WRAY

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Vol. II. No. 9. FEBRUARY 1st, 1913. [ 10/6 P er A nnu^ s?3yS s t F r e e .

C O N C R E T EUSE THE BEST REINFORCEMENT AND SUPPORT LOCAL INDUSTRY

Tensile Strength of the

Fabric Guaranteed. Continuity

of Reinforcement

* s ' Enhances its Value and

*V Cheapens Cost of Laying.

OVER O N E -A N D -H A L F MILLIONS SQUARE FEETH A V E B E E N U S E D IN C O N C R E T E F L O O R S , W A L L S , & c.,.. IN T R A N S V A A L , N A T A L A N D C A P E ::

M A N U F A C T U R E D IN S O U T H A F R IC ASOLE AGENT

HERBERT AINSW ORTHP.O. Box 1553. Telephone No. 356.

CORNER HOUSE JOHANNESBURG

Telegrams : “ AINSCO.”

THE AFRICAN ARCHITECT. February ist, 1913.

Structural Steelwork |

TvlSW CARRIAGE SHOPS, S.A.R., DURBAN: THREE BATS, EACH 400 FT. LONG, 48 FT. SPAN, SCOMPLETE.

SUPPLIED AND ERECTED BY US

STEEL FRAME BUILDINGS, HEADGEARS, TANKS, BRIDGES, STEEL ROOFS, FACTORIES, etc., etc., MACFARLANE’S CASTINGS, WITHERS’

— SAFES, etc., COLLAPSABLE G A T E S .______________

Designs and Estim ates upon application. -------------

Gilbert Hamer & Co.

i— ir

LIMITED. _____________________________ ___________________________ __------- Incorporated in Natal.

NATIONAL STEEL & IRON W ORKSP-0- Box 301. DURBAN.AND AT

425, CONSOLIDATED BUILDING, JOHANNESBURG.P.O. Box 1663. Telephone 2386. Telegrams: “ Steelwork.”

Telephone 872. Telegrams : “ Girders.”

• IS C HE □ ® C IIE

THE AFRICAN ARCHITECT.February 1st, 1913.

ESTABLISHED 1880. ESTABLISHED 1880.

J . R . M e K I L L O PT I L E S , M O S A IC , M A R B L E a n d

T E R R A C O T T A M E R C H A N T S .

JOHANNESBURG : CAPE TOW N:17, Rand Provident Buildings, Fox Street. 77, 79 & 81, Hout Street.

Telegraphic Address : “ KLINKER. Telephone No. 2767.

P.O. Box 2090. ■ ■ —

Telegraphic Address : “ K LIN K ER.” Telephone No. 409.

P.O. Box 1219.

RO O F A N D P A V IN GM A N U F A C T U R E R S O F f

T I L E S , I R R IG A T IO N P I P E S A N D A C R E

C U L T U R A L T I L E S , F L O W E R PO TS A N D G A R D E N E D G IN G .Tile Works and Potteries : HEIDELBERG, C.C.

T he LARGEST STOCK o r DECORATIVE MARBLES, SUITABLE for COLUMNS, PILASTERS,W A L L DADOES, FLOORS, SHOP FRONTS, COUNTER TOPS, STEPS AND RISERS.

South African Agents: HIRSCH, LOUBSER & CO., Ld., Johannesburg; WM . COTTS & CO., Durban; MOSENTHAL & CO., East London and Port Elizabeth ; MITCHELL, COTTS & CO., Capetown ; and ANGLO AFRICAN CO., Rhodesia.

PABCO S/S ROOFING is the well-known and thoroughly tested Malthoid Roofing towhich is applied a special surface of Asbestos.

PABCO S/S ROOFING

The Tea Room, Humewood Beach, Port Elizabeth

W A T E R P R O O F : C O O L : A T T R A C T IV E : P O R T A B L E : F IR E lR E S IS T IN G Light Green, White or Terra Cotta. Easily Laid.

THE AFRICAN ARCHITECT. February 1st, 1913.11.

FOR THE MANSION OR THE OUTBUILDING.

“ G L A D IA T O R ”FIREPROOF

BUILDING SHEETSFor Ceilings, Walls, Partitions, Bungalows andBuildings— Permanent or Portable. Roofs, etc., etc.

Sheds, Flat

i W F

Classic effect when Painted or Great Strength.Light Weight.Low Cost.

.Equable temperature assured.

Filleted.

“ GLADIATOR” SHEETS are damp, sound and vermin proof. Lie quite flat. Will not warp or crack. Are easily sawn, nailed, painted or papered.Stocked from 40 ins. square to 12 ft. x 4 ft., in three colours : grey (standard) blue and red.

20,Commercial UNITED ASBESTOS 29,Strand St,

Road, AGENCY, LIMITED CAPEDURBAN

GROUND FLOOR, CENTRAL HOUSE, TOWN.SIMMONDS STREET,

P.O. Box 139. JOHANNESBURG. P.O. Box 1451‘Phone 445. P.O. Box 2642. ’Phone 345. ’Phone 722.

The Jeppe Carriage Works

J. W. KOCK,G E N E R A L S M I T H A N D F A R R I E R ,

V E T E R IN A R Y SH O E IN G .Any kind of VEHICLE BUILT to Order

286, Commissioner Street,BOX 209, JEPPES, JOHANNESBURG

WEIGHTMAN & AM ERY,FLINT LINERS for TUBE MILLS.

We mike P O L ISH E D G R A N IT E CO LUM N S, M E M O R IA LS, &c., from our own Transvaal Granite Quarries : : G REY , R ED or D A R K BLUE.Designs and Estimates Free. Your ou)n Designs made to order.

First-Class Workmanship Guaranteed.

P.O. Box 'Phone Telegraphic Address :2027. 529. ‘ ‘ C A P ST O N E .”

V

A iVT

a >

fpENTLANDSBLUE

h ydr a ulic

LIMEv o r k s : p m e D e n c .DCDOT 1 o o “Jo r 155enL5rrR..

Br a m̂ rorrreirxT O H A I Q f ^ e ^ B C I R e .

Telephone 2491

J. HOUSEMAN,Farrier and General Smith,Veterinary Shoeing Forge.

SPECIAL A T T E N T IO N GIVEN LA M E HORSES

274 - 276, COMMISSIONER ST.,JE P P E S T O W N ,

O PP. C O SM O P O L ITA N H O TE L. JO H AN N ESBU RG

P.O. Box 63. Telegrams: “ Pedler.’* Telephone 383.

Pedler & Clapham,Builders’ and Commercial Brokers,

12, BUREAU LANE, PRETORIA.L y sa g lrt ’ s Iron,

Allen W ack & Co., T im ber M erchants, Delagoa B ay .

TIMBER, HARDWARE, PAINT, OIL, GLASS, IRON, etc.

February 1st, 1913. THE AFRICAN ARCHITECT.

The African ArchitectAdvertisers.The number indicates the page in this issue on which the Advertisement will be found ; where a (------ ) dash appears

it denotes that Advertisement does not appear in this issue.

PageAdams & Co . M. J ... ... ••• xxAinsworth. Herbert ... ... Cront Cover

Baerecke & Kleudgen . . ... ivBarker, Hugh ... ... ... xxBeard, Ellis & Scott ... Inside Back Cover Begg, George ••• ... ... xviiiBoston Wallpaper Co., Ltd. ... ... xxBrick and Potteries Co. ••• ••• ••• i i

Ckevers, Jesse C. ... ... ... iiiClark & Sons, Thomas ... ... ... xviiC. Collins .. ... ... ... ... ivCyclone Gate & Fence Co ... ... ... xv

Dean, W. H. ... ... ... ... xxiiDey. W- R .... ... ... ... ... xDrew, Harris & Sheldon. Ltd. ... ... xiiiDonovan, M. ... ... ... ... xviiDouglas, Thomas ... ... ... xvii

Eshen & Crone ••• ••• ... iv

Fleming, M. & W. ••• ... ... ... xiiiFox & Co. ••• ••• ••• ••• ••• xx

PageGeneral Fire Appliances ... ... ... viiiGeneral Accident Fire & Life ... ... xixGilbert Hamer & Co., Ltd. (Macfarlane’s) Cover Giovanetti, C. W. ... ... .. ... xGwilliam, Fred ... ... ... ... xv

Haine, Wilfred, Ltd. ... ... ... xviiHancock, & Co. ,T. C. ••• ••• viHarris & Hittinger ... ... ... xHenderson & Gordon ... Inside Back Cover Houseman J. ... ••• ... .. ii

Japolin Enamel and Paint Company ... xvii Jansen, P. ... ... ... ... ••• xxJenkins & Co. ... Inside Back CoverJohnstone, W. F. ... ... ... ... x\ii

Kinness’ Patent Metal Stair Treads ... xiKoch. J. W. ... ... ... ••• ii

McKillop, J. R. ... ... ............... iMoir & Harper ••• ••• ••• ••• xviiiMoodie & Drennan... ... ... ... viMatthews J P. & bon ... .. xvii

PageNeuchatel Asphalte Co. of S.A.. The ... ix New Muckleneuk Brick Factory (Pretoria) vi

Pabco S/S Roofing.. ••• iParipan ••• ••• ••• ••• ... ixPedler & Clapham ... ... ... ... iiPentland Blue Hydraulic Lime ... ... ii

' Plate Glas■« Bevelling & Silver Co ... ... xvI Prentice & Mackie... •• ••• xvii

Proudfoot & Co. ... ... ... ... viii

Reid & Knuckey ... ... ... ... i i ;Rowe, Mar hall & Fleming Inside Back Cover Ruberoid ... ... ... ... ... xi

Union Granolithic & Asphalte Co., The ... iv United Asbestos Agency, Ltd. ... ••• iiUnited Engineering Co.. Ltd. ... Back Cover

Vereeniging Brick & Tile Co., Ltd., The ... xviii

Wallis, Jas. & Co. -• ••• xviiiWeightman & Ave y ... ... ... iiWhitehorn. E. L. ... ••• ••• ••• iiiWilson & Son, J. ... ... ... ... xviiiWrigh & tons ••• ... ... •• iv

♦I Telegraphic Address

“C Y LIN D E R .’P.O. Box 937 Telephone 1756

REID & KNUCKEYC O N T R A C T I N G E N G IN EE R S , --------- B U IL D E R S . ---------------

Office and Works :—CORNER OF VOORHOUT & ANDRIES STREETS,

TROYEVILLE.

1♦♦t

♦f♦♦f1

♦f

1

Steel Ceilings and Art Metal WorksThe use of Clievers’ Art Metal for Ceilings and Walls does away with the risk of dampness or cracking incidental to the use of plaster or wood ; takes a low rate of insurance, because fire-proof; inexpensive to buy; easily fixed; improves the acoustic properties of rooms and halls; offers possibilities in pattern combinations and decorative treatment unattained by any other material. C a t a l o g u e s F r e e

JESSE C. CHEVERSMANUFACTURER :: :: :: CAPE TOWN53, LOOP STREET P.O. BOX 529

THE BRICK AND POTTERIES (COM PANY, LIM ITED. ---------------------------- j

Manufacturers of •AH kinds of Moulded and M achine- Tm ade B ricks, Pressed Facing B ricks, fStable and G utter T iles, etc. F ire fB ricks anti Furnace R equisites.

Works : HERONMERE DAM, RACE COURSE ROAD,P.O. Box 155. Telephone 776.

J O H A N N E S B U R Q .

Town Office : TRU ST BUILDINGS. Telephone 35.

P.O. Box 236, Jeppes. Telephone 1383.

E. L. WhitehornRegistered Sanitary PlumberCity of London Guilds. Transvaal University College.

Licensed by the Municipality.

240, MAIN STREET, JEPPESTOWN.SPECIAL ATTENTION TO JOBBING WORK.

Good Work at Reasonable Charges. Baths, Tanks, Dust Bins.

IV. THE AFRICAN ARCHITECT. February ist, 1913.

® I " U ®

John Wright & Sons---------- ARCHITECTURAL MODELLERS.-----------

Manufacturers of Granolithic Slab Paving, Granolithic Steps and Stairs, Polished Concrete Columns, Caps and Bases, Coping, Window Sills and Heads', Granite Cement Slabs for Worn Steps. All kinds of Architects’ Designs executed.

II® [ =

Factories] © ■"

ZUURFONTEIN, T R A N S V A A L . SOUTH COAST JUNCTION, NATAL

[ = i ®

Art Metal WorkStandards, Hall Lamps, Electroliers, Brackets, Pendants, Radiators, Switch Plates, Finger Plates, Metal Signs, etc, of Antique or Modern Design, in Copper, Brass or Iron.

ESHEN & CRONE,90, MAIN ST. (Cor. Eloff St.), Johannesburg. Box 4292.

LYSAGHT'SGALVANIZED CORRUGATED IRON

Used by the South African Railways. LASTS A LIFE-TIME

BAERECKE & KLEUDGEN, Durban Agents,P. O. P ox 849 Telephone 946

JOHANNESBURG.Office.: 54, SAUER’S BUILDINGS. Works : POLLY STREET.

Telegrams : “ Granolithic.”P.O. Pox 2665.Phone 2408.

V 3

■Contractors for all

kinds ofFLOORS AND SIDEWALKS

CONCRETE, GRANOLITHIC, ASPHALTIC & ASPHALTE, &c„ & c.

MALTHOID ” Roofs a speciality.

C . C O L L I N S ,S T O N E M E R C H A N T and C O N T R A C T O R .

Office: 252, COMMISSIONER STREET, JohannesburgWorks : Commissioner, Green, Fox and Berea Streets.

Telephone 1475.

Estimates given fo r any description o f Stone, Slate, M arble or Granite IVorE

V.

®Ije African r̂cljiteitS A T U R D A Y ,

FE B R U A R Y 1st, 1913.

V olume 11. No. 9

PIETERMARITZBURG NEW POST OFFICE, SHOWING QUEEN VICTORIA STATUTE IN FRONT OF LEGISLATIVE ASSEMBLY BUILDING

VI. THE AFRICAN ARCHITECT. February ist, 1913.

C O N T E N T S .

PageEDITORIAL COMMENTS

Enthusiasm Desirable 129A Rem inder... 129Royal Sanitary Congress 129Royal Patronage and Officials 129

TRADITION IN ARCHITECTURE 130

LEADING ARTICLE

Architects’ Names on Boards 131

CORRESPONDENCE

The Ecole des Beaux Arts 132Bills o f Quantities 133

THOUGHTS ON ARCHITECTURE 134

PERSONAL PARS ..................................... 138

THE NEW MARKET BUILDINGSVisit o f Inspection 13S

PageOUR ILLUSTRATIONS

Union Club o f South Africa ... ... ... 139New Market at Newtown ... ... ... 139

THE STYLE OF THE NEW DELHI

Mr. Herbert Baker consulted by the ImperialGovernment ... ... ... ... 142

THE PROSAIC IN AN ARCHITECT’S W ORK

Extracts from a Paper read at a Meeting- o f the Architectural Association by HoraceCubitt, A. R. I.B. A. ... ... ... 143

“ AFRICAN ARCHITECT” COMPETITIONS

No. 13—A Bioscope Hall ... ... ... 145

TENDERS FOR ERECTION—ART GALLERY ... 145

EXCESSIVE RAILWAY RATES

Important Declaration by Johannesburg MasterBuilders’ Association ... ... ... 147

S P E C IA L IS T S in

Heating Installations

S P E C IA L IS T S in

Sanitary Appliances

S P E C IA L IS T S in

All Special Building LinesThe only Firm that really Specialises ----------QUOTATIONS GIVEN

1

J.S. HANCOCK & Co.PRESIDENT STREET (Cor. SMAL ST.)

P.O. Box 1920. Telegrams: “ Specialists” ’Phone 2444

JOHANNESBURG.

M O O D IE & D R E N N A N ,©

P.O. Box 1321. PR ETO R IA.pain ters & decorators.

Workshops and Offices : VERMEULEN STREET.

P riv a te R esidences :Mr. M O O D IE 78. Beatrix Street.Mr. DRENN AN Pretoria Street, Hatfield.

Box 526. Tel. Address: “ HEATING.” Phone 287

New Mucklenenk Brick Factory,Office : C/r. VERMEULEN & VAN DER WALT STS.,

PRETORIA.W ork.: NEW MUCKLENEUK. PRETORIA.

Prices on application to the above jlddress.

WIRE CUT. FACING AND FIRE BRICKS; BULLNOSE and a large assortment of FANCY and ORNAMENTAL BRICKS

always in stock.

February 1st. 1913. THE AFRICAN ARCHITECT. Vll .

Institute of South African Architects.^ssanattatt of flrattsbaal JlrdnU'ds.

( I N C O R P O R A T E D UNDER T H E A R C H I T E C T S ' P R IV A T E A C T , 1 9 0 9 ) .

THE COUNCIL, 1912:J3 rest bent: H. G. V e a l e .

Uice-filrestbcnts: W al t er R e id , f. r i . b .a . W . H. St u ck e , a . r . i . b . a .l it embers of Council: R. H o w d e n , a . r . v . i .a ., m . s .a . H. Ba k e r , f . r . i . b . a .P. E agle . Ivor L e w is , m . s. a . M. J. H a r r is , m . s . a . D. M. S in clair , m . s . a . G. W. N icolay , m . s . a .

E. H . W a u g h , m . s . a .lleeiistrar: C ecil A l d e r , lic . r . i . b . a .

Iransbaal Institute af JUrljiUds.COUNCIL, 1911-12.

drcsibent: P. E. T reeby .Uice-JJresibeuts : R. H o w d e n , a . r . v . i . a ., m. s .a . ; F. V incent S t o k e s , f . s . i.

lljon- j^erreiarji: M. J. H a r r i s , m .s .a .Boit. ®reasurer: D. M. S in cl a ir , m .s .a .

Council: J- E. B e a r d w o o d , m . s . a . G. A. H. D ickson , f . r . i .b . a . W . R e id , f . r . i. b .a . F. E m ley .H. G. V e a l e . J. W a ter son . G. G ranger F leming , lic . r . i . b .a .

Secretary: C. A l d e r , lic.. r . i .b . a ., Box 5606, Johannesburg.

Jiatal Institute af ^reljiteets.flresibent: C. W. M e t h ve n , f . r . s . e ., m . i . c. e ., f . r . i . b . a

Hire-Jli'osibrnt: S. G. H udson , f .r . i . b . a .Bon. ^erretarrr anb Creasurer: H. E. C hick .

Council: F. J. In g . M. H olmes . T hom as R e a d . J. J. H. L ubke . G. T. H u r s t . J. D. A n d e r s o n .W. C. E. R ob a r t s .

(Tha Capa Institute af Architects.JJresibent: A r t h u r H. R e id , f . r . i . b . a .Uicc-ijpresibent: J ohn P a r k e r , f . r . i . b . a .

Bon. ^ecretanr anb ®rcasurer: E. A ustin C ooke .Aubitor : W. G. F a g g , l ic . r . i. b. a .

Council: ( Fellows J— W . J. D e lbridg e , a . r . i . b . a . F. K . K e n d al l , a . r . i. b . a . A l e x . F o r s y t h .C- H. S m ith , a . r . i . b . a . ( Associates J — J. M o r r is , lic . r . i . b.a . F. R. E. S l a d d in , f . s . i ., lic . r . i . b . a .

(I be Farida af Architects [JnrovporateO 18115]. ^autlj African IS ranch.Jpresibent: M. J. H a r r is , m . s . a .

B o n . ^ e c r e t a n i : D Ivor Le w is , m . s .a . B o n . ®reaaurer: G. W . N ic o l a y , m . s . a .Committee: S. C. D o w s e t t , m. s . a . J. F. B e a r d w o o d , m . s . a . E. H. W a u g h , a . r . i . b . a . C. H. S t ott

(the two latter are ex-officio)

THE SOUTH AFRICAN INSTITUTE OF QUANTITY SURVEYORS. (InT 9T3alcd)THE COUNCIL, 1912-13: ftresibent: T . M oo re .

aice-ijpresibent: E. W hite .Bon. ,S> cere tar u anb Creasurer: J- W. C o w l in g , f . s . i .

Council: H. A. A d a m s . J. D. H ickman . A. S t r a t t o n . D. A. M cC ubbin . W . E. P untis. W . Priestley

V l l l . THE AFRICAN ARCHITECT. February 1st, 1913.

P.O. Box 2569. Telephone Nos. 43 and 2816. " Tel. Address: “ TRACTION.”

PROUDFOOT & CO.General and Mining Contractors and Quarrymen. :: JOHANNESBURG.

All descriptions of Cartage, Steam Transport, General and Mining Contracting Work at prices which defy competition.

V o l . I I . No. 9 .] FEBRUARY 1s t , 1913. [1 0 /6 P e r A n n u m p o s t f r e e .

EDITORIAL COMMENTSEnthusiasm Desirable.

We regret to note that the meeting of the Association of Transvaal Architects, which was convened for January 17th, resulted in the attendance of six persons, including the Registrar and the shorthand writer. As a quorum for an Association meeting is twenty-five, these six gentlemen waited the regulation hour, and returned homeward with, let us hope, a glowing sense of duty attempted—and nothing done. The position gives one food for thought. Is the profession in this Province entirely apathetic to the large scheme for bringing about better conditions which is embodied in the present draft Architects Act for the Union? More enthusiasm is desirable.

A Reminder.With reference to the above comment, one wonders

if the Registrar’s note at the foot of the notice convening the meeting had anything to do with the paucity of attendance for the meeting referred to. The notice, as a matter of fact, contained a reminder to members of the Association that none were eligible to vote, under the by-laws, unless the current year’s subscription, which fell due on January 1st, had been paid. Some might take this as a sad reflection upon the profession if this be the case ; but, perhaps, a kindlier view would be to remember that quite a number of architects were still away on their holidays. We hope the next call of the Registrar for attendance at a meeting of such tremendous import as consideration of the proposed new Act will result in a very large attendance of members.

Royal Sanitary Congress.We are able to state that it is hoped that the

Honourable the Administrator of the Transvaal, the Hon. G. Rissik, will deliver the opening address at the annua) Conference of the Royal Sanitary Institute

which is to be held in March in Johannesburg. The following papers have been promised : “ MunicipalWorks of Johannesburg,” Mr. Burt Andrews, M.Inst.C.E., Town Engineer, Johannesburg; “ The Prevalence and Suppression of Tuberculosis amongst Livestock in South Africa,” Mr. W. Irvine Smith, M.R.C.V.S., Director of Abattoirs, Johannesburg ; “ The Standard of Housing in Urban Districts for European and Coloured Persons,” Dr. J . Boyd, M.O.H., Pretoria ; “ Town Planning,” Mr. I). Howells, A.M.Inst.C.E., Town Engineer, Benoni ; “ The Scavenging of Urban Districts,” Mr. James Munsie, C-S.I., Krugersdorp ; “ Our Milk Supplies from a Sanitary. Inspector’s Point of View,” Mr. Robert Marshall, A.R.San.I., Boksburg. It is hoped to arrange a discussion on “ Mine Sanitation.”

Royal Patronage and Officials.It is interesting to note that His Majesty George V.

is a patron of the Royal Sanitary Institute, while the President is His Grace the Duke of Northumberland. The Council of the South African branch consists of : Messrs. A. Jasper Anderson, M.A., M.B. Oxon., D.P.H., Cantab., F.R.S. South Africa, Medical Officer of Health Cape Town, chairman ; G S. Burt Andrews, M.Inst.C.E., Town Engineer, Johannesburg ; Dr. T. J. Boyd, Medical Officer of Health. Pretoria ; Messrs. J . R. Finch, J.P ., Cape Town ; R. W. Menmuir, A.M.Inst.C.E., consulting engineer, Cape Town; P. Murison, M.D., E.R.C.P., B.Sc., D.P.H., Medical Officer of Health, Durban; E. H. Waugh, building surveyor, Johannesburg :j A. H. Reid, F.R.I.B.A ., hon. treasurer; A. E. Snape, M.Sc., A.M.Inst.C.E., Professor of Civil Engineering, South African College, hon. secretary. In November, iq ii , the first Colonial Congress was held in Cape Town, and was very successful. To these congresses delegates are invited from the various municipalities, divisional councils, school boards, and village management boards. We should advise, also, that representatives should be invited to attend from the Master Builders’ Associations.

1 3 0 THE AFRICAN ARCHITECT. February 1st, 1913.

TRADITION IN ARCHITECTURETaking Johnson’s definition of tradition—“ any

thing delivered orally from age to age ” —it is to be noticed that this emphasises two conditions—(1) that it shall not be written and (2) that it shall be a continuous process. Tradition in architecture, then, is the method of working which has been handed down from father to son ; it is the application of those principles which form, or, rather, should form, the ground-work of the training given by the master to his apprentices, to be passed on by them to their successors.

The Essence of Tradition

It is of the very essence of tradition that it shall be the common property and inheritance of the whole body of artificers, from the designer, or master-mind, who originates, to the humblest artisan who helps to construct the building. The designer, if of outstanding ability, may, by adopting a new material, or by devising a daring piece of construction, advance a little forward beyond his predecessors ; but it is always upon the same path, and those working under him are able to follow easily and naturally in his footsteps. It is difficult to over-estimate the advantage of this. Its importance lies in the sense of power and self-reliance which such a steadily growing authority gives to a community, all the members of which are able to express themselves simply and naturally in the same language—for architecture is speech materialised. Unfortunately it is impossible to realise this advantage at the present day, for, as a nation, we may be said to be without tradition. It has been destroyed by the archaeologist. But it died hard, tradition being wonderfully tenacious and long- lived ; invasion and conquest will not kill i t ; indeed, in such cases the tradition of the two nations has almost invariably coalesced ; and in some instances even the tradition of the conquered has maintained its supremacy. It is worthy of note that the Jews, who had no genius for architecture, were apparently only employed by the Egyptians as quarrymen and carriers of stone and makers of bricks ; if they had been better architects they might perhaps have fared better.

Living Architecture

It seems, therefore, that a new phase of living architecture is evolved only from the combination of two or more traditions ; it cannot spring, Minerva- born, from a single brain. All European architecture may be said to have had a common Roman tradition. The Romanesque, the Lombardic, the Byzantine, and the Norman were moulded from this common stock into different forms by the local genius of the builders. One cannot help regretting that some one part of the Roman Empire did not adhere to the pagan religion, so that we could go to, say, Naples, and see what had resulted from that tradition being handed down, unbroken and uninfluenced, to the present day. We must turn to another form of design for a parallel. Take shipbuilding. The coasting brig which is launched from the Tyne to-dav is the direct descendant of the Norse Viking ship. Its spars, its ropes and appliances, are more numerous, more complicated,

and, we may suppose, more efficient—that is the result of one thousand five hundred years of intelligent development, but the main structure remains the same.

The Middle AgesIn England, through the Middle Ages, the

differences which we notice are simply due to the greater technical skill in the later periods. By successive experiments, not always successful, the men of the fourteenth and fifteenth centuries had achieved such command over their material that the)' created structures which would have excited the wonder of the men of the thirteenth century, though they followed logically from the teaching of the latter. The Renaissance changed all this ; it was a forced growth ; the artisan was not in sympathy with it— it was an endeavour to make him speak not merely a foreign, but a dead language ; it was, indeed, “ Greek” to him; and, in the endeavour to learn it, he deadened the expressive idiom of his own vernacular speech. Yet tradition was not quite destroyed. Through the reigns of Oueen Anne and the earlier Georges a village carpenter could still be trusted to express himself clearly, intelligently, 'and with some style, so that there is scarcely a village which does not possess work of this period that is interesting and worthy of attention, and which, there is no reason to doubt, was thought out and done by the artisan without supervision.

Then came the period of revivals. Now Greek, now Gothic, was extolled as the only true and authentic style ; each had its votaries among the dilettanti. Architectural design became an affair of fashions. An architect was expected to design, now n one style, now in another, and the bewildered artisan, robbed of all chance of expression, sank into the inarticulate drudge of to-day. Adam Bede seems to be the type of the last surviving exponent of tradition in architecture.

Hope for the FutureThe best hope for the -future lies 111 the quiet,

resourceful determination of architects to see that what they have to say shall be expressed in a simple, straightforward, forcible way, easily understood and appreciated, and to go . on repeating this until it has sunk deep into the minds of the executive workers. There need be no fear of monotony or dulness ; the thoughts may vary, though the mode of expression remain the same, and there may be plenty of interest and novelty in a story told in simple words, without recourse to extravagant language or foreign quotations. One building thus produced may serve to leaven a whole district, and the local builders may be expected, little by little, and almost unconsciously, to assimilate its qualities. Happily the reign of tlie archaeologist is at an end ; one rarely hears now the question, “ What style do you call the building? One is no longer expected to give chapter and verse for a moulding, and the use of the dentil, or dogs tooth, is no longer sufficient to stamp perfection upon the design. We are free, and if we will work with the courage and restrained individuality of the earlier men we mav hope to re-establish a tradition that shall be honourable to ourselves and serviceable to those who follow.—H. I., in “ The Architects and Builders

. Journal.”

THE AFRICAN ARCHITECT.February ist, 1913. 131

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ARCHITECTS’ NAMES ON BOARDS.Cn pdHE latest mail from England brings a report

that the R.I.B.A. Council has passed a resolution declaring it undesirable for architects to put their names on boards in front

of buildings which they may be erecting. The following is the letter which has been addressed by the secretary of the Institute to the Councils of the Allied Societies : “ The Council of the Royal Institute of British Architects have directed me to ask you to be good enough to call the attention of your Council to the following resolution which appears on page 13 of the R.I.B.A. Kalendar—‘ That it is undesirable for architects to exhibit their names on boards or hoardings in front of buildings in course of construction ’—and to say that they will be glad if your Council will kindly take steps to bring this resolution to the notice of the members of your Society.” This, we would point out to architects in South Africa,

seems rather contrary to the spirit of resolutions taken at various International Congresses of Architects in recent years, where the feeling has distinctly been in favour of the architect indicating his responsibility for the buildings he designs. At the French Conference, .for instance, there was a considerable feeling in favour of architects “ signing” their buildings in some permanent form, such as by inscription on the foundation stone. The R .I.B .A .’s latest resolution seems rather a straining of the English professional man’s dislike for advertising. We believe that the Colonial view is saner and more wholesome. The leading South African architects have always been well advertised in connection with their buildings, whether by display boards on the site or by way of illustrated articles in the popular journals. The truth is that advertising in certain ways is not at all objectionable. We would, however, decidedly object to certain forms of advertising known to our American cousins, but there is such a thing as respectable professional advertising, and the sooner our English brethren recognise this, and remove absurd restrictions such as the latest they have imposed, the sooner will the public recognise that there is such a thing as authorship in architecture ; and the sooner will there be an end to the complaint about the public and the popular press ignoring the individuality of the architect.

THE AUSTRALIAN FEDEFAL CITY.

A definite start has been made by the Commonwealth authorities in the district of Canberra, New South Wales. A power plant, a railway, and brickwork are the first visible signs of the city that is to be. The district contains several kinds of stone, some soft, some hard, besides shale and clay. This softer stone will probably be used in the manufacture of Portland cement, whilst the harder variety is likely to prove useful as ashlar. It is estimated that some ninety millions of bricks will be required for official purposes alone, and Government kilns are to be erected capable of producing fifteen million bricks a year. The clay that has been found in the territory—the River Molonglo flows through the area—is said to be suitable for brickmaking, and it is claimed that the bricks can be made and delivered at £ 1 5s - P er thousand. The Government are undertaking the manufacture of their own bricks, as bricks have been high in price of late, and supplies have been low. Both the New South Wales Government and the Victorian Government have established State brickworks. A central power-house is to be built at a cost of about £20,000, capable of supplying electricity for the whole district where power wifl be required during building operations. A reservoir and dam are to be erected costing about £90,000, the water supply being by gravitation to the whole of the city area as completely planned.

132 THE AFRICAN ARCHITECT. February 1st, 1913.CORRESPONDENCE

L e tte rs f o r th is section sh ou ld be 1w ritten on one s id e o f th e pa per only. T he •w riter vti'iy adopt an a s su m e d n a m e f o r purposes o j pu b lica tio n , bu t he m u st in a ll cases fu r n is h h is re a l n a m e a n d ad dress to th e E d ito r .

THE ECOLE DES BEAUX ARTS

To the Editor, “ The African Architect."S ir ,—Having now formulated their views and

course of procedure, the Beaux Arts Committee to promote improved methods of architectural training in Britain desire me to forwad you the following explanatory precis :—

The committee and jury for adjudication include the following :—

Honorary Members.—Messieurs J . L. Pascal and V. Lalaux, Membres de 1'Institut de France.

Committee of Management.—The Right Hon. Ford Saye and Sele ; Sir George Riddell (chairman) ; “Monsieur Alph. Defrasse, President of the Societe des Architectes Diplomes ; “ Monsieur J . Godefroy, Vice-President of the Societe des Architectes Diplomes ; “ Monsieur Faure Dujarric, Fogiste et Diplome ; “ Arthur Davis, Esq., Medaille, Fcole des Beaux A rts; A. R. Jemmett, Esq., F .R .I.B .A .; *H. V. Lanchester, Esq., F .R .I.B .A .; '‘ Edwin L. Lutyens, Esq., F.R.I.B.A .; *Monsieur Chas. Mewes, Logiste et Diplome ; E. C. P. Monson, Esq., F .R .I.B .A .; “ Monsieur A. Templier, Diplome; Percy B. Tubbs, Esq., F.R.I.B.A .; R. Goulburn Lovell, Esq., A .R.I.B.A . (honorary secretary). The names marked with an asterisk are members of the jury.

It is intended to establish in the British Isles ateliers of architecture similar to those connected with the Ecole des Beaux Arts. The French “ Societe des Architectes Diplomes par le Gouvernement ” have given their patronage, while prominent patrons and students of the French ateliers, together with certain British architects, are actively co-operating in carrying this proposal into effect.

The object of the ateliers is to teach the principles of design which aim at the development of logical and imaginative architecture on the system of the Ecole des Beaux Arts. As the atelier devotes itself solely to the study of architectural composition, such other knowledge as is necessary to the practising architect must be acquired by the student from the sources already existing for that purpose. It is, therefore, not intended to supplant existing educational establishments, but rather to supplement them.

It is generally admitted that the first and greatest school of architecture in the world is that of the Ecole des Beaux Arts, Paris. Its pre-eminence may be recognised by the fact that nearly all international competitions are won by architects trained in this school, that its teaching is sought by students of all nationalities, and that its principles and methods have been adopted with the best results in America, where there are at present fifty-seven “ diplome” architects.

The Ecole des Beaux Arts is largely dependent on the ateliers, in which the actual teaching of design is carried on, and in which the students learn the principles that underlie planning and composition, and acquire facility and experience in their application. Tf is intended, therefore, to adopt this feature of the Ecole, as its general methods and atmosphere have been proved to possess distinct advantages over other

methods of teaching. It develops a spirit of comradeship and co-operation and a general community of sentiment and ideals. This arises from the fact that the designs based on each student’s first sketch are developed on certain definite principles in the atelier with the co-operation of the patrons and atelier comrades. The atelier, as a whole, takes a pride in each student’s work, and for its own credit’s sake assists him to lift it to the highest possible level.

It is intended that the traditions and methods of the ateliers in Paris shall be adhered to, so far as it is possible to combine them with English practice, but the ateliers, however, will make no attempt to insist on the imitation of French features and detail or to influence the student in this direction, being concerned more with the principles which govern these features than with the actual features themselves. As, however, it is recognised that only those who have been trained on the Beaux Arts system for a sufficient length of time to grasp its principles and assimilate its atmosphere are competent to impart it, the direction will be in the hands of Beaux Arts men.

Since the decay of the old traditions which were followed by such men as Adam and Chambers, and which finally broke up at the time of the Gothic revival, architecture in England has been passing through a period of chaos, indicated by a continued change of fashions, having no intellectual basis, during which period its fundamental principles have been generally lost sight of. While a few men of ability have, from time to time, been able (by sheer force of individual personality) to grasp its essentials ; the majority have failed to do so, and the students have been left without 'any definite guidance in those principles which govern the art of architectural design.

Although much progress has been made in building up schools to replace the pupilage system, it is generally recognised that, however excellent they may be in other respects, they fail in the logical and systematic teaching of those principles of design which are essential if a community of ideas and generally accepted standard of criticism, so necessary to a vital school of architecture, is to be maintained.

Such logical system of teaching and standard of criticism exists at the Ecole des Beaux Arts, where the principles and theory of architecture have been preserved by unbroken tradition since the time of Louis XIV. It is believed that the establishment of the definite architectural principles with which the Beaux Arts atelier system is intimately connected is the first necessary step in this country towards placing architecture on a sound theoretical basis.

On this basis may be built up a general community of ideas and a generally accepted standard of criticism to take the place of the present confusion of aims. It would also appear to be the foundation on which any general co-ordinated system of the teaching of design, and any national school of architecture, must ultimately rest.

It may be mentioned that applications have already been received for admission to the first atelier which will probably be opened early in February. Other students desiring information should apply to me at once, and any requests I may receive for admission will be laid before the Beaux Arts Committee.

It should be explained that preference will be given to those whose previous work indicates that they are

February 1st, 1913. THE AFRICAN ARCHITECT. 133best qualified to profit by the form of instruction to be given.

It is hoped that it will be practicable to issue a prospectus giving full details in the course of a week or ten days.—I am, etc.,

R. GOULBURN LOVELL, Honorary Secretary, Beaux Arts Committee.

St. Moritz, Eastbourne,December 31st, 1912.

BILLS OF QUANTITIES

To the Editor, “ The African Architect."SIR,—I would like to draw the attention of the

Association of Transvaal Architects and also the Master Builders' Association of Johannesburg to some circulars that have been issued to the architects lately, viz.: 10th August, 1912. Circular issued by the National Federation of Building Trade Employers in South Africa. “ That this Congress resolves to take steps to secure bills of quantities from the Public Work Department, municipalities, and private architects for all works of ^500 in value and over, and that quantities form the basis of contract.

“ I am also directed to inform you that the Transvaal Institute of Architects have agreed to the foregoing, and it is hoped you will in every case see this agreement is adhered to.—Yours faithfully, JAS. T. Brown, General Secretary.”

Having brought this before several of the Council of the Institute of Architects, not one had the slightest knowledge of such an agreement ; and, in fact, no such resolution of the Federation of Building Trade Employers was ever put before the Institute.

A more recent circular issued by the Master Builders’ Association may throw some light upon it : “ That in competition for all building work estimated to be over the value of ^500 no member shall in future submit a tender unless bills of quantities be provided.” —Yours faithfully, R. Tw eeddale Hogg, Secretary.

This is actually a resolution passed on July 31st, 1905. They have evidently now made up their minds to begin to obey the same. Now, my trouble is not against quantities, as I am strongly in favour of quantities, even were it only for the small sum of £ 1 , and I would even go further, and have the work measured on completion.

As a member of the Association of Transvaal Architects, which numbers about one hundred and seventy-three architects (of that number something like ninety-five are resident in Johannesburg), I object to the Master Builders’ Association or any other association telling us what we are to do.

The Institute of Architects is quite a small body and the Master Builders’ Association consists of about forty-one builders and a number of subcontractors. Now, it will be quite obvious to the reader that the Institute , of Architects does not represent the practising architects of Johannesburg. Would it not be better if the Builders’ Association were to arrange a meeting with the Association of Transvaal Architects at some future date? It would be the means of introducing builders and architects, many of whom are quite unknown to each other at present.

Then there is the question of builders, etc., doing their own plans and specifications, “ spec.” building, etc., and builders employing draughtsmen. At present architects are not being supported by the builders. Why should the builders not refuse to tender on plans, etc., unless signed by an architect? I am not far out if I say that a very large percentage of the plans passed through the Municipality are not signed by architects. Now, to come back to the question of quantities. If the client will not hear of quantities, is the architect to lose the work, or is he to seek for contractors outside the Master Builders’ Association? The Builders’ Association, thougji influential, is yet small in numbers. Most of their members have no time for contracts under ^500, so that they practically are asking for quantities for every job they tender for.

The whole question is, therefore, not going to be solved by passing resolutions. The builders must consult with the architects, and then what is mutually agreed upon will have a better chance of becoming common practice.—I am, etc.,

REGISTERED ARCHITECT. Johannesburg, January 27th, 1913.

[Our correspondent raises some useful points. With reference to the letter issued by the National Federation, we understand that an explanatory letter was sent to the Transvaal Institute of Architects. As a “ Registered Architect,” our correspondent must, therefore, be aware of the contents of that letter, and we believe that much good would result if “ Registered Architect ” would raise the points mentioned in his letter at the next meeting of the Institute. Until then we would refrain from further comment, but we might add that, in all probability, the question will be again brought forward by the Master Builders at their Congress to be held in Pretoria in March next.— E d ., “ T .A .A .” ]

A HOUSE BUILT BY GEORGE WASHINGTON.

At Glasgow, Kentucky, there is a residence built by George Washington in 1790, for General Spottes- woode, then Governor of Virginia, in which State Glasgow was included at the time. There is nothing remarkable in the architecture of the building, but in respect of construction it is very unlike modern houses. The walls are of solid brickwork, thirty-six inches thick. The floors are of chestnut, two inches thick, and laid with dowels. The original roof covering, part of which still remains, consisted of chestnut shingles, half an inch thick, secured with wood pegs. The building was constructed entirely without nails, which were not manufactured in the United States when the house was built. The original windows were of glass imported from France, as this material was not produced in America at that time. The windows illustrate the wear and tear of structural materials, for it is. stated that the glass remaining intact has worn so that it is no thicker than paper, and is readily broken by rainstorms. The house has not been remodelled in any way, and presents substantially the same appearance as when built one hundred and twenty-two years ago.

134 THE AFRICAN ARCHITECT. February ist, 1913.

To define architecture in two words is rather a dangerous proceeding, but for the purpose of this lecture I will call it “ Beautiful Building.” Before a building can be called “ beautiful,” and so, to accept my definition, be worthy of the name “ architecture,” it must possess certain qualities, and it is with these qualities that I shall deal this evening.

First, however, I want to say a word or two on what are, I think, erroneous methods of architectural criticism. Often in the presence of some ivy-clad ruin we are led away by the respect we consider due to old age, by our interest in historical associations, and by the general air of picturesque dilapidation possessed by the ruin, into the belief that we are looking upon a fine architectural work.

On such occasions we should try to remember that the ruin was once a brand-new building, and also, just as it has been said that even the youngest of us may make a mistake, so even the oldest and most dilapidated of buildings may not be beautiful.

Again, when some great new building is erected we are inclined to condemn it, simply because it is new, forgetting that that quality was possessed once in its history by every work of art.

If, on the other hand, we incline to praise the new building, our praise is often based largely upon its size, its great cost, the fact that it is built of some expensive material, or that it is richly covered with ornament.

Or, having studied architecture rather more closely, we may like the building because it does not differ much from buildings of some favourite period, or dislike it intensely because it does differ from such buildings.

These methods of criticism, though I know they are very frequently adopted, are not, I think, the best, and I will now proceed to deal with some of those qualities, which may with advantage be considered when one is studying or criticising buildings old or new.

Unity 1 ’

One of the most important qualities in architecture is unity, as I understand it is in other forms of art. The various forms which compose a building must be so arranged and welded together as to form a single whole ; no part of the design must look like an afterthought.

A simple example on a small scale occurs in the triforium at Lincoln Cathedral. Here three openings in a wall are made into one composition by means of the uniting arch. While such details or small parts of buildings as this are of great importance, the study of architecture should not be limited to them, as it often is, and I shall next consider the mam masses of which buildings are composed.

(The lecturer then dealt with the effect of such a feature as a spire, gable, or pediment 111 pulling a design together by providing a point of concentration, and with the effect of unity which results from using similar forms for parts which are doing the same kind of work.)

The untrained designer, anxious perhaps to show his versatility, introduces into his buildings a remarkable variety of forms, with the result that the quality of unity is entirely absent.

(In dealing with the various arrangements of the main masses of which buildings are composed a view was shown of the buildings at Philae.)

As shown in this slide, this example at Philae is already partly under water, and it will probably be entirely submerged before long. The prospect of this raised considerable discussion in various papers, and m order to simplify the problem as to whether these buildings should be sacrificed in the interests of the irrigation scheme or vice versa, one writer asked us to decide which we should save from a burning building, a valuable old master or a baby.

Punch, thinking this problem still too difficult, as babies differ in quality, substituted Mr. George Bernard Shaw for the baby.

So when I say that I regret the proposed submersion of these buildings, I hope I shall not be accused of preferring the picture to either the baby or Mr. Shaw.

(The lecturer then dealt with the division of buildings into horizontal layers by means of projecting upper storeys as in mediaeval buildings, by setting back upper storeys, by strings and cornices, by the use of different materials, and by treating the same material in different ways, giving the Riccardi Palace, Florence, as an example of the latter.)

When the Riccardi Palace was designed—about 1430—architects in Italy were turning their attention to the masterpieces of classic art, and that is why the horizontal line is so insistent in this example, In

THE AFRICAN ARCHITECT. 135

Gothic architecture the vertical line is the dominant one, so that in such a front as that of Wells, while there are horizontal divisions, the vertical ones are much more easily seen. It will also be noticed that there vertical divisions are formed by means of buttresses necessary to the stability of the structure, and they are frequently emphasised by being carried above the roof line in the form of pinnacles, which are also useful from the structural point of view.

(Attention was also drawn to the advantage of three unequal storeys over three equal ones in mediaeval cathedral interiors, and incidentally to the fine effect of the shadow in the triforium.)

SymmetrySymmetry is a quality which may be observed in

many of our most important examples. It hasattracted the designers of all ages, from those of the mysterious Egyptian temples to those of the present day. It will be found that most of the temples of the great period of Greek architecture are symmetrical, and symmetry played a great part in the design of the great buildings of the Romans. It later styles, too, we find much importance attached to this quality, convenience being unfortunately in some cases sacrificed to its interests. Symmetry in a building or a group of buildings helps considerably in giving unity to the composition. If we consider for a moment the Horse Guards building in Whitehall, with its dominating central part, subordinate wings, and the shelters for the sentries in the foreground, the advantages of the orderliness and balance given by a symmetrical treatment must be at once apparent.

On the other hand, we must not ignore the fact that in many charming buildings the quality of symmetry is absent, and a certain picturesqueness takes its place, though the picturesque effect is usually due to gradual growth rather than to conscious design.

And while the front of the Parthenon is symmetrical, the spaces between the columns differ, and the columns in the back row are not exactly behind those in front. Such an arrangement gives a subtle rhythm, which adds greatly to the beauty of the building, and makes an equally spaced portico look dull in comparison.

In much the same way the beautiful front of Inigo Jones’ Banqueting Hall in Whitehall gains much by having its front divided into three parts, of which the central one is larger than either of the other two.

Proportion and ScaleProportion and scale are terms frequently used in

architectural criticism, and frequently misunderstood. Proportion is a relative matter, the harmonising of the shapes of the different forms with each other and with the whole. For instance, in this charming building (Morden College) the flat form of gable or pediment is in proportion to the rest, of the building, fitting in well with its shape and horizontal treatment. At the same time, the steep gable of this beautiful church (Patrington) is in proportion to the rest of the building. Again, a tall, narrow window will be a good proportion for one position, as in this church, and a long flat one in another, as in this delightful example of domestic work at Colley Weston.

A building is said to be designed on a large scale when its parts are few and large compared with the

February 1st, 1913.

whole building. The Old Clarendon building at Oxford is an example of this. The “ grand manner ” is a term often applied to such a design. On the other hand, a large building may be frittered away by designing it on a small scale, covering its surface with a large number of small parts.

In small buildings, such as small houses, the scale should be small, or an appearance of pretentiousness results. This question fof scale must be considered even in such apparent trifles as the sizes of stones in the walls, and of the panes of glass in the windows. A false scale may be, and often is, set up by substituting sheets of plate glass for the original small panes, as has been done in the principal windows of this charming house at Stamford. The attic windows are as they should be.

StrengthAnother extremely important quality in architec

ture is strength, which must be apparent as well as actual. The use of representations of human figures as supports is rarely successful. In this example, however, from the Erechtheum at Athens everything was done that could be done to give the figures the appearance of doing their work without difficulty.

That the Albert Memorial is really strong enough is more or less demonstrated by the fact that it has stood so long, yet one cannot help admiring the courage of those who go close to it (some were shown on the slide), for it looks as if it ought to collapse. It is held together by concealed ironwork, otherwise the arches would push out the angles.

RestraintAs m other arts, the quality of restraint is of great

importance. Ornament and sculpture should not be distributed evenly over a building, but concentrated on important points, such as the main entrance, the central gable or pediment, or the top of a tower. In doing this the ornament not only gains by contrast with a plain surface, but it strengthens the design by emphasising important features, which are thus made to arrest attention. The plain surface is so valuable ; it is only the poor, weak designer who is afraid of it —the master knows its value.

The Proper Use of Materials

So far I have dealt with shapes and forms and the appearance of things, and it might be inferred from what I have said that beauty in architecture is but skin-deep. This, however, is far from being the case ; it must go right down into the very bones of the structure.

I have, for instance, said little or nothing as to the nature of the materials of which buildings are made. It is true there are those who hold that the form is the thing, and that it matters little of what it is constructed.

But in other arts it is a truism that a medium must not be strained, and as an etching is not at its best when it most nearly resenibles an oil painting, and as a condensed novel rarely, if ever, makes a good short story, so each of the materials used in architecture has its own characteristics, making it most suitable for certain purposes. I give as an example a beautiful piece of Greek detail worked in fine marble. In a coarser material a different type of ornament would be more suitable, Even some marbles are not suitable

130

for the same purpose as others, for in the Temple of Neptune at Sunium the veins of the marble conflict with the effect of verticality given by the flutes.

Truth in Architecture

And this brings me to the question of truth in architecture, for to be beautiful a building must be true ; it must be genuine. In these beautiful old houses the genuine timber-work really supports the work above ; much that is done nowadays consists of thin boards nailed to a wall.

And in similar fashion the various parts of a building should not be ashamed of themselves ; they should look like what they are. The best is always got out of a feature by making it express its purpose. A column should be made to look—as indeed the Greeks made it look—as if it were supporting something ; every line in the columns of this temple built by the Greeks about two thousand four hundred years ago suggests the function of the column as a support.

A thirteenth-century capital suggests support, and support managed easily, but the wreath of ornament carved round later capitals—while possessing, it is true, distinct decorative value—does not express the function of the capital.

Similarly chimneys should be treated fearlessly as chimneys. They have often given the architect difficulty, probably because he was trying to use a style in which chimneys were not used originally. In such cases chimneys have been made to look like columns, as at Burghley House. It is a golden rule in architecture to make a virtue of necessity. If a difficulty arises, it should be turned into an opportunity.

The west front of Beverley Minster is in many ways a fine piece of work. Unfortunately the gable in the middle is much flatter than the steep roof behind—it is not a legitimate piece of design.

In all great architecture the construction is not concealed. The Greek gloried in his column and lintel, the Roman in his arch and vault, and the mediaeval builder in his vault and buttresses. The cathedral builder, for instance, was not only not ashamed of his methods of construction, but he drew attention to them, bringing shafts down the piers to draw the eye up to the vaulting, as in the chapter house at Wells Cathedral, and making features of his flying buttresses, as in the exterior of the cathedral at Amiens. In this way is architecture made real and vital. All great architecture, in fact, must be a beautiful expression of construction, and as new methods of construction are adopted it does not do to conceal them under ancient forms.

Expression of Purpose

And under this head of truth may also be mentioned the undoubted fact that a building to be beautiful must express its purpose. For Amiens Cathedral as a cathedral is beautiful, but as a hospital it would be foolish. That is, of course, an extreme case, but the same principle applies, if in a lesser degree, to less extreme cases.

Old Newgate Prison—one of the finest buildings we had in England, now unfortunately pulled down— was a fine example of a building expressing its purpose. The other day a little boy passing one of

THE AFRICAN

the important buildings in a great manufacturing city was heard to ask his father, " Is it a picture palace? ” I do not think he would have asked that question had he been passing grim Old Newgate.

A house should look like a house; it should suggest the home, not the municipal building. This building at Stamford, for example, is a charming specimen of home-like architecture, small in scale, quiet, and restful. And this reminds one that architecture is not only a matter of cathedrals and town halls, for the house or cottage may be beautiful, too.

The Claims of Utility

On no account should convenience be sacrificed to external appearance ; the latter must be a natural development from the uses to which the various parts of a building are put.

In many houses of the eighteenth century in England, in order to obtain a finely-balanced exterior, the kitchens were placed in a subordinate wing balanced on the other side by, say, a block of stables.

On the other hand, the convenience of a house has often been sacrificed to obtain an irregular or picturesque outline. Symmetry or picturesqueness obtained in such a manner is, however, entirely false.

The claims of utility and convenience can, however, be pushed to an unreasonable extent. Some shopkeepers, for instance, desire a shop front in which there are no visible supports, so that we get as a result the terrible spectacle of a great building apparently resting on a sheet of plate glass. The provision of adequate visible support cannot, I think, conflict with the reasonable claims of utility, and some shopkeepers are beginning to see the value of beauty in their buildings. In Debenham’s shop in London, for instance, an attempt has been made to treat a shop in a dignified manner. Of course, there are shopkeepers who would say that even these supports are just so much wasted window space. Selfridge’s stores is another example. Possibly one may not like it, but one is bound to admit that it is a serious attempt to deal with a difficult but interesting problem—a problem which is raising a good deal of discussion in connection with the rebuilding of Regent Street Quadrant.

Suitability to EnvironmentA building to be beautiful must be suitable to its

environment. One frequently sees a house or other building, which, while perhaps very suitable for another position, is quite unsuitable, and consequently lacking in beauty, where it is.

Built in a somewhat bleak position amongst the hills one sometimes finds a modern house which might well have been erected in the Thames Valley, while probably close at hand is a charming old farmhouise exactly suiting its surroundings. Such, for example, are several of the old farmhouses and halls within a few miles of Sheffield, simple, unaffected, entirely suitable for their position, and altogether delightful.

Other buildings, far exceeding in number all the others, are suitable to no environment with which I am familiar. I refer to the dreary streets composed of houses of uniform ugliness, which form such a large part of many of our towns, and which have made such inroads into the pleasant lands surrounding them. Too many of these houses are also inconvenient and more or less insanitary and dangerous.

ARCHITECT. February 1st, 1913.

February 1st, 1913. THE AFRICAN ARCHITECT. 137Influence of Climate

In this same connection the direct influence of climate on architectural design may well be noted. Under the bright suns of Greece we find strikingly refined detail, depending for its execution, as we have seen, on a beautiful marble. Open porticoes and colonnades are also to be found here as in other sunny climates, together with flat, broadly overhanging roofs and comparatively small windows. In more northern countries steeper roofs and larger windows are more suitable, as shown, for example, in the east end of Beverley Minster, and details to be satisfactory must be bolder. The vigorous detail in the corbel of the Percy Tomb, Beverley Minster, is much coarser than good Greek detail, and has much stronger effects of light and shade, and is therefore more suitable for the climate in which it was made. Just as Greek detail is more beautiful in Greece than in England, so is this detail more beautiful here than it would be in Greece.

During the early part of the last century many buildings were erected in England, copying as closely as possible the buildings of ancient Greece, regardless of the fact that they were quite unsuitable for our climate.

There was also a Gothic revival, leading to the erection of buildings copying as closely as possible those of the Middle Ages, regardless of the fact that the habits of the people had quite changed. Even worse is the attempt sometimes made to reproduce not only the form of the old work, but even its dihpidated appearance.

And now the question of the style to be adopted in the new buildings for Delhi has arisen, and many letters about it have been written to the press. Should the buildings be on the lines of existing Hindoo buildings, or should we build in our English style in India, as Rome gave her architecture to the countries she conquered (with the exception of Egypt)? One writer has suggested that the modern English style should be used, but modified to suit the climate—a suggestion which reminds one that an increasing number of English buildings are on lines more suitable to a hot climate than our own.

But in all buildings, whether in England, India, or elsewhere, the first consideration should be the fulfilling of the reasonable needs of those who are to use the building, and full attention must be paid to such sanitary requirements as the provision of adequate air space, window space, and means of ventilation. The architectural treatment must be developed out of these requirements. It must be mad'' suitable to the environment, and due attention should be paid to such qualities as those with which I have briefly dealt.

Buckingham Palace

I should now like to draw attention to the proposed remodelling of the front of Buckingham Palace. The present front was unfortunately carried out in a material unsuitable to the climate, and as a result has had to be painted—a process which always leaves stonework dull and uninteresting. Apart from this, the old front is not really so bad as it is generally

supposed to be. The new design is quite good. The architect, Sir Aston Webb, was not given a free hand ; he had to work to the existing position of all the openings, and, under the circumstances, he has done well.

It may be thought, and I know it is thought, that his design is rather ordinary; this because it is broad, quiet, restrained, and dignified. The three mam masses are strongly treated ; there is no doubt about the greater importance of the central one. The strongly-marked horizontal joints in the lower storey suggest strength, the columns and pilasters impart the necessary air of dignity, and the small amount of ornament which is used is applied in just the right places. Given a free hand, it would have been better, I think, to have abandoned the central feature, and so have given the monument in the front a still quieter background.

While I have not given a formula for beauty in architecture, we have seen, I think, that it depends on several things, some of them matters of external appearance, such as the proper arrangements of the main masses, and the tying together of the various parts so as to give unity to the composition, and the concentration of ornament, but others going right down into the very core of the building, and dealing with the materials of which it is made, the uses to which it is to be put, its construction, and the welfare of the people who are using it. We have also seen that what is beautiful in one place is not necessarily so in another.

Our Relationship to Architecture

And what, we may ask, should be our relationship to this architecture—this beautiful building? Is it something about which we are to read or talk? Or is it something to see which we are to travel long distances? Is it not rather that which we, as dwellers in a city, should see all about us, in our public buildings, in our shops, and our factories—even in our homes?

It may perhaps be difficult to light the lamp of beauty in the special climatic conditions which prevail in a manufacturing city.

I have spoken of making a building suitable to the climate. For the present climate of Sheffield glazed ware is perhaps the best material, as it can be washed down at frequent intervals. And glazed ware, though it is usually ugly, need not be so. One usually associates it with crude colouring and ugly ornament, but it can be treated beautifully, and used with charming effect.

But I have heard it suggested that the Sheffield atmosphere can be improved, and I should not be surprised to find that that is not beyond our skill in these days of engineering efficiency, and I think most of us would welcome such an improvement.

Would it not be worth much to us if our city were really a beautiful one? Let us think for a moment what a beautiful city means, a city free from shams and ugliness—a city in which all the streets and buildings would be pleasing to the eye and mind.

The present visitor to Sheffield, when asked how he likes it, invariably answers : “ The country around it is beautiful.”

13 U 1 ilk AFRICAN

Will the visitor ol the future ever be able to answer i “ It is a beautiful city with beautiful surroundings ? ’ ’

Is this an impossible ideal?It is not impossible ; it needs chiefly on the part

of the people a great love of and a great desire for the beautiful.

Professor Lethaby tells us that when the cathedrals were built the people were as concerned about them as we are about cricket. When we, as a people, are as interested in the beauty of our buildings as we are in sport we shall not tolerate ugly cities. Street improvements will no longer be considered only as problems of traffic, sewers, and water mains, and the builder of a private house will remember that it is not only for the comfort of himself and his family, but that it is something which will give either offence or pleasure to countless passers by.

And this state of things is slowly but surely coming. Already large numbers of people are becoming interested in such questions as town planning and the provision of garden suburbs, and incidentally in beautiful buildings.

I think the time is not so very remote when people, reading of our times, will wonder, not so much at our remarkable developments in engineering and other science, but rather that we could have been persuaded to put up with so much totall}' unnecessary ugliness.

PERSONAL PARS.The name of Mr. T. G. Jackson, R.A., is amongst

those on whom the distinction of a baronetcy was conferred at the opening of the New Year.

THE IMPROVEMENT OF ARCHITECTURE.

Apropos of the letter in our correspondence columns re L’Ecole des Beaux Arts, the following is interesting : We welcome the news that London is likely soon to have an architectural ‘ atelier," on the lines of that in Paris connected with L ’Ecole des Beaux Arts, and that the Society of Architects is proceeding with its Bill for the registration of architects. Considering how much of our lives in these northern latitudes has to be passed in houses, it is of the highest importance that these should be well built, well arranged, comfortable, hygienic, and elegant. The profession, if it is to be more highly thought of by the public, must think more highly of itself, and any steps which the official bodies may take to this end will receive the hearty support of all right-thinking men.—“ National Weekly.

A MONSTER GARAGE.

The garage (said to be the largest in the world) which is being built at Willesden Green for the London General Omnibus Company occupies fifty-nine thousand six hundred and thirty-one superficial feet of land, and will accommodate one hundred and forty- five motor omnibuses. The floor is of smooth concrete and the roof is of glass.

A RCiiirice T. February 1st, 1913.

THE NEW MARKET BUILDINGSVISIT OF INSPECTION

A very large party of professional gentlemen, including all the local architects, will attend at the new Market Buildings, Newtown, Johannesburg, on February 8th, by invitation of the President and Council of the South African Branch of the Society of Architects, for an inspection visit. The invitation states that the object is “ to view the new Market Buildings (by permission of Mr. G. S. Burt Andrews, M.Inst.C.E., Town Engineer), and also the Municipal Abattoirs (by permission of Mr. J . Irvine Smith, M.R.C.V.S.).

The programme of arrangements is as follows :3 p.m., assemble at new Market Buildings, Newtown ; afterwards proceed round the works under the guidance of the officials of the Town Engineers Department of the Municipal Council, Johannesburg. 3.5 p.m., a short explanatory address on the construction of the works will be given in the Corn Exchange of the building by the Town Engineer, Mr. G. S. Burt Andrews, M.Inst.C.E., Past President of the South African Branch of the Society of Architects. 3.15 p.m., under the guidance of the officials of the town Engineer’s Department of the Municipal Council of Johannesburg, a tour of inspection will be made.4 p.m., proceed to the Abattoirs, explanatory add-ress on the equipment and arrangement of the Abattoirs will be given by the director, Mr. J . Irvine Smith, M.R.C.V.S. 4.15 p.m., proceed under guidance of the Director of Abattoirs to view the buildings.5 p.m., refreshments in the Main Hall.—D. IVOR L e w i s , Hon. Secretary.

NORMAN SHAW ’S WILL.

Mr. Richard Norman Shaw, R.A., of Ellerdalc Road, Hampstead, who died on November i/tli, aged eighty-one, leaving £104,627, of which ^99,461 is net personality, bequeathed £300 and his household effects to his wife, and during widowhood the use of his residence. The residue he left as to one-seventh each to his sons, Robert Norman Shaw and William Campbell Shaw, one-seventh in trust for his daughter Elizabeth Helen Shaw, known as Sister Elizabeth Helen, of the Order of the Sisters of Bethany, for life, and then for his two sons, and four-sevenths^ 111 trust to pay the income thereof to Mrs. Shaw during widowhood, or from £10,000 should she again marry, and subject thereto for his two sons.

THE LARGEST TESTING MACHINE IN THE WORLD.

The ten million-pounds testing machine designed by Mr. Tinius Olsen, of Philadelphia, for the Structural Materials Testing Laboratory of the United States Geological Survey, at Pittsburg, was shown in operation during the Congress of the International Association for Testing Materials, when a four-foot square brick column, twelve feet high, was tested to destruction under a load of six million five hundred and eighty thousand pounds. I he machine was designed to test sixty-foot columns vertically, and it can also be applied for testing slabs and beams of large dimensions. As at present erected, however, the machine is not available for testing columns more than twenty-five feet in length.

Feb ruary 1st, ig l j . THE AFRICAN ARCHITECT. 139OUR ILLUSTRATIONSUNION CLUB OF SOUTH AFRICA

The new premises for the Union Club of South Africa, now nearing completion at the junction of Bree and Joubert Streets, are intended to provide suitable accommodation for one of Johannesburg’s most remarkably successful social institutions, which has far outgrown the quarters occupied for some years in St. Jam es’ Mansions. The new building has been designed to serve the needs of five thousand members in the light of the experience of some years of comparative discomfort, and is well equipped with every essential feature.

Built on a corner site of one hundred feet square, the building forms a compact block grouped around a central pillared court forty-six feet square, which gives access on each floor to the various club rooms.1 his court is in itself the most arresting feature in the whole design. The entrance from Bree Street, under a roomy and valuable porte cochere, leads into a pillared hall, marble paved, and lined with Pavanazzo marble, with dado of Vert des Alpes. From the hall a slight ascent leads into the fountain court, also lined with Pavanazzo marble. This court, rising to the top of the building in three storeys of Doric and Ionic columns, is surmounted by a colonnade on the flat central roof, open at the sides and glazed over the centre, forming an open roof garden or lounge at the highest level. The court on the ground floor is paved in the centre with Vereeniging tiles and bricks, including a sunk pool and small fountain.

On the ground floor are placed the porter’s room ; bar, sixty feet by twenty-five feet ; writing room ; reading room, forty-six feet by twenty-five feet ; secretary’s office ; and committee room, as well as ample lavatory accommodation for members, including bath rooms, shower baths, and hairdressing rooms. The main stair, eight feet wide, is groined in concrete throughout. On the first floor the principal feature is a dining-room, 94 feet by thirty-one feet, running the full length of the building, panelled in teak, and with dancing floor of the same ; the ceiling is a wide barrel vault intersected by smaller vaults running into circular headed door and window features. Adjoining the dining-room is the president’s room, white panelled and opening on to a groined loggia. Also on this floor is the library, a well-proportioned room of forty feet by twenty-five feet. The remaining space on the first floor is given up to the catering department, which is provided on tbe same level as the dining-room with every apartment and facility for smooth and efficient service.

The second floor contains a billiard room as large as the dining-room, with eight tables, as well as two card rooms for about twenty tables and large chess room.

The third floor has rooms for the secretary and staff. A fine basement extends under nearly the whole building, providing a further billiard room for five tables, as well as ample cellarage and storage spaces.

The building generally is of brick, plastered externally, with a bold rusticated ground storey of Elands River stone, the same material running up the angles in resticated quoins to a strong modillioned cornice, whence springs a steep-pitched, dormered

roof of Vereeniging tiles. Internally the building is largely of reinforced concrete construction.

The cost of the building will be in the neighbourhood of .£40,000. The contractor is Mr. James Thompson. The Otis lifts are supplied by Messrs. A. H. Johnson and Co., the hydrants by the General Fire Appliance Company, the Kahn and Rib Bar reinforcement by the Trussed Concrete Steel Com- pany4 the pavement and stallboard lights by Messrs. J . and R. Niven, the marble work by Messrs. Harris and Hittinger, the sanitary fittings by Messrs. Parker, Wood and Co., the hot water and induced heating services by Messrs. G. N. Haden and Sons, the cooking appliances and gas services by Messrs. Henwood, Son, Soutter and Co., the borehole for the club’s independent water supply by Mr. J . Alford, and the electrical work in all departments by Mr. J A. W. Kerr. The architects are Messrs. Herbert Baker and Fleming.

THE NEW MARKET AT NEWTOWNThe photographs of the above which appear on

another page give some impression of the present appearance of Johannesburg’s new market in Newtown, which is rapidly approaching completion and which will be opened with due ceremony on March 1st. It will be seen that the great building is about on the verge of emerging from its scaffoldings, and its extraordinary length and breadth are apparent from the pictures. Internally, the place is still very much in the builder's hands. The floor is still, for the most part, a sandy waste littered with bricks, into which one sinks ankle-deep immediately the outer threshold is crossed. But the walls and the roof are completed, at any rate as far as the actual building is concerned, and one gets an impression of sheer vastness as one enters. The actual dimensions of the building have already been published, but the figures altogether fail to give the non-expert any idea. Johannesburg’s central market forms far and away the largest interior in South Africa, and when one thinks of the Drill Hall, hitherto Johannesburg’s largest interior, one gets some idea of what the statement means. Right around the four walls the stalls which are to be leased out have already been erected, and above them runs the gallery which is to form a promenade for prospective purchasers of the wares displayed below. Near the main entrance is a sort of pavilion—as yet far from displaying the beauty of outline and decoration which will eventually characterise it—which will form Johannesburg’s flower market. Across the middle of the building runs a gallery connecting the two long galleries. This seems a very necessary thing, as the walk right around will prove no trifling exercise. High above is the arched roof, with its massive steel framework and enormous span. To the right of the main building is the meat and fish market, which will reproduce, on a smaller scale, all the comforts and conveniences of tbe main building. It is easy to imagine the bustling crowds of Johannesburgers utilising all this vast spaciousness, filling the floor and the galleries, surrounding the tables in front of the stalls and competing busily for the wares displayed. It is easy also to imagine the blaze of colour from the flower pavilion, the more subdued tones of the vegetables and fruit stalls, and, pervading all, the pleasant, homely smells brought in

t h e nfw c e n t r a l police statio n , w hich is being built in m a r s h a l l street , on t h e site of t h e old high c o u r t ,AT A COST OF £20,000

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from the veld. One can imagine also the good- humoured noises of buyers and sellers, and even the strains of the band which is to discourse music at intervals for the delectation of the marketers. All this will be in actual being in little more than a month, and Johannesburg may congratulate itself, in the meantime, in brief anticipation of a market-place which will be worthy of the greatest market for produce that there is in South Africa. In the heart of the warehouse and factory area of the city, the market will be somewhat out of the way of the housewife; but this disadvantage is being counteracted by a cheap and speedy tram service, which will begin on the day the building is opened. The Corporation is also meeting the convenience of purchasers by inaugurating a rapid delivery service by motor, but this is, of course, a matter of experiment and its continuance will depend upon the use that is made of it.

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THE STYLE FOR THE NEW DELHIME. HERBERT BAKER CONSULTED BY THE

IMPERIAL GOVERNMENT

To the discussion on the style that shall be adopted for the buildings of the new Delhi, Mr. Herbert Baker, F.R.I.B.A.,^of Johannesburg, contributed an important article which appeared in the columns of “ The Times,” and which was reproduced in the columns of

1 lie African Architect.” Mr. Baker is undoubtedly well fitted to express an opinion, for the reason that he has already done so much in South Africa to show that fine results modelled on Classic lines are possible when the architect possesses sufficient ability to carry them out. It will be remembered that the Imperial Government entrusted the general style of the architecture of the new Delhi to Mr. Lutyens and Mr. Lanchester, and it is believed that they are well disposed towards “ English Renaissance,” as, indeed, is also Lord Curzon, who wrote to “ The Tim es” at the same time as Mr. Baker did.

Mr. Baker was sent for by the Imperial Government to assist Mr. Lutyens and Mr. Lanchester in framing their report to the Government, which was the reason of his proceeding to London recently. He is. on his way now to India.

Meanwhile, the newspaper discussion on the problems of design that confront the projectors of India s new capital is continuing. We give now the broadly philosojihical view of the situation expressed in a Home journal by Mr. T. G. Jackson, R.A., who says : It is significant of the almost hopelesslychaotic state of modern art that the first question arising out of the scheme for the new capital of India at Delhi is that of the choice of an architectural style. When a man sits down to write a book he does not consider whether it shall be in the style of Swift, Carlyle, or Macaulay. He simply follows his own instincts. He does not hesitate, if he is going to paint a picture, whether to do it in the manner of an Italian primitive or of a post-impressionist ; nor, if he is a Sculptor, does he doubt whether he will follow Rodin or Donatello. He has studied all these masters and learned from them all, but his style is natural to himself and not imitated from any one of them.

To claim the same liberty for the architect would be denounced as the worst of heresies. Every writer seems to have made up his mind that the new Delhi must be in some recognised style of bygone architecture, and the only question is, Which shall it be? Some argue for Classic, some for Saracenic ; happily nobody nowadays would recommend Gothic, the child of Northern skies, which is as ridiculous in India as the Pavilion at Brighton. . . .

“ That is not the way in which to get the best architecture. Our best artistic suggestions for design come from necessities of construction and considerations of utility :—•

‘“ Nunquam vera species ab utilitate dividitur.’“ To seize on these suggestions and draw inspira

tion from them is the true path for the architect to follow ; to be able to meet them and satisfy them successfully is the proper end of all architectural study. We should study works of art, not to copy them^ but to be impregnated with their principles; and it our study has done its work, we should be so saturated with the true principles, not of this or that jaarticular style, but that of architecture itself, which is a very different matter, as to be ready for any novel conditions that may present themselves.

“ Such conditions no doubt do present themselves at Delhi, and there could be no more splendid opportunity for a sensible development of architecture. The first considerations should be purely utilitarian ; what sort of construction is demanded by the climate, the social habits of the inmates, and the functions the buildings are to fulfil. To think first of the style, and try to bend and warp an old one to suit the case, is to begin at the wrong end, and will only ensure another of the many disastrous architectural failures of which India has been the field. The very difficulties that present themselves in the way of using a readymade style should be regarded as the most fruitful source of inspiration for good design. As the conditions are novel, so to the same extent no doubt will be the result. The utilitarian problem must be faced boldly and come before everything else. Whether the forms that best solve it confirm to any existing style or not is of quite secondary consequence. That they should to a certain extent regard precedent is, of course, inevitable ; we cannot forget the past, but they must not be fettered by any conventional formula. Whether they will be beautiful or not will depend solely on whether the architect is a true artist or merely an engineer.”

February 1st, ig lj.

SIR H. H. BARTLETT, BART.

The many friends of Mr. H. H. Bartlett, of the firm of Messrs. Perry and Co., contractors, of Tredegar Works, Bow, E., will have read with pleasure his name in the list of new baronets in the New Years list of honours. Sir H. H. Bartlett was President of the Institute of Builders in 1892-3 and President of the London Master Builders’ Association in 1888. His firm has carried out a