views in such a manner as you may deem advisable.
Respectfully,
111
Destruction of Priceless Stone

IN ALL history there has never been a war so destructive, not only of human
I life, but also of the work of man's hands, as the present one which is de
vastating Europe. Entire cities have fallen from shells and fire, and some of
the finest buildings that have come down to us from mediaeval times are now no
more than heaps of ruins. The whole world mourns the loss of magnificent
examples of masonry and stone carving that can never be replaced. When the
war is over, and when the nations have recovered from financial and business
disturbance, there is bound to be an enormous amount of building to replace the
structures that have fallen, even though some of the great edifices can never rise
from their ashes.
The greatest regret throughout the world, says Stone, has been expressed
over the fate of the wonderful Cathedral of Rheims. This has everywhere been
held as one of the most magnificent examples of Gothic architecture anywhere
in existence. It was at first reported that this was totally destroyed, but now it is
known that the principal loss was the roof, the interior and the fine wood work.
Of course there are scars from cannon shots on the exterior walls, and many
of the quaint statues that adorn the facade have been chipped and mutilated.
But the Gothic architects built for all time, and with honest stone masonry.
It would take more than a bombardment with high-power modern shells to
shake their walls so as to impair their integrity. One of the particular glories
of the Rheims Cathedral was its marvelous system of flying buttresses, illus
trated herewith. These are almost lace-like in their delicacy. There has been
no indication in the despatches as to how much these suffered under the cannon
fire, but they could hardly have escaped in a bombardment that totally destroyed
the roof.
The entire progress of the war in Belgium and France has been through a
region dotted with famous and beautiful examples of stonework, and many
of them have fallen. The loss at Louvain is deplorable in the destruction of the
priceless library, although the building itself was not especially notable. The
magnificent Hotel de Ville, another Gothic gem, escaped, and it is believed that
the damage to the exquisite Cathedral of St. Pierre is not total. This edifice
has the most profuse and elaborate ornamentation in the way of stone carving,
the facade and side walls being miracles of dainty moulding, pinnacles, crockets,
bosses and other enrichments. The great stone structures of Malines,. Dinant,
Nancy and other quaint towns are battle-scarred, we may be sure, although full
particulars are lacking as yet.
The loss of any great memorial of the past is always to be deplored for its
historical associations, even if it is possible to replace it. But we cannot replace
these examples of mediaeval stone work. It is not that our architects lack the
genius to plan them or our artisans the skill to carve them. Conditions of life
and labor are so different now that we cannot hope to duplicate them. They
were constructed by men to whom religion was a direct and daily inspiration.
They gave their life to the work, and received, not princely pay, but the bare
necessities of existence. What is more, the work was carried on for generations
and centuries, and many gave freely of their time and treasure who could never
hope to see the full fruition of their devotion. Nevertheless, if we cannot build
anew such structures as those that have suffered in the war, it is certain that
there will not be lacking, once the struggle is over, generous contributions from
all parts of the world to restore them to at least a shadow of their former glory,
if this is found to be possible. We need them as an inspiration for our builders
and artisans of today.
112
THE
Arrljttrrt anil lEttgtnrrr
OR CAIJPOUMA
Architects* Structural Engineers, Contract,
Bustness Offtce and edttortal Rooms
TERMS of subscrtptton
(Includtng
all parts
of the; toUntted
Statespotnts
$1.50
Dei
annum ;postage)
to Canadato 50c
addtttonal
all Foretgn
It Vol. XXXIX. November, 1914
No. 1
ASSOCIATE EDITORS
Wm. B. Gkstkr.
1 Inspectton
\ and Tests
I.orhn E. Hunt. C. E.
^m^CK: ! Reproof Constructton
W. VV. Brutts. C. E. t
Structural Steel
II. J. Brunnter
f
Athol McBkan
amt Terra
\V. E. Denntson Brtck. Tile
Cotta
Howard Frost.
Artificial Stone
H. M. '.OWRNthAL
| Roofs and Roofing
J . K. D. Mackf.n7.tk
Rock and Gravel
Fred M. Woods. Jr.
Intertor Decorat1on
C. W'ALter T07.f.r Wtlbur Davtd Cook. LandscapeArchitecture
T. C. Kterulff
Legal Points
Paul C. Buttf. - Electrical Constructton
Louts F. M aukr - - Waterproofing
ARCHITECTURAL
Frt-d H. Meyer
William O. Raigucl
Edward T. Foulkes
Sumner P. Hunt
Alfred F. Rosenheim C. Sumner Greene
Houghton Sawyer
Clayton D. Wilson
John G. Howard
Almcric Coxhcad
Arthur Brown. Jr.
Harrison Albright
Chas. P. Weeks
John Parkinson
Octavius Morgan
T. Patterson Ross
J. C. Austin
William H. Weeks
Jas. W Plachek
Chas. W Dickey
CONTRIBUTORS
Wm. A. Newman
Smith O'Brien
Jas. W. Reid
H. F. Starbuck
J. Harry Blohme
Nathaniel Blaisdell
Herman Barth
W. T. Bliss
Arthur O. Johnson
William Mooser
Herbt rt E. Law
Robert Morgeneier
Hon. Jas. D. Phelan
B. J. S. Cahill
John Galen Howard I '. A. I. A.
Louis C. Mullgat<it i
E. M. C. Whttney
A. I Whttney
Fredertck W. Jones
Manager
Treasurer
Managing Editor
The European war is causing a

scarcity of women servants, the immiADrHtTcrr aw
gration statistics for
^S!aTtL.^.M August showing a
JJJTO AMERICAN ^ off in 8the
WOMAN
number taking pas
sage for America of more than 80 per
cent as compared with the same month
in 1913. This means that the Ameri
can housewife must depend more and
more upon her own resources.
Commenting upon the return of the
American woman to domesticity.
Craftsmen says that probably the
greatest aid which can lie rendered the
woman of the future as a housekeeper
will be furnished by the American
domestic architect. Whether man or
woman, the builder of American
homes in the future will make a very
special study of the convenience and
comfort of women in relation to their
household problems. This does not
mean that we shall have houses that
are only practical, and dreary as the
practical sometimes is ; it means rather
that as houses become more con
venient, more suited to the needs of
an intelligent age, they will inevitably
become more beautiful, more satis
factory artistically as well as practi
cally; that the architect, the scientist,
will study all kitchen problems; that
we shall find clean, wholesome, expe
ditious methods of accomplishing
tasks that formerly were disgusting
drudgery. The interior of the house,
its furnishing, and its fitting will be
simple as well as permanent. The
minute women decide to face the diffi
culties of their own housekeeping
they will do away with fashions in
furniture and furnishings. They will
decide upon a type of beautiful things
such as homes were furnished with
centuries ago, when women inherited
the artistic comforts and decorations
of their houses. And this will not
lessen the beauty of American homes ;
it will in every possible way add to it,
for articles that are made to be per
manent inevitably receive imagination
in conception, thought in design, and
sureness in construction. One does
not make or buy a poor inartistic
article to live with forever.
"FIRE - A
CRIME"
METAL DOORSTin. Kalamein, Composite- Hollow Steel and Bronze,Swinging,
Rolling Doors.
and Steel Sash
jpg*- See the SIMPLEX METAL WINDOW.

Of California
Single Copies.
$1.50 per Year
25 Cents
Issued monthly In the Interests of Archttects. Structural Engineers. Contractors and the Allted Trades of the Pactfic Coast.
Contents for December

PAGE
TOWER OF JEWELS (in four colors)
Frontispiece
Carerre & Hastings, Architects
THE PANAMA-PACIFIC EXPOSITION FROM AN ARCHITECT'S
VIEWPOINT
47
B. J. S. Cahill, A. I. A.
THE ARCHITECTURE OF THE PANAMA-PACIFIC INTER
NATIONAL EXPOSITION Gl
Lowell Hardy
INTERNATIONAL EXPOSITIONS
75
Louis C. Mullgardt
AN ARCHITECT'S IMPRESSIONS OF A WONDERFUL EXPOSI
TION
77
W. Garden Mitchell, A. L A.
THE ILLUMINATION OF THE EXPOSITION BUILDINGS
83
W. D'A. Ryan
THE STATE BUILDINGS AT THE EXPOSITION ...
88
SOME NOTABLE ACHIEVEMENTS IN PLASTIC ART AT THE
EXPOSITION
93
ARCHITECTURE
97
W. R. B. Willcox, F. A. I. A.
THE FEES OF ARCHITECTS
102
"PRACTICE AS AMERICAN INSTITUTE ARCHITECT"
104
SOME NOTES ON CLAYS AND TILES
105
J. Clark
SOME HAND-CARVED FIREPLACES
108
EDITORIAL
112
AMONG THE ARCHITECTS
114
I Index to Advertisements Page 8]
46
STEEL BARS for Concrete REINFORCEMENT

WE CARRY A COMPLETE STOCK OF
TWISTED SQUARES, PLAIN SQUARES AND ROUNDS
We Will Make Lump Sum Bids on Re
inforcement Fabricated and Installed.
WOODS & HUDDART
444 MARKET STREET
Tel. Sutter 2720
SAN FRANCISCO, CAL.
OIL
BURNERS
VACUUM PLANTS
ICE MACHINES
The Three Essentials for the Up-to-date
HOTEL and APARTMENT HOUSE.
With a JARVIS Guarantee Your Troubles Are Over.
Home ManufactureEverything but the motors
T. P. JARVIS CRUDE OIL BURNING COMPANY
Phone Market 3397
275 Connecticut Street, SAN FRANCISCO
ARCHITECTS who design

Churches, Schools and Garages
SPECIFY
Acme
Note Vertical Partition in Background of Cut
BOISE
Everlasting
Of Beautiful Color
Rolling Partitions
(Horizontal and Vertical)
PERMANENT and EASY TO OPERATE
Your inquiry, giving number and size of
openings, will bring prompt reply. (Mention
this advertisement when writing.)
UNION BLIND & LADDER CO., Inc.
3535 Pcralta St.. Oakland
Phone Piedmont 171
SANDSTONE
Fast-Cutting
Fireproof
Inexpensive
Strong
^
What more could be said of Perfect Stone
BOISE STONE COMPANY

BOISE, IDAHO
Cut by all Stone Contractors on the Pacific Coast
When writing to Advertisers please mention this magazine.
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Frontispiece
of California
December. 1914
------
Main Tower, or Tower of Jewels, Rising to a

Height of 1: Feet. Studded with 125,000 Jewels.
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CARERRE & HASTINGS, ARCHITECTS
THE
Architect
and
Engineer
Of California
Vol. XXXIX.
DECEMBER, 1914
No. 2.
COLONNADE COURT OF FOUR SEASONS

Henry Bacon, Architect
The Panama-Pacific Exposition from an Architect's
Viewpoint
By B. J. S. CAHILL, A. I. A., F. R. G. S.
THERE are good reasons why an architect is the very last person in the
world to describe a great symphonv of architecture such as the
Panama-Pacific Exposition. He is much too likely to see orders, mold
ings and details where he should reallv see only colonnades, colors and
effects. His knowledge of detail and the processes of construction is apt to
dull his sensibilities to the bewilderment and confusion that is so fascinat
ing to the layman. And before going any further, we might dwell a moment
on this very question of the enjovment of any great complex work of art.
Only those who do not know too much and who can surrender wholly to
their senses, can really get the thrill and rhapsody of a mighty pageant.
Those who are young will enjoy the Fair far more than those who are old.
Possiblv this accounts for the fact that the nations when they were younger,
succeeded so much better than we do in ravishing the minds of the masses
by the terrific architecture of their tombs and temples. No doubt the first
48
triumphs of architecture in evoking the emotions were obtained by inspiring

awe, which in reality is nothing but the glorification of fear. If we can
reduce our feelings to those of a child or a savage, we can easily realize
how a very high wall, like a very high cliff, will induce a sort of dread. It
is impossible to go close to a precipice of rock, such as can be passed on the
trail to the Upper Yosemite Kalis, and look up to the towering mass above,
without the feeling of fear. It is probably explained by scientists as a racial
reminiscence of the danger from falling fragments. Then again a great
cave will overwhelm the senses and cause one to speak in whispers, just as
a mighty dome or vault will do. No one can quite escape these primitive
feelings, and the reason is that they are based on deep-rooted and age-long
inherited racial recollections. But the nearer we are to the child and the
savage and the less our feelings have been drilled out of us by learning, the
quicker we shall respond to the primitive appeal of "fear" in architecture,
which is the basis of the "sublime." And next to what is huge and over
whelming in heroic architecture usually developed in exposition work,
comes the use and joy in color. The full delight in color is reserved also for
children and semi-savages. We grow wise and gray by the same process.
The grayness of modern life is a sign of our weariness and sophistication.
Time will fade out anything. Youth and newness, freshness and folly even,
all are full colored and vivid. And here again the appeal of the Exposition
considered as an architectural spectacle is, primarily, to those who are
young and looking out onto life with hope : keen in enjoyment rather than
apt at analysis. In other words, the Panama-Pacific Exposition proper is
frankly a feast, a revel even in all that is gorgeous and intoxicating in archi
tecture, sculpture, painting, gardening and illumination. And the main
appeal is made to those with keen appetites and relish for all the good
things that can be fed to mortal vision, rather than to those who could ex
plain and analyze them. It will therefore be my function to mix an appe
tiser rather than to expound the menu or reveal the secrets of the chef's
receipts.
Let no one imagine from the tenor of the above remarks that this great
symposium of art and architecture appeals to youth because it is in the
least bit crude, or that it appeals to primitive tastes because it is in itself
the least bit primitive. No one could make a more misleading mistake. The
whole gorgeous pageant, the entire complex "scene," is the very last word
in all that is sophisticated and down to the hour. All the effects, no matter
how barbaric or spontaneous in appearance, have been worked out with
deliberate and cold-blooded science by a group of experts as highly trained
for the feat as any to be found on the continent.
When this great exposition was actually determined upon, I was in the
city of Portland, far removed from all discussion and local speculation.
Without claiming any prophetic faculty, but to show that the final realiza
tion expresses an ideal common to a great many of us, I will repeat what a
friend and myself said in discussing the news at the time, long before even
the site had been finally settled upon.
After some discussion we determined, three things. We said, this Fair
must be at North Beach, because as it celebrates a water triumph it must
be not only near the water but part of the water. It must not only flank
the bay, but the bay must be let into and must flow around the Exposition.
This could be done at Lake Merced or near the Park, but these sites are not
near enough to the town. Next we decided that, on account of the wellknown winds it should be built on the bazaar plan, a series of connected
interior courts, each a different type of oriental architecture and each with
V)
stone rimmed pools of water to reflect the glory of the walls around. FinaHy
we concluded that the Exposition architecture should differ from all at
tempts heretofore, inasmuch as it should be one riot of color from top to
bottom. In the main these leading ideas have been realized with rather less
of water and much less of India, Egypt and Ceylon that we anticipated.
And after all there has been deep wisdom in this. We are all prone to
make false analogies. We say, for instance, what the Atlantic has done for
the eastern coast, the Pacific will do for the western. We entirely overlook
the fact that water can divide as well as unite. The Atlantic is a good high
way between Europe and America, but the Pacific is a barrier between
America and Asia. And just as day and night meet in mid-Pacific by uni
versal consent, so do the light and the dark races of the Occident and Orient
line up against each other here in permanent and unblending demarkation.
The west coast of America is, in a sense, the last boundary of the white race
and it is not to Asia that we turn for inspiration in the arts, but back to
Europe where we came from. California is not only the same latitude as
Southern Europe, but it is destined to be settled up through the Panama
Canal by immigration from the Mediterranean. And, in a sense, San Fran
cisco bay is a miniature epitome of the Mediterranean. The architecture of
the Exposition expresses this perfectly. For it is inspired almost wholly by
the ancient forms developed in classic Greece and Rome ; in Spain and Italy
of the Renaissance, and in France of our own epoch. Added to these are
some motives reminiscent of the Gothic of Rouen and the Byzantine of
Ravenna, and over all a hint that the domes of this new City by the Golden
Gate are kin to the domes of the old city by the Golden Horn.
On low flat land, then, by the water's troubled edge, lies this, the latest
sea-born city of a dream, and like a dream ephemeral and fleeting. Its
colored domes are clustered thick like bubbles of ocean foam blown up from
the storm-tossed breakers of the beach. Its color, seen from afar or from on
high, is also the color of coagulate sea-foam, as though its walls were
modelled in new meerschaum or cut from old ivory. Its roofs are fretted
like shells and colored like coral wet with brine. Its portals are stained as
copper keels salted with long voyages. Its domes are of many colors. Some
are of cold orange, like fresh kelp ; others gleam like winter sunset. Others
again are the green of breaking waves and others are of every shade of jade.
But we must descend from this far-away vision which greets the senses
from the hilltops like a strain of distant music, and view the golden city
at closer range and in the light of the noonday sun.
As the basic or "holding" color of the whole Exposition is founded on
a full gamut of orange from the coldest tones of cork to the fullest glow of
gold, it is really best to see the buildings after rain, when the sky is washed
to the purest cobalt. Then if we walk down through the central avenue
of the main buildings from west to east, providing it be afternoon and the
sun is shining, we shall face, one after another, a series of resplendent tone
pictures the like of which has never before been decreed or created by any
community on earth.
The architectural part of the whole Exposition is, like ancient Gaul, and
everything else for that matter, divided into three parts. If we imagine that
we are stationed inland and looking northward across the bay at about the
center of the entire grounds, the main Exposition group will lie in a long
rectangle across the middle of the line of vision, its long axis running east
and west. This is the main organic nucleus of the Exposition. Its body is a
huge rectangle 3000 feet long and 1000 feet across. This is divided into
eight exhibit palaces by four broad open courts cutting it once through its
50
51
58
long dimension and three times through its short dimension. At the head
of this rectangular group to the left or west is the Fine Arts Palace and at
the foot, to the east, is the Machinery Hall. To the south of this main
rectangle ami flanking the main entrance leading to the Tower of Jewels
(the tallest building of all), is the Horticultural Palace and the Festival
Hall. This, with the addition of an Automobile Exhibit south of the
Machinery Hall, constitutes the principal part and the only part that can
be considered with its gardens and waterways as one homogeneous group.
It is this group that summarizes so completely the architecture of the
peoples dwelling on the Mediterranean, not at any one epoch, nor in any
one spot, but rather, as it were, the culminating spirit of their greatest
efforts. Nor has this been done in the slavish spirit of the archaeologist.
In this the designers have again shown consummate wisdom. I have seen
two of the great French Expositions, and I recall that while they showed
amazing originality, they did not for that very reason make instant appeal.
No wise concertmeister will make his whole programme of new music by
new composers. At a gala celebration above all, a wise impressario will
be careful to feed the people with something familiar. No new, original
work of art can ever hope to win wholesale and popular success. Much
more than in Europe, already stocked and overflowing with classic master
pieces, do we here, on the edge of the white man's world, need to see real
ized and visualized some of the spirit of the masterpieces of old. It's a long,
long way to the Acropolis, and what we need here is something of the
godlike simplicity of the Athens of Pericles before our eyes, and some
thing of the monumental and massive dignity of Imperial Rome. What is
paltry, like what is poor, we have always with us. We need, therefore, on
this exalted occasion of the Exposition, something of the Gothic splendor
of the age of tourneys and mediaeval pageants, something of the grace and
elegance of the Renaissance in Italy, something of the richness and romance
of the Renaissance in Spain. It will do us good, too, to marvel awhile at
liyzantine polychromes and African arabesques. Nor should we overlook
the art output of our own age, the plastic exuberance of the French, and
last, but not least, our own American ingenuity in the latest art of illusional
illumination. And all these things, the cream of all creative art of all the
ages we have here assembled and blended in one superlative symposium,
and not as slavish reproductions, but rather as spiritual reincarnations. So
that we have here in the richest vestiture of form and color and in the
noblest setting of land and water, the very spirit and soul of the old world
Genius of Architecture to abide amongst us for a while as a wondrous
vision and memory of what has gone before, and as an abiding inspiration
for what is yet to come.
The second part of the Exposition lies to the left or west of this, the
central group. It is a more or less heterogeneous assemblage of buildings
for the various states of the Union and foreign countries.
The third part of the Exposition, lying to the east or right of the central
body, is devoted to amusements, to fun, frolic and buffoonery, also as much
a part of an exposition as its high art and its not quite so high com
mercialism. In fact, this section pays for much of the high-toned glory of
the rest and should not be despised. It will most likely attract and hold a
great majority of visitors who are only partly interested in what may be
called legitimate exhibits, much of which to the average man comes up to
that dreary wandering "among miles of pickles," which is the impression of
the inside of some expositions we recall.
I have suggested how a casual visitor, on the right kind of a sunny after
noon, might get the maximum of thrills from the glorious facades of the
59
inner courts and arcades of the main group. I think it would be possible
to very much intensify the vividness and stimulation of our pilgrim's
progress from west to east as prescribed, if he would first of all make a
hasty tour of the second part of the Exposition, particularly among the
various State Buildings. In the ritual of every religion a feast is invariably
preceded by a fast. To properly appreciate the soft air and the rose-grown
charm of a California winter one should come from the biting blizzards
and sleeting chills of a Christmas in Massachusetts or the Middle West.
There is no intention here whatever of belittling the architecture of the
State buildings. They represent the typical normal aspirations of the
various states with fair precision, and it is rather to exalt the creators of the
Exposition group than .to decry the designers of the states group that a
contrast is here suggested.
The designs of the Exposition Palaces and Courts are carried to such
a high pitch of intensive excellence, the detail is so rich and the finish is so
florid that when once the eye is keyed up to this lavish standard, it is
almost impossible to realize for long what amazing riches of form and color
are actually surrounding us. Visions of delight crowd on us so thickly that
the optic nerves refuse to rightly respond. At any rate, we grow so accus
tomed to this revel of form and color that we lose consciousness of its ex
traordinary opulence. One does not realize this at first. It is only when
one gets among the plain State Buildings that one realizes the contrast.
And it is as startling as when one turns from the amber glow of sunset to
the cold grey world of an hour after.
I have often wondered what there was to boast about in the buildings
of Bullfinch, or for that matter of any of the early architects of New Eng
land. Severe, plain, uninteresting, bald, cold, drab and dismal they have
ever seemed to me. Nothing in all the history of architecture was ever so
dull and deadly as a Puritan meeting house, unless we except the people
who made them and prayed in them. Of course any narrow cult that ex
cludes muc.h will grow deep and strong in what it retains. But for the
normal balanced man no such half culture is salutary. But if Puritanism
gave us a starved and frigid architecture, it was at least consistent and not
devoid of character by which you could at least recognize it and keep away!
But there is another cold and dreary architecturethat of a New Com
munity, especially a new Anglo-Saxon community. Let us be frank about
it and admit it. The Puritans had a rough sincerity. They refrained de
liberately from expressing any joy in their buildings. They had their burn
ing enthusiasms and made great sacrifices, but NOT in the cause of art.
But the good people of a later day, those who swarmed over this huge
continent and made its trails, felled its forests and built its cities, their
main enthusiasm and sacrifice was in the making of money and that with
so much haste that art again was served as horribly as the Puritans served
it ; only that the former wouldn't and the latter couldn't. But however hard
they tried, every court house and city hall over some two million square
miles of cultivated civilization attests how a great community can be heroes
in agriculture and hoboes in architecture.
The commonplace architecture of the Middle West, though very flatter
ingly represented at the Fair, can be appreciated by reversing the experi
ment recommended above. Let any one merely pass through the main
exhibition and then visit the States buildings and he will feel how tame and
tiresome is the architecture we produce on ordinary occasions compared
with the architecture we are capable of producing on extraordinary ones!
60
ANOTHER VIEW OF THE PALACE OF HORTICULTURE

Baltewcll & Brown, Architects
And perhaps this will be the lesson of the exposition. Not that every
building must be a palace nor every day Sunday, but that we can lift up the
plane of our daily work to much loftier standards than those that now
obtain.
And perhaps another view leads to the thought that as the Exposition
summarizes and brings to a focus the art of Europe on the Mediterranean,
we might look for the latinising of our art. Here, on similar latitudes facing
the Pacific, we may conceive that a more genial climate will nourish a more
generous architecturesomething that would be represented by olives and
oranges, grapes and pomegranates in place of the outdoor art we associate
with apples and oats, hops and potatoes.
61
ARCHITECTS' PRELIMINARY DRAWING OF THE PALACE OF HORTICULTURE

Bakewcll & Brown, Architects
The Architecture of the Panama-Pacific Interna
tional Exposition
By LOWELL HARDY.
ON February 20, 1915, on time and finished to the last minute detail,
the $50,000,000 Panama-Pacific International Exposition, the greatest
of all world expositions, will open at San Francisco.
A consideration of the widely-known "block plan"', that has been here
worked out with such marked success, is of interest at this time.
This plan as applied to the construction of the eight central exhibit
palaces is unquestionably a happy solution of the exposition problem in
that the distances to be traveled are reduced to a minimum. In all previous
expositions the most wearisome feature has been the long walks between
the various buildings, while at the same time the lack of any regular plan
of location for the different exhibit palaces has proven confusing to visitors.
The main group of buildings at the Panama-Pacific International Ex
position may be briefly described as being set within a great garden, with
its own area broken up to afford the interior courts, which in themselves
have been made features of great beauty. A profusion of flowers and
notable works of sculpture surround pools of water in which are reflected
the gardens and the architectural beauties of the palaces, while the walls
are hung with mural paintings, the work of the greatest of living artists.
Splendid fountains are to be found in every court.
In the building of the exposition the attempt has been made to not
only provide a fitting setting for the great world celebration of the com-
The Architect and E 11.Q. 111Cer
C O U R T OF A B U N D A N C E
--"
*-
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63
pletion of the Panama Canal, but also to foster progress toward better
architectural standards. To this end some of the ablest men in the pro
fessions of art and architecture were brought together.
The architecture of the exposition is not of a rigid type but on the
contrary the style is flexible, all sameness and monotony being avoided. A
satisfactory relation has, however, been brought about between adjacent
and attached structures by means of a unique plan of designing. The
architects of the various buildings were not commissioned to prepare com
plete plans for the structures. Instead, the buildings proper were designed
by the engineers, the architects' function being to design the walls and
courts. Another way of expressing this idea is to state that the entire
exterior wall of the main group was put into the hands of one architect,
while the facade of a separate court was designed by different architects.
It will thus be seen that a court is adjacent to two or four buildings. Each
entire court has been considered a decorative feature in itself, and is in all
cases the result of one designer's effort, producing thereby a perfect unit.
Where the work of the designer adjoins that of another, a transition has
been accomplished by an intermediate architectural treatment.
t Outside of the main group the buildings are cared for in the usual
manner, each structure being handled by one architect. The principal
buildings being the Palace of Horticulture, the Palace of Fine Arts, the
Palace of Machinery, Festival Hall and the California Building.
The main group comprises the following eight exhibit palaces :
Education and Social Economy, Food Products, Agriculture, Liberal Arts,
Manufactures, Transportation, Mines and Metallurgy and Varied In
dustries. As an integral part of its design the Tower of Jewels and the
Court of the Universe, the Court of the Four Seasons, the Court of Flowers,
the Court of Abundance and the Court of Palms.
The three interior courts with their extension are developed long
itudinally north and south, affording the greatest protection to visitors on
warm or windy days. They are (interconnected east and west and open
to the esplanade on the north while the two smaller or south courts open
into the South Gardens.
The Court of the Universe, the central court, is approximately 500 feet
by 900 feet, resembling in size and shape the great plaza approaching the
Church of St. Peter at Rome. On the east and west axes of the curved
colonnades are Triumphal Arches, 150 feet long to base of sculpture, being
larger than the Arc de Triomphe at Paris. Above these arches masses of
sculpture rise forty-one feet higher.
The east arch, the Arch of the Rising Sun, leads to the Court of
Abundance, and is surmounted by a group of statuary symbolizing the
Orient. The western arch, which forms the entrance to the Court of the
Four. Seasons, is of equal size and is surmounted by sculpture representing
the Nations of the West. This arch is called the Arch of the Setting Sun.
These two immense arches exemplify the theme of the exposition, the
meeting of the East and West in the completion of the Panama Canal.
( )n the south the Court of the Universe 'is dominated by the 435 foot
Tower of Jewels, which accents the central entrance to the main group of
eight exhibit palaces. The tower terminates in a globe. The structure is a
pyramidical mass, richly sculptured, rising from a base 125 feet square
through which passes a vaulted opening 60 feet in width and 110 feet
high, with an interior vault 72-6 by 116-6.
The Court of the Four Seasons is 340 feet square and is open on the
north to San Francisco bay by way of a colonnaded avenue 473 feet long
64
VIEW OF TOWER FROM ARCHITECT'S DRAWING

and 171 feet in width. Through a passage in a great niche or half dome
it opens into the Court of Palms. In each of the four corners of the court,
behind a screen of columns, is a niche containing a fountain and statuary
symbolic of the four seasons. Behind these columns are hung mural
paintings carrying the same theme.
The east court, the Court of Abundance, is symetrical and similar in
size to the Court of the Four Seasons. The two south courts, the Court
of Palms and the Court of Flowers, are extensions of the Court of the Four
Seasons and the Court of Abundance. They are rendered in the Italian
Renaissance.
The main group of palaces is 2756 feet long and 1250 feet in width. The
principal features of the plan of the group, in addition to the courts and
65
the Tower of Jewels, are the longitudinal and transverse aisles and
clerestories in each palace of the group. A dome is the central and dominant
factor and is located at the intersection of the longitudinal and transverse
aisles. -The aisles in both directions have arched trusses which terminate
at the dome and there has been added to the structure under the dome,
certain framing to form false pendentives which appear to give it support.
The north and south outside walls of the main group might be said to
be a liberal treatment of the "Plateresque" (Spanish architecture of the
early Renaissance period, so called because of its likeness to the work of
the silversmith) with the east and west walls after the Italian Renaissance,
the latter harmonizing with the Palace of Machinery and of Fine Arts and
serving also as a transition to the plateresque. The ornament and enrich
ment of the north and south walls is chiefly concentrated about the doors,
windows and entrances. The parapet of the main wall is crowned with
Spanish tiles.
In general the architecture of the main group is characterized by such
features as the above mentioned. It has already shown itself to be a style
of architecture extremely well adapted to exposition work and it is
especially suitable for the climate of California.
Of the detached structures of the exposition, the Palace of Machinery
first commands the attention of the visitor. In architectural composition
this palace is Roman, the designer being influenced by his study of the
Old Roman baths and thermae. The decoration is classic in form but
modern in expression, and is suggestive of machinery and invention. The
principal feature of the structure is the three arched aisles, 75 feet wide and
101 feet high, throughout its entire length of 968 feet. On each side
of the main structure there are side aisles 70 feet wide covered with shed
roofs 41 feet high. The total width of the building is 368 feet. There are
three transverse aisles of the same width as the longitudinal aisles and 132
feet high, which form the central and dominant feature of the building.
The interior of the frame is recalled on the exterior of the building by
large arched openings on the ends.
The Palace of Fine Arts occupies a commanding position 400 feet
distant from the west wall of the main group. Immediately in front of the
building is a pool of still water in which is reflected the building and its
surrounding gardens. This palace is curved in plan with its east and west
elevations forming parallel arcs. On the east facade the decorative feature
is a colonnade the north and south terminations of which are the main
entrances to the building. A domed, circular rotunda is enclosed within
the arms of the colonnade and becomes the dominant note of the
composition.
The architecture is early Roman with marked traces of the finer Greek
influences. Pompeiian and Italian forms occur harmoniously, especially in
the garden details. The architect has given an expression of quiet to the
building by means of the pool and the sculptural notes selected.
The Palace of Horticulture, declared by many to be the most beautiful
exposition structure ever built, is Saracenic in composition, and in relation
to its domes and minarettes is similar to the Mosque of Ahmed I. The
details and ornament, however, have a 16th Century French Renaissance
feeling. The wooden trellis work forming a distinctive feature in the
decorative scheme, is derived from the garden architecture of the Louis IV
period in France, which with the large area of glass, suggests the purpose
for which the structure was intended. The dome of the Palace of Horti
culture is the largest hemispherical glass dome now in existence. It is
152 feet in diameter or approximately the same as the Pantheon at Rome,
and 185 feet high.
66
FRONT ELEVATION, VARIED INDUSTRIES BUILDING

Bliss & Faville, Architects
Festival Hall was studied from the Theatre des Beaux Arts type of
French Architecture, because of the exposition style and character of this
structure. The plan adopted has the usual theatre arrangement of a foyer
in front, and the stage with its accessories, behind a circular auditorium, is
unusually successful in its festive qualities. The details are studied from
the French Renaissance ornament, particularly from Le Petit and Fe Grand
Trianon. The building' is 386 feet long and 376 feet wide at the central
part. The dome, which forms the dominant feature of the design, is 221
feet high and 172 feet in diameter on the outside.
PHOTOGRAPH OF THE SAME DETAIL AFTER COMPLETION OF BU1LDING

Bliss & Faville, Architects
67
The California Building is a low, irregularly-shaped structure, about

560 feet long and 420 feet wide, built around an open court 200 feet square.
The court faces the south side by a low arcade accented at either end with
gateways. The architecture is distinctively California Mission adapted to
meet modern requirements. At the north of the court is the main entrance
to the building with arcaded entrances on either side leading into the
California exhibit space on the east, and on the west to the great ball
room with its subsidiary foyer and reception rooms.
The display space covers an area of about 80,000 square feet with an
additional area of about 20,000 square feet in a mezzanine above. The ball
room is 55 by 130 feet, on the inside. At the west of the court is a two
storied wing in which are housed the executive offices of the Federal and
State Commission and of the Exposition.
The Exposition Auditorium, costing $1,300,000 and capable of seating
10,000 persons in the main hall, was erected at the Civic Center. It is 275
feet wide and 412 feet long covering an area of 113.438 square feet. The
architectural treatment of the building suggests the French Renaissance
and is designed to conform with the City Hall, now in the course of con
struction and with other buildings of the Civic Center. The above picture of
the Auditorium is die first to be published, showing the structure as it appears
today. The photograph was taken December 1st and shows a portion of the
cornice still uncompleted.
The main group of exhibit palaces of the exposition occupy about 43
acres. To the east lies the concession district and to the west the State
and Foreign Sites, where the forty foreign nations and forty-three states
that are participating in the exposition have erected their pavilions.
Beyond is the Live Stock Department, race track and athletic field.
The exposition grounds reach from Fort Mason on the east to the
United States Presidio Military Reservation on the west extending along
the shore of San Francisco bay for a distance of about two miles, just
within the Golden Gate. Across the water the Marin Hills rise abruptly
from the strait and towering over all in the background is Mount Tamalpais. It is probable that no previous world exposition was ever so favored
with a site that included to so great a degree the qualities of scenic beauty,
adaptability and convenience.
NORTHERN ENTRANCE, COURT OF THE UNIVERSE

McKIM, MEAD & WHITE,
ARCHITECTS
BYZANTINE DOORWAY, PALACE OF EDUCATION

W. B. FAVILLE,
ARCHITECT
71
FACADE OF AN EXHIBIT PALACE ON AVENUE CONNECTING MAIN COURTS

Passing through the Fillmore street entrance to the Exposition
grounds the eye is attracted and the attention is held bv the portal
of the Palace of Varied Industries that stands upon the left. The
inspiration of the work, it is stated, was the portal of the Salamanca
Cathedral in Spain, a structure that may be said to furnish one of
the truest examples of the architecture of the Spanish renaissance extant.
The portal of the Palace of Varied Industries was originally purposed as
a replica of the Salamanca portal but it is more than that. The original
is without color save for the monotone of the whole cathedral, while the
reproduction is enhanced through the application of the blues and reds and
browns contained in the decorative detail of the Exposition color scheme.
It differs also from the original in being somewhat larger and that the
niches are occupied by figures of modern sculpture in place of the figures
of saints common to the ecclesiastical architecture of the Spanish period.
Not withstanding these differences the reproduction has been pronounced
the purest architectural unit of the entire Exposition. It is probably the
costliest artistic unit, also, as more than $15,000. it is stated, has been
expended in obtaining drawings and making models of the original from
which the present portal was designed and cast.
*
*
*
*
Indiana will make a wonderful educational exhibit. Special attention
will be devoted to the consolidation of rural schools, agricultural, voca
tional work, domestic science and playground activities. The remarkable
vocational work along the lines laid down by Tolstoi in Russia and by Farrera in Spain done in the all-dav and all-purpose schools of Gary. Indiana,
will be extensively featured with demonstration classes. This system, the
only one in operation in America, does away in large measure with books
and recitations.
72
73
International Expositions
By LOUIS CHRISTIAN' MULLGARDT, F. A. I. A.
INTERNATIONAL Expositions are independent kingdoms in their
I corporate relation with other countries of the world. They are
phantom kingdoms wherein the people do everything but sleep.
They germinate and grow with phenomenal energy. Their existence
is established without conquest and their magic growth is similar
to the mushroom and the moonflower, they vanish like setting suns in
their own radiance.
Thousands of neophytes of every race, creed and color come with
willing hearts and hands to do homage and bear manna to nourish the
sinews of a phantom kingdom.
The National Constitution of phantom kingdoms commands that the
Spirit of beauty, refinement, education, culture and frolic shall govern.
The result is that they contain many palaces and shrines decorated
with sculpture and painting and that the earth is studded with foun
tains and pools within tropical gardens.
Such a Kingdom exists within a wonderful valley bordering on a great
sea. It is surrounded by high velvet hills of fine contour and by many
real cities.
As the people look down on this phantom kingdom from the hill tops,
or from ships sailing on the water, they see Architecture nestling like
flamingos with fine feathers unfurled within a green setting.
If building Phantom Kingdoms symbolizes man's highest aims on
earth, then the same is true when building Real Kingdoms.
Architecture and the sister arts are the most reliable barometers in
recording human thought. They are direct exponents of a universal
language wherein national progress is most clearly read.
People who build Phantom Kingdoms look hopefully for universal
approval by Real Kingdoms.
San Francisco, December 7th, 1914.
7?

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77
COURT OF SUN AND STARS

McKim, Mead & White, Architects
An Architect's Impressions of a Wonderful Exposition
By W. GARDEN MITCHELL, A. I. A.
ON that narrow island promontory, hemmed in by two broad rivers,
whose waters chafe for the last time their binding margins, ere they
merge and are lost forever in the sea, stand the towers and turrets
of our eastern gateway.
A city audacious above all others, from its feet planted in the rock, far
below the rush of waters, to its wind-swept summits that soar above the
level stretches of the earth into the exalted places of the cloud and sky.
A city rampant in expression of individualism, the ultimate in separativeism, a cry of self for self and self alone, the antitheses of communism
a contradiction in terms of that national illusion, wherein it is presumed
that the rights and convictions of the many shall transcend the desires of
the few. A city of giants and pigmies, giant calling unto giant, across the
silent voids that lie over the roof tops of humbler habitations, habitations
whose very existence is all but forgotten in the pride and arrogance of
these skypiercing monsters.
Far down the bay, where sea and river meet, these grey masses of the
cities' towers and bastions rise as the peaks of distant mountains from out
the hollows of the deep, and at night when the lengthening shadows have
darkened the streets below and the dying splendor of the day has gilded for
the last time the pinnacles of the dity's towers, and the darkness of night
descends, then from out the firmament a myriad of lights gleam forth,
holding us spellbound, as we stand in wonderment, endeavoring to discern
which are the lights of earth and which the lights of sky.
This is the city of individualism.
From ocean to ocean is but a step ; behind us are the grey waters of the
Hudson and the green of the Atlantic, green and full of action : and in front
the blue of the Pacific, soft and rippling, rippling with the innumerable
laughter of the sea.
HALF DOME, COURT OF FOUR SEASONS

Henry Bacon. Architect
PALACE OF VARIED INDUSTRIES
80
VESTIBULE OF MAIN ENTRANCE, PALACE OF MACHINERY

Hard & Blohme, Architects
81
You of the East the morning's dawn embrace,

We of the West day's dying splendors face,
And in its golden bars a glorious morrow trace.
This is the utmost limit of my land,
And here perforce the ocean bids me stand.
And here in majesty of queenly state,
I rear the city of the Golden Gate
A city on whose head a crown shall shine;
Not of the East nor West, but every clime;
Flower and fruition of all hope, all time.
A narrow inlet from the sea connects the broad waters of the ocean with
the landlocked bay of San Francisco. From the heights of the city we
look down upon this narrow channel a few miles in width and length ;
gleaming waters, blue and radiant in perpetual sunshine and beyond the
purple walls of the everlasting hills. At our feet and about two hundred
yards below and fringing the level shore line of the bay are the buildings
that are to be the meeting place of the nations in friendly industrial rivalry,
an assemblage of the arts of peace. In the distance purple mountains, at
their feet a stretch of liquid turquoise, and as a margin, coral in pink and
white, mingled with the colors of sea shells.
Domes and towers, arcades, long stretches of unbroken wall surfaces,
punctuated at intervals by gorgeous doorways vivid with the tints of dawn
and twilight.
Domes that mingle the green of earth with the blue of sky and walls,
that reflect all the tawny tints of the hot grass of summer and the desert
sand, amber and red of sun-scorched rock and the soft blue of distant hills.
As viewed from these hilltops the scene is certainly as looking down
upon a city of enchantment and far transcends the effect produced when
individualism runs rampant.
If the towers of the Hudson stand for individualism, and they do so
stand mightily, surely this composition of the Panama Exposition may be
taken as an earnest of that time when some form of socialism, communism,
unity of purpose, common weal, brotherhood, universal sympathy, call it
what you please, shall inspire us with one hope and one faith, when we
shall march side by side, each for all and all for each. Gathered together,
having one shepherd and one fold.
Architects, artists, sculptors and an enlightened public are continually
asking why it is that we cannot build or paint or mould as they did in;
ancient Greece, in the days of the renaissance or in medieval times. And
while there may be no single answer, one thing appears evident, that we can
not hope for any marked improvement until we again reach a period when
national (and that I imagine means universal) homogenity of thought and
action shall give way to that heterogenity that divides a house against
itself, divides it at least along many if not all lines.
In the process of the suns, we in our time have arrived at that point at
which we find ourselves adrift, broken loose from the sheet anchor of some
specific faith ; yet without such, rudderless, and driven about by every wind
of doctrine. In architecture we lack independence, believing in everything,
we believe much in nothing, or if perchance we have some national beliefs
they do not as yet include art and architecture, and thus we renounce all
independence, have no courage of conviction, no expression to make of our
selves, but have become as vampires, endeavoring to draw vitality from the
82
forms of a more vigorous past, reclothing the dry bone of antiquity in

habiliments not their own. Such resurrection can at the best be but a poor
substitute for that creation which is bone of our bone and flesh of our flesh,
and vitalized by the blood of a day that has not passed.
There shall be one shepherd and one fold. This means a fixed faith,
recognized social conditions, contentment and placidity, a household at
peace with itself and united in fundamentals.
The Exposition buildings impress me above all else with this necessity
of unity of thought and homogenity of action.
Here for almost two miles along the shores of the bay, mass after mass,
punctured at suitable intervals by towers and domes, rises and blends in
one harmonious whole, broad in treatment, heroic in scale, delightful in tint,
giving us both nobleness of form and enchantment of color, neither frivol
ously gay nor ponderously somber, but strength and beauty in graceful
proportion. Could the same scale, homogenity of composition and delight
of color be extended all along our bay shore and up over the innumerable
hills on which our city is founded, 1 think we might justly say that in that
day we would have a place of habitation that would rival if not surpass
the glories of Byzantium, or those cities which in all ages dreamers have
woven in the fabric of their imaginings.
*
*
*
A Metropolitan Hotel in the Exposition Grounds
CONSTRUCTION is well under way on the "Inside Inn," a great hotel
with a capacity of 3,000 persons and located within the gates of the
Exposition grounds. The hotel will be a city in itself, provided with
barber shops, drug stores, candy shops, express office, news stand, haber
dashery, manicure parlors, novelty stands, soda fountains, Turkish and Rus
sian baths, postoffice sub-station, restaurant and railroad ticket offices. It
will be operated under the direct supervision of the exposition management.
The hotel is located at the Baker street entrance of the grounds and its
veranda will command a superb panorama of the sea. It is close to the
Japanese pavilion and near at hand to the Palace of Horticulture. A direct
street car lines connects the Baker street entrance with the principal railroad
stations of San Francisco. Visitors desiring to leave the grounds from the
Inn may do so without paying additional admission fees. Many of the
great exposition spectacles may be seen directly from the broad verandas
of the Inn. Edward T. Foulkes is the architect.
INSIDE 7.V.V
Edward T. Foulkes, Architect
83
SHOWING SCHEME OF FLASH LIGHT ILLUMINATION OF THE GROUNDS
The Illumination of the Exposition Buildings

By W. D'A. RYAN*
CONTRARY to general expectation there will be no outlining of the
Panama-Pacific Exposition buildings with incandescent lamps. Out
line lighting has been done about as well as it can be done. The
streets of every big city today are ablaze with it, applied in a thousand
ways, even made to represent motion. Outline lighting, while undeniably
beautiful from a distance, produces contrasting glare and dark spaces,
and when it comes to getting the effects frqm mirror surfaces, such
as lagoons and moats, the results are very incomplete. Of course, all
of these effects, not so very long ago, were highly satisfactory and we
caught our breath in admiration when the current was turned on at yester
day's exposition. But today, or rather tonight, we are after something new.
Fortunately, since the last big exposition the advance in the science and
art of electrical engineering and the development of electric apparatus has
been so great that we are now able to produce effects with economy which
would have been physically impossible five or six years ago. In 1915,
there will not be a single piece of lighting that was ever used before.
Everything will be new.
You have noticed, when motoring at night, as you swung around some
corner and your front lamps shone full upon some object by the roadside,
perhaps the brilliant billboard, how the colors of the object leapt out at
you from the night. Picture to yourself, which you cannot really dowe
shall all have to see it to realize its beauty fullythe noble facades of the
exposition palaces, the solemn and lovely masterpieces in sculpture, softly
colored, the stately pillars standing against the rich red of their Pompeiian
background, the great mural paintings spread across the walls of the patios,
even the blossoming reaches of the tropical gardens ; picture all of these
in the radiance of an illuminating system something like your automobile
lamps raised to the nth power. Imagine the verniillions and burnt orange
the gold and the Italian blues, each picked out and made visible by the
particular light that reveals that color in its full splendor.
* Mr. Ryan is Illuminating Engineer of the Exposition.
84
If you wish, you may have an ivory colonnade in the full glory of moon
light. It will not matter that the summer fog has swept in from the Pacific
and made an artificial gray sky above you. The colonnade will stand
there, dreaming of ancient Greece, drenched in silver radiance, apparently
from the moon. But do not look for moonlight in the great gardens to the
south. The moon is no lover of flowers. She turns their scarlet bravely to
shadow ; only the pale blossoms profit by her light. Instead you shall find
there another illumination, a scientifically chosen light that shall make
each flower glow as though the sun were overhead. Indeed, even the
wizard, LWtrbank, may marvel at what this lighting may do in intensifying
the brilliance of the poinsettia and the canna.
Deep in the lagoons and carefully placed water-spaces will appear the
perfect and complete reflections of the brilliant walls and towers of the
exposition, not striped with lines of light on areas of shadow but glowing in
all the radiant colors and contrasting surfaces which architect and sculptor
and colorist have created for them. And high upon battlement and turret
the flags of all the nations that have met together in this great festival will
not be lost against the night sky but will be brought out in full value.
There will be electric fountains, but no water will flash in them. Instead,
smoke and steam, much superior media for such effects, will be sent into the
air and turned to glory by the rays from a mighty scintillator.
It is planned to have a huge locomotive, mounted on a steel turntable,
which will develop power sufficient to send it eighty miles an hour. From
this machine, columns of smoke and steam will be sent against the sky and
brilliantly illuminated.
In the courts the mural paintings will be lighted by concealed lamps set
into pillarsa special tubular lamp has been perfected for the fluted
columns. Where the lighting of the buildings is direct a dense globe will
be used and the intrinsic brilliancy of the lamp reduced to the point where
it may be looked at directly without injury to the eye. This is a very
important thing in exposition lighting, for the exposition visitor is there
to keep his eyes open, and any exposed brilliant source is sure to lead to
headaches and consequent irritability.
If it should happen that there came to the exposition some unreconciled
soul who, in spite of the novelty and beauty of an exposition fully illumin
ated and as animated and alive as in the full flood of noonday, should still
long for the incandescent lamp along the edges of the buildings, he is to
be made to forget that he ever thought such a display beautiful. Have you
noticed in a jeweler's some mantel clock of architectural design, outlined or
studded with brilliants? Please try to imagine that mantel clock magnified
to the size of the Administration building at the exposition, whose tower
rises above the city of color to a height of four hundred feet. Imagine it
thickly set with jewels, diamonds, topazes, rubies and sapphires. Not
colored bulbs but actual jewels, of the first exposition water. They are
glass, of a special cutting, cut for different distances and effects, some
cut in this country, others necessarily cut abroad. It is rather strange to
find that the' glass cutters and jewelers had never cut anything in these
sizes before, and it was so entirely new to them that it was necessary for
the illuminating engineers to measure the index of refraction of the glass.
These jewels cost no more than to operate incandescent lamps. In the
sunlight they are practically dead, but at night, picked out by lights from
masked batteries, they will flash like the realization of a rajah's wildest
dream, wherever jewels can add to the beauty of an architectural line or
surface or a sculptured form, this faceted glass, pure white or backed with
color to imitate any precious stone, will be mounted upon delicate springs
so that the least vibration from wind or machinery or even tramping feet
may set them flashing. As an example of the use to which these jewels may
85
COURT OF SUN AND STARS, ILLUMINATED

be put, we may take the row of seraphic figures which is to surmount the
colonnade about the main court, the Court of the Sun and Stars. These
figures will be fourteen feet high and the head of each will be covered with
a star measuring four feet across. These stars will be studded thickly with
jewels. In such a heroic group as that which will crown the west entrance
of the main court, a group symbolizing the east and containing an elephant
bearing an Indian prince in all the splendor of the Durbar, these jewels, added
to the coloring of the sculpture, will supply magnificence. Huge pearls are
being made very successfully on the Tiffany order without the Tiffany prices.
A great scintillator will be mounted off the main axis of the exposition,
about five or six hundred yards out in the water. It will be placed on a
barge anchored in the bay and sixty trained men will be required to operate
the lights. These men will be drilled and the effects will be marvelous.
Thev will go through an evolution of color, throwing gorgeous auroras into
the sky. The spread of these colors will be visible in all the bay cities, and
on clear nights should be visible in the sky for forty or fifty miles. But
the nights will not be clear the majority of the time, and this is fortunate
as far as the scintillator is concerned, for the fog will be a great aid in pro
ducing wonderful lighting effects, furnishing a background upon which to
play a constantly changing color scheme, to soften and intensify the lights
at will.
Stand in the Court of the Sun and Stars some evening when this vast
dream of the exposition is a reality. Twilight is over. The after-dinner
crowd is gathering. As yet there are no lights. Suddenly you are aware
of a myriad little jets of light; then light breaks from behind the columns;
then the main white light floods the brilliant facades, the jeweled surfaces
flash in splendor and the fountains of rosy steam leap toward the sky across
which, in three hundred evolutions in colors, streams the aurora.
Somehow, witnessing the bursting of this glory, you will realize, as you
have not done before, the significance of the wedding of two oceans.
86
BIRD'S-EYE VIEW OF JAPANESE TEA GARDEN

G. Takeda, Architect
The Japanese Garden at the Panama-Pacific

Exposition
By B. ITO, Assistant Architect of Japanese Exposition" Buildings.
WHOEVER visits the Panama-Pacific International Exposition
should not fail to see the Japanese garden on the south side of the
Fine Arts building. Surrounded by a verdant hedge of evergreen
trees, buildings now being constructed will cost the Japanese government
something like $300,000. The group will form a typical garden, the plans
having been drawn by a noted Japanese architect, G. Takeda. The plants
and all material for both the landscape gardening and the building have
been brought from Japan and are being placed in position by native labor.
The garden consists of various plants of Japanese origin, open sheds,
stone pagodas, summer houses, and a small stream with its sluggish flow
through a narrow and winding path of a valley formed artificially by means
of natural rocks. This rivulet is finally led into a large pond which is in
the center of the garden.
It may be interesting if I describe here the beautiful exhibit of our
plants, because these shrubs will be planted here and there in such a
manner that they will represent the four distinct seasons throughout a
whole year. As you probably know, in our country each month of the
year has its favorite flower. January has its pine, the symbol of ever
green old age, which, with the bamboo and the plum, form in our language
of flowers a triad used on all propitious occasions. February has its
plum, which is the first tree to bloom in the spring, while the snow still
continues to fall. Under such adverse circumstances does it bloom, that
the plum has won a reputation for courage among flowers. The plum is
followed in March by the peach, a flower that typifies beautv, and, like
beauty, quickly fades to give place to anotherthe cherry. In the early
part of April it begins to blossom. In April sunshine it is most ideally and
87
wonderfully beautiful, and its short lived glory makes the enjoyment
keener. But our cherry tree is not a cherry tree in your practical and
material sense. With its flowering its mission is accomplished. It does
not have to work for a living and produce a crop for the market. When
its burst of beauty is over nothing more is expected of it. The short
lived cherry is succeeded in May by the Wistaria, which was introduced
into this country by Dr. Wistar. You will see a most beautiful exhibit of
Wistaria in our garden next summer. This is followed in June bv the
iris, and in July, the morning glory, which refreshes our eyes with its
many tints. The lotus in the August and the so called "Seven plants of
autumn" follow next. When these plants begin to fade one by one in
quick succession, chrysanthemum will take place in the month of October.
It is time for every lover of nature to sally forth among hills and dales
"a-maple-hunting" in the month of Novemberthat is the brocade of fol
iage. But the chilly breeze of December will shear branches of their
gorgeous drapery with aid of passionless frost. The designer of our
garden tried to express such a scheme of a whole year referring to our
floral world.
The prominent feature of our exposition buildings is the reception hall.
It is erected in about the center of the Japanese section, facing towards the
water of our artificial pond. The building covers an area of 4356 square
feet, and its height is measured approximately sixty-five feet. from the
ground to the top of "Hooh" bird crowned on the very top of the roof.
"Hinoki" has mostly been used for both the structure and the finish work.
It corresponds to white cedar of this country. No artificial color scheme
is applied. Everything is left in its natural color. The richly decorated
coffer ceiling will be the object of admiration of many visitors because of
its sublime and exquisite execution. The ceiling is as high as twenty-eight
feet above the floor. A nobly and delicately designed lighting fixture is
hung down from the ceiling, contributing added beauty to the interior
decoration.
The style of this reception hall is similar to that of the late Medieval
agebeginning with the rise of the military clans at the end of the
twelfth century and concluding with the sixteenth centuryan essentially
heroic age under militant feudalism. It is called the second period in our
architectural history. During this period the leader of Minanioto clan
organized a system of feudalism and established his government under the
name of Shogun in the town of Kamakura. It is one of the most stirring
and romantic epochs of our history, and also it is an epoch age of
heroism, of daring, of action and achievement. On the contrary "Samurai,"
(the knights) patronized and fostered different arts, and so we find in the
fifteenth and sixteenth centuries the beginnings of tea ceremony, and of
flower arrangement. The artists of this age of hero worship and of
romantic adventures naturally delight to paint portraits depicting the
spirit of activity. This age bequeathed some works of art and literature
which may claim immortality. L'nder such influence of this period
architecture found a new trace that is the development of civil architecture.
Simplicity was the distinguishing feature of tlv's period of architecture,
which can clearly be perceived in the ruined castles or mansions of feudal
lords, still in existence.
The tea house that is to be built on a site near the water fall, promises
to be unique and attractive. The house consists of the main building and
the tea room proper, modeled after a typical tea house of the second period,
88
that is known as the Tenpyo style. In the main house there is a room
with Japanese tatami (matting) about 20 feet square with Japanese
furnishings. Here will be provided a number of marble and wooden
tables for the invited guests, and they will be waited on by Japanese and
American beauties in their appropriate attire.
*
The State Buildings at the Exposition
PERHAPS at no previous exposition held in this country will the
various states be represented in a more dignified and typical manner
than at the forthcoming Panama-Pacific International Exposition.
The appropriations by the various states and territories for this repre
sentation, range from $1,100,000, the aggregate of that from New York, to
commensurate amounts by smaller and newer states.
Visitors to the Exposition will find in the various buildings erected,
suggestiveness of their states that will lend a reminiscent atmosphere of
home and inculcate respect for good citizenship.
The Massachusetts State building is, in part, a reproduction of the
State House in Boston. It will be 125 feet long by 50 feet wide and
occupies a site of 70,000 square feet.
Ohio 'has also designed a building that is a reproduction of its State
capitol.
The California building is typical of the old missions that have played
their part in the history of this state. The entire building is in the Mission
style and is a graceful tribute to the power that was wielded from these
walled communities. This building was described at length in the June
1914 issue of The Architect and Engineer.
The architecture of the Hawaiian building follows the low-lying
tropical type so common in Honolulu. The building is in the form of a
cross, and. at the intersection of the two arms there is a rotunda containing
a mezzanine gallery.
The main entrance is at the end of one of the wings of the cross and
leads through a pergola into a tropical garden roofed with glass. At
either side are the reception and waiting rooms and beyond the gardens
is the rotunda.
Across the rotunda is the aquarium wing, and in the center of the
rotunda is the pit, 20 feet in diameter, containing a reproduction of one of
the burning lakes of the volcano "Kilauea."
In the angle between the wings which radiates from the rotunda will be
four dioramas consisting of artifically illuminated scenes of typical spots
in Hawaii.
The aquarium will be equipped with tanks containing the rarest and
most beautiful fish of the Pacific ocean. Hawaiian singers will provide
music from the rotunda.
The Philippines are not to be behind the other commonwealths that are
to exhibit under the Stars and Stripes, and the Philippines' government has
appropriated $300,000 of which $75,000 is to be spent on the building alone.
The Oregon building is a duplication of the wooden prototype of the
celebrated temple of Athens. It was designed by Messrs. Foulkes and
Hogue of San Francisco and Portland. Oregon, and is 250 feet long, 150
wide and three stories high and cost $75,000. The body structure is sur
rounded Parthenon-like by forty-eight magnificent log columns, each six
feet in diameter and forty feet high. There are forty-eight columns, in-
89
90
GROUND FLOOR PLAN, OREGON STATE BUILDING

Foulkes & Hogue, Architects
91
92
HAWAIIAN BUILDING
Lester H. Stock, Builder
C. W. Dickey, Architect
stead of the classical forty-six, so that each state of the Union may have
a column dedicated to her honor.
The great logs of the Oregon Building were donated by different mill
men of Oregon. The logs weigh thirty tons apiece and were brought south,
some by rail, a log to a flat car, and some by water.
The real architectural problem presented by the Oregon Building was
to bring it into harmony with the Exposition plan. A log adorned building
typifies Oregon with its vast lumber industry better than any other design
could. But a building of monkish brown, no matter how classical its
proportions, is a somber heavy thing. In front of the Oregon Building, is
the California Host Building, a mission-like structure, and in close prox
imity are the Exposition Exhibit Palaces, finished in creamy white to
imitate travertine marble, and embellished with soft beautiful colors. The
whole Exposition color scheme is a joyous one; the Oregon Building
threatened to be a funeral note. The architects realized this and so
planned to brighten and lighten the building so it will be one of the joyous
sisterhood of Exposition buildings.
The really notable feature of the Oregon Building color scheme will
be the mural painting in the pediment facing the California Host building.
This painting will be the work of the Du Mond brothers, and will depict, in
decorative style, an immigrant train on the Oregon Trail. The canvas will
be 115 feet long and is being painted in three sections so that the center
picture can be used alone and the two triangular ends joined together will
make a perfect grouping. It is planned after the Exposition to place the
painting in a public building.
An attractive feature that will add to the interest of the Oregon Build
ing will be bronze Medusa shields six feet across, that will adorn the
log columns. The shields will be embellished with the colors and shield of
the state to which the column is dedicated.
93
Idaho was the first state to have her building completed at the PanamaPacific International Exposition. The building, which is an attractive
design in modern renaissance by Wayland & Fennell of Boise. Idaho,
faces San Francisco bay, with an unobstructed view. It has a frontage of
150 feet and an average depth of fifty feet. The building is designed to give
as much floor and wall space for the display of Idaho's resources as possible.
*
*
*
Some Notable Achievements in Plastic Art at the
Exposition
THE very elaborate scheme of sculptured embellishment of the buildings
at the Panama-Pacific Exposition suggests the same thought that was
dominant at the St. Louis Exposition : that it is to be regretted that
a result so well conceived and which will undoubtedly be worthiiy executed,
should be of perishable material and serve but an ephemeral purpose, to
be in the end destroyed or permitted to fall to decay.
There will be presented at this exposition an opportunity for our
National Government to retrieve itself of the reproach, often made, that as
a people we are indifferent to any scheme under government patronage that
is promoted to advance in a material way the cause of the Fine Arts in
this country.
An appropriation that will secure the perpetuation in enduring material
of the best accepted examples that shall form a part of this exposition would
preserve many important works of the sculptor's art for the education and
pleasure of future generations in addition to giving evidence that as a
nation, we are alive to the importance of our aesthetic advancement.
Of the several works of sculpture for the Panama-Pacific Exposition
the 'most important is undoubtedly the group of The Nations of the East.
This group will be strikingly identified with one of the most imposing
architectural features of the Exposition, as it is intended to surmount the
huge triumphal Arch of the Rising Sun on the eastern side of the vast cen
tral Court of the Sun and Stars.
The highest point of this group, the howdah of the elephant, will be
forty-two feet above the base of the pedestal upon which the group stands,
and when in place on the summit of the arch, will tower 188 feet above the
floor of the court. The unmounted figures are an average of thirteen feet
six inches high, while the animalsthe horses, the camel and the elephants
are all acurately modeled to scale. In its entirety the group will suggest
the mysticism of the East ; and is the collaborative work of the sculptors,
Roth, Lentelli and Calder.
In the Court of the Four Seasons, another of the vast enclosures that
give such large scale to the architectural treatment of this exposition, the
sculpture will be peculiarly in consonance with the theme of the court and
will also be in a large measure identified with its architecture. Niches in
the four corners will be cut and in these figures of the four seasons placed.
Spring, one of these groups, has been executed by Mr. Furio Piccirilli. A
group, representing Ceres, the goddess of agriculture, will occupy the cen
tral position in this court. Two other figures representing Rain and Sun
shine, are particularly well conceived and suggest these benign elements
that contribute to the harvest.
Idaho Building is equipped with modern plumbing as good as that being
installed in the more expensive buildings. The lighting facilities are also
up to standard.
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96
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97
Architecture*
By W. R. B. WILLCOX, F. A. I. A
A WELL-KNOWN philosopher has said that "to know and to have
learned much is neither a necessary means of culture nor a mark of it,
and if need be agrees excellently with the opposite of culture, bar
barismthat is, the absence of style, or the chaotic mix-up of all styles."
In addressing the Department of Architecture in this great State Uni
versity, I ask consideration of that proposition. Probably no field of human
endeavor, from its very nature, is so apparently fitted for a continuing disptay~oF culture- as architecture_^the state of architecture of a country, to a
renfarkable extent, is the measure of its culture. That is quite accurately
true. Tjie architecture of a country, as a national product, can never rise
above the level of its national culture. Individual buildings- may surpass
the average of merit, but when they do so they only the more indicate the
fact. The"same, in lesser degree, may be said of music, literature, painting,
lûlpture, etc., but in respect to them the product is, in most cases, the
I measure of the culture of the author and may easily be above the average
culture of the people among whom the author lives. The reason is easy to
discover, since in the exercise of such arts, the author is more often un
mindful of the impression to be made upon the public and he is without
outside direction as to what shall determine the character of his work.
But with architecture, the situation is different, to the extent that the archi
tect is limited in the solution of any given problem by many conditions
entirely apart from his control. Into his work the owner usually, and quite
rightfully, obtrudes his personality in such a way that the resulting build
ing is an interpretation, not altogether of the architect's personality, but of
that also of the owner. The architect projects himself into his building
to a greater or lesser degree, but if he accepts his problem conscientiously,
he is bound, first of all to encompass, so far as possible, the individuality of
the owner. In fact, it is the owner's needs which dictate the conditions of
' the problem; and I am quite ready to say that in those cases where the
architect has imposed his personality upon his work to the exclusion of that
of the owner, he has so far failed to prove himself a real architect.
1
So knowledge is not the quality which should denote our architecture;
,' "not knowledge but ability, not information but art" is that through which
life should bear witness.
What has knowledge to do with the insight, the sympathy necessary to
interpret an individual's or a nation's feelings? Knowledge may assist to a
judgment of technique, but such judgment is based upon rules governing
externals : it is impersonal and unsympathetic, and reaches nowhere to the
real meaning of the message conveyed by means of the work itself. But it is
the genuine purpose of architecture that it should convey a true notion of
the needs it professes to serve, and for that reason we must be careful to
guard ourselves against an easy judgment of it by its technique. In pass
ing, it may be well to remind ourselves that in the schools the technique of
architecture is liable to become confused with the technique of drawing,
which latter is a graphic art and bears but a temporary relation to archi
tecture. Think not that this is lightly said ; it is important that we should
appreciate how architecture may beand doubtless innumerable times has
beenproduced without a single drawing. Architecture pertains to struc An address delivered at the opening of the School of Architecture. University of Oregon. Novem
ber 19, 1914.
OS
ture ; drawing is a means of study and an aid to construction, but archi

tecture may not, with a degree of accuracy, be judged by, or from, the
drawings which depict it.
Hence, in our schools, unless we are watchful, there is the possibility
of viewing the subjects of our study and attention as something detached
from the realities of life. This is less likely to result where the subject is
one which has a quite obviously practical bearing, but in the study of any
of the branches of what 'is called art, it is easy to get out of touch with the
real relationship which such work bears to life. We are liable to view the
work done in the course of study as an end in itself. Art for art's sake !
This attitude toward our studies is possible in any branch. During my
earlier school days, and even in later years, I recall how little stress was
laid upon the true relation which all our efforts had to the common pur
suits of life ; upon the fact that they were simply a means to an end and not
an end in themselves. One was ever mindful of the need for pursuing cer
tain studies for the sake of marks and standards. One must read so much
Caesar to be able to read so much Caesar when the need arose, and that
need arose at examination time. One struggled with the binominal theorem
because it was there in the course to be struggled with, to be disposed of,
so that one could go on to the disposal of something else for the same
reason.
In the practical branches, the closer relation which the concrete prob
lems dealt with sustain to the experiences of life help to impress the mind
with the principal reason for solving them, but even with them, it is easy
to omit the practice of reflecting upon their ultimate purpose, which is the
training of the mind, equipping it to act independently and logically in con
nection with similar, though fresh, problems which arise in pursuit of any
work in the world that is worth while.
But when we come to the branches which are concerned with expression,
such as literature or music, and especially architecture, the solutions of the
problems devised for our practice are much likely to be regarded as the
sole reason for our study. It is in this connection that we are liable to lay
too great stress upon knowledge and information in the preparation for an
architectural career. If we do not reflect upon the meaning, to us, of the
wealth and architectural examples in the world, our acquired knowledge of
particular specimens of architecture may crowd out' an enthusiasm for a
search for that intimate, personal sympathetic expression of the human
aspirations, which on its artistic side, is the function of architecture.
It may well be that were we deprived of the great stores of knowledge
of architectural monuments, we could, with laborious effort, still develop an
insight into their real purposes and acquire an ability to serve them directly
and frankly. However imperfect our structures, they, then, would be the
result of a living art, an art virile, if immature, charged with an instinct for
truth, though sometimes hesitating and uncertain, in expression. Such
structures would be indicative of an initiative, an independence of thought,
a freedom from servile adherence to forms adapted to other conditions,
which is the work of true culture. Thus circumstanced, we may imagine
how our people would find interest in architecture which, it is to be re
gretted, they seem not to find today. And if we hold our thought to that
condition among our people we may possibly discern the error in our own
methods, methods of whichit is time to acknowledgehave laid too much
weight upon knowledge, not abilityinformation, not art. No more than
they, the people, need we architects display a knowledge of the world's
great buildings, or of their classification as of nations, as of "styles," if we
99
devote ourselves to the expression of their needs and desires. Let our
tudy of the architecture of the past yield us an insight into the desires and
needs of those older peoples, let it reveal to us the emotions with which
they were animated, and let us learn from their examples the abstract
subtleties which made the forms adopted appeal to them. Let us discover,
if we may, the sentiments to. which their buildings gave expression. It is
not a cold analysis of a work of art that awakens enthusiasm, but rather it
is some useful combination of lines, of colors, of materials and environment,
which stirs the imagination. And this effect upon people is confined to
contemplation of no single manner of buildings, no single so-called "style."
Seek out the great monuments of any people and in them you will find
exemplified those inherent qualities of beauty which have to do with the
relation of lines and spaces, of voids and solids, of plain field to ornamen
tation, of color contrasts and harmonies, of rhythm, of cadence, of accent,
of strength, of grace, of power, of delicacy. And these qualities are not
limited to certain types of buildings, to particular details of materials, but
extend to and produce the beautiful in buildings of whatever origin.
Beauty when thus set forth, whether in a Sistine Madonna, a Michaelangelo's David, a Beethoven Sonata, or a Taj Mahal, makes its appeal di
rectly to human instincts and emotions. Its appeal has nothing to do with
knowledge, with that knowledge which was the foundation for its structure.
The knowledge upon which those works were built made no bid for recog
nition, but served only to enlighten the mind as to great principles, and
freed the soul to express fresh ideas. It provided a sort of new alloy, with
which the artist worked.
Consider now how it seems to be with us today, when people generally
have little feeling for architecture. What can it be that has cut them off
from an interest in it? They must have buildings, yet it is a frequent
saying that they "know nothing about architecture," "have no appreciation
for good architecture." That seems to be the heaviest indictment against
our profession today, that our own people are out of sympathy with what
we are doing, are frankly contemptuous of our efforts, or as frankly ignor
ant of what we would call architecture. Does it not behoove us to examine
ourselves and see in how much we are to blame?
What is this architecture with which we busy ourselves, and for the
people's ignorance of which we in turn are too accustomed to express? It
seems to me that architecture with us is too much regarded as a definite,
fixed and finished thinga collection of concrete examples of past struc
tures. It is of those examples that we strive to gain knowledge, and our
own appreciation of architecture is largely commensurate with the amount
of information we may have obtained of past structures. We are inclined
to measure our present-day efforts at design by their adherence to the
obvious characteristics of those earlier buildings, and without that knowl
edge of them which our study has yielded us, we would be quite helpless
to judge of their merits as architecture. Out of that study we may have
gained an insight into the subtler qualities of proportion and the like, yet
how seldom have those intangible elements thrown down our obsession
with the concrete devices employed? How often do we find those devices
grouped without concern for proportion or other qualities which pertain
to art or skill? Such structures predominate, structures for which men
often well schooled are too frequently responsible, and it seems as if that
could be only because they have been confused with a false culture, a
pseudo-culture, which sets up knowledge instead of ability, information
instead of art, as its measure.
100
And since we find this state of things within the profession, is it to be

wondered at that among the people there is little feeling of sympathetic
interest in what they are led to believe is architecture? How can it be other
wise, when to judge of it one must devote himself for years to the acquire
ment of knowledge of the structures which comprise the architecture of
the past? The public has neither time nor opportunity to imbibe the
knowledge from the stores of which the architect is wont to choose his
theme and the characters with which it is expressed. If specialized knowl
edge of historical monuments is essential to appreciation, there is little
reason why the architect should sniff at the ignorance of the public concern
ing what he calls architecture ; the ignorance is real, but blameless.
We may observe today a similar attitude on the part of our law courts
and the public with respect to the work of the former. The courts are
disdainful of the lack of appreciation of the public for what they pronounce
to be good law, citing precedents from age-old statutes, while the public is
becoming more and more free in its expression that what may have been the
law in the past is a matter of little interest to it today. It will admit that
the general principles on which the older statutes were based and inter
preted may have been logical and applicable to former conditions of life, but
that today it needs an interpretation of those general principles better
adapted to our present conception of life and social relations.
The courts have been substituting a knowledge of legal precedents for
a fresh insight into their meaning and a new expression in terms whose
fitness even he who lacks the knowledge still may comprehend. But the
legal profession today is uneasy and introspective ; it is being forced by an
indifference to, or contempt for, its pronouncements on the part of the
public, to examine into its own position and methods and to modify its
practices.
The situation is not without a parallel in architecture. The profession
is already conscious of a degree of aloofness from the everyday life of the
people, of a disparaging authority, and more and more often it is led to
inquire into the reason for it.
Now, what relation shall the schools bear to the present situation?
Should we not expect them to lead in an effort to win the confidence of the
public? It is not easy for the older ranks of the profession to amend their
ideals. Constant contemplation of those ideals which may have been estab
lished at an earlier time tends to fix them and prevent their expansion.
But youth is engaged in shaping its ideals, and it should consciously strive
to avoid all practices which tend to circumscribe them. They should care
fully analyze the relation between courses of study and the purposes the
latter are intended to serve, and never to lose sight of the fact that they are
but means to ends, not ends in themselves. And what nobler attainment
may there be for all our preparation than the power, the ability, the art,
to speak understandinglv to our own people of things which we believe can
be made to free them from dull gray lives amid monotonous surround
ings? To do so, however, we must arouse their curiosity, awaken their
imagination, quicken their interest, which we cannot hope to do while we
drone on in foreign tongues.
So in the acquirement of a broad knowledge of architecture, of the
manner and method of other times, we should always be aware of the fact
that we are studying, as it were, a foreign language, a language with which
the people of our own day are unacquainted; that we are discovering it to
discover wherein lies the secret of stylethat combination of refinement
and grace, dignity and strength, that aptness to purpose which distin
guishes all nobler works ; not with the ridiculous purpose of attempting to
speak in it to our own people.
101
The fruit of study must be an unconscious appreciation of esthetic

values, and must pass through the alembic of mind and soul before the
architect can hope to use the secrets he may have discovered in a way to
impress the people among whom he lives that architecture is something of
vital interest to them ; before he can hope to acquire that style which is
the sign of art and a mark of culture, something entirely apart from the
"styles" as classifications of knowledge.
Seldom is there a genuinely new thought in the world, yet how variously
beautiful are the many renderings of the same old thoughts! It is said that
there are but seven or eight fundamental stories in all literature, yet they
are told and retold with such infinite variety of expression that they remain
ever fresh and of interest to succeeding generations. So, in the measured
drawings of almost every notable building erected in the past two hundred
years, we have the stories of architecture rehearsed in varied forms of
exquisite beauty, imposing dignity and commanding power; it is for the
architect of the present day to acquire the abilityto perfect the art
which shall enable him to repeat them with a freshness which shall win
attention.
In order to do so, it is of course necessary for him to improve his skill
as a draftsman; he should persist in the practice of drawing until he ac
quires a facility which enables him to illustrate with ease any architectural
subject. But it is a simple matter to exaggerate the importance of drawing
in connection with architecture. Many of the most skilled architects have
been but indifferent draftsmen. Too close attention to the composition, or
the rendering of a drawing, in and for itself, is liable to cause one to forget
that after all it is only an imperfect representation of a design which is to
be produced in various materials, each of which has different properties,
each of which should be treated in a different way. each of which must have
a modifying effect upon the design.
The musician, or sculptor, or painter may study his composition in the
medium of its actual expression and subject it to his criticism in its final
proportions, but the architect seldom, and then only in sectional details,
can thus proceed. However, it is desirable that he should indulge the
practice of designing in the solid, even at much reduced scale. It will aid
him, as will nothing" else, to "think in three dimensions." I think it would
be well did our school courses require the student to reproduce to a con
venient scale one or two problems a year in wax or clay. This can be done
in a sketchy way, yet quite accurately as to dimensions and proportions.
This practice will assist in the formation of a habit of visualizing his
design as a solid, even when developed in the flat. It will help to offset a
tendency to regard architectural composition as an exercise in two dimen
sions.
Everything' should be done to establish the habit of thinking in actual
structural materials. The student would do well to inform himselfin the
school course, if possibleby actual contact, of the characteristics of the
various materials, of their suitability and limitations ; how they are pro
duced and how used in construction. It would be, well if every student
could devote enough time to the various crafts to gâin an appreciation of
their true natures. It will require but a modicum of proficiency in the
crafts to indicate their functions, while even that will do much to heighten
his realization that architectural design is considerably more than a matter
of paper, lines and washes. It will help to bring home to him at the
beginning the notion that he is to become a creator of buildings, not merely
a maker of drawings.
102
This familiarity with materials and methods of workmanship, this habit

of thinking in terms of actual structure, will do much to establish a proper
relation between a knowledge of the architecture of today. It will free him
from a subserviency to formal precedent and be productive of a healthy
originality which shall mark an advancing culture.
But this program can not be effected, or at least so readily effected,
solely by the education of the architect. He will need a public with a more
widely diffused appreciation of esthetic values than has that public of
today, one which has come to realize that a knowledge of the so-called
"styles of architecture" is not essential to a judgment of its quality; one
that has come to appreciate the ennobling force of the beautiful in ouf
lives ; one that has come to demand art as an essential expression of our
utilities; one that has come to realize that utility does not reach its highest
power until perfected with logic, the reasonableness and the economy of
true art.
Thus to prepare for this public seems no less the opportunity of our
universities than the preparation of the architects who shall serve it. To
direct the minds of all its students to the importance of an appreciation of
the fundamental principles underlying all art, to send them forth possessed
of the truth that art is, or should be, something necessary to the highest
development of our country, to raise before them the vision that our ac
cumulations of knowledge, the development of practical industries and
increase of wealth from our abundant resources are but means to an ex
pression of our ideals as a nation, is a function to be exercised with enthu
siasm and with faith in its leavening power. Out of it shall grow a combi
nation of forces and a unity of purpose that shall make for the development
of the superior abilities, that shall make for the perfection of style, which
is the mark of a genuine culture.
*
Oregon Now Has School of Architecture
THE School of Architecture of the University of Oregon at Eugene,
Oregon, was formally opened on Thursday, November 19th, by W. R.
B. Willcox, of Willcox & Sayward, Seattle, who spoke as director of
the American Institute of Architects. In his address, which is printed else
where in this magazine, Mr. Willcox pleaded earnestly for a redemocratizing of the art. The Oregon school opened in September with a beginners'
class of eighteen students, under the direction of Mr. Ellis F. Lawrence, of
Portland. He is assisted by Professor E. H. McAllister, in structural
courses ; by Professor P. P. Adams, in drafting and design, and by several
non-professional members of the faculty who have arranged auxiliary
courses for the benefit of students in Architecture. The plans call for rapid
development of the school as the students become prepared for advanced
courses, but no degrees in architecture will be granted for the present,
students being sent east for some of their higher work.
Among those who took part in the opening exercises were Mr. A. E.
Doyle, of Portland, president of the Portland chapter of the Institute, who
brought the greetings of the Portland architects and announced that they
would offer a series of prizes for excellence of work by members of the
school. President P. L. Campbell, of the university ; W. C. Knighton. State
Architect, of Salem; Honorable Allen Eaton, and the members of the stu
dents' architectural club took part in the exercises.
103
The Fees of Architects

IN VIEW of the many published statements about the large fee received
I by Guy Lowell, the architect of the new court house for New York, it
is interesting to observe the element of uncertainty which attaches to the
profit to be derived from an undertaking of this magnitude, says a writer
in the Philadelphia Ledger.
The cost to an architect in preparing his drawings and specifications
and seeing that they are properly carried out, in offices run on the best
business basis, is at least one-half of his commission. This, however, ap
plies only to the general class of buildings, and not to residential or public
and monumental work. The cost is then as high as 75 per cent of the archi
tect's commission.
The United States Government prepared a statement which was sub
mitted to Congress (Senate Document No. 916, Sixty-second Congress,
second session) which gave the average cost of preparing drawings and
specifications alone, exclusive of superintendence or any other field of
expenses, for the years 1905 to 1911, inclusive, to be 6.2 per cent. This was
for preparing the drawings for the bulidings erected by the United States
Government and done by the supervising architect of the Treasury, a man
known for his great executive ability, and, therefore, done with the greatest
economy possible.
Reports have been submitted by the State Architect of New York show
ing that the cost to the state for preparing the plans and specifications made
in the state architect's offices exceeds 6 per cent. The cost to the New York
Central Railroad for preparing the plans for their new station has exceeded
6 per cent. Therefore, an architect who is able to prepare the plans for a
$10,000,000 building at a cost to him of less than 6 per cent of the total
cost of the building, must run his office in the most economic manner pos
sible and take his chance that the work may cost him more than his entire
fee.
It seems to be the general impression in many uninformed places that
an architect makes a few sketches taking a few days of his time and for
this work receives an enormous fee. The fact of the matter is that to pre
pare and carry out the work of a $10,000,000 courthouse will require the
services of from twenty to thirty high-priced draftsmen, as well as a
number of engineers and specialists on structural work, heating and ventila
tion, sanitation, mechanical equipment, etc., working for a period of at least
five years ; will require a large office at a high rental, and with the most
economic administration his work will cost about $450,000. This will leave
him about $150,000 profit, or about $30,000 a year.
What business man is there who is willing to head a $10,000,000 corpora
tion with a salary of $30,000 a year? What corporation is there of this size
that pays its counsel less than this amount? Such men, however, receive
these salaries without investing any of their own money to obtain it. The
architect must invest about $450,000 in actual cash paid out to receive his
profit of $150,000.
All of the above has nothing to do with the professional training
and skill of the architect, and for which he receives his compensation. He
must, therefore, not only invest his own money and run a large business
office with a chance of running it at a loss, but he must give his skill in
designing, his knowledge of engineering and construction, and his training
in sculpture and mural decoration in order that he may obtain his fee.
Construction News.
104

"Practice as American Institute Architect"
An Amusing Case Which Came to the Attention of the Committee

on Practice
NOT long ago a member of the Institute forwarded to the chairman of
the Committee on Practice what would appear to have been a circular
letter addressed at random, and bearing the imprint of one who
termed himself an architect. In corroboration of the assumption, and as a
means of impressing his qualifications, his letter-head bore the legend,
"Practice as American Institute Architect." Other members of the Insti
tute may have received one of these singular communications, although
but one has so far been brought to the attention of its officers.
In answer to an inquiry as to his source of authority for the use of the
legend, the following letter was received :
Your letter of the third instant received yesterday. In answer to your inquiry
requesting an explanation of the meaning of the printed note on my letterhead, viz.,
"Practice as American Institute Architect," the purpose of this notice was to inform
persons that I intended to conform and comply with the exemplary standards estab
lished by the American Institute of Architects, and not to signify, as the meaning
of your letter implies, "A Member of the Institute."
If the printed notice referred to has been misinterpreted, or is not in strict accord
ance with the A. I. A. regulations. I will have it removed immediately, as it was done
to make known, observe, and maintain the standards in practice.
As I am totally unaware of any infraction that the notice herein referred to could
have caused, will you please send me a copy of the A. I. A. Constitution and Laws,
as I respect and protect all such matters.
I respectfully request and trust that this explanation will be received by you,
and considered with the sincerity and ftdelity meant by this letter.
Thanking you, etc.,
.
N. B. During 189., while practicing in
, I received a communication from
the American Institute of Architects, voluntarily stating that I was privileged to
membership; as I Relieve that I have always adhered to the "Institute's Constitu
tions," that I have known of ami not deviated nor deteriorated since then, will you
please send me a statement of the requisites of membership?
Further correspondence then developed the following letter:
Accept my thanks for your letter of the
. inclosing a copy of the A. I. A.
Constitution and Laws, received this p. m.
1 have read these carefully and have not found an article relating to the matter
to which your letters of the
and
refer. I also notice that the note
upon the letter-head was evidently one of a misprinted lot, which was instructed to
be and read, "Practice According to Regulations of American Institute of Archi
tects." Several of these were used unknowingly some time ago, which at the time
escaped my attention.
As my office is and has been closed for several years, . . . please address com
munication to my rooms.
Respectfully.
While one might accept the use of the misprinted (?) stationery as
an inadvertence (an act which is, of course, amenable to the law and not
to the Constitution of the Institute), the statement in the last paragraph
of the letter does not coincide with the impression which the original letter
head and contents were intended to convey in this sentence : "This office
is, and has been during the past 18 years especially equipped to prepare at
tractive and artistically designed competitive plans." Inasmuch as that
letter also referred to a desire on the part of the writer to form an
"Associate Architect." according to a "Co-operative Equitable Agreement,''
one is inclined to question whether the intent of the legend was as much to
proclaim the exemplary standards of the Institute as to profit from them in
a questionable manner. Still, simple honesty sometimes gets itself into
bewildering predicaments.Institute Journal.
105
Some Notes on Clays and Tiles

By J. CLARK*
THERE is probably no material so common, and yet, to the average lay
man, so little known and understood, as clay. Nature prepared and
deposited this mineral in every conceivable form and the uses that
can be made of it by man with the aid of fire are almost limitless. The
commonest brick and the finest china and porcelains are made from clay,
but the composition of the material from which they are made varies in
proportion to the value of the finished product.
The basis of all clay is alumina and silica, and the proportion of these
minerals, together with such other minerals or vegetable jnatter as may be
held by them, determine the value and the uses to which it may be put.
The standard of pure clay is called koalin. The word kaolin is a corruption
of the Chinese word Kauling, meaning high ridge, and is the name of a
hill near Jauchau Fu, where the purest kaolin was found. (American
Journal Science, 1871, page 180.) The generally accepted analysis of pure
kaolin is :
Silica
47.71
Alumina
36.78
Potash
2.58
Water
,
13,03
(United States Geological Survey 11, page 39, 1903.) All particles of this
clay will pass through a sieve of 200 meshes to the inch. From the perfect
clay down to the commonest, an analysis of which shows :
Silica
19.24
Alumina
3.26
Ferric oxide
1,09
Lime
38.94
Magnesia
2.75
Water
1.67
Carbon dioxide
29.57
Phosphorus pentoxide
23
Sulphur
53
Chlorine
11
Organic matter
2.96
(IT. S. Geol. Surv.. Bull. 228, p. 367) there is found clay containing an ever
varying relationship of silica and alumina together with other minerals
either adding to or detracting from their value, according to the purpose
for which they are intended.
One of the earliest uses made of clay was the manufacture of tiles.
They were not, however, made for building purposes, but to receive in
scriptions in their plaster state, and when burned made perpetual the
writings inscribed upon them. From this early and crude manner of manu
facturing and its use, tile has developed into one of the most scientific
and exacting industries of the world and covers a wide range of product
for this indispensable building material.
Tile used for floor purposes comes under two headings: Encaustic and
Vitreous. These terms have no bearing on the shape or size of the tile,
but emanate from the material from which they are made. Encaustic tile
is made from self-coloring and fluxing clay and in but very few instances
is more or less absorbent. The colors of this grade of tile are red, buff,
* President and General Manager of the California Tile Contracting Company, 206 Sheldon building,
San Francisco.
106
black and salmon as well as the speckled tile containing manganese and
grog. The clay for this tile is worked in both plastic and dry form and is
moulded in shape by striking, screw or hydraulic pressure, using from ten
to twenty-five tons pressure and is burned generally in sagers to a tem
perature varying from cone 015 to 03.
Vitreous tile is a mixture of white burning clays which fluxes com
pletely, making a product impervious to water or acid and possessing the
ability to withstand wear possessed by no other material. This grade of
tile can be made in a large variety of colors and shades by the use of color
ing oxides and minerals. The clay for this tile is never worked plastic ; it
is subject to-the same pressure as encaustic clay and is burned to cone 5.
This grade of tile possesses 56 times the wearing value of white marble and
from 14 to 22 times greater wearing value than cement.
Tile for walls is generally classed under the heading of Faience and Wall,
the bodies or biscuit of each being made from clay producing a hard porous
body. The biscuit of the faience tile can be of any color, as it is always
coated with an engob which carries the coloring oxide, also a clay that
will flux at a comparatively low temperature, at the same time forming a
relationship to the previously burned biscuit that will not permit of scaling
and cracking. No tile is more susceptible to the influence of the fire than
faience ; the different temperatures which are bound to exist in various
parts of the kiln, be it ever so slight, will cause a shading that adds to the
beauty of the tile, at the same time causing markings on the surface very
much to be desired.
Wall tile proper is made from the white burning ball clays and on the
purity of clay and its freedom from coloring minerals depend its values.
High grade pure white burning ball clay that will not warp when pressed
for thin tile is not very plentiful in the United States and the talc rock is
sometimes used as a substitute. The biscuit of white wall tile is burned
to about the same temperature as vitreous tile, but has a porous body, the
clay running low in flux.
There is practically no limit to the processes that may be employed in
producing a glaze. One of the early methods and one still in use by some
pottery manufacturers is to throw salt on the fire and this produces what
is known as a salt glaze. Lead is extensively used in glazing, as well as
zinc. Probably no two factories use the same formula for producing the
glaze on white tile. The glaze in slip form is applied to the surface of the
biscuit by passing over a perforated roller the lower part of which turns
in the vessel containing the slip, and enough of the material adheres to the
roller to coat the surface of the biscuit as it passes over it. After drying
the tile is placed in sagers and fired to cone 020 to 012.
No material entering into the construction of a building requires more
skill and science to produce than tile. Being manufactured exclusively
from minerals which must be treated in the most exacting fashion, else,
when they have passed through the fire, we have a product far different
from what was intended, and probably worthless.
Tile is the most ancient building material on record, dating back to
thousands of years B. C, and no structure of fame was ever built since
that time, regardless of its style of architecture, in which tile was not used
and made one of the features, for, when the mighty men of old, as well
as the wise men of modern times, erected a structure, no imitations were
considered, and the best, both in material and architecture, was used. Tile,
then, as now, only could be used for the reason that it is the. only material
for floors and walls in which the colors and shapes can be had, that will
107
conform completely to any style of architecture, and, at the same time

furnish a material which will stand unlimited wear and defy time.
There is nothing of real value without its imitations and the greater
the value the more persistent are the imitations, and oftentimes we pay
a higher price for an imitation than the cost of the real article we desire.
Sometimes this is because we are not familiar with the cost and relative
values of the genuine and the imitations, and it is often impossible to get
the data showing these differences and we submit to the statements of
tradesmen who either mislead or who have no higher aim in their business
than to make an immediate sale. While this is true no doubt of all articles
of merit and value, we know of nothing that it applies to stronger than tile,
and most of them incorporate in some form the word tile in naming their
material.
Each year sees some new process and a very few years sees its end.
Tile manufactured by the ancients was made by very crude and primitive
methods and still it has stood the test of time as has no other material.
Now, with modern transportation to assemble clays, the best results are
attained by mixtures of clay and not from any one deposit. With hydraulic
and screw presses and modern kilns in which heat can be controlled to
within a few degrees, all contribute to the production of an article superior
to any ever made.
*
*
*
The McKinley Memorial Competition
Seven architects will compete for the prize offered through a committee
of the American Institute of Architects, for the best plans and drawings for
The National McKinley Birthplace Memorial, to be erected at Niles, Ohio.
The architects are Henry Bacon, 101 Park avenue, New York ; Cass Gilbert,
11 East Twenty-fourth street, New York ; McKim, Mead & White, 150 Fifth
avenue. New York ; H. Van Buren Magonigle, 101 Park avenue, New York ;
Palmer, Hornbostel & Jones, 63 Williams street, New York ; J. L. Decker,
Niles, Ohio, and Zantzinger, Borie & Medary, 139 South Fifteenth street,
Philadelphia, Pa.
J. C. Butler, Jr., of Youngstown, vice-president of the association, says
that the name of the architect will be announced as soon as the selection is
made.
*
San Francisco Hospital Competition
The Consulting Board of Architects of the City of San Francisco, consist
ing of Messrs. John G. Howard. Frederick H. Meyer and John Reid, Jr., have
practically completed the program for a competition for the Municipal Tuber
cular Hospital Group to be erected near the City and County Hospital, San
Francisco, at an estimated cost of $500,000. The money is now available.
Three prizes are to be offered. The following is a partial list of architects
who have been invited to compete, the list having been made up from architects
whose residence address is San Francisco: Charles Peter Weeks, Bakewell &
Brown. Ward & Blohme, John Bauer, Jr., VV. C. Hayes, Geo. W. Kelham,
August G. Headman. Herman Barthi Julius Krafft & Sons, Louis C. Mullgardt.
L. P. Hobart, Coxhead & Coxhead and Houghton Sawyer.
*
"Zeal : The feeling you have before you secure the thing as compared
with 'Stung' which is your condition after you get it."The Philistine.
108
The- Architect and Engineer
GREY TENNESSEE MARBLE MANTEL IN EHRMANN RESIDENCE, SAN FRANCISCO

Designed by Willis Polk & Co., Architects
Executed by the SchoenfeUi Marble Co.
Some Hand-Carved Fireplaces

THE accompanying pictures show the possibilities of hand-carved marble
and stone for fireplace and mantel work. The designs are by Willis
Polk & Co. of San Francisco and the sculpturing was done by the
Schoenfeld Marble Company of the same city. The mantels are in the
Templeton Crocker, Hooker. Ehrmann. Ralston, White, Griffith, Moffatt
and Goldstein homes and represent some advanced ideas in architectural
sculpturing for interior decoration. Mr. Polk has succesfully refrained
from over embellishment, a characteristic of this firm that has contributed
in a considerable measure to its success.
Besides Willis Polk & Co. the Schoenfeld Marble Company refer to
such well-known architects, for whom they have executed important com
missions for decorative work in marble, stone, granite, etc., as Charles
Peter Weeks, Bernard Joseph, Edward Young, and William Knowles.
The loan desk, seats, settees, etc.. in the library of the University of Cali
fornia, and the altars in St. Luke's church, San Francisco, and St. Paul's
church, Oakland, designed by Vickery, Atkins & Torrey, were executed by the
Schoenfeld Company.
110
111
WHITE MARBLE MANTEL IN TEMPLETON CROCKER'S RESIDENCE, HILLSBORO
Designed by Willis Polk & Co., Architects
Executed by the Schoenfeld Marble Co.
:
#|
#|
ALTAR OF ST. LUKE'S CHURCH, SAN FRANCISCO

Designed by Vickery, Atkins & Torrey
Erecuted by the Schoenfeld Marble Co.
112
THE
Arrljtfrrt mb Engtnwr
OP CALIFORNIA
Bustness Offtce and edttortal Rooms
(Includ1ng postage)
all parts of the Untted States f1.50
~ to 50c
pererI addtttonal.
annum : to Canada
addtttonal ; to all Foretgn potnts
11 XT'Vol. XXXIX. December, 1914
No. 2
ASSOCIATE EDITORS
Wm. I?. Gfstkr.
1 Inspectton
) and Tests
%\ ^ShF,tZL^th.ck: ! Reproof Constructs
W. W. Brf.tTR. C. E. Structural Steel
Athol McBkan
and Terra
W. E. Dknntson ' Brtck. Tile
Cotta
Howard Frost. 1
G. B. Ashcroft. c. E.
Artificial Stone
H. M. T.OWENThAL
J. K. D. Mackenzte . J Roofs and Roofing
Fred M. Woods. Jr..
Rock and Gravel
C. Walter Tozkr Interior Decoration
Wtlbur Davtd Cook. LandscapeArch1tecture
T. C. Kterulff
Legal Potnts
Paul C. Butte - Electrical Construct1on
Louts F. Mauer - - Waterproofing
ARCHITECTURAL
Fred H. Meyer
William O. Kaiguel
Edward T. Foulkes
Sumner P. Hunt
Alfred F. Rosenheim
Sumner Greene
G. Albert Lansburgh C.
Norman F. Marsh
Houghton Sawyer
Smith
O'Brien
Herman Barth
Almcric Coxhcad
Arthur Brown. Jr.
Harrison Albright
Chas. P. Weeks
John Parkinson
Octavius Morgan
T. Patterson Ross
J. C. Austin
William H. Weeks
Jas. W. Plaohek
Chas. W Dickey
Henry C. Smith
CONTRIBUTORS
Wm. A. Newman
John Bakewell. Jr.
Jas. W. Reid
W. Garden Mttchell
Krnest Coxhcad
Nathaniel Blaisdelt
Wm. C. Hayes
W. R. B. Wilcox
Uhas. Henry Cheney Willtam Mooser
Herbert E. Law
Robert Morgeneier
Hon. Jas. D. Phelan
B. J. S. Cahill
John Galen Howard , V. A. I. A.
E. M. C. Whttney
A. I. Whttney
Fredertck W. Jones
Manager
Treasurer
Managing Editor
Architects vvmo have visited the

Panama-Pacific Exposition are unthd cvDftcmntu
animous in proTHE EXPOSITION
claimi
the clor
COLOR SCHEME
scheme* of the
buildings and grounds the most
beautiful of any ever attempted at a
previous world's exposition.
Buildings and statuary alike have
been colored by pigments introduced
into the casting mass of Travertine
the composition chosen for most
of the structural and sculptural
work. This interesting material is
a sort of porous limestone, like that
used by the old Italian builders, and
with its rough, weathered-looking
surface and mellow buff tones still
farther softened by the tracery of
that delicate vine, the ficus ripens,
already growing, the walls, columns
and statues seem as though several
centuries had linked them to the
soil. W hat a welcome contrast to
the white and garish buildings one
usuallv finds in exposition grounds !
For the walks and roadways and
pavements of the courts, gravel has
been selected, of a more neutral,
grayish tone, as befits the ground
work upon which the builderpainter works : for the whole place
has been treated as a picturea vast
canvas where every detail adds its
subdued or brilliant note to the
general color harmony. Behind the
long colonnades the walls have
been painted a wonderful Pompeiian
red. used as the "lining color"
throughout, enhancing by its con
trast the huge green domes and the
two golden ones beside the entrance
that stand out in Oriental splendor
against the intense blueness of the
sky. Inside the domes, the eye is
greeted by rich blues and reds and
golds ; farther on, in the shelter of
the great entrances, immense mural
paintings, set like jewels in the
framing walls, give their note of
color just where it is needed, com
plete in their individual beauty and
at the same time treated as units in
the larger scheme. Truthfully, it is
the world's greatest exposition in
point of color.
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Arch and Enginer 1914

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The Architect and Engineer

Contents for January

Detail Entrance to Masonic Temple, San Francisco

ENTRANCE MASONIC TEMPLE, SAN FRANCISCO

The Architect and Engineer

The Architect and Engineer

Che Architect and Engineer

The Architect and Engineer

honest material than out of a bald portico of uncouth columns support

The Architect and Engineer

DIOCESAN HOUSE FOR THE EPISCOPAL

The Architect and Engineer

The Architect and Engineer

The Architect and Engineer

The Architect and Engineer

The Architect and Engineer

SAVINGS UNION BANK & TRUST COMPANY

DETAILS OF BRONZE DOOR

The Architect and Engineer

The Architect and Engineer

DETAIL. COLUMBIA THEATER

The Architect and Engineer

Hospital For CHILDREN AND TRAINING SCHOOL For NURSEs

ARCADE. HOSPITAL FOR CHILDREN

The Architect and Engineer

The Architect and Engineer

The Architect and Engineer

The Architect and Engineer

The University Club Building, like the Oakland Library, is a most

The Architect and Engineer

LIVERPOOL AND LONDON AND GLOBE

INTERIOR, LIVERPOOL AND LONDON AND

The Archttect and Engineer

BUILDING FOR EASTMAN KODAK COMPANY

The Architect and Engineer

DETAIL. UNIVERSITY CLUB BUILDING

The Architect and Engineer

DETAIL, MASONIC TEMPLE

COMMANDRY. MASONIC TEMPLE

COMMANDRY, MASONIC TEMPLE

MASTER'S STATION, LODGE ROOM NO. 4

ORGAN GALLERY, LODGE ROOM NO. /

RESWEXCE FOR MR. F. If. "rXEAR

The Architect and Engineer

RESIDENCE FOR MR. WM. MAYO NEWHALL

RESIDENCE FOR MRS. FLOREXCE IV. VI HE MOORE

The Architect and Engineer

RESIDENCE FOR MRS. FLORENCE BLYTflE MOORE

RESIDENCE FOR MRS. R. D. GIRVIN,

The Architect and Engineer

ELEVATION NORTH ENTRANCE,

The Architect and Engineer

PANAMA-PACIFIC INTERNATIONAL EXPOSITION,

The Architect and Engineer

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FRONT ELEl ATION

The Masonic Temple marks the culmination of work to date turned

Forecast of 1914 Building Record

HIRTY-FIVE million dollars is a conservative estimate of the total

The Architect and Engineer

The Architect and Engineer

Glen Ellen; H. M. Wright, a $12,000 residence in Claremont; John Spohn, a $25,000

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